Tuscan Traveler

Trailing most other museum-intensive cities, Florence finally has two competing museum cards. And before too many more months pass, I promised myself that I would perform an analysis of the relative worth of the Firenze Card and the Amici degli Uffizi Card, which if you click on the foregoing links you will have a chance to read, in detail, about both cards.

Full Disclosure:  I am not good at math. (My sister got those genes from our father. I got our mother’s.)

Michelangelo's David at the Accademia Gallery

Our Mission

(I am assuming you are in this with me.) To determine which museum card, if any, should be bought by: 1) a lone traveler with a larger than normal interest in Renaissance art and history; 2) a couple (related by family (i.e. sisters), married, or domestic partners) with an interest in only seeing the David and the Birth of Venus; 3) a couple who are interested in seeing at least four museums; 4) a family of four (parents, two children) with only an interest in seeing the David; 4) a family of four interested in seeing the David and the Birth of Venus; and 5) a family of four interested in seeing more than those two museums, and also gardens, churches or Medici villas.

And to make us feel like we are lost in an especially complicated SAT math question, let’s add the variables of: a) a three day stay in Florence, or b) a more than three day stay in Florence.

Okay, we have only a limited time (or attention span) to solve this problem. (Spoiler Alert: get the Amici degli Uffizi Card)

Assumptions

Assumption (not proven): both cards are equally easy to purchase and to use at all qualifying museums.

Assumption (proven): both cards are accepted at the Accademia (the “David “(I know that you knew he was located there)) and the Uffizi (housing Botticelli’s Birth of Venus and thousands of other great paintings).

Assumption (proven): if you do not want to wait hours in line, you must have reservations (4 euro extra per ticket for a reserved entry time) to the Uffizi and the Accademia. All of the other museums you can walk into within minutes.

Assumption (not proven): visitors to Florence hardly ever take the bus. (See Firenze Card bonus.)

Assumption (good for today):  1 euro = $1.42

Facts

Firenze Card

Firenze Card- 3 Day Museum Pass

Cost: 50 euro ($72) per person

Free access to 30 major museums, villas and historical gardens in Florence

Admission to museums is granted by showing the card at the entrance, with no reservation requirements

Free travel on public transports: ATAF&Linea buses and trams

Free access to museums and public transport for EU citizens under the age of 18 who are accompanying you (Note to U.S. families: this does not include you.)

Time Limit: 72 hours (3 days)

Amici degli Uffizi Card

Cost: Individual – 60 euro ($86); family of maximum two adults and two children (under 18 years) – 100 euro ($142); or “young people” (up to 26 years) – 40 euro ($57)

Amici degli Uffizi

Free access to 22 major museums, villas and historical gardens in Florence

Admission to museums is granted by showing the card at the entrance, with no reservation requirements

Reduced price tickets for concerts of the Teatro Comunale

Reduced price (15%) tickets for concerts of the Orchestra della Toscana at Teatro Verdi

Discount (20%)on price ticket for premières and Saturday performances at Teatro della Pergola

Time Limit: calendar year January 1 to December 31 (i.e. 3 days, if you buy it on December 29)

Ready for our problem sets?

Birth of Venus found in the Uffizi Gallery

Individual

One person who is in Florence for 3 days and wants to see two museums per day, including the Accademia and the Uffizi (for example, also the Bargello, San Marco, Boboli Gardens and Palatine Gallery (Pitti Palace)

Museum Ticket Prices

Uffizi – 15 euro ($22) (remember this includes the 4 euro surcharge for reservations)
Accademia – 14 euro ($20) (ditto)
Bargello – 4 euro ($6)
San Marco – 4 euro ($6)
Boboli Gardens – 6 euro ($9)
Palatine Gallery (incl. Modern Art Museum) – 8.50 euro ($12)

Cost for an Individual

Firenze Card:  50 euro ($72)
Amici degli Uffizi Card:  60 euro ($86)
No card:  51.50 euro ($74)

Winner: Firenze Card (unless this person is either a) under 27 years of age; or b) a music lover (see Amici degli Uffizi discounts))

But if this person is in Florence for more than three days and/or wants to see more museums, villas, or gardens than those listed above, the Amici degli Uffizi Card is a better choice,

Couple or Two Related People (see Amici degli Uffizi “Family” definition above)

a) A couple who are in Florence for 3 days and only want to see the Birth of Venus and the David

Museum Ticket Prices

Uffizi – 30 euro ($43) (remember this includes the 4 euro surcharge for reservations)
Accademia – 28 euro ($40) (ditto)

Firenze Card

Cost for a Couple or Two Related People

Firenze Card:  100 euro ($142)
Amici degli Uffizi Card:  100 euro ($142) (Family Membership)
No card:  58 euro ($83)

Winner: No card (remember to make reservations well in advance (call +39 055 292883)

b) A couple who are in Florence for 3 days and want to see four or more museums.

Winner: Tie between Firenze Card and Amici degli Uffizi Card (do the math yourself)

c) A couple staying in Florence for more than 3 days or want to see more than 2 museums, but not all in a three-day period.

