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content="New York Film Festival, Dead Parrot's Reviews, Richard Rubens, Richard L. Rubens, Dr. Richard Rubens, Richard Rubens, Ph.D., Richard L. Rubens, Ph.D., Fairbairn, psychoanalysis, Rick Rubens, Urban Age, New York City, tragedy, cities, Istanbul. Turkey, Mumbai, Bombay, architecture, Chicago, Paris, Florence, Firenze, London, Italy">
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<div class=WordSection1>
<p class=MsoTitle>DEAD PARROT�S GUIDE to FLORENCE (PLUS PADUA, VENICE, and
ROME) </p>
<p class=MsoNormal><span style='font-size:12.0pt;mso-bidi-font-size:10.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-bottom:6.0pt'><span style='font-size:12.0pt'>This
is my guide to <b style='mso-bidi-font-weight:normal'>Florence</b> (with some
added suggestions about eating and touring in <o:p></o:p></span></p>
<p class=MsoToc1><!--[if supportFields]><span style='font-size:12.0pt'><span
style='mso-element:field-begin'></span><span style='mso-spacerun:yes'>�</span>TOC
\f \n \h \z <span style='mso-element:field-separator'></span></span><![endif]--><span
class=MsoHyperlink><b style='mso-bidi-font-weight:normal'><span
style='mso-fareast-font-family:"Times New Roman";mso-fareast-theme-font:major-fareast;
mso-no-proof:yes'><a href="#_Toc372905548">FIRENZE</a></span></b></span><span
style='font-size:11.0pt;font-family:"Calibri","sans-serif";mso-ascii-theme-font:
minor-latin;mso-fareast-font-family:"Times New Roman";mso-fareast-theme-font:
minor-fareast;mso-hansi-theme-font:minor-latin;mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;mso-no-proof:yes'><o:p></o:p></span></p>
<p class=MsoToc1><span class=MsoHyperlink><b style='mso-bidi-font-weight:normal'><span
style='mso-fareast-font-family:"Times New Roman";mso-fareast-theme-font:major-fareast;
mso-no-proof:yes'><a href="#_Toc372905549"><span style='mso-fareast-font-family:
"Times New Roman"'>PADOVA</span></a></span></b></span><span style='font-size:
11.0pt;font-family:"Calibri","sans-serif";mso-ascii-theme-font:minor-latin;
mso-fareast-font-family:"Times New Roman";mso-fareast-theme-font:minor-fareast;
mso-hansi-theme-font:minor-latin;mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;mso-no-proof:yes'><o:p></o:p></span></p>
<p class=MsoToc1><span class=MsoHyperlink><b style='mso-bidi-font-weight:normal'><span
style='mso-fareast-font-family:"Times New Roman";mso-fareast-theme-font:major-fareast;
mso-no-proof:yes'><a href="#_Toc372905550"><span style='mso-fareast-font-family:
"Times New Roman"'>VENEZIA</span></a></span></b></span><span style='font-size:
11.0pt;font-family:"Calibri","sans-serif";mso-ascii-theme-font:minor-latin;
mso-fareast-font-family:"Times New Roman";mso-fareast-theme-font:minor-fareast;
mso-hansi-theme-font:minor-latin;mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;mso-no-proof:yes'><o:p></o:p></span></p>
<p class=MsoToc1><span class=MsoHyperlink><b style='mso-bidi-font-weight:normal'><span
style='mso-fareast-font-family:"Times New Roman";mso-fareast-theme-font:major-fareast;
mso-no-proof:yes'><a href="#_Toc372905551"><span style='mso-bidi-font-weight:
bold'>ROMA</span></a></span></b> <o:p></o:p></span></p>
<p class=MsoNormal align=center style='margin-bottom:3.0pt;text-align:center'><span
class=GramE>and</span><o:p></o:p></p>
<p class=MsoToc1><span class=MsoHyperlink><b style='mso-bidi-font-weight:normal'><span
style='mso-fareast-font-family:"Times New Roman";mso-fareast-theme-font:major-fareast;
mso-no-proof:yes'><a href="#_Toc372905552"><span style='mso-fareast-font-family:
"Times New Roman"'>MILANO</span></a></span></b></span><span style='font-size:
11.0pt;font-family:"Calibri","sans-serif";mso-ascii-theme-font:minor-latin;
mso-fareast-font-family:"Times New Roman";mso-fareast-theme-font:minor-fareast;
mso-hansi-theme-font:minor-latin;mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;mso-no-proof:yes'><o:p></o:p></span></p>
<p class=MsoToc1 align=left style='text-align:left'><!--[if supportFields]><span
style='mso-element:field-end'></span><![endif]--><span style='mso-bidi-font-weight:
bold'>[click on the name of the city to go directly to that section in this
guide]</span>).<span style='mso-spacerun:yes'>� </span>I have just <b
style='mso-bidi-font-weight:normal'>updated</b> it <b style='mso-bidi-font-weight:
normal'>after our May 2013 trip to Florence and Venice</b>.<span
style='mso-spacerun:yes'>� </span>(It was originally written after our visit in
April 1997, and it has additions and emendations as the result of our trips in
April 1999, May 2003, and September 2006.<span style='mso-spacerun:yes'>�
</span>It also includes schedules of hours {indicated within this sort of wavy
brackets}, which, at least for Florence, were current as of the beginning of
June 2013, but which change with some frequency�so, while a useful starting
point, they are worth checking at the time of any visit.)</p>
<p class=MsoNormal><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='text-align:center'><b style='mso-bidi-font-weight:
normal'><u><span style='font-size:12.0pt'>FIRENZE</span></u></b><!--[if supportFields]><b
style='mso-bidi-font-weight:normal'><u><span style='font-size:12.0pt'><span
style='mso-element:field-begin'></span></span> TC "</u></b><span
style='mso-bookmark:_Toc372905548'><span style='mso-bookmark:_Toc372905265'><b
style='mso-bidi-font-weight:normal'><u><span style='font-size:12.0pt'>FIRENZE</span></u></b></span></span><b
style='mso-bidi-font-weight:normal'><u>" \f C \l "1" </u></b><![endif]--><b
style='mso-bidi-font-weight:normal'><u><span style='font-size:12.0pt'><![if !supportNestedAnchors]><a
name="_Toc372905265"></a><a name="_Toc372905548"></a><![endif]></span></u></b><!--[if supportFields]><b
style='mso-bidi-font-weight:normal'><u><span style='font-size:12.0pt'><span
style='mso-element:field-end'></span></span></u></b><![endif]--><b
style='mso-bidi-font-weight:normal'><u><span style='font-size:12.0pt'><o:p></o:p></span></u></b></p>
<p class=MsoNormal><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt'>The guide is focused on the places
and people who led up to and then began the Renaissance in Florence; and, in
particular, the three men who worked in Florence together at the beginning of
the <b style='mso-bidi-font-weight:normal'>quattrocento</b> (�[one thousand]
four hundred,� the Italian way of referring to the 15<sup>th</sup> century) and
created the architecture, painting, and sculpture of the period:<span
style='mso-spacerun:yes'>� </span><b style='mso-bidi-font-weight:normal'>Brunelleschi</b>,
<b style='mso-bidi-font-weight:normal'>Masaccio</b>, and <b style='mso-bidi-font-weight:
normal'>Donatello</b> (respectively).<span style='mso-spacerun:yes'>�
</span>These three men were friends (and, at least, <b style='mso-bidi-font-weight:
normal'>Donatello</b> and <b style='mso-bidi-font-weight:normal'>Brunelleschi</b>
were close friends), were well-acquainted with each other�s work, and, probably
together at times, traveled to Rome to study the art of classical
antiquity.<span style='mso-spacerun:yes'>� </span>It provides a tour that is
roughly chronological, and, of course, can and should be rearranged to suit
where you are staying, the amount of time you have, the weather, your own
preferences, and the whims of your actual visit.<span
style='mso-spacerun:yes'>� </span>Things in <b>bold type</b> represent those
extremely special places and objects that are ones I myself would visit <i>multiple</i>
times on any trip to Firenze.<span style='mso-spacerun:yes'>� </span>Things in [square
brackets] are places and activities I am not particularly interested in, and
would readily omit unless I had unlimited time�or interests different from the
ones I actually have.<span style='mso-spacerun:yes'>� </span>Items underlined
and in <b><u><span style='color:#3366FF'>blue</span></u></b><span
style='color:#3366FF'> </span>are links to places that have web sites of their
own (and can be clicked on to get there, if you are looking at this guide
online). The �<b>*XX*</b>� symbol indicates an unpleasant level of tourist
concentration.<span style='mso-spacerun:yes'>� </span>On this subject, there
are a few museums and sites in Florence that present difficulties in terms of
long lines to get in (most particularly the Uffizi Galleries), and I recommend
you consider purchasing either a <b style='mso-bidi-font-weight:normal'><a
href="http://www.firenzecard.it/index.php?lang=en">FirenzeCard</a></b> or a
membership in the <b style='mso-bidi-font-weight:normal'><a
href="http://www.amicidegliuffizi.it/diventa_socio.php?pg=8&ln=en">Association
Amici degli Uffizi</a></b> as a solution to this problem.<span
style='mso-spacerun:yes'>� </span>(Since this is primarily an issue at the
Uffizi, I present a discussion of the problem and the options in the section
about the Uffizi toward the end of the Florence part of this guide.)<span
style='mso-spacerun:yes'>� </span>I suggest you use as basic guidebooks for
general information, maps, other sites, etc., R. Wurman�s <i>ACCESS:<span
style='mso-spacerun:yes'>� </span>Florence and Venice </i>and<i> ACCESS:<span
style='mso-spacerun:yes'>� </span>Rome</i> (Harper Perennial), which <span
class=GramE>are</span> by far the best and most accurate (particularly
artistically).<span style='mso-spacerun:yes'>� </span>I have drawn art
historically on several scholarly works (at times, too heavily drawn on them,
were <i>this</i> intended as in any way a scholarly work):<span
style='mso-spacerun:yes'>� </span>H.W. Janson, <i>The Sculpture of Donatello</i>
(Princeton Univ., Princeton, NJ: 1963); Bates Lowry, <i>Renaissance
Architecture</i> (Braziller, New York: 1965); Peter Murray, <i>The Architecture
of the Italian Renaissance</i> (Batesford, London: 1963); and, Charles Seymour,
Jr.,<i> Sculpture in Italy: 1400-1500</i> (Penguin, New York: 1966); and, on
the guidebooks just cited.<span style='mso-spacerun:yes'>� </span>Have you the
time, I recommend them all to you.<o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal><u><span style='font-size:12.0pt'><a
href="http://museicivicifiorentini.comune.fi.it/en/smn/">Santa Maria Novella</a></span></u><span
style='font-size:12.0pt'> </span><span style='font-size:12.0pt;mso-bidi-font-size:
10.0pt'>One enters through <span class=SpellE>through</span> the garden at the
right of the fa�ade of the church (the </span><b style='mso-bidi-font-weight:
normal'><span style='font-size:12.0pt'><a
href="http://www.firenzecard.it/index.php?lang=en"><span class=SpellE>FirenzeCard</span></a></span></b><span
style='font-size:12.0pt;mso-bidi-font-size:10.0pt'> entrance is around at the
back [railway station] side of the church) </span><span style='font-size:12.0pt'>{Monday
- Thursday 0900-1730, Friday 1100-1730, Saturday 0900-1700, Sunday 1300-1700; <b
style='mso-bidi-font-weight:normal'>Chiostro di Santa Maria Novella (Green
cloisters)</b>: Monday, Friday, Saturday, Sunday 1000-1600}- A Dominican church
(</span><span style='font-size:12.0pt;mso-bidi-font-size:10.0pt'>therefore very
large, to meet preaching needs</span><span style='font-size:12.0pt'>), begun in
1246<o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt'><o:p> </o:p></span></p>
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alt="http://www.paradoxplace.com/Perspectives/Italian%20Images/images/Firenze/Santa%20Maria%20Novella/800/SMN-Space-BR800.jpg"
style='width:260.4pt;height:189pt;visibility:visible;mso-wrap-style:square'>
<v:imagedata src="italy_files/image001.jpg" o:title="SMN-Space-BR800"
cropleft="1790f"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=434 height=315
src="italy_files/image002.jpg"
alt="http://www.paradoxplace.com/Perspectives/Italian%20Images/images/Firenze/Santa%20Maria%20Novella/800/SMN-Space-BR800.jpg"
v:shapes="Picture_x0020_3"><![endif]></span><span style='font-size:12.0pt'><o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt'><span
style='mso-spacerun:yes'>�</span>(<span class=GramE>the</span> fa�ade is the
1470 work of <b style='mso-bidi-font-weight:normal'>Alberti</b>).<span
style='mso-spacerun:yes'>� </span><o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='text-align:center'><a
href="http://upload.wikimedia.org/wikipedia/commons/c/c3/Santa_Maria_Novella.jpg"><span
style='mso-no-proof:yes;text-decoration:none;text-underline:none'><!--[if gte vml 1]><v:shape
id="Picture_x0020_2" o:spid="_x0000_i1117" type="#_x0000_t75" alt="File:Santa Maria Novella.jpg"
href="http://upload.wikimedia.org/wikipedia/commons/c/c3/Santa_Maria_Novella.jpg"
style='width:220.2pt;height:176.4pt;visibility:visible;mso-wrap-style:square'
o:button="t">
<v:imagedata src="italy_files/image003.jpg" o:title="Santa Maria Novella"
croptop="3615f" cropbottom="2828f" cropleft="7132f" cropright="3159f"/>
</v:shape><![endif]--><![if !vml]><span style='mso-ignore:vglayout'><img
border=0 width=367 height=294 src="italy_files/image004.jpg"
alt="File:Santa Maria Novella.jpg" v:shapes="Picture_x0020_2"></span><![endif]></span></a><span
style='font-size:12.0pt'><o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt'>This is the first Italian
Gothic church of Florence, and actually the first fully developed example of
this style anywhere.<o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt'>The Italian Gothic style</span><span
style='font-size:12.0pt;mso-bidi-font-size:10.0pt'> has certain connections to
the northern Gothic of<span style='mso-spacerun:yes'>� </span>France (which
physically entered Italy as early as 1135 in the form of the Abbey of
Chiaravalle, near Milan):<span style='mso-spacerun:yes'>� </span>the grandeur
and huge scale, the mystical and otherworldly quality of the space, the vaulted
masonry ceilings, and the pointed arches and groin vaults, themselves, are all
typically Gothic.<span style='mso-spacerun:yes'>� </span>There are numerous
distinctive differences, however:<span style='mso-spacerun:yes'>� </span>there
is always more structural presence in the walls of the Italian Gothic (whereas
the French opened the walls and filled them with stained glass); the supports
are more massive (compared to the tall, slender columns of the French Gothic);
there was no use of flying buttresses (which are necessary to thin down the
support members and open the walls in northern Gothic)�these spiky external
forms would have offended the Florentines; while there is great height, there
is not the emphasis on the verticality of the French Gothic�a strong horizontal
feel is evident in both the proportions and architectural detail (showing the
clear influence of the horizontality of the Italian Romanesque<span
style='mso-spacerun:yes'>� </span>[<i>q.v.</i>, below in discussions of Il
Battistero and of <b style='mso-bidi-font-weight:normal'>San Miniato al Monte</b>]�as
well its use of decorative patterning in colored marble); the bays are
invariably deeper in proportion to their length (usually square) than in
northern Gothic, where they are invariably quite shallow; and, in general,
there is a greater relation to the equilibrium of classical antiquity than one
finds in the soaring feeling of French Gothic.<o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><u><span style='font-size:12.0pt'>Interior</span></u><span
style='font-size:12.0pt'>:<span style='mso-spacerun:yes'>� </span>Italian
Gothic - a great, formative example of this style: check out the feel of the
space.<span style='mso-spacerun:yes'>� </span>Also note the use of dark gray
stone (<i style='mso-bidi-font-style:normal'>pietra <span class=GramE>serena</span></i>)
against white plaster walls�<i>very</i> Florentine.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><b><i style='mso-bidi-font-style:
normal'><u><span style='font-size:12.0pt'>Holy Trinity</span></u></i></b><span
style='font-size:12.0pt'>: 1425 (this is </span><i><span style='font-size:12.0pt;
mso-bidi-font-size:10.0pt'>way</span></i><span style='font-size:12.0pt;
mso-bidi-font-size:10.0pt'> out of chronological sequence here:<span
style='mso-spacerun:yes'>� </span>this is one of the pivotal works of the
Italian Renaissance, although it is in a church that was the first
fully-developed Italian Gothic building.</span><span style='font-size:12.0pt'>)<span
style='mso-spacerun:yes'>� </span>It is a fresco of the <b style='mso-bidi-font-weight:
normal'><i style='mso-bidi-font-style:normal'>Holy Trinity</i></b> (God the
Father enclosing Jesus on the cross, with the Holy Ghost as a necklace-line
bird between their heads) by <b>Masaccio</b>, on left side of nave, in the
middle. Note the classical architectural space he created for the scene (so
markedly different from the space of the church it is in) and the general
classicism of the references, the accurate use of linear perspective, <span
class=GramE>the</span> statuesque and sculptural nature of the human forms, the
emotion.<span style='mso-spacerun:yes'>� </span><span class=GramE>A work of <i>major</i>
importance, here.</span><o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='margin-left:.5in;text-align:center'><a
href="http://en.m.wikipedia.org/wiki/File:Masaccio,_trinit%C3%A0.jpg"><span
style='font-family:"Helvetica","sans-serif";mso-bidi-font-family:"Times New Roman";
color:#002BB8;mso-no-proof:yes;text-decoration:none;text-underline:none'><!--[if gte vml 1]><v:shape
id="Picture_x0020_1" o:spid="_x0000_i1116" type="#_x0000_t75" alt="http://upload.wikimedia.org/wikipedia/commons/thumb/d/d2/Masaccio%2C_trinit%C3%A0.jpg/450px-Masaccio%2C_trinit%C3%A0.jpg"
href="http://en.m.wikipedia.org/wiki/File:Masaccio,_trinit%C3%A0.jpg" style='width:211.2pt;
height:461.4pt;visibility:visible;mso-wrap-style:square' o:button="t">
<v:imagedata src="italy_files/image005.jpg" o:title="450px-Masaccio%2C_trinit%C3%A0"/>
</v:shape><![endif]--><![if !vml]><span style='mso-ignore:vglayout'><img
border=0 width=352 height=769 src="italy_files/image006.jpg"
alt="http://upload.wikimedia.org/wikipedia/commons/thumb/d/d2/Masaccio%2C_trinit%C3%A0.jpg/450px-Masaccio%2C_trinit%C3%A0.jpg"
v:shapes="Picture_x0020_1"></span><![endif]></span></a><span style='font-size:
12.0pt'><o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span class=GramE><span
style='font-size:12.0pt'>[</span><u><span style='font-size:12.0pt;mso-bidi-font-size:
10.0pt'>Crucifix</span></u><span style='font-size:12.0pt;mso-bidi-font-size:
10.0pt'>: <i>Supposedly</i> by <b style='mso-bidi-font-weight:normal'>Giotto</b>;
in the La Sagrestia, off the left transept</span><span style='font-size:12.0pt'>.]</span></span><span
style='font-size:12.0pt'><o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'>[</span><u><span
style='font-size:12.0pt;mso-bidi-font-size:10.0pt'>Cappella Filippo Strozzi</span></u><span
style='font-size:12.0pt;mso-bidi-font-size:10.0pt'>:<span
style='mso-spacerun:yes'>� </span>some frescoes by <b style='mso-bidi-font-weight:
normal'>Filippino Lippi</b> (who is good, but not nearly as good as his father,
Filippo Lippi�you have to look carefully at some of these names!), at right
front of the church.]<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt;
mso-bidi-font-size:10.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><b><u><span style='font-size:12.0pt;
mso-bidi-font-size:10.0pt'>Chiostro Verde (�Green Cloister�)</span></u></b><span
style='font-size:12.0pt;mso-bidi-font-size:10.0pt'>:<span
style='mso-spacerun:yes'>� </span>{</span><span style='font-size:12.0pt'>
Monday, Friday, Saturday, Sunday 1000-1600</span><span style='font-size:12.0pt;
mso-bidi-font-size:10.0pt'>}<span style='mso-spacerun:yes'>� </span>One now
enters through the church itself, through the garden at the right of the fa�ade
of the church<span style='mso-spacerun:yes'>� </span>(the </span><b
style='mso-bidi-font-weight:normal'><span style='font-size:12.0pt'><a
href="http://www.firenzecard.it/index.php?lang=en"><span class=SpellE>FirenzeCard</span></a></span></b><span
style='font-size:12.0pt;mso-bidi-font-size:10.0pt'> entrance is around at the
back [railway station] side of the church).<span style='mso-spacerun:yes'>�
</span>This relatively undistinguished cloister contains a <i>fabulous</i>
cycle of frescoes by <b>Uccello</b><span style='mso-bidi-font-weight:bold'>�but,
<b>unfortunately</b></span><b style='mso-bidi-font-weight:normal'>, as of this
visit, these marvelous frescoes are off somewhere being restored, and therefore
are not available for viewing</b>.<span style='mso-spacerun:yes'>� </span>Many
of the frescoes were in poor condition; but the magnificent �<b
style='mso-bidi-font-weight:normal'>Flood</b>� fresco had been largely intact
and gave some sense of the genius of the artist.<span
style='mso-spacerun:yes'>� </span>(I�m interested if any of my readers know of
any other work anywhere nearly this old that powerfully and realistically
contains a direct representation of weather, as this works so successfully
does.)<span style='mso-spacerun:yes'>� </span>I sincerely hope that the
restoration does justice to these wonderful paintings.</span><span
style='font-size:12.0pt'><o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal><span class=GramE><u><span style='font-size:12.0pt'>Il</span></u></span><u><span
style='font-size:12.0pt'> Duomo</span></u><span style='font-size:12.0pt'> - <u>Santa
Maria del Fiore</u> - begun in 1294 (much of the design was done by <b
style='mso-bidi-font-weight:normal'>Arnolfo di Cambio</b>), this cathedral is
the heart of the city.<span style='mso-spacerun:yes'>� </span>(The photograph
below is one I took from the top of the tower of the <b style='mso-bidi-font-weight:
normal'>Palazzo Vecchio</b>.)<o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='text-align:center'><span
style='font-size:12.0pt;mso-no-proof:yes'><!--[if gte vml 1]><v:shape id="_x0000_i1115"
type="#_x0000_t75" alt="IMG-20130527-00134" style='width:294.6pt;height:187.2pt;
visibility:visible;mso-wrap-style:square'>
<v:imagedata src="italy_files/image007.jpg" o:title="IMG-20130527-00134"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=491 height=312
src="italy_files/image008.jpg" alt=IMG-20130527-00134 v:shapes="_x0000_i1115"><![endif]></span><span
style='font-size:12.0pt'><o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><u><span style='font-size:12.0pt'>Exterior</span></u><span
style='font-size:12.0pt'>:<span style='mso-spacerun:yes'>� </span>late (19<sup>th</sup>
Century), but still an example of the Florentine love for pattern and, in
particular, for the patterned use of different colored marble�although this
example is pretty gaudy.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'>[<u>Porta
<span class=GramE>della</span> Mirandola</u></span><span style='font-size:12.0pt;
mso-bidi-font-size:10.0pt'>, sculptural entry on N exterior wall: a very
interesting project containing works by all sorts of people, including
Donatello, but confusing without a plan</span><span style='font-size:12.0pt'>]<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><u><span style='font-size:12.0pt'>Interior:</span></u><span
style='font-size:12.0pt'><span style='mso-spacerun:yes'>� </span>Another
example of Italian Gothic style�again, <span class=GramE>get</span> the feel of
it:<span style='mso-spacerun:yes'>� </span>it helps to then understand what is
going on in the changes that occur with Brunelleschi.<span
style='mso-spacerun:yes'>� </span>Worth noting:<span style='mso-spacerun:yes'>�
</span>on entrance wall�3 stained glass windows by Ghiberti, and a big clock,
the hands of which move backwards.<span style='mso-spacerun:yes'>�
</span>(Access to the central space of the <b style='mso-bidi-font-weight:normal'>Duomo</b>,
always interfered with by the volume of tourists, it now further restricted by
barriers which restrict access�and intensify the crowding.)<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt;
mso-bidi-font-size:10.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='margin-left:.5in;text-align:center'><span
style='mso-no-proof:yes'><!--[if gte vml 1]><v:shape id="Picture_x0020_4"
o:spid="_x0000_i1114" type="#_x0000_t75" alt="https://upload.wikimedia.org/wikipedia/commons/4/4e/Duomo_Firenze_Apr_2008.jpg"
style='width:190.8pt;height:220.8pt;visibility:visible;mso-wrap-style:square'>
<v:imagedata src="italy_files/image009.jpg" o:title="Duomo_Firenze_Apr_2008"
cropbottom="3979f" cropright="2212f"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=318 height=368
src="italy_files/image010.jpg"
alt="https://upload.wikimedia.org/wikipedia/commons/4/4e/Duomo_Firenze_Apr_2008.jpg"
v:shapes="Picture_x0020_4"><![endif]></span><span style='font-size:12.0pt;
mso-bidi-font-size:10.0pt'><o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt;
mso-bidi-font-size:10.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><b style='mso-bidi-font-weight:
normal'><u><span style='font-size:12.0pt'>Dome</span></u></b><span
style='font-size:12.0pt'> by <b style='mso-bidi-font-weight:normal'>Brunelleschi</b>
-1420-36 [</span><span style='font-size:12.0pt;mso-bidi-font-size:10.0pt'>One
can climb up into the structure of the dome, which ought to be interesting and
provide spectacular views of the city, but I never have done it. <b>*XX*</b></span><span
class=GramE><span style='font-size:12.0pt'>]<span style='mso-spacerun:yes'>�
</span>Beautiful</span></span><span style='font-size:12.0pt'> proportions,
although more Gothic in design than he would have done had he not been
constrained by the pre-existing structure and underlying shape; and an
engineering marvel.<span style='mso-spacerun:yes'>� </span></span><span
style='font-size:12.0pt;mso-bidi-font-size:10.0pt'>The problem was that the
Florentines had constructed a cathedral <i>so</i> big (this has directly to do
with penis size and competition with the surrounding penises of Sienna and
Pisa, in particular) that they couldn�t figure out how to build a dome over the
140 ft opening they had created 180 ft off the ground.<span
style='mso-spacerun:yes'>� </span>A dome is essentially an arch in three
dimensions (the construction of which is easier for us two-dimensional thinkers
to envision), and one builds one by first placing a horizontal beam across the
spring points of the arch and then building a frame in the shape of the arch to
support the stones until the keystone (the somewhat triangularly-shaped center
stone at the top) is put in place�at which point the whole thing is
self-supporting, and the framework can be removed.<span
style='mso-spacerun:yes'>� </span>Since there were not many 140 ft trees in
Italy, this presented a problem.<span style='mso-spacerun:yes'>� </span><b
style='mso-bidi-font-weight:normal'>Brunelleschi</b> finally came up with the
solution (inventing, along the way, machinery, construction techniques, and
materials to make it possible�examples of which can be seen in the wonderful </span><b
style='mso-bidi-font-weight:normal'><span style='font-size:12.0pt'>Museo dell�
Opera del Duomo</span></b><span style='font-size:12.0pt;mso-bidi-font-size:
10.0pt'> <span class=GramE>[<span style='mso-bidi-font-size:12.0pt'> <i>q.v</i></span></span></span><i><span
style='font-size:12.0pt'>.</span></i><span style='font-size:12.0pt'>, below],</span><span
style='font-size:12.0pt;mso-bidi-font-size:10.0pt'> across the street behind
the apse of the cathedral):<span style='mso-spacerun:yes'>� </span>he designed
a dome that consisted of pointed sections, supported by 8 vertical ribs
(visible on the exterior).<span style='mso-spacerun:yes'>� </span>The structure
of the sections between the ribs was designed so as to be as light as possible:<span
style='mso-spacerun:yes'>� </span>a lattice of minor ribs and open spaces,
contained between the two walls of the double shell Brunelleschi
constructed.<span style='mso-spacerun:yes'>� </span>The final solution to the
unsupported construction problem was to build the dome in horizontal units,
each roughly circular and self-supporting on top of the level which had just
been finished below it.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal><span class=GramE><u><span style='font-size:12.0pt'>Il</span></u></span><u><span
style='font-size:12.0pt'> Campanile</span></u><span style='font-size:12.0pt'>
(�The Bell Tower� - begun 1334) Called �<b style='mso-bidi-font-weight:normal'>Giotto</b>�s�
because he was in charge of the construction for a period�but only because he
was Florence�s most famous artist.<span style='mso-spacerun:yes'>� </span>As a
painter, he actually contributed little to the plan or building.<o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><u><span style='font-size:12.0pt'>Exterior</span></u><span
style='font-size:12.0pt'>:<span style='mso-spacerun:yes'>� </span>much better
example of Italian Gothic�still pretty over the top, but much more
beautiful.<span style='mso-spacerun:yes'>� </span>Note where the statuary is placed,
high up on the fa�ade; but don�t waste time looking too carefully, as they are
only copies.<span style='mso-spacerun:yes'>� </span>(All of these very
important works are actually in the <b style='mso-bidi-font-weight:normal'>Museo
dell� Opera del Duomo</b>, <i>q.v.</i>, below.)<span style='mso-spacerun:yes'>�
</span>[</span><span style='font-size:12.0pt;mso-bidi-font-size:10.0pt'>You can
climb up inside for the view, but I never have.<span style='mso-spacerun:yes'>�
</span><b>*XX*</b>]</span><span style='font-size:12.0pt'><o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='margin-left:.5in;text-align:center'><span
style='mso-no-proof:yes'><!--[if gte vml 1]><v:shape id="Picture_x0020_5"
o:spid="_x0000_i1113" type="#_x0000_t75" alt="https://upload.wikimedia.org/wikipedia/commons/0/0f/Giotto%27s_campanile-263.jpg"
style='width:85.8pt;height:236.4pt;visibility:visible;mso-wrap-style:square'>
<v:imagedata src="italy_files/image011.jpg" o:title="Giotto%27s_campanile-263"
croptop="1176f" cropbottom="1703f" cropleft="17611f" cropright="11684f"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=143 height=394
src="italy_files/image012.jpg"
alt="https://upload.wikimedia.org/wikipedia/commons/0/0f/Giotto%27s_campanile-263.jpg"
v:shapes="Picture_x0020_5"><![endif]></span><span style='font-size:12.0pt'><o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal><span class=GramE><u><span style='font-size:12.0pt'>Il</span></u></span><u><span
