May 19th - Siena

On our trip to Siena we spent some time in the basilica of San Domenico, a church that is extremely important to the life of St. Catherine. One of the female mystics we studied in class, Catherine of Siena is famous for her perseverance. St. Catherine had her first "mystical experience" at the age of six, and from that moment on decided that she would devote her life to Christ. But it wasn't an easy road for her. At 16, her elder sister passed away, and as the younger sister, Catherine was next in line to marry the widower. She refused, and over time was able to convince her father to let her go to a Dominican convent. It was here that Catherine claimed to have a "mystical marriage" with Jesus. This spiritual tie to Jesus led her to leave the convent and pursue a more public life, living with the poor as St. Claire of Assisi had done. St. Catherine perseverance and persistence also helped her greatly in the world of religious politics. She travelled through Northern and central Italy advocating reform of the clergy, as well as preaching a total love for God through helping those in need. In addition, she played a large role during the Papal Schism, adhering to the side of Pope Urban VI and advocating his legitimacy to the people. St. Catherine is a prime example of the Renaissance woman- she was strong, persistent and stubborn. She never gave up fighting for Pope Urban VI until the day she died, and she continued fighting for reform within the Church until that day, as well. But was the way she demonstrated her faith too radical? She would participate in extreme fasts as a way to bring herself closer to God. It has also been said that she would beat herself until she drew blood in order to sympathize with the sufferings of Jesus. In modern day, these habits would have been considered anorexia and self-mutilation- activities that warrant mental help. Yet, these practices would considered perfectly normal, even revered! It is interesting to note the differences between respected behaviours in the past versus our present times.

"St. Catherine"

May 18th - Uffizi Gallery

The Uffizi Gallery in Florence was one of my favourite things to see. The art this gallery contains can be considered some of the finest Renaissance art ever created. We were able to see the paintings "The Birth of Venus" and "Primavera" by Sandro Botticelli- my favourite Renaissance artist. The paintings exemplify the Renaissance throw-back to classical antiquity that we have learned about in class, as Boticelli uses many classical elements within these works. For example, in "Primavera," the artist uses a combination of mythological figures to represent springtime. Flora, the deity of spring; Mercury, the god of May, and Venus, with cupid above her, are all ancient figures who lend symbolism to Botticelli's work.

"Botticelli's Primavera"

We were also able to see works by such famed artists as Raphael and Michelangelo. Raphael's painting, "Madonna of the Gold Finch," is demonstrative of the symbolic art Peter taught us about in class. Much of the art of the Renaissance period used symbolism to convey meaning in its paintings. This technique was used to aid in clarity of understanding in artwork as many people at the time were illiterate and needed images (rather than words) to understand concepts. The gold finch in this painting signifies the "future violent death of Jesus Christ," a theme that appears frequently in Renaissance art. The gold finch was chosen as this symbol because in the winter, the bird can survive eating thorns. The thorns represent the suffering of Jesus through the crown of thorns He wore.

"Raphael's Madonna of the Gold Finch"

May 17th - Ospedale degli Innocenti & San Lorenzo

Today we visited a few sites with architecture created by Brunelleschi, the first being the Ospedale degli Innocenti. Meaning "hospital of the innocents", this place was what would be considered an orphanage in our language (the word orphanage did not exist in Italian at the time of the building's construction). The Ospedale is another example of Brunelleschi's vision of harmonized architecture through the use of mathematic principles and numbers. For example, at the Ospedale, the height of the columns is equal to the width AND depth of the semi-circular arches, creating a perfectly proportional square. To emphasize this proportion, Brunelleschi uses grey stone on the floor to draw a line from the columns back to the wall, and fills the square in with red terracotta flooring. In this way, Brunelleschi lets the architecture speak for itself, and easily allows the eye of the viewer to pick up on his ratios and proportions. Unfortunately, the ceiling of the center semi-circle was later filled in with a fresco, something Brunelleschi would have despised. He most likely would have felt that it was an "illusion" and distracted from the simplistic harmony of his work.