Winner: Amici degli Uffizi Card

Family – 2 parents and 2 kids (not EU citizens)

a) Family is in Florence for 3 days and only wants to see David

Museum Ticket Prices

Accademia – 56 euro ($80) (remember this includes the 4 euro surcharge for reservations)

Cost for a Family

Firenze Card:  200 euro ($287)
Amici degli Uffizi Card:  100 euro ($142)
No card:  56 euro ($80)

Winner: No Card

b) Family is in Florence for 3 days and only wants to see David and the Birth of Venus

Museum Ticket Prices

Uffizi – 60 euro ($86) (remember this includes the 4 euro surcharge for reservations)
Accademia – 56 euro ($80) (ditto)

Cost for a Family

Firenze Card:  200 euro ($287)
Amici degli Uffizi Card:  100 euro ($142)
No card:  116 euro ($166)

Winner: Amici degli Uffizi Card

c) Family is in Florence for more than three days and seeing everything

If you’ve made it this far, you know that the Amici degli Uffizi Card wins for families staying in Florence for longer than 3 days and if they want to see more than just the Uffizi and Accademia museums.

Summary

If you are under 27 and interested enough to read through this post you are clearly interested in more than the David and the Birth of Venus, so you should buy an Amici degli Uffizi Card for a “young person”, and you should read this post.

Amici degli Uffizi Cards

If you are a couple, or two people related in any way, or at least have the same address, and you want to see more of Florence, either gardens, villas or museums, as well as the incredibly expensive Uffizi and Accademia, you want to purchase the Amici degli Uffizi Card. Read on here.

If you are a family and you want your kids to see more than just the David, you should get an Amici degli Uffizi Card for a family (even if you have more than two kids (compare price for extra one or two “young people” Amici degli Uffizi Cards vs. Firenze Cards)). So read this post.

If you are an individual (over 27 years old) who is going to be in Florence for more than three days and want to see more than two museums or may be returning to Florence within a year or you live in Florence full time – you want to be the proud owner of an Amici degli Uffizi Card. Again, see this post.

BUT, if you (or you and a couple of unrelated friends) are just the type who races through one of the most fascinating cities in the world while checking off the David and the Birth of Venus on your list of 1,000 Things I Have to See Before I Die, then pay cash (but for heaven’s sake make a reservation) at the Uffizi and the Accademia or purchase the Firenze Card. You’ll thank yourself as you cross the Ponte Vecchio, while marking it, too, off your list.

Down a tight road, through a narrow gate, no people, no cars, seemingly abandoned farm buildings, an old red tractor, no animals in sight, but the smell of hay and dung hung in the warm early evening air near Spezzano Albanese, in the arch of the Italian boot. Not a promising start after assurances that we would find the best mozzarella di bufala in the world or, at least, in Italy or, for sure, in Calabria.

Unlikely spots yield wonderful buffalo mozzarella

But on the wall of the smallest ancient building is a beautiful ceramic sign that assures us that we are at Caseificio Torre Mordillo. (The Mordillo Tower, pictured on the sign, is nearby. The tower and the surrounding ruins date from the Iron Age and were expanded by the Greeks.)

Caseificio Torre Mordillo

We enter into a tiny space, the store, empty of any products. A man looks up from the adjoining larger room where he is washing down the white-tiled walls and cream-tiled floor with a hose. His name is Mariano. If we can wait, he will have the mozzarella made fresh in twenty minutes. Why don’t we visit the water buffalos?

Water buffalos at dinner

Across the cracked pavement of the empty parking lot and around the corner of of the huge abandoned building we find about twenty water buffalos munching on their supper of hay. Communing with buffalos is only interesting for five minutes or so and we couldn’t discern where the milking shed might be and we weren’t as happy as the buffalos with the swampy mud. So we headed back to the caseificio to watch the mozzarella being made.

Loaves of cheese curd from which mozzarella is made

Maddalena and Florina had joined Mariano. A round stainless steel vat of water was heating on one side of the room. On a stainless steel table were loaves of porous cheese curd made from milk obtained from the water buffalos during their morning milking.

Crumbled cheese before hot water is added

Mariano carved off a large piece of the curd, placed it in a large round metal pan and crumbled it into small pieces. He added scoops of hot water and  stirred the melting crumbs with a wooden stick into a smooth mass. This is called “stringing the curd.” After the desired elasticity was achieved, Mariano scooped off the excess water.

After "stringing" pieces of mozzarella are carved off to form balls

From the large mass of mozzarella, they used the plastic scoop and the wooden stick to cut off baseball-sized pieces and dumped them into a rectangular bath of warm water where Maddalena and Florina formed them into balls of mozzarella di bufula. Each loaf of cheese made about twenty balls, which then went in to a salted bath to cool.

Balls of mozzarella being formed in a warm water bath

We asked for a large braid (treccia) of mozzarella and Mariano carved off a huge hunk of the smooth elastic mass. He warmed it by dipping it into the hot water bath. Then he held it high and let it stretch.

Stretching the mozzarella

He dipped the long piece into the warm water again and then let it stretch even more. Folding it over at the center he began to twine the treccia into its classic form.

Mariano creates the rope of mozzarella for the braid

Braiding the treccia

Usually fresh mozzarella spends a few hours in a bath of cold salt water. We took our order (2 kilos (about 4.5 pounds)) with us, each ball or braid bouncing around in salted water inside tied-off plastic sacks.

The perfect braid of mozzarella di bufala

Before we left we each got a taste of warm unsalted mozzarella – an intense milky flavor with essence of the air around the Caseificio Torre Mordillo.

