Carlos T. Mock, MD and William R. Rattan
Updated August 2006
See our Photos.

Southern Italians, perhaps resentful of the north's hard-earned prosperity, sometimes declare that the Milanese are like the nearby no-nonsense Swiss. With two million inhabitants, Milan (Milano) is Italy's most dynamic city. Milan is Italy's window on Europe, its most sophisticated and high-tech metropolis, devoid of the dusty history that sometimes paralyzes modern developments in Rome and Florence or the watery rot that seems to pervade Venice.
Passport and Visa
A valid passport is required. Italian authorities may deny entry to travelers who attempt to enter Italy without a valid passport. A visa is not required for tourist stays up to three months. For further information concerning entry requirements for Italy, travelers may contact the Embassy of Italy at 1601 Fuller St. N.W., Washington, D.C. 20009, tel. 202-328-5500, or the Italian Consulates General in Boston, Chicago, Detroit, Houston, Los Angeles, Miami, Newark, New Orleans, New York, Philadelphia, or San Francisco.
Tourists staying other than in hotels for more than one month should register with the local police station and obtain a "permesso di soggiorno" (permit to stay) within eight days of arrival in Italy. Visitors to Italy may be required to demonstrate to the police upon arrival sufficient means of financial support. Credit cards, ATM cards, travelers' checks, prepaid hotel/vacation vouchers, etc. can be used to show sufficient means.
In an effort to prevent international child abduction, many governments have initiated procedures at entry/exit points. These often include requiring documentary evidence of relationship and permission for child's travel from the parent(s) or legal guardian not present. Having such documentation on hand, even if not required, may facilitate entry/departure.
Documents
- Make a copy or write out the details of them, to make easier the files on case of loss or theft.
- Always take them separated or, in any case, NOT with money.
Language
Italian, romantic Italian, English is spoken in tourist areas.
Time Zone and Time Difference
Italy is on Continental time 6 hours ahead of New York and seven hours ahead of Chicago. In 1996, members of the European Union agreed to observe a "summertime period" from the last Sunday in March to the last Sunday in October. The clocks are an hour ahead of solar time (GMT) in winter, and two hours ahead in summer. The clocks change twice during the year. Check the "Time Ticker" for current time in your destination.
Currency
Forget traveler's checks, cash, or personal checks. All you really need is a valid ATM and credit card. Charge as much as you can, thus ensuring the best exchange rate at all times and only take out cash from an ATM machine as needed. Avoid exchanging back to US currency by paying your hotel bill with excess cash and charging the rest. All major credit cards are accepted everywhere. Keep enough cash to get you to the airport. Remember your fare on the way down and keep that much for the return.
Since 1 January 2002 the EURO (€) is the official currency of Italy (together with 10 other European countries). It is divided in 100 cents. Coins come in 1, 2, 5, 10, 20, 50 cents; and 1 and 2 EURO (€). Notes come in 5, 10, 20, 50, 100, 200, and 500 EURO (€). Most shops, restaurants and hotels accept all major Credit Cards. As of printing, one Euro equals about 1.29 USD.
Holidays
Italy Public Holidays 2006
January 1 New Year's Day
- January 6 Epiphany
- April 16 Easter
- April 17 Easter Monday
- April 25 Liberation Day
- May 1 Labor Day
- June 2 Republic's Day
- June 4 Pentecoste
- August 15 Assumption
- November 1 All Saint's Day
- November 6 World War 1 Victory anniversary day
- December 8 Immaculate Conception
- December 25 Christmas Day
- December 26 Santo Stefano
Feeding times
The working day usually begins between 8AM and 9AM and people break for lunch at 2PM. In the afternoon, businesses open from 4PM to 7PM. There is a traditional "siesta" from 2 PM to 4 PM. In northern Italy Dinner is usually early. Usual diner time is 7 PM. It is not uncommon to have the kitchen close by 10pm.
Tipping
Service and tip are included in the prices at hotels, in restaurants, and for taxi fares. For good service, you may leave a few coins extra at your discretion.
Climate and weather
| Monthly Average Temperatures in C° |
| Month |
Max Temp |
Average Max Temp |
Average Min Temp |
Min Temp |
| Jan |
20 |
13 |
4 |
-7 |
| Feb |
20 |
14 |
5 |
-5 |
| Mar |
24 |
15 |
6 |
-4 |
| Apr |
25 |
18 |
7 |
0 |
| May |
30 |
22 |
11 |
2 |
| Jun |
31 |
25 |
14 |
8 |
| Jul |
35 |
28 |
17 |
10 |
| Aug |
34 |
28 |
18 |
10 |
| Sep |
31 |
25 |
15 |
7 |
| Oct |
28 |
22 |
11 |
3 |
| Nov |
25 |
15 |
7 |
-4 |
| Dec |
18 |
13 |
5 |
-5 |
|
Part of the work ethic that has catapulted Milan into the 21st century might stem from the Teutonic origins of the Lombards (originally from northwestern Germany), who occupied Milan and intermarried with its population after the collapse of the Roman Empire. In the 14th century, the Viscontis, through their wits, wealth, and marriages with the royalty of England and France, made Milan Italy's strongest city. And Milan initiated a continuing campaign of drainage and irrigation of the Po Valley that helped to make it one of the world's most fertile regions.
In the 1700s, Milan was dominated by the Habsburgs, a legacy that left it with scores of neoclassical buildings in its inner core and an abiding appreciation for music and (perhaps) work. In 1848, it was at the heart of the northern Italian revolt against its Austro-Hungarian rulers and, with Piedmont, was at the center of the 19th-century nationalistic passion that swept through Italy and culminated in the country's unification. During this same period, Milan (through the novelist Manzoni) was encouraging the development of a Pan-Italian dialect.
Today, Milan is a commercial powerhouse and, partly because of its 400 banks and major industrial companies, Italy's most influential city. It's the center of publishing, silk production, TV and advertising, and fashion design; it also lies close to Italy's densest collection of automobile-assembly plants, rubber and textile factories, and chemical plants. Milan also boasts La Scala, one of Europe's most prestigious opera houses, and a major commercial university (the alma mater of most of Italy's corporate presidents). In addition, it's the site of several world-renowned annual trade fairs.
With unashamed capitalistic style, Milan has purchased more art than it has produced and has attracted an energetic group of creative intellects. To make it in Milan, in either business or the arts, is to have made it to the top of the pecking order. If you came to Italy to find sunny piazzas and lazy bright afternoons, you won't find them amid the fogs and rains of Milan. You will, however, have placed your finger on the pulse of modern Italy.
Airports
Milan has three airports: the Aeroporto di Linate (LIN), 7km (4 1/4 miles) east of the inner city; the Aeroporto Malpensa(MXP), 50km (31 miles) northwest; and Malpensa 2000, 4km (2 1/2 miles) north of the old Malpensa. Malpensa and Malpensa 2000 are used for most transatlantic flights, whereas Linate is used for flights within Italy and Europe. For general airport and flight information, call tel. 02-74852200.
Upon arriving to the airport, you can readily take an express trains that will take you to a main subway terminal - Cadorna. Malpensa Express trains will whisk arrivals from either Malpensa airport to the Cadorna station in the heart of Milan in about 45 minutes. They run every 30 minutes daily 5:30am to 8pm, and every hour from 9pm to midnight. A one-way ticket costs 9€ for adults and 5€ for children 4 to 12 years old. Alitalia passengers ride the Malpensa Express free.
Buses run between Linate and the Centrale station every 30 minutes daily 6am to 11pm. A bus (no. 73) also runs between Piazza San Babila and Linate airport every 20 minutes daily from 5:35am to 12:30am. Buses run from Malpensa and Malpensa 2000 to Stazione Centrale daily every 30 to 45 minutes, costing 5.05€ one way. For information about buses to and from the airports, call tel. 800016857. This is much cheaper than taking a taxi, which could run you a whopping 75€.
Rail
Milan is serviced by the finest rail connections in Italy. The main rail station for arrivals is Mussolini's mammoth Stazione Centrale, Piazza Duca d'Aosta (tel. 892021 toll-free in Italy), where you'll find the National Railways information office open daily 7am to 9:30pm. One train per hour arrives from both Genoa and Turin (trip time: 1 1/2-2 hr.), costing 12€ one way. Twenty-five trains arrive daily from Venice (trip time: 3 hr.), costing 19€, and one train per hour arrives from Florence (trip time: 2 1/2 hr.), costing 27€ to 41€ one way. Trains from Rome arrive every hour, taking 5 hours for the journey and costing 44€ one way. The station is directly northeast of the heart of town; trams, buses, and the Metro link the station to Piazza del Duomo in the very center.
For easy and English Language schedule and fares visit the Tren italia Website. If you are traveling within Italy by train (as we did) I recommend you order your train tickets from home. I also advise to pay the few extra Euros for a 1st class seat.
Getting Around
Money
- Don't take a large sum of money with you . If you do, put it in an easily controlled pocket (for example the front one). Pay particular attention if you are in a crowd and on public transport.
- When you walk, keep the bag to the side where there is a wall, if possible.
- If you believe you have attracted the attention of suspicious-looking people, stop at a commercial business and ask for the assistance of the Police Force.
- Do not trust people offering you unsolicited information: they may be malicious or dishonest.
- Avoid gypsies with cardboard trays or newspapers: they use them for pick pocketing.
- You'd better not go alone to cash money from the ATM: pay attention to those who are near and around you or glance over what you are doing.
- Try not to walk alone at night, especially in the less central areas.
- If you have come to Milan by car, make sure that the safety catches are closed while you are driving and especially when you stop at traffic lights.
- In the underground crossing, join other passengers, do not stay behind and do not stop to listen to anyone offering you a bargain and/or proposing to be your guide.
Metro
The subway system is extensive and efficient, covering most of Milan; in addition, there are buses and trams, making it fairly easy to navigate. Regular tickets cost 1€ and are sold at Metro stations and newsstands. Some subway tickets are good for continuing trips on city buses at no extra charge, but they must be used within 75 minutes of purchase. You must stamp your ticket when you board a bus or tram, or risk incurring a fine. The tourist office and all subway ticket offices sell a travel pass for 3€ for 1 day, or 5.50€ for 2 days, good for unlimited use on the city's tram, bus, and subway network. For information phone toll free 800-80-81-81.
To phone a taxi, dial tel. 02-4040, 02-8585, or 02-4000; fares start at 2.50€, with a nighttime surcharge of 3€.
Don't try to drive within the relatively small Cerchia dei Navigli, where all the major attractions are located. It's easy to walk to everything in this area.
Visitor Information -- The Azienda di Promozione Turistica del Milanese, on Piazza del Duomo at Via Marconi 1 (tel. 02-72524301), is open Monday to Friday 8:30am to 8pm, Saturday 9am to 1pm and 2 to 7pm, and Sunday 9am to 1pm and 2 to 6pm in summer (it closes 1 hr. early in winter). There's also a branch at Stazione Centrale (tel. 02-72524360), open Monday to Saturday 9am to 6:30pm, and Sunday 9am to 12:30pm and 1:30 to 6pm
Things to see
- Basilica di San Ambrogio Piazza San Ambrogio 15, Milano. 02-86450895 Metro: San Ambrogio. Basilica Mon-Sat 7am-noon and 2:30-7pm; Sun 7am-7:45pm. Museum Tues-Sun 10am-noon and 3-5pm; Sun 3-5pm. Free admission to basilica; 2€ to museum. From the basilica that he constructed on this site in the 4th century A.D. -- when he was bishop of Milan and when the city, in turn, was briefly the capital of the western Roman Empire -- St. Ambrose had a profound effect on the development of the early church. Little remains of Ambrose's original church, but the 11th-century structure built in its place and renovated many times since is remarkable. It has a striking atrium, lined with columned porticos and opening to the brick facade, with two ranks of loggias and, on either side, a bell tower. Look carefully at the door on the left, where you'll see a relief of St. Ambrose. This church set a standard for Lombard Romanesque architecture that you'll see imitated many times in your travels throughout the region. In the apse are interesting mosaics from the 12th century. The Lombard tower at the side dates from 1128, and the facade, with its two tiers of arches, is impressive. In the church is the Museo della Basilica di San Ambrogio, which contains some frescoes, 15th-century wood paneling, silver and gold objects originally for the altar, paintings, sculpture, and Flemish tapestries
- Brera Picture Gallery (Pinacoteca di Brera) Via Brera 28, Milano. 02-72263229. Metro: Lanza, or Montenapoleone Tues-Sun 8:30am-7:30pm. Admission 6.20€. This is one of Italy's finest galleries, boasting an exceptional collection of works by both Lombard and Venetian masters. Like a Roman emperor, Canova's nude Napoleon, with a toga draped over his shoulder, stands in the courtyard (fittingly, a similar statue ended up in the duke of Wellington's house in London). Among the notable pieces, the Pietà, by Lorenzo Lotto, is a work of great beauty, as is Gentile Bellini's St. Mark Preaching in Alexandria (it was finished by his brother, Giovanni). Seek out Andrea Mantegna's Virgin and the Cherubs, from the Venetian school, and Tintoretto's eerie Finding of the Body of St. Mark. Three of the most important prizes are Mantegna's Dead Christ, Giovanni Bellini's La Pietà, and Carpaccio's St. Stephen Debating. Other paintings include Titian's St. Jerome, as well as such Lombard art as Bernardino Luini's Virgin of the Rose Bush and Andrea Solario's Portrait of a Gentleman. One of the greatest panels is Piero della Francesca's Virgin and Child Enthroned with Saints and Angels and the Kneeling Duke of Urbino in Armor. Another work to seek out is the Christ by Bramante. One wing, devoted to modern art, offers works by such artists as Boccioni, Carrà, and Morandi. One of our favorite paintings in the gallery is Raphael's Wedding of the Madonna, which has a dance like quality. The moving Last Supper at Emmaus is by Caravaggio.
