florence – Page 7 – Finding Florence

Beauty from the Deep

By Emily LaLuna

A story about a moment of positive solitude in a local garden in Florence, Giardino Delle Rose.

Normally, the word solitude is associated with a negative connotation. After four months of living in Florence and dealing with the transition of being far from home, many have discovered that it has a much deeper meaning and doesn’t always need to be an unenthusiastic concept. Solitude is good for the soul; it allows a deeper connection with yourself where you can truly discover the underlying beauty within. There are many positive moments of solitude in everyday life, here’s a short story about one.

A solitary lotus flower sits on top of a small pond in Giardino Delle Rose. With its roots planted firmly in the mud, it blooms into a beautiful site every day. Since the time the seed was planted in Florence, it has broken through the layer of mud it was placed beneath and blossomed into a fascinating part of life. It has grown in a positive manner, despite the murky place where it comes from. Upon arrival in the pond, the seed was afraid of what was to come, yet determined to face it. The goal was to break through and radiate light into the world, spiritually and physically. Not just for self-love but to help the people.

Humans admire beauty and the flower wanted to share what was inside. Its strengths have truly been shown and it has overcome the obstacles that have been thrown at it all its life. Having to navigate through the dark and around many other things in its path, it has become a flower who no longer hides in the depths of the pond or even just beneath the surface. It has emerged from the water and unfolded day after day, exposing itself to this big city and sharing everything it has to offer. Being alone in the bottom of the pond has allowed the growth and ability to flourish into the exquisite flower it has always wanted to be.

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Florence’s Marzocco Lion

By Kellie Bessette

Florence is covered with many versions of the Marzocco lion that date back to the Middle Ages. The Marzocco lion is the animal symbol of the free Republic of Florence.

While there are no real lions hunting the streets of Florence, statues of lions have been seen around the historic city center since the Middle Ages. The Marzocco lion, also known as the heraldic lion, is a symbol representing the free Republic of Florence. The Republic chose a lion not only because lions are a universal symbol for strength, but because they are able to tear apart eagles, which is the symbol of imperial power.

During the Middle Ages, it was not uncommon for nobles to present each other with exotic gifts. By the fifteenth century, as many as 24 lions were kept in cages behind Palazza Vecchio, or what is now Via dei Leoni. According to legend, one of the lions escaped and snatched a child during the reign of the Primo Popolo. The lion gave the child back to it’s mother unharmed and was dubbed a symbol of good luck for the people of Florence.

The most famous Marzocco was sculpted by Donatello in 1418 and was originally installed at Santa Maria Novella for Pope Martin V. The piece was later moved to Piazza Della Signoria in 1812. The lion is seated protecting the red fleur de lis, the coat-of-arms of Florence. The lion’s eyes are wise and the body is lifelike. Within the same piazza, two large lions guard the entrance to the Loggia dei Lanzi.

Another spotting of the Marzocco lion is located at Piazza Santa Croce at the Statue of Dante. The Statue of Dante was created in 1865 to celebrate the poet’s 600th birthday. Four heraldic lions stand at each corner of the pedestal holding shields with the names of Dante’s works. With many more statues of the Marzocco lion, it is clear that this animal has such an important historic connection.

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Rainy Afternoons

By Chrystalla Christodoulou

A student’s perspective on rainy days in Florence and learning to find something beautiful in everyday life.

Nothing is as pretty as the Duomo after it’s rained. The bright colors turn somber. Suddenly it turns from playful and boasting to wise. I drink it all in without stopping, I’m already late.

I bought gloves yesterday, the type with no fabric to cover your fingers. My friends make fun of me, asking me what their use is. It’s true, for most of the day my fingertips remain frozen. But the lack of fabric gives me freedom to write even if I’m outside or send a quick text.

Sit n’ Breakfast was the first coffeeshop we discovered in Florence, spotted by a friend who was here for only a few days. I used to come here every other day, determined to befriend all the baristas and practice Italian in what felt like a safe environment. I wrote in my journal: I am in love with coffee shops that feel like someone’s backyard; I am simply visiting a friend. I sat outside and revelled in the glorious sun, the same burning sun my friends complained about. I read my book and sketched for hours.

Then came a long pause, a time of intense budgeting and pushing myself to visit churches, museums, anything I could get in with my Uffizi card. I would quickly pass Sit n’ Breakfast, and the other hundreds of quaint coffee shops and try to ignore their call. But after I came back from Fall break I found my Florence different, moodier. Suddenly it actually rained, and I never needed my sunglasses. As someone who grew up on a Mediterranean island and has spent the last few years in Texas, it’s safe to say I don’t do well in “bad” weather.