From the mud-splattered, scruffy water buffalo (yes, I admit they have soulful brown eyes) comes the most sublime cheese, which due to its short “sell by” date, is only enjoyed by few people outside of Italy. Mozzarella di Bufala or Buffalo Mozzarella is the most prized of all of the mozzarella cheeses. “I always say mozzarella has 99 flavors,” said Antonio Palmieri, a buffalo mozzarella producer from Campania. “You can taste those flavors from the milk itself, without having to add anything, neither salt nor oil.”

Lunch of hay, a roll in the mud, and the result - sublime mozzarella

History

Food historians still argue over the genesis of mozzarella di bufala in Italy. One theory is that Asian water buffalo were brought to Italy by Goths during the migrations of the early medieval period. Some say that Arabs brought water buffalo into Sicily and later, the Normans brought them to the mainland.

Water buffalo were a familiar sight in the swampy coastal countryside of medieval Italy. They were widely used as draught animals in plowing compact and watery terrains, both because of its strength and the size of its hooves, which do not sink too deeply into moist soils.

Cheese products made from water buffalo milk appeared for the first time at the beginning of the 12th century. Buffalo mozzarella became widespread throughout the south of Italy in the late 18th century, going into small-scale commercial production

Bocconcini of mozzarella di bufala go into a saline bath

Production in and around Naples was briefly interrupted during World War II, when retreating Nazis slaughtered the area’s water buffalo herds. The farms were restocked a few years after the armistice was signed and the mozzarella has been growing ever since. Twenty percent of today’s Italian mozzarella di bufala output is shipped to France and an equal amount makes it overnight to the United States.

In early 2010, a scandal erupted over allegations that as much as a quarter of cheese sold as mozzarella di bufala contained cow’s milk rather than water buffalo milk.

It is widely known that the best and most highly prized artisanal produced buffalo mozzarella is still found south of Naples near Battipaglia and Caserta where small factories continue centuries-old traditions making buffalo mozzarella fresh daily for their local customers, who travel for miles to buy it only a few hours after the morning milking.

Obika, the mozzarella bar/restaurant with locations in London, New York and throughout Italy goes to the Campania region for all of the fresh mozzarella di bufala served in each of its unique bars.

How Mozzarella di Bufala is Made

Paula Lambert of the Mozzarella Company of Dallas Texas describes the process of making mozzarella best:

There are two basic ways to make mozzarella: direct acidification of the milk to form the curds or the culture/rennet method. In both methods, raw milk is pasteurized and then coagulated to form curds. Once the curds reach a pH of 5.2 they are cut into small pieces and mixed with hot water and then “strung” or “spun” until long ropes of cheese form.

This “stringing of the curd” is unique to cheeses in the “pasta filata” family, such as mozzarella, scamorza and provolone. When the proper smooth, elastic consistency is reached, the curds are formed by machine or hand into balls which are then tossed into cold water so that they maintain their shapes while they cool. They are then salted and packaged.

It is a short making process, usually less than 8 hours from raw milk to finished cheese. The critical moment is determining exactly when the cheese is mature and ready to be strung…waiting too long can result in a mushy cheese, while stringing too early can result in a tough dry cheese.

Once strung, the curds can be formed into balls of varying sizes: Ovolini (egg size) 4 ounce balls; Bocconcini (bite size) 1.50 ounce balls; Ciliegine (little cherry size) .33 ounce balls. My favorites are the braids (treccia) of mozzarella or, even better, burrata, which is like a mozzarella truffle – a ’skin’ of mozzarella surrounding cheesy “rags” and cream.

A perfect treccia (braid) of mozzarella di bufala

Mozzarella di bufala can be smoked, either in a smoking chamber or by “painting” with a liquid smoke, but a little affumicata can go a long way so use sparingly with a spicy side dish or in bits on a pizza with eggplant. Herbs and sun dried tomato bits can be added. There are many possibilities, but just fresh and plain is always best.

The Queen of Mozzarellas

Mozzarella di Bufala is the ultimate mozzarella tasting experience – everyone remembers their first time. Buffalo mozzarella should taste fresh and reminiscent of cream. Tasted the same day it is made, it will leave a lingering pleasant musky aftertaste – perhaps of hay. It should be mild and delicate, but creamier than cow’s milk mozzarella. There should be a hint of sourness and salt. (If it tastes too tart or sour the cheese is past its prime.) The color should be white; however, seasonally the cheese can be more yellow due to the cows’ diet of grasses. The fresher the cheese, the more elastic and springy the curd, but it shouldn’t be rubbery.

A face only a mother could love?

Once you have tried fresh mozzarella di bufala it is almost impossible to go back to regular mozzarella, or any other cheese.

View a video of Antonio Palmieri’s organic water buffalo farm where happy buffalo make delicious mozzarella.

As holidays go, Italy shines the brightest in the Spring when Easter approaches. Florence goes all out with flowers, but it is the chocolate eggs that are most impressive. Throughout the city shop windows bloom with vibrantly-wrapped chocolate treats from creamy white to mild ganache to darker fondente to extra noir.

The Palazzo Vecchio reflected in Rivoire's Easter window

Long before the Easter Bunny started delivering sugary eggs, the ancient Romans believed that “omne vivum ex ovo” – all life comes from the egg – and it was commonly a symbol of new birth after the winter when everything has lain dormant.

It is all in the details

There is some evidence that in ancient Roman culture eggs were decorated with vegetable dyes, such as beets and carrots, and then given as gifts during the spring festivals.

