Monthly Archives: July 2019

Rome: Pope Days Edition

Rome was hot and sunny. We have baked under the sun, trod through her streets, and walked underground beneath her buildings. We have watched many of her sunsets, but only one of her sunrises (it is usually too early for that). This was certainly the most anticipated city, but even a whole eight nights, the longest we’re staying in any one city, wasn’t enough to see everything we wanted to see. To sum up our Rome trip, we alternated Pope Days, which require a bit more modest clothing with long pants and t-shirts or shoulder-covering shirts, with Ancient Days, which generally require more sunscreen and hats since we’re out there walking from “hot ruin to hot ruin”. Steve was also slightly more enthusiastic about Pope Days, his bailiwick being more the history of early Christianity, and I of course wanted to come to Rome mainly to see the classics sites from 2,500 or so years ago, but we have a good overlap of interest in those respective topics.

I’ll get right to our favorite, the Vatican Scavi tour, which is actually a nice combination of our two interests. I think few people know that under the world-famous St. Peter’s Basilica (level one) is a church originally dedicated by Constantine in the 300s AD, and that church itself (level two) was raised above St. Peter’s tomb, which is among a hillside of Roman mausoleums (level three). This was certainly all news to me, but we learned about it during a 90-minute tour that was probably the best bang for buck we’ve spent on the trip.

The visit itself was a re-do for Steve from the last time he was in Rome, which was roughly 15 years ago. The process has not really changed, either. We wrote an email with our availability, and were sent a few dates in response. Then we had to follow another link and pay so that we would be able to go. Days were selling out even months ago! So we were really glad this was all planned in April and May. We had a little trouble figuring out where to go, but after some confusion, we followed the correct police checkpoint on the left side of St. Peter’s Basilica and presented our credentials to the Swiss Guard. The Swiss Guard, by the way, had some fabulous summer costumes on – floofy velvet hats, yellow, red, and blue ribboned pants and shirts, not to mention a very sharp pike in hand. We almost wanted a picture with one!

Inside the Scavi, we and thirteen other guests were greeted by an effusive lady named Daniela who gave us very long explanations of everything as well as some very dry jokes. After some introductions about the history of the building, we directly descended from the level just under St. Peter’s Basilica to the underground scavi. Here, it was damp, cool, and musty. Unexpectedly, we found ourselves walking through what was obviously some narrow paths beside small cottages that were Roman mausoleums. Entire families were buried there, and clear marble inscriptions said that they were for particular families, children, their freedmen and freedwomen as well. We had to duck to pass the doorways in some to look at the mosaics or the wall niches inside which held room for urns of ashes and bone. Outside, we could clearly see some beautiful fresco decorations on the wall, and one that looked like a delicate bird held my attention for a full five minutes. What’s amazing to me is that nobody knew anything about these mausoleums until after World War II. They were only initially excavated in the 1940s to locate the exact remains of St. Peter, and it took a long time to figure out which bones were his, exactly. It turns out that there was a wall built on top of the marble box that was his grave, initially constructed as a part of the wall for the church dedicated by Constantine in the 300s AD. The box itself was empty, but the wall had a cavity which contained a human skeleton, which the church now believes to be the remains of St. Peter.

When the tour ended, we were inside St. Peter’s Basilica proper, which we then walked into. First, we saw the Vatican Grottoes, which is on the second level. We saw plenty of sarcophagi of former popes, which varied from the very Baroque and flowery bronze and gold cover to very worn marble effigies which looked simple and austere. Then we emerged to the upper level,  into the church itself. St. Peter’s is vast. We have seen plenty of churches, and most of them could fit inside St. Peter’s Basilica. There were many statues, especially of marble carved to resemble fabric, like an angel or a saint with flowing robes carved of red marble. Around the frieze just under the ceiling, the immortal words of Jesus to St. Peter were carved: “Tu es Petrus et super hanc petram aedificabo ecclesiam meam,” meaning “You are Peter, and on this stone (which is what Peter means) I will build my church.” There were also areas roped off for worshippers rather than idle tourists like ourselves. I even saw several confessional booths which were labeled with the different languages to which they catered – you could make your confession to a priest at St. Peter’s in English, Italian, French, and more. It’s neat things like that that make you appreciate being in a place of such international importance.

