Where monks still tread

Badia Passignano: the Abbey

Plumb in the middle of the Antinori wine estates in Chianti sits the Abbey of San Michele a Passignano, in its nest of cypresses.


The abbey was founded in 890 and joined the Vallombrosans (a branch of the Benedictine Order), in the 11th century, under the aegis of Saint John Gualbert or San Giovanni Gualberto (for more on his Vallombrosans see a previous post, Of Monks and Forests). The abbey has been renovated several times and resembles more a castle than a monastery. 

the forbidding western bastions of the monastery, softened by caper bushes

Art in the Wilds of Chianti

Sculptures in the Forest

Hidden in the hills about 14 kilometres north of Siena, is a small but interesting sculpture park. Privately-owned and run by a cultural association, the park was opened in 2004. Its founders, Rosalba and Piero Giadrossi, bought and converted seven hectares of wood formerly fenced for raising wild boar.

horribly kitsch, this installation does raise a smile at the park entrance

Except for the amphitheatre area near the entrance, the park is really a wilderness; which makes it all the more interesting. Evergreen oak (quercus ilex) and other oaks, cistus and broom provide a shady and sometimes colourful setting for thirty-odd sculptures and installations.

the Mondrian-influenced ticket-office and shop; even the parking area has a hint of artfulness about it

Museum of the Works of the Cathedral, Florence

The Latest Reincarnation of the Flower of Florence

overview:

The Romans called Florence Florentia. Since the 11th century the city's crest has been the giglio or lily (fleur-de-lis but in fact a stylised iris). Struck in Florence in 1252, the first commercially important gold coin in Europe was called the fiorino -florin- for this reason, and bore the fiordaliso on its obverse side, with Saint John the Baptist, Florence's patron saint, on the reverse. Florence's imposing and iconic Cathedral (or as it is called here, Duomo), is dedicated to Saint Mary of the Flower while the Baptistery is dedicated to Saint John the Baptist. All this is just a roundabout way of underlining the symbolic potency of the flower to Florence's story.

Sculptures in the brand-new light-filled atrium

Santa Maria del Fiore was commissioned in 1294 by the Commune of Florence to replace Santa Maria Reparata (a church which, in my view, occupied the available space far more appropriately than its successor). Initially the 'Opera' referred to the institution which financed and oversaw the construction of the Duomo; over time the Opera evolved to oversee the Cathedral's continual conservation and decoration and incorporate the Baptistery (completed in 1128), Giotto's Belltower (begun in 1334) and the Museum. 

Palazzo Corsini and the Artisans

Artigianato e Palazzo
 A high-end craft fair in a special setting

the loggia of Palazzo Corsini, a former casinò or hunting lodge which was in fact a villa surrounded by a garden; the many Greek, Latin and Etruscan plaques on the villa wall were collected by an 18th century Corsini

the setting for the annual craft fair: in the 17th century the sculptures were placed on pedestals of decreasing height to give a greater sense of depth and perspective from the loggia. Some of the original sculptures are now housed in the Bargello while others are at either end of the bridge of the Santa Trinità.

one of the barn-like limonaie or lemonaries where 130-plus citrus trees overwinter in their huge terracotta pots

For the past 22 years, each May, in the middle of the month, a unique range of arts and crafts is on display in a unique Florentine location.

the parterre: neat box hedging is filled with sumptuous peonies; teucrium, cistus, roses and lavender abound - recent departures from the original purely baroque setting

Piero della Francesca and the Fall of Light on Solid Bodies

The Dream of Constantine 

in The Legend of the True Cross, Basilica of San Francesco, Arezzo

overview of entire choir and its glorious frescoes

The Legend of the True Cross, Piero della Francesca's masterpiece in Arezzo, narrates how, over the centuries, the wood of the apple tree in the Garden of Eden became the cross on which Christ was crucified, through the interventions of the Queen of Sheba, Solomon and the Romans. Later in the story the cross's pedigree is verified and the cross itself plays a role in battles where Christians triumph over pagans. The Annunciation completes the cycle.
For a 3D virtual tour, have a look here.

The Uffizi in Technicolour

Colour and the Evolution of the Uffizi*

Chardin's Boy Building a House of Cards, 1735, now displayed in the Foreign Artists' Gallery at the Uffizi

It is impossible to write a post on the art in the Uffizi Gallery. That is a job a) for more learned people and b) for people with more time on their hands. So I shall offer some thoughts on one aspect of the gallery which is prompted by recent changes: the colour of its walls.