Vestri bursts forth with chocolate eggs

Easter tradition in Renaissance Italy originally called for eggs colored red. Some say that following the death of Christ, Mary Magdalen traveled to Italy to spread the word of the resurrection. In an audience with a skeptical Emperor Tiberius Caesar, an egg she had brought as a gift miraculously turned red, symbolizing the blood of Christ.

Easter egg for nut lovers

As chocolate became increasingly popular in the early 20th century, the sharing of colored hard-boiled eggs started to fade in Italy and chocolate eggs took their place.

Pretty in pink

Chocolate eggs became increasingly elaborate. They range from the tiny solid milk chocolate to the massive, showy hollowed out eggs containing small toys and even elaborate gifts, such as iPods and diamond rings. Wrapped in foil, cellophane, and sometimes silk with massive bows and even decorated with dangling toys, these creations are a feast for the eyes before they are just a feast.

Easter Eggs for toddlers, too.

The very popular Kinder Eggs are by Ferrero, a family company based in the Piedmont region. ‘Kinder Surprise’ eggs are a treat for children all year long, but at Easter the company’s production ranges from tiny ‘mini-eggs’ to the giant special eggs produced as a limited edition.

Huge chocolate egg honoring Italy's 150th Anniversary of Unification

After the solemnity of Lent, the extravaganza of chocolate Easter eggs can only lead to a return to the Mediterranean diet before it’s time to set up the ombrellone on the beach in June.

June 14, 2011 — Tuscan Traveler has compared the two museum passes available in Florence. Check this link.

The new mayor announced last year a “big deal” he had hammered out with Rome’s state museum authority – Florence, like every other major city in the world, was going to offer a museum pass. After the big press conference, nothing happened. Then, in the middle of January, Mayor Renzi said, “It’s on its way.” Nothing happened.

Yesterday, March 25, the 72 hour Firenze Card arrived at selected points (mostly museum ticket offices and official Tourist Information offices) and you, too, can benefit – mostly by skipping the queue/line – for the hefty price of 50 euro. Now will begin the debate over which is the best museum card in Florence – the Amici degli Uffizi Card or the Firenze Card. (Watch Tuscan Traveler for Museum Passes in Florence: Part Three – What’s the Best Deal?)

The following comes directly off the very fine web site developed to support the card  where you can also buy the Firenze Card online (the emphasis is mine):

Firenze Card grants access to the major museums, villas and historical gardens in Florence.

Firenze Card is a 72 hours (sic) card that gives you admission to 33 of the most important museums in Florence. You will have access not only to permanent collections, but also to exhibitions and all other activities held in that museum without further costs. You have just to show your card at the entrance to the museum’s personnel, who will record your entry and let you in. The card can be used just once in each museum, and it will provide free access also to a EU citizen under-eighteens (sic) accompanying you To use your card for public transport, just swipe it against the validation machines located on every bus or tram.

Firenze Card is activated on the first visit to a museum or first use of public transport. Since then you have 72 hours to visit the city and its historical and artistic heritage. The card’s validity is therefore independent from the purchasing time. Remember to write your name and surname on the back of your card before using it. Some museums can offer free access on special occasions. Please, consult the “News” page (online) to check updated timetables and find out access benefits and all the other information about museums.

Firenze Card is valid for 3 consecutive days from its first use. The card will expire at the end of the validity period and also your free access to museums and public transport with it. The card is strictly personal and not transferable, and it has to be showed with a proof of identity on request by the museum’s personnel.

In addition to free admission, Firenze Card allows you to avoid long queues at the ticket offices of main museums. Just look for the signs “Firenze Card” in your chosen museums and show your card to the personnel, who will record your entry and let you in.

It is promoted by the Municipality of Florence, the Ministry for the Arts and Cultural Activities, the Regional Direction of Cultural Heritage, the Special Superintendence for Historical, Artistic and Ethnic-anthropological Heritage and for the Museum Circuit of the city of Florence, the Province of Florence and the Chamber of Commerce of Florence, in collaboration with ATAF.

With the Firenze Card you get a lanyard with a handy pocket for the card and the accompanying booklet that describes all of the museums that qualify for “free” entry.

The following are the museums, gardens, villas and churches included in the Firenze Card Program:

Museo di Palazzo Vecchio - piazza della Signoria Firenze

Museo Stefano Bardini - via dei Renai 37 Firenze

Palazzo Medici Riccardi - via Cavour 3 Firenze

Museo di Santa Maria Novella - piazza Santa Maria Novella Firenze

Cappella Brancacci - piazza del Carmine 14 Firenze

Fondazione Salvatore Romano - piazza Santo Spirito 29 Firenze

Cappelle Medicee - piazza Madonna degli Aldobrandini 6 Firenze

Galleria degli Uffizi - Piazzale degli Uffizi 6 Firenze

Galleria dell’Accademia - Via Ricasoli 58/60 Firenze

Galleria Palatina e Appartamenti Monumentali - Piazza Pitti 1 Firenze

Galleria d’arte moderna - Piazza Pitti 1 Firenze

Museo Giardino di Boboli - Piazza Pitti 1 Firenze

Museo degli Argenti - Piazza Pitti 1 Firenze

Museo delle Porcellane - Piazza Pitti 1 Firenze

Galleria del Costume - Piazza Pitti 1 Firenze

Museo Archeologico Nazionale - Piazza Santissima Annunziata 9b Firenze

Museo dell’Opificio delle Pietre Dure - Via degli Alfani 78 Firenze

Museo di Palazzo Davanzati - Via Porta Rossa 13 Firenze

Museo di San Marco - Piazza San Marco 3 Firenze

Museo Nazionale del Bargello - Via del Proconsolo 4 Firenze

Cenacolo Andrea del Sarto - Via di San Salvi 16 Firenze

Cenacolo del Ghirlandaio - Borgo Ognissanti 42 Firenze

Cenacolo del Fuligno - via Faenza 42 Firenze

Cenacolo di Sant’Apollonia - Via XXVII Aprile 1 Firenze

Chiostro dello Scalzo - Via Cavour 69 Firenze

Complesso Monumentale Orsanmichele - via Arte della Lana 1 Firenze

Villa Medicea di Cerreto Guidi e Museo storico della caccia e del territorio - Via dei Ponti Medicei 7 Cerreto Guidi

Villa Medicea della Petraia - Via della Petraia 40 Firenze

Giardino della Villa Medicea di Castello - Via di Castello 47 Firenze

Museo di Casa Martelli - Via Zannetti 8 Firenze

Collezione Contini Bonacossi - Via Lambertesca 6 Firenze

Villa Medicea di Poggio a Caiano - Piazza de Medici 14 Poggio a Caiano

Villa Corsini a Castello - Via della Petraia 38 Firenze

Firenze Card Web Site

Pellegrino Artusi, author of the famous Italian cookbook La Scienza in Cucina e l’Arte di Mangiare Bene (The Science of Cooking and the Art of Eating Well), is the father of Italian cuisine. This year – the 100th anniversary of his death – will be remembered with special events and celebrations, especially in Forlimpopoli, Artusi’s birth place, and Florence, the city where Artusi spent his life.

Pellegrino Artusi was 71 when he wrote and published his iconic book

Artusi made his fortune as a silk merchant, but after retiring he devoted himself to fine dining. In 1891, at the age of 71, he completed the 600+ page tome in which he included amusing anecdotes and menus, as well as recipes. He couldn’t find a publisher and so self-published the large volume. It took him four years to sell a thousand copies. The self-published second edition sold faster, so he increased the print-run of the third. Then, all the hard work paid off – the book was discovered by the middle class.

Self-published First Edition 1891

One of the reasons for its popularity is that Artusi wrote his book entirely in Italian – this at a time when most professional chefs were French-trained, and their books were so sprinkled with French terminology that they were hard for the uninitiated to follow. Also, Artusi was a bon-vivant, a noted raconteur, and a celebrated host; he knew many of the leading figures of his day and read widely in the arts and sciences. Almost half his recipes contain anecdotes or snippets of advice on subjects as varied as regional dialects and public health: while you may open the book to find out how to make Minestrone or a German cake, you will probably read on to find out how Artusi escaped cholera, or what the Austrian troops who occupied Northern Italy in the 1840’s were like.

He also created an appendix of menus: “As it frequently occurs that one finds himself unsure of what dishes to select when one has to offer a dinner” Artusi wrote, “I thought it well to provide this appendix, which gives the menus for an elegant dinner for each month of the year, as well as several menus tailored for specific holidays. I’ve omitted desserts because the seasons, with their various fruits, will council you better than I could. Even if you can’t follow these menus to the letter, they’ll at least give you some ideas that will make your selections easier.”

Artusi's photo superimposed on the XIII edition (1909)

Artusi’s book stands with Manzoni’s great novel, I Promessi Sposi (The Betrothed), and the music of Verdi as works that not only are great unto themselves but represented a sense of identity and self-worth to a nascent country with no nationalistic feeling … Artusi chose to give Italians their definition by telling them how they ate … Anyone who seeks to know Italian food avoids Artusi at his or her peril. He is the fountainhead of modern Italian cookery,” wrote Fred Plotkin in Gastronomica.

Before Artusi died in Florence in 1911, more than 200,000 copies had been already sold. Today, the book is a perennial best seller in Italy and the recipes are still used. It has been translated in Spanish, Dutch, German and English. In 2003, the University of Toronto Press, published a new English translation that is still  in print.

The most recent English translation

L’Artusi, as the book is called in Italy, went on to become one of the most read books of the time, a household icon, and a source of inspiration for generations of cooks. There is even an Italian language iPhone app that contains all of Artusi’s 790 recipes.

Although he became famous for his first book, Artusi wrote another – a practical manual for the kitchen – in 1904, with over 3,000 recipes, simply entitled Ecco il Tuo Libro di Cucina (Here is Your Cookbook). Last month, Artusi became a fictional amateur detective in a popular murder mystery written by Pisan Marco Malvaldi – Odore di Chiuso (Smells Stuffy).

Sergio Staino for Casa Artusi - Impossible to eat 'lite' with Artusi

The 100th anniversary events and initiatives to celebrate Artusi include conferences in Florence and Folimpopoli about Artusi and his work, Artusi-themed dinners held in different Italian cities on the 17th of March, Italy’s new national holiday to celebrate Italy’s unification, theatrical performances, various demonstrations and videos, and a national competition.

In Florence, on 31 March, an exhibition, entitled Pellegrino Artusi: il tempo e le opere, will open at the National Central Library. The exhibition will show original work and documents in the life of Artusi and his relationship with the world of publishing. The ‘Artusian’ celebrations will continue in June with a week of culinary stands in Piazza d’Azeglio; in November there will be an Artusi Week, involving catering schools in Florence, as well as restaurant and hotel owners.