- Castello Sforzesco Piazza Castello. 02-88463703 Metro: Cairoli. Free admission. Tues-Sun 9am-5:30pm. The Castle Sforzesco is an ancient fortress rebuilt by Francesco Sforza, who launched another governing dynasty. It's believed that both Bramante and Leonardo contributed architectural ideas to the fortress. Renaissance Milan in all its glory, this castle was constructed by Francesco Sforza as his residence and fortress in 1450. Much loved by the Sforza family, especially Galeazzo Maria Sforza and Ludovico il Moro who added many decorative features to the castle. After its abandon, the castle nearly became victim to an urbanization scheme calling for its demolition - luckily the plan was defeated and the castle restored by Luigi Beltrami, at the turn of this century. The castle houses many museums and collections.
- Civic Gallery of Modern Art (Galleria Civica d'Arte Moderna) Via Palestro 16, In the Villa Reale (Villa Comunale). 02-76002819. Metro: Palestro This sumptuous palace (the site of many local weddings) houses an important collection of late-19th-century and early-20th-century art, mostly from 1850 to 1918. The palace was built from 1790 to 1793 by noted architect Leopold Pollack and served as the Milanese home of both Napoleon and Eugàne de Beauharnais (son of Josephine from her 1st marriage). The exhibit space is divided into three collections (the Carlo Grassi, the Vismara, and the Marino Marini), all showing the development of Impressionism and modernism in the Italian, and especially the Lombard, school of painting. Major emphasis is given to the works of Marino Marini, a 20th-century sculptor. Other represented artists include Picasso, Matisse, Rouault, Renoir, Modigliani, Corot, Millet, Manet, Cézanne, Bonnard, and Gauguin.
- Galleria Vittorio Emanuele Two intersecting streets make a cruciform plan with domed octagon at center. Glass-roofed arcade with shops and cafes - an early formal covered street. The 640-foot-long north/south axis of its cruciform plan links the secular Piazza della Scala on the north to the spiritual Piazza della Duomo on the south. In 1877, a triumphal arch was added to the southern end of this cruciform gallery, thereby formally terminating this covered urban link between the opera house and the cathedral. The iconography of the inlaid mosaic concourse and the painted pendentives of the 164-foot octagonal dome, raised over the crossing, represents the union of church and state which first came into being with the triumphant nationalist revolution of 1848.
- Il Duomo & Baptistry Piazza del Duomo, Metro: Duomo. 02-86463456. Cathedral daily 6:45am-6:50pm. Roof daily 9am-5:30pm. Crypt daily 9am-noon and 2:30-6pm. Baptistry Tues-Sun 9:30am-5pm. Cathedral free admission; roof via stairs 3.50€, roof via elevator 5€; crypt free; baptistry 1.50€. Milan's impressive lacy Gothic cathedral, 146m (479 ft.) long and 87m (284 ft.) wide at the transepts, ranks with St. Peter's in Rome and the cathedral at Seville, Spain, as among the world's largest. It was begun in 1386 and has seen numerous architects and builders (even Milan's conqueror, Napoleon, added his ideas to the facade). This imposing structure of marble is the grandest and most flamboyant example of the Gothic style in Italy. Ethereal and colossal, its exterior is a wonder to behold, with its belfries, statues, gables, and pinnacles. Built in the shape of a Latin cross, the Duomo's interior is divided by soaring pillars into five naves. The overall effect is like a marble-floored Grand Central Terminal (that is, in space), with far greater dramatic intensity. In the crypt rests the tomb of San Carlo Borromeo, the cardinal of Milan. To experience the Duomo at its most majestic, you must ascend to the roof or visita ai terrazzo, on which you can walk through a forest of pinnacles, turrets, and marble statuary. Alfred, Lord Tennyson, rhapsodized about the panorama of the Alps as seen from this roof. A gilded Madonna towers over the tallest spire. If you're really interested in antiquity, you might want to explore the Baptistry (Battistero Paleocristiano), which you enter through the cathedral. This is a subterranean ruin lying beneath the cathedral's piazza that dates from the 4th century. It's believed that this is the site where Ambrose, the first bishop and the patron saint of the city, baptized Augustine.
- Leonardo da Vinci National Museum of Science & Technology (Museo Nazionale della Scienza e della Tecnica Leonardo da Vinci) Via San Vittore 21, Milano. 02-485551 Metro: San Ambrogio. Bus: 50, 54, 58, or 94. Tues-Fri 9:30am-5pm; Sat-Sun 9:30am-6:30pm. If you're a fan of Leonardo da Vinci, you'll want to visit this vast museum complex, where you could spend practically a week. For the average visitor, the most interesting section is the Leonardo da Vinci Gallery, which displays copies and models from the Renaissance genius. There's a reconstructed convent pharmacy, a monastic cell, and collections of antique carriages and even sewing machines. You'll also see exhibits relating to astronomy, telecommunications, watch making, goldsmith, motion pictures, and the subjects of classic physics.
- Museo Poldi-Pezzoli Via Manzoni 12, Milano. 02-794889. Metro: Duomo or Montenapoleone. Tues-Sun 10am-6pm. Closed Jan 1, Easter, Apr 25, May 1, Aug 15, Nov 1, and Dec 8. Admission 6€. This fabulous museum displays its treasures in a sumptuous, elegant salon setting of antique furnishings, tapestries, frescoes, and Lombard wood carvings (it's much like visiting the Frick Collection in New York or the Isabella Stewart Gardner Museum in Boston). The remarkable collection includes paintings by many of the old masters of northern and central Italy, such as Andrea Mantegna's Madonna and Child, Giovanni Bellini's Cristo Morto, and Filippo Lippi's Madonna, Angels, and Saints (with superb composition). Antonio Pollaiolo's Portrait of a Lady is a gorgeous portrait of haunting originality. One room is devoted to Flemish artists, and there's a collection of ceramics and also one of clocks and watches.
- Santa Maria delle Grazie & The Last Supper Piazza Santa Maria delle Grazie (off Corso Magenta), Milano. 02-4987588 Metro: Cadorna or Conciliazione. Church Mon-Sat 7:30am-noon and 3-7pm; Sun 3:30-6:30pm. The Last Supper viewing Tues-Sat 9am-6:15pm; Sun 9am-7:15pm. Reservations required for The Last Supper; call Mon-Sat 8am-7pm and leave your name. This Gothic church was erected by the Dominicans in the mid-15th century, and a number of its more outstanding features, such as the cupola, were designed by the great Bramante. But visitors from all over the world flock here to gaze on a mural in the convent next door. In what was once a refectory, the incomparable Leonardo da Vinci adorned one wall with The Last Supper (Il Cenacolo Vinciano). Commissioned by Ludovico the Moor, the 8.5m-by-4.5m (28-ft.-by-15-ft.) mural was finished about 1497; it began to disintegrate almost immediately and was totally repainted in the 1700s and the 1800s. Its gradual erosion makes for one of the most intriguing stories in art. In 1943, it narrowly escaped being bombed, but the bomb demolished the roof; astonishingly, the painting was exposed to the elements for 3 years before a new roof was built. The current restoration has been controversial, drawing fire from some art critics (as has the Sistine Chapel restoration). The chief restorer of The Last Supper, Pinin Brambilla Barcilon, said that the Sistine Chapel was a "simple window wash" compared with the Leonardo. It has been suggested that all that's really left of the original Last Supper is a "few isolated streaks of fading color" -- that everything else is the application and color of artists and restorers who followed. What remains, however, is Leonardo's "outline," and even that is suffering badly. As an Italian newspaper writer put it: "If you want to see Il Cenacolo, don't walk -- run!" A painting of grandeur, the composition portrays Christ at the moment he announces to his shocked apostles that one of them will betray him. Vasari called the portrait of Judas "a study in perfidy and wickedness." Only 25 viewers are admitted at a time (be prepared to wait in line), and you're required to pass through antechambers to remove pollutants from your body. After viewing the painting, for 15 minutes only, you must walk through two additional filtration chambers as you exit.
- La Scala Largo Ghiringhelli 1, p.zza Scala, 20121 Milano. Tel. 02-4691249. The Teatro alla Scala was founded, under the auspices of the Empress Maria Theresa of Austria, to replace the Royal Ducal Theatre, which was destroyed by fire on 26 February 1776 and had until then been the home of opera in Milan. The cost of building the new theatre was borne by the owners of the boxes at the Ducal, in exchange for possession of the land on which stood the church of Santa Maria alla Scala (hence the name) and for renewed ownership of their boxes.
Designed by the great neoclassical architect Giuseppe Piermarini, La Scala opened on 3 August 1778 with Antonio Salieri's opera L'Europa riconosciuta, to a libretto by Mattia Verazi. On December 7, 2004 on the reopening of the Piermarini auditorium, the Museo Teatrale alla Scala returns to its historical seat at the former Casino Ricordi, lateral side of the Theatre. If you arte going to be in Milan for a prolonged visit, use this website to order tickets. They always go fast and the scalpers are very expensive.
- Museum of Ancient Art (Museo d'Arte Antica) In the Castello Sforzesco, Piazza Castello. 02-88463703 Metro: Cairoli. Free admission. Tues-Sun 9am-5:30pm. The Castle Sforzesco is an ancient fortress rebuilt by Francesco Sforza, who launched another governing dynasty. It's believed that both Bramante and Leonardo contributed architectural ideas to the fortress. Following extensive World War II bombings, it was painstakingly restored and continues its activity as a Museum of Ancient Art. On the ground floor are sculptures from the 4th century A.D., medieval art mostly from Lombardy, and armor. The most outstanding exhibit, however, is Michelangelo's Rondanini Pietà, on which he was working the week he died. In the rooms upstairs, besides a good collection of ceramics, antiques, and bronzes, is the important picture gallery, rich in paintings from the 14th to the 18th century. Included are works by Lorenzo Veneziano, Mantegna, Lippi, Bellini, Crivelli, Foppa, Bergognone, Cesare da Sesto, Lotto, Tintoretto, Cerano, Procaccini, Morazzone, Guardi, and Tiepolo.
The Scene
Despite the odd bout of finger wagging from the Vatican, Italy has long been notably free of anti-gay legislation. In the first half of this century, life was cheap, attitudes were relaxed, and boys were both. Today, the spread of affluence has broken the traditional link between poverty and sexual availability, although off-duty national servicemen have sometimes been known to turn wrist-engineers for a small fee.
Milan's gay venues open and close at an alarming rate, so a phone call to check the bar still exists is a good idea before you slip into something sexy. We recommend you check with Clubbing Magazine for the latest in Milan's scene.
Associations & Publications
- Ass. Solidarieta AIDS Via Arena 23, Milan. Tel: 02/58196490.
- A.T.OMO c/o Giulio Palastro, Via P. Fornari, 16, 20146 MILAN. Tel: +39 340 8992896 (Luca Galati). Email Association of Homosexual Tennis Players is a gay & lesbian group with people coming from Milan and surroundings sharing the same passion for tennis.
- C.I.G. Arcigay Milano Via Bezzecca 3, 20135 Milano. Tel. 0254122225. Email
- Clubbing Magazine via Sammartini, 23, 21125 Milano. tel/fax 02.66712680. Email Monthly magazine distributed free at most gay establishments
- COMOG Coordinamento Moto Gay e Lesbico Email
- GATE Volley Gay Volleyball Team. Tel: +39.338.220.93.51. Email
- Gay Milan Web portal & chat room
- Gay TV Web portal Email
- Gruppo Pesce cell 340 5246398
- Hello Milano Art’Idea srl, Via Lecco 3, 20124 Milano. Tel: Tel. +39 02 29520570. Email Free guide published by the city of Milano and is available at all the tourist offices and over 350 pick up points in Milan. Provides a great source of information of current events (in several languages). Pick one up on your first day in town to find out all that milan has to offer.
