Legends and Revelations of the 'Dawn of the Renaissance'

One of the exclusive features offered to students of the Renaissance series is the opportunity to receive snippets of lesser-known historical information.  These revelations were thanks to Alan Pascuzzi, Frank Nero, Jeremy Boudreau, Angela Oberer and Susan Madocks Lister who together made the ‘Dawn of the Renaissance’ course an educationally stimulating month.  As a group we focused in depth upon broad aspects of Italian art before 1400, from Giotto to Simone Martini, attending visits to Santa Maria del Fiore, Santa Maria Novella and the Uffizi, amongst other renowned sites.   

A View of Florence and Brunelleschi's famous dome from the top of
the Santa Maria del Fiore Bell Tower.

Throughout lectures and tours our eyes were opened to the anecdotes and momentous narratives embedded within Florence’s artistic framework.

Students on the ‘Dawn of the Renaissance’ course on the steps of the 

Loggia dei Lanzi with the Palazzo Vecchio and (second) David firmly

in sight!  During this tour with Alan Pascuzzi we discovered that 

hidden beneath the concrete floors of the Piazza della Signoria there 

is an ancient Roman city simply waiting to be uncovered.

…Who knew that the dents in the wall of the Loggia dei Lanzi were the result of artists’ leisurely (and probably wine-fuelled!) shooting games?

Visible shot marks in the walls of the Loggia dei Lanzi.

One of the most resounding anecdotes of the ‘Dawn of the Renaissance’ was the tale of Antonio Rinaldeschi.  Our lecturer, Frank Nero, first introduced us to this shady character on our ‘Guelf and Ghibelline’ walking tour where we visited Santa Margherita de’Cherchi, Santi Apostoli and Santa Maria de’Ricci.  The last of these churches is the site in which Antonio, a “nobleman”, flung a handful of manure at an Annunciation altarpiece of the Virgin.  He committed this atrocity in a drunken rage after loosing a hefty portion of money (and clothing!) whilst gambling at the Osteria del Fico.

A scene representing Antonio Rinaldeschi before the pivotal 
moment, dung in hand. This image is a close-up taken from 
Filippo Dolciati's nine panel narrative now displayed in the 
Museo Stibbert.

Here a contemporary recounts the crime,

‘he gathered horse dung from the ground, and guided by a diabolical force…threw it at the face of said figure of the virgin mother Mary, and part of said dung “remained stuck in the diadem”…to her great dishonour and disgrace and to the shame of Christian faith.’

(William J. Connell, Giles Constable, Sacrilege and Redemption in Renaissance Florence: The Case of Antonio Rinaldeschi,  p. 102).

Filippo Dolciati, The Story of Antonio Rinaldeschi, 1502, Museo Stibbert.

Miraculously, and to the utter horror of Antonio, some of the dung remained attached to the fresco forming a crown above the Madonna’s head.  Taking this as a sign, the culprit fled, only to be shortly arrested and tortured at the Bargello where he was subsequently hung...

Clearly blasphemy did not go unpunished in early sixteenth century Florence as emphasised through the immortalisation of Antonio's story by the painter Filippo Dolciati (above).

The Guido Riccio Controversy

Possibly Simone Martini, possibly Duccio, Guido Riccio at the
Scene of Montemassi, possibly 1330, Palazzo Pubblico, Siena.

During a lecture on the Sienese artist Simone Martini, Susan Madocks Lister enlightened us to the controversy surrounding this painting 'Guido Riccio at the Scene of Montemassi' (above).  Commissioned in 1330, the artwork resides proudly on the walls of Siena's Palazzo Pubblico as a symbol of national triumph and historic power.

Close-up of Guido Riccio on horseback.  The diamonds
adorning this equestrian figure were originally silver
but have oxidised over time.

Close-up of the fresco overlapped by and hidden beneath
the later 'Guido Riccio' image.

Art historian Gordon Moran initially recognised the ambiguity of the paintings' provenance after identifying a fresco hidden beneath the later, current image.  This revelation evoked an anxious response resulting in the works' revised attribution.  It is now ascribed to either Simone Martini or the Sienese master, Duccio.  Who do you believe to be responsible for this (supposed) image of ‘Guido Riccio’, Martini, Duccio, neither or both?!

- Ellie Porter HOA Intern

An Unexpected Evening at the Mercato Centrale di San Lorenzo

On a normal day the Mercato Centrale di San Lorenzo is a place of understated hustle and bustle.  It is an ideal place to locate essential fresh ingredients to suit your Italian cucina!  However, on Saturday 28^th September the Mercato turned nocturnal, transforming into a maze of delicious international food and drink.  There were worldwide cuisines to complement all taste buds ranging from Spanish to Japanese, accompanied by vibrant entertainment (in the form of Brazilian dancing!).

 An incredible bowl of sushi!  Bellissimo!

The event offered an interesting alternative to the characteristically Italian aperitivo to be enjoyed in numerous Florentine bars.  Yet it remained an occasion instilled with what can only be described as Mediterranean spirit demonstrated via lively performances and a good-humoured atmosphere.  With a mainly Italian speaking audience there was also ample opportunity to spark up conversation and test out language skills.

Brazilian dancers suddenly emerge!

The Sushi Bar.

La Macelleria.

Stumbling across hamburger stalls with a bag of biscotti in one hand and a plate of sushi in the other is certainly my idea of a well-spent evening.  The nationalities represented infused the marketplace with the flavours of the world bringing new life to a traditional place. 