style='font-size:12.0pt'> Battistero</span></u><span style='font-size:12.0pt'>
(�The Baptistery� - 5<sup>th</sup> century, although the Florentines of the
Renaissance mistakenly thought it was a building from classical antiquity)<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><u><span style='font-size:12.0pt'>Exterior</span></u><span
style='font-size:12.0pt'>:<span style='mso-spacerun:yes'>� </span>good example
of Italian Romanesque (only better one in Florence is <b style='mso-bidi-font-weight:
normal'>San Miniato al Monte</b>, <i>q.v.</i>, below): more horizontal and
squat, with the exterior shaped by the form of the interior space [not unlike
the Romanesque in northern Europe], but with a characteristic, Florentine,
patterned use of colored marble�done in a lovely, <i>far</i> less gaudy way,
however.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='margin-left:.5in;text-align:center'><span
style='mso-no-proof:yes'><!--[if gte vml 1]><v:shape id="Picture_x0020_6"
o:spid="_x0000_i1112" type="#_x0000_t75" alt="https://upload.wikimedia.org/wikipedia/commons/2/29/Firenze.Baptistry06.JPG"
style='width:159pt;height:178.8pt;visibility:visible;mso-wrap-style:square'>
<v:imagedata src="italy_files/image013.jpg" o:title="Firenze.Baptistry06"
croptop="4831f" cropbottom="8535f" cropleft="3314f"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=265 height=298
src="italy_files/image014.jpg"
alt="https://upload.wikimedia.org/wikipedia/commons/2/29/Firenze.Baptistry06.JPG"
v:shapes="Picture_x0020_6"><![endif]></span><span style='font-size:12.0pt'><o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><u><span style='font-size:12.0pt'>Bronze
doors</span></u><span style='font-size:12.0pt'>:<span
style='mso-spacerun:yes'>� </span>(It is not clear that <i>any</i> of the three
sets of doors are in fact real<span class=GramE>;<span
style='mso-spacerun:yes'>� </span>I</span> have never been able to get a
satisfactory answer to this question.<span style='mso-spacerun:yes'>�
</span>The east doors, <b style='mso-bidi-font-weight:normal'>Ghiberti</b>�s
�Gates of Paradise,� <i>most</i> <i>certainly</i> are only copies; the real
ones are in the <b style='mso-bidi-font-weight:normal'>Museo dell� Opera del
Duomo</b> [<i style='mso-bidi-font-style:normal'>q.v.</i>, below].<span
style='mso-spacerun:yes'>� </span>As for the rest, there is no other place to
see the real ones, even if these are only copies; so it�s worth a look here.)<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:1.0in'><span class=GramE><span
style='font-size:12.0pt'>[-<u>South doors</u>:<span style='mso-spacerun:yes'>�
</span>By Andrea Pisano, done in 1330.</span></span><span style='font-size:
12.0pt'><span style='mso-spacerun:yes'>� </span>Basically International Gothic
in style, but with some marked influence of Giotto.<span
style='mso-spacerun:yes'>� </span>Upper 20 panels are of the life of John the
Baptist; the lower 8 representing the virtues.]<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:1.0in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:1.0in'><span style='font-size:12.0pt'>-<u>North
doors</u>: (also the entrance to Il Battistero </span><b><span
style='font-size:12.0pt;mso-bidi-font-size:10.0pt'>*XX*</span></b><span
style='font-size:12.0pt'>)<span style='mso-spacerun:yes'>� </span>Done between
1403 -24, these represent the project <b style='mso-bidi-font-weight:normal'>Ghiberti</b>
won the right to do in the competition of 1401 (his entry in the
competition�better than any he did for the actual doors�is in <b
style='mso-bidi-font-weight:normal'>Il Bargello</b> (<i>q.v.</i>, below), along
with that of the runner up, <b style='mso-bidi-font-weight:normal'>Brunelleschi</b>.)<span
style='mso-spacerun:yes'>� </span>The upper 20 panels depict New Testament
scenes; the lower 8 the 4 Evangelists and 4 doctors of the Church</span><span
style='font-size:12.0pt;mso-bidi-font-size:10.0pt'>.<span
style='mso-spacerun:yes'>� </span>(For stylistic comments, see remarks about
his competition panel in <b style='mso-bidi-font-weight:normal'>Il Bargello</b></span><span
style='font-size:12.0pt'>.)<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:1.0in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:1.0in'><span class=GramE><span
style='font-size:12.0pt'>[-<u>East doors</u>: <b style='mso-bidi-font-weight:
normal'>copies</b> of <b style='mso-bidi-font-weight:normal'>Ghiberti</b>�s �<b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'>Gates
of Paradise</i></b>,� 1424-52.</span></span><span style='font-size:12.0pt'><span
style='mso-spacerun:yes'>� </span>Copies of the 10 gilded bronze panels
representing Old Testament scenes.</span><b><span style='font-size:12.0pt;
mso-bidi-font-size:10.0pt'> *XX*</span></b><span style='font-size:12.0pt;
mso-bidi-font-size:10.0pt'>]<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:1.0in'><span style='font-size:12.0pt;
mso-bidi-font-size:10.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><u><span style='font-size:12.0pt'>Interior</span></u><span
style='font-size:12.0pt'>: <b>*XX*</b> usually not worth the crowds; but, if
they are not too bad, there is the tomb of Anti-Pope John XXIII (Cardinal
Baldassare Coscia), done as a collaboration between <b style='mso-bidi-font-weight:
normal'>Donatello</b> and <b style='mso-bidi-font-weight:normal'>Michelozzo</b>;
and the Romanesque decoration of the walls (especially the simplified animal
figures and geometric designs on the colonnade level) are lovely.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal><b><u><span style='font-size:12.0pt'>Piazza <span
class=GramE>della</span> Signoria</span></u></b><span style='font-size:12.0pt'>
- a place you need to stroll through a couple of times, despite the crowds of
tourists to be found here.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><u><span style='font-size:12.0pt'>Loggia
dei Lanzi</span></u><span style='font-size:12.0pt'> - 14<sup>th</sup> century
Gothic loggia full of basically bad sculpture.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='margin-left:.5in;text-align:center'><span
style='font-size:12.0pt;mso-no-proof:yes'><!--[if gte vml 1]><v:shape id="Picture_x0020_8"
o:spid="_x0000_i1111" type="#_x0000_t75" alt="IMG-20130526-00130" style='width:231pt;
height:179.4pt;visibility:visible;mso-wrap-style:square'>
<v:imagedata src="italy_files/image015.jpg" o:title="IMG-20130526-00130"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=385 height=299
src="italy_files/image016.jpg" alt=IMG-20130526-00130 v:shapes="Picture_x0020_8"><![endif]></span><span
style='font-size:12.0pt'><o:p></o:p></span></p>
<p class=MsoNormal align=center style='margin-left:.5in;text-align:center'><span
style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'>[</span><span
style='font-size:12.0pt;mso-bidi-font-size:10.0pt'>-<b style='mso-bidi-font-weight:
normal'>Ignore</b> in front of the <b style='mso-bidi-font-weight:normal'>Palazzo
Vecchio</b> the <b style='mso-bidi-font-weight:normal'>copies</b> of <b
style='mso-bidi-font-weight:normal'>Michelangelo</b>�s <i style='mso-bidi-font-style:
normal'>David</i> (the real one is in the Academia) and <b style='mso-bidi-font-weight:
normal'>Donatello</b>�s <b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'>Judith and Holofernes</i></b> (the real one
being upstairs in the <b style='mso-bidi-font-weight:normal'>Palazzo Vecchio</b>;
and I am <i>mortified</i> that in the original edition of this guide I had
suggested that it might suffice to look at this <i style='mso-bidi-font-style:
normal'>terribly</i> inferior copy).</span><span style='font-size:12.0pt'>]<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><b><u><span style='font-size:12.0pt'><a
href="http://museicivicifiorentini.comune.fi.it/en/palazzovecchio/">Palazzo
Vecchio</a></span></u></b><span style='font-size:12.0pt'> (�<b
style='mso-bidi-font-weight:normal'>Old Palace</b>�) {0900-2400, Thursdays 0900-1400}
- done in 1298 by <b style='mso-bidi-font-weight:normal'>Arnolfo di Cambio</b>
(you�ll notice this guy gets around:<span style='mso-spacerun:yes'>� </span>he
was the most important architect of the Italian Gothic in Florence).<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='margin-left:.5in;text-align:center'><span
style='font-size:12.0pt;mso-no-proof:yes'><!--[if gte vml 1]><v:shape id="Picture_x0020_7"
o:spid="_x0000_i1110" type="#_x0000_t75" alt="IMG-20130526-00129" style='width:202.8pt;
height:276pt;visibility:visible;mso-wrap-style:square'>
<v:imagedata src="italy_files/image017.jpg" o:title="IMG-20130526-00129"
cropbottom="1836f"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=338 height=460
src="italy_files/image018.jpg" alt=IMG-20130526-00129 v:shapes="Picture_x0020_7"><![endif]></span><span
style='font-size:12.0pt'><o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'>The <b>Palazzo
Vecchio</b> once housed the government; Cosimo di Medici lived there for a
while in the 16<sup>th</sup> century, before his wife talked him into moving to
the Palazzo Pitti.<span style='mso-spacerun:yes'>� </span>Take a good look at
it and take a quick walk around inside on the ground floor, which is
interesting Gothic architecture�often full of beautiful flowers.<span
style='mso-spacerun:yes'>� </span>Upstairs in the museum (which requires an
admission fee), you can stroll through the rooms of the Palazzo and take in the
interesting decoration of the rooms (although it is not worth focusing on any
particular part of it except the map room [near the exit on the third floor],
which is extremely interesting.<span style='mso-spacerun:yes'>� </span>Just
outside the entrance to the map room is what makes it <i>really</i> worthwhile
going into the museum level�<b style='mso-bidi-font-weight:normal'>Donatello</b>�s
marvelous bronze statue of <b><i style='mso-bidi-font-style:normal'><u>Judith and
Holofernes</u></i></b>, ca. 1456-60, a great, totally free-standing work, which
combines multiple views into a plastic unity.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='margin-left:.5in;text-align:center'><span
style='font-size:12.0pt;mso-no-proof:yes'><!--[if gte vml 1]><v:shape id="_x0000_i1109"
type="#_x0000_t75" alt="JandH" style='width:237.6pt;height:285pt;visibility:visible;
mso-wrap-style:square'>
<v:imagedata src="italy_files/image019.jpg" o:title="JandH"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=396 height=475
src="italy_files/image020.jpg" alt=JandH v:shapes="_x0000_i1109"><![endif]></span><span
style='font-size:12.0pt'><o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'>The
two figures are twisted and intertwined, and yet the action is curiously
restrained, given what is actually taking place, heightening the sense of
dramatic tension within the figures.<span style='mso-spacerun:yes'>� </span>The
pose�Judith with her left leg over Holofernes� right shoulder, stepping on his
right hand, and her right leg between the legs of the seated Holofernes,
placing his torso between her legs (<i>cf</i>. with the pose of <b
style='mso-bidi-font-weight:normal'>Donatello</b>�s bronze <b style='mso-bidi-font-weight:
normal'><i style='mso-bidi-font-style:normal'>David</i></b> in the <b
style='mso-bidi-font-weight:normal'>Bargello</b> [below])�captures the sexual
aspect that is one side of the story; while her upraised sword and her
wrenching his head back and sideways to expose his neck to the impending blow
captures the rest.<span style='mso-spacerun:yes'>� </span>We spent over an hour
just looking at this one masterpiece from many different angles and
distances�and we did on many subsequent visits, as well.<span
style='mso-spacerun:yes'>� </span>If you feel up to a very long climb, you can
walk up to the top of the tower and be rewarded with totally magnificent views
of the city and surrounding hills The view below is in the direction of the <b
style='mso-bidi-font-weight:normal'>Bargello</b>, the building in the center of
the foreground).<o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='text-align:center'><span
style='font-size:12.0pt;mso-no-proof:yes'><!--[if gte vml 1]><v:shape id="Picture_x0020_11"
o:spid="_x0000_i1108" type="#_x0000_t75" alt="IMG-20130527-00144" style='width:189.6pt;
height:190.8pt;visibility:visible;mso-wrap-style:square'>
<v:imagedata src="italy_files/image021.jpg" o:title="IMG-20130527-00144"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=316 height=318
src="italy_files/image022.jpg" alt=IMG-20130527-00144 v:shapes="Picture_x0020_11"><![endif]></span><span
style='font-size:12.0pt'><o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal><b><u><span style='font-size:12.0pt'>Loggia del Ospedale
degli Innocenti</span></u></b><span style='font-size:12.0pt'><span
style='mso-spacerun:yes'>� </span>(�<b style='mso-bidi-font-weight:normal'>Loggia
of the Foundling Hospital</b>��</span><span style='font-size:12.0pt;mso-bidi-font-size:
10.0pt'>out of chronological sequence here:<span style='mso-spacerun:yes'>�
</span>it should <i>follow</i> <b style='mso-bidi-font-weight:normal'>Santa
Croce</b>, but since your visit there will also expose you to one of <b
style='mso-bidi-font-weight:normal'>Brunelleschi</b>�s important, developed,
later works [the <b style='mso-bidi-font-weight:normal'>Pazzi Chapel</b>], it�s
important to see this first)</span><span style='font-size:12.0pt'> �it was a
1419 design by <b style='mso-bidi-font-weight:normal'>Brunelleschi</b>,
completed 1424.<span style='mso-spacerun:yes'>� </span>(</span><span
style='font-size:12.0pt;mso-bidi-font-size:10.0pt'>It is the outside loggia
that is important; the rest of the building was done by <b style='mso-bidi-font-weight:
normal'>Brunelleschi</b>�s students.</span><span style='font-size:12.0pt'>)<o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'>This
single example marks the true beginning of Renaissance architecture. <span
class=GramE>(<i>q.v.</i>, Bates Lowry, <i>Renaissance Architecture</i>.)</span><span
style='mso-spacerun:yes'>� </span><i>It all begins here!</i><span
style='mso-spacerun:yes'>� </span><b style='mso-bidi-font-weight:normal'>Brunelleschi</b>
has gone back to classical forms�rounded arches with a horizontal element above
them, Corinthian capitals, pilasters, and, behind, a vault that is formed by a
series of small domes (carried on the columns of the loggia and on corbels on
the surface of the hospital wall, creating square bays that are not
cross-vaulted as they would have been in a Gothic design, but purely classical
shapes) �that had not been utilized since antiquity.<span
style='mso-spacerun:yes'>� </span><o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='margin-left:.5in;text-align:center'><b
style='mso-bidi-font-weight:normal'><span style='mso-no-proof:yes'><!--[if gte vml 1]><v:shape
id="Picture_x0020_10" o:spid="_x0000_i1107" type="#_x0000_t75" alt="http://www.carnesecchi.eu/spedale_innocenti31.jpg"
style='width:192.6pt;height:224.4pt;visibility:visible;mso-wrap-style:square'>
<v:imagedata src="italy_files/image023.jpg" o:title="spedale_innocenti31"
croptop="23814f" cropbottom="11865f" cropleft="33454f" cropright="15054f"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=321 height=374
src="italy_files/image024.jpg"
alt="http://www.carnesecchi.eu/spedale_innocenti31.jpg" v:shapes="Picture_x0020_10"><![endif]></span></b><span
style='font-size:12.0pt'><o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'>He
has integrated these classical elements with elements of the Italian Romanesque
(<i>e.g.</i>, using dosserets over the capitals) and some of its feel (<i>e.g.</i>,
the horizontal emphasis). It should be remembered, however, that <b
style='mso-bidi-font-weight:normal'>Brunelleschi</b>�like other
Florentines�believed these Romanesque elements <i>were</i> examples of
classical antiquity.)<span style='mso-spacerun:yes'>� </span>But he comes up
with a sense of lightness, rhythm, and rational �grasp-ability� that was new
and different from anything before it.<span style='mso-spacerun:yes'>�
</span>No distracting ornamentation, no mystifying and humbling sense of
inhuman scale�but rather an understandable, mathematically proportioned space
that feels immediately comprehensible by the viewer.<span
style='mso-spacerun:yes'>� </span><span class=GramE>Grand only in its
simplicity.</span><span style='mso-spacerun:yes'>� </span>One can detect the
influence of this design in the work of <b style='mso-bidi-font-weight:normal'>Masaccio</b>
and <b style='mso-bidi-font-weight:normal'>Donatello</b>�as early as in <b
style='mso-bidi-font-weight:normal'>Masaccio</b>�s <b style='mso-bidi-font-weight:
normal'><i style='mso-bidi-font-style:normal'>Holy Trinity</i></b> and the
niche<b style='mso-bidi-font-weight:normal'> Donatello</b> and <b
style='mso-bidi-font-weight:normal'>Michelozzo</b> designed for Or San Michele,
both done in the <span class=GramE>mid-20�s</span>.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='text-align:center'><span
style='mso-no-proof:yes'><!--[if gte vml 1]><v:shape id="Picture_x0020_9"
o:spid="_x0000_i1106" type="#_x0000_t75" alt="http://upload.wikimedia.org/wikipedia/commons/d/d6/FI_innocenti.05.JPG"
style='width:504.6pt;height:140.4pt;visibility:visible;mso-wrap-style:square'>
<v:imagedata src="italy_files/image025.jpg" o:title="FI_innocenti.05"
croptop="15214f" cropbottom="26962f" cropleft="579f" cropright="1898f"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=841 height=234
src="italy_files/image026.jpg"
alt="http://upload.wikimedia.org/wikipedia/commons/d/d6/FI_innocenti.05.JPG"
v:shapes="Picture_x0020_9"><![endif]></span><span style='font-size:12.0pt'><o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal><b><u><span style='font-size:12.0pt'><a
href="http://www.santacroceopera.it/en/">Santa Croce</a></span></u></b><span
style='font-size:12.0pt'> {0930-1700, Sunday & holidays 1300-1700} (there
is now an admission fee charged to enter the church, but it includes entry into
the museum and <b style='mso-bidi-font-weight:normal'>Pazzi Chapel</b> [<i
style='mso-bidi-font-style:normal'>q.v.</i>, below]; buy tickets around the
left outside wall of the church<span class=GramE>)<span
style='mso-spacerun:yes'>� </span><b style='mso-bidi-font-weight:normal'>Santa</b></span><b
style='mso-bidi-font-weight:normal'> Croce</b> is another major example of the
Italian Gothic by <b style='mso-bidi-font-weight:normal'>Arnolfo di Cambio</b>,
begun in 1294.<span style='mso-spacerun:yes'>� </span></span><span
style='font-size:12.0pt;mso-bidi-font-size:10.0pt'>This is a Franciscan church
(absolute poverty as a principle�remember?), which was built in competition
with the Dominican <st1:PlaceType w:st="on">church</st1:PlaceType> of <b
style='mso-bidi-font-weight:normal'>Santa Maria Novella</b>, and therefore is
extremely large and grand (penis size as a principle�even more compelling!) </span><span
style='font-size:12.0pt'>This church is <i style='mso-bidi-font-style:normal'>very
much</i> on the tourist itinerary (</span><b><span style='font-size:12.0pt;
mso-bidi-font-size:10.0pt'>*XX*</span></b><span style='font-size:12.0pt'>), <i>but</i>
they come mostly to see who is buried here, and usually leave the good stuff
quite free for your enjoyment!</span><span style='font-size:12.0pt;mso-bidi-font-size:
10.0pt'> <o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><u><span style='font-size:12.0pt'>Exterior</span></u><span
style='font-size:12.0pt'>:<span style='mso-spacerun:yes'>� </span>Like so many,
actually 19<sup>th</sup> century.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='margin-left:.5in;text-align:center'><span
style='mso-no-proof:yes'><!--[if gte vml 1]><v:shape id="Picture_x0020_67"
o:spid="_x0000_i1105" type="#_x0000_t75" alt="StaCroce" style='width:142.8pt;
height:145.8pt;visibility:visible;mso-wrap-style:square'>
<v:imagedata src="italy_files/image027.jpg" o:title="StaCroce"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=238 height=243
src="italy_files/image028.jpg" alt=StaCroce v:shapes="Picture_x0020_67"><![endif]></span><span
style='font-size:12.0pt'><o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><u><span style='font-size:12.0pt'>Interior</span></u><span
style='font-size:12.0pt'>:<span style='mso-spacerun:yes'>� </span>Again, a very
Italian Gothic feel; but note the open timber ceiling (rather than having the
weight of masonry vaulting, this form is much lighter, permitting lighter
support columns that lend an airier feel), and the different proportion between
the nave and the aisle bays (bays are longer and shallower, giving a little
less typical Italian feel�but still <i>unmistakably</i> Italian).<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'>Going
down the right aisle [</span><i><span style='font-size:12.0pt;mso-bidi-font-size:
10.0pt'>quickly</span></i><span style='font-size:12.0pt;mso-bidi-font-size:
10.0pt'> get by Michelangelo�s tomb</span><span style='font-size:12.0pt'> </span><b><span
style='font-size:12.0pt;mso-bidi-font-size:10.0pt'>*XX*</span></b><span
style='font-size:12.0pt'>] and arrive at�<o:p></o:p></span></p>
<p class=MsoNormal align=center style='text-align:center'><span
style='display:none;mso-hide:all'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='text-align:center'><o:p> </o:p></p>
<p class=MsoNormal align=center style='text-align:center'><span
style='font-size:87.0pt;mso-no-proof:yes'><!--[if gte vml 1]><v:shape id="Picture_x0020_13"
o:spid="_x0000_i1104" type="#_x0000_t75" alt="http://www.museumsinflorence.com/foto/opera%20s.croce/image/navebig.jpg"
style='width:241.2pt;height:205.2pt;visibility:visible;mso-wrap-style:square'>
<v:imagedata src="italy_files/image029.jpg" o:title="navebig" croptop="1915f"
cropleft="8010f" cropright="7737f"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=402 height=342
src="italy_files/image030.jpg"
alt="http://www.museumsinflorence.com/foto/opera%20s.croce/image/navebig.jpg"
v:shapes="Picture_x0020_13"><![endif]></span><span style='font-size:87.0pt'><o:p></o:p></span></p>
<p class=MsoNormal><a
href="http://www.museumsinflorence.com/musei/museum_of_opera_s_croce.html"
id=prevLink><span style='font-size:87.0pt;color:black;display:none;mso-hide:
all;mso-no-proof:yes;text-decoration:none;text-underline:none'><!--[if gte vml 1]><v:shape
id="Picture_x0020_12" o:spid="_x0000_i1103" type="#_x0000_t75" alt="http://www.museumsinflorence.com/musei/images/loading.gif"
href="http://www.museumsinflorence.com/musei/museum_of_opera_s_croce.html"
style='width:24pt;height:24pt;visibility:visible;mso-wrap-style:square'
o:button="t">
<v:imagedata src="italy_files/image031.gif" o:title="loading"/>
</v:shape><![endif]--><![if !vml]><span style='mso-ignore:vglayout'><img
border=0 width=40 height=40 src="italy_files/image031.gif"
alt="http://www.museumsinflorence.com/musei/images/loading.gif" v:shapes="Picture_x0020_12"></span><![endif]></span></a><span
style='font-size:87.0pt;display:none;mso-hide:all'><o:p></o:p></span></p>
<p class=MsoNormal><o:p> </o:p></p>
<span id=caption>
<p class=MsoNormal style='margin-left:.5in'><b><i style='mso-bidi-font-style:
normal'><u><span style='font-size:12.0pt'>Annunciation</span></u></i></b><b><u><span
style='font-size:12.0pt'> </span></u></b><u><span style='font-size:12.0pt;
mso-bidi-font-weight:bold'>by<b> Donatello</b></span></u><span
style='font-size:12.0pt'>:<span style='mso-spacerun:yes'>� </span>Toward the
apse end, on the right wall of the aisle of the nave is <b style='mso-bidi-font-weight:
normal'>Donatello</b>�s amazing <b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'>Annunciation</i></b>, done in gilded <i
style='mso-bidi-font-style:normal'>pietra <span class=GramE>serena</span></i></span><span
style='font-size:12.0pt;mso-bidi-font-size:10.0pt'> (that gray stone mentioned
above</span><span style='font-size:12.0pt'>), ca. 1428-33.<span
style='mso-spacerun:yes'>� </span>Check out the marvelous composition:<span
style='mso-spacerun:yes'>� </span>the balance of the angles and forms, the
movement from the angel to Mary�and yet the emptiness of the tension-filled
space in-between them, and the reaction of her body�startled and starting to
move away, but drawn back by the angel�s gaze (note the visual connection
between their eyes and faces), the emphasis on the dramatic moment.<span
style='mso-spacerun:yes'>� </span><o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='margin-left:.5in;text-align:center'><span
style='mso-no-proof:yes'><!--[if gte vml 1]><v:shape id="_x0000_i1102" type="#_x0000_t75"
alt="http://www.bluffton.edu/~sullivanm/italy/florence/santacroce/0073.jpg"
style='width:256.2pt;height:299.4pt;visibility:visible;mso-wrap-style:square'>
<v:imagedata src="italy_files/image032.jpg" o:title="0073" croptop="17874f"
cropbottom="11215f" cropleft="12563f" cropright="10787f"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=427 height=499
src="italy_files/image033.jpg"
alt="http://www.bluffton.edu/~sullivanm/italy/florence/santacroce/0073.jpg"
v:shapes="_x0000_i1102"><![endif]></span><span style='font-size:12.0pt'><o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'>Look
at her face�one of the few really beautiful female representations in the art
of this period; and look at her emotions.<span style='mso-spacerun:yes'>�
</span><o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='margin-left:.5in;text-align:center'><span
style='mso-no-proof:yes'><!--[if gte vml 1]><v:shape id="Picture_x0020_17"
o:spid="_x0000_i1101" type="#_x0000_t75" alt="Annunc-detail" style='width:180.6pt;
height:211.8pt;visibility:visible;mso-wrap-style:square'>
<v:imagedata src="italy_files/image034.jpg" o:title="Annunc-detail"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=301 height=353
src="italy_files/image035.jpg" alt=Annunc-detail v:shapes="Picture_x0020_17"><![endif]><o:p></o:p></span></p>
<p class=MsoNormal align=center style='margin-left:.5in;text-align:center'><span
style='mso-no-proof:yes'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'>And
do not ignore the compositional suggestion of the force of the angel�s
�message� to Mary�the intense triangular area of radiation from his center
outward towards her.<span style='mso-spacerun:yes'>� </span>The mutedly implied
sexuality is picked up in the placement of her hands and the folds of her
drapery.<span style='mso-spacerun:yes'>� </span>The sexuality�implied, denied,
and sometimes rather blatantly expressed�of this pointedly �non-sexual� moment,
is a very curious element in all Annunciation scenes [<i style='mso-bidi-font-style:
normal'>cf</i>. the extremely un-sexual, but incredibly beautiful version by <b
style='mso-bidi-font-weight:normal'>Fra Angelica</b> in <b style='mso-bidi-font-weight:
normal'>San Marco</b>).<span style='mso-spacerun:yes'>� </span>Remember, this
is the moment that the Virgin is being �told� by the angel that she is pregnant
with Jesus; but is actually the moment of her immaculately being impregnated by
the Holy Spirit.<span style='mso-spacerun:yes'>� </span><span class=GramE>Sexual
or non-sexual?</span> You decide.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'>[</span><u><span
style='font-size:12.0pt;mso-bidi-font-size:10.0pt'>Cappella Castellani</span></u><span
style='font-size:12.0pt;mso-bidi-font-size:10.0pt'>:<span
style='mso-spacerun:yes'>� </span>In right (west) side of the right transept;
frescoes by <b style='mso-bidi-font-weight:normal'>Agnolo Gaddi</b> and his
pupils depicting the lives of the Saints.</span><span style='font-size:12.0pt'>]<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><u><span style='font-size:12.0pt'>Cappella
Baroncelli</span></u><span style='font-size:12.0pt'>:<span
style='mso-spacerun:yes'>� </span>At the end of the right transept; frescoes by
<b style='mso-bidi-font-weight:normal'>Taddeo Gaddi</b> (Agnolo�s father, and
Giotto�s pupil) of the life of the virgin.<span style='mso-spacerun:yes'>�
</span>The father�s work is much better than the son�s.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><b><u><span style='font-size:12.0pt'><a
href="http://www.casasantapia.com/art/giotto/santacrocebardichapel.htm">Cappella
Bardi</a> and <a
href="http://www.casasantapia.com/art/giotto/santacroceperuzzichapel.htm">Cappella
Peruzzi</a></span></u></b><span style='font-size:12.0pt'>:<span
style='mso-spacerun:yes'>� </span>These two chapels are immediately to the
right of the altar.<span style='mso-spacerun:yes'>� </span><o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><span
style='mso-spacerun:yes'>�</span><o:p></o:p></span></p>
<p class=MsoNormal align=center style='margin-left:.5in;text-align:center'><span
style='font-size:7.5pt;font-family:"Verdana","sans-serif";color:#333333;
mso-no-proof:yes'><!--[if gte vml 1]><v:shape id="Picture_x0020_76" o:spid="_x0000_i1100"
type="#_x0000_t75" alt="http://www.casasantapia.com/images/city/firenze/santacroceinterior200.jpg"
style='width:139.8pt;height:178.8pt;visibility:visible;mso-wrap-style:square'>
<v:imagedata src="italy_files/image036.jpg" o:title="santacroceinterior200"
croptop="2540f" cropleft="2359f" cropright="2359f"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=233 height=298
src="italy_files/image037.jpg"
alt="http://www.casasantapia.com/images/city/firenze/santacroceinterior200.jpg"
v:shapes="Picture_x0020_76"><![endif]></span><span style='font-size:12.0pt'><o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'>The <b><u><a
href="http://www.casasantapia.com/art/giotto/santacrocebardichapel.htm">Cappella
Bardi</a></u></b>, the closer to the altar, contains frescoes by <b>Giotto</b>
of <b style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'>The
Life of St. Francis</i></b>; and the one farther from the altar, the <b><u><a
href="http://www.casasantapia.com/art/giotto/santacroceperuzzichapel.htm">Cappella
Peruzzi</a></u></b>, contains <b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'>The Life of Sai</i></b></span><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span
style='font-size:12.0pt;mso-bidi-font-size:10.0pt'>nt John the Evangelist</span></i></b><span
style='font-size:12.0pt;mso-bidi-font-size:10.0pt'>�th</span><span