- Nuova Kaos Milano Tel: Klaus +39-339-3882163. Gay soccer-team. Email.
- SCI.G gay skiers and snow boarders Email cell 328 9051559
- ViBoys Gay web portal and chat room. Email
Dining
We found that much to our surprise the Northern Italians eat much like the Americans. Most reservations were for 7pm and most kitchens closed by 10pm. we tended to have lunch at cafe's like Bar Castello. We only ate at Gargantua (which we recommend highly) and L’incontro which not only had great food, but owner Fiorenzo made our meals unforgettable.
Shopping
The Golden Triangle -- We recently met a well-heeled shopper from Florida who spent the better part of her vacation in Italy shopping for what she called "the most unbelievable variety of shoes, clothes, and accessories in the world." A walk on the fashion subculture's focal point, Via Montenapoleone, heart of the "Golden Triangle," will quickly confirm that impression. It's one of Italy's three great shopping streets. But expect high prices and service that's based on the salesperson's impression of how much money you plan to spend.
Corso Buenos Aires -- Bargain hunters leave the Golden Triangle and head for a mile-long stretch of Corso Buenos Aires, where you can find style at more affordable prices. Start off at Piazza Oberdan, the square closest to the heart of Milan. Clothing abounds on Corso Buenos Aires, especially casual wear and knockoffs of designer goods. But you'll find a vast array of merchandise, from scuba-diving equipment to soft luggage. Saturdays are unbelievably crowded here.
The Brera District -- You'll find more bargains in the Brera, the name given to a sprawling shopping district around the Brera Museum. This area is far more attractive than Corso Buenos Aires and has often been compared to New York's Greenwich Village because of its cafes, shops, antiques stores, and art students. Skip the main street, Via Brera, and concentrate on the side streets, especially Via Solferino, Via Madonnina, and Via Fiori Chiari. To get here, start by the La Scala opera house and continue to walk along Via Verdi, which becomes Via Brera. Running off from Via Brera to the left is the pedestrian-only Via Fiori Chiari, good for bric-a-brac and even some fine Art Deco and Art Nouveau pieces. Via Fiori Chiari will lead to another traffic-free street, Via Madonnina, which has some excellent clothing and leather-goods buys. Via Madonnina connects with busy Corso Garibaldi. This will take you to Via Solferino, the third-best shopping street. In addition to traditional clothing and styling, a lot of eye-catching but eccentric modern clothing is sold here. Don't miss the opulent Galleria Vittorio Emanuele, built in 1865 and still one of the centers of Milanese shopping. The mall is topped with a glass roof and cupola, and the floor is covered with mosaics. Even if you can't afford the prices in the boutique shops, it's well worth stopping off here at around five o'clock to sip a cappuccino and watch the heading home from work.
The best time to visit the Brera area is for the Mercantone dell'Antiquariato, which takes place on the third Saturday of each month (it's especially hectic at Christmas time) along Via Brera in the shadow of La Scala. Artists and designers, along with antiques dealers and bric-a-brac peddlers, turn out in droves.
Florence, or Firenze, is one of Italy's "big three" tourist destinations, along with Venice and Rome. Its great churches, world-class art museums, fine shopping, and role as the gateway to Tuscany make it even more popular now than it was when writers like Elizabeth Barrett Browning, E.M. Forster, and Henry James made the city irresistible to English-speaking tourists.
Don't try to do Florence in one day--allow at least several days, especially if you're interested in visiting the major churches and touring the Accademia and Uffizi Galleries.
Mary McCarthy famously described Florence (Firenze) as a "City of Stone." This assessment digs deeper than merely the fact that the buildings, streets, doorjambs, sidewalks, windowsills, towers, and bridges are all cobbled together in shades of gray, stern rock hewn by generations of the stonecutters Michelangelo grew up with. Florence's stoniness is evident in both its countenance and its character. Florentines often seem more serious and slower to warm to strangers than the stereotypical Italians. The city's fundamental rhythms are medieval, and it's fiendishly difficult to get beyond the touristy surface and see what really makes Florence tick. Although the historic center is compact, it takes time and effort to get to know it personally, get the hang of its alleys, and understand the deep history of its palace-lined streets.
Airport
By Plane -- Several European airlines are now servicing Florence's expanded Amerigo Vespucci Airport (FLR) (tel. 055-30-615 for the switchboard or 055-373-498 for flight updates; 055-306-1700 for national flight info, 055-306-1702 for international flight info; also called Peretola (FLR), just 5km (3 miles) northwest of town. There are no direct flights to or from the United States, but you can make easy connections through London, Paris, Amsterdam, Frankfurt, and other major European cities. The regularly scheduled city bus 62 connects the airport with Piazza della Stazione downtown, taking about 30 minutes and costing 1€ ($1.15). Rather more expensive (4€/$4.60) but without the local stops is the half-hourly SITA bus to/from downtown's bus station at Via Santa Caterina 15r (tel. 055-214-721, 800-424-500, or 800-373-760), behind the train station. Metered taxis line up outside the airport's arrival terminal and charge a flat, official rate of 15€ ($17) to the city center.
Train
By Train -- Florence is Tuscany's rail hub, with connections to all the region's major cities. To get here from Rome, you can take the Pendolino (four daily, 1 3/4 hr.; make sure it's going to Santa Maria Novella station, not Rifredi; you must reserve tickets ahead), an EC or IC train (24 daily, just under 2 hr.), or an interregionale (seven daily, around 3 hr.). There are also about 16 trains daily from Milan (3 hr.) through Bologna (1 hr.). We choshis way to come to the city (from Venice). We recommend you book your train ticket from the USA by going to Tren Italia's Website.
Most Florence-bound trains roll into the Stazione Santa Maria Novella, Piazza della Stazione (tel. 800-888-088 toll-free in Italy, or 055-288-765; which you'll often see abbreviated as S.M.N. The station is on the northwestern edge of the city's compact historic center, a 10-minute walk from the Duomo and a 15-minute walk from Piazza della Signoria and the Uffizi. There are loads of budget hotels immediately east of there around Via Faenza and Via Fiume.
With your back to the tracks, toward the station's left exit (across from track 16) and next to a 24-hour pharmacy you'll find a tiny tourist info office open daily from 8:30am to 9pm, with a hotel-booking service (charging 2.30€-8€/$2.65-$9.20). The train information office is near the opposite exit to your right, across from Track 5. The yellow posters on the wall inside the anteroom list all train times and routes for this and other major Italian stations. Another copy of the Florence poster is just inside the sliding glass doors of the second, main room. For personalized help, you have to take a number from the color-coded machine (pink is for train information) and wait your turn -- often for more than an hour.
Back at the head of the tracks, the ticketing room (Salone Biglietti) is located through the central doors; at sportelli (windows) 9 to 18 you can buy ordinary unreserved train tickets. The automatic ticket machines were installed mainly to taunt us and rarely work. Around the corner from this bank of ticket windows is a smaller room where you can buy international tickets (window 7), make reservations for high-speed and overnight trains (windows 1-4), or pay for a spot on the Pendolino/ETR express to Milan, Bologna, or Rome (window 5).
At the head of Track 16 is a 24-hour luggage depot where you can drop your bags (2.60€/$3 per piece for 12 hr.) while you search for a hotel.
Exit out to the left coming off the tracks and you'll find many bus lines as well as stairs down to the underground pedestrian underpass which leads directly to Piazza dell'Unità Italiana and saves you from the traffic of the station's piazza.
Note that some trains stop at the outlying Stazione Campo di Marte or Stazione Rifredi, both of which are worth avoiding. Although there's 24-hour bus service between these satellite stations and S.M.N., departures aren't always frequent and taxi service is erratic and expensive.
Stamp Your Ticket -- Remember, if you're leaving Florence on the train, stamp your ticket in the yellow box at the start of the track before getting on the train.
General Info
Tourist Offices -- The city's largest Tourist Office is at Via Cavour 1r (tel. 055-290-832; fax 055-276-0383, about 3 blocks north of the Duomo. Outrageously, they now charge for basic, useful info: .50€ (60¢) for a city map (though there's still a free one that differs only in lacking relatively inane brief descriptions of the museums and sights), 2€ ($2.30) for a little guide to museums, and 1€ ($1.15) each for pamphlets on the bridges and the piazze of Florence. The monthly Informacittà pamphlet on events, exhibits, and concerts is still free. It's open Monday through Saturday from 8:30am to 6:30pm and Sunday from 8:30am to 1:30pm.
At the head of the tracks in Stazione Santa Maria Novella is a tiny info office with some maps and a hotel-booking service, open Monday through Saturday from 9am to 9pm (to 8pm Nov-Mar), but the station's main tourist office (tel. 055-212-245) is outside at Piazza della Stazione 4. With your back to the tracks, take the left exit, cross onto the concrete median, and turn right; it's about 100 feet ahead. The office is usually open Monday through Saturday from 8:30am to 7pm (often to 1:30pm in winter) and Sunday 8:30am to 1:30pm.
Another office sits on an obscure side street south of Piazza Santa Croce, Borgo Santa Croce 29r (tel. 055-234-0444), open Monday through Saturday from 9am to 7pm and Sunday 9am to 2pm.
Publications
At the tourist offices, pick up the free monthly Informacittà. The bilingual Concierge Information Magazine, free from the front desks of top hotels, contains a monthly calendar of events and details on attractions. Firenze Spettacolo, a 1.55€ ($1.80) Italian-language monthly sold at most newsstands, is the most detailed and up-to-date listing of nightlife, arts, and entertainment.
Websites
The official Florence Information Website contains a wealth of up-to-date information on Florence and its province, including a searchable hotels form allowing you to specify amenities, categories, and the like.
Firenze By Net, or the English version of Firenze.Net, and FlorenceOnLine are all Italy-based websites with English translations and good general information on Florence. The site for Concierge Information is an excellent little guide to this month's events, exhibits, concerts, and theater. Other site worth checking out is Your Way to Florence.
Florence's "City Code" -- What used to be Florence's city code of 055 is now an integral part of every phone number. You must now always dial it -- including the initial zero -- even
Internet
Internet Access To check or send e-mail, head to the now massive Internet Train, with 15 locations in Florence including their very first shop at Via dell'Oriuolo 25r, 3 blocks from the Duomo (tel. 055-263-8968); Via Guelfa 24a, near the train station (tel. 055-214-794); Borgo San Jacopo 30r, in the Oltrarno (tel. 055-265-7935), and in the underground tunnel from the train station towards town (tel. 055-239-9720). Actually, there are now 126 offices across Italy (36 in Tuscany, 4 in Umbria -- in Perugia and Orvieto), and the magnetic access card you buy is good at all of them, making plugging in throughout your journey that much easier. Access is 4€ ($4.60) per hour, or 1€ ($1.15) for 10 minutes; they also provide printing, scanning, Webcam, and fax services, plus others (bike rental, international shipping, 24-hr. film developing) at some offices. Open hours vary, but run at least daily from 9am to 8:30pm, often later.
Things to see:
Florence is the Renaissance city -- home to Michelangelo's David, Botticelli's Birth of Venus, and Raphael's Madonnas. It's where Fra' Angelico painted delicate Annunciations in bright primary colors and Giotto frescoed monks wailing over the Death of St. Francis. The city is so dense in art, history, and culture that even a short visit can wear out the best of us. Take a hint from that great pragmatist Mark Twain, who, after acknowledging the genius of Michelangelo, said "I do not want Michelangelo for breakfast -- for luncheon -- for dinner -- for tea -- for supper -- for between meals. I like a change occasionally."
Don't necessarily pass up the Uffizi or take a rain check on David and the Accademia, but do take the time to enjoy the simple pleasures of Florence -- wander the medieval streets in Dante's old neighborhood, sip a cappuccino on Piazza della Signoria and people-watch, haggle for a leather jacket at the street market around San Lorenzo, or immerse yourself in the greenery of the Boboli Gardens.
The Best Times to Sightsee -- Museums Open on Mondays: Palazzo Vecchio, Museo Bardini, Museo di Firenze Com'Era, Museo di Santa Maria Novella, Casa Buonarroti, Casa di Dante, Opera di Santa Croce, Museo dell'Opera del Duomo, Campanile di Giotto, Duomo's cupola, Opificio Pietre Dure, Museo Stibbert, Instituto e Museo di Storia di Scienza, Palazzo Medici-Riccardi, Museo Horne, Cappella Brancacci, Synagogue, Spedale degli Innocenti, Roman Amphitheater, and Museo Archeologico (Fiesole).
