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The Middle Ages on the Road

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At the Bargello museum in Florence a small and delightful exhibition in the two rooms off the medieval courtyard is running until 21st June. Il medioevo in viaggio is the result of collaboration between four European museums (the Bargello, the Musée du Moyen Âge in Paris, the Museu Episcopal of Vic in Catalonia, and the Museum Schnütgen of Cologne). The exhibition has already been shown in Paris and will move on in the summer to Vic. Here in Florence it also celebrates the Bargello’s 150th anniversary and it is the last exhibition to be held under the excellent curatorship of Beatrice Paolozzi Strozzi, who has now retired as Director.

It has much of interest for Blue Guide users, and for all those who love travel.

16th-century French tapestry of the story of Laureola and Leriano with, in the background, mules being saddled and packed for a lengthy journey.

The exhibition begins with a fascinating portolano (or portulan) of c. 1440. This is a parchment map showing coastal harbours (with the rulers of the day shown sitting in their tents). Also on show is the oldest nautical chart known, dating from the 14th century, which illustrates the behaviour of the winds. These precious parchments are both preserved in Florence at the Biblioteca Nazionale Centrale and the Archivio di Stato.

The history of pilgrimage is illustrated with more intimate artefacts, including a codex from Lyon showing a bishop blessing two pilgrims’ bags and staffs before they set out on their journey. Early medieval leather shoes and badges and brooches worn on hats and cloaks are on display, and tiny portable altars in porphyry (used when Mass was celebrated on the road) include one probably made in Winchester in the 11th century. Even baptisms could be performed en route, and a  little 13th-century wooden salt cellar, in the form of a church with a bell-tower, was evidently used to produce Holy Water for such a ceremony. One of the very few paintings in the exhibition (loaned from Vic) shows a 15th-century Flight into Egypt, clearly referring to contemporary travel, since the Holy Family are accompanied by a maidservant carrying their luggage on her head and a cow is being led along beside them so milk would be available for the Child, and there is another group of travellers in the background.

Crusaders and their horses are recorded with 13th-century bits and stirrups. A beautiful very well preserved 14th-century miniature from the Bargello illustrates a city being besieged by land and sea. An ivory plaquette is of twofold interest: its smooth back with traces of wax has proved it was used by a traveller to take notes, and its recto is carved with a scene of two crusaders holding their noses to block the stench emanating from the bodies of Christian soldiers killed in the Seventh Crusade to the Lebanon in 1253 after they had been exposed too long in the sun, but which the conscientious St Louis IX is happily burying. This saintly king of France reigned for 44 years and was a great reformer and founded the Sainte-Chapelle in Paris for his collection of relics: but he was no good as a crusader and died of dysentery on a voyage to Tunis.

Another extraordinarily precious possession of the Biblioteca Nazionale Centrale of Florence is a 1392 edition of the Il Milione of Marco Polo, one of the most famous travellers of all time. The ring with an engraved ruby, thought to have belonged to the Black Prince himself, made in England in the 14th century (lent by the Louvre), is appropriately displayed above a brooch made in France in the same century and now in the Bargello. They both have very similar enamel and gold decoration as well as identical inscriptions from St Luke, which indicate that they were considered talismans designed to bring luck to the wearer.

Caskets for valuables, trunks and bags and portable folding furniture are also part of the display. An octagonal table with Gothic carvings, dating from the late 15th century, was evidently taken on trips by its wealthy owner since it could be ‘closed up’ so it fitted snugly against a saddle. The exhibition closes with a wonderful tapestry made in France in the early 16th century illustrating a popular medieval legend but chosen for this show because it includes a charming detail of a mule being loaded with trunks as a group of travellers prepare to set out on a journey.

by Alta Macadam, author of Blue Guide Florence.

Hellenistic bronzes in Florence

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“Power and Pathos. Bronze Sculpture of the Hellenistic World” is the penultimate exhibition to be held under the mandate of James Bradburne, Director General of the Fondazione Palazzo Strozzi. Bradburne has succeeded in turning the palazzo into Florence’s most important exhibition space.

The Boxer, lifelike portrait of a pugilist.

And no more fitting show could have taken place to mark the end of his tenure: it is filled with great masterpieces, and accompanied by a scholarly catalogue. When it closes in Florence (on 21st June) it will travel first to the Getty Museum in Los Angeles  (until 1st November) and then to the National Gallery of Art in Washington (until 20th March 2016).

Perhaps the most striking feature of the exhibition is the consistency it reveals in the styles of masters working in the Alexandrine world of Greece and during the later Roman era. A map (also reproduced in the catalogue) records the extraordinarily wide geographical area where the pieces have been found, either underground or underwater. The exhibition has deliberately concentrated on the “explicitly ‘un-ideal’: the innumerable contingencies of real-life physiognomy” which are the feature of Hellenistic art. But the curators of course were faced with the fact that so little bronze sculpture (as opposed to marble sculpture) survives because it was so often melted down. A tragedy because the skill (and technical ability) of the sculptors was never again equalled until the Renaissance.

