Learning – Page 5 – Finding Florence

Renaissance Reminiscing: Arte della Lana

Coat of Arms of the Arte Della Lana, the guild of wool merchants during medieval and Renaissance Florence. Produced by Andrea della Robbia. Photo by Jastrow.

By Bailey Hubacher

If I could travel back in time through this history of Firenze, my first stop would be the Renaissance due to strength and importance of the textile industry.

As both a Fashion Merchandising and Journalism major, I’ve always been interested in the beauty of Italian history. Now, this may sound cliché, but I wish I could have experienced Italian life during the Renaissance period and not just because it was one of the first cities in Europe to experience the beauty of the era. So let me break it down:

During the Renaissance, there were merchants, bankers, and an entrepreneurship tradition that worked together to make some of my personal all-time favorite fabrics: wool and silk. I am obsessed with the textiles in today’s fashion industry, but I can only imagine the beauty and craftsmanship that went into the early wool and silk industries. The whole process of carding, spinning, dyeing, and weaving wool into beautiful garments is amazing, and back in the day artisans made wool that you can only dream of today.

The textile industry in Firenze during the Renaissance made up a lot of the wealth and the city was dependent on the textile workers who specialized in the manufacturing and trading of wool. In fact, one third of the Florentine population was involved in the wool industry. Firenze during this time had guilds and for those of you who don’t know them, guilds were corporations established in the Middle Ages that basically governed the arts and professions.

The guild of the wool merchants was one of the most powerful in Firenze, and alongside the guild of bankers – who, in turn had their own financial networks – they were the powerhouses of wealth during this time. It was an era of prosperity and growth as well as the creation of beautiful art and literature. Who wouldn’t want to experience everything the Renaissance had to offer? It was during this time that some of my favorite fabrics of silk were introduced: lampas, brocades, and velvets. The silk industry experienced an expansion during the 15th century, which was much later than wool, but still a prominent part of this time period.

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Breaking Cultural Barriers: Humans of Florence

Texts by By Olivia Hagen
Photo essay by Ashley Sterling

The courage to work up a phrase in another language can be unexpected rewarding, as Olivia Hagen discovers on a sunny day in Piazza Santa Croce. Set to the background of Ashley Sterling’s “Humans of Florence” photo essay, this piece is bound to make you reflect on how we can turn cultural barriers into rich discoveries.

For as long as I can remember, I have struggled with stepping out my comfort zone. Thus, part of the reason why I chose to study abroad was to force myself to try new things, reach new limits, explore the world and meet new people. Although it was not easy, once I broke the barriers that were holding me back, I found myself and an endearing friend.

Dipou has been in Florence for 2 years. He has been working at a leather shop by Hotel Botticelli for about a year and has said that his favorite thing about working in Florence is talking to the people and children in town.

As I walked home from my Travel Writing course, sweaty from the scorching Tuscan sun, I decided to visit my favorite gelateria and grab myself a refreshing cup of pistachio. Clenching the cold sweet in my hand, I stumbled through the Florentine streets feeling disoriented, watching flashes of people rush by me. Walking through the streets, I began to miss the sense of “belongingness” I had at home, longing for the embrace and comfort of my friends and family.

Feeling homesick and lonely, I walked over to the Santa Croce Basilica. Just then, a young girl sat next to me and began writing in a tattered leather journal; she had dark black hair. I watched her as she observed her surroundings, scribbled in her notebook, smiled to herself and repeated. I wanted to talk to her and introduce myself, but I was too nervous. Then, I was reminded that before I came to Florence I was going to step out of my comfort zone…and I did.

Cecile has been living in Florence for 15yrs. Her favorite place in Florence is the Santa Spirito Area, and the Arcetri observatory. She has been working at Hotel Botticelli for 13 years. Her favorite part of the job is being able to speak different languages and to meet people with diverse mindsets and cultures.

“Ciao! … Come va?” I attempted to communicate in Italian. She looked at me with large eyes and a half smile. Oh no, I thought, thinking I still had gelato on my face or that she simply thought I was crazy. There was a long pause and then she burst into laughter. “I’m sorry!” I responded, “I don’t speak Italian very well.” “It’s fine,” she giggled. “I’m Sara, nice to meet you!”

