Paula's Tour Talk

Dante the Florentine

Dante Alighieri  was born in Florence in 1265. He is beloved in Italy--because, or in spite, of the fact that his lengthy and difficult Divine Comedy is still read by all Italian students. Dante is generally agreed to be the most important medieval European poet, and many scholars consider him one of the three greatest European writer geniuses, along with Shakespeare and Goethe.

You'll see many paintings and statues of Dante throughout Florence--in the Uffizzi, the Bargello, in Santa Croce, and elsewhere. Florentines claim him as a favorite son. But it wasn't always this way.

For much of his life, Dante lived in bitter exile from his hometown. Medieval Florence was embroiled in constant warfare with Siena and other neighboring towns and also suffered the conflicts that divided all Europe at the time. Essentially, there was a struggle between the secular power of the German Holy Roman Emperor and the religious--and also secular--power of the Pope. In Florence it pretty much came down to two factions: the Ghibellines who supported the Emperor, Frederick Barbarossa, and the Guelphs who supported the Pope.

I won't bore you with the details and ups and downs of this long, involved conflict. All you need to know is that Dante was Ghibelline supporter at a time when the Guelphs triumphed in Florence, and he was exiled from Florence. He was condemned to die if he ever returned.

He found refuge in many cities, including Verona and Treviso and perhaps even Paris.He always hoped to be forgiven and allowed to return to Florence, but it wasn't to be. He eventually ended up in the beautiful Byzantine city of Ravenna where he died and was buried.

During the last ten years of his life, Dante wrote his masterpiece, the three-part poem La Divina Commedia. In 100 cantos ( stanzas) and more than 14,000 lines, the poet describes his visionary journey through the seven circles of hell, then purgatory and finally paradise. He took a sort of revenge on his enemies by placing them in hell among the damned from all ages and describing their crimes and punishments in excruciatingly gruesome detail.

Eventually, Florence acknowledged Dante's genius and claimed him for her own. Today his portrait hangs in the Duomo and there are countless plaques on buildings throughout the city engraved with his most famous verses. An enormous monument was erected in his honor in the Piazza Santa Croce, and a fancy memorial in the church itself. However, Dante's grave is in Ravenna and the odd and disappointing Florentine museum, the "Casa di Dante," was never his home (and is not worth your time either).

Carnevale!

Since February 9th, Venice has been in the throes of carnevale. The streets are packed with costumed revelers, the lucky ones on their way to lavish private parties thrown by Venice's elite. There are indoor and outdoor performances in Piazza San Marco and throughout the entire city.

This year marks the 300th anniversary of the birth of Italy's beloved playwright, Carlo Goldoni, and his plays about every day life and manners in 18th century Italy are being showcased. Of course, there are daily performances of the traditional commedia dell'arte plays with familiar characters like Harlequin and Pulcinella. There's music for all tastes, classical, jazz, pop, world music, even hip-hop. There are ballets, circuses, and street performers of every imaginable sort--all in all, a dizzing array.

Even though Venice is one of my favorite places on earth,I've never been to carnevale. The suffocating crowds, noise, and jacked-up prices for everything in this already expensive city hold no allure. But I am fascinated with its history and especially with the masks. I've done quite a bit of research, and although there isn't the space here for a long essay, I can share some interesting tidbits with you today.

Carnevale has its origins way back in the 13th century--or at least that's when it  is first mentioned in documents. The Venice carnival used to run from December 26th until Shrove Tuesday (the Tuesday before Lent, the 40 days of fasting and penance before Easter). It's always been a time of freedom from conventional morality when the anonymity of masks gave people license to live according to their desires.

Masks were always a part of carnival, and a big part of Venetian life. Of course, masks were donned during the months of carnival, but by law they were also allowed and worn most of the year, except  for the 40 days of Lent and during the last 10 days of Advent (the period before Christmas). In addition, only the masked could enter and play in one of the hundreds of gambling houses where fortunes were routinely won and lost.

Traditionally masks were simple, and even today there are people who prefer them to the wildly extravagant styles. One popular style with both men and women was the bauta. Usually white, it covered the face, but jutted out at an angle allowing for the wearer to speak, eat and drink easily. It was often worn, as in the picture on the left, with a tricorn hat and black cloak.

Another mask considered especially alluring, but which strikes me as rather creepy, was the moretta. This was an oval of black velvet with eye holes but with the mouth completely covered, worn only by women.There were no straps to hold the moretta in place; instead there was a button that the wearer gripped between her front teeth. Apparently, she was neither to be seen nor heard...

Carnival and masks are the subjects of numerous scholarly books and articles, but you can find a great deal of information about both, as well as listings of this year's events and many photos at Venice Carnival 2007.

When we visit Venice, Teresa and I can show you some of the best mask shops, where you can find the one that suits you best or choose one to bring home for a special gift.

I, Mona Lisa : A Mixed Bag

I am always on the lookout for novels that will inspire, delight, and educate my readers about both the history and the realities of daily life in Renaissance Italy, novels that will enhance your travel experience.  So, I was filled with anticipation when I sat down to read Jeanne Kalogridis' latest novel, I, Mona Lisa. However, I had read only a few pages when I debated whether even to continue reading.