The Uffizi’s new exhibition, Figures, Memory, Space. Drawings from Fra Angelico to Leonardo, displays over 100 works by Fra Angelico, Botticelli, Leonardo da Vinci, Mantegna, Michelangelo and Titian. It shows how drawings were used to prepare for major paintings and frescoes and, later in the 15th century, how they became works of art in their own right, particularly with the arrival of print-making from northern Europe.

Labyrinth design heightens the experience

The Florence show, divided between two Uffizi locations, combines works from the British Museum’s collection and from that of the Uffizi. Last year it opened to rave reviews in London.

Fifty prints are on view in a free exhibit in the Reali Poste exhibition space off of the Uffizi courtyard. A simple labiranth was created so that each of the sketches can be viewed in its own space and also offers a sense of privacy to the viewer.

Sketches from the 15th century - practice makes perfect

Alexandra M. Korey best describes the emotional experience of seeing the original sketches of Leonardo da Vinci for the first time and enumerates three reasons you must visit the Reali Poste exhibit. Read her post on arttrav.com.

Not Leonardo, but his teacher Verrocchio, sketched in 1475

In addition to the detailed and exquisite pictures of figures, limbs and drapery, there are fast, rough sketches by the likes of da Vinci who used pen and ink drawings as a way of brainstorming and arriving at ideas for major works, some of which you will remember from past visits to the Uffizi. “One can sense the excitement as their quills raced over the paper to keep pace with the flow of ideas,” said British Museum director Neil MacGregor about the London exhibition.

Leonardo da Vinci's sketches of a baby and a cat

Brian Sewell, British art critic and media personality, who analyzed the drawings and sketches that made up the British Museum exhibit in the ThisIsLondon blog of the London Evening Standard, wrote, “It is drawing that gives first substance to the idea in the mind’s eye.” A Leonardo da Vinci series of quick rough sketches caught his fancy – two of these, Baby with Cat and Woman, Baby and Cat, can be seen at the Reali Poste exhibit:

Consider Leonardo’s studies of The Virgin and Child with a Cat. A cat? Where did that come from? A cat had no emblematic place in the traditional iconography of such a votive subject — a lamb perhaps, a bullfinch too, even two cherries on a bifurcated stalk to symbolise Christ’s testicles and his wholeness as a mortal man — but not a cat. Leonardo must have seen a cat squirming in the arms of a child, in turn in the arms of a kneeling girl, and recognised in the complication of the momentary torsions of three very different bodies a subject as difficult to pin down as the swirling waters of a whitewater river. The pen cannot move as rapidly as the model, nor record as swiftly as the eye and memory, and everywhere there are overdrawings and corrections. We cannot determine which of the five studies was first to develop on the sheet — they were probably all preceded by eight studies on another double-sided sheet — for it is only with the introduction of the Virgin that we sense the composition of a painting forming in Leonardo’s mind, a composition that in still other sheets developed into an arch-topped panel that in closely confining the energy of the group enhances it. The painting, alas, was never executed, and the drawings now act as records of what might have been. In the beginning was the line and in this case that must be enough.

Michelangelo 1495 ink drawing - The Philosopher

Most of the works on display were never intended for public exhibition although today they would be considered masterpieces. A drawing by Raphael for a work commissioned by Pope Julius II in the early 16th century, sold in December 2009 for $47.9 million at Christie’s, a world record for any work on paper.

The excellent signage of Figures, Memory, Space. Drawings from Fra Angelico to Leonardo, both Italian and English, describes how the invention of paper, a cheaper alternative to vellum, was key to drawing’s development and distribution. The ever-expanding trade with the Far East is said to have changed the tools and colors of inks, the black, gray, red and white lead, silverpoint, metalpoint, the stylus, chalks, charcoal, and watercolors.

The Reali Poste opens into the courtyard of the Uffizi

Once you have enjoyed the free view of 50 incredible designs dating from the 14th to 16th centuries, you can pay 15 euro for a reserved ticket to the Uffizi. Half-way up the arduous stairs to the main gallery, you can pause for breath and view more than 50 more in the Gabinetto Disegni e Stampe on the Uffizi’s first floor, including prints that the Londoners did not get too see because they are deemed too precious to leave the gallery.

Ora d’Aria has been part for the Florentine restaurant scene for a few years, but was inconveniently located and mostly a secret of locals. Now relocated to the historic center in a modern but cozy space, the word is getting out and rave reviews are coming back.

The name, Ora d’Aria, refers to the “hour of air” or time spent by inmates exercising outdoors while serving a term in prison. But, perhaps, it also refers to the breath of fresh air this restaurant brings to the oft-stuffy Florentine insistence on how to cook and present traditional Tuscan recipes.

Ora d'Aria selection of breads

Chef-owner Marco Stabile was born in Tuscany and is in his mid-30s. Ora d’Aria is a labor of love that follows a rocketing career through a number of well-known Tuscan restaurants, including Arnolfo (two Michelin-starred establishment in Colle Val d’Elsa), where he backed chef/owner Gaetano Trovato,one of Italy’s best chefs.

Stabile is a visiting teacher at some of Italy’s renowned culinary accademies, like those in Jesi, Montecatini Terme and Arezzo (Accademia del Gusto), as well as working in collaboration with the prestigious Les Jeunes Restaurateurs d’Europe.