style='font-size:12.0pt'>e best of <b>Giotto</b>�s work in Florence, although
they were badly damaged at one point, and their restoration was not altogether
well-done.<span style='mso-spacerun:yes'>� </span></span><span
style='font-size:12.0pt;mso-bidi-font-size:10.0pt'>(The only better <b
style='mso-bidi-font-weight:normal'>Giotto</b> frescoes�and they are <i>much</i>
better�are in the <b style='mso-bidi-font-weight:normal'>Cappella Scrovegni </b>in<b
style='mso-bidi-font-weight:normal'> Padova</b></span><span style='font-size:
12.0pt'>.)<span style='mso-spacerun:yes'>� </span></span><span
style='font-size:12.0pt;mso-bidi-font-size:10.0pt'>Although clearly a medieval
painter, <b style='mso-bidi-font-weight:normal'>Giotto</b> represents a major
move forward towards the Renaissance; and, while not actually a part of the
Renaissance, his work has elements and implications that formed the major
influence in the tradition of Florentine painting that led eventually to <b
style='mso-bidi-font-weight:normal'>Masaccio</b>.<span
style='mso-spacerun:yes'>� </span>Figures begin to have much more material existence
and corporeal presence in the painting of <b style='mso-bidi-font-weight:normal'>Giotto</b>.<span
style='mso-spacerun:yes'>� </span>He employed contour line, modeling, and
shading to create a sculptural presence in his figures.<span
style='mso-spacerun:yes'>� </span>His people have far more personality than
those of any prior medieval artist, or any subsequent one for almost 100
years.<span style='mso-spacerun:yes'>� </span>He also demonstrates a masterful
grasp of composition:<span style='mso-spacerun:yes'>� </span>the <span
class=GramE>arrangements of the elements to each other (and to the plane of the
fresco wall) is</span> carefully integrated into the overall design.<span
style='mso-spacerun:yes'>� </span>Each grouping within each fresco has its own
compositional integrity, and together they form a powerful and expressive
rhythmic whole.</span><span style='font-size:12.0pt'><span
style='mso-spacerun:yes'>� </span>While apparently in better condition, the
frescoes in the <b><u><a
href="http://www.casasantapia.com/art/giotto/santacrocebardichapel.htm">Cappella
Bardi</a></u></b> (<i style='mso-bidi-font-style:normal'>e.g.</i>, <b
style='mso-bidi-font-weight:normal'>The Stigmatization of St. Francis</b>
below)<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='margin-left:.5in;text-align:center'><span
style='mso-no-proof:yes'><!--[if gte vml 1]><v:shape id="Picture_x0020_78"
o:spid="_x0000_i1099" type="#_x0000_t75" alt="http://www.casasantapia.com/images/art/giotto/santacrocechapels/bardi1700.jpg"
style='width:207pt;height:200.4pt;visibility:visible;mso-wrap-style:square'>
<v:imagedata src="italy_files/image038.jpg" o:title="bardi1700"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=345 height=334
src="italy_files/image039.jpg"
alt="http://www.casasantapia.com/images/art/giotto/santacrocechapels/bardi1700.jpg"
v:shapes="Picture_x0020_78"><![endif]></span><span style='font-size:12.0pt'><o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span class=GramE><span
style='font-size:12.0pt'>are</span></span><span style='font-size:12.0pt'>
actually far inferior to those of the <b style='mso-bidi-font-weight:normal'><u><a
href="http://www.casasantapia.com/art/giotto/santacroceperuzzichapel.htm">Cappella
Peruzzi</a></u></b>�I suspect due to poor restoration work on those in the
former.<span style='mso-spacerun:yes'>� </span>In my opinion, the best of these
frescoes is <b><i style='mso-bidi-font-style:normal'>The</i></b><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'> <span
style='mso-bidi-font-weight:bold'>Apotheosis of St. John the Evangelist</span></i></b>
(the lower panel on the right wall of the <b style='mso-bidi-font-weight:normal'><u><a
href="http://www.casasantapia.com/art/giotto/santacroceperuzzichapel.htm">Cappella
Peruzzi</a></u></b>, the chapel on the right).<span style='mso-spacerun:yes'>�
</span><o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='margin-left:.5in;text-align:center'><span
style='mso-no-proof:yes'><!--[if gte vml 1]><v:shape id="Picture_x0020_21"
o:spid="_x0000_i1098" type="#_x0000_t75" alt="http://www.wga.hu/art/g/giotto/s_croce/1peruzzi/evang3.jpg"
style='width:370.8pt;height:223.2pt;visibility:visible;mso-wrap-style:square'>
<v:imagedata src="italy_files/image040.jpg" o:title="evang3" croptop="4931f"
cropbottom="5147f" cropleft="3117f" cropright="2753f"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=618 height=372
src="italy_files/image041.jpg"
alt="http://www.wga.hu/art/g/giotto/s_croce/1peruzzi/evang3.jpg" v:shapes="Picture_x0020_21"><![endif]></span><span
style='font-size:12.0pt'><o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'>The
action is framed and balanced by the two groups of figures, one on either side
of the main action, and each contained within its own architectural space.<span
style='mso-spacerun:yes'>� </span>In contrast to this grounded and static base,
the center of the space opens to allow the movement of Saint John ascending
heavenward�rising through the opening architecture toward the angel coming
forward to receive him from above.<span style='mso-spacerun:yes'>� </span>Note
the personalities in the faces, the sculptural feel of the drapery, and the
beautiful use of color.<span style='mso-spacerun:yes'>� </span>The detail below
of<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='margin-left:.5in;text-align:center'><span
style='mso-no-proof:yes'><!--[if gte vml 1]><v:shape id="Picture_x0020_77"
o:spid="_x0000_i1097" type="#_x0000_t75" alt="http://www.casasantapia.com/images/art/giotto/santacrocechapels/saintjohn1700.jpg"
style='width:175.8pt;height:3in;visibility:visible;mso-wrap-style:square'>
<v:imagedata src="italy_files/image042.jpg" o:title="saintjohn1700"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=293 height=360
src="italy_files/image043.jpg"
alt="http://www.casasantapia.com/images/art/giotto/santacrocechapels/saintjohn1700.jpg"
v:shapes="Picture_x0020_77"><![endif]></span><span style='font-size:12.0pt'><o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><span
style='mso-spacerun:yes'>�</span>St. John from </span><b><i style='mso-bidi-font-style:
normal'><span style='font-size:14.0pt;mso-bidi-font-size:12.0pt'>St. John on Patmos</span></i></b><span
style='font-size:12.0pt'> is a quite wonderful.<span style='mso-spacerun:yes'>�
</span>These two works, alone, merit spending significant time standing and
absorbing, as do some of the lesser works of these two chapels.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><u><span style='font-size:12.0pt'>Crucifix
by <b style='mso-bidi-font-weight:normal'>Donatello</b></span></u><span
style='font-size:12.0pt'>: In the left transept.<span
style='mso-spacerun:yes'>� </span>Ca. <span class=GramE>1412,</span> and thought
to have been done as part of a friendly competition with Brunelleschi.<span
style='mso-spacerun:yes'>� </span><span class=GramE>Wonderful, but difficult to
see well.</span><o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal><b><u><span style='font-size:12.0pt'><a
href="http://www.santacroceopera.it/en/ArchitetturaEArte_CappellaPazzi.aspx">Cappella
Pazzi</a> and Museo dell� Opera di Santa Croce</span></u></b><span
style='font-size:12.0pt'>:<span style='mso-spacerun:yes'>� </span>(these are
now entered through the right side of the nave in the church itself, without
any separate admission fee)<o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><b><u><span style='font-size:12.0pt'><a
href="http://www.santacroceopera.it/en/ArchitetturaEArte_Museo.aspx">Museum</a>:<o:p></o:p></span></u></b></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:1.0in'><b><u><span style='font-size:12.0pt'>Crucifix
by Cimabue</span></u></b><u><span style='font-size:12.0pt'>:</span></u><span
style='font-size:12.0pt'><span style='mso-spacerun:yes'>� </span>Although
tragically damaged in the flood of 1966 (the image below shows on the right a
pre-1966 photograph; the image on the left is in its current state), this
magnificent painting by <b style='mso-bidi-font-weight:normal'>Giotto</b>�s
predecessor (and probable teacher) is quite moving.<span
style='mso-spacerun:yes'>� </span><b style='mso-bidi-font-weight:normal'>Cimabue</b>
has far more Byzantine influences in his style (</span><span style='font-size:
12.0pt;mso-bidi-font-size:10.0pt'>this Byzantine influence is characteristic of
the Sienese tradition of painting, by the way</span><span style='font-size:
12.0pt'>) than <b style='mso-bidi-font-weight:normal'>Giotto</b> ever was
affected by, but his painterly quality and interest in the human form was
extremely important in <b style='mso-bidi-font-weight:normal'>Giotto</b>�s
development.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:1.0in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='margin-left:1.0in;text-align:center'><span
style='font-size:109.0pt;mso-no-proof:yes'><!--[if gte vml 1]><v:shape id="_x0000_i1096"
type="#_x0000_t75" alt="http://www.museumsinflorence.com/foto/opera%20s.croce/image/cima.jpg"
style='width:258.6pt;height:204pt;visibility:visible;mso-wrap-style:square'>
<v:imagedata src="italy_files/image044.jpg" o:title="cima" croptop="2842f"
cropbottom="3329f" cropleft="1547f" cropright="844f"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=431 height=340
src="italy_files/image045.jpg"
alt="http://www.museumsinflorence.com/foto/opera%20s.croce/image/cima.jpg"
v:shapes="_x0000_i1096"><![endif]></span><span style='font-size:12.0pt'><o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:1.0in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:1.0in'><b><u><span style='font-size:12.0pt'>St.
Louis of Toulouse </span></u></b><u><span style='font-size:12.0pt;mso-bidi-font-weight:
bold'>by<b> Donatello</b></span></u><span style='font-size:12.0pt'>:<span
style='mso-spacerun:yes'>� </span>(this statue�without its niche�is currently
at the <b style='mso-bidi-font-weight:normal'>Palazzo Strozzi</b> in the <b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><a
href="http://www.palazzostrozzi.org/Sezione.jsp?idSezione=938"><span
class=GramE>Springtime</span> of the Renaissance</a></i></b> exhibition.)<span
style='mso-spacerun:yes'>� </span>Niche and statue were done for the Parte
Guelfa to be placed on Or San Michele.<span style='mso-spacerun:yes'>� </span><o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:1.0in'><b style='mso-bidi-font-weight:
normal'><span style='font-size:12.0pt'><o:p> </o:p></span></b></p>
<p class=MsoNormal align=center style='margin-left:1.0in;text-align:center'><span
style='mso-no-proof:yes'><!--[if gte vml 1]><v:shape id="Picture_x0020_24"
o:spid="_x0000_i1095" type="#_x0000_t75" alt="http://www.wga.hu/art/d/donatell/1_early/orsanmic/2louis_1.jpg"
style='width:133.8pt;height:197.4pt;visibility:visible;mso-wrap-style:square'>
<v:imagedata src="italy_files/image046.jpg" o:title="2louis_1"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=223 height=329
src="italy_files/image047.jpg"
alt="http://www.wga.hu/art/d/donatell/1_early/orsanmic/2louis_1.jpg" v:shapes="Picture_x0020_24"><![endif]></span><b
style='mso-bidi-font-weight:normal'><span style='font-size:12.0pt'><o:p></o:p></span></b></p>
<p class=MsoNormal style='margin-left:1.0in'><b style='mso-bidi-font-weight:
normal'><span style='font-size:12.0pt'><o:p> </o:p></span></b></p>
<p class=MsoNormal style='margin-left:1.0in'><b style='mso-bidi-font-weight:
normal'><span style='font-size:12.0pt'>Donatello</span></b><span
style='font-size:12.0pt'> did them <span class=GramE>between 1422-1425;</span>
and <b style='mso-bidi-font-weight:normal'>Brunelleschi</b>�s influence seems
evident in the classicism of the elements of the niche (</span><i><span
style='font-size:12.0pt;mso-bidi-font-size:10.0pt'>cf</span></i><span
style='font-size:12.0pt;mso-bidi-font-size:10.0pt'>. the very Gothic niche <b
style='mso-bidi-font-weight:normal'>Ghiberti</b> made at the same time for Or
San Michele</span><span style='font-size:12.0pt'>).<span
style='mso-spacerun:yes'>� </span>Statue itself is done in fire-gilt bronze,
which, because of its size, required that it be constructed out of several
separate plates, assembled on a framework of metal bars�a totally novel
approach.<span style='mso-spacerun:yes'>� </span>Note the extraordinary drapery
of the clothing, hinting at the structure of the body underneath, and the
personality expressed in the face.<span style='mso-spacerun:yes'>� </span><o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:1.0in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='margin-left:1.0in;text-align:center'><span
style='mso-no-proof:yes'><!--[if gte vml 1]><v:shape id="Picture_x0020_23"
o:spid="_x0000_i1094" type="#_x0000_t75" alt="cid:[email protected]"
style='width:187.8pt;height:251.4pt;visibility:visible;mso-wrap-style:square'>
<v:imagedata src="italy_files/image048.jpg" o:title="[email protected]"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=313 height=419
src="italy_files/image049.jpg"
alt="cid:[email protected]" v:shapes="Picture_x0020_23"><![endif]></span><span
style='font-size:12.0pt'><o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:1.0in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:1.0in'><span style='font-size:12.0pt'>This
figure is radically different from most of <b style='mso-bidi-font-weight:normal'>Donatello</b>�s
other works:<span style='mso-spacerun:yes'>� </span>it is calm and
contemplative, with an almost mystical air.<span style='mso-spacerun:yes'>�
</span>But this presentation fits the character of the subject:<span
style='mso-spacerun:yes'>� </span><b style='mso-bidi-font-weight:normal'>St.
Louis</b> was a contemplative, holy man who renounced his kingdom to become a
friar.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:1.0in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:1.0in'><u><span style='font-size:12.0pt'>Last
Supper by <b style='mso-bidi-font-weight:normal'>Taddeo Gaddi</b></span></u><span
style='font-size:12.0pt'>:<span style='mso-spacerun:yes'>� </span>Wonderful
fresco at far end of the room.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><b><u><span style='font-size:12.0pt'><a
href="http://www.santacroceopera.it/en/ArchitetturaEArte_CappellaPazzi.aspx">Pazzi
Chape</a>l</span></u></b><u><span style='font-size:12.0pt;mso-bidi-font-weight:
bold'> by<b> Brunelleschi</b></span></u><span style='font-size:12.0pt'>:<span
style='mso-spacerun:yes'>� </span>This marvelous little building was planned in
the mid 1430�s by <b style='mso-bidi-font-weight:normal'>Brunelleschi</b></span><span
style='font-size:12.0pt;mso-bidi-font-size:10.0pt'> (and thus is out of
chronological sequence here.<span style='mso-spacerun:yes'>� </span>If
possible, it is far preferable to see the <b style='mso-bidi-font-weight:normal'>Sagrestia
Vecchia</b> at <b style='mso-bidi-font-weight:normal'>San Lorenzo</b> before
seeing this later work�but, hey, you�re there now. </span><span
style='font-size:12.0pt'>). </span><span style='font-size:12.0pt;mso-bidi-font-size:
10.0pt'><span style='mso-spacerun:yes'>�</span>It is a more complicated and
elaborate version of his plan in the earlier <b style='mso-bidi-font-weight:
normal'>Sagrestia Vecchia</b> (<i>q.v.</i>, below), which consisted of a main
square area covered by a hemispheric dome, with a small choir with a similar
square shape covered by a dome.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt;
mso-bidi-font-size:10.0pt'><o:p> </o:p></span></p>
<p class=MsoBodyTextIndent>Taking the radius of the dome over the central
square here to be one unit, �r,� the sides of the central square <span
class=GramE>are</span> 2r in length.<span style='mso-spacerun:yes'>� </span>On
the wall opposite the entrance, there is an opening for the scarsella (the
altar), which is a square 1r on each side, and covered by a dome, the diameter
of which is r.<span style='mso-spacerun:yes'>� </span>On either side of </p>
<p class=MsoBodyTextIndent><o:p> </o:p></p>
<p class=MsoBodyTextIndent align=center style='text-align:center'><span
style='mso-no-proof:yes'><!--[if gte vml 1]><v:shape id="Picture_x0020_79"
o:spid="_x0000_i1093" type="#_x0000_t75" alt="http://data.GreatBuildings.com/gbc/drawings/Pazzi_Chapel_Plan_1.jpg"
style='width:180.6pt;height:209.4pt;visibility:visible;mso-wrap-style:square'>
<v:imagedata src="italy_files/image050.jpg" o:title="Pazzi_Chapel_Plan_1"
cropbottom="5867f"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=301 height=349
src="italy_files/image051.jpg"
alt="http://data.GreatBuildings.com/gbc/drawings/Pazzi_Chapel_Plan_1.jpg"
v:shapes="Picture_x0020_79"><![endif]></span></p>
<p class=MsoBodyTextIndent><o:p> </o:p></p>
<p class=MsoBodyTextIndent>the central square <b style='mso-bidi-font-weight:
normal'>Brunelleschi</b> added small �transepts� which extend the width of the
interior space �r on either side of the central main square under the
dome�effectively resulting in lateral areas equal to the opening of the
scarsella (1r) on either side of the scarsella, and<span
style='mso-spacerun:yes'>� </span>creating a total width of 3r.<span
style='mso-spacerun:yes'>� </span>In elevation, the chapel is divided into two
zones of equal height (2r each): the lower consisting of the flat side walls up
to the top of the main entablature; the upper half being sub-divided by a
smaller entablature into two equal zones of 1r each�the upper of these being
the hemispheric dome, and the lower containing in the four corners pendentives,
spherical triangles which transform the square into a circle to accommodate the
circumference of the dome.<span style='mso-spacerun:yes'>� </span>The square
scarsella space is balanced by a square entry vestibule outside the doorway,
which is extended on the exterior by 1r square areas on each side�creating an
overall width that is 3r (three of these units), and covered by a very
classical, heavy barrel vault with a central, defining dome shape over the
entry vestibule.</p>
<p class=MsoBodyTextIndent><o:p> </o:p></p>
<p class=MsoBodyTextIndent>The thing that struck me on our most recent visit
was that there is a tension in the rhythm of <b style='mso-bidi-font-weight:
normal'>Brunelleschi</b>�s building between twos and threes (and between threes
and fours).<span style='mso-spacerun:yes'>� </span>Using the same unit �r� from
the previous analysis, one could conceive of the building having a central area
(or, for those who can handle all three dimensions, one could think of this in
terms of volumes) 2r deep and 3r wide (this relationship being obscured by the
way the floor is patterned�the three transverse units are there, although the
outer ones are obscured by being subdivided in half, and the longitudinal ones
are totally obscured by the centering of a 1r square under the dome, which
results in two �r rectangles on either end of that central square); and the
longitudinal dimension increase to 3r if one includes the depth of the
scarsella�creating an implied square, 3r on a side.<span
style='mso-spacerun:yes'>� </span>There is also a 3r square if we envision the
1r x 3r area of the portico as part of the floor area�but that leads to a 4r x
3r total implied floor area if we then include the scarsella. </p>
<p class=MsoBodyTextIndent><o:p> </o:p></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'>What
results is a space that exists in a mathematical relationship to its
constituent parts.<span style='mso-spacerun:yes'>� </span>This form results in
an almost musically harmonious feeling:<span style='mso-spacerun:yes'>�
</span>one is within a spatial harmony, with various overtones.<span
style='mso-spacerun:yes'>� </span>The rhythms and harmonies are emphasized�and,
perhaps, <i>over</i>-emphasized�by the pilasters and trim on the walls and the
patterns on the floors�which are created by and therefore echo the underlying
mathematical relationships.<span style='mso-spacerun:yes'>� </span><o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='margin-left:.5in;text-align:center'><span
style='mso-no-proof:yes'><!--[if gte vml 1]><v:shape id="_x0000_i1092" type="#_x0000_t75"
alt="http://upload.wikimedia.org/wikipedia/commons/c/c5/Pazzi_Chapel_Florence_Apr_2008.jpg"
style='width:216.6pt;height:238.8pt;visibility:visible;mso-wrap-style:square'>
<v:imagedata src="italy_files/image052.jpg" o:title="Pazzi_Chapel_Florence_Apr_2008"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=361 height=398
src="italy_files/image053.jpg"
alt="http://upload.wikimedia.org/wikipedia/commons/c/c5/Pazzi_Chapel_Florence_Apr_2008.jpg"
v:shapes="_x0000_i1092"><![endif]></span><span style='font-size:12.0pt'><o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'>This
is a space that the human mind can grasp and be at peace with.<span
style='mso-spacerun:yes'>� </span>It is stately and grand, but in a quiet,
stable, and tranquil way.<span style='mso-spacerun:yes'>� </span>Spend some
time just sitting in this space to get the feel of it.<span
style='mso-spacerun:yes'>� </span>It�ll do you good!<span
style='mso-spacerun:yes'>� </span></span><span style='font-size:12.0pt;
mso-bidi-font-size:10.0pt'>But the <i>amount</i> of decorative detail results
in its being not nearly as calming or successful as the less adorned, subtler
space <span class=GramE>of<span style='mso-spacerun:yes'>� </span>the</span> <b
style='mso-bidi-font-weight:normal'>Sagrestia Vecchia</b> of <b
style='mso-bidi-font-weight:normal'>San Lorenzo</b>; and the decorative
patterning also serves to amplify the problems of the design.</span><span
style='font-size:12.0pt'><span style='mso-spacerun:yes'>� </span>(</span><span
style='font-size:12.0pt;mso-bidi-font-size:10.0pt'>If you are interested in the
<i>problems</i> of his design, look at the corners:<span
style='mso-spacerun:yes'>� </span>he still hasn�t figured out how to deal with
the converging pilasters in a satisfactory mathematical way.<span
style='mso-spacerun:yes'>� </span>[He doesn�t figure this out until <b
style='mso-bidi-font-weight:normal'>Santo Spirito</b>.] Also notice that there
are some minor discrepancies in the actual mathematical integrity of the
horizontal plan of the width of the chapel: he was forced to compromise the
exactness of some of these mathematical relationships in order to preserve the
continuity in the appearance of the decorative trim [essentially he had to
extend the vertical dimension to allow for the full width of the pilasters on
either side of the choir and the archivolt they support]�which, as Nancy
pointed out, was a good artistic decision.</span><span style='font-size:12.0pt'>)<span
style='mso-spacerun:yes'>� </span>The exterior, which was completed later by<b
style='mso-bidi-font-weight:normal'> Brunelleschi</b>�s students, is less
completely effective; but his basic plan is still in evidence and wonderful.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='margin-left:.5in;text-align:center'><span
style='mso-no-proof:yes'><!--[if gte vml 1]><v:shape id="Picture_x0020_28"
o:spid="_x0000_i1091" type="#_x0000_t75" alt="http://upload.wikimedia.org/wikipedia/commons/thumb/f/f9/Pazzi_Chapel_Santa_Croce_Apr_2008_P.JPG/1044px-Pazzi_Chapel_Santa_Croce_Apr_2008_P.JPG"
style='width:176.4pt;height:203.4pt;visibility:visible;mso-wrap-style:square'>
<v:imagedata src="italy_files/image054.jpg" o:title="1044px-Pazzi_Chapel_Santa_Croce_Apr_2008_P"
croptop="27268f" cropbottom="11630f" cropleft="19198f" cropright="23670f"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=294 height=339
src="italy_files/image055.jpg"
alt="http://upload.wikimedia.org/wikipedia/commons/thumb/f/f9/Pazzi_Chapel_Santa_Croce_Apr_2008_P.JPG/1044px-Pazzi_Chapel_Santa_Croce_Apr_2008_P.JPG"
v:shapes="Picture_x0020_28"><![endif]></span><span style='font-size:12.0pt'><o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal><b><span style='font-size:12.0pt'>Special Note</span></b><span
style='font-size:12.0pt'>:<span style='mso-spacerun:yes'>� </span>Anytime you
are in the area of Santa Croce, don�t miss <span class=GramE>the<span
style='mso-spacerun:yes'>� </span>opportunity</span> to stop in at <b>Vivoli</b>
(via Isola delle Stinche 7r, between via Burella and via<span
style='mso-spacerun:yes'>� </span>della Vigna Vecchia) to have the best gelato
in <st1:place w:st="on"><st1:City w:st="on">Florence</st1:City></st1:place>!<span
style='mso-spacerun:yes'>� </span>(</span><span style='font-size:12.0pt;
mso-bidi-font-size:10.0pt'>NB:<span style='mso-spacerun:yes'>� </span>You pay
first, <span class=GramE><i>then</i></span> pick out the flavors you want.</span><span
style='font-size:12.0pt'>)<o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal><b><u><span style='font-size:12.0pt'><a
href="http://www.sbas.firenze.it/bargello/"><span class=GramE>Il</span>
Bargello</a></span></u></b><b><span style='font-size:12.0pt'>:</span></b><span
style='font-size:12.0pt'> (�<b style='mso-bidi-font-weight:normal'>The Captain
of Justice</b>�) {open 0815-1650; Closed: 2<sup>nd</sup> & 4<sup>th</sup>
Sundays and 1<sup>st</sup>, 3<sup>rd</sup>, and 5<sup>th</sup> Monday of every
month}<span style='mso-spacerun:yes'>�� </span>This trecento palace was the
first town hall, and the site of numerous public hangings.<span
style='mso-spacerun:yes'>� </span>It also contains some of the world�s greatest
sculpture.<span style='mso-spacerun:yes'>� </span>Take in the look and feel of
the main courtyard.<o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.3in'><u><span style='font-size:12.0pt'>Ground
Floor</span></u><span style='font-size:12.0pt'>:<span
style='mso-spacerun:yes'>� </span>Some lovely <b style='mso-bidi-font-weight:
normal'>Michelangelo</b> works:<span style='mso-spacerun:yes'>� </span><i
style='mso-bidi-font-style:normal'>Brutus</i>, <i style='mso-bidi-font-style:
normal'>Bacchus</i>, the <i style='mso-bidi-font-style:normal'>Pitti Tondo</i>
(i.e., round medallion), and a <i style='mso-bidi-font-style:normal'>David</i>
(that isn�t so good); [</span><span style='font-size:12.0pt;mso-bidi-font-size:
10.0pt'>also, lots of <b style='mso-bidi-font-weight:normal'>Giambologna</b>,
if you are so inclined (actually, the <i style='mso-bidi-font-style:normal'>Hermes</i>
is quite wonderful); and Cellini, if you must.</span><span style='font-size:
12.0pt'>]<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.3in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.3in'><u><span style='font-size:12.0pt'>First
Floor</span></u><span style='font-size:12.0pt'>: </span><span style='font-size:
12.0pt;mso-bidi-font-size:10.0pt'>(go up outside staircase from central
courtyard, if it�s open [otherwise, use the stairs inside, across the
courtyard]; and take in architecture at the top of stairs.<span
style='mso-spacerun:yes'>� </span>Then turn to your </span><span
style='font-size:12.0pt'>right</span><span style='font-size:12.0pt;mso-bidi-font-size:
10.0pt'> to enter Sala di <b style='mso-bidi-font-weight:normal'>Donatello</b>.)<span
style='mso-spacerun:yes'>� </span>On your way out of the Sala di <b
style='mso-bidi-font-weight:normal'>Donatello</b>, it is well worth looking at
the <b>bronze birds by Giambologna</b> in the open balcony�they are truly
wonderful in a humorous, almost modern way, that always puts me in mind of <b
style='mso-bidi-font-weight:normal'>Picasso</b>�s ceramic birds, and especially
his owls.<span style='mso-spacerun:yes'>� </span>[There <span class=GramE>are</span>
some other interesting things on this floor and the one above, but nothing
important.]<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.3in'><span style='font-size:12.0pt;
mso-bidi-font-size:10.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='margin-left:.3in;text-align:center'><span
style='mso-no-proof:yes'><!--[if gte vml 1]><v:shape id="Picture_x0020_27"
o:spid="_x0000_i1090" type="#_x0000_t75" alt="cid:[email protected]"
style='width:220.8pt;height:177.6pt;visibility:visible;mso-wrap-style:square'>
<v:imagedata src="italy_files/image056.jpg" o:title="[email protected]"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=368 height=296
src="italy_files/image057.jpg"
alt="cid:[email protected]" v:shapes="Picture_x0020_27"><![endif]></span><span
style='font-size:12.0pt;mso-bidi-font-size:10.0pt'><o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.3in'><span style='font-size:12.0pt;
mso-bidi-font-size:10.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.3in'><b><u><span style='font-size:12.0pt'>Competition
Panels</span></u></b><span style='font-size:12.0pt'>:<span
style='mso-spacerun:yes'>� </span>(On the back wall, to the right of <b
style='mso-bidi-font-weight:normal'>S. Giorgio</b>; but currently these panels
are at the <b style='mso-bidi-font-weight:normal'>Palazzo Strozzi</b> in the <b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><a
href="http://www.palazzostrozzi.org/Sezione.jsp?idSezione=938"><span
class=GramE>Springtime</span> of the Renaissance</a></i></b> exhibition.)<span
style='mso-spacerun:yes'>� </span>These are <b style='mso-bidi-font-weight:
normal'>Ghiberti</b>�s winning submission and <b style='mso-bidi-font-weight:
normal'>Brunelleschi</b>�s runner-up entry in the 1401 competition held to
award the commission for the north doors of the <b style='mso-bidi-font-weight:
normal'>Baptistery</b>.<span style='mso-spacerun:yes'>� </span>(There were many
other entries, all lost to posterity.)<span style='mso-spacerun:yes'>�
</span>The general form of the panels, and of the ones eventually on the doors,
is a Gothic motif�a quatrefoil; the theme was <b style='mso-bidi-font-weight:
normal'><i style='mso-bidi-font-style:normal'>The Sacrifice of Isaac</i></b>.<span
style='mso-spacerun:yes'>� </span>The two finalist works are both incredible,
although <b style='mso-bidi-font-weight:normal'>Ghiberti</b>�s is more the
ultimate culmination of what has been while<b style='mso-bidi-font-weight:normal'>
Brunelleschi</b>�s is a somewhat rougher hint of what is to come.<span
style='mso-spacerun:yes'>� </span>Spend some time taking in the two of them.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.3in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><b><u><span style='font-size:12.0pt'>Ghiberti</span></u></b><span