Just a few options to satisfy a sweet tooth.

...the possibilities are endless! 

The Mercarto Centrale di San Lorenzo also presented some
exceptionally artistic kebabs. 

And for an antique lovers perfect Sunday morning, visit the Mercatino dei Ciompi in Sant’Ambrogio where you can find an array of collectable goods, big and small, from furniture and cutlery to analogue photographs and old arts magazines.

A view of a shop interior at the Mercatino dei Ciompi.

Lamps, bellows and bird cages - a collectors dream!

- Ellie Porter, HOA Intern

Private Lives of the Renaissance Elite: A Fly on the Wall at the Palazzo Davanzati!

The Exterior of the Palazzo Davanzati
by Graham Meighan www.studyblue.com.

In the discussion of private affairs the phrase ‘What happens behind closed doors’ is often repeated.  But have you ever wondered what it is like to open those closed doors and become an actual fly on the wall?  The Palazzo Davanzati, the fourteenth century home of the Davizzi family, provides a rare opportunity to do just that! 

Students participating in the Dawn of the Renaissance series visited the Palazzo Davanzati with Alan Pascuzzi on the 26^th September.  This hidden gem is situated discreetly on Via Porta Rossa withholding wall paintings, furniture and architectural features, which will enlighten your perception of daily life in Renaissance Florence.

The three floors of the Palazzo contain rooms for dining, a studiolo, extravagant bedrooms, and most bizarrely the toilet, which intercedes these luxurious spaces!  Despite having passed through the hands of various antiquarian-owners, 20^th century restoration has salvaged the Palazzo’s authentic charm.  This Davanzati magic culminates in the charcoal graffiti scattered across the walls, transporting us to another time! 

Graffiti on the internal walls of the

Palazzo Davanzati.  Whilst some of

these drawings are by tax

collectors, others record historical

events like the Pazzi conspiracy of 

1478.  This abstract sketch looks

much like a procession, but that is

purely speculation!

Yet possibly the most revealing part of the Palazzo is the bedroom, the room that epitomises our modern concept of the ‘closed door’ or the ultimate private realm.  Contrastingly, this space was once the social heart of the Renaissance home.  It is certainly no surprise that women displayed post-childbirth gifts here (a proud memento of their survival!).

The narrative wall paintings on the upper wall of the ‘Chamber of The Lady Vergy’ also illustrate an anonymous French poem about love and betrayal also referenced in Boccaccio’s Decameron.  Whilst light-hearted in their appearance, the paintings project a severe moral message… remain chaste or meet a tragic (and gory) end!

Chamber of The Lady Vergy, Palazzo Davanzati, 1359.

The Palazzo Davanzati unveils the domestic secrets of a bygone elite and is a unique Florentine experience not to be missed!

Hall of the Parrots, Palazzo Davanzati, 1359.

- Ellie Porter, HOA Intern

Da Vincis in the making: Become a 21st century Renaissance master!

Drawing in Silverpoint.

As part of the course ‘Experiencing the Renaissance Workshop’, which ran from September 9^th – 13^th 2013, a group of lucky apprentices received a crash course in all things technical.  Whilst acquiring masterly skill might seem like a daunting prospect, this five-day experience is suitable for pros and beginners alike (as demonstrated by my own examples pictured here!)

Under the instruction of Alan Pascuzzi and within the surroundings of his studio, we masters-in-the-making learnt to draw in silverpoint, paint in fresco and egg tempera and forge our way to fame!  Utilizing authentic materials from Rabbit ear glue, to gold leaf and egg yolk ‘Experiencing the Renaissance Workshop’ provides a rare, hands-on insight into the genuine processes of Renaissance artistry.  It is certain you will leave this course with the practical knowledge to continue your training wherever it may take you.

With a mixture of lectures, site visits and practical workshops, ‘Experiencing the Renaissance Workshop’ is both personable and thought provoking, leaving a lasting impression.  So, if you wish to appreciate the art of Florence from a new and inspirational perspective this proactive course is the one for you!

…Who knows, you may even discover a hidden talent.

Some examples of impressive frescoes produced by my fellow apprentices!

And finally, my personal favourite: Renaissance Art Forgery in pen and

ink on artificially aged paper (we do this ourselves!).  At the centre is a

goose-feathered quill surrounded by India ink, red bole, charcoal and

other essential tools.

- Ellie Porter, HOA Intern

Explore Christmas Themes in Florentine Art: ''Awaiting the Nativity''

November 28th - December 2nd

This five day course explores Christmas themes in Florentine art from the medieval period to the baroque.

Conducted mainly through guided visits to churches, chapels, palaces and museums, together with lectures on the iconography of the Nativity, the history of the Italian Christmas Crib, and on two of Botticelli’s exquisite and highly personal Nativity and Epiphany paintings.

We will explore why the subject of the Magi becomes a dominant theme in Florentine art from the mid-fifteenth century onwards and how the Epiphany is linked to the most important family in Florence – the Medici. The course includes a special hands-on session in a Florentine bottega to learn and experiment the renaissance technique of egg-tempera painting and of gilding.

No art experience is needed for this, and you get to take home your ‘Renaissance’ nativity painting.

Late November and early December is a perfect time to experience a Florence free from crowded streets and busy museums. It is also a time when the Christmas markets begin, like the traditional Mercato di Natale di Heidelberg which brings a flavour of the european north to the Piazza Santa Croce.