Chihuly Returns to Venice

A trip to Venice is always a good idea.  My visit at the end of October had two main objectives: first, to escape from the crowds and chaos of Lucca’s annual Comics and Games event. Second, there was a special reason for choosing Venice for my Comic’s escape this year.  That reason has a name - Chihuly.

The Accademia Bridge always has wonderful views and this year it is even better with 3 nearby Chihuly installations

Dale Chihuly is an American artist, known for his stunning works in glass.  His work is innovative - using color, shape, light, gravity, and space to create unique glass pieces.  From small glass baskets to glowing chandeliers and huge intricate sculptures, the pieces are mesmerizing.  It was in the Venini Glass Factory on Murano, in 1968 as a Fulbright scholar, that he learned classic Italian glassblowing methods and formed his life-long connection with Venice and its glassblowers.

In 1996, Chihuly returned to Venice for a massive project – placing 14 of his chandelier pieces along and above the canals of Venice.  Now, 30 years later, he has returned to Venice with 3 amazing pieces.  The exhibit, which lasts through November 14th, is thanks to the Pilchuck Glass School and the Frederik Meijer Gardens and Sculpture Park. 

The End of Day Chandelier at Palazzo Querini alla Carità. A riot of color and texture.

The three sculptural works are all located near the Accademia Bridge.  To really appreciate them, they should be viewed both during the day to clearly see their colors and shapes and again after dark when they cast their light against the dark Venetian sky.

The Gold Tower stands some 30 ft high in garden of Palazzo Franchetti.  Delicate, with branching filaments of golden glass, it shines bright during the day and glows at dusk.  Like many of Chihuly’s works, it is perfectly positioned within the garden and enhanced by the architecture of the surrounding palazzo.

The Gold Tower is even more dramatic when seen against the dark night sky

The End of Day Chandelier is the most colorful of the three pieces with its interesting texture and its tentacles of yellow, blue, red, orange, and green reaching 16 ft into the sky.  Located just outside of the Academia Gallery, it is placed up high on the terrace of Palazzo Querini alla Carità. 

Nighttime view of the End of Day Chandelier

The Blue and Green Tower is a bit harder to locate.  It is placed in the Garden of Palazzo Balbi Valier which is a private space without an easy viewing spot on land. 

At 26.5 feet high, it can easily be seen from the Vaporetto when approaching the Accademia bridge.  But you have to be on the correct side of the boat!  Now, ask me which is north, south, east, west in Venice and I won’t have a clue.  What I can say is that when traveling from the Piazza San Marco / San Zaccaria vaporetto stop towards the Accademia / Rialto / Ferrovia stops, you can see the tower from the side of the vaporetto facing the Accademia stop. It is a stunning sight.

What a joy it was to see Chihuly’s work in the city that was one of his early inspirations.

The Blue and Green Tower at night

The Neptune Fountain, Florence

Neptune was one of the most important Roman gods, second in importance only to Jupiter.  Like the Greek Poseidon, Neptune ruled over the seas.  Italy is surrounded by seas, so his domain was considerable.  A symbol of strength, power, and authority, he is often portrayed larger than life, holding a trident and surrounded by sea creatures.  

Neptune - bringing fresh water to the Florentines of the Medici era

But Neptune was also the god of springs and rivers, fresh water that was key to Roman and later civilizations.  So, it is no surprise that many cities in Italy have Neptune Fountains.  From Messina and Naples in the south to Rome, Bologna, Florence, and Trieste in the north, Italians have a long history with Neptune.

One famous Neptune Fountain, la Fontana del Nettuno, is in Florence.  Situated in the Piazza della Signoria, right next to the Palazzo Vecchio, Neptune dominates the piazza. 

 The sculpture, by Bartolomeo Ammannati, was completed in 1565 to celebrate two events – a new aqueduct bringing fresh water to the city and the marriage of Francesco de’ Medici, son of Cosimo I, to the Duchess Joanna of Austria.  

The massive white marble sculpture presents the powerful bearded Neptune atop a chariot pulled by four horses.  Two of the horses are the same white marble as the statue and two are of darker mischio marble.  Look closely at Neptune’s face – he just might bear a striking resemblance to Cosimo I.  Ammannati’s Neptune does not carry a trident, which is unusual. Did he originally have one that has been lost over the centuries? Some say no, some say yes. Today he carries a sort of blunt club in his right (trident) hand. 

Florence’s Neptune sits atop an octagonal fountain basin, surrounded by bronze statues of sea gods, tritons (half man – half fish sons of Neptune), water nymphs, satyrs, and fauns.  These sculptures are by Ammannati and as well as Florentine artists Rossi and Giambologna.

Today the fountain is appreciated by Florentines and visitors alike.  But that was not always the case. Early on, locals derided the sculputure and gave it a less than appreciative nick name - Il Biancone – the big white one. In the 1500’s they used the basin to clean clothes and inkpots, staining the marble. 

