Charming architectural details and restaurants of the Trastevere neighborhood of Rome

When walking around the neighborhood Trastevere of Rome, note the small details of charming architecture, mixing remnants of the ancient in with the renaissance and modern Rome. Little home made signs, frescoes, window frames, brass fixtures, antique window glass, flower boxes, Stone, brick, wood, and marble come together to enchant the senses as you wander the small pedestrian streets. Boutiques and homes are woven together betwixt 1000 year old churches and savory restaurants, bars, and cafes beckoning to the passersby with farm stands spilling out with local seasonal bounty: artichokes, porcini mushrooms, peppers, tomatoes, lemons, pine nuts, pasta, seafood.

In all my Rome travel itineraries I plan out the perfect afternoon and evening in Trastevere, the perfect and inexpensive true local cuisine meals, the best bread and dessert and coffee (and aperitif), the best gift shopping, a day at the museum, a quiet romantic stroll, the perfect spot for people watching, fountain hopping, off the beaten path non-tourist spots to take unique photos in Rome, and Byzantine art viewing at a 1000 year old church.

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the tiny garden of the Villa Farnesina

Portra 400 analog film images of the Trastevere neighborhood of Rome set in the tiny garden of the art museum and historical small palazzo the Villa Farnesina. The Farnesina was once the suburban home to the Sienese banker Agostino Chigo (1466-1520) who also had a vast Renaissance garden surrounding the villa, growing exotic and local fruits, vegetables, and flowers. Only fragments of the garden remain to the sides and the pretty front entrance, with the largest part remaining being the picaresque back “secret garden”, only visitable by the rare private tour. It’s lovely again in March, and blooms beautifully until early November.

See the Interior of the VILLA FARNESINA art museum, and its murals, frescoes, statues, and paintings in my blog entry here.

Ripening persimmons.

Ripening persimmons.

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Lovely hedge lined path.

Lovely hedge lined path.

Sign denoting flora.

Sign denoting flora.

A column top crowned above another column reminding us we are in the eternal city.

A column top crowned above another column reminding us we are in the eternal city.

Follow the sign from the main piazza. See the Raffaello frescos and the zodiac murals.

Follow the sign from the main piazza. See the Raffaello frescos and the zodiac murals.

Roman fragments.

Roman fragments.

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Fountain in the courtyard.

Fountain in the courtyard.

Looking through trees and bushes to the architecture of the villa.

Looking through trees and bushes to the architecture of the villa.

Another of the adjacent villa buildings. The charm of potted trees around us.

Another of the adjacent villa buildings. The charm of potted trees around us.

One of the nearby signs you are approaching the Villa Farnesina.

One of the nearby signs you are approaching the Villa Farnesina.

The Villa Farnesina is included in detail in my Travel Itineraries to Rome and in my Chasing Beauty In Italy and in my upcoming series of books: Cultural Guide Books to Rome.

See the Interior of the VILLA FARNESINA art museum, and its murals, frescoes, statues, and paintings in my blog entry here.

The sculpture gardens at the Vatican

One of the most pleasurable parts of visiting the Vatican museums in Vatican City is nipping out of the museum halls full of incredible art for a brief respite in the sunshine in an interior outdoor sculpture garden. Among the gods and goddesses and patricians and mythological figures are the famous iconic ancient Greek statue group Laocoön and his sons, rediscovered in 1506, and the Apollo Belvedere (once believed to be a Roman copy of a Greek original, it is now believed to be a Roman original based on an homage to the figure, his sandals are even on Roman design). The Apollo Belvedere has served for many centuries as representative of a sort of classical ideal of the male form, and among the niches and porticos can be found the female ideal counterpart, Aphrodite/Venus. The Lapcoön is a fascinating tangle of muscular limbs and sea serpent tentacles, with intense and complex human emotion writ large etched into marble. The feelings the piece evokes are timeless, connecting us to the distant past as we imagine ourselves somehow in the shoes of a father desperate to protect his children and his people, but hopeless against the brute force of mythological creatures and to the fates themselves.