style='font-size:12.0pt'>:<span style='mso-spacerun:yes'>� </span>The winner,
and deservedly so.<span style='mso-spacerun:yes'>� </span>This panel works
better:<span style='mso-spacerun:yes'>� </span>it is beautiful and powerful and
has a more polished style.<span style='mso-spacerun:yes'>� </span>His
composition uses the Gothic form of the quatrefoil to maximum advantage.<span
style='mso-spacerun:yes'>� </span>There is more depth to the space he
creates.<span style='mso-spacerun:yes'>� </span>The strongly modeled figures
twist gracefully in <span class=GramE>a</span> in rhythmic overlay that
represents the ultimate refinement of an International Gothic feeling.<span
style='mso-spacerun:yes'>� </span>The angel sweeps forward out of the pictorial
depth.<span style='mso-spacerun:yes'>� </span>The mood is actually gentle,
given the subject matter:<span style='mso-spacerun:yes'>� </span>it represents
a pause in the action, reflected in the balance of the composition.<o:p></o:p></span></p>
<p class=MsoNormal align=center style='margin-left:.5in;text-align:center'><span
style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='margin-left:.5in;text-align:center'><span
style='mso-no-proof:yes'><!--[if gte vml 1]><v:shape id="Picture_x0020_30"
o:spid="_x0000_i1089" type="#_x0000_t75" alt="Ghiberti, Sacrifice of Isaac, Competition Panel"
style='width:227.4pt;height:255.6pt;visibility:visible;mso-wrap-style:square'>
<v:imagedata src="italy_files/image058.jpg" o:title="Ghiberti, Sacrifice of Isaac, Competition Panel"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=379 height=426
src="italy_files/image059.jpg"
alt="Ghiberti, Sacrifice of Isaac, Competition Panel" v:shapes="Picture_x0020_30"><![endif]></span><span
style='font-size:12.0pt'><o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><b><u><span style='font-size:12.0pt'>Brunelleschi</span></u></b><span
style='font-size:12.0pt'>:<span style='mso-spacerun:yes'>� </span>Also
magnificent, if not nearly as elegant.<span style='mso-spacerun:yes'>� </span>A
shallower, more rigid composition, with the figures and landscape elements more
sharply separated�in a way that lends an almost abstract quality to the
space.<span style='mso-spacerun:yes'>� </span>Note the focus on the intensity
of the human emotion (<i>e.g</i>., the expression of horror on Abraham�s face
as he moves into the action, and the fear in Isaac�s face) and on the crucial
moment of the action:<span style='mso-spacerun:yes'>� </span>the powerful
thrust of Abraham�s arm as he forces Isaac�s head back to expose his neck; the
knife poised at the moment of being thrust into Isaac�s throat; the force of
the angel coming in from the left, his outstretched arm countering the thrust
of the knife.<span style='mso-spacerun:yes'>� </span>The tension of the drama
is caught at its highest point.<span style='mso-spacerun:yes'>� </span>The
conception of human life with which this relief is imbued has far more to do
with what is to come in the Renaissance�and with the work of <b
style='mso-bidi-font-weight:normal'>Donatello</b>, in particular.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='margin-left:.5in;text-align:center'><span
style='mso-no-proof:yes'><!--[if gte vml 1]><v:shape id="Picture_x0020_31"
o:spid="_x0000_i1088" type="#_x0000_t75" alt="Brunelleschi, Sacrifice of Isaac, Competition Panel"
style='width:244.8pt;height:280.2pt;visibility:visible;mso-wrap-style:square'>
<v:imagedata src="italy_files/image060.jpg" o:title="Brunelleschi, Sacrifice of Isaac, Competition Panel"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=408 height=467
src="italy_files/image061.jpg"
alt="Brunelleschi, Sacrifice of Isaac, Competition Panel" v:shapes="Picture_x0020_31"><![endif]></span><span
style='font-size:12.0pt'><o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.3in'><b><u><span style='font-size:12.0pt'>Donatello</span></u></b><span
style='font-size:12.0pt'>:<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.3in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><u><span style='font-size:12.0pt'>Marble<i
style='mso-bidi-font-style:normal'> David</i></span></u><span style='font-size:
12.0pt'>:<span style='mso-spacerun:yes'>� </span>(1408-9) Perhaps his first
major work.<span style='mso-spacerun:yes'>� </span>The idea of presenting <i
style='mso-bidi-font-style:normal'>David</i> as the <i>youthful</i> victor over
Goliath may have originated here with <b style='mso-bidi-font-weight:normal'>Donatello</b>.<span
style='mso-spacerun:yes'>� </span>This is a work poised between the
International Gothic and the Renaissance:<span style='mso-spacerun:yes'>�
</span>its style is quite linked to the works of <b style='mso-bidi-font-weight:
normal'>Ghiberti</b>, and yet there are, particularly in the face, hints of individuality,
humanity, and classical beauty.<span style='mso-spacerun:yes'>� </span>Also,
more effeminate than one would have imagined <i style='mso-bidi-font-style:
normal'>David</i> as being (</span><span style='font-size:12.0pt;mso-bidi-font-size:
10.0pt'>note the similarity to the face of the Virgin in the <i
style='mso-bidi-font-style:normal'>Annunciation</i> in <b style='mso-bidi-font-weight:
normal'>Santa Croce</b></span><span style='font-size:12.0pt'>).<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><b><i style='mso-bidi-font-style:
normal'><u><span style='font-size:12.0pt'>St. George</span></u></i></b><b><u><span
style='font-size:12.0pt'> Tabernacle</span></u></b><span style='font-size:12.0pt'>:<span
style='mso-spacerun:yes'>� </span>(1415-17<span class=GramE>)<span
style='mso-spacerun:yes'>� </span>Done</span> for the Armorers� Guild for <b
style='mso-bidi-font-weight:normal'>Or San Michele</b>.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='margin-left:.5in;text-align:center'><span
style='mso-no-proof:yes'><!--[if gte vml 1]><v:shape id="Picture_x0020_32"
o:spid="_x0000_i1087" type="#_x0000_t75" alt="http://www.wga.hu/art/d/donatell/1_early/orsanmic/1georg_1.jpg"
style='width:124.8pt;height:353.4pt;visibility:visible;mso-wrap-style:square'>
<v:imagedata src="italy_files/image062.jpg" o:title="1georg_1" cropbottom="1243f"
cropleft="8005f" cropright="6780f"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=208 height=589
src="italy_files/image063.jpg"
alt="http://www.wga.hu/art/d/donatell/1_early/orsanmic/1georg_1.jpg" v:shapes="Picture_x0020_32"><![endif]></span><span
style='font-size:12.0pt'><o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><b><u><span style='font-size:12.0pt'>Niche</span></u></b><span
style='font-size:12.0pt'>:<span style='mso-spacerun:yes'>� </span>The depth of
the architectural setting for <b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'>San Giorgio</i></b> was restricted because
the site it was designed for had a staircase in the wall behind which didn�t
allow for the same depth as the normal niches.<span style='mso-spacerun:yes'>�
</span><b style='mso-bidi-font-weight:normal'>Donatello</b> has used this
situation to marked advantage here, however:<span style='mso-spacerun:yes'>�
</span>he allows the shallowness of the space to project the figure out into
the space of the real world.<span style='mso-spacerun:yes'>� </span>(</span><span
style='font-size:12.0pt;mso-bidi-font-size:10.0pt'>It has been suggested that
the statue originally held a sword in its right hand, which would have even
more dramatically projected the figure out into the space in front of the niche</span><span
style='font-size:12.0pt'>.)<span style='mso-spacerun:yes'>� </span>This figure
dynamically emerges out into the world in a way no other statue on <b
style='mso-bidi-font-weight:normal'>Or San Michele</b> even approaches.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'><span
style='mso-spacerun:yes'>� </span><o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><b><i style='mso-bidi-font-style:
normal'><u><span style='font-size:12.0pt'>San Giorgio</span></u></i></b><span
style='font-size:12.0pt'>:<span style='mso-spacerun:yes'>� </span>Strikingly
posed with his weight unevenly distributed towards his left foot while his body
turns toward the right, the statue conveys the sense of fear, doubt, and inward
struggle for decision to take action. <span
style='mso-spacerun:yes'>�</span>And inward struggle, decision, and interior
crisis are what <b style='mso-bidi-font-weight:normal'>Donatello</b> is most
wonderfully about.<span style='mso-spacerun:yes'>� </span>(</span><span
style='font-size:12.0pt;mso-bidi-font-size:10.0pt'>My undergraduate
dissertation was about <b style='mso-bidi-font-weight:normal'>Donatello</b> as
a creator of art imbued with a tragic sense of life�which, I believe, is all
about such inner struggle and taking action in a world in which rationality can
be sought, but in which not everything succumbs to the desire for rationality.</span><span
style='font-size:12.0pt'>)<span style='mso-spacerun:yes'>� </span>This young
warrior-saint is heroic, yet not without anxiety; his complex human emotion is
clearly evident in the dramatic moment of inner tension captured by <b
style='mso-bidi-font-weight:normal'>Donatello</b>.<span
style='mso-spacerun:yes'>� </span><b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'>San Giorgio</i></b> sees the task before him
and is summoning up his courage to confront it�but he is in no way certain that
he will prevail.<span style='mso-spacerun:yes'>� </span>The only certainty is
that he will undertake the task.<span style='mso-spacerun:yes'>� </span>Below I
offer two images of this fabulous sculpture, one from the left and the other
form the right, because on our most recent visit Nancy advanced the theory that
in the former there is a bit more resolve in his countenance, whereas in the
latter there is more doubt (and youthfulness); in any event, the effect is to
convey the combination.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='margin-left:.8in;text-align:center'><span
style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='margin-left:.8in;text-align:center'><span
style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='margin-left:.8in;text-align:center'><span
style='mso-no-proof:yes'><!--[if gte vml 1]><v:shape id="Picture_x0020_33"
o:spid="_x0000_i1086" type="#_x0000_t75" alt="http://upload.wikimedia.org/wikipedia/commons/9/95/St_George_Donatello_Orsanmichele_n2.jpg"
style='width:157.8pt;height:408pt;visibility:visible;mso-wrap-style:square'>
<v:imagedata src="italy_files/image064.jpg" o:title="St_George_Donatello_Orsanmichele_n2"
croptop="2884f" cropleft="1878f" cropright="6033f"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=263 height=680
src="italy_files/image065.jpg"
alt="http://upload.wikimedia.org/wikipedia/commons/9/95/St_George_Donatello_Orsanmichele_n2.jpg"
v:shapes="Picture_x0020_33"><![endif]></span><span style='font-size:12.0pt'><o:p></o:p></span></p>
<p class=MsoNormal align=center style='margin-left:.8in;text-align:center'><span
style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='margin-left:.8in;text-align:center'><a
href="http://img3.worldhistoryproject.org/photos/images/0fb7cb1507b77c0b49cb3e32f144d147_six_column.jpg"><span
style='font-family:"Georgia","serif";color:#3875AB;mso-no-proof:yes;text-decoration:
none;text-underline:none'><!--[if gte vml 1]><v:shape id="_x0000_i1085" type="#_x0000_t75"
alt="Large Photo"
href="http://img3.worldhistoryproject.org/photos/images/0fb7cb1507b77c0b49cb3e32f144d147_six_column.jpg"
style='width:157.2pt;height:439.2pt;visibility:visible;mso-wrap-style:square'
o:button="t">
<v:imagedata src="italy_files/image066.jpg" o:title="Large Photo" croptop="2320f"
cropleft="4251f" cropright="4221f"/>
</v:shape><![endif]--><![if !vml]><span style='mso-ignore:vglayout'><img
border=0 width=262 height=732 src="italy_files/image067.jpg" alt="Large Photo"
v:shapes="_x0000_i1085"></span><![endif]></span></a><span style='font-size:
12.0pt'><o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><b><u><span style='font-size:12.0pt'>The
Relief Sculpture</span></u></b><span style='font-size:12.0pt'>:<span
style='mso-spacerun:yes'>� </span>(Currently this relief is at the <b
style='mso-bidi-font-weight:normal'>Palazzo Strozzi</b> in the <b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><a
href="http://www.palazzostrozzi.org/Sezione.jsp?idSezione=938"><span
class=GramE>Springtime</span> of the Renaissance</a></i></b> exhibition; the
relief under the statue here is currently a plaster copy.) Don�t overlook the
incredible marble schiacciato (�flattened-out�) relief under the statue
itself:<span style='mso-spacerun:yes'>� </span>it is the representation of<b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'> St.
George</i></b> slaying the dragon. Here is a different dramatic moment, at the
height of the action.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='margin-left:.8in;text-align:center'><span
style='mso-no-proof:yes'><!--[if gte vml 1]><v:shape id="Picture_x0020_35"
o:spid="_x0000_i1084" type="#_x0000_t75" alt="http://www.wga.hu/art/d/donatell/1_early/orsanmic/1georg_6.jpg"
style='width:484.2pt;height:150pt;visibility:visible;mso-wrap-style:square'>
<v:imagedata src="italy_files/image068.jpg" o:title="1georg_6" croptop="10589f"
cropbottom="5384f" cropleft="3133f" cropright="3199f"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=807 height=250
src="italy_files/image069.jpg"
alt="http://www.wga.hu/art/d/donatell/1_early/orsanmic/1georg_6.jpg" v:shapes="Picture_x0020_35"><![endif]></span><span
style='font-size:12.0pt'><o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'>Note
the incredible space and depth <b style='mso-bidi-font-weight:normal'>Donatello</b>
has created in this very shallow, schiacciato relief (</span><span
style='font-size:12.0pt;mso-bidi-font-size:10.0pt'>this panel is the first real
example of this form which was to become an important Florentine style</span><span
style='font-size:12.0pt'>):<span style='mso-spacerun:yes'>� </span>both through
the use of linear perspective in the building on the right </span><span
style='font-size:12.0pt;mso-bidi-font-size:10.0pt'>(it is worth noting that
this example of linear perspective predates its appearance in any painting�let
alone any other sculpture�by a minimum of five or six years!</span><span
style='font-size:12.0pt'>) and through the use of chiaroscuro (light and shade)
and atmosphere (check out the wonderful trees in the background between <b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'>St.
George</i></b> and the maiden).<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='margin-left:.8in;text-align:center'><span
style='mso-no-proof:yes'><!--[if gte vml 1]><v:shape id="Picture_x0020_34"
o:spid="_x0000_i1083" type="#_x0000_t75" alt="cid:[email protected]"
style='width:306pt;height:188.4pt;visibility:visible;mso-wrap-style:square'>
<v:imagedata src="italy_files/image070.jpg" o:title="[email protected]"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=510 height=314
src="italy_files/image071.jpg"
alt="cid:[email protected]" v:shapes="Picture_x0020_34"><![endif]></span><span
style='font-size:12.0pt'><o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'>Notice
the horse, and especially how well he is able to sculpt its head using
virtually no actual depth at all on the relief plane.<span
style='mso-spacerun:yes'>� </span>This schiacciato technique respects the integrity
of the surface of the relief in a way that creates a tension between actual
surface and pictorial depth that becomes increasingly important in <b
style='mso-bidi-font-weight:normal'>Donatello</b>�s later reliefs.<span
style='mso-spacerun:yes'>� </span>Even the dragon�s cave is wonderful.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><b><u><span style='font-size:12.0pt'>A
new speculation</span></u></b><span style='font-size:12.0pt'>:<span
style='mso-spacerun:yes'>� </span>On our 2003 visit to <b style='mso-bidi-font-weight:
normal'><i style='mso-bidi-font-style:normal'>S. Giorgio</i></b>, a radical
possibility occurred to us.<span style='mso-spacerun:yes'>� </span>We were
discussing the way <b style='mso-bidi-font-weight:normal'>Donatello</b> has
used this sculpture actively to move out into the space in front of the niche
and to control and shape it.<span style='mso-spacerun:yes'>� </span>Having been
introduced to the Japanese architectural idea of the �stolen garden,� the way
an architectural construction can actually make use of the pre-existing
buildings and other features around it (a great example of this in Western
architecture is the way <b style='mso-bidi-font-weight:normal'>Mies van der
Rohe</b> captured the surrounding space in his Federal Center complex in
Chicago�something which had been pointed out to us by <b style='mso-bidi-font-weight:
normal'>Alex Garvin</b>, who was accompanying us on this visit to Italy), I
raised the question whether it was perhaps possible that <b style='mso-bidi-font-weight:
normal'>Donatello</b> had done something similar here.<span
style='mso-spacerun:yes'>� </span>We all agreed that he certainly was
commanding the space of the street�particularly with the powerful and riveting
gaze of <b style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:
normal'>S. Giorgio</i></b> outward, obviously in the direction of the
dragon.<span style='mso-spacerun:yes'>� </span>We then went off to look at the
copy of the statue and its niche, in place on the exterior wall of <b
style='mso-bidi-font-weight:normal'>Orsanmichele</b>.<span
style='mso-spacerun:yes'>� </span>Believe or not, at the exact point (both in
terms of angle and focal length) of <b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'>S. Giorgio</i></b>�s gaze, there is
round-arched doorway, articulated in rough-hewn stone, in a quattrocento house
at via Orsanmichele, 6!!<span style='mso-spacerun:yes'>� </span>Could it be
that <b style='mso-bidi-font-weight:normal'>Donatello</b> was actually using
the architectural elements of the street as an implicit part of the sculpture
construction he was creating?<span style='mso-spacerun:yes'>� </span>Stand in
that doorway and look <b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'>S. Giorgio</i></b> in the eye, and then you
decide.<span style='mso-spacerun:yes'>� </span>But if he actually was using
that doorway to represent the dragon�s cave, it would be an unbelievably
radical example of the �stolen garden.�<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><u><span style='font-size:12.0pt'>Il
Marzocco</span></u><span style='font-size:12.0pt'>:<span
style='mso-spacerun:yes'>� </span>(�The Lion of Florence� - 1418-20<span
class=GramE>)<span style='mso-spacerun:yes'>� </span>Distinguished</span> by the
way the animal visage is suffused with the expressiveness and nobility of <b
style='mso-bidi-font-weight:normal'>Donatello</b>�s human forms�this is one
hell of a lion!<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><b><u><span style='font-size:12.0pt'>Bronze
<i style='mso-bidi-font-style:normal'>David</i></span></u></b><span
style='font-size:12.0pt'>:<span style='mso-spacerun:yes'>� </span>(1430-32<span
class=GramE>)<span style='mso-spacerun:yes'>� </span>This</span> is the <i>first</i>
totally free-standing sculpture</span><span style='font-size:12.0pt;mso-bidi-font-size:
10.0pt'> (intended to be viewed in the round as opposed to in a niche</span><span
style='font-size:12.0pt'>) and the <i>first</i> nude sculpture since classical
antiquity!<span style='mso-spacerun:yes'>� </span>While what is most
immediately striking about this <b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'>David</i></b> is that he is presented as a
highly erotic, extremely effeminate, beautiful young boy, note also the
tremendous classicism of the form and pose.<span style='mso-spacerun:yes'>�
</span>Also, the specific proportions of the figure exactly replicate those of
the norm in classical <st1:place w:st="on"><st1:City w:st="on">Rome</st1:City></st1:place>.<span
style='mso-spacerun:yes'>� </span>(</span><b style='mso-bidi-font-weight:normal'><span
style='font-size:12.0pt;mso-bidi-font-size:10.0pt'>Donatello</span></b><span
style='font-size:12.0pt;mso-bidi-font-size:10.0pt'> had just returned from a
trip to <st1:City w:st="on"><st1:place w:st="on">Rome</st1:place></st1:City>
when he began this work.</span><span style='font-size:12.0pt'>)<span
style='mso-spacerun:yes'>� </span>Don�t <span class=GramE>miss</span> Goliath�s
head, and the delicate way <b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'>David</i></b>�s toes intertwine in his beard
and moustache.<span style='mso-spacerun:yes'>� </span>And check out the feather
from Goliath�s helmet against <b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'>David</i></b>�s inner thigh.<span
style='mso-spacerun:yes'>� </span>Note also the fact that <b style='mso-bidi-font-weight:
normal'><i style='mso-bidi-font-style:normal'>David</i></b>�s feet are
positioned on opposite sides of Goliath�s head and helmet, resulting in the one
feather from the helmet being between his legs, in just the same way Judith�s
pose with Holofernes results in his torso being between her legs.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='margin-left:.5in;text-align:center'><a
href="http://upload.wikimedia.org/wikipedia/commons/7/7f/Florence_-_David_by_Donatello.jpg"><span
style='mso-no-proof:yes;text-decoration:none;text-underline:none'><!--[if gte vml 1]><v:shape
id="Picture_x0020_37" o:spid="_x0000_i1082" type="#_x0000_t75" alt="File:Florence - David by Donatello.jpg"
href="http://upload.wikimedia.org/wikipedia/commons/7/7f/Florence_-_David_by_Donatello.jpg"
style='width:173.4pt;height:403.8pt;visibility:visible;mso-wrap-style:square'
o:button="t">
<v:imagedata src="italy_files/image072.jpg" o:title="Florence - David by Donatello"
cropbottom="2721f" cropleft="18975f" cropright="5984f"/>
</v:shape><![endif]--><![if !vml]><span style='mso-ignore:vglayout'><img
border=0 width=289 height=673 src="italy_files/image073.jpg"
alt="File:Florence - David by Donatello.jpg" v:shapes="Picture_x0020_37"></span><![endif]></span></a><span
style='font-size:12.0pt'><o:p></o:p></span></p>
<p class=MsoNormal align=center style='margin-left:.5in;text-align:center'><span
style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><u><span style='font-size:12.0pt'>Niccol�
da Uzzano</span></u><span style='font-size:12.0pt'>:<span
style='mso-spacerun:yes'>� </span>(ca. 1460-80) Very moving human depth in this
bust.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><u><span style='font-size:12.0pt'>Crucifixion</span></u><span
style='font-size:12.0pt'>:<span style='mso-spacerun:yes'>� </span>This very
late (ca. 1470-80) bronze relief was probably designed by <b style='mso-bidi-font-weight:
normal'>Donatello</b>, as it has some of his feel; but it was almost certainly
executed by his students, as it just isn�t quite up to his standards in certain
important ways.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal><b><u><span style='font-size:12.0pt'>San Lorenzo</span></u></b><span
style='font-size:12.0pt'>:<span style='mso-spacerun:yes'>� </span>{1000-1650;
Closed: 2<sup>nd</sup> & 4<sup>th</sup> Sundays and 1<sup>st</sup>, 3<sup>rd</sup>,
and 5<sup>th</sup> Monday of every month} <b style='mso-bidi-font-weight:normal'>Brunelleschi</b>
did his design for this church starting about 1419, although much of the work
on it did not get done until the �40s, and it was not completed until long
after his death in 1446.<span style='mso-spacerun:yes'>� </span></span><span
style='font-size:12.0pt;mso-bidi-font-size:10.0pt'><o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt;mso-bidi-font-size:10.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='text-align:center'><span
style='color:#6B6966;mso-no-proof:yes'><!--[if gte vml 1]><v:shape id="Picture_x0020_110"
o:spid="_x0000_i1081" type="#_x0000_t75" alt="http://www.viajesturismo.info/wp-content/uploads/2011/06/Bas%C3%ADlica-de-San-Lorenzo-de-Florencia.jpg"
style='width:325.8pt;height:204pt;visibility:visible;mso-wrap-style:square'>
<v:imagedata src="italy_files/image074.jpg" o:title="Bas%C3%ADlica-de-San-Lorenzo-de-Florencia"
cropbottom="9394f"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=543 height=340
src="italy_files/image075.jpg"
alt="http://www.viajesturismo.info/wp-content/uploads/2011/06/Bas%C3%ADlica-de-San-Lorenzo-de-Florencia.jpg"
v:shapes="Picture_x0020_110"><![endif]></span><span style='font-size:12.0pt;
mso-bidi-font-size:10.0pt'><o:p></o:p></span></p>
<p class=MsoNormal align=center style='text-align:center'><span
style='font-size:12.0pt;mso-bidi-font-size:10.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt;mso-bidi-font-size:10.0pt'>The
basic type of the church is quite closely related to that of the Italian
Romanesque:<span style='mso-spacerun:yes'>� </span>the flat roof of the nave
rising above the aisles, the aisle bays are topped with simple domes, the use
of dosserets above the capitals.<o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt;mso-bidi-font-size:10.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt;mso-bidi-font-size:10.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='text-align:center'><span
style='font-size:12.0pt;mso-bidi-font-size:10.0pt;mso-no-proof:yes'><!--[if gte vml 1]><v:shape
id="Picture_x0020_39" o:spid="_x0000_i1080" type="#_x0000_t75" alt="Fl-SanLor-2"
style='width:180pt;height:256.8pt;visibility:visible;mso-wrap-style:square'>
<v:imagedata src="italy_files/image076.png" o:title="Fl-SanLor-2"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=300 height=428
src="italy_files/image077.gif" alt=Fl-SanLor-2 v:shapes="Picture_x0020_39"><![endif]></span><span
style='font-size:12.0pt;mso-bidi-font-size:10.0pt'><o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt;mso-bidi-font-size:10.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt;mso-bidi-font-size:10.0pt'>The
details, on the other hand, are elements straight out of classical
antiquity:<span style='mso-spacerun:yes'>� </span>the pilasters, the elegant
columns, the capitals, the coffered ceiling.<span style='mso-spacerun:yes'>�
</span>The precise mathematical harmonies of the space are pure <b
style='mso-bidi-font-weight:normal'>Brunelleschi</b>, however:<span
style='mso-spacerun:yes'>� </span>the domed crossing of the church is a square
unit that is repeated on each side to form the transept,<o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt;mso-bidi-font-size:10.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='text-align:center'><span
style='font-size:12.0pt;mso-bidi-font-size:10.0pt;mso-no-proof:yes'><!--[if gte vml 1]><v:shape
id="Picture_x0020_40" o:spid="_x0000_i1079" type="#_x0000_t75" alt="Fl-SanLor-1"
style='width:220.2pt;height:165.6pt;visibility:visible;mso-wrap-style:square'>
<v:imagedata src="italy_files/image078.png" o:title="Fl-SanLor-1"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=367 height=276
src="italy_files/image079.gif" alt=Fl-SanLor-1 v:shapes="Picture_x0020_40"><![endif]></span><span
style='font-size:12.0pt;mso-bidi-font-size:10.0pt'><o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt;mso-bidi-font-size:10.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt;mso-bidi-font-size:10.0pt'>and
repeated behind the crossing for the choir; the nave consists of four of these
units, flanked by 8 square aisle bays on each side�each one half the side of
the major square, and, naturally, one fourth the area.<o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt;mso-bidi-font-size:10.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='text-align:center'><span
style='font-size:9.0pt;font-family:"Arial","sans-serif";color:#222222;
mso-no-proof:yes'><!--[if gte vml 1]><v:shape id="Picture_x0020_109" o:spid="_x0000_i1078"
type="#_x0000_t75" alt="http://3.bp.blogspot.com/-CdovxxTSrHQ/Tc357ebmHNI/AAAAAAAAB_Q/XEKp3Lr-3aE/s1600/07%2B-%2BIglesia%2Bde%2BSan%2BLorenzo..jpg"
style='width:238.2pt;height:190.2pt;visibility:visible;mso-wrap-style:square'>
<v:imagedata src="italy_files/image080.jpg" o:title="07%2B-%2BIglesia%2Bde%2BSan%2BLorenzo."
croptop="1594f" cropbottom="2245f" cropleft="1439f" cropright="1442f"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=397 height=317
src="italy_files/image081.jpg"
alt="http://3.bp.blogspot.com/-CdovxxTSrHQ/Tc357ebmHNI/AAAAAAAAB_Q/XEKp3Lr-3aE/s1600/07%2B-%2BIglesia%2Bde%2BSan%2BLorenzo..jpg"
v:shapes="Picture_x0020_109"><![endif]></span><span style='font-size:12.0pt;
mso-bidi-font-size:10.0pt'><o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt;mso-bidi-font-size:10.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt;mso-bidi-font-size:10.0pt'>(For
those who like the problems:<span style='mso-spacerun:yes'>� </span>the fact
that the side chapels were so high off the floor meant that, in order to have
the columns be the same height as the pilasters on the side walls, he had to
utilize very large dosserets over the capitals to make up for the difference in
elevation; he solves this problem at<b style='mso-bidi-font-weight:normal'>
Santo Spirito</b>.)<span style='mso-spacerun:yes'>� </span></span><span
style='font-size:12.0pt'>Here, once again, we are in one of the spaces he
created that <span class=GramE>is</span> both light and grand, understandable
yet impressive, rhythmic yet stable; and the trim and architectural decorations
all combine to enhance these effects.<o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><b><u><span style='font-size:12.0pt'>Twin
Bronze Pulpits by Donatello</span></u></b><span style='font-size:12.0pt'>:<span
style='mso-spacerun:yes'>� </span>ca. 1460-<span class=GramE>66<span
style='mso-spacerun:yes'>� </span>(</span>on both sides of nave at front) <o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><b><u><span style='font-size:12.0pt'>South
Pulpit</span></u></b><span style='font-size:12.0pt'>:<span
style='mso-spacerun:yes'>� </span>(on right; at the moment this pulpit is being
restored [interestingly, on site, where it normally stands in <b
style='mso-bidi-font-weight:normal'>San Lorenzo</b>, but not in public view.)
