Tag: Tuscany’s Leading

Florence Church

Florence - S. Croce Church

The Basilica di Santa Croce (Basilica of the Holy Cross) is the principal Franciscan church inFlorence, Italy, and a minor basilica of the Roman Catholic Church. It is situated on the Piazza di Santa Croce, about 800 metres south east of the Duomo. The site, when first chosen, was in marshland outside the city walls. It is the burial place of some of the most illustrious Italians, such asMichelangelo, Galileo, Machiavelli, Foscolo, Gentile and Rossini, thus it is known also as theTemple of the Italian Glories (Tempio dell’Itale Glorie).

The Basilica is the largest Franciscan church in the world. Its most notable features are its sixteenchapels, many of them decorated with frescoes by Giotto and his pupils, and its tombs and cenotaphs. Legend says that Santa Croce was founded by St Francis himself. The construction of the current church, to replace an older building, was begun on 12 May 1294[1], possibly by Arnolfo di Cambio, and paid for by some of the city’s wealthiest families.

It was consecrated in 1442 by Pope Eugene IV. The building’s design reflects the austere approach of the Franciscans. The floorplan is an Egyptian or Tau cross (a symbol of St Francis), 115 metres in length with a nave and two aisles separated by lines of octagonal columns. To the south of the church was a convent, some of whose buildings remain.
In the Primo Chiostro, the main cloister, there is the Cappella dei Pazzi, built as the chapter house, completed in the 1470s. Filippo Brunelleschi (who had designed and executed the dome of the Duomo) was involved in its design which has remained rigorously simple and unadorned.

In 1560, the choir screen was removed as part of changes arising from the Counter-Reformation and the interior rebuilt by Giorgio Vasari. As a result, there was damage to the church’s decoration and most of the altars previously located on the screen were lost.
The campanile was built in 1842, replacing an earlier one damaged by lightning. The neo-Gothic marble façade, by Nicolò Matas, dates from 1857-1863.

A Jewish architect Niccolo Matas from Ancona, designed the church’s 19th century neo-Gothic facade, working a prominent Star of David into the composition. Matas had wanted to be buried with his peers but because he was Jewish, he was buried under the porch and not within the walls.
In 1866, the complex became public property, as a part of government suppression of most religious houses, following the wars that gained Italian independence and unit.
The Museo dell’Opera di Santa Croce is housed mainly in the refectory, also off the cloister. A monument to Florence Nightingalestands in the cloister, in the city in which she was born and after which she was named. Brunelleschi also built the inner cloister, completed in 1453.

In 1966, the Arno River flooded much of Florence, including Santa Croce. The water entered the church bringing mud, pollution and heating oil. The damage to buildings and art treasures was severe, taking several decades to repair.
Today the former dormitory of the Franciscan Friars houses the Scuola del Cuoio (Leather School)[1]. Visitors can watch as artisans craft purses, wallets, and other leather goods which are sold in the adjacent shop.

Web-site: www.firenzeturismo.it

Tuscany landscape

Tuscany landscape

CYPRESS TREES (Cupressus sempervirens)
Few people can imagine an Italian garden, without images of tall, needle-like cypress trees springing to mind, so strong is the image of the cypress tree in Italy. The cypress tree’s name would suggest that it didn’t originate in Italy – even though its image really does symbolise Italy and everything that’s Italian about this wonderful land!

The Cypress tree’s origins are just as mysterious as it’s early uses and the folklore surrounding it! It is thought to be a native of the ancient Mesopotamia region between the Tiber and Euphrates rivers, which covered the area of modern day Iraq and Iran (once known as Persia). This area that was covered with Mediterranean forests was also the original home of the magical cypress tree. The same area, namely Persia, was also home to the ancient and equally mysterious Etruscan  civilisation that inhabited Tuscany many years before Christ. The Etruscans regarded the cypress tree  to be extremely sacred and it is widely believed that it was indeed the Etruscans that originally brought the cypress tree with them when the they began arriving in Tuscany.

The evergreen cypress tree grows to height of 20 to 25m and can survive for many thousands of years, outliving many generations of humans. The cypress tree’s longevity, the fact that it remained evergreen throughout  the harsh winters and it’s heady resinous scent  earned the plant a divine and spiritual status in  Etruscan society. The Etruscans used the plant to line the entrances to their dwellings and they seem to have planted as many cypress’ as possible near to their settlements as they believed the fresh, resinous scent purified the air. On hot days one can detect the scent of a group of cypress trees from many metres away and it’s easy to understand why the Etruscans believed the tree improved the atmosphere with its fresh scent.

The wood of the cypress tree is very long lasting owing to its thick, resinous sap, which protects the wood from insect attack. In fact, the timber also emits a strong yet pleasant scent for many years and the Etruscans used the wood of the cypress tree to create sarcophagi and also in the cremation ceremonies themselves, so special was this plant to these early people.

In the Italian garden the cypress tree offers garden designers like me a tree that provides a vertical visual statement that really no other tree can provide. The  evergreen, symbolic shape of this tree, standing s20m tall, appears to stretch skywards rather like the steeple of church and one could be forgiven for perceiving strong, spiritual connotations regarding the shape of this tree alone. Standing in the middle of a group of fully grown cypress trees and looking at the sky is most definitely a spiritual experience, as a strong link can be felt between the land on which one stands and abyss of the blue sky above.