Once I broke the ice with my useless Italian, Sara and I began conversing. I learned that she was 27, lives in Florence and is studying to be a school teacher like myself. When questioned about her journal, Sara informed me that even though she has lived in Florence all of her life, there is always something that inspires her to write, which makes her fall in love with Florence all over again. Minutes soon turned into hours as Sara and I talked, unable to catch our breaths, sharing our love for travel writing, early childhood education, and the same pistachio gelato flavor. I was shocked to discover how similar Sara and I were, despite the fact we live on two opposite sides of the world.

Ashely has always the dream of studying abroad and came to FUA for 6 weeks. She really enjoys seeing Florentine architecture and the vibrancy of the city.

Meeting Sara and breaking the barriers has been one of the best decisions I have made during my journey abroad. Not only have I developed a precious friendship, but I gained a stronger appreciation of the world and the people in it. Although Sara and I live very different cultures, the unique connection that we shared will be carried with me when I leave the place I am now confident in calling my second home.

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The Pazzi Chapel: Venturing into Santa Croce

By Shelby Olson

If you venture further into the Santa Croce complex, you will come across many other monuments that hold much significance to early Florentine history such as the Pazzi Chapel.

When staying in Florence, Santa Croce is a highly recommend spot to visit because it is beautiful but also has fascinating history behind it such as the tombs of the famous. When you enter Santa Croce, the first thing you see is a large church filled with sculptures, paintings, and stained glass windows that light up the room. When you head out of the church, you are met by a large garden and a series of cloisters. If you walk across the garden, this is where you will find the Pazzi Chapel which is not something to miss out on when visiting Santa Croce.

The Pazzi Chapel was commissioned by Andrea Pazzi and built by Filippo Brunelleschi. It was built to show the legacy of the Pazzi’s power and patronage, as well as to show off their wealth and status to the Medici family. Originally, the chapel was a learning area for the monks but also a burial place for the family.

The chapel is a very important project of Filippo Brunelleschi because it was built according to a specific architectural harmony, and he was able to achieve this after studying and measuring ancient buildings in Rome such as the Pantheon. The chapel was commissioned in 1429 and it was opened in 1443, during this time Brunelleschi had passed away and was not able to finish the chapel on his own. There were also many stops in construction throughout the years due to funding as well as conspiracies the Pazzi family made on the Medici family. In 1478, Giuliano de’Medici was killed and Lorenzo de’Medici wounded while attending mass at the Florence Cathedral. Needless to say, the family’s position swiftly fell after the attempted coup to topple the Medici.

Although Filippo Brunelleschi was not able to finish the chapel, he holds much significance within it because of his perspective and ingenuity. Brunelleschi’s works are not limited to the Pazzi Chapel as he had worked on the Florence Cathedral of Santa Maria del Fiore and its famed Dome, the Basilica di San Lorenzo, the Ospedale degli Innocenti and much more. Filippo Brunelleschi is buried inside the Florence Cathedral and continues to be an important part of the city’s history.

Inside the chapel, there are many beautiful works of art created by different Florentine artists. The relief, a raised sculpture representing Saint Andrew, was created by Luca della Robbia. Della Robbia also created the rounds with the apostles and decorated the central dome with sculptures and two paired dolphins. The stained glass window representing the figure of Saint Andrews was drawn by Alesso Baldovinetti.

The Pazzi Chapel is a simple yet elegant chapel. Although the interior colors are dim, the stained glass windows and colors of the paintings light up the room. Not only is the chapel full of history that dates back centuries, but it is a beautiful work of art and architecture that is worth seeing when visiting Santa Croce.

How to Visit:

Basilica di Santa Croce, Piazza S. Croce, 16, 50122 Firenze
Monday-Saturday 9:30AM to 5PM
Sunday 2PM to 5PM
Tickets: €8

Warrior Monks in Medieval Tuscany

By Jessica Rowe

The abbeys of San Galgano and Sant’Antimo have rich histories that are worth experiencing firsthand. Located outside of Siena, these off-the-beaten-path sites will make you feel like you’ve stepped into a different time.

This summer, students and faculty took a trip to the abbeys of San Galgano and Sant’Antimo on one of FUA’s Educational Field Trips (EFT). The EFT excursions are always well-organized, planned on a student budget, and full of educational information it might be hard to find out on your own. San Galgano and Sant’Antimo were chosen as an EFT location because they are full of historical and cultural significance. Instead of being normal tourist sites students may visit on their own, they are out of the way places that still hold on to a feeling of spirituality. Students are brought to the abbeys to gain a deeper understanding of spirituality and how it can be either connected or disconnected from structured religion.