This is an incredible masterpiece.<span style='mso-spacerun:yes'>� </span>The
side facing in towards the nave is a <b><i style='mso-bidi-font-style:normal'><u>Resurrection</u></i></b>,
in which Jesus harrows Hell and then rises.<span style='mso-spacerun:yes'>�
</span>The picture of Jesus is unique in all of the art of this period:<span
style='mso-spacerun:yes'>� </span>one can see the human dimension of his
struggle and suffering.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='margin-left:.8in;text-align:center'><span
style='mso-no-proof:yes'><!--[if gte vml 1]><v:shape id="Picture_x0020_107"
o:spid="_x0000_i1077" type="#_x0000_t75" alt="http://www.digital-images.net/Images/Florence/SanLorenzo/DonatelloPulpit_SanLorenzo_5305.jpg"
style='width:391.8pt;height:144.6pt;visibility:visible;mso-wrap-style:square'>
<v:imagedata src="italy_files/image082.jpg" o:title="DonatelloPulpit_SanLorenzo_5305"
croptop="5015f" cropbottom="28668f" cropleft="1556f" cropright="1244f"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=653 height=241
src="italy_files/image083.jpg"
alt="http://www.digital-images.net/Images/Florence/SanLorenzo/DonatelloPulpit_SanLorenzo_5305.jpg"
v:shapes="Picture_x0020_107"><![endif]></span><span style='font-size:12.0pt'><o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'>He
does not rise from his time in the underworld triumphant and untouched (as in
the typical iconography):<span style='mso-spacerun:yes'>� </span>rather he is
haggard, weary, and tattered from what he has endured.<span
style='mso-spacerun:yes'>� </span>Jesus drags himself out of Limbo, his face
drawn and his eyes squinting from the strain.<span style='mso-spacerun:yes'>�
</span>It is a vision that is unique even for the Renaissance:<span
style='mso-spacerun:yes'>� </span>it is not a picture of the triumph of reason,
or of the victory of human (or divine) striving over all obstacles; it is a
picture of the most intense striving against forces that do not so easily yield
to these efforts.<span style='mso-spacerun:yes'>� </span>Again, it is a tragic
view of life.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='margin-left:.8in;text-align:center'><span
style='font-size:12.0pt;mso-no-proof:yes'><!--[if gte vml 1]><v:shape id="Picture_x0020_43"
o:spid="_x0000_i1076" type="#_x0000_t75" alt="Harrowing-2" style='width:200.4pt;
height:268.8pt;visibility:visible;mso-wrap-style:square'>
<v:imagedata src="italy_files/image084.jpg" o:title="Harrowing-2"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=334 height=448
src="italy_files/image085.jpg" alt=Harrowing-2 v:shapes="Picture_x0020_43"><![endif]></span><span
style='font-size:12.0pt'><o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><b><u><span style='font-size:12.0pt'>North
Pulpit</span></u></b><span style='font-size:12.0pt'>: (on left<span
class=GramE>)<span style='mso-spacerun:yes'>� </span>Crucifixion</span>
stories.<span style='mso-spacerun:yes'>� </span>Note particularly the marvelous
architecture spaces created in the reliefs and the way they frame, emphasize,
and enhance the action.<span style='mso-spacerun:yes'>� </span>One of the most
wonderfully unusual reliefs on this pulpit, <b><i style='mso-bidi-font-style:
normal'><u>Christ Before Pilate</u></i></b>, <b style='mso-bidi-font-weight:
normal'>Donatello</b> treats the psychology of the theme of Pilate in a totally
anomalous way:<span style='mso-spacerun:yes'>� </span>Pilate is usually
represented as evil (and often portrayed as in league with the devil), and
sometimes represented as a saint (as in the Ethiopian Church); but <b
style='mso-bidi-font-weight:normal'>Donatello</b>, always attuned to the nuance
of moral dilemma in the human situation, treats him as an individual facing an
impossible decision.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='margin-left:.8in;text-align:center'><span
style='font-size:12.0pt;mso-no-proof:yes'><!--[if gte vml 1]><v:shape id="Picture_x0020_44"
o:spid="_x0000_i1075" type="#_x0000_t75" alt="Pilot" style='width:198.6pt;
height:261pt;visibility:visible;mso-wrap-style:square'>
<v:imagedata src="italy_files/image086.jpg" o:title="Pilot"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=331 height=435
src="italy_files/image087.jpg" alt=Pilot v:shapes="Picture_x0020_44"><![endif]></span><span
style='font-size:12.0pt'><o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'>His
�alternation� and indecision is represented by the extraordinarily unusual
symbol of the servant who is bringing Pilate the water with which he will
eventually �wash his hands� of the situation:<span style='mso-spacerun:yes'>�
</span>this servant, immediately behind him, is presented as a two-faced Janus
figure.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='margin-left:.8in;text-align:center'><span
style='font-size:12.0pt;mso-no-proof:yes'><!--[if gte vml 1]><v:shape id="Picture_x0020_45"
o:spid="_x0000_i1074" type="#_x0000_t75" alt="Pilot-detail" style='width:218.4pt;
height:297.6pt;visibility:visible;mso-wrap-style:square'>
<v:imagedata src="italy_files/image088.jpg" o:title="Pilot-detail"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=364 height=496
src="italy_files/image089.jpg" alt=Pilot-detail v:shapes="Picture_x0020_45"><![endif]></span><span
style='font-size:12.0pt'><o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'>In
this unprecedented iconographic departure, <b style='mso-bidi-font-weight:normal'>Donatello</b>
is clearly emphasizing the indecision and moral dilemma Pilate faced in making
his judgment:<span style='mso-spacerun:yes'>� </span>he found no evil in Jesus,
yet he was unable to dispute the charges of his accusers.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><b><u><span style='font-size:12.0pt'>Sagrestia
Vecchia</span></u></b><span style='font-size:12.0pt'>: {now open whenever the
main church is}<b style='mso-bidi-font-weight:normal'> Brunelleschi</b>�s <b
style='mso-bidi-font-weight:normal'>Old Sacristy</b> (entered from the left
side of the transept<span class=GramE>) <span style='mso-bidi-font-size:10.0pt'><span
style='mso-spacerun:yes'>�</span>If</span></span></span><span style='font-size:
12.0pt;mso-bidi-font-size:10.0pt'> you are like us, you will want to be able to
be inside this architectural masterpiece for the better part of an hour or more</span><span
style='font-size:12.0pt'>.<span style='mso-spacerun:yes'>� </span>The plan was
done in 1419, and the actual building was done 1421-1428, well before the rest
of the church, and therefore really a building in its own right.<span
style='mso-spacerun:yes'>� </span>It is the <i>first</i> centrally planned
building of the Renaissance�and it is a true marvel.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='mso-bidi-font-size:
10.0pt'>The main area is a square with a hemispheric dome over it.<span
style='mso-spacerun:yes'>� </span>Assigning �r� as the radius of the dome, the
sides of the square are 2r in length. The one side is divided into thirds (each
section therefore being 2r/3 in width), the central one being opened up to form
the entrance to a small altar, which itself is then a square (2r/3 on a side)
with a hemispheric dome (radius=r/3). The main space is horizontally divided
into three elevations: the lowest level consists of the side walls, which rise
flat up to the entablature; the middle level consists of the continuation of
the side walls up to the level of the springing of the dome�the four corners of
which are formed into pendentives, spherical triangles which transform the
square into a circle to accommodate the circumference of the dome [It has been
speculated that this particular section of <b style='mso-bidi-font-weight:normal'>Brunelleschi</b>�s
design may have been influenced by his friend, <b style='mso-bidi-font-weight:
normal'>Donatello</b>, who also did the round reliefs that decorate the four
pendentives.]; the third is the hemispheric dome itself.<span
style='mso-spacerun:yes'>� </span>The dome is, of course, 1r in elevation, as is
the middle level with its pendentives.<span style='mso-spacerun:yes'>�
</span>There are many claims made as to the elevation of the lowest level and
its relationship to the whole�all of them erroneous! [The people at the church
itself claim that the building consists of two cubes (of 2r on a side) on top
of one another: the top one consisting of the upper two sections, and the
bottom one consisting of a cube in its own right, therefore claiming the
elevation of the lowest level to be 2r. One scholarly work by Peter Murray
claims (and has a diagram to demonstrate it) that the <i>lower</i> two levels
form a cube�with the elevation of the whole being divided into three <i>equal</i>
heights of 1r each.] On <i>extremely</i> careful observation, Nancy and I are
completely convinced that the height of the lowest level of the space is, in
fact either 2r/3 or 3r/4 (it being impossible to estimate any more closely than
that); but that<i> it is definitely not either 1r or 2r</i>. The pilasters
which carry the entablature are modified Roman forms, much like those <b
style='mso-bidi-font-weight:normal'>Brunelleschi</b> used in the<b
style='mso-bidi-font-weight:normal'> Loggia of the Foundling Hospital</b>.<span
style='mso-spacerun:yes'>� </span>Springing from the tops of the pilasters on
each of the four flat surfaces of the middle elevation are pairs of
semicircular archivolts, with radii of 1r and r/3.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='margin-left:.5in;text-align:center'><span
style='mso-no-proof:yes'><!--[if gte vml 1]><v:shape id="Picture_x0020_104"
o:spid="_x0000_i1073" type="#_x0000_t75" alt="http://www.wga.hu/art/d/donatell/2_mature/sacristy/1sacri012.jpg"
style='width:237.6pt;height:297pt;visibility:visible;mso-wrap-style:square'>
<v:imagedata src="italy_files/image090.jpg" o:title="1sacri012"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=396 height=495
src="italy_files/image091.jpg"
alt="http://www.wga.hu/art/d/donatell/2_mature/sacristy/1sacri012.jpg" v:shapes="Picture_x0020_104"><![endif]></span><span
style='font-size:12.0pt'><o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'>But
what is going on in this building goes far beyond the mathematics of the
underlying relationships:<span style='mso-spacerun:yes'>� </span>just as the
mathematics underlying musical composition are only implicit in the actual
experience of the music when heard, it is the magnificent feel and experience
of this space that matters.<span style='mso-spacerun:yes'>� </span>The space <b
style='mso-bidi-font-weight:normal'>Brunelleschi</b> creates is truly
encompassing in a way that is not at all overwhelming.<span
style='mso-spacerun:yes'>� </span>This is a space <i>designed</i> to be grasped
by the people in it:<span style='mso-spacerun:yes'>� </span>it is
understandable, comfortable, yet inspiring.<span style='mso-spacerun:yes'>�
</span>Once again, I return to a musical metaphor:<span
style='mso-spacerun:yes'>� </span>the mathematical interrelationships are
experienced as harmonious, even without one�s direct consciousness of their existence.<span
style='mso-spacerun:yes'>� </span>(In his latter version, the <b
style='mso-bidi-font-weight:normal'>Pazzi Chapel</b>, <b style='mso-bidi-font-weight:
normal'>Brunelleschi</b>�s use of ornament makes these relationships more
insistently present in the experience, in a way that makes it not nearly as
effective or successful as it is here.)<span style='mso-spacerun:yes'>�
</span>It is a space that has been created by man�s rationality, and it feels
understandable to those in it.<span style='mso-spacerun:yes'>� </span>Here is
truly a place to spend some time in order to absorb the feel of what the
Renaissance is all about<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'>.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><b><u><span style='font-size:12.0pt'>Donatello�s
Pendentive Sculptures</span></u></b><span style='font-size:12.0pt'>:<span
style='mso-spacerun:yes'>�� </span>These scenes from the life of St. John the
Evangelist (<b style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:
normal'>Vision on the Isle of Patmos</i></b>,<b style='mso-bidi-font-weight:
normal'><i style='mso-bidi-font-style:normal'> Raising of Drusiana</i></b>, <b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'>Liberation
from the Cauldron of Oil</i></b>, and <b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'>Apotheosis</i></b>) are done in painted
stucco, and were probably executed in the mid-1430s.<span
style='mso-spacerun:yes'>� </span></span><span style='font-size:12.0pt;
mso-bidi-font-size:10.0pt'>They are great examples of <b style='mso-bidi-font-weight:
normal'>Donatello</b>�s ability to create space both architecturally and
through subtle shading and painterly suggestion, and have it function in real,
impressionistic, and symbolic ways.<span style='mso-spacerun:yes'>� </span></span><span
style='font-size:12.0pt'>(</span><span style='font-size:12.0pt;mso-bidi-font-size:
10.0pt'>It is of great importance to note that <b style='mso-bidi-font-weight:
normal'>Donatello</b> very early on had mastered the principles of linear
perspective, but that he often purposely violated their rules to achieve
particular effects�often for thematic or dramatic reasons</span><span
style='font-size:12.0pt'>.)<span style='mso-spacerun:yes'>� </span>While all
four reliefs are magnificent, the <b><i style='mso-bidi-font-style:normal'><u>Apotheosis</u></i></b>
is by far my favorite.<span style='mso-spacerun:yes'>� </span><o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='margin-left:.8in;text-align:center'><span
style='mso-no-proof:yes'><!--[if gte vml 1]><v:shape id="Picture_x0020_105"
o:spid="_x0000_i1072" type="#_x0000_t75" alt="http://www.wga.hu/art/d/donatell/2_mature/sacristy/1sacri15.jpg"
style='width:256.8pt;height:247.2pt;visibility:visible;mso-wrap-style:square'>
<v:imagedata src="italy_files/image092.jpg" o:title="1sacri15"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=428 height=412
src="italy_files/image093.jpg"
alt="http://www.wga.hu/art/d/donatell/2_mature/sacristy/1sacri15.jpg" v:shapes="Picture_x0020_105"><![endif]></span><span
style='font-size:12.0pt'><o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'>The
strong horizontal base (which projects forward in the foreground of the space
across the bottom of the relief) creates a solid grounding upon which the
action occurs.<span style='mso-spacerun:yes'>� </span>In the next level, the
figures are contained within the highly symbolic architecture.<span
style='mso-spacerun:yes'>� </span>But this very containing architecture itself,
through the exaggeration of perspectival effect, leans inwards to emphasize the
movement of the main action, which is that of <st1:City w:st="on"><st1:place
w:st="on">St. John</st1:place></st1:City> moving upwards through the opening
in between towards heaven.<span style='mso-spacerun:yes'>� </span>Notice the
angel emerging from around the back of the top of the building.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><u><span style='font-size:12.0pt'>Other
Sculpture by<b style='mso-bidi-font-weight:normal'> Donatello</b></span></u><span
style='font-size:12.0pt'>:<span style='mso-spacerun:yes'>� </span>The bronze
doors of the martyrs and of the apostles; the reliefs in painted stucco over
the doors of Saints Stephen and Lawrence and Saints Cosmas and Damian; Four Evangelists
(about which there is much question as to the artist); there is also an
absolutely beautiful bust of San Lorenzo on a counter on the entry wall
(despite the magnificence of this piece<span class=GramE>,<span
style='mso-spacerun:yes'>� </span>its</span> attribution to Donatello has been
severely questioned.)<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><u><span style='font-size:12.0pt'>Cappelle
Medici</span></u><span style='font-size:12.0pt'>: </span><b><span
style='font-size:12.0pt;mso-bidi-font-size:10.0pt'>*XX*</span></b><span
style='font-size:12.0pt'> One enters through the back of <st1:place w:st="on">San
Lorenzo</st1:place>. [</span><span style='font-size:12.0pt;mso-bidi-font-size:
10.0pt'>The main chapel, the Cappella Principi (or Chapel of Princes�the Medici
were <i>not</i> modest) is a psychedelic horror of colored marble and bad
taste; but one has to go through it to get to Michelangelo�s Sagrestia Nuova.</span><span
style='font-size:12.0pt'>] <o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><u><span style='font-size:12.0pt'>Sagrestia
Nuova</span></u><span style='font-size:12.0pt'>:<span
style='mso-spacerun:yes'>� </span>Begun by Michelangelo in 1521 and completed
by Vasari in 1555, it is architecturally restful after the Cappella Principi,
but not in comparison the Sagrestia Vecchia of Brunelleschi.<span
style='mso-spacerun:yes'>� </span>Some good Michelangelo sculptures:<span
style='mso-spacerun:yes'>� </span>Dawn and Dusk (on Lorenzo�s tomb) and Night
and Day (on Giuliano�s tomb, opposite).<span style='mso-spacerun:yes'>�
</span>If you check out the female anatomy, you realize the big M wasn�t
terribly into the female form.<span style='mso-spacerun:yes'>� </span>There is
also a Madonna and Child by him.<o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal><u><span style='font-size:12.0pt'>Museo di San Marco</span></u><span
style='font-size:12.0pt'>:<span style='mso-spacerun:yes'>�
</span>{Monday-Friday 0815-1350; Saturday & Sunday 0815-16:50; closed 1st,</span><span
style='font-size:12.0pt;mso-bidi-font-size:10.0pt'> 3<sup>rd</sup>, 5<sup>th</sup>
Sundays of each mo., and 2<sup>nd</sup>, 4<sup>th</sup> Mondays</span><span
style='font-size:12.0pt'>} <span class=GramE>The</span> (eventually Dominican)
church and monastery of San Marco, built in 1299, were the home base of <b>Fra
Angelico</b> (and Savanarola, too).<span style='mso-spacerun:yes'>� </span>As
such, it houses the best, most loving, beautiful paintings he ever did.<span
style='mso-spacerun:yes'>� </span>While Fra Angelico (cited as �Beato [Blessed]
Angelico� in this museum) is not part of the same humanistic spirit that lay at
the heart of the Renaissance, his paintings, particularly here in his own
monastery, are so wonderful and sensitive that they bear special attention
(look particularly closely at the faces: not the monumental humanity of
Masaccio and Donatello, but a spiritual beauty, instead).<span
style='mso-spacerun:yes'>� </span>On the ground floor, immediately to the right
as you enter is an area that houses twenty of his magnificent works.<span
style='mso-spacerun:yes'>� </span></span><span style='font-size:12.0pt;
mso-bidi-font-size:10.0pt'>There is also a wing that houses architectural
fragments from various sites in <st1:City w:st="on"><st1:place w:st="on">Florence</st1:place></st1:City>
(including some of the early Jewish buildings), which is very interesting, if
you have the time.</span><span style='font-size:12.0pt'><span
style='mso-spacerun:yes'>� </span>Upstairs (directly at the top of the stairs)
is an incredibly beautiful <i style='mso-bidi-font-style:normal'>Annunciation</i>.<span
style='mso-spacerun:yes'>� </span>(It is worth thinking about the contrast
between this work and the <b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'>Annunciation</i></b> by <b style='mso-bidi-font-weight:
normal'>Donatello</b> in <b style='mso-bidi-font-weight:normal'>Santa Croce</b>)<o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='text-align:center'><span
style='mso-no-proof:yes'><!--[if gte vml 1]><v:shape id="Picture_x0020_46"
o:spid="_x0000_i1071" type="#_x0000_t75" alt="http://upload.wikimedia.org/wikipedia/commons/thumb/e/ed/Fra_Angelico_043.jpg/1280px-Fra_Angelico_043.jpg"
style='width:244.8pt;height:171pt;visibility:visible;mso-wrap-style:square'>
<v:imagedata src="italy_files/image094.jpg" o:title="1280px-Fra_Angelico_043"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=408 height=285
src="italy_files/image095.jpg"
alt="http://upload.wikimedia.org/wikipedia/commons/thumb/e/ed/Fra_Angelico_043.jpg/1280px-Fra_Angelico_043.jpg"
v:shapes="Picture_x0020_46"><![endif]></span><span style='font-size:12.0pt'><o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt'>Also upstairs are the monks�
cells�many with frescoes done all or in part by the master (see cells numbers
1, 3, 6, 7, and 9, using <i>Access: Florence</i> to guide you).<o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal><b><u><span style='font-size:12.0pt'><a
href="http://www.operaduomo.firenze.it/home_800.htm">Museo dell� Opera <span
class=GramE>del</span> Duomo</a></span></u></b><span style='font-size:12.0pt'>:
{0900-1930, Sunday 0900-1345} This may be my favorite place in Florence, and it
is definitely <i>not</i> on the tourist itinerary, which is a great plus.<span
style='mso-spacerun:yes'>� </span>It contains all of the great sculpture that
had originally been on the Duomo, Baptistery, and Campanile�much of which was
done by Donatello.<span style='mso-spacerun:yes'>� </span>It has been recently
been completely renovated, most successfully.<span style='mso-spacerun:yes'>�
</span>It is now beautiful even as a modern exhibition space.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.3in'><b><u><span style='font-size:12.0pt'>Ground
Floor</span></u></b><span style='font-size:12.0pt'>:<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.3in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><b style='mso-bidi-font-weight:
normal'><u><span style='font-size:12.0pt'>Brunelleschi Memorabilia</span></u></b><span
style='font-size:12.0pt'>:<span style='mso-spacerun:yes'>� </span>Fascinating
collection of things made, designed, and used by <b style='mso-bidi-font-weight:
normal'>Brunelleschi</b> in constructing the dome, including a model for the
dome itself.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><b><u><span style='font-size:12.0pt'>Sala
dell�Antica Facciato del Duomo</span></u></b><span style='font-size:12.0pt'>:<span
style='mso-spacerun:yes'>� </span>(Room of the Old Fa�ade of the Duomo<span
class=GramE>)<span style='mso-spacerun:yes'>� </span>Various</span> sculptures
and architectural details from the old fa�ade, including works by Arnolfo di
Cambio (architect for the Duomo and many other Italian Gothic buildings in
Florence), and<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><b><u><span style='font-size:12.0pt'>Nanni
di Banco</span></u></b><span style='font-size:12.0pt'>:<span
style='mso-spacerun:yes'>� </span>Marble statue of a seated <b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'>St.