The Cradle of Genius

Leonardo da Vinci's childhood homes:

Anchiano and Vinci

 
Leonardo da Vinci bequeathed us two anecdotes concerning his childhood: ostensibly memories, it has been argued that they might be parables or accounts of dreams.

Vinci

The first involves a bird. Flight always fascinated Leonardo da Vinci: many pages in his notes and 500 sketches are dedicated to the study of birds' wings, including experiments real and hypothetical with potential flying machines, (the ornithopter being the most spectacular), parachutes, ascending devices and keen observations on the gliding flight of birds.

Bird-winged apparatus with partly rigid wings, 1488-90, pen and ink. Bibliothèque de l'Institut de France

The Sword in the Stone and the Open-Air Abbey

Chiusdino, Montesiepi and  

San Galgano

Chiusdino today

An hour and a half's drive south of Le Ripe, in the Val di Merse, lie several medieval treasures which attract visitors all year round.

reconstruction of Chiusdino as it might have looked between the 12th and 13th centuries, around the time Galgano Guidotti lived there

The medieval nucleus of the hilltop town of Chiusdino, the Hermitage of Montesiepi and the Abbey of San Galgano are linked by their association with a 12th century knight who said farewell to arms in order to become a hermit.

San Galgano, Ambrogio Lorenzetti 1338-49,Sala dei Nove, Palazzo Pubblico Siena

David and the Quakes

 Goliath returns

It could be the name of a 60s pop band, but instead the topic of this post is Michelangelo's David and the earthquakes which are currently making Florence and Chianti tremble.

epicentre near Greve in Chianti

From Friday December 19th 2014 two earthquakes of a reasonable if not terrifying magnitude (3.5 and 4.1 on the Richter scale) and multiple tremors have been unsettling the Chianti area directly south of Florence. Our dear Greve in Chianti, the delightful market town, cultural and logistical centre of the Chianti wine-growing district, is near the epicentre.

Apprenticeships in Tuscany

Masters, Journeymen and Apprentices in the 21st century

Tuscany in general and Florence in particular still today preserve precious pockets of working artisans, master craftsmen in various branches of the Arti e Mestieri (arts and trades) of old, who are the heirs and embodiment of traditions dating back to the Middle Ages.

The major guilds of medieval Florence: judges, lawyers and notaries; merchants, finishers and dyers of imported cloth; bankers and money-changers; wool manufacturers and merchants; silk weavers and merchants; physicians and apothecaries; furriers and skinners

The middle guilds: butchers and graziers; shoemakers; blacksmiths; master stonemasons and woodcarvers; linen manufacturers, cloth dealers and tailors; the minor guilds: vintners; innkeepers; oil merchants and grocers; curriers and tanners; armourers and swordsmiths; saddlers and harness-makers; carpenters; locksmiths, toolmakers and braziers; bakers and millers

If you walk around the area of Santo Spirito, and many other parts of the historic centre of Florence, you will come across dark workshops where elderly artisans are carving, cutting, etching, planing, turning, joining, moulding, plastering, painting, stitching, hammering, weaving, sculpting, restoring, as well as displaying and selling.

Monte Oliveto Maggiore and Sant'Antimo

The Two Abbeys

If you are travelling south of Siena, to the area known as the Crete Senesi (literally the Sienese Clays), and if you are interested in medieval and renaissance history, art and architecture, you will have to make a stop at the abbeys of Monte Oliveto Maggiore and Sant'Antimo, both founded by the Benedictines.  The abbeys are interesting in themselves for several reasons, but the contrast between the two is also fascinating.

Monte Oliveto sprawls above a clay cliff on a hill south of Asciano. It is a considerable complex of brick buildings; bricks are the material of choice in this area: the clay they are made from is ubiquitous.

Sant'Antimo on the other hand sits cradled in a valley of the river Starcia, surrounded by olives and fields of wheat. It is south of Montalcino, not far from Monte Amiata. Sant'Antimo is partly in ruins and on a much smaller scale than its neighbour. It is built of local travertine and alabaster-onyx.

First to the larger abbey, the working monastery which produces wine, oil, liqueurs, pulses and spelt in its still extensive territory while the monks restore ancient manuscripts. 

The Moroccan Wall

At last, a drystone wall!

after: the completed wall and earthworks

before: the crumbling old wall, seen behind the line of the broom plant with new stones piled in front

In his The Stone Book Quartet, Alan Garner evokes the art of making a drystone wall in language as essential as dressed stone.

