Local artist takes a look in Firenze, Italia
~ by Beverly Koski
Why do we call it Florence? The Anglophone naming does not give justice to
the lyrical sound of its real name! Musical and artistic and of course historical, is
this significant Italian city. I was re-visiting there, this November, after a break of
just over twenty years. It delighted me again in so many ways, that it is wise for
the writer to focus upon one sight at a time. I tried to limit my attention to those
attractions, which are not usually listed on a tourist’s "must see" list.
Saint Jerome in his Study,
fresco by Domenico Ghirlandaio |
Floods are not the exclusive preserve of the Cowichan Valley. In 1966, the
River Arno overflowed its banks. In consequence the Piazza Ognissanti received
the river. Standing on the promenade, with one's back to the river, it is not hard
to see the downward slope of the paved square which leads one’s eye towards the
Church of Ognissanti. Also known as the Church of All Saints, it is dedicated to all
those men and women, known and unknown, who have lived the Christian life and
attained evangelical perfection. Largely insignificant from the outside, it is therefore
by-passed by most visitors. Entry is free, but one is certainly moved to make a
donation after being absorbed into its interior. But I digress; waters flowed into the
said church in 1966, but not before the resident Franciscan monks, living in the
attached cloister removed two very important paintings. They were: "St. Augustine
in Prayer" by Sandro Botticelli – a masterpiece in fresco painted in 1480 and "St.
Jerome" by Domenico Ghirlandaio also in fresco (1485). Nearly destroyed, the
technique used to save them was as follows: the sections of the wall were extracted
and cut away at the back, so that the frescoes with their original plaster could be
applied to new supports.
The morning that I sat in an empty pew, indeed an
empty church, was magical. The monks must have gathered
for prayers or perhaps, having finished their breakfast, were
obliged to sing their thanks. The chanting surrounded me,
entered my spirit, so that, along with the visual beauty, I was
able to transcend, or at least forget for a while, the hustle and
bustle of the 21st century. Arising, I stood before the Botticelli.
It was a large piece – probably 7 ft. high by 5 ft. wide – St.
Augustine in a moment of inspiration, in his cell surrounded
by books. Iron hooks supporting the piece were easily visible.
Astonishingly, one could have reached out and checked their
strength. The ground of fresco on stone was also obvious with
a thickness of at least 2 inches. Value? Probably in the millions of dollars, or more
appropriately Euros. And yet, here it hung on the wall of a humble church, readily
accessible to its congregation and visitors. St. Jerome, on the wall opposite, begged
my attention; equally as impressive in my humble opinion. But have any of us heard
of Domenico Ghirlandaio? I smiled to myself – perhaps Botticelli was quite simply
better at marketing himself and his works!
~ Beverly Koski, January, 2008.