One of the benchmarks of good historical fiction is that the history must be accurate; the author must scrupulously adhere to the facts wherever known. Kalogridis' research was sloppy and it nearly prevented me from reading what turned out to be a rather wonderful book. But I kept reading and I'm glad I did.

It turns out that she played a bit fast and loose with a lot of incidental historical facts--some might call them details, but it drove me crazy. For instance, she mentions the goldsmith shops on Florence's Ponte Vecchio several times, even though when Leonardo was painting Mona Lisa's portrait, the bridge was lined with butchers' stalls where all sorts of refuse and stinking offal  was tossed into the river. It wasn't until 1595, more than 100 years after the events in the novel, that the smelly butchers were thrown out and the goldsmiths moved in. I was annoyed that this and other easily checked facts were wrong throughout the book.

However, though she often gets the dates and other facts wrong, Kalogridis does a fantastic job of getting the big picture right. And this makes I, Mona Lisa well worth reading--with one important caveat.

It is important to remember that we know almost nothing about the woman in the world's most famous painting. Even her identity as Lisa Gherardini and the wife of Francesco del Giocondo is not 100% certain. So, EVERYTHING about her life and her relationships, her personality and behaviour is pure fiction. The same goes for Kalogridis' imaginings about the other historical characters in the book, including Leonardo Da'Vinci. While she does include some factual information, much is speculation.

Okay, so what's good about I, Mona Lisa?  First, Kalogridis paints a brilliantly clear picture of life in Florence in the tumultuous days of the Lorenzo the Magnificent. After reading this book, you will be quite prepared to visit Florence because you'll have a real understanding of important aspects of its history during the height of the Renaissance. You'll understand the bizarre Pazzi conspiracy, the role of the Medicis, the allure of the monk Savonarola and his Bonfire of the Vanities--and you'll also know why he ended up being burnt at the stake. You'll get a sense of daily life, especially the constricted life of women in this time and place. You'll understand the swirl of intrigue between the Church and the various Italian city-states. And, you'll get a glimpse of artists like Botticelli and Michelangelo as they live and work in 15th century Florence.

Second, it's a thrilling story. Kalogridis presents us with a most fascinating Mona Lisa. Her fictional Lisa has a secret ancestry, a spirited personality, complex relationships with many of the rich and famous of her day, as well as intelligence and great beauty. She paints a picture of a passionate woman, willing to risk everything for those she loves. It's a great read.

So, go ahead and enjoy this interesting, suspenseful story that plays out in the streets and piazzas you'll stroll in Florence.  Immerse your imagination in the dangers and dark rivalries behind doors of the churches and buildings  you'll visit. Just remember, Mona Lisa's true story  is still a mystery.

Beyond the Baptistery Doors

Everyone who visits Florence, walks over to the Piazza del Duomo and takes a look at the magnificent cathedral, with its adjacent bell tower, and the octagonal baptistery. Guide books are full of information about Brunelleschi's magnificent dome, and about Giotto's tower, and about the three sets of bronze doors on the north, south, and east of the baptistery.  And, while many take time to step inside the duomo and perhaps even to climb up into the bell tower, few ever venture beyond the baptistery's doors. This is a mistake.

The Baptistery of San Giovanni is one of the oldest and most revered buildings in Florence.  Until the late 19th century, all Florentine infants were baptized here. In Dante's time, people believed it was built on top of the ruins of an ancient Roman temple dedicated to the war god Mars. Later archeological work has revealed that it is indeed built on a Roman ruin, but of a home rather than a temple.

The exact date of the baptistery's construction is still a matter for debate, but most scholars agree that it probably dates from the 6th or 7th century. We do know that it was re-consecrated in 1059 and for a time served as Florence's cathedral (that is, the bishop's church). It was dedicated to St. John the Baptist who is honored as the patron saint of Florence.

While the doors by Pisano and Ghiberti are gorgeous, and I'll certainly tell the Time of Your Life Tour members the story of the famous competition and all about the stories represented, I want to encourage everyone to pay the small entrance fee and go beyond the doors and down a few steps into the interior.

Once inside, you'll realize that no expense was spared to decorate this beloved space. The walls are sheathed in multi-colored marble. The floor is covered with mosaic tiles in an intricate geometric pattern. And the cupola ceiling glows with its magnificent octagonal mosaic.

Arranged in eight concentric circles, this vast work in the Byzantine tradition includes images of the heavenly host of angels, scenes from Genesis, and the lives of Jesus, Joseph, and John the Baptist. Breaking into the circle is a large mosaic of Christ Triumphant and details from the Last Judgement.

It took over a century to complete the mosaic, and while it is clearly the work of skilled Venetian mosaic artisans, many local Florentine artists are believed to have contributed, including Cimabue and Giotto.

So, please don't just walk around the outside and read about the famous doors. Take a few minutes and go beyond the doors into the rich world of the Baptistery, a place known and loved by Florentines for centuries.