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The Apollo Belvedere.

The Apollo Belvedere.

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Venus and Cupid and a torso fragment and funerary reliefs and sarcophagi.

Venus and Cupid and a torso fragment and funerary reliefs and sarcophagi.

Funerary relief.

Funerary relief.

A Roman patrician.

A Roman patrician.

Sunlight and ancient umbrella pine trees against St. Peter’s dome.

Sunlight and ancient umbrella pine trees against St. Peter’s dome.

One of the inner outdoor Vatican museum sculpture gardens with views of Saint Peter’s cupola dome next door, and some modern art among classical antiquity.

One of the inner outdoor Vatican museum sculpture gardens with views of Saint Peter’s cupola dome next door, and some modern art among classical antiquity.

Laocoön and his sons.

Laocoön and his sons.

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A gigantic colossus head.

A gigantic colossus head.

Minerva.

Minerva.

The ancient Roman pine cone of Rome, at the  Fontagna di Pigna.

The ancient Roman pine cone of Rome, at the Fontagna di Pigna.

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Viewing the Laocoön Group through a crowd.

Viewing the Laocoön Group through a crowd.

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Aphrodite / Venus.

Aphrodite / Venus.

Rome at dusk as a wild storm ignites

I love the violence of the moments before a storm at the break of day into night.

carrying on

“I think it is all a matter of love; the more you love a memory the stronger and stranger it becomes.” - Vladimir Nabokov

The sublimity of places with you are forever writ on my heart until I must leave this place, too.

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We spent over twenty years together in Rome before I lost you… I’ll share our love as long as we live with the world to keep it alive a little longer as another imprint of the millions of love stories there in the past, in the present, and in the future.

Memories hurt but are too beautiful to not recall of a love lost but carried on until we are energy returning or beginning again. I’ll find you if I can.

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A WALK THROUGH THE ANCIENT PORTA SAN SEBASTIANO ON THE GRAND OLD TOUR

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The entrance to the Porta San Sebastiano is the modern name for the ancient Porta Appia, a gate in the Aurelian Wall of Rome, through which the Via Appia, now the Via di Porta San Sebastiano at that location, left the city in a southeasterly direction. It was refortified at the end of the 4th century and was again renovated in the sixth century by Belisarius and Narses. The gate, a brick structure with turrets, still stands and has been restored to good condition. Modern traffic flows under it. Inside and upstairs is a museum dedicated to the construction of the walls and their recent restoration.

The gate is next to the Arch of Drusus. – wikipedia

After walking for hours on the ancient Appian Way (an experience in itself of the historic pastoral Rome) we found our selves heading toward the porta san sebastiano and the celio district. It was one of the best walks I’ve ever had in Rome, practically isolated and beautifully quiet. There was even a local’s park without a tourist in sight (except us but we were trying to be incognito)!

I felt like I was truly transported back in time, even with the odd car or vespa popping through the arch. Millions of ancient pilgrimages have passed this same way into Rome. I followed the steps of Keats and Goethe and Shelley and Byron and countless other Romantics and writers who went on the Grand Old Tour of Italy between the 17th and 19th centuries.

Rome is modern sprawl springing itself forward from scenes of eternity. An ancient or centuries old pilgrim’s grafitti of an angel. The old cobblestone and bricks, filled with ancient marble and stone broken pillars for mending holes along the centuries. It is so enchanting.

SNAPSHOTS OF THE MEMORY MOMENTS: The side of an ancient gate. The Celio district is strictly off the beaten path has signs of an old way of life all along the way. Greenery hangs everywhere.

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WALKS on the APPIAN WAY in Rome

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Snapshots of the Appian way (Appia Antica) on Sunday walks when cars are banned for the ancient road and passersby can step back in time on the same route millions of pilgrims have traveled for millennia:

Church next door to Catacombe di San Sebastiano.

Interesting church interior and only public bathroom for miles.

The entrance of the San Sebastian Catacombs from within its garden.

A garden prayer niche at the catacombs.

One of the many enchanting gates leading to the Appian Way (Antica – ancient part).