Sights Open During Il Riposo (1-4pm): Uffizi, Accademia, Palazzo Vecchio, Duomo and its cupola, Museo dell'Opera del Duomo, Campanile di Giotto, Baptistery, Palazzo Vecchio, Santa Croce, Galleria Palatina (Pitti Palace), Forte di Belvedere and Boboli Gardens, Cappella Brancacci, Roman Amphitheater, and Museo Archeologico (Fiesole).
Catching Calcio Fever -- To Italians, calcio (soccer) is something akin to a second religion. You don't know what a "fan" is until you've attended a soccer match in a country like Italy, and an afternoon at the football stadium can offer you as much insight (if not more) into Italian culture as a day in the Uffizi. Catch the local team, the Fiorentina, Sundays September through May at the Stadio Comunale, Via Manfredi Fanti 4 (tel. 055-262-5537 or 055-50-721. Tickets go on sale at the stadium box office 3 hours before each game.
Parks & Gardens -- Florence's best park is the Medici grand dukes' old backyard to the Pitti Palace, the Giardino Boboli. Less scenic, but free and more jogger-friendly, is the Parco della Cascine along the Arno at the west end of the historic center. Originally a wild delta of land where the Arno and Mugnone rivers met, the area later became a Medici hunting reserve and eventually a pasture for the grand duke's milk cows. Today, the Cascine is home to tennis courts, pools, a horse racetrack, and some odd late-18th- and early-19th-century features like an incongruous pyramid and funky neoclassical fountains. There's a flea market here every Tuesday morning. Though perfectly safe in the daylight, this park becomes a den of thieves and a hangout for heroin addicts after dark, as do most sections of the Arno's banks, so steer clear.
- Piazza della Signoria When the medieval Guelf party finally came out on top of the Ghibellines, they razed part of the old city center to build a new palace for civic government. It's said the Guelfs ordered architect Arnolfo di Cambio to build what we now call the Palazzo Vecchio in the corner of this space, but to be careful that not one inch of the building sat on the cursed former Ghibelline land. This odd legend was probably fabricated to explain Arnolfo's quirky off-center architecture. The space around the palazzo became the new civic center of town, the L-shaped Piazza della Signoria, named after the oligarchic ruling body of the medieval city. Today, it's an outdoor sculpture gallery, teeming with tourists, postcard stands, horses and buggies, and outdoor cafes. The statuary on the piazza is particularly beautiful, starting on the far left (as you're facing the Palazzo Vecchio) with Giambologna's equestrian statue of Grand Duke Cosimo I (1594). To its right is one of Florence's favorite sculptures to hate, the Fontana del Nettuno (Neptune Fountain; 1560-75), created by Bartolomeo Ammannati as a tribute to Cosimo I's naval ambitions but nicknamed by the Florentines Il Biancone, "Big Whitey." Michelangelo, to whom many a Renaissance quip is attributed, took one look at it and shook his head, moaning "Ammannato, Ammannato, what a beautiful piece of marble you've ruined." The highly mannerist bronzes surrounding the basin are much better, probably because a young Giambologna had a hand in most of them. Note the porphyry plaque set in the ground in front of the fountain. This marks the site where puritanical monk Savonarola held the Bonfire of the Vanities: With his fiery apocalyptic preaching, he whipped the Florentines into a reformist frenzy, and hundreds filed into this piazza, arms loaded with paintings, clothing, and other effects that represented their "decadence." They consigned it all to the flames of a roaring pile. However, after a few years the pope (not amused by Savonarola's criticisms) excommunicated first the monk and then the entire city for supporting him. On May 23, 1498, the Florentines decided they'd had enough of the rabid-dog monk, dragged him and two followers to the torture chamber, pronounced them heretics, and led them into the piazza for one last day of fire and brimstone. In the very spot where they once burnt their luxurious belongings, they put the torch to Savonarola himself. The event is commemorated by an anonymous painting kept in Savonarola's old cell in San Marco and by the plaque here. To the right of the Neptune Fountain is a long, raised platform fronting the Palazzo Vecchio known as the arringheria, from which soapbox speakers would lecture to crowds before them (we get our word "harangue" from this). On its far left corner is a copy (original in the Bargello) of Donatello's Marzocco, symbol of the city, with a Florentine lion resting his raised paw on a shield emblazoned with the city's emblem, the giglio (lily). To its right is another Donatello replica, Judith Beheading Holofernes. Farther down is a man who needs little introduction, Michelangelo's David, a 19th-century copy of the original now in the Accademia. Near enough to David to look truly ugly in comparison is Baccio Bandinelli's Heracles (1534). Poor Bandinelli was trying to copy Michelangelo's muscular male form but ended up making his Heracles merely lumpy. At the piazza's south end, beyond the long U that opens down the Uffizi, is one of the square's earliest and prettiest embellishments, the Loggia dei Lanzi (1376-82), named after the Swiss guard of lancers (lanzi) Cosimo de' Medici stationed here. The airy loggia was probably built on a design by Andrea Orcagna -- spawning another of its many names, the Loggia di Orcagna (another is the Loggia della Signoria). The three huge arches of its simple, harmonious form were way ahead of the times, an architectural style that really belongs to the Renaissance. This open arcade is filled with statuary, though as we go to press much of it is encased in big wooden boxes as they restore the pieces. At the front left corner stands Benvenuto Cellini's masterpiece in bronze, Perseus (1545), holding out the severed Medusa's head before him, restored from 1996 to 2000. On the far right of the loggia has stood Giambologna's Rape of the Sabines , one of the most successful mannerist sculptures in existence, a piece you must walk all the way around to appreciate, catching the action and artistry from different angles. Sadly, once it was boxed up and examined for restoration, authorities determined that the outdoors had wreaked intolerable damage, and the original statue will soon be removed to the Accademia (to take the place of its plaster model long anchoring the museum's first room) with a marble copy to take its place here. Across the piazza, on the north end at no. 5, is the Raccolta della Ragione (tel. 055-283-078), a gallery of mainly late-19th- and 20th-century art with some nice second-story views over the piazza. Usually open Wednesday through Saturday from 9am to 4pm and Sunday from 8am to 1pm, the gallery is temporarily closed.
- Palazzo Pitti & Giardino Boboli (Pitti Palace & Boboli Gardens) -- Though the original, much smaller Pitti Palace was a Renaissance affair probably designed by Filippo Brunelleschi, that palazzo is completely hidden by the enormous mannerist mass we see today. Inside are Florence's most extensive set of museums, including the Galleria Palatina, a huge painting gallery second in town only to the Uffizi, with famous works by Raphael, Andrea del Sarto, Titian, and Rubens. When Luca Pitti died in 1472, Cosimo de' Medici's wife, Eleonora of Toledo, bought this property and unfinished palace to convert into the new Medici home -- she hated the dark, cramped spaces of the family apartments in the Palazzo Vecchio. They hired Bartolomeo Ammannati to enlarge the palazzo, which he did starting in 1560 by creating the courtyard out back, extending the wings out either side, and incorporating a Michelangelo architectural invention, "kneeling windows," on the ground floor of the facade. (Rather than being visually centered between the line of the floor and that of the ceiling, kneeling windows' bases extend lower to be level with the ground or, in the case of upper stories, with whatever architectural element delineates the baseline of that story's 1st level.) Later architects finished the building off by the 19th century, probably to Ammannati's original plans, in the end producing the oversize rustication of its outer walls and overall ground plan that make it one of the masterpieces of Florentine mannerist architecture. The ticket office for the painting gallery -- the main, and for many visitors, most interesting of the Pitti museums -- is off Ammannati's excellent interior courtyard of gold-tinged rusticated rock grafted onto the three classical orders. Galleria Palatina -- If the Uffizi represents mainly the earlier masterpieces collected by the Medici, the Pitti Palace's painting gallery continues the story with the High Renaissance and later eras, a collection gathered by the Medici, and later the Grand Dukes of Lorraine. The works are still displayed in the old-world fashion, which hung paintings according to aesthetics -- how well, say, the Raphael matched the drapes -- rather than that boring academic chronological order. In the first long Galleria delle Statue (Hall of Statues) are an early Peter Paul Rubens's Risen Christ, Caravaggio's Tooth-puller, and a 19th-century tabletop inlaid in pietre dure, an exquisite example of the famous Florentine mosaic craft. The next five rooms made up the Medici's main apartments, frescoed by Pietro da Cortona in the 17th-century baroque style -- they're home to the bulk of the paintings. The Sala di Venere (Venus Room) is named after the neoclassical Venus, which Napoléon had Canova sculpt in 1810 to replace the Medici Venus the Emperor had appropriated for his Paris digs. Four masterpieces by the famed early-16th-century Venetian painter Titian hang on the walls. Art historians still argue whether The Concert was wholly painted by Titian in his early 20s or by Giorgione, in whose circle he moved. However, most now attribute at most the fop on the left to Giorgione and give the rest of the canvas to Titian. There are no such doubts about Titian's Portrait of Julius II, a copy of the physiologically penetrating work by Raphael in London's National Gallery (the version in the Uffizi is a copy Raphael himself made), or the Portrait of a Lady (La Bella). Titian painted the Portrait of Pietro Aretino for the writer/thinker himself, but Aretino didn't understand the innovative styling and accused Titian of not having completed the work. The painter, in a huff, gave it to Cosimo I as a gift. The room also contains Rubens's Return from the Hayfields, famous for its classically harmonious landscape. The Sala di Apollo (Apollo Room) has another masterful early Portrait of an Unknown Gentleman by Titian as well as his sensual, luminously gold Mary Magdalene, the first in a number of takes on the subject the painter was to make throughout his career. There are several works by Andrea del Sarto, whose late Holy Family and especially Deposition display the daring chromatic experiments and highly refined spatial compositions that were to influence his students Pontormo and Rosso Fiorentino as they went about mastering Mannerism. The Sala di Marte (Mars Room) is dominated by Rubens, including the enormous Consequences of War, which an aged Rubens painted for his friend Sustermans at a time when both were worried that their Dutch homeland was on the brink of battle. Rubens's The Four Philosophers is a much more lighthearted work, in which he painted himself at the far left, next to his seated brother Filippo. The star of the Sala di Giove (Jupiter Room) is Raphael's La Velata, one of the crowning achievements of his short career and a summation of what he had learned about color, light, naturalism, and mood. It's probably a portrait of his Roman mistress called La Fornarina, a baker's daughter who sat for many of his Madonnas. Raphael is the focus of the Sala di Saturno (Saturn Room), where the transparent colors of his Madonnas and probing portraits show the strong influence of both Leonardo da Vinci (the Portrait of Maddalena Strozzi Doni owes much to the Mona Lisa) and Raphael's old master Perugino, whose Deposition and a Mary Magdalene hang here as well. The Sala dell'Iliade (Illiad Room) has another Raphael portrait, this time of a Pregnant Woman, along with some more Titian masterpieces. Don't miss Mary Magdalene and Judith, two paintings by one of the only female artists of the late Renaissance era, Artemesia Gentileschi, who often turned to themes of strong biblical women. From here, you enter a series of smaller rooms with smaller paintings. The Sala dell'Educazione di Giove (Room of Jupiter's Education) has two famous works: one a 1608 Sleeping Cupid Caravaggio painted while living in exile from Rome (avoiding murder charges) on the island of Malta; and the other Cristofano Allori's Judith with the Head of Holofernes, a Freudian field day where the artist depicted himself in the severed head, his lover as Judith holding it, and her mother as the maid looking on. Apartamenti Reali -- The other wing of the piano nobile is taken up with the Medici's private apartments, which were reopened in 1993 after being restored to their late-19th-century appearance when the kings of the House of Savoy, rulers of the Unified Italy, used the suites as their Florentine home. The over-the-top sumptuous fabrics, decorative arts furnishings, stuccoes, and frescoes reflect the neo-baroque and Victorian tastes of the Savoy kings. Amid the general interior-decorator flamboyance are some thoroughly appropriate baroque canvases, plus some earlier works by Andrea del Sarto and Caravaggio's Portrait of a Knight of Malta. January through May, you can visit the apartments only by guided tour Tuesday and Saturday (and sometimes Thurs) hourly from 9 to 11am and 3 to 5pm (reserve ahead at tel. 055-238-8614; inquire about admission fees). Galleria D'Arte Moderna -- Modern art isn't what draws most people to the capital of the Renaissance, but the Pitti's collection includes some important works by the 19th-century Tuscan school of art known as the Macchiaioli, who painted a kind of Tuscan Impressionism, concerned with the macchie (marks of color on the canvas and the play of light on the eye). Most of the scenes are of the countryside or peasants working, along with the requisite lot of portraits. Some of the movement's greatest talents are here, including Silvestro Lega, Telemaco Signorini, and Giovanni Fattori, the genius of the group. Don't miss his two white oxen pulling a cart in The Tuscan Maremma. Galleria Del Costume & Museo Degli Argenti -- These aren't the most popular of the Pitti's museums, and the Museo degli Argenti has what seems like miles of the most extravagant and often hideous objets d'art and housewares the Medici and Lorraines could put their hands on. If the collections prove anything, it's that as the Medici became richer and more powerful, their taste declined proportionally. Just be thankful their carriage collection has been closed for years. The Costume Gallery is more interesting. The collections concentrate on the 18th to 20th centuries but also display outfits from back to the 16th century. The dress in which Eleonora of Toledo was buried, made famous by Bronzino's intricate depiction of its velvety embroidered silk and in-sewn pearls on his portrait of her in the Uffizi, is usually on display.