The other main draw was the Vatican Museums, which was the first thing we saw in Rome on our first full day here. It was a five-hour haul through these museums, the most impressive and large but also exhausting museum that we saw on our entire trip. Steve happened upon the right tickets online, so we jumped on it, and hustled off to the Vatican, evading touts and ticket scalpers all along the perimeter of Vatican City itself. Inside, the museums were an amazing array of everything that every pope has ever commissioned, acquired, or received as a present from various dignitaries and artists throughout the centuries. There were ancient statues like the original of Laocoön and His Sons, which you can tell is the original, because the hands of the children are lost. There are entire rooms of red and black Etruscan pottery from the 400s and 500s BC, amazing in their exquisite detail, of mythological figures or just merrymakers. It would probably take a lifetime to even just walk through every single room and look at each thing that was made more than two thousand years before you were born. One of my favorites was the Gallery of Maps, which was a very long room with exquisite maps painted on the walls of various parts in Italy, in gold and blue. The Vatican Museums was arranged in one long guided route which went one direction and ended up in the Sistine Chapel, and for most of the time, we were swept along by a tide of international tourists. Families from every country on earth it seemed like fanned themselves and chattered to each other or silently followed a tour guide with an upheld flag, listening to the guide through their Bluetooth headphones in different languages. We stepped out of that river of humanity several times to closely examine maps of Sicily or of ancient ports like Brundisium and Ostia.

One of the largest crowds was in the rooms of frescos by Raphael, including the famous School of Athens. It depicts many philosophers known to the Renaissance all arrayed in a marble courtyard, at its center Plato with one finger pointed at the sky and Aristotle with his hand facing down, five fingers splayed. I know the painting well, since I completed a 1,000 piece puzzle of the painting several years ago (not the conventional way of getting to know a piece of art, I know). In person, it’s very satisfying, being the entire width and height of a wall. It also depicts many other philosophers including Diogenes, Epicurus, Pythagoras, and more. I enjoyed that almost more than the final room that most people come to the Vatican to see: the Sistine Chapel. With its immense ceiling by Michaelangelo and surrounding frescos, the Sistine Chapel is more often known as an art gallery, but the truth is that it’s first and foremost a chapel for the Pope. In the Vatican, this is also the place that the cardinals gather to select the pope. However, most days, it is filled with hundreds of tourists (being a rather large room), who are all ushered to the center of the room so as not to impede traffic around the edges of the room. Everyone is gazing at the ceiling, trying to make sense of paintings besides the obvious one that everyone knows (Adam limply brushing the finger of God as an old man). And there’s an amazing amount to see. Possibly more because you’re not actually allowed to take photos in the Chapel. Every five minutes, there’s some guard yelling “No photo!” at some poor lady, which kind of makes it difficult to enjoy the sacred space, but anyway, some people get selfies in anyway. Either way, I appreciate the chance to just look at things. All around the chapel are larger frescos, and the frescos that run lengthwise depict the corresponding events in the lives of Jesus and Moses. There are also paintings of Old Testament prophets like Ezekiel next to paintings of the Delphic Sybil and other Sybils who are also regarded as having predicted the coming of Jesus. All in all, it’s quite a dizzying room, and you can only hold your neck at an angle for so long. At the end of an entire afternoon filled with dazzling art and beautiful examples, it’s in fact difficult not to fall asleep on your feet.

Of course, we enjoyed our time seeing these glittering examples of antiquity and the Renaissance, but it’s a word of warning to the wise: ration your time in museums, and give yourself plenty of time to recover just by sitting around and enjoying the gorgeous light and people-watching in this city. When it comes to museums, there is more than enough to keep you occupied for a whole day, but you only have so much attention and time, so keep your eye on the time.

More to come: Ancient Days in Rome and all the amazing food we ate!

Florence: Not-So-Famous Sights Edition

When we began to plan our trip, Steve spent about four hours browsing the Internet (especially sites like Atlas Obscura) and unearthing a wealth of strange museums and odd gift shops in Florence. We didn’t even get to all of them, leaving behind things like the museum full of medieval armor and fully-dressed warhorse figurines (the legacy of another Medici heir who had more money than he knew what to do with), but we saw a tantalizing few which showcases the history and culture of Florence in a different way. I’m glad to report we enjoyed pretty much all of them!