It’s amazing to see how people live among the ruins and the ancient villas and gardens of the most ancient of roads in Italy.

“The Mausoleum of Cecilia Metella (not a castle), and is said to have been built in the second half of the 1st century AD”, some steps away from the Catacombs.

Here is an excellent site on Cecilia Metella’s Tomb and the San Sebastiano area of the unchanged Appian Way!

The walk is well worth the effort, very pleasurable on a sunny, warm day.

There are a few scattered cafe restaurants and a playground amid an orange grove.

More palazzo ruins and curiosities among the cypresses.

There are even some museums and art exhibitions featuring the the changing and not so changing face of the Appian Way. There are villas and open gardens to wander in from ancient Roman times.

Shadows of overhanging greenery on ancient and medieval walls.

Behind the gates are private gardens and residences one can only envisage in imagination.

A building on the walk with Ave Maria.

One of the  many beautiful old houses blending the ancient, medieval, Renaissance and modern world. How many families have lived here in all these centuries??

Chariot wheels and horse drawn carriages formed grooves over the ancient road leading to Rome for thousands of years.

Fallen and broken pieces of ruins and columns and cobblestones worked over centuries into restorations on the Appian Way.

A trattoria along the way. The sign reads Here No-One Ever Dies – read a poem set on the Appian Way and refers to this very “tavern” by Marie Luise Kaschnitz, translated by Alexander Booth.

In Roma, there are so many roads left to travel, so many places to wander. If you find yourself in Rome on a Sunday when the cars are off the road and the weather is pleasant and mild, I cannot stress to you how wonderful a long half-afternoon or afternoon stroll on the Appian Way. Take a bus or taxi to the Catacombs and get out and walk around the grounds and walk along the Appica Antica, taking in the sights and beauty. It’s truly a time machine back to the ancient world and along the pathway of the Grand Old Tour. Many have walked and ridden over these stones and passed under its gates.

Palazzo Barberini (Another Secret Garden of Rome)

Slip away to a grande dame of a villa museum and garden in the heart of Roma that masses of tourists never flock to and spend an hour or two with sumptuous art and winding marble staircases, and then escape to the private back garden and artist studio on their grounds. Wander virtually alone in a secluded, quiet, lovely walk surrounded by pretty Baroque buildings and canopies of Italian trees.

An artist studio behind the Galleria d’Arte Antica at the Palazzo Barberini.

An artist studio behind the Galleria d’Arte Antica at the Palazzo Barberini.

The entrance to one of the best kept secrets in Rome: The Palazzo Barberini and its beautiful small back garden and amazing art and classical antiquity museum inside.Palazzo BarberiniVia delle Quattro Fontane, 13 00186 Roma

The entrance to one of the best kept secrets in Rome: The Palazzo Barberini and its beautiful small back garden and amazing art and classical antiquity museum inside.

Palazzo BarberiniVia delle Quattro Fontane, 13
00186 Roma

There are sculptures and indoor fountains from classical antiquity collected by the powerful Sforza family, and many sumptuous allegorical and historical paintings by Raphael, Caravaggio, Titian, Tintoretto, El Greco, Guido Reni, and Elisabetta Sirani, both artists have been named as the mystery author of the classical portrait of famed Beatrice Cenci, the same painting worshipped by Shelley and Byron during the Romantic period.

The Palazzo Barberini is the perfect respite from the crowds and noise and heat of Roma without missing important art or pieces of classical antiquity, with the added bonus of your own (temporarily) private villa garden for contemplation … or romance!

The street gate leading to the Palazzo Barberini in Roma.

The street gate leading to the Palazzo Barberini in Roma.