But I surprised myself, not for the first time this semester. In the mornings I noticed the significant decline of tourists on the bridges as a result of the cold. I paused on the empty Ponte alle Grazie, my favorite bridge, looked at the almost silver sky, and enjoyed this newfound solitude. Almost in a trance, I found myself making my way into new coffeeshops. Without the promise of a long sunny day, that ridiculous guilt of not “making the most out of it” is gone and instead I can sit inside for hours. Speaking of ambiance is inherently cheesy, but I can’t help but smile thinking of the soft colors that accompany a fall evening in a coffee shop, the soft chatter and even softer music. Whether I’m reading, memorizing conjugations, or sketching, I can stay there until the music starts getting louder, and I know it’s aperitivo time.

To learn how to travel is to learn how to live, said Goethe. I learned that from my literature class I’ve been taking in Florence. I’ve learned that finding something beautiful and comforting in everyday life is easier than most of us like to think.

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Van Gogh’s Colors

By Chrystalla Christodoulou

“Loving Vincent”, and what Vincent van Gogh can teach us about color and life.

“Loving Vincent” is the first movie to ever be produced using only oil paintings. In order to make this dream a reality, the movie’s production team hired 500 artists from around the world who not only were amazing in their own right, but could paint in Van Gogh’s different styles with painstaking accuracy.

I watched the movie in the cinema, and I am convinced it is the only way to really appreciate it’s magic. It does not miss a beat and from the first scene we are introduced to its interesting nature. The paint strokes are always moving, crawling across the screen in a spiral or straight line. Every slight change in facial expression is captured, every scrunch of the eyebrow, every shoulder shrug. I remember sitting up when the young protagonist is smoking and talking to someone. After taking a drag, he looks away in order to not blow the smoke in the face of his companion. Little details like this could have theoretically been omitted, and the five year long project maybe wouldn’t have taken as long. Yet, the honesty the movie exudes would not have been present.

The movie is filled with “Easter eggs” as most of, if not all, scenes are inspired or adapted from one of Van Gogh’s paintings, including every single speaking character! While the story that is played out isn’t necessarily true, it is interesting to see how the death of one of the world’s most beloved artists might have affected the people around him.

During my Fall Break I visited London for the first time and after seeing “Loving Vincent” I made sure to not miss Van Gogh’s corner in the National Gallery. Exhibited in a room with Pissarro, Seurat, Toulouse-Lautrec and others, his pieces take up an entire wall. This was the first time I had seen his work in real life. Upon seeing “Farms near Auvers”, which was included in one of the most visually engaging scenes in the movie, I understood why the idea for “Loving Vincent” came up. Even in a still painting, Van Gogh’s brush strokes seem to be dancing.

Florence illuminates with color throughout the day, shifting through tones of a similar palette. On my walk to school I play a game. I try to see how many colors I can find in new places. Electric blue on this lady’s eyelids, yellow socks on that toddler, a rainbow caught in a puddle on the street. It is said we dream in black and white. All the more reason to live in pursuit of full, brilliant color.

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An Intimate Portrait of Pietra Serena

By Oceana Minthorne

Anyone who has visited Tuscany will appreciate pietra serena, a gray stone found in architectural and sculptural details as well as street pavement throughout cities such as Florence, Siena, and Arezzo. It has been used by the ancient Etruscans and cited since Renaissance times by the likes of Vasari. Oceana Minthorne shares an intimate and personified portrait of pietra serena.

I wish I could lay down on the floor and stare for hours. The stone is so smooth. Opposite from me, I want to be it. Perfect. Elegant. Clean. It envelopes this entire ceiling, cascades onto the walls, and delicately embraces the floors. The stone is cool but inviting, like the girl you envied in high school and wanted to be friends with but didn’t know how to talk to. Serena. Calm. She is just that.

The dome is circular. It goes round and round and does not stop. Gets back to its starting position and begins again. Never tiring. Effortlessly elegant.

I wish I could lay down on the floor and stare for hours. Melt into the ground, become the stone. I would have a view of the dome forever. I could watch visitors “oooh” and “aaah” over my aesthetic. They could step on me and it wouldn’t hurt. I’d be quarried from Fiesole. The best. They’d talk about how strong and sleek I am. I would inspire Steve Jobs and bits of me would be placed all over the world.

I am the stone. Perfect. Elegant. Clean. I fill the room, the ceiling, the walls, the floor. I am cool, inviting, Serena.

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A Glance into Florentine Tabernacles

The Florentine Tabernacle Canto di Monteloro on Via degli Alfani.

By Emelia Imperati

Tabernacles cover the streets of Florence, adding further religious, historical and aesthetic appeal and meaning to the city. Canto di Monteloro is one example of these beautiful and purposeful creations, dedicated to their patron saints.

