Salvatore Ferragamo Museum

1938 - Shoes for Judy Garland

Ok, we admit it, this is a girly article.
We’re talking shoes gorgeus colourful stunning shoes. A whole museum of them in fact. If you haven’t already visited the Museo Salvatore Ferragamo, add it now to your list of things to see in Florence. It’s a blissful way to spend an hour or two.
First, there’s the building. Palazzo Spini Feroni is a handsome 13 th century palazzo, which lies  a few steps from Ponte Santa Trinità, the bridge over the Arno where Dante is said to have first set eyes on Beatrice (the building indeed houses the well named  in her hnour, the Pozzo di Beatrice).
For over 70 years now the Palazzo has been the headquarter and flagship store of the shoemakers Salvatore Ferragamo.

The museum is on the lower floor, below street level, a tranquil refuge from the noise of modern Florence. You enter from the Piazza Santa Trinità the column of Giustizia in the centre facing down Via Tornabuoni and its designer shops.
Immediatly there is an aura of effortless style – cool music, carefully modulated ligthting. The first section of the museum introduces us to the man himself, Salvatore  Ferragamo. Born in 1898 in the small town of Bonito about 100 kilometres east of Naples, Ferragamo emigrated to United States in 1914.
He seems always to have known where is talents lay saying, “I was born to be a shoemaker”. His arrival in California coincided with the early heady days of the film industry, and it wasn’t long before he had opened the Hollywood Boot Shop (great name).
By the time he returned to Italy in 1927 and settled in Florence, his reputation as shoemaker to the stars  was already established and was to continue throughout his life. It was a reputation based on shoes which were beautiful, exquisitely made, and comfortable.
They were also famously light, as shown by photograph  of a Ferragamo shoe with a 130 gm weight added to the scales to make it balance with an “ordinary” shoe.
We see photographs of Salvatore Ferragamo at shoe fittings with famous film stars of the 1930s, ’40s and ’50s, and bringing the link with showbiz  up to date, another room is also showing a short documentary on the making of the recent film “Australia” the Ferragamo company made all Nicole Kidman’s  shoes for the film. Other displays feature extracts from the Hollywood shop’s order book, a mock workshop showing the shoe-making process, with the lasts made for famous wearers, and orginal sketches and artwork used for advertising campaigns.

But the real stars are the shoes. On display at any time are hundreds of shoes from the museum’s permanent collection of over 10,000, documenting Ferragamo’s career up to his death in 1960, and beyond.
Almost a century of history told by foot wear. And what shoes! Sandals, court, shoes, wedges, ballerina shoes, ankle boots, lacing shoes, shoes with high heels, shoes with low heels, all of exquisite workman ship. And shoes in every material imaginable – not only in calf, suede, snakeskin and kid, but also in cork, satin, straw, glass, and even a pair of high-heeled sandals in 18 ct gold made for a wife of an ( unnamed) Australian tycoon.

Museo Salvatore Ferragamo is open every day except Tuesday.
Disabled access. Entrance euro 5,00.
Proceeds from admission and gift sales support young shoe designers. Book if visiting in  group of 10 or more.
www.museoferragamo.it – Telephone: +39 055 3360455/456

Tuscan products

Chestnut flour

Tuscan products: chestnut flour of the Garfagnana
The cultivation of chestnuts in Garfagnana area, has its origins far in the past and has spread across the whole area. Chestnut flour is made from the harvested fruits. This is the sweet flour which comes from stone milling of the previuously dried chestnuts.
Historically, the drying of the chestnuts is done in a specifically designed barn called “metato”. Today those barns are built from stone or brick and are generally distributed throughout the chestnut woods, of varying size and divided halway up by a floor made of sticks of wood laid next to each other (the “canniccio”), over which the chestnuts are laid. A small flameless fire made from chestnut logs is set below, the smoke rising through the chestnuts to dry them slowly for about 40 days, leaving them ready to be shelled and ground.

The most widely used varieteies are Carpinese, Pontecosi, Mazzangaia, Pelosora, Rossola, Verdora, Nerona and Capannaccia all suitable for transformation into flour. The maximum production capacity allowed is 3,500 kg per hectare.
The DOP Chestnut flour of the Garfagnana is very fine to the touch and on the palate, the colour varying from white to dark ivory and a typical chestnut odour.