CineFilm walks of autumn sunset views in Rome / pincio to piazza di spagna

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Walking through Rome on my last trip with my husband before we lost him I caught the glimmering light in velvet black shadow as the golden hour dropped into an evening slumber. One of the best sunset walks is through the Villa Borghese park and gardens to the Pincian Hill overlooking the Piazza del Popolo, and then take a left and admire the lowslung sun shimmering on the edge of every object and through every window of cafes, villas, apartments, churches, and shops, and at a later distance, on the ruins and cupolas sprinkled all over the horizon. Walk down towards the French Church at the top of the Piazza di Spagna, take a peek inside at its beauty, and then turn down the Spanish Steps, the white marble now washed in gold, and follow your heart into the city. This moment is eternal. I hope to feel him again in the atoms of the sunshine again one day. Our loves return to us in fleeting moments of life when we awake to their presence there the whole time.

Capaccio, Salerno, Italia and her Grecian Marble of Paestum, a Greek colony of temples predating the Roman Empire

The hamlet of Capaccio, found in the region of Salerno, located far down the boot in Campania, (about two hours or so from Sorrento), is a charming little town near the Greek ruins of Paestum.

There are silent stone churches with slants of light pouring into the shadows through stained glass and open windows shaped as doves and olive branches, each path of gold against black an evocation for peace in an undiscoverable darkness. Silence except for birds and echoing footsteps accompany you a foreigner in a foreign place. The solitude is universal in its unspoken language. You are welcome to sit and contemplate, or walk softly in cold corners under towering stretchs of wood and stone, somehow cradling us in its distance. A transitory connection to prayers whispered in the heart, undecipherable to human ears. How many gods have been called in how many temples on these grounds? Hera, Ceres, Athena, Poisedon, Christ, the Lord Himself, or the Madonna? Outside, a rush of sunshine, warmth on the skin, a grumbling in the stomach, a need to affirm we are still among the living. Fruit and pizza and coffee beckon across the way, and in a little shop in Capaccio we find local juicy figs floating in local honey, and figs woven together stuffed with regional almonds, in beautiful little packages we later brought home with us.

Just recently I gave Rian’s brother that last bundle we had been saving for the holidays… Rian would have wanted him to savor the taste of Italia, a place he’s never been, a place he never fell in love with as Rian and I had twenty years ago, and kept returning to. I gave it to him with Barolo and dark chocolate and champagne, I wanted him to taste a small glimpse into this magical world we had so long found ourselves enchanted with. He loved them. I thought of Rian smiling somewhere as if he could watch us somehow.

Bringing what we loved about this country is something we both so long felt driven to do. He would bring endless bags of chocolates and special Sicilian cookies for his friends at his office, and for family and close friends, after each trip back. Sometimes I would bring wines difficult to find in the states, or handmade liquers, and serve them at the holidays we hosted together for so long.

To share with others even a spark or a glimpse of the reason for our longing and our love for an otherworldy place, combined with tales of what we experienced and learned, kept us going until the next return. One day I suppose I shall return too, without him beside me as I wish, but with his ashes, with his memory, and with his energy still felt in the world, and set the remains afloat in the seas and lands he loved so deeply he broke through the mystery of Italia better than I ever could. And he took that mystery with him beyond. And here I am, as ever, in love with beauty I cannot dissect or take into me, I can only love from afar… as if in a dream. Perhaps life is the dream, and death a waking up? A return to the fold of everything seen and felt here through a veil.

There is that charming church write about above in the heart of the town of Salerno, and also a large cloistered monastery and cathedral, long with a fascinating museum of Clasiccal Antiquity, mostly containing the remnants (some vey much intact) of Paestum, a Greek colony in Italia pre-dating the founding of Rome. It is located on the coast of the Tyrrhenian Sea in Magna Graecia (southern Italy). The ruins of Paestum are famous for their three ancient Greek temples in the Doric order, dating from about 600 to 450 BC. It was named Poseidonia (Ancient Greek: Ποσειδωνία) but was was eventually conquered by the local Lucanians and later the Romans. The Lucanians renamed it to Paistos and the Romans gave the city its current name.

The Paestum, or “Pesto” temples are some of the most intact ruins on the mainland of Italia, and their being Greek in nature only lends to their charm and mystery. The pastoral setting of Paestum leads one to get a feeling for the atmosphere of another era, millennia ago. Everything is beautiful in the town and most especially in the large park where the Grecian marble stands against all odds of weather, war, and time. One can find shade under tall olive trees and smell hints of lemon trees in the air as they walk among the dead and the stone of a culture and a people who no longer exist, and yet we feel some mysterious connection to, even to this day.