To set the tone of the display (which is not chronological), the first room has just two exhibits. The first is a bare limestone base with its statue missing, which is here because it bears the signature of the greatest Hellenistic sculptor, Lysippus of Corinth, who was Alexander the Great’s court sculptor and who is reported by Pliny to have made no fewer than 1500 bronze statues. Not one of these survives, but other statue bases like this one can still be seen in Greece. The other exhibit is the splendidly-displayed Arringatore, or Orator. Because it normally forms part of the collection of the Museo Archeologico Nazionale in Florence itself, it seems appropriate that it should be here to greet visitors, its right hand stretched towards us in a gesture usually interpreted as a call for silence. The Etruscan inscription on the toga tells us that the statue was made in Chiusi and it is dated to the late 2nd century BC.

The next room has another magnificent piece from the same museum, the Medici-Riccardi Head of a Horse. Examination of its copper-tin alloy during its restoration for this exhibition has confirmed its date of the second half of the 4th century BC. It belonged to Lorenzo the Magnificent and is to this day perhaps the most important classical bronze in Florence. Beside it is displayed a very well-preserved statuette (found in Herculaneum) of Alexander the Great mounted on his famous steed (the mane worked in just the same way as the larger head), with silver trimmings (one of many important pieces from the Archaeological Museum in Naples loaned to this exhibition).

Two very different but memorable portrait heads dating from the 3rd century BC are also in this room: that of Queen Arsinoë III of Egypt, and an unknown man, much less regal, wearing a flat leather cap (known as a kausia). He was fished up in the Aegean sea in 1997 and it has been lent by the local museum of Pothia on Kalymnos, in the Dodecanese. This is one of numerous underwater finds which have been made in recent years, and it is always good to learn, as in this case, that they have remained close to where they were found. This piece is an almost miraculous survival: its flashing eyes, made of alabaster and faïence, are still intact and it takes an honourable place alongside works of much greater fame and from much more accessible museums.

In the third room we come face to face with the famous, over life-size Boxer (from the Museo Nazionale in Palazzo Massimo alle Terme in Rome), as he sits to regain his strength, his hands strongly bound up in leather and with clear signs (made with copper inlays) of combat on his scarred face with its broken nose. Dating from the 3rd century BC and unearthed in the 19th century on the Quirinal hill, this would have been brought back to Rome as war booty and exhibited in a public place as an example of the highest expression of art known at the time, an accolade it holds to this day.

Close by, in strong contrast, is a little brown statuette from the Metropolitan Museum of Art of an elderly man in a short tunic with a notebook tucked under his belt: he only has one leg and an arm is missing but he is thought to represent an artisan. Also from the same museum comes an exquisite statue with a green patina of Eros fast asleep: depicted as an infant with exquisitely carved wings, this is the forerunner of many depictions of cupids, cherubs and putti in Western art. A statuette of Hermes in his flat hat is a beautiful work lent by the British Museum, somehow typical of that museum’s extraordinary collection of masterpieces, not all of them as well known as one would expect.

The ‘pathos’ of the exhibition’s title is summed up in the portrait of a man from Delos, one of the best-known of all Greek portraits, lent from the Archaeological Museum in Athens. He has a furrowed brow above piercing eyes made of glass paste and black stone. It is exhibited near two other portrait heads: one from an Etruscan votive statue thought to have been found on an island in Lake Bolsena in 1771 (and now in the British Museum) and the other from the Bibliothèque Nationale in Paris, an extraordinarily refined work which retains even its eyelashes and its unshaven chin, also found in Italy (in 1847), and a very early example of Etruscan/Italic/Roman art (late 4th century BC).

The famous Greek bronze Apoxyomenos (the athlete scraping himself down with a strigil) from Ephesus is represented by a replica from Vienna (spectacularly restored in 1902 after it had been found in 234 pieces) and the head of an athlete purchased through Sotheby’s by the Kimbell Art Museum at Fort Worth in 2000 (with a long pedigree including its presence in an 18th-century collection in Venice). A Roman marble statue the Uffizi here is also derived from the Apoxyomenos (wrongly restored in the Renaissance to hold a marble vase instead of a strigil).

Two more statues come from Florence’s Archaeological Museum: the Minerva of Arezzo, derived from a statue of the Praxiteles school (of which numerous copies have survived); and, in the last room, the so-called Idolino, which dates from around 30 BC and would have served as a lamp-stand at banquets. Its very beautiful head shows great similarities to that of the lovely small bust of an Ephebe from Benevento (lent from the Louvre and exhibited beside it) with red copper lips: this is dated a few decades before the Idolino.

Florence’s Archaeological Museum have been involved as partners in this exhibition and in fact have produced their own little show in conjunction with the main one (it also runs until 21st June). Entitled “Small Great Bronzes: Greek, Etruscan and Roman Masterpieces from the Medici and Lorraine Collections”, it shows some of the museum’s most precious possessions, arranged by type

by Alta Macadam. Alta is the author of Blue Guide Florence and Blue Guide Tuscany, available in both print and digital format.