Luke</i></b> (1408-15) by this contemporary of <b style='mso-bidi-font-weight:
normal'>Donatello</b></span><span style='font-size:12.0pt;mso-bidi-font-size:
10.0pt'>.<span style='mso-spacerun:yes'>� </span>He was an important reviver of
ancient Roman forms, and therefore valued the effects of weight and mass in
sculpture</span><span style='font-size:12.0pt'>.<span
style='mso-spacerun:yes'>� </span>This work is quite wonderful�note especially
the tilt of the head, the face, and the way the lowered eyes create a look that
meets and holds your gaze.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><b><u><span style='font-size:12.0pt'>Donatello</span></u></b><span
style='font-size:12.0pt'>:<span style='mso-spacerun:yes'>� </span>Seated <b><i
style='mso-bidi-font-style:normal'>St. John the Evangelist</i></b>
(1408-15).<span style='mso-spacerun:yes'>� </span>This work was clearly
designed to be seen from below, in a way that the <b style='mso-bidi-font-weight:
normal'>Nanni di Banco</b>�s was not.<span style='mso-spacerun:yes'>�
</span>The placement of the niches for these works was to be slightly over the
head of the observer (here they are at least placed at a relatively elevated
position which, while not high enough to recreate the original effect, is much
better than the low placement of <b style='mso-bidi-font-weight:normal'>Donatello</b>�s
Campanile prophets upstairs), and to see the full effect of <b
style='mso-bidi-font-weight:normal'>Donatello</b>�s composition you have to
bend down, or kneel.<span style='mso-spacerun:yes'>� </span></span><span
style='font-size:12.0pt;mso-bidi-font-size:10.0pt'>Looked at head on, the
composition does not even make sense (the torso is too long, the drapery too
complicated, and the position and expression of the face isn�t comprehensible),
while viewed from below it resolves into a powerful and stable triangular
composition in which the torso shortens and assumes a meaningful structure and
the folds of the drapery over the knees take on shape and direction, and the
head begins to show energy and nobility and the glance becomes purposeful.<span
style='mso-spacerun:yes'>� </span>It clear that <b style='mso-bidi-font-weight:
normal'>Donatello</b>�s entire composition was adjusted to the viewpoint the
observer was meant to have in relation to the sculpture <i>in situ</i>.</span><span
style='font-size:12.0pt'><span style='mso-spacerun:yes'>� </span>(</span><span
style='font-size:12.0pt;mso-bidi-font-size:10.0pt'>This is particularly
important to note, not only because it demonstrates his elegant grasp of
perspective and optical effect, but because it makes an irrefutable case for
viewing his Campanile prophets from the acutely low angle they require.<span
style='mso-spacerun:yes'>� </span>Upstairs I�m going to insist you actually
need at least to sit on the floor�if not actually lie down<span class=GramE>!�</span>
in order to view the works properly.</span><span style='font-size:12.0pt'>)<span
style='mso-spacerun:yes'>� </span>The result is a figure whose dignity and
sense of purpose is clear:<span style='mso-spacerun:yes'>� </span>as <st1:City
w:st="on">Seymour</st1:City> described it, one can feel his sense of meaning as
he �looks off from some imagined rocky promontory on <st1:place w:st="on">Patmos</st1:place>
to his visionary goal.� (p.56)<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.3in'><u><span style='font-size:12.0pt'>Mezzanine</span></u><span
style='font-size:12.0pt'>:<span style='mso-spacerun:yes'>� </span>Half way up
to the second floor is Michelangelo�s <i style='mso-bidi-font-style:normal'>Piet�</i>
(ca. 1550), originally designed for his own tomb.<span
style='mso-spacerun:yes'>� </span>The story goes that Michelangelo smashed the
work, which was later reassembled by a pupil, who completed the figure of Mary
Magdalene.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.3in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.3in'><b><u><span style='font-size:12.0pt'>Second
Floor</span></u></b><span style='font-size:12.0pt'>:<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.3in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><b><u><span style='font-size:12.0pt'>Main
Room - Donatello</span></u></b><span style='font-size:12.0pt'>:<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><b><i><span style='font-size:12.0pt'>IMPORTANT:<span
style='mso-spacerun:yes'>� </span></span></i></b><b><span style='font-size:
12.0pt'>The four statues of prophets (and the <i style='mso-bidi-font-style:
normal'>Abraham and Isaac</i>) made for the fa�ade of the Campanile (the first
five in the following list) <i>must</i> be viewed from sharply below in order
to see them as Donatello meant them to look!</span></b><span style='font-size:
12.0pt'><span style='mso-spacerun:yes'>� </span>As you saw from the placement
of the copies on the Campanile itself, they were positioned <i>very</i> high up
(~10 meters), and, as discussed in describing the <b style='mso-bidi-font-weight:
normal'><i style='mso-bidi-font-style:normal'>St. John the Evangelist</i></b> (<i>q.v.</i>,
above), <b style='mso-bidi-font-weight:normal'>Donatello</b> <i>clearly</i>
took the angle of viewing into account in his plan of these figures.<span
style='mso-spacerun:yes'>� </span>They simply do not compose properly viewed
head on.<span style='mso-spacerun:yes'>� </span><b><i>You actually need to sit
down on the floor to view them</i>.</b><span style='mso-spacerun:yes'>�
</span>This is not an exaggeration�if anything, it is an understatement: <span
style='mso-spacerun:yes'>�</span>it�s probably best to <i>lie</i> on the floor
to view them (although a bit awkward)!<span style='mso-spacerun:yes'>�
</span>(Try for yourself the comparison of looking at them head-on with viewing
them from below.)<span style='mso-spacerun:yes'>� </span>Sitting actually
allows you to spend the time to take them in more fully, too<i>. <b><span
style='mso-spacerun:yes'>�</span>Do not neglect to move to a position 30-40� to
either side of each statue, as well as head on in order to see the full
richness of what he has created</b></i><b>.</b><span style='mso-bidi-font-weight:
bold'><span style='mso-spacerun:yes'>� </span>If you have hesitation about
spending that much time on the floor, do it at very least for the two most extraordinary
of these work, <b><i style='mso-bidi-font-style:normal'><u>Lo Zuccone</u></i></b></span>
and <b><i style='mso-bidi-font-style:normal'><u>Il Popolano</u></i></b> (<i
style='mso-bidi-font-style:normal'>q.v.</i>, below).<span
style='mso-spacerun:yes'>� </span>To make the point, in the section below I
juxtaposed two similar photographs of <b><i style='mso-bidi-font-style:normal'><u>Il
Popolano</u></i></b>, the one taken from below, and the other head-on�and if
that doesn�t convince you to get down on the floor, nothing will!<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt;
mso-bidi-font-weight:bold'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><b><i style='mso-bidi-font-style:
normal'><u><span style='font-size:12.0pt'>Beardless Prophet</span></u></i></b><span
style='font-size:12.0pt'>:<span style='mso-spacerun:yes'>� </span>(1416-18<span
class=GramE>)<span style='mso-spacerun:yes'>� </span>The</span> earliest of the
prophets.<span style='mso-spacerun:yes'>� </span>The head is particularly
interesting:<span style='mso-spacerun:yes'>� </span>it clearly is based on
classical Roman portrait types, but it also has an extraordinary level of
individuality and of realism in the portrayal of age and suffering�yet not
without firmness and resolve.<span style='mso-spacerun:yes'>� </span><b
style='mso-bidi-font-weight:normal'>Donatello</b> at this early stage in his
career is beginning to explore the realism of physical and psychological
experience, in a way that is to reach fruition in <b style='mso-bidi-font-weight:
normal'><i style='mso-bidi-font-style:normal'>Lo Zuccone</i></b> and <b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'>Il
Popolano</i></b> (<i>q.v.</i>, below). The hands are also marvelously
strong�particularly the right hand, with which the prophet insistently points
to the scroll containing the message <span class=GramE>he</span> has been
charged to deliver.<span style='mso-spacerun:yes'>� </span>It has been
speculated that the weaker drapery of this figure is attributable to its having
been executed by <b style='mso-bidi-font-weight:normal'>Donatello</b>�s
assistant Nanni di Bartolo, known as Il Rosso.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><u><span style='font-size:12.0pt'><o:p><span
style='text-decoration:none'> </span></o:p></span></u></p>
<p class=MsoNormal style='margin-left:.8in'><b><i style='mso-bidi-font-style:
normal'><u><span style='font-size:12.0pt'>Bearded Prophet</span></u></i></b><span
style='font-size:12.0pt'>:<span style='mso-spacerun:yes'>� </span>(1418-20<span
class=GramE>)<span style='mso-spacerun:yes'>� </span>This</span> figure is far
more pensive than its slightly earlier companion, yet it lacks none of its
power.<span style='mso-spacerun:yes'>� </span>There is the suggestion that this
prophet is someone who has faced adversity; yet the monumentality and a
nobility of the form, reflected in the power of the drapery, reassures us that
he has not been shaken in his resolve.<span style='mso-spacerun:yes'>�
</span>There is an unmistakable individuality and vivid personality in the
face.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><b><i style='mso-bidi-font-style:
normal'><u><span style='font-size:12.0pt'>Abraham and Isaac</span></u></i></b><u><span
style='font-size:12.0pt'> (done with Il Rosso)</span></u><span
style='font-size:12.0pt'>: (1421<span class=GramE>)<span
style='mso-spacerun:yes'>� </span>While</span> the design of this piece was
certainly <b style='mso-bidi-font-weight:normal'>Donatello</b>�s, the execution
was done in part by his assistant.<span style='mso-spacerun:yes'>� </span>The complex,
intertwined composition must be <b style='mso-bidi-font-weight:normal'>Donatello</b>�s.<span
style='mso-spacerun:yes'>� </span>In this piece, the height of the dramatic
moment has passed.<span style='mso-spacerun:yes'>� </span>Unlike <b
style='mso-bidi-font-weight:normal'>Brunelleschi</b>�s competition panel of
this scene, which captures the very highest point of the tension and drama,
here the tension is beginning to relax:<span style='mso-spacerun:yes'>�
</span>Abraham�s right arm is starting to slacken, and the knife is slipping
away from Isaac�s throat; Isaac is in a state of passive acceptance; the angel
has come and gone.<span style='mso-spacerun:yes'>� </span>Nevertheless, what
remains is the close, human contact of this father and son, with nothing to
mitigate the immediate implications of what Abraham had been about to do.<span
style='mso-spacerun:yes'>� </span>Abraham�s pained expression gives the
impression that he is well aware of the horror of the deed he had been about to
commit.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt;
mso-bidi-font-weight:bold'>These next two, <b><i style='mso-bidi-font-style:
normal'><u>Lo Zuccone</u></i></b></span><span style='font-size:12.0pt'> and <b><i
style='mso-bidi-font-style:normal'><u>Il Popolano</u></i></b>, are perhaps my
two favorite sculptures <i style='mso-bidi-font-style:normal'>in the world</i>!<span
style='mso-spacerun:yes'>� </span><b style='mso-bidi-font-weight:normal'>Again,
I remind you that they <i><span style='mso-bidi-font-weight:bold'>must</span></i><span
style='mso-bidi-font-weight:bold'> be viewed from sharply below in order to see
them as Donatello meant them to appear.</span></b><o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><b><i style='mso-bidi-font-style:
normal'><u><span style='font-size:12.0pt'>Lo Zuccone</span></u></i></b><b><u><span
style='font-size:12.0pt'> (<span class=GramE>?<i style='mso-bidi-font-style:
normal'>Jeremiah</i></span>?)</span></u></b><b><span style='font-size:12.0pt'>:</span></b><span
style='font-size:12.0pt'> (1423-26)<span style='mso-spacerun:yes'>� </span></span><span
style='font-size:12.0pt;mso-bidi-font-size:10.0pt'>The reason for the question
marks in the title of this and the next prophet relates to the fact that there
is a controversy as to which is which.<span style='mso-spacerun:yes'>�
</span>The descriptive names,<b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'> Lo Zuccone</i></b> (�<b style='mso-bidi-font-weight:
normal'><i style='mso-bidi-font-style:normal'>The Pumpkin-head</i></b>�) and <b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'>Il
Popolano</i></b> (�<b style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:
normal'>The Man of the People</i></b>�), are not in dispute, but the names of the
prophets they represent are, as are the dates which apply to each.<span
style='mso-spacerun:yes'>� </span>(The <b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'>Habakkuk</i></b> [as referred to in the
records of the time] is the later of the two works, but it is not clear to
which of the actual statues this name�and therefore this dating�applies.<span
style='mso-spacerun:yes'>� </span>I have chosen to list and date them as Janson
and Seymour do; but this is not conclusive.<span style='mso-spacerun:yes'>�
</span>Traditionally, the opposite view is held to be true�and that is how they
are labeled in the <b style='mso-bidi-font-weight:normal'>Museo <span
class=GramE>del</span> Duomo</b>.)<span style='mso-spacerun:yes'>� </span>So
I�ll stick to using the descriptive names for practical purposes</span><span
style='font-size:12.0pt'>.<span style='mso-spacerun:yes'>� </span>Here, then,
is a photo of <b><i style='mso-bidi-font-style:normal'>Lo Zuccone</i></b><span
style='mso-bidi-font-weight:bold'>:<o:p></o:p></span></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='margin-left:.8in;text-align:center'><span
style='font-size:12.0pt;mso-no-proof:yes'><!--[if gte vml 1]><v:shape id="_x0000_i1070"
type="#_x0000_t75" alt="Fl-Zuc-1" style='width:249pt;height:357pt;
visibility:visible;mso-wrap-style:square'>
<v:imagedata src="italy_files/image096.png" o:title="Fl-Zuc-1"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=415 height=595
src="italy_files/image097.gif" alt=Fl-Zuc-1 v:shapes="_x0000_i1070"><![endif]></span><span
style='font-size:12.0pt'><o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='margin-left:.8in;text-align:center'><span
style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><b><i style='mso-bidi-font-style:
normal'><u><span style='font-size:12.0pt'>Il Popolano</span></u></i></b><b><u><span
style='font-size:12.0pt'> (?Habakkuk)</span></u></b><span style='font-size:
12.0pt'>:<span style='mso-spacerun:yes'>� </span>(1427-35)<span
style='mso-spacerun:yes'>� </span>To make the point that these statues must be
viewed from below, I have here juxtaposed two similar photographs of <b><i
style='mso-bidi-font-style:normal'><u>Il Popolano</u></i></b>, the one on the
left taken from below, and the one on the right head-on:<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='margin-left:.8in;text-align:center'><!--[if gte vml 1]><v:shape
id="Picture_x0020_47" o:spid="_x0000_s1027" type="#_x0000_t75" alt="F-Pop-head on"
style='position:absolute;left:0;text-align:left;margin-left:174.75pt;
margin-top:0;width:225.95pt;height:332.2pt;z-index:251661312;visibility:visible;
mso-wrap-style:square;mso-width-percent:0;mso-height-percent:0;
mso-wrap-distance-left:9pt;mso-wrap-distance-top:0;mso-wrap-distance-right:9pt;
mso-wrap-distance-bottom:0;mso-position-horizontal:right;
mso-position-horizontal-relative:text;mso-position-vertical:top;
mso-position-vertical-relative:line;mso-width-percent:0;mso-height-percent:0;
mso-width-relative:page;mso-height-relative:page' o:allowoverlap="f">
<v:imagedata src="italy_files/image098.png" o:title="F-Pop-head on"/>
<w:wrap type="square" anchory="line"/>
</v:shape><![endif]--><![if !vml]><img width=377 height=554
src="italy_files/image099.gif" align=right hspace=12 alt="F-Pop-head on"
v:shapes="Picture_x0020_47"><![endif]><!--[if gte vml 1]><v:shape id="Picture_x0020_46"
o:spid="_x0000_s1026" type="#_x0000_t75" alt="F-Pop" style='position:absolute;
left:0;text-align:left;margin-left:0;margin-top:0;width:256pt;height:330.65pt;
z-index:251659264;visibility:visible;mso-wrap-style:square;
mso-width-percent:0;mso-height-percent:0;mso-wrap-distance-left:9pt;
mso-wrap-distance-top:0;mso-wrap-distance-right:9pt;
mso-wrap-distance-bottom:0;mso-position-horizontal:left;
mso-position-horizontal-relative:text;mso-position-vertical:top;
mso-position-vertical-relative:line;mso-width-percent:0;mso-height-percent:0;
mso-width-relative:page;mso-height-relative:page' o:allowoverlap="f">
<v:imagedata src="italy_files/image100.png" o:title="F-Pop"/>
<w:wrap type="square" anchory="line"/>
</v:shape><![endif]--><![if !vml]><img width=427 height=551
src="italy_files/image101.gif" align=left hspace=12 alt=F-Pop v:shapes="Picture_x0020_46"><![endif]><span
style='font-size:12.0pt'><o:p></o:p></span></p>
<p class=MsoNormal align=center style='margin-left:.8in;text-align:center'><span
style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='margin-left:.8in;text-align:center'><span
style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt;
mso-bidi-font-weight:bold'>You will note that when viewed head-on, the body of
the prophet dissolves and loses its strength and three-dimensional presence;
the drapery becomes shallow and loses its power; and the intensity of the left
hand and the statement it makes clutching the scroll of the prophet�s message
all but disappears.<span style='mso-spacerun:yes'>� </span>Having made this
point, though, I encourage you to focus only on the photograph on the left.</span><span
style='font-size:12.0pt'><o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'>By
your leave, I am here going to quote from my undergraduate dissertation, <i>Donatello
and the Tragic Sense of Life</i>.<span style='mso-spacerun:yes'>�
</span>(Please pardon my 21 year-old prose, which <span class=GramE>itself</span>
is now more than four and a half decades old!):<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoBodyTextIndent3 style='margin-left:1.0in;text-indent:0in'><b
style='mso-bidi-font-weight:normal'>Donatello</b> most fully realizes the
tragic potential of the prophetic theme in his last two prophets, <b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'>Il
Popolano</i></b> and <b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'>Lo Zuccone</i></b>.<span
style='mso-spacerun:yes'>� </span>In these two figures <b style='mso-bidi-font-weight:
normal'>Donatello</b> embodies all the powerful human drama of tragedy.</p>
<p class=MsoBodyTextIndent3 style='margin-left:1.0in;text-indent:0in'><o:p> </o:p></p>
<p class=MsoNormal style='margin-left:1.0in'><b style='mso-bidi-font-weight:
normal'><i style='mso-bidi-font-style:normal'><span style='font-size:11.0pt;
mso-bidi-font-size:10.0pt'>Il Popolano</span></i></b><span style='font-size:
11.0pt;mso-bidi-font-size:10.0pt'> is a strong-willed, determined man who faces
his task with unswerving directness.<span style='mso-spacerun:yes'>� </span><b
style='mso-bidi-font-weight:normal'>Donatello</b> has depicted him in the very
act of delivering his message:<span style='mso-spacerun:yes'>� </span>in his
left hand he clutches the scroll which contains that message.<span
style='mso-spacerun:yes'>� </span>This is not a scroll which he displays, as
did the <b style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:
normal'>Beardless Prophet</i></b>.<span style='mso-spacerun:yes'>� </span>That
earlier prophet was cast as a Roman orator, and his scroll was a formal device
of rhetoric, used by him as a prop.<span style='mso-spacerun:yes'>� </span>The
scroll of <b style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:
normal'>Il Popolano</i></b> is not something he uses visually to inspire his
audience; on the contrary, it is something from which he draws his personal
inspiration.<span style='mso-spacerun:yes'>� </span>This scroll is <span
class=GramE>his own</span> little fragment:<span style='mso-spacerun:yes'>�
</span>it is a humble document, crumpled from long use.<span
style='mso-spacerun:yes'>� </span>It draws its significance not from its
physical characteristics, but from the moral importance of its contents; and it
becomes an important part of the statue not through optically asserting itself
on the viewer�s senses, but through psychologically asserting itself on the
viewer�s overall comprehension of the work.<span style='mso-spacerun:yes'>�
</span>It is important to the statue because it is so greatly important to the
prophet.<span style='mso-spacerun:yes'>� </span>The scroll symbolizes the
message to which he has chosen to devote his life.<span
style='mso-spacerun:yes'>� </span>He faces his people to propound that message,
holding his scroll before him almost as if for moral support.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:1.0in'><span style='font-size:11.0pt;
mso-bidi-font-size:10.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:1.0in'><span style='font-size:11.0pt;
mso-bidi-font-size:10.0pt'>It must be remembered that the message of the
prophet was never an easy one for his audience to accept.<span
style='mso-spacerun:yes'>� </span>The Old Testament prophet had a message that
was primarily moral and a role that was essentially that of social reform.<span
style='mso-spacerun:yes'>� </span>His was the difficult task of convincing his
fellow men of their injustice and iniquity.<span style='mso-spacerun:yes'>�
</span>Moreover, he had to get them to change their ways.<span
style='mso-spacerun:yes'>� </span>People are never readily convinced that they
should change.<span style='mso-spacerun:yes'>� </span>Thus the work of the
prophet was always met with much resistance.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:1.0in'><span style='font-size:11.0pt;
mso-bidi-font-size:10.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:1.0in'><b style='mso-bidi-font-weight:
normal'><i style='mso-bidi-font-style:normal'><span style='font-size:11.0pt;
mso-bidi-font-size:10.0pt'>Il Popolano</span></i></b><span style='font-size:
11.0pt;mso-bidi-font-size:10.0pt'> would appear to react angrily to the
resistance he meets in propounding his message. <span
style='mso-spacerun:yes'>�</span>The intense furrow of his brow, his tight
frown, the tensed muscles of his face, the strained sinews which stand out on
his neck�his expression reveals an angry disapproval, not only of his people�s
iniquity, but also of their blindness.<span style='mso-spacerun:yes'>�
</span>He has tried to warn them, and they have not accepted his message.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:1.0in'><span style='font-size:11.0pt;
mso-bidi-font-size:10.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:1.0in'><b style='mso-bidi-font-weight:
normal'><i style='mso-bidi-font-style:normal'><span style='font-size:11.0pt;
mso-bidi-font-size:10.0pt'>Il Popolano</span></i></b><span style='font-size:
11.0pt;mso-bidi-font-size:10.0pt'> looks angrily away from his people.<span
style='mso-spacerun:yes'>� </span>His gaze is off to the left and up�above the
heads of his audience.<span style='mso-spacerun:yes'>� </span>He averts his
gaze not to ignore his people and become introspective, nor to turn to an
ascetic mysticism by withdrawing from the demands of the situation, but rather
to gather his energy for another volley.<span style='mso-spacerun:yes'>�
</span>He is disgusted with his people and his entire figure reflects the
tension of his anger:<span style='mso-spacerun:yes'>� </span>the muscles of his
right arm are tense and strained, causing the veins to stand out sharply; his
right hand is angrily pressed so hard against his thigh that it gives energy to
the powerful undulations of drapery that seem to spread away from this gesture
as ripples spread from a disturbance on water. <o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:1.0in'><span style='font-size:11.0pt;
mso-bidi-font-size:10.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='margin-left:1.0in;text-align:center'><span
style='font-size:11.0pt;mso-bidi-font-size:10.0pt;mso-no-proof:yes'><!--[if gte vml 1]><v:shape
id="_x0000_i1069" type="#_x0000_t75" alt="Fl-Pop-2" style='width:184.8pt;
height:389.4pt;visibility:visible;mso-wrap-style:square'>
<v:imagedata src="italy_files/image102.png" o:title="Fl-Pop-2"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=308 height=649
src="italy_files/image103.gif" alt=Fl-Pop-2 v:shapes="_x0000_i1069"><![endif]></span><span
style='font-size:11.0pt;mso-bidi-font-size:10.0pt'><o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:1.0in'><span style='font-size:11.0pt;
mso-bidi-font-size:10.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:1.0in'><span style='font-size:11.0pt;
mso-bidi-font-size:10.0pt'><span style='mso-spacerun:yes'>�</span>Nevertheless,
he will not abandon those who have caused this anger.<span
style='mso-spacerun:yes'>� </span>The determination in his gaze is as obvious as
the anger, and in his entire figure one feels a solidity that reflects his
resolve.<span style='mso-spacerun:yes'>� </span>His strong conviction obviously
will triumph over those feelings which try to shake it.<span
style='mso-spacerun:yes'>� </span>He looks away to regain his composure, but he
will again return to his task.<span style='mso-spacerun:yes'>� </span>He faces
great adversity, but he will never yield to that adversity.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:1.0in'><span style='font-size:11.0pt;
mso-bidi-font-size:10.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:1.0in'><span style='font-size:11.0pt;
mso-bidi-font-size:10.0pt'>There is in <b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'>Il Popolano</i></b> a powerful realization
of the tragic implications of the role of the prophet.<span
style='mso-spacerun:yes'>� </span>In it one can see what it means, in human
terms, to devote one�s life to propounding a message that people do not wish to
hear.<span style='mso-spacerun:yes'>� </span>One feels with the prophet the
anger and frustration of being rejected by the very people to whom he has
dedicated his life.<span style='mso-spacerun:yes'>� </span>One feels the
suffering of a man who is willing to step outside the system and question
accepted norms.<span style='mso-spacerun:yes'>� </span>In the fiery spirit <span
class=GramE>of<span style='mso-spacerun:yes'>� </span><b style='mso-bidi-font-weight:
normal'><i style='mso-bidi-font-style:normal'>Il</i></b></span><b
style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'>
Popolano</i></b>, <b style='mso-bidi-font-weight:normal'>Donatello</b> seems to
have recaptured something of the Old Testament, tragic concept of the prophetic
life.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:1.0in;text-indent:.3in'><span
style='font-size:11.0pt;mso-bidi-font-size:10.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><b style='mso-bidi-font-weight:
normal'><i style='mso-bidi-font-style:normal'><span style='font-size:11.0pt;
mso-bidi-font-size:10.0pt'>Il Popolano</span></i></b><span style='font-size:
11.0pt;mso-bidi-font-size:10.0pt'>�as </span><b><i style='mso-bidi-font-style:
normal'><u><span style='font-size:12.0pt'>Lo Zuccone</span></u></i></b><i
style='mso-bidi-font-style:normal'><span style='font-size:12.0pt;mso-bidi-font-weight:
bold'>�</span></i><span style='font-size:11.0pt;mso-bidi-font-size:10.0pt'> </span><span
style='font-size:12.0pt'>is a work of art that is imbued with psychological complexity,
intense emotion, human nobility, and a view of the world�and of human action
within it�that is radically different from everything which has gone before
it.<span style='mso-spacerun:yes'>� </span>Allow yourself to stand (or, more
correctly, <i style='mso-bidi-font-style:normal'>sit</i>) it awe of it.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:1.0in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><u><span style='font-size:12.0pt'>Mary
Magdalene</span></u><span style='font-size:12.0pt'>:<span
style='mso-spacerun:yes'>� </span>(1454-55)<span style='mso-spacerun:yes'>�
</span>This wooden statue once stood in Il Battistero; but, after having been
terribly damaged in the flood of 1966, it was moved to the <b style='mso-bidi-font-weight:
normal'>Museo del Duomo</b>.<span style='mso-spacerun:yes'>� </span>It has been
extensively restored and painted�and finally it again looks like I originally
remember it.<span style='mso-spacerun:yes'>� </span>It is still a striking
work, however:<span style='mso-spacerun:yes'>� </span>the harshness and extreme
suffering so clear in this haggard creature was a major departure for <b
style='mso-bidi-font-weight:normal'>Donatello</b>, and was said to have evoked
a large degree of religious fervor in those viewing it.<span
style='mso-spacerun:yes'>� </span>It has even been suggested by Janson that it
foreshadows the shift towards such fervor that ultimately culminates in the
ascendancy of Savanarola, whose turning away from the rationality of the
Renaissance towards older religious fundamentalism marked the later years of
the quattrocento in <st1:City w:st="on"><st1:place w:st="on">Florence</st1:place></st1:City>.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><u><span style='font-size:12.0pt'>Cantoria</span></u><span
style='font-size:12.0pt'>:<span style='mso-spacerun:yes'>� </span>(1433-39,
over the statue of Mary Magdalene<span class=GramE>)<span
style='mso-spacerun:yes'>� </span>This</span> was probably really an organ
loft.<span style='mso-spacerun:yes'>� </span>It is by <b style='mso-bidi-font-weight:
normal'>Donatello</b>, and it is a brilliant work, although it is not the part
of his talent I am most interested in.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><u><span style='font-size:12.0pt'>Main
Room - Work of others</span></u><span style='font-size:12.0pt'>:<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><u><span style='font-size:12.0pt'>Cantoria
by Luca della Robia</span></u><span style='font-size:12.0pt'>:<span
style='mso-spacerun:yes'>� </span>(opposite one by <b style='mso-bidi-font-weight:
normal'>Donatello</b><span class=GramE>)<span style='mso-spacerun:yes'>�
</span>Even</span> <i>less</i> interesting than<b style='mso-bidi-font-weight:
normal'> Donatello</b>�s.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><b><u><span style='font-size:12.0pt'>Sala
delle Formelle</span></u></b><span style='font-size:12.0pt'>:<span
style='mso-spacerun:yes'>� </span>(�<b style='mso-bidi-font-weight:normal'>Room
of the Panels</b>�)<span style='mso-spacerun:yes'>� </span><o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><b><u><span style='font-size:12.0pt'>Eight
Panels from Ghiberti�s �Gates of Paradise�</span></u></b><span
style='font-size:12.0pt'>:<span style='mso-spacerun:yes'>�
</span>(1424-52)<span style='mso-spacerun:yes'>� </span>All ten of the recently
restored, magnificent gilt bronze reliefs <b style='mso-bidi-font-weight:normal'>Ghiberti</b>
did for the <b style='mso-bidi-font-weight:normal'>East Doors</b> of <b
style='mso-bidi-font-weight:normal'>Il Battistero</b> are now assembled in a
climate-controlled display on the first floor of the museum.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='margin-left:.8in;text-align:center'><span
style='font-size:9.0pt;font-family:"Verdana","sans-serif";color:#333333;
mso-no-proof:yes'><!--[if gte vml 1]><v:shape id="Picture_x0020_49" o:spid="_x0000_i1068"
type="#_x0000_t75" alt="Image � Opificio delle Pietre Dure, Florence; Used with permission"
style='width:189pt;height:310.2pt;visibility:visible;mso-wrap-style:square'>
<v:imagedata src="italy_files/image104.jpg" o:title="Image � Opificio delle Pietre Dure, Florence; Used with permission"
croptop="6756f" cropleft="9903f" cropright="9345f"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=315 height=517
src="italy_files/image105.jpg"
alt="Image � Opificio delle Pietre Dure, Florence; Used with permission"
v:shapes="Picture_x0020_49"><![endif]></span><span style='font-size:12.0pt'><o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'>(</span><span
style='font-size:12.0pt;mso-bidi-font-size:10.0pt'>For over 30 years, there
were four on display and the rest were �undergoing restoration�; and another
four reappeared 8 years ago; now, finally, the project has been completed!</span><span
style='font-size:12.0pt'>)<span style='mso-spacerun:yes'>� </span>Each panel is
a square, in contrast to the Gothic quatrefoil form used for the other doors of
Il Battistero. The original plan called for 28 panels, as in the two other sets
of Baptistery doors, each with an Old Testament story; but <b style='mso-bidi-font-weight:
normal'>Ghiberti</b> reduced the number of panels to 10, combining multiple
segments of these stories on each panel.<span style='mso-spacerun:yes'>�
</span>In the <b><i style='mso-bidi-font-style:normal'><u>Cain and Abel</u></i></b>
relief, he combined five separate elements:<span style='mso-spacerun:yes'>�
</span><i style='mso-bidi-font-style:normal'>Cain at Work</i>, <i
style='mso-bidi-font-style:normal'>Abel at Work</i>, the <i style='mso-bidi-font-style:
normal'>First Parents at Work</i>, <i style='mso-bidi-font-style:normal'>Cain
Killing Abel</i>, and <i style='mso-bidi-font-style:normal'>God Cursing Cain</i>.<span
style='mso-spacerun:yes'>� </span>In the beautiful <b><i style='mso-bidi-font-style:
normal'><u>Adam and Eve</u></i></b> relief, he combines what <span class=GramE>was</span>
to have been three separate reliefs:<span style='mso-spacerun:yes'>� </span>The
<i style='mso-bidi-font-style:normal'>Creation of Adam</i>, the <i
style='mso-bidi-font-style:normal'>Creation of Eve</i>, and <i
style='mso-bidi-font-style:normal'>The Expulsion from Paradise</i>. <o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='margin-left:.8in;text-align:center'><span
style='font-size:9.0pt;font-family:"Verdana","sans-serif";color:#333333;
mso-no-proof:yes'><!--[if gte vml 1]><v:shape id="Picture_x0020_51" o:spid="_x0000_i1067"
type="#_x0000_t75" alt="Image � Opificio delle Pietre Dure, Florence; Used with permission"
style='width:276.6pt;height:265.8pt;visibility:visible;mso-wrap-style:square'>
<v:imagedata src="italy_files/image106.jpg" o:title="Image � Opificio delle Pietre Dure, Florence; Used with permission"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=461 height=443
src="italy_files/image107.jpg"
alt="Image � Opificio delle Pietre Dure, Florence; Used with permission"
v:shapes="Picture_x0020_51"><![endif]></span><span style='font-size:12.0pt'><o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'>All
ten of these reliefs are truly beautiful sculptures, although <b
style='mso-bidi-font-weight:normal'>Ghiberti</b><span
style='mso-spacerun:yes'>� </span>never quite makes the transition into the
Renaissance�and his attempt at these more Renaissance forms lacks the power and
success of his earlier competition panel, done in a more Gothic style.<span
style='mso-spacerun:yes'>� </span><b style='mso-bidi-font-weight:normal'>Ghiberti</b>
included a self-portrait among the other details in the border surrounding the
reliefs:<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='margin-left:.8in;text-align:center'><span
style='font-size:9.0pt;font-family:"Verdana","sans-serif";color:#333333;
mso-no-proof:yes'><!--[if gte vml 1]><v:shape id="Picture_x0020_50" o:spid="_x0000_i1066"
type="#_x0000_t75" alt="Image � Opificio delle Pietre Dure, Florence; Used with permission"
style='width:205.8pt;height:199.8pt;visibility:visible;mso-wrap-style:square'>
<v:imagedata src="italy_files/image108.jpg" o:title="Image � Opificio delle Pietre Dure, Florence; Used with permission"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=343 height=333
src="italy_files/image109.jpg"
alt="Image � Opificio delle Pietre Dure, Florence; Used with permission"
v:shapes="Picture_x0020_50"><![endif]></span><span style='font-size:12.0pt'><o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.8in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><u><span style='font-size:12.0pt'>The
room off the other side of the Main Room</span></u><span style='font-size:12.0pt'>:<span
style='mso-spacerun:yes'>� </span>This room is full of very interesting
architectural details, mostly from the fa�ade of Il Campanile.<span
style='mso-spacerun:yes'>� </span><o:p></o:p></span></p>
<p style='margin:0in;margin-bottom:.0001pt;text-autospace:none'><o:p> </o:p></p>
<p class=MsoNormal><u><span style='font-size:12.0pt'>Orsanmichele</span></u><span
style='font-size:12.0pt'>:<span style='mso-spacerun:yes'>� </span>In the center
of <st1:City w:st="on"><st1:place w:st="on">Florence</st1:place></st1:City>,
the exterior of this rather uninteresting trecento building was decorated by
the various Florentine guilds with sculptures in niches.<span
style='mso-spacerun:yes'>� </span>Use <i>Access:<span
style='mso-spacerun:yes'>� </span>Florence</i> for your guide to the works
of<span style='mso-spacerun:yes'>� </span>Ghiberti and Nanni di Banco (to
mention the <i>good</i> ones), but remember that Donatello�s St. George is a
copy of the one in Il Bargello, and that his St. Louis of Toulouse is in the
Museo di Santa Croce.<span style='mso-spacerun:yes'>� </span>But it is
worthwhile getting a feel for where these works originally were placed.<span
style='mso-spacerun:yes'>� </span>(Particularly note the issued <span
class=GramE>raised</span> about the placement of <b style='mso-bidi-font-weight:
normal'>Donatello</b>�s <b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'>San Giorgio</i></b>, [<i style='mso-bidi-font-style:
normal'>q.v.</i>, above] in the <b style='mso-bidi-font-weight:normal'>Bargello</b>.)<o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal><b><u><span style='font-size:12.0pt'><a
href="http://museicivicifiorentini.comune.fi.it/en/brancacci/">Cappella
Brancacci (Brancacci Chapel)<span style='font-weight:normal;mso-bidi-font-weight:
bold'> </span><span style='color:windowtext;font-weight:normal'>in Santa Maria
del Carmine</span></a></span></u></b><span style='font-size:12.0pt'>: {Monday-
Saturday 1000-1700; Sunday 1300-1700; closed Tuesday} (the entrance is through
a door to the right of the fa�ade of the church; there had been a fascistic and
ridiculous system imposed on visitors, which, at least for this visit in May
2013, was no longer being enforced: you waited for ~15 minutes until you were
allowed to go in through the cloister to the ticket office, where you bought
your ticket and then had to wait another 15 minutes until you were allowed into
the chapel, where you were allowed exactly 15 minutes to view these magnificent
frescoes.<span style='mso-spacerun:yes'>� </span>It was truly absurd, and, had
it not been for the importance and beauty of the art, I�d have <span
class=GramE>refuse</span> to consider doing it.<span style='mso-spacerun:yes'>�
</span>Thankfully, this was not the case on this visit, and we were able to
spend unlimited amounts of time luxuriating in the presence of these incredible
frescoes.<span style='mso-spacerun:yes'>� </span>Nevertheless, I am unhappy to
report that the signage still suggested that this regime may be imposed when
there is a higher volume of visitors to the Chapel.)<span
style='mso-spacerun:yes'>� </span>This chapel is in the �Oltrarno� (�other side
[of the Arno]��<i>i.e.</i>, the �left bank�), in the otherwise </span><span
style='font-size:12.0pt;mso-bidi-font-size:10.0pt'>entirely uninteresting</span><span
style='font-size:12.0pt'> church of Santa Maria del Carmine.<o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='text-align:center;text-autospace:ideograph-other'><span
style='font-size:125.0pt;mso-no-proof:yes'><!--[if gte vml 1]><v:shape id="Picture_x0020_66"
o:spid="_x0000_i1065" type="#_x0000_t75" alt="http://www.museumsinflorence.com/foto/Brancacci/image/chapel.jpg"
style='width:190.2pt;height:187.8pt;visibility:visible;mso-wrap-style:square'>
<v:imagedata src="italy_files/image110.jpg" o:title="chapel" croptop="6349f"
cropleft="1571f"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=317 height=313
src="italy_files/image111.jpg"
alt="http://www.museumsinflorence.com/foto/Brancacci/image/chapel.jpg" v:shapes="Picture_x0020_66"><![endif]></span><span
style='font-size:125.0pt'><o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt'>The <b style='mso-bidi-font-weight:
normal'>Cappella Brancacci</b> contains some of the greatest paintings of the
Renaissance.<span style='mso-spacerun:yes'>� </span>The fresco cycle,
essentially about the <b style='mso-bidi-font-weight:normal'><i
style='mso-bidi-font-style:normal'>Life of Saint Peter</i></b>, <o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='text-align:center'><span
style='mso-no-proof:yes'><!--[if gte vml 1]><v:shape id="Picture_x0020_52"
o:spid="_x0000_i1064" type="#_x0000_t75" alt="http://history.hanover.edu/courses/art/masbranc.jpg"
style='width:355.8pt;height:261.6pt;visibility:visible;mso-wrap-style:square'>
<v:imagedata src="italy_files/image112.jpg" o:title="masbranc" cropbottom="5434f"
cropright="2055f"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=593 height=436
src="italy_files/image113.jpg"
alt="http://history.hanover.edu/courses/art/masbranc.jpg" v:shapes="Picture_x0020_52"><![endif]></span><span
style='font-size:12.0pt'><o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal><span class=GramE><span style='font-size:12.0pt'>was</span></span><span
style='font-size:12.0pt'> begun in 1424 by <b style='mso-bidi-font-weight:normal'>Masaccio</b>
working together with <b style='mso-bidi-font-weight:normal'>Masolino</b>.<span
style='mso-spacerun:yes'>� </span></span><span style='font-size:12.0pt;
mso-bidi-font-size:10.0pt'>There was an obvious collaboration on the theme and
plan of the cycle�and they divided the space up so there was to be a pattern of
interspersal of their individual works.<span style='mso-spacerun:yes'>� </span><b
style='mso-bidi-font-weight:normal'>Masaccio</b> left the project unfinished to
go to Rome in 1427 or 28; and some of his frescoes were completed later by <b
style='mso-bidi-font-weight:normal'>Filipino Lippi</b>.<o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt;mso-bidi-font-size:10.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.3in'><b><i style='mso-bidi-font-style:
normal'><u><span style='font-size:12.0pt'>The Expulsion from the Garden of Eden</span></u></i></b><span
style='font-size:12.0pt'>:<span style='mso-spacerun:yes'>� </span>The first of
the great contributions of <b style='mso-bidi-font-weight:normal'>Masaccio</b>,
on the top left of the chapel as you enter.<span style='mso-spacerun:yes'>�
</span>This fresco captures the essence of the Renaissance spirit:<span
style='mso-spacerun:yes'>� </span>man, even as sinner, has unlimited dignity
and stature.<span style='mso-spacerun:yes'>� </span>There is a strength and
monumental presence in the form of these figures�not to mention a classical
beauty.<span style='mso-spacerun:yes'>� </span><span class=GramE>They,</span>
and Eve in particular, capture the full extent of pain and suffering in the
human condition.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.3in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='margin-left:.3in;text-align:center'><span
style='mso-no-proof:yes'><!--[if gte vml 1]><v:shape id="Picture_x0020_53"
o:spid="_x0000_i1063" type="#_x0000_t75" alt="http://upload.wikimedia.org/wikipedia/commons/6/68/Masaccio%2C_The_Expulsion.jpg"
style='width:169.2pt;height:448.2pt;visibility:visible;mso-wrap-style:square'>
<v:imagedata src="italy_files/image114.jpg" o:title="Masaccio%2C_The_Expulsion"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=282 height=747
src="italy_files/image115.jpg"
alt="http://upload.wikimedia.org/wikipedia/commons/6/68/Masaccio%2C_The_Expulsion.jpg"
v:shapes="Picture_x0020_53"><![endif]></span><b style='mso-bidi-font-weight:
normal'><span style='font-size:12.0pt'><o:p></o:p></span></b></p>
<p class=MsoNormal style='margin-left:.3in'><b style='mso-bidi-font-weight:
normal'><span style='font-size:12.0pt'><o:p> </o:p></span></b></p>
<p class=MsoNormal style='margin-left:.3in'><b style='mso-bidi-font-weight:
normal'><span style='font-size:12.0pt'>Masaccio</span></b><span
style='font-size:12.0pt'> captures emotion and dramatic intensity to an extent
unparalleled by other painters of his day�but very akin to the spirit captured
by <b style='mso-bidi-font-weight:normal'>Donatello</b>. <span
style='mso-spacerun:yes'>�</span>Note also the composition:<span
style='mso-spacerun:yes'>� </span>the fiery red angel above pressuring them out
of the Garden with the weight of his powerful gesture and creating the movement
at the heart of the theme.<span style='mso-spacerun:yes'>� </span><span
class=GramE>(<i><span style='mso-bidi-font-size:10.0pt'>cf</span></i><span
style='mso-bidi-font-size:10.0pt'>., the<i style='mso-bidi-font-style:normal'>
Temptation of Adam and Eve</i> [below] by <b style='mso-bidi-font-weight:normal'>Masolino</b>,
opposite:<span style='mso-spacerun:yes'>� </span>a wonderful work, but with
none of this humanistic emphasis</span>.)</span><o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.3in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='margin-left:.3in;text-align:center'><span
style='mso-no-proof:yes'><!--[if gte vml 1]><v:shape id="Picture_x0020_57"
o:spid="_x0000_i1062" type="#_x0000_t75" alt="http://upload.wikimedia.org/wikipedia/commons/6/6e/Masolino%2C_adamo_ed_eva.jpg"
style='width:120pt;height:274.2pt;visibility:visible;mso-wrap-style:square'>
<v:imagedata src="italy_files/image116.jpg" o:title="Masolino%2C_adamo_ed_eva"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=200 height=457
src="italy_files/image117.jpg"
alt="http://upload.wikimedia.org/wikipedia/commons/6/6e/Masolino%2C_adamo_ed_eva.jpg"
v:shapes="Picture_x0020_57"><![endif]></span><span style='font-size:12.0pt'><o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.3in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.3in'><b><i style='mso-bidi-font-style:
normal'><u><span style='font-size:12.0pt'>The Tribute Money</span></u></i></b><span
style='font-size:12.0pt'>:<span style='mso-spacerun:yes'>�� </span>(immediately
to the right of the Expulsion<span class=GramE>)<span
style='mso-spacerun:yes'>� </span>Here</span> <b style='mso-bidi-font-weight:
normal'>Masaccio</b> presents three separate moments in the story:<span
style='mso-spacerun:yes'>� </span>in the central space, the tax collector makes
his request and Jesus replies with directions to St. Peter;<span
style='mso-spacerun:yes'>� </span>to the left, Peter catches the fish and takes
the coins out of its mouth;<span style='mso-spacerun:yes'>� </span>on the
right, Peter hands the money over to the tax collector.<span
style='mso-spacerun:yes'>� </span>(</span><span style='font-size:12.0pt;
mso-bidi-font-size:10.0pt'>It has been suggested that the theme was chosen and
presented this way to help elicit support for the collection of a new tax in <st1:place
w:st="on"><st1:City w:st="on">Florence</st1:City></st1:place> at the time.</span><span
style='font-size:12.0pt'>)<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.3in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='margin-left:.3in;text-align:center'><span
style='mso-no-proof:yes'><!--[if gte vml 1]><v:shape id="Picture_x0020_55"
o:spid="_x0000_i1061" type="#_x0000_t75" alt="http://upload.wikimedia.org/wikipedia/commons/b/b0/Masaccio7.jpg"
style='width:424.8pt;height:196.2pt;visibility:visible;mso-wrap-style:square'>
<v:imagedata src="italy_files/image118.jpg" o:title="Masaccio7"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=708 height=327
src="italy_files/image119.jpg"
alt="http://upload.wikimedia.org/wikipedia/commons/b/b0/Masaccio7.jpg" v:shapes="Picture_x0020_55"><![endif]></span><span
style='font-size:12.0pt'><o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.3in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.3in'><span style='font-size:12.0pt'>Note
carefully:<span style='mso-spacerun:yes'>� </span>the classicism of pose and
the sculptural monumentality of the figures; the individuality and emotion in
the faces (look especially carefully at these [the head of Jesus in the center
of this work is shown below]);<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.3in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='margin-left:.3in;text-align:center'><span
style='mso-no-proof:yes'><!--[if gte vml 1]><v:shape id="Picture_x0020_56"
o:spid="_x0000_i1060" type="#_x0000_t75" alt="http://upload.wikimedia.org/wikipedia/commons/9/9c/Masaccio_005.jpg"
style='width:184.2pt;height:247.2pt;visibility:visible;mso-wrap-style:square'>
<v:imagedata src="italy_files/image120.jpg" o:title="Masaccio_005"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=307 height=412
src="italy_files/image121.jpg"
alt="http://upload.wikimedia.org/wikipedia/commons/9/9c/Masaccio_005.jpg"
v:shapes="Picture_x0020_56"><![endif]></span><span style='font-size:12.0pt'><o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.3in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.3in'><span class=GramE><span
style='font-size:12.0pt'>the</span></span><span style='font-size:12.0pt'>
perfect use of linear perspective in the architectural elements, combined with
the painterly creation of space in the landscape in the background </span><span
style='font-size:12.0pt;mso-bidi-font-size:10.0pt'>(<i>cf.,</i> the similar
combination in the relief panel <b style='mso-bidi-font-weight:normal'>Donatello</b>
did for the <b style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:
normal'>St. George</i></b> now in<b style='mso-bidi-font-weight:normal'> Il
Bargello</b></span><span style='font-size:12.0pt'>); and the beauty of that
landscape, itself.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.3in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.3in'><b style='mso-bidi-font-weight:
normal'><i style='mso-bidi-font-style:normal'><u><span style='font-size:12.0pt'>The
Raising of the Son of Theophilus and <span style='mso-bidi-font-weight:bold'>Enthronement
of St. Peter</span></span></u></i></b><span style='font-size:12.0pt'>:<span
style='mso-spacerun:yes'>� </span>(directly below the <b style='mso-bidi-font-weight:
normal'><i style='mso-bidi-font-style:normal'>Tribute Money</i></b><span
class=GramE>)<span style='mso-spacerun:yes'>� </span>This</span> fresco was
most probably designed by <b style='mso-bidi-font-weight:normal'>Masaccio</b>, although
there are many hands involved in the execution.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.3in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='margin-left:.3in;text-align:center'><span
style='mso-no-proof:yes'><!--[if gte vml 1]><v:shape id="Picture_x0020_58"
o:spid="_x0000_i1059" type="#_x0000_t75" alt="http://upload.wikimedia.org/wikipedia/commons/8/83/Filippino_lippi_e_masaccio%2C_san_pietro_in_cattedra%2C_cappella_brancacci.jpg"
style='width:370.2pt;height:142.8pt;visibility:visible;mso-wrap-style:square'>
<v:imagedata src="italy_files/image122.jpg" o:title="Filippino_lippi_e_masaccio%2C_san_pietro_in_cattedra%2C_cappella_brancacci"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=617 height=238
src="italy_files/image123.jpg"
alt="http://upload.wikimedia.org/wikipedia/commons/8/83/Filippino_lippi_e_masaccio%2C_san_pietro_in_cattedra%2C_cappella_brancacci.jpg"
v:shapes="Picture_x0020_58"><![endif]></span><span style='font-size:12.0pt'><o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.3in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.3in'><span style='font-size:12.0pt'>In
the <b><i style='mso-bidi-font-style:normal'><u>Enthronement</u></i></b> scene
(at the right of the work), it is clearly mostly <b style='mso-bidi-font-weight:
normal'>Masaccio</b>�particularly the magnificent <b style='mso-bidi-font-weight:
normal'><i style='mso-bidi-font-style:normal'>St. Peter</i></b> (below)<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.3in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='text-autospace:ideograph-other'><span
style='font-size:92.0pt;display:none;mso-hide:all;mso-no-proof:yes'><!--[if gte vml 1]><v:shape
id="Picture_x0020_60" o:spid="_x0000_i1058" type="#_x0000_t75" alt="http://www.museumsinflorence.com/foto/Brancacci/image/ritratto.jpg"
style='width:574.2pt;height:442.8pt;visibility:visible;mso-wrap-style:square'>
<v:imagedata src="italy_files/image124.jpg" o:title="ritratto"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=957 height=738
src="italy_files/image125.jpg"
alt="http://www.museumsinflorence.com/foto/Brancacci/image/ritratto.jpg"
v:shapes="Picture_x0020_60"><![endif]></span><span style='font-size:92.0pt;
display:none;mso-hide:all'><o:p></o:p></span></p>
<p class=MsoNormal style='text-autospace:ideograph-other'><span
style='font-size:92.0pt;display:none;mso-hide:all;mso-no-proof:yes'><!--[if gte vml 1]><v:shape
id="Picture_x0020_61" o:spid="_x0000_i1057" type="#_x0000_t75" alt="http://www.museumsinflorence.com/foto/Brancacci/image/ritratto.jpg"
style='width:574.2pt;height:442.8pt;visibility:visible;mso-wrap-style:square'>
<v:imagedata src="italy_files/image124.jpg" o:title="ritratto"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=957 height=738
src="italy_files/image125.jpg"
alt="http://www.museumsinflorence.com/foto/Brancacci/image/ritratto.jpg"
v:shapes="Picture_x0020_61"><![endif]></span><span style='font-size:92.0pt;
display:none;mso-hide:all'><o:p></o:p></span></p>
<p class=MsoNormal style='text-autospace:ideograph-other'><span
style='font-size:92.0pt;display:none;mso-hide:all;mso-no-proof:yes'><!--[if gte vml 1]><v:shape
id="Picture_x0020_62" o:spid="_x0000_i1056" type="#_x0000_t75" alt="http://www.museumsinflorence.com/foto/Brancacci/image/ritratto.jpg"
style='width:574.2pt;height:442.8pt;visibility:visible;mso-wrap-style:square'>
<v:imagedata src="italy_files/image124.jpg" o:title="ritratto"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=957 height=738
src="italy_files/image125.jpg"
alt="http://www.museumsinflorence.com/foto/Brancacci/image/ritratto.jpg"
v:shapes="Picture_x0020_62"><![endif]></span><span style='font-size:92.0pt;
display:none;mso-hide:all'><o:p></o:p></span></p>
<div align=center>
<table class=MsoNormalTable border=0 cellspacing=3 cellpadding=0 width="100%"
style='width:100.0%;mso-cellspacing:1.8pt;mso-yfti-tbllook:1184;mso-padding-alt:
0in 5.4pt 0in 5.4pt'>
<tr style='mso-yfti-irow:0;mso-yfti-firstrow:yes'>
<td valign=bottom style='padding:.75pt .75pt .75pt .75pt'>
<div align=center>
<table class=MsoNormalTable border=0 cellspacing=1 cellpadding=0 width=50
style='width:30.0pt;mso-cellspacing:.6pt;background:#D2D2D2;mso-yfti-tbllook:
1184;mso-padding-alt:2.4pt 2.4pt 2.4pt 2.4pt'>
<tr style='mso-yfti-irow:0;mso-yfti-firstrow:yes;mso-yfti-lastrow:yes'>
<td style='background:white;padding:2.4pt 2.4pt 2.4pt 2.4pt'>
<p class=MsoNormal style='text-autospace:ideograph-other'><span
style='font-size:151.0pt;mso-no-proof:yes'><!--[if gte vml 1]><v:shape
id="Picture_x0020_64" o:spid="_x0000_i1055" type="#_x0000_t75" alt="http://www.museumsinflorence.com/foto/Brancacci/image/pietro2.jpg"
style='width:204.6pt;height:274.2pt;visibility:visible;mso-wrap-style:square'>
<v:imagedata src="italy_files/image126.jpg" o:title="pietro2"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=341 height=457
src="italy_files/image127.jpg"
alt="http://www.museumsinflorence.com/foto/Brancacci/image/pietro2.jpg"
v:shapes="Picture_x0020_64"><![endif]></span><span style='font-size:12.0pt'><o:p></o:p></span></p>
</td>
</tr>
</table>
</div>
</td>
</tr>
<tr style='mso-yfti-irow:1;mso-yfti-lastrow:yes'>
<td valign=top style='padding:.75pt .75pt .75pt .75pt'>
<p class=MsoNormal align=center style='text-align:center;text-autospace:ideograph-other'><span
style='font-size:9.0pt;font-family:"Muli","serif";color:black'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.3in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.3in'><span class=GramE><span
style='font-size:12.0pt'>and</span></span><span style='font-size:12.0pt'> the
four figures at the far right (which are actually <b style='mso-bidi-font-weight:
normal'>portraits</b> of [from left to right] <b style='mso-bidi-font-weight:
normal'>Masolino</b>, <b style='mso-bidi-font-weight:normal'>Masaccio</b>, <b
style='mso-bidi-font-weight:normal'>Alberti</b>, and <b style='mso-bidi-font-weight:
normal'>Brunelleschi</b>, with the <b style='mso-bidi-font-weight:normal'>self-portrait</b>
of <b style='mso-bidi-font-weight:normal'>Masaccio</b> facing out at the
viewer).<o:p></o:p></span></p>
<p class=MsoNormal align=center style='text-align:center;text-autospace:ideograph-other'><span
style='font-size:9.0pt;font-family:"Muli","serif";color:black'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='text-align:center;text-autospace:ideograph-other'><span
style='font-size:92.0pt;mso-no-proof:yes'><!--[if gte vml 1]><v:shape id="Picture_x0020_63"
o:spid="_x0000_i1054" type="#_x0000_t75" alt="http://www.museumsinflorence.com/foto/Brancacci/image/ritratto.jpg"
style='width:349.2pt;height:196.8pt;visibility:visible;mso-wrap-style:square'>
<v:imagedata src="italy_files/image124.jpg" o:title="ritratto" cropbottom="21749f"
cropleft="1686f" cropright="3892f"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=582 height=328
src="italy_files/image128.jpg"
alt="http://www.museumsinflorence.com/foto/Brancacci/image/ritratto.jpg"
v:shapes="Picture_x0020_63"><![endif]></span><span style='font-size:9.0pt;
font-family:"Muli","serif";color:black'><o:p></o:p></span></p>
</td>
</tr>
</table>
</div>
<p class=MsoNormal style='margin-left:.3in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.3in'><u><span style='font-size:12.0pt'>Other
stuff by <b style='mso-bidi-font-weight:normal'>Masaccio</b></span></u><span
style='font-size:12.0pt'>:<span style='mso-spacerun:yes'>�� </span>Most
authorities believe <b style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:
normal'><u>The Baptism of the Neophytes</u></i></b> (above, to the right of the
window; shown below) is by <b style='mso-bidi-font-weight:normal'>Masaccio</b>;<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.3in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='margin-left:.3in;text-align:center'><span
style='font-size:129.5pt;mso-no-proof:yes'><!--[if gte vml 1]><v:shape id="Picture_x0020_65"
o:spid="_x0000_i1053" type="#_x0000_t75" alt="http://www.museumsinflorence.com/foto/Brancacci/image/neo.jpg"
style='width:158.4pt;height:226.2pt;visibility:visible;mso-wrap-style:square'>
<v:imagedata src="italy_files/image129.jpg" o:title="neo"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=264 height=377
src="italy_files/image130.jpg"
alt="http://www.museumsinflorence.com/foto/Brancacci/image/neo.jpg" v:shapes="Picture_x0020_65"><![endif]></span><span
style='font-size:12.0pt'><o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.3in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.3in'><span class=GramE><span
style='font-size:12.0pt'>Similarly, the one of <i style='mso-bidi-font-style:
normal'>St. Peter Healing the Sick with his Shadow</i> (to the left of the
window, below).</span></span><span style='font-size:12.0pt'><o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.3in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.3in'><span style='font-size:12.0pt'>Most
of the rest is by <b style='mso-bidi-font-weight:normal'>Masolino</b>, with
some later work by <b style='mso-bidi-font-weight:normal'>Filipino Lippi</b> (<i>e.g.</i>,
<i style='mso-bidi-font-style:normal'><u>St. Peter in Prison</u></i>�under the <i
style='mso-bidi-font-style:normal'>Expulsion</i>, on left); all far less
interesting than the astounding works of <b style='mso-bidi-font-weight:normal'>Masaccio</b>.<o:p></o:p></span></p>
<p style='margin:0in;margin-bottom:.0001pt;text-autospace:none'><o:p> </o:p></p>
<p class=MsoNormal><b><u><span style='font-size:12.0pt'>Santo Spirito</span></u></b><span
style='font-size:12.0pt'>: {8:30-12, 4-6; closed Wed. afternoons} <span
class=GramE>This</span> church is the culmination of <b style='mso-bidi-font-weight:
normal'>Brunelleschi</b>�s development.<span style='mso-spacerun:yes'>� </span></span><span
style='font-size:12.0pt;mso-bidi-font-size:10.0pt'>It was commissioned in 1434
and begun in 1436, and it therefore represents his latest and most mature
style.<span style='mso-spacerun:yes'>� </span>Also, in this church he was not
encumbered by an existing building program�so he could plan it exactly as he
wished it to be.<span style='mso-spacerun:yes'>� </span>It was not completed
until 1482, 36 years after his death, however, and there were many
controversies that resulted in alterations to his plan:<span
style='mso-spacerun:yes'>� </span>the main ones involve the front of the
church, which was supposed to have a continuation of the domed square aisle
bays that he carefully continued around the entirety of the rest of the design
(and, therefore, there should have been four doors on the west end of the
church);<span style='mso-spacerun:yes'>� </span>and the exterior was to have
reflected on its surface the semicircular shape of the chapels, instead of
being filled in flat as it is (this, more than any other detail, reveals <b
style='mso-bidi-font-weight:normal'>Brunelleschi</b>�s connection to Romanesque
architecture; in this regard, notice also the strong horizontal
emphasis.).<span style='mso-spacerun:yes'>� </span>The basic plan is not unlike
that of<b style='mso-bidi-font-weight:normal'> San Lorenzo</b>, but here the
mathematical harmonies are perfect and complete.<o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt;mso-bidi-font-size:10.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='text-align:center'><span
style='mso-no-proof:yes'><!--[if gte vml 1]><v:shape id="Picture_x0020_72"
o:spid="_x0000_i1052" type="#_x0000_t75" alt="http://data.GreatBuildings.com/gbc/drawings/San_Spirito_Plan.jpg"
style='width:268.2pt;height:146.4pt;visibility:visible;mso-wrap-style:square'>
<v:imagedata src="italy_files/image131.jpg" o:title="San_Spirito_Plan"
croptop="11722f" cropbottom="10351f" cropleft="5032f" cropright="4920f"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=447 height=244
src="italy_files/image132.jpg"
alt="http://data.GreatBuildings.com/gbc/drawings/San_Spirito_Plan.jpg" v:shapes="Picture_x0020_72"><![endif]></span><span
style='font-size:12.0pt;mso-bidi-font-size:10.0pt'><o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt;mso-bidi-font-size:10.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal><b style='mso-bidi-font-weight:normal'><span
style='font-size:12.0pt;mso-bidi-font-size:10.0pt'>Brunelleschi</span></b><span
style='font-size:12.0pt;mso-bidi-font-size:10.0pt'> has also added a rounded <span
class=GramE>feel�</span>both in the semicircular niches of the chapels (they
were flat in <b style='mso-bidi-font-weight:normal'>San Lorenzo</b>) and in the
counter curves of the half-columns at the entrances to the chapels (they were
flat pilasters in the earlier church).<span style='mso-spacerun:yes'>�
</span>This use of round half-columns also solved the �corner problem� <b
style='mso-bidi-font-weight:normal'>Brunelleschi</b> had experienced elsewhere
(where two pilasters joining in the corner had to be cut in half, diminishing
the perfect feel of the proportions).<span style='mso-spacerun:yes'>�
</span>The square of the crossing is repeated in each arm of the transept, and
four times down the nave.<span style='mso-spacerun:yes'>� </span>On every
outside surface of these main square units, there are two half-sized square
domed bays, with semicircular niches on the outside wall.<o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt;mso-bidi-font-size:10.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='text-align:center'><span
style='font-size:80.0pt;mso-no-proof:yes'><!--[if gte vml 1]><v:shape id="Picture_x0020_73"
o:spid="_x0000_i1051" type="#_x0000_t75" alt="http://www.museumsinflorence.com/foto/santo%20spirito/image/nave.jpg"
style='width:387pt;height:232.8pt;visibility:visible;mso-wrap-style:square'>
<v:imagedata src="italy_files/image133.jpg" o:title="nave" cropbottom="6159f"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=645 height=388
src="italy_files/image134.jpg"
alt="http://www.museumsinflorence.com/foto/santo%20spirito/image/nave.jpg"
v:shapes="Picture_x0020_73"><![endif]></span><span style='font-size:12.0pt;
mso-bidi-font-size:10.0pt'><o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt;mso-bidi-font-size:10.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt;mso-bidi-font-size:10.0pt'>This
system follows uninterrupted around the entirety of the church�except for the
entrance, where there is a half unit extension of<span
style='mso-spacerun:yes'>� </span>nave which <i>obviously</i> was intended in
the original plan to contain the two missing chapels to complete the perfection
of the design.<span style='mso-spacerun:yes'>� </span>The proportions of the
elevation have also been perfected:<span style='mso-spacerun:yes'>� </span>the
aisle bays are exactly half the height of the nave bays.</span><span
style='font-size:12.0pt'><span style='mso-spacerun:yes'>� </span>The incredible
effect of the great ring of columns that extends around the entire space of the
church, and the systems of bays and semicircular niches behind, can only fully
be appreciated by walking around the space and stopping at many points to take
it in.<span style='mso-spacerun:yes'>� </span>(Try out all the central spots [<i>e.g.</i>,
the entrance�inside what should have been the first set of aisle bays, the
crossing] as well as all the extremes [<i>e.g.</i>, the corners of the