TO VISIT PAESTUM (with stops along the way in the city centers)

click here: http://www.museopaestum.beniculturali.it/i-templi/?lang=en

PAESTUM IS LOCATED AT Via Magna Graecia, 918, 84047 Paestum SA, Italy

Opened1952

HoursOpens 8:30AM (VARIES) to sunset, with special evening extended openings to view the ruins at night.

ProvinceProvince of Salerno

Phone+39 0828 811023

Below is the Aerial view of Paestum, looking northwest; two Hera Temples in foreground, Athena Temple in background, and a Classical Antiquity museum on right. The first Temple of Hera, built around 550 BC by the Greek colonists, is the oldest surviving temple in Paestum. The second Temple of Hera was built around 460–450 BC, is found just north of the first Hera Temple. At a short distance and height from the the Hera Temples, and north of the center, is the Temple of Athena, built around 500 BC. In the center of the complex is a Roman Forum, perhaps built on the site of a preceding Greek agora. North of the forum is a small Roman temple, dated to 200 BC, and dedicated to the Capitoline TriadJunoJupiter, and Minerva.

To the far north-east of the forum one sees an amphitheater, recently many parts of Paestum have been reopened so vistors can wander through these structures and lands, even walking withing the open aired temples. It’s a wonderful experience. Source: Wikipedia & me.

VISIT THE PAESTUM MUSEUM SITE FOR ALL THE ARCHEOLOGICAL INFORMATION AND IMAGES. http://www.paestum.org.uk/museum/

Additional Cultural and Architectural and Art History and Archeological sources:

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CLICK HERE: https://www.romeartlover.it/Paestum5.html

(The Museum of Paestum with images of the artifacts and art.)

CLICK HERE: https://www.romeartlover.it/Paestum.html

(Paestum - The Temples)

CLICK HERE: https://www.romeartlover.it/Paestum2.html

(The Walls of Paestum)

The Splendor of Napoli and the Isles of the Emperors

the splendor of napoli and the isles of the emperors

The Roman goddess "Blind" Fortuna, and the Carmina Burana cantos

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The Roman Goddess Fortuna is depicted holding a cornucopia. The cornucopia signifies that she is the provider of abundance. The Greek Goddess Athena leaves towards the left, head down to avoid Blind Fortuna behind her. Beneath her lies the wreckage of Blind Fortuna. Pianted beautifully by Polish artist Kuntz Konicz in 1754, now at the Warsaw National Museum in Poland.

The ancient mythos of Fortuna was born in classical antiquity under different names to different cultures, to ascribe the seemingly capricious “cruelty” of the natural vicissitudes of life and death… as easily as we are “blessed” with “fortune” are we “cursed” by “misfortunes”. The goddess representing Fortuna therefore is often depicted blind, as though she bestows and removes fortune on mortals without discretion or prejudice. The joys of love and fecundity and abundance are counter-balanced with death and loss and poverty. There is no pleading with a blindfolded goddess for mercy or luck or even for vengeance. Each mortal will feel her arbitrary caresses in their lives.

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Listen to the sumptuous Carmina Burana - I. O Fortuna (w/ English subtitles)

This scenic cantata composed by Carl Orff in 1935/36, based on 24 medieval poems in Latin:

(Carmina Burana: Cantiones profanæ cantoribus et choris cantandæ comitantibus instrumentis atque imaginibus magicis)

The goddess Fortuna (or perhaps Venus of Pompeii) and two lucky snakes protect a naked youth squatting to poo. CACATOR CAVE MALUM means “man doing a poo, beware evil!” From the National Archaeological Museum in Naples.

The goddess Fortuna (or perhaps Venus of Pompeii) and two lucky snakes protect a naked youth squatting to poo. CACATOR CAVE MALUM means “man doing a poo, beware evil!” From the National Archaeological Museum in Naples.