First off the bat was the Museo Galileo, our first stop in Florence. It sits on a building adjoining the Galleria delgi Uffizi. Once you get past the crowds in line to see that august museum, you find only a few people lingering in the entrance hall of the Museo Galileo, which costs 10 euro to see. This used to be named the Museum of History of Science, but deciding to abandon such a prosaic name, the museum chose to double-down on its collection of actual instruments by Galileo. Like most museums in Florence, it is another Medici legacy, with hundreds of instruments and scientific tools over hundreds of years. Through those tools like astrolabes, quadrants, and distillers, you can clearly trace the development of the disciplines of astronomy, navigation, military arts, chemistry, and more. We saw clever sundials made of thread instead of a wedge, allowing it to be closed like a pocket mirror. The biggest piece in there was a model of the solar system (constructed according to the Aristotelian model of the universe, with Earth at its center). It was gilded all over, with little clever touches such as the face of God painted under the very top of the dome. The entire thing was at least two meters tall. The actual collection of instruments of Galileo included three of his actual telescopes, which did look very old and leathery. Through them, he made discoveries like the fact that Jupiter was surrounded by its own moons (which he called “Asterae Mediciae” or Medici Stars after his patrons), a contrary claim that shook the very foundations of the Aristotelian model. After all, everything was supposed to revolve around the earth. We also saw an interesting scientific paradox machine, which showed that a cylinder does not roll down a slope if there is no friction (I really learned something there), and curiosity machines that demonstrate the effects of static electricity. These were the ways that the European middle class began to explore an interest in the popular science of the day, like electricity and physics. The Museo Galileo probably had the most well-developed English captions and guides of the lesser-known museums we were visiting, but it lacked explanation when it came to the operation and use of these instruments. For example, the thing that I understood best in that museum was a golden protractor, like the kind used in math class. When it came to how these instruments were used to determine the time of day, year, and even location on earth (especially longitude), it would have been useful to have diagrams or examples with simple calculations. In that, it was less of a science museum and more of an art museum, because the scientific instruments of the time were mostly for institutions and upper-class households, who used them to showcase their own learning and leisure through precious metals and decoration.

The Museo Galilieo is partnered with La Specola, and we got reduced admission to the latter museum a few days later, because both are among the natural history museums of Florence. While Museo Galileo focuses more on the history of science that pertains to physics, La Specola is about specimens and models that focus on biology. The crown jewel of their collection is a set of anatomical waxworks, probably hundreds (maybe even a thousand), which were produced between the 1700s and 1900s. They are incredibly life-like, and were created by wax-modelers in conjunction with doctors and medical personnel of the nearby universities. These were used for medical students to understand the inner workings of the human body, because otherwise, the only other way was to see a live dissection of a cadaver. They range from rather simple waxworks like that of a shoulder or arm with a few muscles attached to entire bodies where the circulatory or lymphatic systems are displayed in all their glory. We paid an extra 3 euro each to take the guided tour, which is the only way that one can see these waxworks. They are after all, so fragile and in need of preservation that you’re not allowed to even touch the glass and wood cases that these are enclosed in. Our guide spoke English with an extraordinarily thick Italian accent, but fortunately, she spoke slowly for our purposes. She showed us that the wax modelers began by creating a clay model of a heart or bone, and used that to create a plaster mold, which they filled with the wax of the color and consistency they needed. Then we moved on to the actual rooms, five or six in all, which were arranged by the systems they showed (circulatory, digestive, lymphatic, nervous, etc.). Each waxwork also had a correspondingly detailed picture which hung on the walls above them, which the wax-modelers also used to help them create the work. The strangest and most interesting them about them is that they look very vibrant and alive, like real people whose muscles and organs are on display. Body Worlds before there were Body Worlds, basically. And they are arranged in various poses, very much like the marble statues that we saw in the art museums. Several have a hand loosely held in front of them, as though they were about to start speaking. All of them have real human hair. One model of a woman has luxurious curls and even a string of pearls around her neck. One model showcasing human muscles is depicted stretched out on his belly and his head turned to the side, one arm flung-out as though sleeping. These wax-modelers were truly artists of their time, who saw no contradiction or even separation between the sciences and the arts. They created beautiful, lively, unsettling works that are scientifically accurate but not sterile. I loved the chance to see this different approach that was much more prevalent before the technological revolution.