"Ospedale degli innocenti - Brunelleschi's perfect proportions"

The other building we visited today is the basilica of San Lorenzo. The Old Sacristy of San Lorenzo is another masterpiece of Brunelleschi. You can tell that it is an example of his architecture from the room's harmonious proportions (seen in 1:2, 1:3, 1:4 and 1:6), as well as in his use of white and grey stone- the grey stone being used to emphasize important architectural elements such as pilasters, arches, and other linear components. In addition, the ceiling is domed, a building technique that Brunelleschi is most famous for (after his completion of the dome at the Duomo cathedral). These components lend to the Old Sacristy and sense of unity and harmony that is symbolic of Brunelleschi and the new style of architecture that began to arise during the Renaissance period.

"The Old Sacristy at San Lorenzo"

May 16th - Santo Spirito

The church of Santo Spirito, is among the finest works created by the Renaissance architect Filippo Brunelleschi. The exterior of the church is very simple, and does not reflect the architectural magnificence of the interior. In class, we learned that Brunelleschi had plans to create "wave-like" exterior walls, curving inward and outward in a series of concave and convex movements. However, these plans were halted for financial reasons and the walls smoothed over- had we not been told, we never would have known the artist's original intentions. Only one piece of wall exists, hidden in a far back corner, where you can see a piece of the original curvature.

The interior architecture, however, is just as grand as Brunelleschi had intended it to be. The walls are extremely sculptural, undulating and flowing the length of the church. It is interesting to note that Brunelleschi loved simplicity in buildings, and as such, hated all paintings and sculptures that would distract from his architecture. Creating these curving walls was a clever way to eliminate the space available for painting frescoes; however, his cleverness was thwarted as the walls were partially filled in to create a flat space to house art.

We also had the chance to experience first hand Brunelleschi's use of ratios in the composition of his buildings. The architect used the visible proportions 1:2, 1:3, 1:4, 1:6 (as well as several not visible to the naked eye) when creating his spaces. For example, in the main nave of the church, it can be split down the center into a ratio of 1:2. When you include the aisles to either side, the width can then be split into four equal pieces, which is a ratio of 1:4. These proportions help to create the harmonized, symmetrical form of architecture that Brunelleschi is most famous for.

"Santo Spirito Floor Plan"

May 14th - Venice

Today we made the long journey to Venice for the day. We began at the Scuole Grande San Rocco which now serves as a museum. The interior of the Scuola has been decorated entirely by the famed painter Tintoretto in the mid to late 1500s. The paintings illustrate Biblical scenes that range from the fall of Adam and Eve from the Garden of Eden to images from the New Testament. All of the characters in his paintings follow the ever-grow progressive painting style we have learned about in class. The figures represented have muscular, anatomically correct bodies, and scenes are correctly arranged according to perspective. These qualities are indicative of Renaissance artistic practices, and lend to the dramatic and realistic feeling of the space.

May 12th - Santa Maria del Carmine & Brancacci Chapel

Santa Maria del Carmine is a Carmelitan church that houses art by one of the most famous painters of the Renaissance- Masaccio. Within the Brancacci chapel, Masaccio painted several frescoes, with two of the most famous being "The Expulsion from the Garden of Eden," and the "The Tribute Money." The Tribute Money, especially, illustrates the concept of progressive art that we have been learning about in class. Masaccio's style differed significantly from that of the many regressive artists of his time. While some painters chose to paint what they knew, Masaccio believed in painting what could be seen. As such, in the background of works like "The Tribute Money," there is a darkness and a blurriness that reflects depth and distance- through change in colour and visibility. In addition, Masaccio utilized a non-linear narrative technique to tell the story of Peter and Jesus paying tribute. The central focus of the painting is Jesus and the apostles encountering the taxman. The second scene in the sequence however, is off to the left, where Peter is painted smaller (to signify his distance from the group) at the riverside catching a fish. Finally, the end sequence of the tribute being paid is to the right of the main image, separated by a building that represents the change in scene. The building is also representative of Masaccio's attempt to create one-point perspective (although unsuccessful here). The importance of this church and chapel is that hosts prime examples of forward-thinking Renaissance paintings that would lend to the development of the art world.