Burning inside with violent anger

bitterly I speak my heart

Created from matter of the ashes of the elements

I’m like a leaf played with by the winds.

Estuans interius ira vehementi

in amaritudine loquor mee menti factus

de materia cinis elementi similis sum

folio de quo ludunt venti

In my heart

there are many sighs for your beauty,

which wound me sorely

Circa mea pectora multa sunt suspiria

de tua pulchritudine, que me ledunt misere

The noble woods are burgeoning

with flowers and leaves,

Where is the lover I knew?

Floret silva nobilis floribus et foliis.

Ubi est antiquus meus amicus?



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The wise person is still not harmed by the storms of life— poverty, pain, and the rest. For not all his works are hindered but only those that pertain to others. He is himself, always, in his actions, and in the doing of them he is greatest when opposed by fortune. For it is then that he does the business of wisdom itself, which as we just said is his own good as well as that of others.” Seneca (Letters 85.37)

Marcus Aurelius saved my life:

After a life of spectacular indulgence, Jeremy Scott thought he had it made. Just as suddenly, he had nothing - no money, no job, no possessions. He contemplated suicide. Then, as Cassandra Jardine reveals, he discovered the Stoic philosophy of a Roman emperor and his world changed again

The Dutch Golden Age in Art; PIETER CLAESZ

The Dutch Golden Age in Holland (the Netherlands and Belgium).

Pieter Claesz, Still Life with a Nautilus Cup, 17th century, Dutch Golden Age

Pieter Claesz, Still Life with a Nautilus Cup, 17th century, Dutch Golden Age

Pieter Claesz, aka Pieter Claesz van Haarlem, (born 1597, Burgsteinfurt, bishopric of Münster (now Steinfurt, Germany)—died January 1, 1661, Haarlem, Netherlands), was one of the most prolific Dutch painters in hyper-realistic 17th century still-life and vanitas paintings during the economic boom and creative genius of the Dutch Golden Age of Art. His work was fastidious and precise but possessed an almost spiritual light in the subtle chiaroscuro of shadow and candle flame or golden rays from an open window caressing silver platters and bowls of fruit, nuts, seafood, cheese, game, and wines of lavish table settings. The first art I really truly fell in love with was Flemish still life when I attended the exhibition in Boston in 1993: The Age of Rubens.

Pieter Claesz (1597-1660) “Still Life. Food, Glasses and a Jug on a Table” (1640) Dutch Golden Age

Pieter Claesz (1597-1660) “Still Life. Food, Glasses and a Jug on a Table” (1640) Dutch Golden Age

Still-life by Pieter Claesz

Still-life by Pieter Claesz

Still Life with Salt Shaker Pieter Claesz, 1640

Still Life with Salt Shaker Pieter Claesz, 1640

Still life by Pieter Claesz, 1629

Still life by Pieter Claesz, 1629

Still life by Pieter Claesz, 1629

Still life by Pieter Claesz, 1629

PIETER CLAESZ 1598-1661

PIETER CLAESZ 1598-1661

Learn more about the Dutch Golden Age in Art before you tour your next museum… their treasures are scattered all over the earth, especially in Europe and in the United States.

The Dutch are famous for still-life paintings. These began with sober arrangements of objects chosen to remind viewers of the brevity of life, as can be seen in the early works of the pioneer Pieter Claesz. Later artists went on to paint sumptuous compositions of expensive objects that reflect the confidence and pride of the Golden Age.

Painters in the Dutch Republic in the 17th century pushed the possibilities of art far beyond previous limits. They observed the visible world closely and mastered techniques for representing it. They found new meanings in old stories—mythical, historical, and biblical—and staged and restaged scenes from the everyday human comedy. In fall 2015 and spring 2016, John Walsh and other scholars present a series of lectures that offer views on Dutch art of the Golden Age.