Vandalism and thefts began early on, causing damage to both Neptune himself and the surrounding figures. Someone even once stole one of the satyrs.   Most recently, just this year, a women climbed up onto the horses in an attempt to touch Neptune’s… well, let’s just say his naughty bits, on a pre-wedding dare.  In the process she damaged the horse’s hooves and a part of the basin doing €5000 of damage.  Seriously, who does this??  

A major restauration in 2018 has Neptune looking fresh and impressive and surrounded by sprays of water.  As good as he looks, the basin’s bronzes along with the little details and minor figures carved and sculpted into the basin are just as wonderful to explore.  With the crowds thinning a bit now in early November, it is a perfect time to stand in front of the fountain and appreciate all of its details.

A Mini-Museum in Lucca

Lucca is not a big museum town.  There are several – Palazzo Mansi, The Paolo Cresci Emigration Museum, Villa Guinigi, the Barsanti and Matteucci, the Duomo Museum.  Most are small and many short-term visitors to Lucca are unaware that some of these even exist. Instead, they spend most of their time on the city walls, in the Medieval streets and squares, and visiting the many churches of Lucca.  Unlike nearby Florence, the museums are not what draw most people to Lucca. There is one newer and very small addition to Lucca’s collection of museums.  It is so small that it is more of a mini-museum.  But it is fascinating!  

It is located underneath Lucca’s historic walls at the Sotterraneo del Baluardo Santa Croce, the under-the-wall passage located where Via delle Conce meets Via San Tommaso in the northwest corner of the city. The passage way itself is fascinating and makes a perfect backdrop to the exhibit.

The content of the mini-museum, which tells the story of Lucca’s walls from the Medieval Period until the Renaissance and beyond, unfolds in a series of displays that line the passageway.  On the left wall is the Italian version, on the right is the story in English. 

It is a unique display, one that begins in the very low light of the darkened passageway and ends in daylight outside the confines of the city walls.  In between, photos and written histories tell the story of the walls from the 1400’s on, the important historical figures, and some of Lucca’s cultural related to the walls and their construction and function.  

Maria Luisa of Bourbon

No history of Lucca’s walls would be complete without acknowledging the role of Maria Luisa of Bourbon, the Duchess of Lucca between 1805 and 1814. It is thanks to her that the walls became a city park, one that is still enjoyed today.

There is also a bit of 19th and 20th century history in the exhibit. Did you know that there was once a threat to knock down portions of the wall to better connect it with the growth of suburbs? Fortunately objections came from all over Italy, including from famous poets and composers (including Puccini) and the plan to disrupt the walls was abandoned.

Later there came a period when the top of the walls became just a city street - filled with cars.  Many of Lucca’s youth learned to drive atop the circle of the walls. And many cars were parked there.  Hard to imagine today that up until the 1980’s the walls were filled with car traffic !

At the midway point of the sotterraneo passage, an interesting video projected on the stone walls tells the story the wall played in protecting Lucca, the times when it closed the city entirely overnight, and how dignitaries, residents and tradespeople entered the walls through Porta San Donato and Porta San Pietro.  The video plays first in Italian and then is repeated in English. It is a great addition to the exhibit.

It does not take long to visit this small space.  It provides a wonderful diversion to anyone using the passage as a way to exit the historic center on their way to the greater part of the city outside of the walls.  But it is also a good destination on its own. I am so glad that a friend pointed me to this fascinating bit of Lucca’s history.

The Medici Chapels

The Medici crest in the Cappella di Principi

It is impossible to think of Florence without thinking of the Medici family.  From Cosimo the Elder in the early 1400’s, to Lorenzo the Magnificent, ruler of the Florentine Republic and key figure during the Renaissance period, to the Grand Dukes from Cosimo I to the last Medici ruler Gian Gastone, the Medici family had an enormous impact over the centuries of their  rule.  Bankers, Rulers, Tyrants, Popes, Assassins, Queens, and patrons of the arts, their influence is impossible to overstate.  The family crest, a gold shield with five red palle (balls) and one blue palle with three fleur-de-lis, can be seen on buildings throughout Florence. 

Following the death of the last ruler, Gian Gastone, in 1737, his sister Anna Maria Luisa transferred the family’s art and treasures to the city of Florence with the caveat that the collection always remains in Florence.  And so it has, filling the Uffizi Gallery as well as many other museums and palazzi.

Anna Maria Luisa, the last heir of the ruling Medici family

It is no surprise that such an important family would have a dedicated mausoleum.  The Medici Chapel, an addition to the church of San Lorenzo, is where the Medicis were laid to rest.  It is a spectacular place to visit, especially the Cappella di Principi (Prince’s Chapel), an octagonal room filled with decoration in marble, granite, mosaics, and semi-precious stones. 