- Giardino Boboli (Boboli Gardens) -- The statue-filled park behind the Pitti Palace is one of the earliest and finest Renaissance gardens, laid out mostly between 1549 and 1656 with box hedges in geometric patterns, groves of ilex, dozens of statues, and rows of cypress. In 1766, it was opened to the Florentine public, who still come here with their families for Sunday-morning strolls. Just above the entrance through the courtyard of the Palazzo Pitti is an oblong amphitheater modeled on Roman circuses. Today, we see in the middle a granite basin from Rome's Baths of Caracalla and an Egyptian obelisk of Ramses II, but in 1589 this was the setting for the wedding reception of Ferdinando de' Medici's marriage to Christine of Lorraine. For the occasion, the Medici commissioned entertainment from Jacopo Peri and Ottavio Rinuccini, who decided to set a classical story entirely to music and called it Dafne -- the world's first opera. (Later, they wrote a follow-up hit Erudice, performed here in 1600; it's the 1st opera whose score has survived.) Around the park, don't miss the rococo Kaffehaus, with bar service in summer, and near the top of the park the Giardino del Cavaliere, the Boboli's prettiest hidden corner -- a tiny walled garden of box hedges with private views over the wooded hills of Florence's outskirts. At the north end of the park, down around the end of the Pitti Palace, are some fake caverns filled with statuary, attempting to invoke some vaguely classical sacred grotto. The most famous, the Grotta Grande, was designed by Giorgio Vasari, Bartolomeo Ammannati, and Bernardo Buontalenti between 1557 and 1593, dripping with phony stalactites and set with replicas of Michelangelo's unfinished Slave statues. (The originals were once placed here before being moved to the Accademia.) All the grottoes are being restored, but you can visit them by appointment by calling tel. 055-218-741. Near the exit to the park is a Florentine postcard fave, the Fontana di Bacco (Bacchus Fountain; 1560), a pudgy dwarf sitting atop a tortoise. It's actually a portrait of Pietro Barbino, Cosimo I's potbellied dwarf court jester. Most tourists visit the Gardenns because they offer the best views of the city. We chose to avoid the castle (for kack of time). Piazza Pitti Galleria Palatina: tel. 055-238-8614; reserve tickets at tel. 055-294-883 admission 6.50€ adults, 3.25€ children; Easter-Oct Tues-Sat 8:30am-10pm, Sun 8:30am-8pm and winter Tues-Sat 8:30am-6:50pm, Mon 8:30am-1:50pm; last admission 45 minutes before close. Galleria d'Arte Moderna: tel. 055-238-8601; admission 5€ ($5.75) adults, 2.50€ ($2.90) children, cumulative ticket with Galleria del Costume available; daily 8:15am-1:50pm, closed 1st, 3rd, and 5th Mon and 2nd and 4th Sun of each month. Galleria del Costume: tel. 055-238-8713; admission 5€ adults, 2.50€ children, cumulative ticket with Galleria d'Arte Moderna available; daily 8:15am-1:50pm, closed 1st, 3rd, and 5th Mon and 2nd and 4th Sun of each month. Museo degli Argenti: tel. 055-238-8709; admission 4€ adults, 2€ children, cumulative ticket with Giardino Boboli available; Nov-Feb daily 8:15am-4:30pm, March daily 8:15am-5:30pm, April-May and Oct daily 8:15am-6:30pm, and June-Sept daily 8:15am-7:30pm. Giardino Boboli: tel. 055-265-1816; admission 4€ adults, 2€ children, cumulative ticket with Museo degli Argenti available; Nov-Feb daily 8:15am-4:30pm, March daily 8:15am-5:30pm, April-May and Oct daily 8:15am-6:30pm, and June-Sept daily 8:15am-7:30pm. Bus: D, 11, 36, 37, or 68.
- David and the Accademia Though tour-bus crowds flock here just for Michelangelo's David, anyone with more than a day in Florence can take the time to peruse some of the Accademia's paintings as well. The first long hall is devoted to Michelangelo and, though you pass his Slaves and the entrance to the painting gallery, most visitors are immediately drawn down to the far end, a tribune dominated by the most famous sculpture in the world: Michelangelo's David. A hot young sculptor fresh from his success with the Pietà in Rome, Michelangelo offered in 1501 to take on a slab of marble that had already been worked on by another sculptor (who had taken a chunk out of one side before declaring it too strangely shaped to use). The huge slab had been lying around the Duomo's workyards so long it earned a nickname, Il Gigante (the Giant), so it was with a twist of humor that Michelangelo, only 29 years old, finished in 1504 a Goliath-size David for the city. There was originally a vague idea that the statue would become part of the Duomo, but Florence's republican government soon wheeled it down to stand on Piazza della Signoria in front of the Palazzo Vecchio to symbolize the defeated tyranny of the Medici, who had been ousted a decade before (but would return with a vengeance). During a 1527 anti-Medicean siege on the palazzo, a bench thrown at the attackers from one of the windows hit David's left arm, which reportedly came crashing down on a farmer's toe. (A young Giorgio Vasari came scurrying out to gather all the pieces for safekeeping, despite the riot going on around him, and the arm was later reconstituted.) Even the sculpture's 1873 removal to the Accademia to save it from the elements (a copy stands in its place) hasn't kept it entirely safe -- in 1991, a man threw himself on the statue and began hammering at the right foot, dislodging several toes. The foot was repaired, and David's Plexiglas shield went up. The hall leading up to David is lined with perhaps Michelangelo's most fascinating works, the four famous nonfiniti ("unfinished") Slaves, or Prisoners. Like no others, these statues symbolize Michelangelo's theory that sculpture is an "art that takes away superfluous material." The great master saw a true sculpture as something that was already inherent in the stone, and all it needed was a skilled chisel to free it from the extraneous rock. That certainly seems to be the case here, as we get a private glimpse into Michelangelo's working technique: how he began by carving the abdomen and torso, going for the gut of the sculpture and bringing that to life first so it could tell him how the rest should start to take form. Whether he intended the statues to look the way they do now or in fact left them only half done has been debated by art historians to exhaustion. The result, no matter what the sculptor's intentions, is remarkable, a symbol of the master's great art and personal views on craft as his Slaves struggle to break free of their chipped stone prisons. Nearby, in a similar mode, is a statue of St. Matthew (1504-08), which Michelangelo began carving as part of a series of Apostles he was at one point going to complete for the Duomo. (The Pietà at the end of the corridor on the right is by one of Michelangelo's students, not by the master as was once thought.) Off this hall of Slaves is the first wing of the painting gallery, which includes a panel, possibly from a wedding chest, known as the Cassone Adimari, painted by Lo Scheggia in the 1440s. It shows the happy couple's promenade to the Duomo, with the green-and-white marbles of the Baptistery prominent in the background. In the wings off David's tribune are large paintings by Michelangelo's contemporaries, mannerists over whom he had a very strong influence -- they even say Michelangelo provided the original drawing from which Pontormo painted his amorous Venus and Cupid. Off the end of the left wing is a long 19th-century hall crowded wall to wall and stacked floor to ceiling with plaster casts of hundreds of sculptures and busts -- the Accademia, after all, is what it sounds like: an academy for budding young artists, founded in 1784 as an offshoot of the Academy of Art Design that dates from Michelangelo's time (1565). The wait to get in to see David can be up to an hour if you didn't reserve ahead. Try getting there before the museum opens in the morning or an hour or two before closing time.
- Duomo The cathedral square is filled with tourists and caricature artists during the day, strolling crowds in the early evening, and knots of students strumming guitars on the Duomo's steps at night. Though it's always crowded, the piazza's vivacity and the glittering facades of the cathedral and the baptistery doors keep it an eternal Florentine sight. At the corner of the busy pedestrian main drag, Via Calzaiuoli, sits the pretty little Loggia del Bigallo (1351-58). Inside is a small museum of 14th-century works, which is unfortunately almost always closed. Call tel. 055-215-440 if you're interested in trying to make an appointment to get in to see the 1342 Madonna della Misericordia by the school of Bernardo Daddi, which features the earliest known cityscape view of Florence. Note that just south of the Duomo, hidden in the tangle of medieval streets toward Piazza della Signoria, is a 14th-century Florentine house restored and converted into the Casa di Dante (tel. 055-219-416), a small museum chronicling the life and times of the great poet. But, this isn't likely the poet's actual house. The entrance is up the side alley of Via Santa Margherita, and it's open Monday and Wednesday through Saturday from 10am to 6pm (to 4pm in winter) and Sunday from 10am to 2pm. Admission has nearly tripled this year to a ludicrous 6.50€ , so only diehard fans should bother Duomo (Cathedral of Santa Maria dei Fiori). For centuries, people have commented that Florence's cathedral is turned inside out, its exterior boasting Brunelleschi's famous dome, Giotto's bell tower, and a festive cladding of white, green, and pink marble, but its interior left spare, almost barren.
By the late 13th century, Florence was feeling peevish: Its archrivals Siena and Pisa sported huge new Duomos filled with art while it was saddled with the tiny 5th- or 6th-century Santa Reparata as a cathedral. So, in 1296, the city hired Arnolfo di Cambio to design a new Duomo, and he began raising the facade and the first few bays before his death in 1302. Work continued under the auspices of the Wool Guild and architects Giotto di Bondone (who concentrated on the bell tower) and Francesco Talenti (who finished up to the drum of the dome and in the process greatly enlarged Arnolfo's original plan). The facade we see today is a neo-Gothic composite designed by Emilio de Fabris and built from 1871 to 1887.
The Duomo's most distinctive feature is its enormous dome, which dominates the skyline and is a symbol of Florence itself. The raising of this dome, the largest in the world in its time, was no mean architectural feat, tackled admirably by Filippo Brunelleschi between 1420 and 1436. You can climb up between the two shells of the cupola for one of the classic panoramas across the city. At the base of the dome, just above the drum, Baccio d'Agnolo began adding a balcony in 1507. One of the eight sides was finished by 1515, when someone asked Michelangelo -- whose artistic opinion was by this time taken as cardinal law -- what he thought of it. The master reportedly scoffed, "It looks like a cricket cage." Work was immediately halted, and to this day the other seven sides remain rough brick. The Duomo was actually built around Santa Reparata so it could remain in business during construction. For more than 70 years, Florentines entered their old church through the freestanding facade of the new one, but in 1370 the original was torn down when the bulk of the Duomo -- except the dome -- was finished. Ever the fiscal conservatives, Florentines started clamoring to see some art as soon as the new facade's front door was completed in the early 1300s -- to be sure their investment would be more beautiful than rival cathedrals. Gaddo Gaddi was commissioned to mosaic an Enthronement of Mary in the lunette above the inside of the main door, and the people were satisfied. The stained-glass windows set in the facade were designed by Lorenzo Ghiberti, and Paolo Uccello, a painter obsessed by the newly developed perspective, frescoed the huge hora italica clock with its four heads of Prophets in 1443. At a right-aisle pier are steps leading down to the excavations of the old Santa Reparata. In 1972, a tomb slab inscribed with the name Filippo Brunelleschi was discovered there (visible through a gate). Unless you're interested in the remains of some ancient Roman houses and parts of the paleo-Christian mosaics from Santa Reparata's floor, the 3€ ($3.45) admission isn't worth it. Against the left-aisle wall are the only frescoes besides the dome in the Duomo. The earlier one to the right is the greenish Memorial to Sir John Hawkwood (1436), an English condottiere (mercenary commander) whose name the Florentines mangled to Giovanni Acuto when they hired him to rough up their enemies. Before he died, or so the story goes, the mercenary asked to have a bronze statue of himself riding his charger to be raised in his honor. Florence solemnly promised to do so, but, in typical tightwad style, after Hawkwood's death the city hired the master of perspective and illusion, Paolo Uccello, to paint an equestrian monument instead -- much cheaper than casting a statue in bronze. Andrea Castagno copied this painting-as-equestrian-statue idea 20 years later when he frescoed a Memorial to Niccolò da Tolentino next to Uccello's work. Near the end of the left aisle is Domenico di Michelino's Dante Explaining the Divine Comedy (1465). In the back left corner of the sanctuary is the New Sacristy. Lorenzo de' Medici was attending Mass in the Duomo one April day in 1478 with his brother Giuliano when they were attacked in the infamous Pazzi Conspiracy. The conspirators, egged on by the pope and led by a member of the Pazzi family, old rivals of the Medici, fell on the brothers at the ringing of the sanctuary bell. Giuliano was murdered on the spot -- his body rent with 19 wounds -- but Lorenzo vaulted over the altar rail and sprinted for safety into the New Sacristy, slamming the bronze doors behind him. Those doors were cast from 1446 to 1467 by Luca della Robbia, his only significant work in the medium. Earlier, Luca had provided a lunette of the Resurrection (1442) in glazed terra cotta over the door, as well as the lunette Ascension over the south sacristy door. The interior of the New Sacristy is filled with beautifully inlaid wood cabinet doors. The frescoes on the interior of the dome were designed by Giorgio Vasari but painted mostly by his less-talented student Frederico Zuccari by 1579. The frescoes were subjected to a thorough cleaning completed in 1996, which many people saw as a waste of restoration lire when so many more important works throughout the city were waiting to be salvaged. The scrubbing did, however, bring out Zuccari's only saving point -- his innovative color palette.