Although it is customary to be swept away by the grandiose markers of Florence, such as the Duomo or the Santa Croce, many tourists overlook the hidden treasures that flood the city. The Florentine tabernacles cover many streets and offer additional historic and artistic significance that is often overlooked by travelers. Depictions of Pagan gods were originally displayed around the city but were later replaced by images of saints after Constantine’s conversion to Christianity. During the 14th century, Italian towns dedicated themselves to patron saints, and Florence reflected their vowed devotion to the Virgin Mary and John the Baptist through the approximate 1,200 tabernacles. These religious testaments were built to offer support for the Christian doctrine during the war against heresy, during which groups challenged Catholicism. They also were used as a source of protection during the plague in 1348, the year of the “Black Death” Residents utilized them through candle lightings, written prayers, and placed offerings to seek out defense from the patron saints against disease and death. They were commonly commissioned by middle class families, as those of greater wealth focused on assisting cathedrals, chapels, sculptures and more elegant decorations and structures.

One of these tabernacles placed on Via degli Alfani, on the corner of Borgo Pinti, was a common site for these behaviors, customs and beliefs of the past. It was named Canto di Monteloro, meaning Corner of Monteloro. It reflects an illustration of the Virgin Mary holding the child, surrounded by Saint John and Saint Peter. It was built by Compagnia della’Assunta, one of the companies of the Festive Powers, an association of regional companies that created exhibits, parties and banquets. They played an essential role in the construction of antiquities of late Renaissance Florence. The Canto di Monteloro was made with a popular and traditional stone of this era known as pietra serena, which was used for many other structural and artistic creations throughout the city. Below the image of the three saints is a portrayal of a cross on a 3-pointed mountain, which became the crest that gave name to the song the tabernacle was named after, and also to the powerful festive power, Montiloro, who gathered at this location. A wide shed resembling a small chapel originally protected the ornament, but was destroyed by traffic in the street. The fresco underwent several reconstructions overtime and was removed in 1953 for an extended period of time by the Superintendent for Artisitic and Historical Property. It was later replaced in this original location in 1991, and still remains as a beautiful additive to the street.

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Life in Florence: Festival of Lanterns

Locals gather in Pz. Santissima Annunziata for the Rificolona festivity. Photo by the author.

By Mikey Dombrowiecki

When it comes to studying abroad, sometimes it’s not as easy as it seems. For most of us, we tend to experience one common struggle: culture shock. This blog post describes my way of becoming more connected with the Italian culture through a local Florentine event.

It has now been about two weeks since I have arrived to Florence, Italy to complete my semester abroad. When coming abroad, I knew the lifestyle and culture here would be different than what I am used to in my charming little beach town in Ocean Grove, New Jersey. Little did I know this adjustment would be bigger than I could have ever imagined – one can infer that I was experiencing severe “culture shock.” So, I figured I would take matters into my own hands to find a way to break away from my homegrown routine begin to act like a Florence native. While browsing around for things to do, an FUA professor introduced me to the idea of attending the “The Lantern Festival,” called “Rificolona.” Unsure of what exactly it was, I figured I should have an open mind and attend as it was located only a few blocks away from my apartment.

Modern-day Rificolona lanterns. Photo by Carmen Collins.

I ventured off on my own to attend the festival, and found myself piled in with hundreds of locals who were also gathering to participate in the festival. Aimlessly wandering around, I later ran into some of my classmates and together we walked around and explored. We also quickly grabbed some of the lanterns to avoid being just tourists. Halfway through the evening, I spotted my boyfriend Kyle, his roommate, Brenden, and their Italian host dad, Marco. Marco was kind enough to invite the boys to the festival so they authentically experience Italian culture. As the festival went on, I found myself engaging in conversations with Marco. Never missing a beat, he explained to me every ounce of the background and importance behind the festival, including the vivid memories from his childhood and how he came to the festival every year. He now brings his own kids, who are ages eight and ten.

A homemade lantern at the Rificolona festivity. Photo by Carmen Collins.

Simply explained, the Festival of Lights is in honor of the Virgin Mary – the celebration of her life. The event originated in the 17th century, when farmers would make a pilgrimage into the city to pay tribute to the Virgin Mary’s birthday at the basilica of Santissima Annunziata. Centuries later, this still remains the location for a Florentine tradition that gathers the city’s residents for an illuminated evening.

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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

People of Florence

By Chantal Boynes
All photos by the author

Recent Street Photography student Chantal Boynes captures the people of Florence through this gorgeous photo essay on the diverse individuals that make up our city.

There are hundreds of stories that I could have written for this article about the different people walking the streets of this beautiful old city everyday. Each person is at a different point in their lives, coming from different countries, backgrounds and languages. Each individual has their own story to tell and this photo series captures just 1 second of the 2,228,800,000 seconds in the average person’s life. With this we can catch a brief glimpse into the lives of some of the People of Florence.