Going #2 in Pompeii (and other things you never knew you wanted to know about)

pompeiiWhen I first travelled to Pompeii as an undergrad, I had read all about it in my art history textbook and thought I had a handle on what to see and where to go (I had been elected official guide by my group of friends who I had dragged there with the pretext that it was near the Amalfi coast). Instead I was completely overwhelmed and admittedly, a little disappointed. Ok…I was a lot disappointed. I had imagined it full of artifacts, art, plaster casts of various things, with, of course, educational signage and helpful personnel. I couldn’t have been more wrong. I was so struck by how much was not there (based on what I had imagined in my head) that I couldn’t see the many things that were there.
 
So in this post, I want to take the opportunity for those of you who haven’t been or for those of you who have, but perhaps didn’t have an outstanding guide, no guide at all, or else just one of those generic guidebooks, to try and show you a glimmer of the magnificence of this incomparable site. Because the truth is that to the untrained eye (and under the blazing southern Italian sun), this magnificence can sometimes be a little hidden.
 
What I have learned now, however, thanks to these last few visits and some research of my own, is that not only are there many, many things of significance to see at Pompeii, but that the best things are not what you would necessarily expect and perhaps a little harder to see. These tend to be the things that really help our understanding and appreciation of the Roman World circa 79 AD and once you realize they’re there, they have the potential to change your entire experience.

So, without further ado, here are just a few of those wonderful details you don’t learn about in your average Art History survey course and that are not necessarily the easiest to see but are definitely easy to appreciate (warning: there will be discussion of toilets and materials that go into toilets so if you’re squeamish…well…get over it):
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Photo of the Week: Milan’s Cathedral Facade

Photo of the Week: Milan’s Cathedral Facade

Last week I took a train to Milan for the day to see some friends who were visiting. Neither had been to Milan before and while site-seeing was not their top priority, I insisted we at least see the cathedral. “It’s one of the largest cathedrals in the world and the only Gothic cathedral in Italy!” I told them. But I didn’t follow the very advice I have given students hundreds of times for countless summers. It was so nice that day that I left my shawl at my friend’s hotel and arrived at the cathedral in a skirt with nothing to cover my legs. Milan is rather strict about who enters their cathedral (a police guard checks each person’s attire before letting them in). Unlike other churches, however, they do not provide a little cape to wear (the cape or poncho of shame, as we call it). So I walked up to the door, got the look over, and that was it. I couldn’t go in. I sent my friend inside and stood outside to wait. Then a funny thing happened: I looked up at the facade. And I mean really looked, maybe for the first time.
 
While the building itself was begun at the end of the 14th century, the facade, like many church facades in Italy, was not started until much later. Though a series of attempts and design competitions were held, the final version was not begun until the 17th century and wasn’t finished until the 19th, and only then by order of Napoleon. Due to the extensive length of time it took to complete this building and its facade, there were many architectural visions involved that, at times, also clashed. For example, under the archbishop Carlo Borromeo in the 16th century, there was an attempt at a Classical Roman redesign of the gothic structure. A Baroque design for the facade was begun but quickly interrupted by the archbishop’s death. The new patron and his chosen architect opted to return it to its original Gothic splendor. As late as the 20th century, some of these less Gothic elements on the facade were replaced to make it fit more accurately within traditional Gothic style. However, in this photograph we continue to see the unusual blend of Gothic architectural details, as seen in the pointed arches and decorative elements, with figures, such as the two men supporting the base of the two piers, that are clearly Baroque. It may be this uncommon combination of styles over centuries that give the facade such an enduringly unique appearance. One that I am so glad I had the opportunity to fully take in.
 
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Photo of the Week: Vatican from Castel Sant’Angelo

Photo of the Week: Vatican from Castel Sant’Angelo

We have been loving all the new Pope business in Rome. I love the little tidbits we catch about Pope Francis I and his choices in these pivotal first days of his Pontificate. For example, his choice to have a more modest fisherman’s ring (plated in gold rather than made 100% of the expensive metal) and cross necklace (his is made of lead). My favorite snippet was that after being elected, Francesco, though he had the right to stay in his new home at the Vatican, declined and chose to return to his hotel room with the other Cardinals. All three choices express his extreme humbleness. I mean, I think it would have been hard for me to give up my first night’s stay in the Vatican apartments. And that got me thinking about other premises over which new Popes once gained ownership upon their election, namely, the Castel Sant’Angelo.
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Things I Didn’t Know, Art History Edition: The Colossus

 This blog series is an excuse to keep track of all the random tidbits we uncover in our day-to-day life as students, guides, teachers, and just generally interested and curious people. I know it is not everyone’s prerogative to find out exactly how renaissance babies were swaddled, what 16th century widows wore, or what famous members of the Medici family did with their free time, just to better understand a work of art. So I will spare you our endless Early Modern machinations and just give you the good stuff.
 
The Colossus (of Rome, Rhodes, and New York):
We’re heading down to Rome tomorrow for a whirlwind tour of the sites and doing some requisite brushing up on our notes. While discussing the Flavian Amphitheater, aka the Colosseum, and the origins of this now ubiquitous nickname, I realized there were some holes in my knowledge that needed plugging up. One question lead to the next and suddenly I had gone from a colossus in Rome to images of a lost colossus in Rhodes, back home to New York to a colossus I too often forget.
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Leonardo Lost: Seek and Ye Shall Find

This is hands-down one of my favorite stories. I mean it has it all: mystery, Renaissance celebrities, top-secret government sting operations, and a little Dan Brown-esque art history (that is actually FACTUAL). Also, for us at Select Study Abroad, it is particularly close to home. Not only is Leonardo da Vinci our BFF and not only do we personally take students to the scene of the “crime,” but our very own professor, Rab Hatfield, was involved, wrote a book on the subject, and gave us the opportunity of meeting (on several occasions) the man behind the mystery (No, not Leonardo! Read on!).

So the story goes like this:

There was this little thing called the Florentine Republic. It had a tough time over the years (those darn Medici are so troublesome), but at the very end of the 15th century it had been reinstated and things were looking good. Now, if you are a little republic in the Renaissance looking to flex your new governmental muscles there a couple things you can do. One of them just happens to be harnessing the artistic power of some of the most coveted and respected artists of the day to do your bidding. Lucky, for this little republic, they just happened to have access to two of the most significant artists available: Leonardo da Vinci (technically he is from Vinci, but whatevs) and Michelangelo. You know…no big deal.

So, you take these two BIG names and you give them a BIG project: decorate the massive walls of the Sala del Gran Consiglio (also known as the Sala dei Cinquecento) in the Palazzo Vecchio (the government building in Florence). In 1503, Leonardo was commissioned to fresco the “Battle of Anghiari” (a battle famously won by the Florentines) on one of the long walls of the rectangular Sala. He had finished his preliminary drawing (called a cartoon) and had begun painting it by 1505. In typical Leo fashion, however, he used a very experimental technique and before the brushes were dry the wall was already having problems. Continue reading…

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