High up on the walls are the cenotaphs, each one dedicated to a Medici luminary (Cosimo I, Francesco I, Ferdinando I, Cosimo II, Ferdinando II, and Cosimo III).  They are composed of sculpted “caskets”, each topped with a crown.  Above each is an arch designed for a statue, though only two were completed –those of Cosimo 1 and Ferdinando 1.  The others stand empty.   No physical remains are present in the Cappella di Principi, the bodies were interred in the crypt. 

Around the perimeter are the coat of arms of various Tuscan cities which were under Medici control.  They are stunning - crafted from mother of pearl, quartz, alabaster, lapis lazuli and other stones. 

Behind the altar are rooms containing the Treasure of San Lorenzo.  This is a vast collection of reliquaries and other artifacts including an intact processional banner, beautifully embroidered, that belonged to the Medici Pope Leo X. 

On the same level is the Sagrestia Nuova (New Sacristy) designed by Michelangelo in 1520.  The actual tombs of brothers Lorenzo and Giuliano di Medici are here, under the altar. Two monuments to them are adorned with sculptures representing Day and Night (Guiliano’s monument) and Dawn and Dusk (Lorenzo’s).  Small and intimate, the sacristy is beautiful in its simplicity, especially placed so near to the ornate Cappella di Principi.

Almost hidden beside the altar is a simple staircase leading down to what was a storeroom.  That is where wall drawings made by Michelangelo can be found.  No entrance to that space is possible though – it requires a separate ticket for which there is a two month wait.   I’ll save that for a future visit.

The crypt contains the actual tombs of the Medici

An Ancient Church and an Archangel

Chiesa Sant’Alessandro Maggiore

Lucca has been called the city of 100 Churches.  That number may be a bit of an exaggeration, but Lucca really does have a lot of churches.  Some of the oldest known churches no longer exist, having made way for the expansion of Lucca’s walls, clearing of spaces in front of palazzi, or for other building projects. Still others have been converted to non-religious uses, often performance spaces or art venues.  Others still stand but are no longer used, having been abandoned for many years.  The abandoned ones are the ones that intrigue me – if only I could get a peek inside!  On the rare occasion when one of the abandoned ones is opened for a special purpose, I make it a point to visit.

One such church is Chiesa di Sant’ Alessandro Maggiore.  This one is particularly special because it is the oldest church in Lucca, over 1000 years old, and a classic example of Romanesque architecture.  Modified over the centuries, it retains its plain structure, with a white limestone exterior and a simple three nave interior and small apse.  Relics of Saint Alessandro (Pope Alexander 1), originally placed in the church’s crypt, were later moved to the high altar. I believe they are still there. There are also relics (small bone fragments) on one of the side altars, but I could not find any information about those. A relic mystery !

The church interior is well maintained. Unlike other abandoned churches, this one simply feels like it is having a brief pause.  The floors are black and white marble, arches line the three naves, beautifully carved interior altar rails and marble decorative panels fill the church. 

The main altar and side altars still have their decorative elements and tabernacles.  Polished wood benches and confessionals line the sides of the church and narrow stained glass windows let in just enough light.

The art over the main altar is a fresco by Michele Ridolfi added in the 1800’s when the church underwent restoration.  It is a vibrant panel, with a gold background, showing Saints Alexander and Louis (Alessandro and Ludovico) beside the Madonna and child.  It seems a shame that it is hidden away in mostly unused church.

The church was recently opened to host a photographic exhibit by Lucchese artist Beatrice Speranza.  The exhibit, L’ombra di Michele (Michael’s Shadow), was a series of black and white photos, a perspective on the statue of the Archangel Michael which sits atop a different Lucchese church – the Basilica of San Michele in Foro.

The Archangel Michael is not just any old angel.  He is the highest-ranking angel, God’s warrior, who bested Satan and the band of fallen angels, and he is a saint.  And while he may be sitting atop a basilica here in Lucca, but he is not just a Catholic figure.  He is important in Judaism, Islam, and other Christian faiths – an ecumenical angel, uniting faiths. 

The hinged metal wings are seen here from the back of the statue

The statue in Lucca is nearly 4 meters (about 13 feet) tall, made of marble with metal wings that have aged to a blue green patina. He carries an orb in one hand and in the other a spear which he used to pin a dragon under his feet. That is a typical representation of the Archangel, conquering evil (satan) in the form of a dragon.   Created during the 13th century, the artist is unknown.   

The Ombra di Michele exhibit captures the statue in black and white photography from various angles and heights and also presents the shadows that the angel casts on the surrounding piazza. Many of the smaller photos also have points of embroidery placed on the photos by the artist.  These beg for personal interpretations.  She enhances the presentation with music and narration.  In her words “the Archangel and the dragon, for those who seek to get a glimpse of them amidst the blinding rays of sunlight or through the clouds, serve as a reminder to confront our fears, fragilities, disappointments, and anger.  It seems that St. Michael urges us to acknowledge and manage them, to weigh them carefully, and to cut away what needs to be released”.

The combination of the art, the music, the meaning of the artist’s words, and the ancient church setting created something truly inspiring.