- Palazzo Vecchio Florence's imposing fortresslike town hall was built from 1299 to 1302 on the designs of Arnolfo di Cambio, Gothic master builder of the city. Arnolfo managed to make it solid and impregnable-looking yet still graceful, with thin-columned Gothic windows and two orders of crenellations -- square for the main rampart and swallow-tailed on the 94m- (313-ft.-) high bell tower. The palace was once home to the various Florentine republican governments (and today to the municipal government). Cosimo I and his ducal Medici family moved to the palazzo in 1540 and engaged in massive redecoration. Michelozzo's 1453 courtyard just through the door was left architecturally intact but frescoed by Vasari with scenes of Austrian cities to celebrate the 1565 marriage of Francesco de' Medici and Joanna of Austria. The grand staircase leads up to the Sala dei Cinquecento, named for the 500-man assembly that met here in the pre-Medici days of the Florentine Republic and site of the greatest fresco cycle that ever wasn't. Leonardo da Vinci was commissioned in 1503 to paint one long wall with a battle scene celebrating a famous Florentine victory. He was always trying new methods and materials and decided to mix wax into his pigments. Leonardo had finished painting part of the wall, but it wasn't drying fast enough, so he brought in braziers stoked with hot coals to try to hurry the process. As others watched in horror, the wax in the fresco melted under the intense heat and the colors ran down the walls to puddle on the floor. Michelangelo never even got past making the preparatory drawings for the fresco he was supposed to paint on the opposite wall -- Pope Julius II called him to Rome to paint the Sistine Chapel, and the master's sketches were destroyed by eager young artists who came to study them and took away scraps. Eventually, the bare walls were covered by Vasari and assistants from 1563 to 1565 with blatantly subservient frescoes exalting Cosimo I de' Medici and his dynasty. Off the corner of the room (to the right as you enter) is the Studiolo di Francesco I, a claustrophobic study in which Cosimo's eldest son and heir performed his alchemy and science experiments and where baroque paintings hide secret cupboards. Against the wall of the Sala dei Cinquecento, opposite the door you enter, is Michelangelo's statue of Victory, carved from 1533 to 1534 for the Julius II tomb but later donated to the Medici. Its extreme torsion -- the way the body twists and spirals upward -- was to be a great influence on the mannerist movement. The first series of rooms on the second floor is the Quartiere degli Elementi, again frescoed by Vasari. The Terrazza di Saturno, in the corner, has a view over the Uffizi to the hills across the Arno. Crossing the balcony overlooking the Sala dei Cinquecento, you enter the Apartments of Eleonora di Toledo, decorated for Cosimo's Spanish wife. Her small private chapel is a masterpiece of mid-16th-century painting by Bronzino. Farther on, under the sculpted ceiling of the Sala dei Gigli, are Domenico Ghirlandaio's fresco of St. Zenobius Enthroned with ancient Roman heroes and Donatello's original Judith and Holofernes bronze (1455), one of his last works. During the summer evening hours, the following sections, normally closed, are open: the Loeser Collections, with paintings by Pietro Lorenzetti and Bronzino and sculptures by Tino di Camaino and Jacopo Sansovino, and, perhaps more fun, the outdoor Balustrade running around the roof behind the crenellations -- it offers a unique panorama of the city and the piazza below.
- Ponte Vecchio (Old Bridge) The oldest and most famous bridge across the Arno, the Ponte Vecchio we know today was built in 1345 by Taddeo Gaddi to replace an earlier version. The characteristic overhanging shops have lined the bridge since at least the 12th century. In the 16th century, it was home to butchers until Cosimo I moved into the Palazzo Pitti across the river. He couldn't stand the stench as he crossed the bridge from on high in the Corridorio Vasariano every day, so he evicted the meat cutters and moved in the classier gold- and silversmiths, tradesmen who occupy the bridge to this day. A bust of the most famous Florentine goldsmith, the swashbuckling autobiographer and Perseus sculptor Benvenuto Cellini, stands off to the side of the bridge's center, in a small piazza overlooking the Arno. From this vantage point Mark Twain, spoiled by the Mighty Mississippi, once wryly commented, "It is popular to admire the Arno. It is a great historical creek, with four feet in the channel and some scows floating about. It would be a very plausible river if they would pump some water into it. They call it a river, and they honestly think it is a river . . . They even help out the delusion by building bridges over it. I do not see why they are too good to wade."
The Ponte Vecchio's fame saved it in 1944 from the Nazis, who had orders to blow up all the bridges before retreating out of Florence as Allied forces advanced. They couldn't bring themselves to reduce this span to rubble -- so they blew up the ancient buildings on either end instead to block it off. The Arno flood of 1966 wasn't so discriminating, however, and severely damaged the shops. Apparently, a private night watchman saw the waters rising alarmingly and called many of the goldsmiths at home, who rushed to remove their valuable stock before it was washed away.
- Gallerie degli Uffizi (Uffizi Galleries) The Uffizi is one of the world's great museums, and the single best introduction to Renaissance painting, with works by Giotto, Masaccio, Paolo Uccello, Sandro Botticelli, Leonardo da Vinci, Perugino, Michelangelo, Raphael Sanzio, Titian, Caravaggio, and the list goes on. The museum is deceptively small. What looks like a small stretch of gallery space can easily gobble up half a day -- many rooms suffer the fate of containing nothing but masterpieces. Know before you go that the Uffizi regularly shuts down rooms for crowd-control reasons -- especially in summer, when the bulk of the annual 1.5 million visitors stampedes the place. Of the more than 3,100 artworks in the museum's archives, only about 1,700 are on exhibit. As they restore the building from the 1993 bombing, they're also making new exhibition spaces available, but this process has taken years and we've yet to see these new exhibition spaces (just new ticketing and gift shop areas).
The painting gallery is housed in the structure built to serve as the offices (uffizi is Florentine dialect for uffici, or "offices") of the Medici, commissioned by Cosimo I from Giorgio Vasari in 1560 -- perhaps his greatest architectural work. The painting gallery was started by Cosimo I as well and is now housed in the second-floor rooms that open off a long hall lined with ancient statues and frescoed with grotesques. The first room off to your left after you climb Vasari's monumental stairs (Room 2; Room 1 is perennially closed) presents you with a crash course in the Renaissance's roots. It houses three huge altarpieces by Tuscany's greatest late-13th-century masters. On the right is Cimabue's Santa Trínita Maestà (1280), still very much rooted in the Byzantine traditions that governed painting in the early Middle Ages -- gold-leaf crosshatching in the drapery, an Eastern-style inlaid throne, spoonlike depressions above the noses, highly posed figures, and cloned angels with identical faces stacked up along the sides. On the left is Duccio's Rucellai Maestà (1285), painted by the master who studied with Cimabue and eventually founded the Sienese school of painting. The style is still thoroughly medieval but introduces innovations into the rigid traditions. There's a little more weight to the Child Madonna holds, and the Madonna's face has a more human, somewhat sad, expression.
In the center of the room is Giotto's incredible Ognissanti Maestà (1310), by the man who's generally credited as the founding father of Renaissance painting. It's sometimes hard to appreciate just how much Giotto changed when he junked half the traditions of painting to go his own way. It's mainly in the very simple details, the sorts of things we take for granted in art today, such as the force of gravity, the display of basic emotions, the individual facial expressions, and the figures that look like they have an actual bulky body under their clothes. Giotto's Madonna sways slightly to one side, the fabric of her off-white shirt pulling realistically against her breasts as she twists. Instead of floating in mysterious space, Giotto's saints and angels stand on solid ground. Room 3 pays homage to the 14th-century Sienese school with several delicately crafted works by Simone Martini and the Lorenzetti brothers. Here is Martini's Annunciation (1333). Note that Mary, who in so much art both before and after this period is depicted as meekly accepting her divine duty, looks reluctant, even disgusted, at the news of her imminent Immaculate Conception. Pietro and Ambrogio Lorenzetti helped revolutionize Sienese art and the Sienese school before succumbing to the Black Death in 1348. Of their work here, Ambrogio's 1342 Presentation at the Temple is the finest, with a rich use of color and a vast architectural space created to open up the temple in the background.
Room 4 houses the works of the 14th-century Florentine school, where you can clearly see the influence Giotto had on his contemporaries. Rooms 5 and 6 represent the dying gasps of International Gothic, still grounded in medievalism but admitting a bit of the emergent naturalism and humanist philosophy into their works. Lorenzo Monaco's Coronation of the Virgin (1413) is particularly beautiful, antiquated in its styling but with a delicate suffused coloring. In Room 7, the Renaissance proper starts taking shape, driven primarily by the quest of two artists, Paolo Uccello and Masaccio, for perfect perspective. On the left wall is Uccello's Battle of San Romano (1456), famously innovative but also rather ugly. This painting depicts one of Florence's great victories over rival Siena, but for Uccello it was more of an excuse to explore perspective -- with which this painter was, by all accounts, positively obsessed.
In the far corner is the only example of Masaccio's art here (he died at 27), the Madonna and Child with St. Anne, which he helped his master, Masolino, paint in 1424. Masaccio's earthy realism and sharp light are evident in the figures of Mary and the Child, as well as in the topmost angel peeking down. In the center of the room is Piero della Francesca's Portrait of Frederico da Montefeltro and Battista Sforza, painted around 1465 or 1470 and the only work by this remarkable Sansepolcran artist to survive in Florence. The fronts of the panels depict the famous duke of Urbino and his wife, while on the backs are horse-drawn carts symbolic of the pair's respective virtues. Piero's incredibly lucid style and modeling and the detailed Flemish-style backgrounds need no commentary, but do note he purposefully painted the husband and wife in full profile -- without diluting the realism of a hooked nose and moles on the duke -- and mounted them face to face, so they'll always gaze into each other's eyes.
Room 8 is devoted to Filippo Lippi, with more than half a dozen works by the lecherous monk who turned out rich religious paintings with an earthy quality and a three-dimensionality that make them immediately accessible. His most famous painting here is the Madonna and Child with Two Angels (1455-66). Also here are a few works by Filippo's illegitimate son, Filippino. Room 9 is an interlude of virtuoso paintings by Antonio del Pollaiolo, plus a number of large Virtues by his less-talented brother, Piero. These two masters of anatomical verisimilitude greatly influenced the young Botticelli, three of whose early works reside in the room. This introduction to Botticelli sets us up for the next room, invariably crowded with tour-bus groups.