Finally, the religious: we were recommended by a friend to visit the Abbey of San Miniato al Monte, high on the south side of the Arno. We went for the views, but also for the services. San Miniato is an active Olivetian Benedictine abbey, and holds masses on weekdays and Sundays in both Italian and Latin with Gregorian chant. Behind the abbey is also the Cimitero della Porte Sante, which is a quiet and lovely place to be laid to rest. To our surprise, the service was conducted with only three brothers – two white-robed brothers and one abbot who wore a gold vest over his white robes. All three sang beautifully, chanting and singing the Latin mass. Predictably, I was a few beats behind everyone else as to when to stand, when to sit down, when to join in and say, “Et cum tuum spiritum” (“and with your spirit,” in English!). There was actually about twenty to thirty people there, some tourists like us who had come to see the service, but some who lived nearby, certainly. After the early evening mass, we also saw the beginning of Vespers, which featured even more brothers. When we left, we purchased a candle and also some delicious gelato made by the abbey. The view was even more spectacular when we left near sunset. From this perspective on the hill, nearly as high as the Dome of Santa Maria del Fiore, we were able to see the entire city of Florence, spread out. Through the center of the city flows the Arno, crossed in several parts, by bridges new and at least one old (the Ponte Vecchio). Most were destroyed in World War II, but the Ponte Vecchio was preserved. It is so old that it has many stores and buildings constructed on the bridge. To our right was the Duomo, and to our left were smaller churches. Everything was in a golden haze at sunset.

For our last day in Florence, we did some gift shopping. First, we made a beeline for Il Papiro, a handmade paper store. Italy is full of these types of boutiques, selling hand-bound leather books and journals, stationery, sealing wax, stamps, and the list goes on. We were welcomed by an older paper-maker in the back who demonstrated to us the art of making marbled paper. It was a beautiful demonstration: he started by lightly scattering drops of acrylic and oil paints on a gel surface, then swirled and dipped various tools to shape the paints into different patterns, and finally slowly settling a piece of paper on the entire surface. What was astonishing was how the paint was instantly sucked onto the paper, with almost none left behind on the gel. The laborious part was apparently the preparation of the paints, with the right colors, and different proportions of solvents like turpentine and distilled water. We went away with several purchases of the marbled paper products and with a strong appreciation of the art and patience it takes to make this unique product.

For our second stop, we walked nearly to the main train station in Florence. The Officina Profumo Farmaceutica di Santa Maria Novella has a very long history. Since the 1200s, the Dominican monks who established Santa Maria Novella grew herbs and plants for medicinal purposes. They even produced rose water which was supposed to purify, and was in hot demand to ward off the Black Death. Catherine de Medici commissioned them to make her a perfume before she left Florence for Rome, and you can still buy the original formula, which is now called Acqua de Santa Maria Novella. Just walking into the pharmacy is an experience – inside, the air is thickly perfumed with every single scent you can think of. You can buy soaps of excellent quality, perfumes made from scratch, scented soaps or papers, lotions, and much more. The entire pharmacy is also housed in a space that looks very much like all the other museums in Florence – originally, it was most likely a palazzo that is still sumptuously decorated with gold molding near the ceilings.

Overall, Florence was just a perfectly lovely time. We had such great places to visit, and stayed in our favorite Airbnb which was well-located and full of amenities. I wish we hadn’t had to spend almost 100 euros on tickets to these sorts of locations, but one does pay to support the preservation of art and history. Onto Rome!