transepts and choir, and their bays].) Notice also the Roman feeling of grandeur,
not as much present in his earlier buildings.<span style='mso-spacerun:yes'>�
</span>Even the detail is perfection:<span style='mso-spacerun:yes'>�
</span>the coffered ceiling, the trim.<span style='mso-spacerun:yes'>�
</span>Soak up the feel of the place:<span style='mso-spacerun:yes'>� </span>it
is the magnificent culmination of an incredible artist�s career!<o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal><b style='mso-bidi-font-weight:normal'><u><span
style='font-size:12.0pt'>San Miniato al Monte</span></u></b><span
style='font-size:12.0pt'>:<span style='mso-spacerun:yes'>�� </span>This little
treasure is perched on a hill with the best view of <st1:City w:st="on"><st1:place
w:st="on">Florence</st1:place></st1:City> that is to be had.<span
style='mso-spacerun:yes'>� </span>Save this for a beautiful day�particularly if
you have a couple of hours to walk up and back (</span><span style='font-size:
12.0pt;mso-bidi-font-size:10.0pt'>from the far side of the Ponte Grazie, take a
left, then through the little Piazza Nicola Demidoff and wind around to the
southeast until you find Via S. Miniato, which you take to Via d. S. S. Monte,
which you follow until you come to a wide set of broad, gravel stairs off to
the left.<span style='mso-spacerun:yes'>� </span>You take these a long,
beautiful way up until you reach a main road, where you take a right, until you
come to the white stairs on your left (on the other side of the road), which
lead up to <b style='mso-bidi-font-weight:normal'>S. Miniato</b>.<span
style='mso-spacerun:yes'>� </span><o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt;mso-bidi-font-size:10.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='text-align:center'><span
style='mso-no-proof:yes'><!--[if gte vml 1]><v:shape id="Picture_x0020_75"
o:spid="_x0000_i1050" type="#_x0000_t75" alt="http://upload.wikimedia.org/wikipedia/commons/d/d0/SanMiniatoalMontenew.jpg"
style='width:207.6pt;height:205.8pt;visibility:visible;mso-wrap-style:square'>
<v:imagedata src="italy_files/image135.jpg" o:title="SanMiniatoalMontenew"
croptop="10745f" cropbottom="11327f" cropleft="5917f" cropright="26775f"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=346 height=343
src="italy_files/image136.jpg"
alt="http://upload.wikimedia.org/wikipedia/commons/d/d0/SanMiniatoalMontenew.jpg"
v:shapes="Picture_x0020_75"><![endif]></span><span style='font-size:12.0pt;
mso-bidi-font-size:10.0pt'><o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt;mso-bidi-font-size:10.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt;mso-bidi-font-size:10.0pt'>There�s
another way down (<i>q.v.</i>, below); or you can take a cab or the number 13
bus.<span style='mso-spacerun:yes'>� </span></span><span style='font-size:12.0pt'>The
church is a great example of Italian Romanesque.<span
style='mso-spacerun:yes'>� </span></span><span style='font-size:12.0pt;
mso-bidi-font-size:10.0pt'>The fa�ade, which dates from ca. 1090, is reminiscent
of classical architecture (and, remember, the Florentines thought these
buildings <i>were</i> much older than actually was the case), with rounded
arches carried on columns and a triangular pediment.<span
style='mso-spacerun:yes'>� </span>The presence of these markedly classical
elements is far more typical of the Italian Romanesque than of its counterparts
elsewhere in <st1:place w:st="on">Europe</st1:place>.<span
style='mso-spacerun:yes'>� </span>The heavy horizontality is clearly a more
generically Romanesque feature.<span style='mso-spacerun:yes'>� </span>If you
have the time, walk around the church to the left, and go into the cemetery
(which is a trip all its own!) to view the rear of the church and its
apse:<span style='mso-spacerun:yes'>� </span>the masses of the heavy masonry
directly express the internal volumes of the spaces inside in a way that is
more typical of the Romanesque throughout Europe.<span
style='mso-spacerun:yes'>� </span>The coloristic effect of the patterned marble
(white from <st1:City w:st="on">Carrara</st1:City>, dark green from <st1:place
w:st="on"><st1:City w:st="on">Prato</st1:City></st1:place>) used to emphasize
the architectural members, however, is strictly <i>Italian</i> Romanesque.<span
style='mso-spacerun:yes'>� </span>It is ironic that <b style='mso-bidi-font-weight:
normal'>Brunelleschi</b> probably turned to the forms of the Italian Romanesque
(thinking they were from Roman antiquity) in order to move <i>away</i> from the
influence of France and northern Europe he saw in the Italian Gothic�without
realizing that these northern influences were also very much a part of the
Italian Romanesque. (It�s nice to hear a mass said here on Sunday.<span
style='mso-spacerun:yes'>� </span>Pick one up in progress at about noon.<span
style='mso-spacerun:yes'>� </span>The cemetery closes at 12:30 on Sundays,
however, so check that out first.)<o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><u><span style='font-size:12.0pt'>Interior</span></u><span
style='font-size:12.0pt'>:<span style='mso-spacerun:yes'>� </span>Note the
rounded arches carried on columns that separate the nave from the aisles.<span
style='mso-spacerun:yes'>� </span>These forms are reminiscent of those later
used by <b style='mso-bidi-font-weight:normal'>Brunelleschi</b>, although they
are much heavier and <span class=GramE>more squat</span>.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='margin-left:.5in;text-align:center'><span
style='font-family:"Helvetica","sans-serif";mso-no-proof:yes'><!--[if gte vml 1]><v:shape
id="Picture_x0020_80" o:spid="_x0000_i1049" type="#_x0000_t75" alt="http://d1ezg6ep0f8pmf.cloudfront.net/images/slides/a5/16685-san-miniato-al-monte-florence.jpg"
style='width:215.4pt;height:286.8pt;visibility:visible;mso-wrap-style:square'>
<v:imagedata src="italy_files/image137.jpg" o:title="16685-san-miniato-al-monte-florence"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=359 height=478
src="italy_files/image138.jpg"
alt="http://d1ezg6ep0f8pmf.cloudfront.net/images/slides/a5/16685-san-miniato-al-monte-florence.jpg"
v:shapes="Picture_x0020_80"><![endif]></span><span style='font-size:12.0pt'><o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'>Clearly,
he drew on this model, although he used a very different sense of
proportion�and employed mathematical relationships to create spatial harmonies
simply not present here.<span style='mso-spacerun:yes'>� </span>Nevertheless,
this is a beautifully compelling space.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='margin-left:.5in;text-align:center'><span
style='mso-no-proof:yes'><!--[if gte vml 1]><v:shape id="Picture_x0020_74"
o:spid="_x0000_i1048" type="#_x0000_t75" alt="http://upload.wikimedia.org/wikipedia/commons/6/6f/San_Miniato_al_Monte_Florence_Italy.jpg"
style='width:174pt;height:234.6pt;visibility:visible;mso-wrap-style:square'>
<v:imagedata src="italy_files/image139.jpg" o:title="San_Miniato_al_Monte_Florence_Italy"
cropbottom="5378f"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=290 height=391
src="italy_files/image140.jpg"
alt="http://upload.wikimedia.org/wikipedia/commons/6/6f/San_Miniato_al_Monte_Florence_Italy.jpg"
v:shapes="Picture_x0020_74"><![endif]></span><span style='font-size:12.0pt'><o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'>If
you have time, observe a mass being said to get the real feel of the
place.<span style='mso-spacerun:yes'>� </span>In the crypt (behind and below
the altar), are some frescoes by <b style='mso-bidi-font-weight:normal'>Taddeo
Gaddi</b>.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt;mso-bidi-font-size:10.0pt'>When
finished here, walk down the stairs and turn right until you come to the-</span><span
style='font-size:12.0pt'><o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal><u><span style='font-size:12.0pt'>Piazzale Michelangelo</span></u><span
style='font-size:12.0pt'>:<span style='mso-spacerun:yes'>� </span>This place has
a great view (and still yet another copy of David), but is a <i>major</i>
tourist stop! </span><b><span style='font-size:12.0pt;mso-bidi-font-size:10.0pt'>*XX*</span></b><span
style='font-size:12.0pt'><o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='text-align:center'><span
style='mso-no-proof:yes'><!--[if gte vml 1]><v:shape id="Picture_x0020_81"
o:spid="_x0000_i1047" type="#_x0000_t75" alt="http://upload.wikimedia.org/wikipedia/commons/thumb/5/5d/Firenze_-_modified.jpg/1024px-Firenze_-_modified.jpg"
style='width:557.4pt;height:113.4pt;visibility:visible;mso-wrap-style:square'>
<v:imagedata src="italy_files/image141.jpg" o:title="1024px-Firenze_-_modified"/>
</v:shape><![endif]--><![if !vml]><img border=0 width=929 height=189
src="italy_files/image142.jpg"
alt="http://upload.wikimedia.org/wikipedia/commons/thumb/5/5d/Firenze_-_modified.jpg/1024px-Firenze_-_modified.jpg"
v:shapes="Picture_x0020_81"><![endif]></span><span style='font-size:12.0pt'><o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt'>I�d <i>carefully</i> (so as
not to get trampled or run over by a tour bus) hurry through it.<span
style='mso-spacerun:yes'>� </span>Off to the right begins a path (<i>not</i>
the road) that cuts back and forth through lovely gardens until you reach Porta
San Niccol�, a three story medieval tower near the river.<span
style='mso-spacerun:yes'>� </span><span class=GramE>A great walk.</span><o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal><u><span style='font-size:12.0pt'><a
href="http://www.uffizi.firenze.it/welcomeE.html">Uffizi</a></span></u><span
style='font-size:12.0pt'>:<span style='mso-spacerun:yes'>� </span></span><b><span
style='font-size:12.0pt;mso-bidi-font-size:10.0pt'>*XX<span class=GramE>*<span
style='mso-bidi-font-size:12.0pt;font-weight:normal'><span
style='mso-spacerun:yes'>� </span>{</span></span></span></b><span
style='font-size:12.0pt'>Open Tuesday to Sunday 0815�1850; Closed Monday} The
collection of painting here is vast, but the tourist density can present <i
style='mso-bidi-font-style:normal'>serious</i> problems.<span
style='mso-spacerun:yes'>� </span>My main piece of advice here�and it is a <i>very</i>
valuable one�is to warn you that getting into the Uffizi is usually a
nightmare�even if you have bought a ticket online or you are using the <b
style='mso-bidi-font-weight:normal'><a
href="http://www.firenzecard.it/index.php?lang=en">FirenzeCard</a></b> (this
pass, which provides free priority admission [one cuts some of the lines] for a
72 hour period to many of the museums and sites in Florence [including the
Uffizi; <a
href="http://www.firenzecard.it/index.php?option=com_eventifc25&view=eventifc25&task=mappa&tipo=musei&Itemid=115&lang=en">click
for complete list</a>], costs �50, and, while it can be <a
href="http://www.firenzecard.it/index.php?option=com_cardfi25&view=cardfi25&task=dutente&tipoc=1&Itemid=117&lang=en">purchased
online</a>, basically needs to be picked up at some of the same <a
href="http://www.firenzecard.it/index.php?option=com_cardfi25&view=cardfi25&task=dutente&tipoc=1&Itemid=117&lang=en">designated
spots</a> where you would purchase one there [unless you have over a month for
them to mail it to you]):<span style='mso-spacerun:yes'>� </span>one still has
an <i style='mso-bidi-font-style:normal'>enormous</i> line to wait on to get in
(often in excess of 1 hour).<span style='mso-spacerun:yes'>� </span>And without
either a ticket or the <b style='mso-bidi-font-weight:normal'>FirenzeCard</b>,
just forget about the whole thing! It�s usually more than a <i
style='mso-bidi-font-style:normal'>three hour wait</i>!<span
style='mso-spacerun:yes'>� </span>The <i style='mso-bidi-font-style:normal'>best</i>
way to get into the Uffizi is to purchase a membership in the <b
style='mso-bidi-font-weight:normal'><a
href="http://www.amicidegliuffizi.it/diventa_socio.php?pg=8&ln=en">Association
Amici degli Uffizi</a></b> (it costs �60 for an adult, �100 for a family [two
adults + two children under 18], and is good for 1 calendar year [Jan-Dec];
membership can be <a
href="http://lnx.amicidegliuffizi.it/diventa_socio_iscrizione.php?ln=en&pg=19">purchased
online</a>, or by mailing, faxing, or bringing in person the <a
href="http://lnx.amicidegliuffizi.it/files/modulo_iscrizione.pdf">downloadable
form</a>; the <i style='mso-bidi-font-style:normal'>huge</i> advantage is that you
enter through door No. 2 [where one also can buy the membership, if doing it in
person], where there is <i style='mso-bidi-font-style:normal'>no</i> line
[except a tiny section where you join near the front of the queue for
security]; there is a <a
href="http://www.amicidegliuffizi.it/diventa_socio.php?pg=8&ln=en">list of
other museums and sites</a> it also gives you free admission to in
Florence.)<span style='mso-spacerun:yes'>� </span>Whether to buy a <b
style='mso-bidi-font-weight:normal'><a
href="http://www.firenzecard.it/index.php?lang=en">FirenzeCard</a></b> or a
membership in the <b style='mso-bidi-font-weight:normal'><a
href="http://www.amicidegliuffizi.it/diventa_socio.php?pg=8&ln=en">Association
Amici degli Uffizi</a></b> is a complex question:<span
style='mso-spacerun:yes'>� </span>neither is a great saving in terms of money;
and most museums in Florence (other than the Uffizi and <b style='mso-bidi-font-weight:
normal'>Santa Croce</b> [and the Academia, where we do not go]) do not have
long lines; from our point of view, the only <i style='mso-bidi-font-style:
normal'>real</i> issue is getting ourselves into the Uffizi.<span
style='mso-spacerun:yes'>� </span>Then there is the question of which to get,
if one is going to purchase one, and here it is something of a toss-up:
membership in the <b style='mso-bidi-font-weight:normal'><a
href="http://www.amicidegliuffizi.it/diventa_socio.php?pg=8&ln=en">Association
Amici degli Uffizi</a></b> wins hands down for getting into the Uffizi�it is
without any question worlds superior on this count [which, I guess, is why I
have placed this discussion here]; but the <b style='mso-bidi-font-weight:normal'><a
href="http://www.firenzecard.it/index.php?lang=en">FirenzeCard</a></b> provides
a way to cut the lines at <b style='mso-bidi-font-weight:normal'>Santa Croce</b>
[which, while in no way as formidable as those at the Uffizi, can be annoying
long].<span style='mso-spacerun:yes'>� </span>There are far more museums that
the <b style='mso-bidi-font-weight:normal'><a
href="http://www.firenzecard.it/index.php?lang=en">FirenzeCard</a></b> gets you
into (the <b><u><a href="http://www.operaduomo.firenze.it/home_800.htm">Museo
dell� Opera del Duomo</a></u></b>, <u><a
href="http://museicivicifiorentini.comune.fi.it/en/smn/">Santa Maria Novella</a></u>,
<b><u><a href="http://museicivicifiorentini.comune.fi.it/en/palazzovecchio/">Palazzo
Vecchio</a></u></b>, Palazzo Strozzi, and the <b style='mso-bidi-font-weight:
normal'>Cappella Brancacci</b> being the mains ones�none of these presenting
problems getting in, but the profusion of them providing some financial advantage),
but it only allows one visit to each museum (whereas visits as a member of the <b
style='mso-bidi-font-weight:normal'><a
href="http://www.amicidegliuffizi.it/diventa_socio.php?pg=8&ln=en">Association
Amici degli Uffizi</a></b> are unlimited), and it last for only three days,
while the other lasts for an entire year.<span style='mso-spacerun:yes'>�
</span>Anyway, we�ll choose to go with the membership in the <b
style='mso-bidi-font-weight:normal'><a
href="http://www.amicidegliuffizi.it/diventa_socio.php?pg=8&ln=en">Association
Amici degli Uffizi</a></b>; but it is something of a toss-up. This may be the
most practical advice in the entire guide, however!<span
style='mso-spacerun:yes'>� </span><o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt'>As for the museum itself, I
basically entrust you to <i>Access:<span style='mso-spacerun:yes'>�
</span>Florence</i> and your own preferences to guide you through the treasures
here.<span style='mso-spacerun:yes'>� </span>While there is a vast trove of
riches at the Uffizi, most if it is in directions we do not like:<span
style='mso-spacerun:yes'>� </span>if you�re a fan of Leonardo or Botticelli,
the Uffizi is a place you can spend days.<span style='mso-spacerun:yes'>�
</span>The only reason we always go to the Uffizi, however, is to see the unbelievable
<b><i style='mso-bidi-font-style:normal'><a
href="http://www.rlrubens.com/SanRomano-Uffizi.jpg">Battle of San Romano</a></i>
</b><span style='mso-bidi-font-weight:bold'>by<b> Uccello</b> in <b>Room VII</b></span>
[click on the link or the image for a much higher resolution photograph].<o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='text-align:center'><a
href="http://www.rlrubens.com/SanRomano-Uffizi.jpg"><span style='color:windowtext;
mso-no-proof:yes;text-decoration:none;text-underline:none'><!--[if gte vml 1]><v:shape
id="Picture_x0020_82" o:spid="_x0000_i1046" type="#_x0000_t75" alt="http://upload.wikimedia.org/wikipedia/commons/thumb/7/71/Uccello_Battle_of_San_Romano_Uffizi.jpg/1280px-Uccello_Battle_of_San_Romano_Uffizi.jpg"
href="http://www.rlrubens.com/SanRomano-Uffizi.jpg" style='width:434.4pt;
height:249pt;visibility:visible;mso-wrap-style:square' o:button="t">
<v:imagedata src="italy_files/image143.jpg" o:title="1280px-Uccello_Battle_of_San_Romano_Uffizi"/>
</v:shape><![endif]--><![if !vml]><span style='mso-ignore:vglayout'><img
border=0 width=724 height=415 src="italy_files/image144.jpg"
alt="http://upload.wikimedia.org/wikipedia/commons/thumb/7/71/Uccello_Battle_of_San_Romano_Uffizi.jpg/1280px-Uccello_Battle_of_San_Romano_Uffizi.jpg"
v:shapes="Picture_x0020_82"></span><![endif]></span></a><span style='font-size:
12.0pt'><o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='text-align:justify'><span style='font-size:12.0pt'>This
magnificent painting, almost abstract in its rhythmic patterning, is the best
of the three versions done by <b style='mso-bidi-font-weight:normal'>Uccello</b>�the
others (click on the names of the museums for images of the version there)
being in the <b style='mso-bidi-font-weight:normal'><a
href="http://www.rlrubens.com/SanRomano-Paris.jpg">Louvre</a> </b>and the <b
style='mso-bidi-font-weight:normal'><a
href="http://www.rlrubens.com/SanRomano-London.jpg">National Gallery in London</a></b>
(which provide the major reason we visit those museums when in Paris and
London!).<span style='mso-spacerun:yes'>� </span>While we go for the <b
style='mso-bidi-font-weight:normal'>Uccello</b>, while there I suggest you also
take notice <span class=GramE>of<span style='mso-spacerun:yes'>� </span>the</span>
following:<span style='mso-spacerun:yes'>� </span>the <b>Cimabue and Giotto in
Room II</b>;<span style='mso-spacerun:yes'>� </span>and the fabulous work by <b
style='mso-bidi-font-weight:normal'>Durer</b> (if you�re interested in a
non-Italian suggestion) in Room XX.<o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal><u><span style='font-size:12.0pt'>Galleria dell� Academia</span></u><span
style='font-size:12.0pt'>:<span style='mso-spacerun:yes'>� </span>The home of
the <i>real</i> <i style='mso-bidi-font-style:normal'>David</i>, copies of
which are almost as numerous as tourists in <st1:City w:st="on"><st1:place
w:st="on">Florence</st1:place></st1:City>, along with several other works by
Michelangelo.<span style='mso-spacerun:yes'>� </span>A <i>must</i> for
Michelangelo lovers; but, unfortunately, since Michelangelo is <st1:City w:st="on"><st1:place
w:st="on">Florence</st1:place></st1:City>�s best known name, also a must for
every other tourist. </span><b><span style='font-size:12.0pt;mso-bidi-font-size:
10.0pt'>*XX<span class=GramE>*<span style='mso-bidi-font-size:12.0pt;
font-weight:normal'><span style='mso-spacerun:yes'>� </span>It</span></span></span></b><span
style='font-size:12.0pt'> is actually a toss-up, therefore, whether it is worth
the line and the mob scene.<span style='mso-spacerun:yes'>� </span>(<span
class=GramE>well</span>, not for us: we <i style='mso-bidi-font-style:normal'>never</i>
go, as Michelangelo is too late in the Renaissance for us.)<span
style='mso-spacerun:yes'>� </span>I assume either the <b style='mso-bidi-font-weight:
normal'><a href="http://www.firenzecard.it/index.php?lang=en">FirenzeCard</a></b>
or a membership in the <b style='mso-bidi-font-weight:normal'><a
href="http://www.amicidegliuffizi.it/diventa_socio.php?pg=8&ln=en">Association
Amici degli Uffizi</a></b> would be of great help on this one, too.<o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal><u><span style='font-size:12.0pt'>[Palazzo Pitti</span></u><span
style='font-size:12.0pt'>:<span style='mso-spacerun:yes'>� </span>If you like
Titian and Raphael, you�ll love this Oltrarno museum�it has many wonderful
examples of both.<span style='mso-spacerun:yes'>� </span>(<span class=GramE>see</span>
<i>Access: <st1:place w:st="on"><st1:City w:st="on">Florence</st1:City></st1:place></i>
for guidance.)<span style='mso-spacerun:yes'>� </span>Since I am not
particularly into them, I generally go to the Boboli Gardens, behind (entered
through the Palace courtyard).<span style='mso-spacerun:yes'>� </span>Again, I
assume the <b style='mso-bidi-font-weight:normal'><a
href="http://www.firenzecard.it/index.php?lang=en">FirenzeCard</a></b> or a
membership in the <b style='mso-bidi-font-weight:normal'><a
href="http://www.amicidegliuffizi.it/diventa_socio.php?pg=8&ln=en">Association
Amici degli Uffizi</a></b> would be of great help here.]<o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal><u><span style='font-size:12.0pt'>Giardino di Boboli</span></u><span
style='font-size:12.0pt'>:<span style='mso-spacerun:yes'>� </span>This is a low
priority, but, if you have lots of time, the climb through these expansive
gardens next to the <st1:place w:st="on"><st1:PlaceName w:st="on">Pitti</st1:PlaceName>
<st1:PlaceType w:st="on">Palace</st1:PlaceType></st1:place> in the Oltrarno is
very beautiful.<span style='mso-spacerun:yes'>� </span>By far the prettiest
spot is the flower garden at the very top, next to the Monkey Fountain and the
Museo delle Porcellane, where there are absolutely breath taking views of the
surrounding hills.<span style='mso-spacerun:yes'>� </span>Not one of <st1:country-region
w:st="on"><st1:place w:st="on">Italy</st1:place></st1:country-region>�s great
gardens, but some beautiful vistas.<o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal align=center style='margin-left:.5in;text-align:center'><b><u><span
style='font-size:12.0pt;text-transform:uppercase'>Restaurants IN <st1:City
w:st="on"><st1:place w:st="on">Florence</st1:place></st1:City></span></u></b><span
style='font-size:12.0pt'><o:p></o:p></span></p>
<p class=MsoNormal style='margin-left:.5in'><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal><b><u><span style='font-size:12.0pt'><a
href="http://www.edizioniteatrodelsalecibreofirenze.it/index.php?option=com_content&view=section&id=12&Itemid=2"><span
class=GramE>Il</span> Cibr�o</a></span></u></b><span style='font-size:12.0pt'>:<span
style='mso-spacerun:yes'>� </span>Splendid restaurant, the pinnacle of Tuscan
�home style� cooking (but don�t be fooled by that description:<span
style='mso-spacerun:yes'>� </span>it�s a sophisticated operation, and they even
have a branch in Tokyo)�it�s a must! <b style='mso-bidi-font-weight:normal'><span
style='mso-spacerun:yes'>�</span><i style='mso-bidi-font-style:normal'>If you
take only one of my restaurant suggestions, make it this one</i>.</b><span
style='mso-spacerun:yes'>� </span>Long ago we decided that we should have gone to
it at least twice the prior trip, as it is so much superior to any of the other
restaurants in Florence�the only other contender is <b style='mso-bidi-font-weight:
normal'>Enotecca Pinchiorri</b> (<i style='mso-bidi-font-style:normal'>q.v.</i>,
below), which is a place of an entirely different sort (more French than
Italian), and, compared to that one, <b style='mso-bidi-font-weight:normal'>Cibr�o</b>
is actually a bargain, although not cheap.<span style='mso-spacerun:yes'>�
</span>This trip we ended up eating there three out of our four nights in
Florence�and we were <i style='mso-bidi-font-style:normal'>totally</i> pleased
that we chose to do so!<span style='mso-spacerun:yes'>� </span>The unexpected
treat of this visit was to discover that <b style='mso-bidi-font-weight:normal'>Ristorante
Cibr�o</b> had just decided to <b style='mso-bidi-font-weight:normal'>open on
Sundays</b>!<span style='mso-spacerun:yes'>� </span>This is a rarity in
Florence, where most restaurants are closed on Sundays�and virtually all good
restaurants are also closed on Mondays.<span style='mso-spacerun:yes'>�
</span>(Please do <i style='mso-bidi-font-style:normal'>not</i>, in an
ill-advised attempt to economize, go instead to the trattoria or caffe which
Cibr�o has opened around the corner.<span style='mso-spacerun:yes'>�
</span>They are <i style='mso-bidi-font-style:normal'>not</i> the same thing as
the <b style='mso-bidi-font-weight:normal'>ristorante</b>�in terms of the
quality either of the food or of the general experience.<span
style='mso-spacerun:yes'>� </span><b style='mso-bidi-font-weight:normal'>Go to
the main restaurant</b>!)<span style='mso-spacerun:yes'>� </span>There is no
menu, but one of the senior staff (often <b style='mso-bidi-font-weight:normal'>Christina</b>,
who has been there for all the decades we�ve been going, or <b
style='mso-bidi-font-weight:normal'>Guilio</b>, the manager, and the son of <b
style='mso-bidi-font-weight:normal'>Fabio Picchi</b>, the owner and chef) sits
down with you and explains in detail your dinner options.<span
style='mso-spacerun:yes'>� </span>On the <a
href="http://www.edizioniteatrodelsalecibreofirenze.it/index.php?option=com_content&view=section&id=12&Itemid=2">website</a>,
<b style='mso-bidi-font-weight:normal'>Signor Picchi</b> describes there
offerings in the following way:<o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal style='margin-left:.5in;text-autospace:ideograph-other'><span
style='font-size:12.0pt'>Going along with the Chef�s fantasy, our menus
basically follow the rhythm of the seasons. While apparently still, they move
throughout <span class=GramE>Winter</span>, Springtime, Summer and Fall and
slightly change each month, each week, each day.<br>
<br>
We avail ourselves of fishermen from the Tuscan sea, of farmers nearby Florence
and their tender green ''radicchini'', of hundreds of other suppliers that are
constantly in touch with us.<br>
<br>
The adverse weather conditions may influence the fish menu, hot Septembers can
lead to an early ripening of the green fig, <span class=GramE>warm</span>
Novembers can extend the porcini mushrooms availability.<br>
<br>
It is since September 8th 1978 that we embrace our shepherds and their cheeses,
the butchers and their meats, the pasta makers from Puglia region, Florentine
olive pressers, producers of Sicilian lemons, �Clementini� tangerines growers
from Calabria and truffle diggers from San Miniato and Piedmont.<br>
<br>
The oregano provided by Francesca from Pantelleria reminds us that she is our
�most ancient� supplier together with many wine producers that follow and
constantly inspire us with their work.<br>
<br>
We take good care of our pickled and under-oil products as well as of the honey
from Elba <span class=GramE>island</span>. We could never use vacuum-packed or
deep-frozen foods, we reduce the use of the fridge to a minimum and we are
absolutely fond of our pantry, a philosophy that enlightens our steps. We may
not have mentioned everything in this few lines, not for forgetfulness but for
due discretion, as we are quite jealous of our contacts, which are obviously
within everybody�s reach.<o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt'>At the beginning of the meal
they serve a series of wonderful �<i style='mso-bidi-font-style:normal'>antipastini</i>�
(what I now know <i style='mso-bidi-font-style:normal'>amuses gueule</i> are
called <i style='mso-bidi-font-style:normal'>in Italiano</i>) to welcome you to
the table:<span style='mso-spacerun:yes'>� </span>the old standards are still
there�trippa alla fiorentina, spicy tomato mousse, chicken liver crostini�along
with several new ones; for<i style='mso-bidi-font-style:normal'> i primi</i>,
there was the most intense, spicy fish soup I�ve ever tasted, there was their
signature yellow bell pepper soup (unbelievable!), there was a gorgonzola
souffl� with a meat sauce�there were all sorts of delights, except there <i
style='mso-bidi-font-style:normal'>never</i> is pasta�it is just not
traditional in Florence (although most restaurants there serve it); and for <i
style='mso-bidi-font-style:normal'>i secondi</i>, there was veal in a spicy
tomato sauce, ox tail stew, a fabulous whole local fish I had never heard of, a
delicious roast pigeon, just to name a few; and for desert, a chocolate tart, a
coffee Bavarian cream, a flourless chocolate tart�along with some other
marvelous confections they brought us, �just for the hell of it.�<span
style='mso-spacerun:yes'>� </span>They have a fabulous wine list, and the
entire staff is quite knowledgeable and helpful about it�although <b
style='mso-bidi-font-weight:normal'>Hugo</b>, the sommelier, is far more
knowledgeable.<span style='mso-spacerun:yes'>� </span>And they also have
extraordinary bread, something not so generally available in <st1:country-region
w:st="on"><st1:place w:st="on">Italy</st1:place></st1:country-region>.<span
style='mso-spacerun:yes'>� </span>A jacket would be most comfortable, although
not really necessary; and no tie is called for.<span style='mso-spacerun:yes'>�
</span><span class=GramE><i style='mso-bidi-font-style:normal'>Reservations a
must, and far in advance</i>.</span><span style='mso-spacerun:yes'>�
</span>Open Tuesday-Sunday; closed in August. <span class=GramE>Moderately
expensive, but not unreasonably so.</span><span style='mso-spacerun:yes'>�
</span><span class=GramE>Tel.<span style='font-size:10.0pt;mso-bidi-font-size:
12.0pt'> </span>+39 (55) 234 11 00.</span><span style='mso-spacerun:yes'>�
</span><span class=GramE>Via dei Macci, 118r.</span><o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt;mso-bidi-font-weight:bold'><o:p> </o:p></span></p>
<p class=MsoNormal><b><u><span style='font-size:12.0pt'><a
href="http://www.enotecapinchiorri.com/">Enotecca Pinchiorri</a></span></u></b><span
style='font-size:12.0pt'>:<span style='mso-spacerun:yes'>� </span>This
restaurant had been closed for renovations during our 2003 visit, but it has
since re-opened.<span style='mso-spacerun:yes'>�� </span>It is a magnificent
restaurant:<span style='mso-spacerun:yes'>� </span>beautiful decor, superb
food, unbelievable wine, and perfect service.<span style='mso-spacerun:yes'>�
</span>It is one of the only restaurants in Italy (and one of only a few
outside of France, actually) to have two Michelin stars�and I suspect it is on
its way to a <span class=GramE>third .</span> Unfortunately, it is almost
obscenely expensive; when we went in 2006, it was twice as expensive as it was
nine years ago�and more than four times the cost of a lovely meal at <b
style='mso-bidi-font-weight:normal'>Cibr�o</b>.<span style='mso-spacerun:yes'>�
</span>If you do it (and can bear the sticker shock), though, do a <i
style='mso-bidi-font-style:normal'>degustazione</i> of food <i>and</i> of
wine!<span style='mso-spacerun:yes'>� </span><a href="EP.htm">Click here</a>
for a link to the food and wine we consumed on this (2006) visit.<span
style='mso-spacerun:yes'>� </span>The first time we were there, I had the <i
style='mso-bidi-font-style:normal'>gran men� degustazione</i>:<span
style='mso-spacerun:yes'>� </span>dorad in balsamic vinegar, foie gras with
salad, <span class=GramE>lobster</span> in a bisque with spring vegetables, a
fresh tomato and vegetable soup, an <i>intermezzo</i> of necce (sp?)�a chestnut
and ricotta confection, medallions of veal, talleggio in mille feuille, and an
apple tart.<span style='mso-spacerun:yes'>� </span>Our wine <i
style='mso-bidi-font-style:normal'>degustazione</i> included a delicious
Rothschild white I didn�t know, an all-Sangiovese red, a terrific Bonnes Mares
(although, what Bonnes Mares isn�t terrific?), and an Ornelia (a <i>marvelous</i>
Tuscan wine).<span style='mso-spacerun:yes'>� </span>Dress is quite formal
(jackets required, tie appropriate); reservations a must. <span class=GramE>Tel.
+39 (55) 242777.</span><span style='mso-spacerun:yes'>� </span><span
class=GramE>Via Ghibellina, 87.</span><o:p></o:p></span></p>
<p class=MsoNormal><span style='font-size:12.0pt'><o:p> </o:p></span></p>
<p class=MsoNormal><b><u><span style='font-size:12.0pt'>Buca Lapi</span></u></b><span
style='font-size:12.0pt'>:<span style='mso-spacerun:yes'>� </span>�Buca� means
�hole,� but this basement restaurant is a pleasant place for a casual meal. <span
class=GramE>Great fo