We met at the Santa Maria Novella train station at 7 a.m. to depart for San Galgano. The trip quickly became unique as instead of heading to a busy city, we were headed out into the countryside. Large fields rolled past, some green and some gold, bringing us further away from the built environment of Florence. When we got to the first stop, our tour started at the Rotunda of Saint Galgano. It holds the tomb of Saint Galgano and the famous sword in the stone. Now, you’re probably thinking, as I was, that King Arthur wasn’t from Italy. But it’s a different sword in the stone with a lesser known tale behind it. As the legend goes, Saint Galgano heard voices calling him to the place where the rotunda now sits and there he saw a vision. He wished to renounce his knighthood so he drove his sword into the stone. For years, people tried to steal the sword but it was said to be guarded by a wolf. Inside the rotunda, the bones of a man who was eaten by the wolf are displayed.

Further out sits the Abbey of San Galgano. It was started in 1218 when the hermitage became too small to contain all the monks and pilgrims. The abbey is built in classic Gothic style and has no roof. It did, at one point, have a roof but the abbey was very poor and resorted to selling the roof piece by piece for money to keep it running. Nowadays, the abbey is funded through ticket sales and event bookings.

We stopped for lunch at Tenuta di Paganico, a local winery, before going on to Sant’Antimo. This abbey was under construction from 1393 until 1526, however it was in 781 that the idea for the abbey was formed. As the story goes, Charlemagne was returning from Rome when most of his court and army caught the plague. The Emperor had a dream where an angel told him to harvest a specific grass, dry it, mix it with some wine, and have his soldiers drink it. When he did so, everyone was cured. He vowed then to build an abbey.

Currently, the abbey houses a group of monks from the Benedictine monastic community of Santa Maria di Monte Oliveto Maggiore. These monks are referred to as Olivetan monks and their order was founded in 1318 by the Sienese Saint Bernardo Tolomei. They go about their days by focusing on prayer, reading and studying, and work. They are known by the white colour of their robes which symbolizes their devotion to the Virgin Mary.

Shelby, a student who attended the trip as an academic field learning activity for her Italian language class, arrived at Sant’Antimo with her group as a service was in progress. After it ended, the class saw all the nuns continue their prayers in the many different spiritual locations inside the abbey. She enjoyed the chance to get a look at what the abbey is currently used for and what it meant to the people who lived there.

After a long day, the trip came to a close and we headed back to Florence. Overall, I had a good time on the trip. I learned a lot about the two abbeys and saw some incredible architecture. I would recommend visiting these two abbeys and the EFT excursions to anyone looking for a fun day trip from Florence.

For more information on EFT trips:

EFT – FUA’s Educational Field Trip Logistics Team
Corso Tintori, 21, Firenze
Phone: 055/244664
E-mail: sld-eft@fua.it

studentlifeflorence.it/educational-field-trips-mission.html

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Florence’s City Walls

by Jessica Rowe

Like most former Roman cities, Florence once had high defensive walls that ran the perimeter of the city. The original gates, some of the towers, and the walls in the Oltrano area remain today as a reminder of the city’s history.

On my first day in Florence, I walked through the city aimlessly and came upon one of the remaining city gates. At the time, I had no idea I was at the Torrino di Santa Rosa. All I knew was that in front of me was a piece of history, the likes of which I would never find in my own city. I looked up in awe at the tower, the gate, and the wall stretching down the length of the road. For the first time, I felt the impact of standing in an ancient city and breathing its history.

Throughout my time here, I’ve been lucky enough to see many of the walls’ remaining parts. Located in the Oltrano area of the city, it is easy to visit the walls today. You can walk beside them with no ticket required. The Torrino di Santa Rosa is right near the river and nearly impossible to miss. You can also visit Porta San Niccolὸ – the only city gate to maintain its original height. For only four euros, you can even climb to the top and look out across the city. Also in the San Niccolò district of the Oltrarno is the Porta San Miniato. Rather than a tower shape, this porta is built as an entrance within city walls that are still standing and the road leading away from the city center connects to the San Miniato al Monte church, hence the name.