Garden designers in Italy still use the cypress tree to line entrance driveways and create evergreen structure around the house and their presence clearly evokes strong symbolic sentiments. I find them indispensible for framing the stunning views that can be seen from many Italian gardens or as visual indications to guide the eye around my garden designs. The use of the cypress tree in Italian garden design is fundamental, however, care should be taken to not exaggerate the use of this immensely special, symbolic yet very subtle tree in Italian style gardens.

Leslie Halloran
Please check out my website at: www.lihdesigns.net
“A frog in the well does not know the sea.”- Japanese Proverb

Italy ice cream

Italy ice cream

The history of gelato dates back to frozen desserts served in ancient Rome and Egypt made from ice and snow brought down from mountaintops and preserved below ground. Later, gelato appeared during banquets at the Medici court in Florence. In fact, the Florentine cook Bernardo Buontalenti is said to have invented modern ice creams in 1565, as he presented his recipe and his innovative refrigerating techniques to Caterina de’ Medici.

She in turn brought the novelty to France, where in 1686 the Sicilian fisherman Francesco Procopio dei Coltelli perfected the first ice cream machine [1]. The popularity of gelato among larger shares of the population however only increased in the 1920’s-1930’s as in the northern Italian city of Varese, where the first mobile gelato cart was developed.

Gelato (Italian pronunciation: [dʒeˈlato]; plural: gelati) is Italy’s regional variant of ice cream. As such, gelato is made with some of the same ingredients as most other frozen dairy desserts.Milk, cream, various sugars, flavoring including fruit and nut purees are the main ingredients.
Gelato differs from some other ice creams in that it has a lower butterfat content.

Gelato typically contains 4-8% butterfat, versus 14% for many ice creams. Gelato generally has slightly lower sugar content, averaging between 16-22% versus approximately 21% for most ice creams.
Non-fat milk is added as a solid. The sugar content in gelato is precisely balanced with the water content to act as an anti-freeze to prevent the gelato from freezing solid. Types of sugar used include sucrose, dextrose, and invert sugar to control apparent sweetness. Typically, gelato and Italian sorbet contain a stabilizing base. Egg yolks are used in yellowcustard-based gelato flavors, including zabaione and creme caramel.

The mixture for gelato is typically made using a hot process, which includes pasteurization. White base is heated to 85°C (185°F). Heating the mix to 90°C (194°F) is essential for chocolate gelato, which is traditionally flavored with cocoa powder. Yellow custard base, which contains egg yolks, is heated to 65°C (149°F). The gelato mix must age for several hours after pasteurization is complete for the milk proteins to hydrate, or bind, with water in the mix. This hydration reduces the size of the ice crystals, making a smoother texture in the final product. A non-traditional cold mix process is popular among some gelato makers in the United States.

Unlike commercial ice cream in the United States, which is frozen with a continuous assembly line freezer, gelato is frozen very quickly in individual small batches in a batch freezer. The batch freezer incorporates air or overage into the mix as it freezes. Unlike American-style ice cream, which can have an overage of up to 50%, gelato generally has between 20% and 35% overage.

This results in a denser product with more intense flavor than U.S. style ice cream. U.S. style ice cream, with a higher fat content, can be stored in a freezer for months. High-quality artisan gelato holds its peak flavor and texture (from delicate ice crystals) for only several days, even when stored carefully at the proper temperature. This is why gelaterias typically make their own gelato on the premises or nearby.

Leslie Halloran
Please check out my website at: www.lihdesigns.net

“A frog in the well does not know the sea.” – Japanese Proverb

Tuscan tours

Tuscan tours - Santo Stefano Church

Pieve Santo Stefano Church
This church was built on the site of a small, early Christian church betwen 1000 and 1200. Its Romanesque layout can still be seen on left side and in the apse with its the three windows with one light.

In the 16th century the church was enlarged and a portico was added to the faced, but the inside was completely redesigned at the end of the 18th century.

The church has a nave and two isles, and a vaulted ceiling with decorations dating back to 1910. Inside there is a very fine, late 16th century organ, the work of Onofrio Zecchini; an altar price by Zacchia with La Madonna tra i Santi Rocco e Sebastiano, which is now in the Villa Guinigi museum and has been replaced by an 19th century copy by Michele Ridolfi.

Tuscany landscape

Tuscany landscape - San Concordio di Moriano

From Lucca to Mammoli
The are that extends along the right bank of the river Serchio from the bridge at Monte San Quirico, where the water courses down from the narrow mountain sides, is studded with villages such as Santo Stefano di Moriano, San Michele di Moriano and San Quirico di Moriano; higher up, there is Aquilea, Gugliano, Mastiano, Arsina and San Concordio di Moriano. All of them immersed in the peaceful landscape of vineyards, olive groves and woodland of the valleys and the steeper north facing slopes.

On the left side of the road leaving from Lucca there are the beautiful entrances to villa Barsanti, villa Ciurlo and villa Boccella, and the avenues and parks of other villas which can be seen from higher up the road.

The flat areas between the foot of the hills and the river Serchio, on the other hand, are geometrically patterned by extensive areas of fruit trees.
The first village, indicated by a votive cross at the turnoff for the curch, is San Quirico di Moriano, whose ancient origins are documented in a 9th century parchment that mentions the locality of Aniciano or Nicciano and the church of Saints Quirico e Giulitta.