View from the dining room

The reason for the name Ora d’Aria was because it was initially located outside the former Renaissance women’s prison, Le Murate. But in 2010, Stabile obtained an exciting new space behind the west corridor of the Uffizi in Via dei Georgofili. This centrally-located premises, with its glass wall to the open kitchen and simple décor keeps your attention on the food through all the steps of the process: selection of dishes from the ever-changing menu; preparation and cooking; service by the chef with an explanation of the ingredients; on to the last morsel of a superb dessert.

Poached egg in broccoli sauce with pancetta (tapas size)

The dishes are executed with real skill and imagination. Stabile’s menus acknowledge his Tuscan roots, but he plays around in an intelligent, carefully calculated way with the best fresh seasonal ingredients and interesting taste combinations and textures. Dishes are as exciting to the eye as they are on the palate. The color choices and presentation are perfect, using plates and bowls of interesting shapes, but always white so as not to distract from the main event.

Tapas of salt cod braised in browned butter with a pink chickpea sauce

Imaginative starters, such as a poached egg, centered in a broccoli sauce with slivers of pancetta (could that be a play on green eggs and ham?) lead into tasty pasta combinations. Meat and game play a major role, (pigeon cooked in three ways is a classic Stabile dish), but there are fish and seafood choices, too; for instance baccalà (salt cod) braised in browned butter with creamed pink chickpeas. And for Americans who moan about saltless Tuscan bread: rejoice — the bread basket is full of crispy rosemary cracker bread, salty olive oil schiacciata, walnut rolls, and more — all made in-house.

Save room for dessert. Of course there is the chocolate tort with a warm melting heart graced with cold gelato. But if you can pass that up, you can pick tiramisu espresso or caramelized pineapple with a cream of Vin Santo, before moving on to the cheese selection with brioche marmalade and honey.

Three-bite hamburger with apple garnish and finger of mashed potato

You can order à la carte, but the set menus (one Tuscan, the other fish) are good value. The lunchtime menu, which offers a choice of dishes in either tapas version or a full portion, is a particular bargain. The tapas version of a hamburger with an apple slice standing in for lettuce and tomato gets raves for presentation and is only three bites big, but they are the best three bites in town.

The wine list features some 600 labels, but it’s the list of artisan beers that is especially unique in Florence. Only one quibble: there should be more wines offered by the glass, the present selection of three is uninspired.

Chocolate torte with liquid chocolate heart and gelato

Finally, service: in a tourist city where the restaurants are frequently staffed by inexperience to inattentive to downright rude waiters, it is a joy to spend an hour or two in the fresh air of Ora d’Aria’s friendly, responsive service, both in the dining room and from the kitchen.

Where:  Via dei Georgofili, 11r
When:  Lunch and Dinner Tuesday through Saturday, Monday dinner only. Closed Sunday and Monday lunch.
Phone:  055 200 1699 Reservations recommended.
Web: www.oradariaristorante.com
How Much:  Lunch — 25 to 35 euro per person. Dinner — 40 to 60 euro per person.

June 14, 2011 — Tuscan Traveler has compared the two museum passes available in Florence. Check this link.

As the prices of reserved tickets to the Uffizi or the Accademia hit 14 euro ($19) or above (depending on if an extra exhibit is included, such as last year’s Caravaggio or Mapplethorpe shows), there is much talk in Florence about a multi-day museum pass. And, in fact, the mayor has announced that soon a three-day 50 euro pass ($67) will be available.

But Florence already has a great museum pass – the Amici degli Uffizi membership card.

Membership cards of the Amici degli Uffizi - Friends of the Uffizi

Established in Florence in 1993 by a group of concerned citizens, following a terrorist bombing that damaged the Uffizi Gallery and some of its precious artworks, Amici degli Uffizi (Friends of the Uffizi) embarked on the task of restoring and maintaining the artistic heritage of the Uffizi Gallery.

Since 1993, the Amici degli Uffizi has supported the Uffizi Gallery in Florence by facilitating acquisitions, supporting restorations and organizing special temporary exhibitions. The Friends of the Uffizi Gallery (the American sister organization), in conjunction with the Amici degli Uffizi, raises funds to support all of these activities through an international group of members and patrons.

Over twenty important restoration projects, designated priorities by the Uffizi Gallery, have been completed over the last several years and include important paintings, altarpieces, sculptures and tapestries. The organization also underwrites special free exhibits for the public such as the recent one of Self-Portraits of Women Artists.

Original symbol of the Amici degli Uffizi

But best of all, for residents and visitors of Florence, Amici degli Uffizi offers its members a year-long museum card for 60 euro ($80) for individuals, 100 euro ($134) for families (2 to 4 members included in the one price), and 40 euro ($54) for students. Memberships can be purchased online or at the the Amici degli Uffizi Welcome Desk located between Entry Door Nos. 1 and 2 at the Uffizi Gallery.

The best part of having the Amici degli Uffizi card, besides free entry to more than twenty museums, (at the end of this post is a list of all of the museums included in this card) is the ability to skip the line.  At the Uffizi and the Accademia visitors wait for hours unless they have the foresight and the extra 4 euro to make a reservation. With the Amici degli Uffizi card you go to the ticket office, show your card and a photo i.d., and you are given a ticket for immediate entry into the museum.