"The Tribute Money" - Masaccio

May 11th - Santa Maria Novella

Santa Maria Novella is a Dominican basilica
near the train station in downtown Florence. Its facade, though similar in colour and structure to the Tuscan-Romanesque architecture of the Renaissance period, differs slightly stylistically. Instead of the traditional rounded arch, it uses the characteristically pointed arch of the Gothic style. However, the church as a whole exudes a sense of architectural unity that is a symbol of the Renaissance beliefs at the time - that all parts of a whole should be in harmony.
Santa Maria Novella is home to many famous works of Renaissance art, the first being Masaccio's "The Trinity," the first painting to utilize one-point perspective. One-point perspective is a method of creating art
that is realistic to life (by using a vanishing point on the horizon and series of lines that run through it), and was invented by the architect Filippo Brunelleschi. Brunelleschi was not a painter, so he taught this technique to the progressive artist, Masaccio. Although the perspective is not quite correct, it is a jaw-dropping sight to behold. It was made to create the illusion of a chapel extending through the wall, and seeing the fresco in person, I can tell how this innovation would have revolutionized the way Renaissance people created art. When you look at the painting, you are at eye level with the vanishing point, so it seems as though you could stare right up at Christ and at the ceiling.


Another work of art within Santa Maria Novella is Brunelleschi's wooden crucifix. This cross has been hailed as one of the finest wooden sculptures of the Renaissance. As Peter would say, Brunelleschi created Jesus with the "ideal body," which was a common practice during the time. Every visible inch is anatomically correct, showing realistic muscle and bone contour, and body position. Donatello, one of the most famous sculptors of all time, even recognized that he could not create a masterpiece such as Brunelleschi's. And Masaccio himself even pays tribute to the crucifix by painting it into "The Trinity." It is hard to fully comprehend these artworks without seeing them in person. Every last detail on Brunelleschi's crucifix is clearer. The illusion of staring up into the "chapel" painted by Masaccio is all the more realistic. These artists' attention to detail and artistic development is all the more evident after visiting Santa Maria Novella.

May 10th - Assisi & La Verna

"San Francesco"

Assisi is the birthplace of St. Francis, the leader of the Franciscan religious order and one of the most venerated religious figures of all time. I myself am not religious, but I found Assisi and La Verna to be places of incredible spiritual presence. Assisi is home to the Church of St. Clare, Francis' protege. Inspired by his teachings, Clare went ahead to found her own religious order for women (the Order of the Poor Ladies/Clares) that was based on her philosophy- "the privilege to be poor." In essence, Clare believed that living in poverty and depending on the charity of others was essential to becoming as close to God as possible. In Assisi, we were able to go inside the basilica constructed in her honour, which houses some clothing and possessions of hers and St Francis', as well as her hair (yes, her hair), and her remains. In addition, we visited San Francesco, the church of St. Francis himself. Within this place you can see his tomb, and you can actually descend beneath it to view the altar/shrine below. It is interesting to note how ornate the church is, as St. Francis was a man who lived an extremely minimal lifestyle. Had he been alive to see San Francesco, I think he may have been appalled by what he saw (although by today's standards the church is an architectural marvel).

We also had the opportunity to visit La Verna, a monastic retreat high in the hills outside of Assisi. This is a place of infamous spiritual significance. It was here that St. Francis received the "stigmata," or the wounds of Christ, during a 40 day meditation in a small cave. It was interesting to see the way St. Francis lived... the cave itself is tiny, bare, damp, and cold. He spent 40 days here, meditating in the name of the God he loved. Visiting La Verna gives one a true appreciation (no matter their religious beliefs) for St. Francis' dedication and fervent adoration of Jesus Christ.

"La Verna"

May 5th - The Baptistery

The Baptistery is an 11th-century building that was constructed in front of Florence's famous Duomo Cathedral. Named after St. John the Baptist, the Baptistery was created to house the baptisms of all the children in Florence. The building itself was constructed in the same Tuscan-Romanesque style as San Miniato (with green and white marble architecture), but its shape was that of an octagon. The 8-sided structure was representative of the 8th day, the religious concept of the day without dawn or twilight. In addition, the number 8, when turned on its side, becomes the symbol for eternity, and eternal life. In the past, the Baptistery would have been encircled by a cemetery, also known as the "realm of death." This was a symbol of mortality for those who were passing through, a reminder of the fragility of life, the inevitability of death and thus the importance of baptism. Nowadays, the Baptistery is at the core of Florence, in the buzzing epicenter of the tourist district. It is hard to really get the feel of this somber "realm of death" in present times when the building is surrounded by tourists and souvenir carts. In fact, had we not been told, I never would have known what lay beneath the cobblestones.