Florence: Famous Sights Edition

There are some things you feel obliged to see in Florence, as in any world famous city. And being that it’s Florence, which has an absurdly high density of museums per square meter, there are a lot of things you feel you are obliged to see. We made time in our schedule for just a handful, and some of them were very highly rated, while some were slightly more lower rated on the list. Let’s start with the stars:

Galleria delgi Uffizi is one of the most famous museums in the world, and it took us nearly five full hours to complete from beginning to end. In the last few rooms, we were just asleep on our feet! The museum mostly has artwork and icons (anytime between the 1200s to the 1800s) and sculptures, mostly copies from the Renaissance period, of original Greek and Roman sculptures. It won major points for having very lovely paintings like the ones that have made Botticelli famous: Birth of Venus and Spring. Those live up to the reputation, being very large and fairly vibrant in person. There was also an astonishing amount of Caravaggio paintings. We saw the Bacchus which Steve enjoyed as well as the Medusa shield that is so often depicted in textbooks.

There were countless religious paintings, giving Steve ample time to let me know about each variety of religious painting. One of the most popular scenes is the Annunciation, where the archangel Michael appears to the Virgin to announce that she is to bear the Son of God, and there’s usually a depiction of the Holy Spirit flying to her in the shape of a white dove (sometimes carried on gold beams); there was actually one novel one where a pair of hands (the hands of God the Father) descends from Heaven to release the dove. Another popular scene is the Deposition, where Jesus is taken down from the cross after his crucifixion. He is usually surrounded by the Virgin Mary and Saint Mary Magdalene, the latter of whom can be recognized by her very long hair as well as a reliquary which she is holding where they collected the blood of Christ as he was wounded on the cross. There was just also an endless number of Madonnas with an Infant Jesus, done in the tonde style which is a round canvas and frame. Those were very common because many middle-class folks would want those for their houses or places of business, so we have a lot that have been passed down, many of them by famous artists.

One of the things that woke me up near the end was seeing Artemisia Gentileschi’s Judith Beheading Holofernes. I saw it when we rounded the corner to one of the last rooms, and far from being horrified by all the arterial blood spurting out of Holofernes’s head, I exclaimed, “Fantastic!” which caused Steve to burst into laughter. But really, it’s an exceptional painting that is very large, very vivid, and fierce. Judith’s face resembles that of Gentileschi herself, and Holofernes’s face resembles that of Agostino Tazzi, a former mentor who was convicted of raping her. While many have depicted the scene, most artists draw the Biblical heroine with the head in a basket and a clean sword, but this one is drawn in a very naturalist style and captures her mid-action.

We saw the Galleria dell’Accademia on our second day in Florence. It’s a much smaller gallery than the Uffizi, and only took us about two and a half hours to make it through. It’s remarkable for several huge statues. The first is the one and only Michelangelo’s David. It has its own space at the junction of a T-shaped exhibition hall, lit by a circular skylight above. It is a remarkable statue that is larger than you would think. As Steve quipped, “If that’s how tall David is, you gotta wonder about Goliath.” The statue is well over 5 meters tall, and the nonchalant pose with the curly, tousled hair that David affects is very much at odds with his gaze. If you position yourself to look directly into his eyes, you see a direct, even fierce resolve. All the muscles, the veins in his arms and fingers, are so well-articulated and delicate that it is possible to imagine he’s going to breathe or move. When you’ve seen images of the David as much as most people have, you think that all sculpture is going to be like that, but it’s an utterly original, detailed, and striking sculpture of immense size. Michelangelo well-deserves his reputation.

The hall leading up to the David is a wonderful contrast. It houses five other statues by Michelangelo, collectively called the Prisoners. They were meant for a papal tomb, but were not finished before Michelangelo passed away. So not only do they depict bearded and shackled prisoners, but they are roughly-rendered marble statues only partially liberated from the block of stone from which they are carved. Also remarkable was the Rape of the Sabines, which is by Giambologna, a Flemish sculptor (yeah, there’s a lot of classical art out there that uses the theme of sexual assault). It’s a group sculpture of three people carved from a single piece of marble. An older man cowers below a younger one who grasps a young woman in his arms, she herself reaching out for help. It’s a very striking scene that rewards close observation from all angles, so you can look at the detail slowly while walking around the statue, and the various limbs and the position of the bodies invite your gaze to trace an upward spiral.