The walls separating Rooms 10 to 14 were knocked down in the 20th century to create one large space to accommodate the resurgent popularity of Sandro Filipepi -- better known by his nickname, Botticelli ("little barrels") -- master of willowy women in flowing gowns. Fourteen of his paintings line the walls, along with works by his pupil (and illegitimate son of his former teacher) Filippino Lippi and Domenico Ghirlandaio, Michelangelo's first artistic master. But everybody flocks here for just two paintings, Botticelli's Birth of Venus and his Primavera (Allegory of Spring). Though in later life Botticelli was influenced by the puritanical preachings of Savonarola and took to cranking out boring Madonnas, the young painter began in grand pagan style. Both paintings were commissioned between 1477 and 1483 by a Medici cousin for his private villa, and they celebrate not only Renaissance art's love of naturalism but also the humanist philosophy permeating 15th-century Florence, a neo-Platonism that united religious doctrine with ancient ideology and mythological stories. In the Birth of Venus, the love goddess is born of the sea on a half shell, blown to shore by the Zephyrs. Ores, a goddess of the seasons, rushes to clothe her. Some say the long-legged goddess was modeled on Simonetta Vespucci, a renowned Florentine beauty, cousin to Amerigo (the naval explorer after whom America is named) and not-so-secret lover of Giuliano de' Medici, Lorenzo the Magnificent's brother). The Primavera is harder to evaluate, since contemporary research indicates it may not actually be an allegory of spring influenced by the humanist poetry of Poliziano but rather a celebration of Venus, who stands in the center, surrounded by various complicated references to Virtues through mythological characters. Also check out Botticelli's Adoration of the Magi, where the artist painted himself in the far right side, in a great yellow robe and golden curls. Room 15 boasts Leonardo da Vinci's Annunciation, which the young artist painted in 1472 or 1475 while still in the workshop of his master, Andrea del Verrocchio; however, he was already fully developed as an artist. The solid yet light figures and sfumato airiness blurring the distance render remarkably life-like figures somehow suspended in a surreal dreamscape. Leonardo helped Verrocchio on the Baptism of Christ -- most credit the artist-in-training with the angel on the far left as well as the landscape, and a few art historians think they see his hand in the figure of Jesus as well. The Adoration of the Magi, which Leonardo didn't get much beyond the sketching stage, shows how he could retain powerful compositions even when creating a fantasy landscape of ruinous architecture and incongruous horse battles. The room also houses works by Lorenzo di Credi and Piero di Cosimo, fellow 15th-century maestros, and a Pietà that shows Perugino's solid plastic style of studied simplicity. (This Umbrian master would later pass it on to his pupil Raphael.) Uffizi officials use Room 18, the Tribune, as a crowd-control pressure valve. You may find yourself stuck shuffling around it slowly, staring at the mother-of-pearl discs lining the domed ceiling; studying the antique statues, such as the famous Medici Venus (a 1st-c. B.C. Roman copy of a Greek original); and scrutinizing the Medici portraits wallpapering the room. The latter include many by the talented early baroque artist Agnolo Bronzino, whose portrait of Eleonora of Toledo, wife of Cosimo I, with their son Giovanni de' Medici (1545), is particularly well worked. It shows her in a satin dress embroidered and sewn with velvet and pearls. When the Medici tombs were opened in 1857, her body was found buried in this same dress (it's now in the Pitti Palace's costume museum). Also here are Raphael's late St. John the Baptist in the Desert (1518) and mannerist Rosso Fiorentino's 1522 Angel Musician, where an insufferably cute little putto (cherub) plucks at an oversized lute -- it's become quite the Renaissance icon in the recent spate of angel mania. Room 19 is devoted to both Perugino, who did the luminous Portrait of Francesco delle Opere (1494), and Luca Signorelli, whose Holy Family (1490-95) was painted as a tondo set in a rectangle, with allegorical figures in the background and a torsion of the figures that were to influence Michelangelo's version (in a later room). Room 20 is devoted to Dürer, Cranach, and other German artists who worked in Florence, while Room 21 takes care of 16th-century Venetians Giovanni Bellini, Giorgione, and Carpaccio. In Room 22 are Flemish and German works by Hans Holbein the Younger, Hans Memling, and others, and Room 23 contains Andrea Mantegna's triptych of the Adoration of the Magi, Circumcision, and Ascension (1463-70), showing his excellent draftsmanship and fascination with classical architecture. Now we move into the west wing, still in the throes of restoration following the bombing. Room 25 is overpowered by Michelangelo's Holy Family (1506-08), one of the few panel paintings by the great master. The glowing colors and shocking nudes in the background seem to pop off the surface, and the torsion of the figures was to be taken up as the banner of the mannerist movement. Michelangelo also designed the elaborate frame.
Room 26 is devoted to Andrea del Sarto and High Renaissance darling Raphael. Of Raphael we have the Madonna of the Goldfinch (1505), a work he painted in a Leonardesque style for a friend's wedding, and several important portraits, including Pope Leo X with Cardinals Giulio de' Medici and Luigi de' Rossi and Pope Julius II, as well as a famous Self-portrait. Del Sarto was the most important painter in Florence in the early 16th century, while Michelangelo and Raphael were off in Rome. His consciously developed mannerist style is evident in his masterful Madonna of the Harpies (1515-17). Room 27 is devoted to works by Del Sarto's star mannerist pupils, Rosso Fiorentino and Pontormo, and by Pontormo's adopted son, Bronzino. Fiorentino's Moses Defends the Daughters of Jethro (1523) owes much to Michelangesque nudes but is also wholly original in the use of harsh lighting that reduces the figures to basics shapes of color. Room 28 is split between honoring the great Venetian Titian, of whose works you'll see a warm full-bodied Flora and a poetic Venus of Urbino languishing on her bed; Sienese High Renaissance painter Sebastiano del Piombo (his Death of Adonis and Portrait of a Woman are both strong works); and a few mediocre works by Palma il Vecchio. Tiny Rooms 29-30, ostensibly honoring works by several Emilian artists, are totally dominated by late mannerist master Il Parmigianino, who carried the mannerist movement to its logical extremes with the almost grotesquely elongated bodies of the Madonna of the Long Neck (1534). Room 31 continues to chart the fall of painting into decorative grace with Paolo Veronese's Martyrdom of St. Justine (1573), which is less about the saint being stabbed than it is a sartorial study in fashion design. Room 32 is a nice break provided by the dramatic and visible brushstrokes that boldly swirled rich, somber colors of several lesser works by Venetian master Tintoretto. All the better, as these must see you through the treacle and tripe of Rooms 33-34, stuffed with substandard examples of 16th century paintings by the likes of Vasari, Alessandro Allori, and other chaps who grew up in Michelangelo's shadow and desperately wished they could paint like him (note: They couldn't). Popping back out in the main corridor again, you visit the last several rooms one at a time as each opens off the hall. Room 35 features the taffeta, cotton candy oeuvre of baroque weirdo Frederico Barocci (whose works are currently coming into vogue -- why, I've no idea). Continue right past that exit staircase, because they save a few eye-popping rooms for the very end. Room 41 is all about Rubens and his famously ample nudes, along with some works by his Flemish cohorts (Van Dyck, Sustermans). Room 42 is a lovely side hall flooded with sunlight and graced by more than a dozen Roman statues that are copies of Hellenic originals, most of them of the dying Niobids.
And so we come to Room 43 and the caravaggieschi. Caravaggio was the baroque master of chiaroscuro -- painting with extreme harsh light and deep shadows. The Uffizi preserves his painting of the severed head of Medusa, a Sacrifice of Isaac, and his famous Bacchus. Caravaggio's work influenced a generation of artists -- the caravaggieschi -- including Artemisia Gentileschi, the only female painter to make a name for herself in the late Renaissance/early baroque. Artemisia was eclipsed in fame by her slightly less talented father, Orazio, and she was the victim and central figure in a sensational rape trial brought against Orazio's onetime collaborator. It evidently had an effect on her professional life; among her paintings here is the violent Judith Slaying Holofernes. Duck through the end of this room to pay your respects to Rembrandt in Room 44, where he immortalized himself in two Self-portraits, one done as a youth and the other as an old man. Hang a right to exit back into the corridor again via Room 45, a bit of a let-down after the last two rooms, but still engaging (if you've any art-appreciation energies left after all this) for its Greatest Hits of the 18th Century artists -- Giuseppe Maria Crespi, Giovanni Paolo Pannini, Il Canaletto, Francesco Guardi, and Tiepolo -- plus a Spanish twist to end it all with two paintings by Francisco Goya.
That's it. The Uffizi is finished. Treat yourself to a cappuccino al fresco in the loggia-top bar just beyond the last room; you've earned it. Did I say finished? Not quite. Cosimo I de' Medici, after he moved to the Pitti Palace across the river in the Oltrarno, needed a way to get to and from his home and his office without mingling with the peons on the streets. So he had Giorgio Vasari build him the Corridorio Vasariano (Vasarian Corridor) in 1565. It took only 5 months to complete this aboveground tunnel running along the Arno, across the tops of the Ponte Vecchio shops, and then zigzagging its way to the Pitti. The corridor, hung with paintings and poked through with lots of windows, has finally reopened to visitors. (Following the 1993 bombing it was closed for restoration and rearrangement.) Tours of the corridor are available on Tuesday and Wednesday and Friday through Sunday. Call tel. 055-265-4321 for required reservations.
Tips for Seeing the Uffizi -- If you have the time, make two trips to the museum. On your first, concentrate on the first dozen or so rooms and pop by the Greatest Hits of the 16th Century, with works by Michelangelo, Caravaggio, Raphael, and Titian. Return later for a brief recap and continue with the rest of the gallery. Be aware that the gift shop at the end of the galleries closes 20 minutes before the museum. You can visit it without reentering the museum at any time; if you plan to stay in the collections until closing, go down to the shop earlier during your visit and get the guards' attention before you pass through the exit turnstile, so they'll know you're just popping out to buy a few postcards and will recognize you when you ask to be let back in. Rising from the Blast -- On May 27, 1993, a car bomb ripped through the west wing of the Uffizi, seriously damaging it and some 200 works of art and destroying three (thankfully lesser) Renaissance paintings. The bomb killed five people inside, including the museum curator and her family. While everything from a Mafia hit to a government conspiracy was blamed, the motive for the bombing, and the perpetrators, remain unknown to this day. In December 1998, Italy unveiled what it called the New Uffizi, a $15-million renovation that repaired all damaged rooms, added more than 20,000 square feet of new museum space, and displayed more than 100 works that had never been seen before -- part of a larger project to triple exhibit space. Several branches of the book/gift shop were added to the ticketing areas on the ground floor, and the old outdoor cafe at the end of the galleries, atop the Loggia dei Lanzi with a view of the Palazzo Vecchio's tower, was reopened.
Reserving Tickets for the Uffizi & Other Museums -- You can bypass the hours-long ticket line at the Uffizi Galleries by reserving a ticket and an entry time in advance by calling Firenze Musei at tel. 055-294-883 (Mon-Fri 8:30am-6:30pm, Sat until 12:30pm) or at (24/7). By March, entry times can be booked more than a week in advance. You can also reserve for the Accademia Gallery (another interminable line, to see David), as well as the Galleria Palatina in the Pitti Palace, the Bargello, and several others. There is a 1.55€ ($1.80) fee (worth every penny), and you can pay by credit card.
The Scene
The best source of current gay life in Florence is Clubbing Magazine.
Organizations and publications
- AGEDO Associazione Genitori Parenti e Amici Omosessuali Firenze - Cell. 347 8269206 - 347 7714249.
- ARCHÈ Viale Matteotti 8, 50132 Firenze. Tel. 055/5048884
- Azione Gay e Lesbica Via Pisana 32r, Firenze. Tel. 055-220250. Email
- ASSOCIAZIONE SPERANZA E SOLIDARIETÀ AIDS Via Reginaldo Giuliani 443, 50141 Firenze Tel. 055/453580.
- Gay News Porta Saragozza, 2 - 40123 Bologna -- P.O. Box: C.P. 219 - 40100 Bologna. Email Web Portal
- IREOS Via dei Serragli, 3-5 - 50124 Firenze. Tel. 055 216907. Email G & L Health center.
- LILA TOSCANA Via dell Casine, 13, Firenze. Tel: 055/247-9013.
Dining
We found that much to our surprise the Northern Italians eat much like the Americans. Most reservations were for 7pm and most kitchens closed by 10pm. we tended to have lunch at cafe's like Caffe delle Carrozze (real toilets), and Trattoria La Madia (excellent). We only ate at Boccadama (which we recommend highly) and Agora which not only had great food, but Michel made our meals unforgettable.
Shopping
The cream of the crop of Florentine shopping lines both sides of the elegant Via de' Tornabuoni, with an extension along Via della Vigna Nuova and other surrounding streets. Here you'll find big names like Gucci, Armani, Ferragamo, and Mila Schön ensconced in old palaces or modern minimalist boutiques.
