Day 17: All this in Florence

 Our second day in Florence was well below zero as we made our way to the other main gallery: ‘The Acadamie’.  This houses the famous ‘David’ and five other Michelangelo sculptures  - the four unfinished 'Prisoners' and 'St. Matthew (Pieta) '.  As you go into the hall with David in the distance you are greeted by 2 huge unfinished sculptures down each side of the hall. These are called Young Slave' and 'Atlas' on one side and 'Awakening Slave' and 'Bearded Slave' on the other.  Michelangelo held the view (not original) that a figure/sculpture needed to be released from the marble rather than carved in it.  These unfinished pieces prepare us for the great 'finished' work of David (5.17 M) that took 4 years to be liberated from the marble.  You would come to come to Florence just to see 'David' and we hung around this hall for over an hour going around and around the statue.  The anatomy of this giant piece is precise including the veins in the arms and hands.  Apparently there is a minor flaw in that a wrist muscle put in the right hand does not actually exist.  

The rest of the museum was good (Lippi, Botticelli etc)  but a little anti-climactic! We watched a really interesting video on the process used to paint wooden panels on which many 13-15th century works were done.  The painstaking and makes one appreciate this art even more.

There was also an exhibition of Renaissance musical instruments which was fascinating and included the oldest Stradivarius cello and violin (1690).  They had the sounds of these instruments which was richer than anything I had heard  - am searching for a CD!

After lunch I climbed the bell tower for some more stunning views of the city while Maureen did some window shopping - seemed much more expensive than Rome.

San Croce facade

Then we headed for another famous church: San Croce built for the Franciscans (1442).  This church is also enormous and is simple Gothic style with a 'T' floor plan like the Franciscan cross and was the model for may other churches. The Franciscans had the tombs put in the floor with the slabs to be walked on as a sign that death should be faced with simplicity and that it is how one lived rather than the size of their tomb which was important.  There are many tombs of famous people including: Galileo (science) (as he was excommunicated he was not allowed a 

Galileo's tomb in San Croce

Michelangelo's tomb in San Croce

Christian burial but the Friars buried him there without the Vatican knowing), Michelangelo (art), Dante (literature), Machiavelli (politics), Rossini (opera), Bruno (politics and philosophy) and others.  The tomb of poet Nicolini has a figure that was used as the model for The Statue of Liberty.

The cathedral has lots of frescos by famous 13-14th century painter Giotto and, in the museum, the oldest crucifix showing Christ dying on it (pioneered by St Francis) by Cimabue the teacher of Giotto.

  

With time on our hands we wanted to get a bit more of the history of Florence so went to the Museum di Palazzo Vecchio which was open until late.  This palace is the historical seat of government of Florence and home for some time of the famous Medici dynasty and many other rulers.  The art in the palace including a huge fresco by Michelangelo and also Da Vinci captures the trtured history of Florence in its development as a republic and later as captila of the Kingdoms of Italy.  The rooms are ornate - it really is a place.  There is also in the main hall the unfinished sculpture of David by Michelangelo called 'Genius of Victory'. as a well as works by Donatello who was at his peak ~100 years before Michelangelo.

Piazza San Croce at dusk

In 1492, the Italian Renaissance philosopher Ficino (1433-1499),  wrote a letter from Florence to his friend, Paul of Middelburg. Here is some of it:

'If then we are to call any age golden, it is beyond doubt that age which brings forth golden talents in different places. That such is true of this our age few will hardly doubt. For this century, like a golden age, has restored to light the liberal arts, which were almost extinct: grammar, poetry, rhetoric, painting, sculpture, architecture, music and all this in Florence. Achieving what had been honored among the ancients, but almost forgotten since, the age has joined wisdom with eloquence, and prudence with the military art. In you also, my dear Paul, this century appears to have perfected astronomy, and in Florence it has recalled the Platonic teaching from darkness into light.'