Grandfather was rough-dressing the stone for the wall, and laying it out along the hedge. Joseph unwound the line and pegged one end in the joints where Grandfather had finished the day before, and pulled the line tight against the bank. His job was to cut the bank back to receive the stone and to run a straight bed for the bottom course.
He chopped at the bank.
...
'Get your knee aback of your shovel,' said Grandfather. 'There's no sense in mauling yourself half to death. Come on, youth. Shape!'
...
Grandfather took the spade from him and looked along the bank. He walked along the raw cut edge and shaved the earth with light swings of the blade.'You've got it like a fiddler's elbow,' he said.
...

Grandfather grunted, and swung the blocks to lie as he wanted. They seemed to move without more than his hand on them.

...
Grandfather and Damper Latham worked together, as they had always done. The stone moved lightly for them.

Wool and Culture

Another glimpse into Florence's past: the Arte della Lana and the custodians of Dante's legacy 

The Arte della Lana building, formerly tower of the Compiobbesi (13th century) with the Orsanmichele church behind, to which it is linked by a bridge. It stands between via Calimala, via Orsanmichele and via dell'Arte della Lana

From 1308 the Arte della Lana building was the 'headquarters' of one of the richest and most powerful of the seven major guilds of medieval Florence, the Wool Guild. At its height the Arte delle Lana employed one third of the working population of Florence. Its coat of arms is an Agnus Dei, lamb of God, an emblem to be found in various representations within and without the building.

The Art of Fresco part two: practising fresco

 the art of painting fast

In a small street in the Oltrarno (the area on the other side of the river Arno from Piazza della Signoria, Florence's Left Bank, so to speak), in the artisans' territory of Borgo San Frediano you will find an interesting workshop called Accademia d'Arte San Giovanni where many of the arts which made Florence famous are taught and practised to this day. 

The Art of Fresco part one: Masaccio, the Brancacci Chapel

ancient technique, new approach

Masaccio probably had several hours (at most a day's work, in any case), to paint this head of Saint Peter in the Brancacci Chapel of Santa Maria del Carmine in Florence. Note the fine crack running around his neck, the top of his tunic and the edge of his yellow mantle: this crack is the edge of the giornata, the area of wet plaster that apprentices would have prepared for the master painter to cover in one day. Is it not extraordinary that, presumably without major alterations, this beautiful, expressive face was painted rapidly, and under pressure?

Hot off the New York Times

Breakneck Tour of Central Chianti 

Despite making little mention of the sights to be seen between stops, this article from the New York Times has some (largely gastronomic/hedonistic)  pointers for

a 36-hour trip to Chianti

 - although no one should be foolish enough to imagine it suffices!

Fruit of the Month: the quince

The Quintessential Quince

one of our two quince trees

October is the month of the quince. At least it is at Le Ripe where the overall success rate in our orchard is somewhat limited: quinces abound this year but there is nary an apple.

quinces are very attractive but I store them on windowsills also to ripen them and to enjoy their lovely aroma

Staggia Senese Castle - La Rocca di Staggia

A Castle Full of Surprises

The parachutes draped from wall and tower should have alerted us. This promised to be not just another medieval castle. (For a list of all the castles in Tuscany, look here.)

These are just the ones in the province of Siena!

Only 40 minutes' drive from Le Ripe, Staggia Senese was familiar to us as a town on the way to Poggibonsi (yes, it is podgybonzy).  

Note: despite its delightful name, Poggibonsi is not worth visiting unless you need furniture, advice from a thermo-technician, light fixtures or electronic devices. As a local salesman once announced to us: "Poggibonsi has everything".  But it is not beautiful.

a flattering angle on Poggibonsi

Every time we drove through Staggia's narrow main street we were intent on a mission, uninterested in this seemingly dull town. 

the main route through Staggia towards Poggibonsi: the castle is visible in the distance, but usually one is so intent on getting somewhere else one misses it entirely

Maps and Representations of Chianti - and Le Ripe - through the Ages

From Ancient Rome to Google

Over the centuries Tuscany and Chianti have been depicted in many different ways. From the allegorical to the digitally photographed, each representation has said something about the era in which it was created and much about the importance of this part of the world.

The above is a detail from the extraordinary Tabula Peutingeriana, probably dating to the 5th century CE, which depicts all roads leading to Rome; this section covers Tuscany with Florence (Florentia Tuscorum) and Siena (Sena Julia) in the lower centre. For a look at the complete Tabula, which is glorious, see here.