On the other end of the shopping spectrum is the haggling and general fun of the colorful and noisy San Lorenzo street market. Antiques gather dust by the truckload along Via Maggio and other Oltrarno streets. Another main corridor of stores somewhat less glitzy than those on the Via de' Tornabuoni begins at Via Cerretani and runs down Via Roma through the Piazza della Repubblica area; it keeps going down Via Por Santa Maria, across the Ponte Vecchio with its gold jewelry, and up Via Guicciardini on the other side. Store-laden side tributaries off this main stretch include Via della Terme, Borgo Santissimi Apostoli, and Borgo San Jacopo.
General Florentine shopping hours are daily from 9:30am to noon or 1pm and 3 or 3:30pm to 7:30pm, though increasingly, many shops are staying open through that mid-afternoon riposo (especially the larger stores and those around tourist sights).
- Nell'officina profumo di Santa Maria Novella Via della Scala, Firenze. Tel: 055/216-276. Email Have you ever thought you entered a room in another century? This excellent store on herbal medicine and aroma therapy qualifies. A bit pricey, but worth the experience. (Let's just wait until the Euro comes down again).
Venice is a preposterous monument to both the folly and the obstinacy of humankind. It shouldn't exist, but it does, much to the delight of thousands of visitors, gondoliers, lace makers, hoteliers, restaurateurs, and glass blowers.
Centuries ago, in an effort to flee barbarians, Venetians left dry-dock and drifted out to a flotilla of "uninhabitable" islands in the lagoon. Survival was difficult enough, but no Venetian has ever settled for mere survival. The remote ancestors of the present inhabitants created the world's most beautiful city. To your children's children, however, Venice might be nothing more than a legend. The city is sinking at an alarming rate of about 2 1/2 inches per decade, and at the same time, the damp climate, mold, and pollution here are contributing to the city's decay. Estimates are that, if no action is taken soon, one-third of the city's art will deteriorate hopelessly within the next decade or so. Clearly, Venice is in peril. One headline proclaimed, "The Enemy's at the Gates."
But for however long it lasts, Venice, decaying or not, will be one of the highlights of your trip through Italy. It lacks the speeding cars and roaring Vespas of Rome; instead, you make your way through the city either on foot or by boat. It would be ideal if it weren't for the hordes of tourists that descend every year, overwhelming the squares and making the streets almost impossible to navigate. In the sultry summer heat of the Adriatic, the canals become a smelly stew. Steamy and overcrowded July and August are the worst times to visit; May, June, September, and October are much better.
Although Venice is one of the world's most enchanting cities, you do pay a price, literally and figuratively, for all this beauty. Everyone leaves complaining about the outrageous prices, which can be double what they are elsewhere in the country. Since the 19th century, Venice has thrived on its visitors, but these high prices have forced out many locals. They've fled across the lagoon to dreary Mestre, an industrial complex launched to help boost the regional economy.
Today the city is trying belatedly to undo the damage that its watery environs and tourist-based economy have wrought. In 1993, after a 30-year hiatus, the canals were again dredged in an attempt to reduce water loss and reduce the stench brought in with the low tides. In an effort to curb the other 30-year-old problem of residential migration to Mestre, state subsidies are now being offered to the citizens of Venice as an incentive to not only stay, but also renovate their crumbling properties.
The greatest plan to save "Venice in peril" is to place mobile barriers at the three entrances to the port of Venice. The plan, drawn up decades ago and debated ever since, would cost anywhere from $2 billion to $4 billion. A huge mobile sluice gate regulating the movement of the tides was tested as late as 1992. The catch is the final project would need 79 of these sluice gates to save Venice from its own waters.
If you have nt already done so,I recommend you read The City of Fallen Angels by John Berendt before you go. It will enhabce your visit immensely.
When to Go
It's almost always high season in Venice, although the city is busiest in spring (Easter-June) and Sept-Oct. Accommodation can be hard to find then, as well as around Christmas, New Year and Carnevale (February). Like Italy's other great tourist hubs, Venice is at its worst in high summer (June-August): it's crowded, oppressively hot and sticky. The most pleasant time of year to visit is late March into May, with clear spring days and comparatively fewer crowds. September is the next best in terms of weather, but October is quieter. Flooding occurs in November and December, and winter can be unpleasantly cold - although seeing Venice under snow can be the stuff of fairy tales.
The year kicks off with the Regata delle Befana, the first of the lagoon city's 100-plus regattas, held on 6 January (Epiphany). The major event of the Venetian calendar is February's bewigged, bemasked and berobed Carnevale, the event that's spawned a million pastel postcards of pierrots and columbines looking unduly pensive. In May there's the Festa della Sensa (Feast of the Ascension), when Venice celebrates the Sposalizio del Mar (Wedding with the Sea). The Biennale arts fest is held every odd-numbered year in June in the pavilions of the Giardini Pubblici. July's Festa del Redentore is another highlight, with a regatta and fireworks festival. The Venice International Film Festival, Italy's version of Cannes, is held annually in August at the Palazzo della Mostra del Cinema on the Lido. The Regatta Storica in September is a historic gondola race along the Grand Canal that's well worth catching. November's Festa della Madonna della Salute procession crosses the Grand Canal via a bridge of boats.
Airport
The arrival scene at unattractive Marco Polo Airport (VCE) is filled with nervous expectation; even the most veteran traveler can become confused. Whether arriving by train, bus, car, or airport limo, everyone walks to the nearby docks (less than a 5-min. walk) to select a method of transport to his or her hotel. The cheapest way is by vaporetto (public motorboat); the more expensive is by gondola or motor launch.
Train
The Stazione Ferroviaria Saint Lucia is Venice's easiest access to the rest of Europe. We used the Trenitalia.com website to buy our tickets from venice to Florence. I recommend you buy your tickets in the USA and if you can afford the extra few Euros, to travel First class. Whether arriving by train, bus, car, or airport limo, everyone walks to the nearby docks (less than a 5-min. walk) to select a method of transport to his or her hotel. The cheapest way is by vaporetto (public motorboat); the more expensive is by gondola or motor launch.
Getting around
You can't hail a taxi -- at least, not on land -- so get ready to walk and walk and walk. Of course, you can break up your walks with vaporetto or boat rides, which are great respites from dealing with the packed (and we mean packed) streets in summer. You can buy 24 hour passes, or some for several days. THey are a fun way to see the city.
However, note that, in autumn, the high tide (acqua alta) is a real menace. The squares often flood, beginning with Piazza San Marco, one of the city's lowest points. Many visitors and locals wear knee-high boots to navigate their way. In fact, some hotels maintain a storage room full of boots in all sizes for their guests.
Visitor Information--Visitor information is available at the Azienda di Promozione Turistica, San Marco 71/F (tel. 041-5298711). Summer hours are daily 9am to 5pm; off-season hours are daily 9:30am to 3:30pm. Posters around town with exhibit and concert schedules are more helpful. Ask for a schedule of the month's special events and an updated list of museum and church hours because these can change erratically and often.
Venice lies 4km (2 1/2 miles) from the Italian mainland (connected to Mestre by the Ponte della Libertà) and 2km (1 1/4 miles) from the open Adriatic. It's an archipelago of 118 islands. Most visitors, however, concern themselves only with Piazza San Marco and its vicinity. In fact, the entire city has only one piazza, which is San Marco (all the other squares are campos). Venice is divided into six quarters (sestieri): San Marco, Santa Croce, San Polo, Castello, Cannaregio, and Dorsoduro.
Many of Venice's so-called streets are actually canals (rios) -- more than 150 in all, spanned by a total of 400 bridges. Venice's version of a main street is the Grand Canal (Canal Grande), which snakes through the city. Three bridges cross the Grand Canal: the white marble Ponte Rialto, the wooden Ponte Accademia, and the stone Ponte degli Scalzi. The Grand Canal splits Venice into two unequal parts.
South of Dorsoduro, which is south of the Grand Canal, is the Canale della Guidecca, a major channel separating Dorsoduro from the large island of La Guidecca. At the point where Canale della Guidecca meets the Canale di San Marco, you'll spot the little Isola di San Giorgio Maggiore, with a church by Palladio. The most visited islands in the lagoon, aside from the Lido, are Murano, Burano, and Torcello.
If you really want to tour Venice and experience that hidden, romantic trattoria on a nearly forgotten street, bring along a map that details every street and has an index on the back. The best of the lot is the Falk map of Venice, sold at many news kiosks and all bookstores.
A broad street running along a canal is a fondamenta, a narrower street running along a canal is a calle, and a paved road is a salizzada, ruga, or calle larga. A rio terra is a filled canal channel now used as a walkway, and a sottoportego is a passage beneath buildings. When you come to an open-air area, you'll often encounter the word campo -- that's a reference to the fact that such a place was once grassy, and in days of yore cattle grazed there.
Finding an Address--A maniac must've numbered Venice's buildings. Before you set out for a specific place, get detailed instructions and have someone mark the place on your map. Don't depend on street numbers; try to locate the nearest cross street. Because signs and numbers have decayed over 6 centuries, it's best to look for signs posted outside rather than for a number.
Every building has a street address and a mailing address. For example, a business at Calle delle Botteghe 3150 (3150 Botteghe St.) will have a mailing address of San Marco 3150 because it's in the San Marco sestiere (district), and all buildings in each district are numbered continuously from 1 to 6,000. (To confuse things, several districts have streets of the same name, so it's important to know the sestiere.) In this section, we give the street name first, followed by the mailing address.
Things to see
San Marco Welcome to the center of Venice. Napoleon called it "the drawing room of Europe," and it's one crowded drawing room today. It has been the heart of Venetian life for more than a thousand years. Piazza San Marco (St. Mark's Square) is dominated by St. Mark's Basilica. Just outside the basilica is the campanile (bell tower), a reconstruction of the one that collapsed in 1902. Around the corner is the Palazzo Ducale (Doge's Palace), with its Bridge of Sighs. Piazza San Marco itself is lined with some of the world's most overpriced cafes, including Florian's (opened 1720) and Quadri (opened 1775). The most celebrated watering hole, however, is away from the square: Harry's Bar, founded by Giuseppe Cipriani but made famous by Hemingway. In and around the square are some of the most convenient hotels in Venice (though not necessarily the best) and an array of expensive tourist shops and trattorie. St Mark's Square Napoleon dubbed it the 'finest drawing room in Europe', and visitors and pigeons alike have been flocking here for centuries to strut and crow. There is a constant carnival atmosphere thanks to the cacophony of duelling cafe orchestras, cooing pigeons, and constant traffic of waiters serving alfresco diners. Now that most visitors arrive in Venice via the railway station, the magical symbolism of the waterside Piazzetta San Marco has to a great extent been lost. The piazzetta's two columns bear emblems of the city's patron saints: the winged lion of St Mark and the figure of St Theodore. St Mark's Square is one of the lowest parts of the city, and so is always the first to be covered in water when the acqua alta (high tide) arrives - a magical sight on a moonlit night. St Mark's Basilica St Mark's is one of the most spectacular houses of worship in the world, attesting to the Venetian Republic's former maritime and commercial might. Adorned with an incredible array of plundered treasures, it is a seething mass of domes and arches. The dress code requires knees, shoulders and upper arms be covered. The basilica was modelled on Constantinople's Church of the Twelve Apostles and consecrated in 1094. It is famous for its golden mosaics, particularly those above the doorways in the facade and decorating the interior domes. If you can wrench your eyes away from their glitter, take time to admire the 12th-century marble pavement. The basilica's many treasures include the gleaming Pala d'Oro altarpiece of gold, enamel and precious jewels. The Tesoro (Treasury) contains most of the booty from the 1204 raid on Constantinople, including a thorn said to have come from the crown worn by Christ. On the loggia above the main door are copies of the delightful prancing horses that were also hijacked from Constantinople (the gilded-bronze originals are on display inside). The basilica's 10th-century campanile collapsed without warning on 14 July 1902, and was rebuilt brick by brick over the following 10 years. Take the lift to the top for some fabulous views over the rooftops and lagoon. Palazzo Ducale The Piazzetta San Marco is overlooked by the exquisite Palazzo Ducale, for centuries the city's political heart. The pink and white Venetian Gothic fantasy housed the doge, the many arms of government and a couple of prisons. The doge's first-floor apartments are followed by a succession of increasingly grandiose state rooms on the second floor, including the Sala delle Quattro Porte (design by Palladio, paintwork by Titian and Tintoretto), the Anticollegio (four Tintorettos and Veronese's Rape of Europa), the Sala del Collegio (yet more Veroneses and Tintorettos), culminating in the immense Sala del Maggiore Consiglio (featuring Tintoretto's Paradiso, one of the world's largest oil paintings, and Veronese's Apotheosis of Venice). A trail of corridors leads you to the small, enclosed Bridge of Sighs, which crossed from the palace into the New Prisons. Brea