The area of production includes the municipalities of the province of Lucca – Castelnuovo Garfagnana, Pieve Fosciana, San Romano di Garfagnana, Sillano, Piazza al Serchio, Minucciano, Camporgiano, Careggine, Fosciandora, Giuncugnano, Molazzana, Vergemoli, Vagli, Villa Collemalndina, Gallicano, Borgo a Mozzano, Barga, Coreglia Antelminelli, Fabbriche di Vallico, Bagni di Lucca.
The flour is used to make a particular type of polenta, and sweets or cakes such as “castagnaccio” and “frittelle“.
During the two wars of the 20th century it was the food that allowed the local population to survive.

Italian gardens

Teatro di Verzura - Villa Reale - Lucca


The Teatro di Verzura at Villa Reale

What better month than Mayfor a visit to the sumptuous grounds of the Villa Reale at Marlia?
Here will find one of the best preserved historic gardens in Italy. The Villa itself was known to have been in the hands of the Buonvisi family as far back as the early 1500s, but it was only in 1652 when it was acquired by the Orsetti family that the gardens were first laid out and planted with various species designed to create a baroque style landscape.
The so called “Teatro di Verzura” dates from this period, going back to around 1680, from which time it has remained unchanged.
But what is a Teatro di Verzura? It is an open hair theatre, in which natural forms such as artfully placed and trimmed trees, hedges and shrubs make up the backdrop, the wings and the stage, creating the architectural structure with the decorative elements then supplied by statues, seats and columns.
The origins of these natural theatres are not clear; they are thought to have been used for simple or povere performances, poetry readings, songa and open air concerts. By the early 17th century, the art of topiary was already well developed, especially by Roman gardeners, seeking to “sculpt” trees by pruning them in reconisable forms. The box tree, they yew and the laurel lent themselves especially well to being shaped in the form of human figures, hunting scenes and animals. From these origins arose the strange architectural phenomenon of the late 1600s that we know know as the Teatro di Verzura.
The theatre at Marlia, while not unique, is certainly a rare and brilliant example of topiary, preserving the original 17th century greenery. It is more elaborate and better preserved, for example, than the one at Villa Garzoni at Collodi, or those at the Villa Gori and Villa Sergardi at Siena.
It cnsists of a stage, wings and backdrop of evergreen cypress trees, a prompt box in appropriately enough, box wood, a rostrum for the conductor, stalls for the audience with box hedges setting out the rows of seats, and series of bow-fronted opera boxes, entirely constructed from greenery.
A row of little semicircles of boxwood runs along the proscenuim arch to hide the lights used for evening performances.

Italian Churches

San Pancrazio Church in Tuscany

Pievana at San Pancrazio in Tuscany
The Church of San Pancrazio in Tuscany is a 10th century baptisimal church. It is situated in Lucca area.
It is built in stone and has a nave and no aisles; the apse and the facade are surmounted by suspended arches. Its current layout is the result of restoration work  carried out in 1855 which eliminated the additions that had been made throughout the century.

Events in Florence

Events in Florence

TEATRO VERDI Via Ghibellina 91 – Tel +39 055 212320 or  +39 055 2396242
www.teatroverdionline.it

Opera y Flamenco 2 May
Jun’ichi Hirokami directs the Orchestra della Toscana, Brahms op. 77  – 5 May
Orchestra della Toscana with soloists.
Strauss Dance of the Seven Veils and Finale from Salomè op 54 Stravinsky The Firebird (1919 version) 14 May
Giovanni Allevi premiere. Italian composer and pianist 17 and 18 May
Teatro del Maggio 73rd Season
Full programme and information on www.maggiofiorentino.com

TEATRO COMUNALE Via Solferino 15 – Tel. +39 055 27791

Die Frau Ohne Schatten Three act opera by R. Strauss Zubin Metha directs the Maggio Orchestra 15.30 on 2 may, 19.30 on 5 and 8 May.
Saechsiche Staatskapelle Dresden Zubin Metha conducts Brahms Piano Concerto n. 2 in B Flat Major Op. 83 Strauss Also Sprach Zarathrusta Op. 30.20.30 on 10 May.
Rufus Wainwright 21.30 on 13 may.
Die Entfuhrung aus dem Serail Mozart’s Turkish opera 20.30 on 14, 19 and 21 May, 15.30 on 16 May.
Daniel Barenboim (piano) Chopin 20.30 on 24 May.
Zubin Metha conducts with Daniel Barenboim (piano) Bartok and Chopin 25 May.
Long Yu conductor and Saleem Abboud Ashkar (piano) Tan Dun Internet symphony, Mendelssohn, Dvorak 20.30 on 29 May.
Gerswin Songs for Jazz quintet and orchestra with Enrico Rava Quintet, 20.30 on 1 June.