I’ve also learned a lot about the walls themselves. Florence was founded around 59 B.C. as the Roman city of Florentia. In the second century, the walls were built out of tradition rather than for defensive purposes. The Roman Empire, at the time, expanded into France and Germany so it would have been rather difficult to attack Florence.

Over the centuries, the walls have been rebuilt, expanded, and restored five times since their original construction. Most of these adjustments were made because of the city’s growing population and the need to keep citizens under military protection. The surviving version of the walls were planned in 1284 but the work didn’t start until 1298. In this iteration, the city gates were set up for the first time and the walls were finally completed in 1333. They stood at 35 metres tall, enclosed 650 hectares of land, and ran a perimeter of 8.5 kilometres.

Then, in 1865, Florence became the capital of Italy for five brief years. However, the city, which had mostly retained its medieval style, had to adjust to the new demands placed on it as capital. Giuseppe Poggi, a Florentine architect and engineer, was commissioned to design an urban renovation of the city. He was chosen for his ability to blend neo-Renaissance style with modern trends. Along with giving the city a wealthy and celebratory look, he was tasked with creating housing and facilities for government employees, and defending the city against a potential flood from the Arno. His ultimate goal was to expand the city limits. He did so by tearing down the old walls and surrounding the city with the Viali di Circonvallazione – a system of large roadways – instead. He left the ancient city gates standing as well as the walls in the Oltrano area.

Knowing all of this, I returned again to the ancient city walls to look upon the years of history in front of me. What started as a Roman tradition had turned into the first line of defense against the siege of Emperor Henry IV and now stood as an ancient artifact, a symbol of the city’s history and its age. In my six weeks here, I have found many signs of Florence’s past and its love for preserving it, but it’s the city walls that call to me. I can hear their stories, walk alongside them and pretend, just for a moment, that they’re here to protect me and the culture of this beautiful city.

Porta San Niccolὸ – Piazza Poggi
June 24 – September 30
Guided tours every 30 minuts from 5 p.m. to 7:30 p.m.
English speaking guides are available.
Tickets: €4
For information/reservations:
Call 055-2768224 or email info@muse.comune.fi.it

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The Library of the Medici

by Jessica Rowe

The Laurentian Library is one of Michelangelo’s lesser-known constructions. With its imposing entrance and beautiful stain glass windows, the space houses its treasures in perfect architectural harmony.

The Laurentian Library is part of the San Lorenzo Medicean Complex. Most people visit to see the Medici Chapel, the Basilica’s cellar of treasures, and the Chapel of Princes, where the Medici are buried. They miss the library entirely. But entering the Laurentian Library feels like walking into a work of art. Designed by and constructed under the watchful eye of Michelangelo, the library is considered one of the most unified works of Mannerism in Florence because the decorations were created during the building’s assembly. The grand staircase leads into a reading room filled with pews and stained glass windows.

The library is a cultural inheritance from the Medici family. The collection was started by Cosimo the Elder and his friend Niccolò Niccoli. The two of them shared a desire to collect ancient manuscripts and, when Niccoli died, he left his collection to Cosimo.

In 1494, the Medici family was banished from Florence and Cosimo’s collection was confiscated by the republican government to be added to the San Marco monastery’s library. The collection was later moved to Rome before returning to Florence once again in 1523. It was then that Michelangelo was commissioned to build a library to house the collection. The library was meant to signal that the Medici were no longer merchants but now members of the church and intelligent society. In 1571, still incomplete, the library was opened to scholars.

There are many architectural aspects of the building that break the rules of ancient architectural theory. For one, it is impossible to tell if the walls or the columns hold up the ceiling as the columns are imbedded in the walls themselves. Also, the staircase leading into the library is often said to seem too big for the space. Since proportions were very important to Renaissance architecture, historians believe that these stairs are the first sign that Michelangelo had intentionally turned away from tradition. The space allocated for the library was also limited before construction started as the monastic complex was already built. Still, the entrance vestibule, or ricetto, appears to mimic the human body, resembling skin pulled tight between vertical supports, which was believed to be the ideal form during the Renaissance.

Today, the Laurentian Library is considered the most important and prestigious collection of antique books in Italy. It contains more than 11 000 manuscripts and 4 500 early printed books, including the Codex Amiatinus which contains the earliest surviving manuscript of the Latin Vulgate Bible and fragments of the Erinna papyrus which contains poems of Sappho’s friend.