Not to belabor the point, but the Uffizi is a huge museum, mind-numbing in its number of paintings. With the Amici degli Uffizi card you can go in to sit for an hour or so in the Botticelli Room and come back the next day (or after a nice lunch) to enter again with a new free ticket to peruse the Titians and pop by the monolithic Byzantine enthroned madonnas.

In 2010, the Amici degli Uffizi and the Polo Museale Fiorentino, launched a permanent welcome service for the association’s members. “We wanted to create a welcome point for local citizens and visitors equal to those that have been available in the world’s other great museums for some time,” said Maria Vittoria Rimbotti, President of the Association. “This is the first time that an Italian state museum is offering such a service.”

The Welcome Desk is located between entrances #1 and #2 of the Uffizi museum. Its hours are Tuesday through Saturday from 10:00 a.m. to 5:00 p.m. (Tel. +39 055 213560 and +39 055 284034)

Today's Friends of the Uffizi

Although the Welcome Desk will be a reference point mainly for Florentines, it is an easy place to purchase your Amici degli Uffizi museum card. Greeted by polite and helpful (attributes frequently hard to find elsewhere in Florence) staff members (who also speak English) you will be able to register and become a member or renew your membership within minutes. (Remember to bring your passport.)

At the Welcome Desk, members will also be able to access useful information about the museum and the city, information about cultural programs sponsored by the province of Florence and the Tuscan regional government, and via the online connection with the APT (Agenzia Per il Turismo), visitors can obtain real-time information about current cultural programs.

The Amici degli Uffizi membership card provides free entrance to the following museums:

Galleria degli Uffizi,
Galleria dell’Accademia,
Palazzo Pitti:  Galleria Palatina,
Galleria dell’Arte Moderna,
Galleria del Costume,
Museo degli Argenti,
Museo delle Porcellane,
Giardino di Boboli,
Museo Nazionale del Bargello, Museo delle Cappelle Medicee, Museo di Palazzo Davanzati,
Museo di San Marco,
Giardino della Villa Medicea di Castello,
Villa Medicea della Petraia,
Villa Medicea di Poggio a Caiano,
Villa Medicea di Cerreto Guidi e Museo storico della Caccia e del Territorio,
Cenacolo di Ognissanti,
Cenacolo di Andrea del Sarto,
Cenacolo di Fuligno,
Cenacolo di Sant’Apollonia, and
Chiostro dello Scalzo.

The Amici degli Uffizi membership card also provides:

- Reduced price tickets for concerts of the Teatro Comunale (Maggio Musicale Fiorentino)
- Reduced price (15%) tickets for concerts of the Orchestra della Toscana at Teatro Verdi
- 20% discount on price ticket for premières and Saturday performances at Teatro della Pergola

Not only is 2011 the 150th Anniversary of the Unification of Italy – it is also the 150th birthday of the Garibaldi Biscuit.

Giuseppe Garibaldi probably never ate a Garibaldi Biscuit (although there is one dubious story about dry bread smeared with a mixture of berries and horse blood consumed by his starving troops as they conquered the Kingdom of Two Sicilies to unify Italy).

It was after Garibaldi won worldwide fame as a military strategist that an understated British biscuit (redundant, I know) was given his name. This dry, barely sweet Victorian relic was wildly popular in 1861 when biscuit king John Carr invented it and it still has a faithful following today.

Garibaldi Biscuits aka Squashed Fly Biscuits

Despite the name, Italians are not among the aficionados who break off strip after strip of the parching crackers layered with the thinnest smear of crushed currants. Like Marmite, Garibaldi Biscuits are solely a English delicacy today. Maybe that has to do with the sobriquets – fly sandwiches, fly cemeteries, dead fly biscuits or squashed fly biscuits – the tasty treat has earned because of the appearance of the semi-dried currants.

Garibaldi made a celebrated visit to Tynemouth, England in 1854, but it wasn’t until his great victories in 1860, that he was deserving of an honorary cookie.

Garibaldi Biscuits by Artist Ralph Steadman

John Carr was one of the great biscuit-making Carr’s of Scotland (of water-biscuit fame), but he abandoned the family business to work for the Peek Frean in Bermondsey. John Carr’s first biscuit, the Pearl – a crumbly plain thing, probably similar to a tea biscuit, launched in 1860 – did not survive. (Neither did Peek Frean – the brand is owned by United Biscuit in the U.K. and Kraft Foods in the U.S.)

History does not relate how Carr came up with his magic formula: the dry, not too sweet dough, the shiny glazed top, the squashed currants and the clever device of leaving strips of five biscuits joined together, like perforated cardboard. A single Garibaldi section has only about 35 to 40 calories, but for fans it is hard to eat just one.

Did anyone send aging Garibaldi a tin of biscuits?

In the U.S., the Sunshine Biscuit Company made a popular version of the Garibaldi Bisquit, bigger, if not better, with raisins, which it called “Golden Fruit”. Sunshine was bought out by the Keebler Company, which tried chocolate filling, of course, but, like Golden Fruit, that didn’t last. Today, Garibaldi Biscuits are marketed only in the U.K. as Crawfords Garibaldi Biscuits distributed by United Biscuits. Some British supermarket chains, such as Waitrose, also have their own branded Garibaldi Biscuit.

If you are in Florence, you may find Crawfords Garibaldi Biscuits at the Old England Store, Via de’ Vecchietti, 28r, for two euro per packet.