Museo de Cádiz

Over the last two weeks I have spent 5 days in beautiful Cádiz. Thanks to a lovely friend of mine on her year abroad I had a pretty place to stay, what was basically a tour guide, and of course, the best company.

This was my first time ever in Cádiz, but hopefully not my last. It is a tiny little place with which you feel oddly well acquainted with only after a couple of days. It is well worth a visit and whilst I was there, there was always something to do. It is a place you do not want to leave - even less so when you're sat waiting for your train to leave in the blistering sun because overnight Andalucía had transitioned into Summer!

On our first day we went to the Museum of Cádiz. This was a short walk from my friends' apartment, and an even shorter walk from where she lived before. I think what I noticed after a few days there is that you really cannot be far away from the main sights unless you are in the new town, in which case it would be a bit of an effort. Renfe trains are lovely though (describing a train as lovely is something I suspect to be very English because I have noticed everywhere has nice trains except for here) so it wouldn't be the end of the world to hop on one between the old and new parts. 

Anyway, the museum was placed right where you wouldn't see it on the Plaza de Mina. The plaza is very pretty (as they all are) and according to friend/tour guide, the palm trees had been taken from Morocco or somewhere and planted on the square. It looks really diddy from the outside and we did get confused about how to get in. However, we settled with the entrace that had 'Museo de Cádiz' written above it in the end lol.

If I remember rightly, the staff do not really speak English (do not expect the Costa del Sol where every other person speaks English, bring a phrasebook!), However, there is a museum guide/leaflet/floor plan available in a few different languages at reception. 

A little bit of history, according to my leaflet: Building designed in the 1830s by an architect called Juan Daura. He had remodelled what was previously a Franciscan convent into a late-neoclassical style building. By 1852, the Provincial Museum of Fine Arts had been created as an extension of the Academy of Fine Arts. This change may be due to the amounting pressure that came from the Disentailment Act of parliament made active under the leadership of Juan Alvarez Mendizabal. This act was responsible for the displacement of fine art from monasteries across the country...and they needed a home. The Disentailment Acts of the 1830s was basically part of a wider plan to secularise Spain and manage their crippling debt. The act meant that religious property (not only religious but they were clearly targeted) could be nationalised and then sold off to make some money. After this, it wasn't until 1887 until the next big event for the museum took place. The discovery of the anthropoid sarcophagus. From this point onwards the realisation of Cádiz as an archeological hotspot had been well and truly made. More things were found over the years and therefore the museum grew, and would eventually grow into the collection it is today.

The inside of the museum feels like a contemporary space with character, probably due to its 1980s renovation. White washed walls constructed into a 3-tier loggia, complete with an inside courtyard. 

The ground floor hosts their archeological collection. The first couple of rooms concern themselves with pre history, so lots of archaic tools and things that were found in the caves in the area. Carry on and you will see lots eerie tombs, Roman marbles with missing heads, Roman ceramics, jewelry, hair pins, Roman armour among loads of interesting ancient artifacts. Adjacent to the Roman rooms are the Moorish rooms, with pottery, jewelry and the usual archeological loot, adorned with gorgeous arrabesque patterns and sculpted from fine materials, that the historical Moorish population of Andalucía enjoyed.

Upstairs you enter the fine art gallery. Literally a gallery, with their collection dispersed across the walls of the loggia and the odd room behind it. The collection begins with the proto renaissance, images adorned with terrifying baby Jesus' that look more like gremlins who have been fed after midnight than a little baby. Moving on, you enter the glorious Spanish renaissance, then the Baroque and Rococo. The period of time represented here was approximately the mid 15th century to the 19th century. The most impressive thing by far (in my opinion) was the amazing collection of Francisco de Zubaran. There is an entire room dedicated to the caravaggesque 17th century Spanish painter. His paintings are dark, contrasting, emotive and religious. We accidentally caused the alarm to sound a couple of times in here, don't do that, you will get followed... Another note worthy piece in here is of course their Rubens! It is tiny. It does however give their room that tells the story of the flemish influence in Spanish art credibility of the best kind. 