Recommended places to stay and eat on Crete

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As a brief introduction here are six hotels and one restaurant that are recommended in the new Blue Guide Crete. Note that, as with all Blue Guides Recommended establishments, all have been visited by the author or our editors and contributors, indeed in the case of the below we have stayed at all of them.  Considerably longer listings appear in the book itself.

Most of the below are available through www.cretetravel.com who we found excellent. As well as handling the reservations (at no cost to the visitor, they receive a fee from the hotel), they will also give helpful email or telephone advice:

1. Tamam Restaurant, Chania

2. Casa Delfino, Chania

3. Villa Kynthia, Panormos

4. Villa Kerasia, Venerato

5. Kalimera Archanes, Archanes

6. Palazzo Apartments, Agios Nikolaos

7. Aspros Potamos, near Makrigialos

Frescoes in a convent of a closed order of nuns

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In the lovely convent of the Santi Quattro Coronati, in a quiet corner of Rome reached on foot in little more than ten minutes from the Colosseum, frescoes were discovered in a Gothic hall in 1995. Since this was in an area belonging to a closed order of Augustinian nuns (who have been in the convent for some five centuries), many years’ discussion ensued to establish how it would be possible to allow visitors to see the frescoes once restoration had been completed. The difficulties have at last been resolved and the hall is now opened on two days a month by a volunteer organisation which specialises in making accessible places in Rome not normally easy to visit.

Janus, representing the month of January.

Heralded as perhaps the most important medieval cycle of secular subjects to have survived in the entire city, it is indeed a remarkable sight. The cross-vaulted hall was part of a grand 13th-century residence reserved for the Cardinal. In fact a cardinal priest attached to the Carolingian convent became Pope Leo IV in 847 (a chapel from his time survives off the little cloister).

Up until now the most fascinating part of the convent open to visitors was the little Cappella di San Silvestro, approached just off the courtyard, with its charming fresco cycle of 1247 commissioned by Cardinal Stefano Conti and illustrating the life (and legend) of Pope Sylvester (324–35). The Gothic Hall is on the first floor, approached from the opposite side of the courtyard through the convent library. Frescoed at around the same time as the chapel, it was the most important room in the Cardinal’s suite. It was where he would probably have received visitors, administered justice and given banquets. The decoration is divided into two distinct parts. The three walls of the first bay have illustrations of the Months, all with charming stylised trees. January is depicted as a seated Janus figure with three faces while a boy is supplying him with cured pork, and sausages can be seen hung up to dry. Trees are being pruned in February, and in March an eccentric scene shows a languid youth holding out his very long, thin leg to a lady so that she can extract a thorn from his foot. In April shepherds are shown tending their animals. The next wall has an idyllic scene in May, with a man on a horse smelling a bouquet of flowers while children up trees laden with fruit gather them into baskets. In June grain is being harvested with scythes, and in July it is being processed on a circular threshing floor. Figs are being offered to a seated old man in August. The last wall begins with September, with wine barrels being prepared for the grape harvest, depicted in October. November has a ploughing scene and in December pigs are being butchered. The upper register, which illustrates the Liberal Arts, is less well preserved: but a female figure representing Geometry can be made out as well as Music, illustrated by an organ operated by bellows.

The second bay has a frieze of female Virtues and Beatitudes dressed in armour carrying small figures (from the Old or New Testament or a Saint) on their shoulders and trampling under their feet pairs of figures representing the Vices. The qualities personified are explained in long inscriptions. Solomon, representing Justice, is given pride of place, flanked by a pair of exotic birds. Above them are lunettes with even more curious scenes:  a pair of figures suggesting Abundance, with cornucopia and baskets brimming with all sorts of good things (and their nicely rounded rear ends very much in evidence since their cloaks have fallen to their knees!). Another has the Sun (symbolising Christ) and the Moon (symbolising the Church) in chariots drawn respectively by horses and by bulls, separated by a giant ornamental vase.

All of the scenes are separated with delightful friezes: colourful geometric borders, trompe l’oeil patterns, little naked figures playing with ribbons, dolphins with their tails entwined, and a great variety of birds. Little genii with curly tails can be seen fighting each other on either side of flower pots, and amusing young telamones playing in the leaves and holding up festoons of flowers and fruit. A bright emerald green dominates the background of the entire painted surface.

The discovery of these frescoes has caused art historians to revise the entire history of painting in Rome in the 13th century.

by Alta Macadam, author of Blue Guide Rome.

The Gothic Hall (Aula Gotica) is at present open twice a month on a weekday by appointment; to book: archeocontesti@gmail.com; T: 335495248. Explanation in situ given also in English. An offering is expected for the convent. For information, see here.

The Chapel of St Sylvester and cloister are usually open 10–11.45 & 4–5.45; holidays 9.30–10.30 & 4–5.45, although—since they are part of the convent—the opening hours are subject to change according to the availability of one of the nuns. For admission, ring at the old wooden bell of the convent and ask the nun beyond the grille to press the door release. When the nuns are busy or at prayer it is sometimes necessary to ring more than once; if there is no reply, wait and try again a little later. Minimum donation of one euro.

Church open 9–12 & 3-5.30. Services (with sung Mass) are held frequently by the nuns, who are known for their musical talents.