Laurentian Medici Library
Piazza San Lorenzo n° 9 – 50123 Firenze
Tesori inesplorati Exhibit
Open 15 February – 23 June 2017
Monday – Friday | 9.30 a.m. – 1.30 p.m.
www.bmlonline.it/en

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Museo 900: Exploring 20th Cent. Art in Florence

by Jessica Rowe

The Museo Novecento is a 20^th century Italian art museum in Florence. While we tend to focus on the Uffizi and Galleria dell’Academia, it is just as important to appreciate the work of modern artists.

Recently, I had the chance to visit the Museo Novecento in Florence. In a city full of historic art, this museum, which focuses on 20^th century Italian art, is often overlooked. While the older works are widely known and beautiful, it is important to consider more modern contributions and movements in art.

Art in the 20^th century was greatly influenced by the events of the time. Known mainly for the rise of modernism – a movement to revitalize the way society saw art – the 20^th century brought with it expressions of nihilism and art so abstract as to make the viewer question what really counted as art. At the same time, this period marked a break from the past. Artists wished to move forward and acknowledge contemporary work instead of just that of the greats.

In 1945, Arturo Martini published an essay entitled “Sculpture: A Dead Language” which incited a new generation of artists to push back through the 1950s and 60s. This response included sculptures made out of new and odd materials, such as various types of metal. These sculptures also explored uglier sides of life and the perspective of the artist instead of displaying a perfect subject. This matched the feeling of the time as young people were beginning to separate from their parents’ ideals and values in order to make up their own minds.

The century progressed with the creation of Gruppo 70 in 1963, an artists’ group that focused on the meshing of language with visuals. They did this in order to analyze how advertisements and propaganda affected people. These artists wanted to take back the medium, to figure out how it worked in order to be less affected by it themselves and to effect others with the meaning of their own works. At this time the political atmosphere was split due to the Cold War so it is easy to understand why artists would try to find their own voices outside the influence of the government.

Groups like this gave way to movements that tried to get new, contemporary artists on the scene. From 1964 until 1974, the municipality of Florence had a bursary to help young artists pursue their studies. It granted one million lire each to four students – two in painting and two in sculpture. This inspired new work in the 20^th century and new voices. It also gave a place for young artists to compete and show off their work.

During this time, in November 1966, Florence flooded and hundreds of ancient works of art were damaged. So called “mud angels” worked to restore the works but out of this came the 1967 “Artists for Florence” exhibition, which focused on contemporary work and its importance to society. This further shows contemporaries trying to pull away from the past and make names for themselves. The desire to do this is what made the 20^th century a period of change and originality.

20^th century art has greatly influenced the art that we see today. Many new techniques and styles were born in this period and continue to be used today. Artists now have much more room to grow and explore their own ideas than they did before modernism. While the greats will always have a place in art history, it was the 20^th century that allowed contemporaries to find their own voices and branch out from what others had done in the past.

Museo Novecento
Complesso dello Spedale delle Leopoldine – P. Santa Maria Novella 10, FirenzeSummer opening hours (1st of April – 30th of September)
Mon – Tue – Wed – Sat – Sun | 11.00am – 8.00pm
Thursday | 11.00am – 2.00 pm
Friday | 11.00am – 11.00 pm
The last entry is one hour before closing.
www.museonovecento.it/en/

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Magliabechi: An Unsung Hero

by Jessica Rowe

FUA’s DIVA building sits on via Magliabechi, a street named for a lesser-known Florentine hero: Antonio Magliabechi, a man instrumental to the creation of the public library in Florence.

Antonio Magliabechi is a man who many people new to Florence may have never heard of but his influence can still be felt throughout the city today. He was instrumental in the creation of the first public library in Florence and dedicated his life to books and reading. He was a librarian, a scholar, and a bibliophile. Because of him, it is easier for people to access knowledge and learn to read, creating a better educated society for us all.

Born in 1633, Magliabechi apprenticed as a goldsmith and worked as such until he was forty. It wasn’t until Michele Ermini took an interest in him that he learned Latin, Greek, and Hebrew. In 1673, he became the librarian to Cosimo III de’Medici, the Grand Duke of Tuscany.