There were a lot of religious icons, and walking from room to room, you can see the change that came to differentiate medieval art from the Renaissance. Whereas medieval religious art tended to depict some divine scenes, more were of simply an array of saints who were easily identifiable (St. Peter with his keys, St. John the Baptist with his robe of hair, St. Catherine with her wheel), mostly for use in churches or on altars. When it did depict the Christ, they usually used size to show importance, making the face and figure of Christ larger than those of his apostles, who were in turn larger than mortals or lesser saints. Later on, with the advent of the Renaissance, we started seeing use of perspective, for example, at the Coronation of Mary as Queen of Heaven where saints and angels are recognizable but arranged in semi-circles as though in an amphitheater, with all the same sized faces. Others still gave them more naturalistic faces with recognizable wrinkles, flowing hair, and other features.

One of the last things I wanted to mention was that the Accademia had a music space, which featured several gorgeous violins and violas by Stradivarius. We even saw some now-extinct musical instruments which were very popular in its time, like the hurdy-gurdy (a pianoforte variation) and the serpent (something that looks like a very curvy bassoon). They even had several examples that gave us a good idea of how we progressed from having plucked string instruments to the invention of the piano, where hammers were used to strike the strings and then diminished. Though our visit to the Accademia was shorter, I liked being able to see everything and leave by 12 pm so that we had the afternoon to ourselves!

Also well-known are the Pitti Palace and Boboli Gardens, but as there’s literally historical, centuries-old art everywhere you look in Florence, and you don’t have time to see this, it’s totally fine. Both are complexes of the Medici family, which ruled Tuscany and thus Florence as Dukes for centuries. The Pitti Palace is very interesting because it features apartments of those dukes and duchesses and their family, and feels very much like walking through Versailles or something similar. There are so many incredible paintings on all the walls, many paintings in a single room grouped together on a mythological theme (i.e. “Room of Ulysses”, “Room of Hercules”), that it doesn’t look like art to be admired on its own, but just art grouped together to impress by its sheer scale. What surfaces are not covered in gold leaf are instead upholstered in deep red velvet or satin. While impressive to see and certainly awe-striking, we were pretty bored quickly because there isn’t the same amount of detail paid to the individual paintings, and also, there’s not enough time to look at everything. We also saw the Boboli Gardens beforehand. As for the gardens, though there are many lovely statues that had been arranged there for the pleasure of the Medici family, it was a very hot summer afternoon in Florence. Our favorite part of the afternoon was probably sitting on a shady hill and enjoying a nap.

Lastly, it was slightly disappointing to see Santa Maria del Fiore, which is the Florence Duomo or Cathedral. It is gorgeous on the outside, all creamy white marble, decorated with pale green marble and pink marble and other colors. It has an immense front façade with statues of pretty much all the main people in Florentine history. However, the line that we had to stand in sapped our patience and overhyped the interior. While you can buy 18 euro tickets that allow you entrance to the cathedral, the famous Dome of Brunelleschi, the crypt, the bell tower, and the baptistery, we were a bit cathedraled-out by Siena. (Not to mention that we’ll have to go see St. Peter’s Basilica and the Sistine Chapel in the Vatican next week!) So we simply stood in line for about an hour to get in for free. Being that we were able to hang out with Steve’s cousin Morgan and her husband Cameron while doing so, it wasn’t as trying as it could have been. When we finally went inside, it was a little bit off-putting to find that it was practically empty. That was thanks to the influence of Girolamo Savonarola, a Dominican friar from the late 1400s who went around Florence preaching against the decadence of the church. He succeeded in swaying many influential painters and artists of the time to paint more austerely, to depict scenes of sorrow, repentance, and remorse. He also succeeded in getting people to basically empty out their churches of “overly decadent” artwork, resulting in the largely bare church we saw in Florence. However, he did not succeed in erasing the frescoes and paintings around the cathedral, which included one painting of Dante and depicts his Divine Comedy, which is a painting I’ve definitely seen in textbooks before. The cathedral does also have a lovely dome, which is made of brick masonry, and is considered the largest masonry dome in the world. Steve and I briefly debated this, and we think that though there’s now the technology to build larger domes of masonry or of different material, the sheer world of possibilities for architecture has moved us away from things like domes which are pretty predictable even though they seemed ground-breaking for their time.

There are most definitely other worthy and commonly-known sights in Florence, but we’re happy to have seen this. Next time, I’ll introduce the lesser-known but even more entertaining sights that we were able to find!