Another important component of the Baptistery is its bronze doors. There are three sets of doors- one created by Andrea Pisano, and two by Lorenzo Ghiberti. The doors represent a feat in casting, as creating doors out of bronze was a relatively new art at the time of their construction in 15th century Florence. Ghiberti's doors are a culmination of his life's work- he beat out the great architect Brunelleschi and spent the larger portion of his career creating and fine-tuning them. I was awestruck to see up close the level of detail that went into each and every panel of the doors (and there are twenty panels total). Every aspect is carefully thought out and planned, from which scenes are displayed to the hierarchical order in which each panel should fall (according to who was most important and closest to Jesus - those images would be placed at the top of the door). Ghiberti's use of composition, style and space are incomparable, and show are real development in the innovation of art during the Renaissance. He moved away from simple, static images and gave his scenes a breath of life- as if they were suspended on the verge of movement, and not just statues.

May 4th - San Minato al Monte

Set high on a hill above the city of Florence, San Miniato al Monte is a pinnacle of Tuscan-Romanesque architecture. Originally a Benedictine basilica, San Miniato was completed in the traditional style of the time- simple, geometric, and with a white marble facade with green accents. This colour contrast represents significant features; for example, arches and columns were highlighted in green to stress their architectural importance. The green colour of these components helps guide the eye over the structure's many curves, lines and angles.

Being at San Miniato al Monte, one can understand the significance of its location. On top of the hill the view of city is unmistakably clear and beautiful- in the past, it would have been possible to see all of the movement into and out of the city. In addition, being at San Miniato, so far above Florence, there is a feeling of isolation from the hustle and bustle of the city. This would have been perfectly conducive to the lifestyle of monks of the Benedictine order, who preferred to set up their monasteries away from populated areas. The peace, quiet, and serenity of the atmosphere at San Miniato really lends to a person's understanding of why a religious order would choose this place above all others to establish their place of worship.

May 3rd - Dante's Neighbourhood & Orsanmichele -

Dante's neighbourhood in Florence is timeless. Many of the original buildings still stand, including the church where he married his wife, Gemma Donati, and where his children were baptised. It is also the church where his muse, Beatrice Portinari, is buried. Our class had the chance to visit his original family church as well, which he abandoned in favour of the Portinari parish church as a result of his obsession with Beatrice. It was incredible to walk through the spaces where Dante once stood, and through the streets where he spent the majority of his younger years. I found it lent so much to the understanding of his works, as you really get a feel for where Dante came from and what his life would have been like. Not only are we reading literature and observing art & architecture in our classes here, but we are able to live and breathe where these artists were inspired by and created their masterpieces.

Dante's Family Church

Dante's "House"

May 2nd, 2011

Today was the first official day of class! Beforehand, some of the girls in our apartment did a bit of exploring. Our neighbourhood is amazing. Down the street in one direction is the Duomo, and in the other is Santa Maria Novella, both famous churches. There are large piazzas everywhere filled with beautiful statues, including a replica of Michelangelo's David. Everywhere you turn the art and architecture is overwhelmingly astounding.

After a morning of adventuring (having rested up from travelling with a 14hr nap), we made our way to Centro Firenze, where our schooling is being held for the next month. An introductory session outlined the next few weeks of coursework, and was followed up by a seminar on Dante's Divine Comedy. It's so incredible to be studying the literature of Florentines in their native cities, centuries after they lived and breathed there. Tomorrow we will be touring Dante's actual neighbourhood, where he lived until his exile in 1300.

Welcome to Florence!

After a long and tiring journey from Canada's west coast, we finally arrived in Florence on the morning of May 1st. It was hard to appreciate the true beauty of Italy at the time, running on so little sleep and food, but I knew right away I would love it here. And it's true! I already feel like I could stay in Firenze forever.