Magliabechi was well-known for his love of books and his incredible ability to retain knowledge. He owned forty-thousand books and ten thousand manuscripts and had read all of them. His house overflowed with books, so much so that even the porch was covered with them. Scholars and authors from every nation corresponded with him and, while he never wrote himself, he was more than happy to help out writers. As a result, he had many books dedicated to him.

Magliabechi was also known for being incredibly eccentric. He often ignored the realities of life in order to continue reading. This led to such things as him not drawing his salary, wearing clothes until they fell off of him, and not undressing before going to bed. He only left Florence twice in his life and the furthest he went was to Prato, where he accompanied Cardinal Henry Norris, the Vatican librarian, to see a manuscript.

When he died in 1714, he left his books to be used as a public library and, in 1861, his collection was combined with that of Victor Emanuel II, the King of Italy, to form the core collection of the Biblioteca Nazionale Centrale Firenze. Today, this library sits on the corner of via Magliabechi and via Tripoli, which is a continuation of Corso dei Tintori where FUA’s main campus is located.

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Unraveling Street Names: Via vs. Borgo

by Jessica Rowe

As you walk through Florence, you’ll see that street names usually start with via or borgo. What do these words means? What are the differences between the streets? It’s quite simple, really.

If you’ve been walking around the streets of Florence, you might have realized that different street names have different words in front of them – usually via or borgo. If you don’t know Italian, then telling the difference between these two types of streets is nearly impossible.

To start, we can define the words “via” and “borgo.” Via (pl. vie) typically means “street.” Borgo (pl. borghi), on the other hand, translates to “village.” From this we would assume that borghi would be bigger streets, perhaps with more apartment buildings or houses, and that they would more closely resemble little towns of their own rather than streets. However, these assumptions would be wrong.

While trying to figure this out, I walked down Via Pietrapiana which later turns into Borgo la Croce. I thought that the difference between these two types of streets would hit me when I crossed from one to the other. In truth, I didn’t even notice the street had switched names until I was a full block down Borgo la Croce. I then started to pay more attention. The contents of the streets were similar – shops, apartments, restaurants, etc. – and the number of each was nearly the same. However, Borgo la Croce is a narrower street with much less traffic. People walk right down the street and barely ever have to move out of the way for cars or motorcycles. Via Pietrapiana, on the other hand, had much more traffic on it.

From this, I concluded that borghi were streets with less traffic that were more accommodating for pedestrians. This, unfortunately, did not hold true for every borgo I passed. Some of them had heavy traffic and even parking on the street. The only difference that seemed fairly uniform was that borghi were almost always narrower than vie.

To figure this out, I contacted Catia Ballerini who works at FUA’s Squola. She said that in normal usage the two words are just different ways to say “street,” like avenue or road in English. However, she also found out that borgo was used to name medieval streets of varying size. The use of borgo indicated that the neighbourhood was located outside of the city’s defensive walls but as the city expanded, these streets became included in the historic centre. Via, on the other hand, was used to name any city space used for traffic.

In conclusion, we see that nowadays via and borgo can be used interchangeably but, in the past, these two words indicated the locations of roads in reference to the city walls.

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The History of Via Sant’Egidio

By Jessica Rowe

Via Sant’Egidio is a small street in Florence with a long history. On this street, you’ll find the Hospital of Santa Maria Nuova and, inside, the church that gave the street its name.

Via Sant’Egidio is a small, quaint street nestled between Via Bufalini and Piazza Gaetano Salvemini. Along this street you will find a mixture of shops and apartment buildings, often with bars on the windows or green shutters.

What you might not know when walking down this street is that it’s named after the Sant’Egidio church which currently resides inside the Hospital of Santa Maria Nuova. The church was rebuilt from its ancient foundation and consecrated by Pope Martin V in 1419. During the 16^th, 17^th, and 18^th centuries, the church was restored and changes were made to it.

Sant’Egidio is the Italian name for St. Giles, a Christian saint and the patron saint of many things, including beggars, epilepsy, forests, and fertility.

This street is almost perfectly centered in the nexus of FUA’s buildings. You may even walk down it without realizing it as you go from Ganzo to Squola. But even if you miss most of the street, you cannot miss the hospital. The building takes up much of the street and the exterior is laced with beautiful details. There is a plaque by one of the doors that tells you about the church and its history.

You can visit the church for free from 8-12 a.m. or from 4-6 p.m. While the original art from the church has been lost, the art currently inside is well worth a look.

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