READ THE FREE ART PAPER: Stilled lives: self-portraiture and self-reflection in seventeenth-century Netherlandish still-life painting by Celeste Brusati

READ THE FREE ART PAPER: Stilled lives: self-portraiture and self-reflection in seventeenth-century Netherlandish still-life painting by Celeste Brusati

Aesthetic books and cinema of Florence in the museums and piazzas

The Galleria dell'Accademia, in the heart of art-lover’s Florence, was founded in 1784 by Pietro Leopoldo, a Grand Duke of Tuscany. It is a smaller museum compared to the vast Uffizi nearby, but is an amazing companion piece to the art history teeming around Firenze. Along with the art-masterpiece packed Palazzo Pitti (and the adjoining Boboli Gardens), The Galleria dell'Accademia is a must-see in the art trio of galleries right at the center of Firenze. The Galleria dell’Accademia has an intimate 19th century ambience to its slim corridors and cathedral ceilings, with busts lining the walls before immense paintings, and it has housed the original iconic and gargantuan David by Michelangelo since 1873, with a copy of David still present in its original location on Piazza della Signoria. The gallery has small but formidible collection of Michelangelo's work including his four unfinished sculptures: Prisoners, once intended for the tomb of Pope Julius II, and a statue of Saint Matthew, also unfinished. In 1939, these were joined by a Pietà discovered in the Barberini chapel in Palestrina, though experts now consider its attribution to Michelangelo to be most likely untrue. Other paintings and sculptures on view in the gallery are Florentine paintings from the 13th and 16th centuries, including works by Paolo Uccello, Domenico Ghirlandaio, Sandro Botticelli and Andrea del Sarto; and, from the High Renaissance, Giambologna's impressive original full-size plaster modello for the Rape of the Sabine Women. After the art viewing and a leisurely walk in the Boboli Gardens, you can sit in the Piazza della Signoria with a cup of hot chocolate or or a glass of wine and a meal, admiring the architecture which changed the European world 600 years ago. One can trace the meanderings and romantic scenes right there from one’s table of the E. M. Forster novel (and sumptuous Merchant-Ivory film) A Room With a View (1986).

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The film Hannibal, and the series Hannibal were both filmed in Firenze, among dozens of other movies highlighting the beauty and art aesthetics of the town which gave birth to the Humanist Renaissance, thanks in much part to Cosimo de’Medici and his patronage of artist workshops, architectects, and his equivalent to 160 million dollars contribution to the formation and maintenance of the first Humanist library, and the first free and open library in Europe in 1000 years.

Florentine travel blog with culture, museum, food, and more guides: girlinflorence.com

The detailed historical WALKS and guide for Florence: walksofitaly.com

FLORENCE IN 10 TIPS BY LOCAL BLOGGERS http://www.toomuchtuscany.com/

Tiffany Parks on A Room With a View, Fate, and the Allure of Italy

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Altar of the Motherland: Rome from the clouds

A few years ago I stood on the roof of the “wedding cake”, aka “Altare della Patria” (Altar of the Motherland) or “Il Vittoriano“, to spy, for the first time, a bird’s eye view of Rome, a city I had only seen from the vantage point of a mere mortal.

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There is something about the view from the top of the layers of ruins, buildings, trees, cars, vespas and people one can’t capture quite like standing where the gods would have been watching in Caesar’s time.

It is really a beautiful experience. And down the elevator, rife with enviable views of the ruins from a closer perspective, is a cafe, selling delicious sandwiches and antipasti, wine and espressos. If you ever find yourself in Rome, it’s an experience you cannot miss. It is worth the price of a handful of euros to take the elevator to the top of the Vittorio and see the city laid out before you. I’ve seen people engaged there. I have memories on the rooftops of Rome locked in my heart forever. I wonder if I have new ones to make before I disappear.

Rome from the Sky Elevator (Roma dal Cielo Ascensore) Visitor Information

Admission: €7 for adults (reduced prices for children aged 10-18 and adults over 65, children under 10 are free)
Hours: Daily, 09:30-19:30
How to Get There: The entrance to the elevator is located near the cafe around the back of the monument, in the passageway between the monument itself and the adjacent Church of Santa Maria in Aracoeli. Use the stairs at the Piazza del Campidoglio or at the Piazza Ara Coeli for the easiest access.