The Zubaran Alterpiece

The Rubens!

The third and final floor is dedicated to modern art. I really enjoyed this. Modern art collections can be a bit hit and miss, but this one was enjoyable. My favourite thing ever was a modern reproduction of the evangelists. It reminded me of Jack Vettriano's portrayal of people but with a great twist: these were mobster like men bearing the message of God. Ha, amazing!

Jose Hinojo, 1997, the Evangelists.

Florence 2012 Journal: Florence and the Renaissance

Florence and the Renaissance

Throughout the Renaissance there was a large sense of civic pride in Florence; not surprising considering that from the early Renaissance right through to the 16^th century the biggest names of the era came from the Tuscan city itself. Here I will discuss two of the most notable perspective techniques that marked the beginnings of the Renaissance that were introduced by the Florentine Donatello (1386 – 1466) and Lorenzo Ghiberti (1378 – 1455).

From very early on in the early Renaissance, the Florentine Donatello was already keeping perspective. The sophistication wasn’t quite of the same level of what came nearly 200 years later however; he did use linear perspective. Linear perspective is where the size and position of objects or figures are relative in that they will recede into the background as the lines of perspective draw in closer together running diagonally and meet at the ‘horizon’ of the painting.

For example, Donatello’s relief of the Feast of Herrod clearly shows linear perspective. However, this is a relief that also uses the technique of Pictorial perspective alongside the linear perspective. This means, while the relief shows the arches and figures getting progressively smaller the further away they are, they also get flatter. You would notice that the foreground of the relief, if you were to touch it, would protrude more than right at the background, where it is almost completely flat. This creates an illusion of space and the term used for a flattened (or smashed) relief is ‘Schiacciato’.

Another technique that was an innovation for the Florentines of the Renaissance was one point perspective. This in contrast to linear perspective made a certain point in an image the perspective and instead of the lines of perspective converging at the horizon, they would converge at a specific point. The one point perspective would usually have Jesus or the saints as the point of perspective to exemplify their overwhelming importance. This technique grew as the Renaissance went on. For example, Lorenzo Ghiberti’s ‘Doors of Paradise’ (‘Paradiso’ meaning the area between the front of the cathedral and Baptistery) show that one of the earliest panels (approx 1324) ‘Isaac & his sons’ had trouble with grasping the one point perspective - whereas the later panels achieve it perfectly (1340’s).

Florence 2012 Journal: Introduction to the Renaissance

Introduction to the Renaissance

Renaissance, meaning quite literally the ‘rebirth’ of the arts, and perhaps a period which saw the transition of the middle ages into the modern world, spanned 300 years. Commonly believed to have begun with the likes of Giotto and finishing in excellence (the High Renaissance) with the likes of Michelangelo, Rafael and Leonardo. 

An illustration depicting Dante with the Divine comedy in his hand. With the city of Florence to the right and the gates to hell to the left.

Throughout the 300 years mentioned, the Renaissance is said to have been affected by three events of the middle ages: the 100 year war, Black Death and the ’great schism‘. 

Firstly, the 100 year war shifted the power held over mainland Europe to the French, removing British control. Here in Florence, the Benci family had lent money to the English king, thus with the English demise of power also came the bankruptcy of what had been the most powerful family in Florence; effectively handing over the power to the Strozzi family and as consequence changing what influenced the arts. 

Secondly, the Black Death that first appeared in Italy in 1347, gave the church (which had become decreasingly influential) leverage by which to claim that the Black Death was punishment from God for all of their sins. Particularly in calling upon ‘the Divine Comedy’ did they manipulate the populous into abiding by the rules of the church. 

Lastly the ‘great schism’ or split between the church, came after the movement of the Church from Rome to Avignon. From 1305 - 1378 all popes were French until Pope Gregory XI eventually returns the papacy to Rome and forces an election of an Italian pope. The French disagreed with this, and from this came the election of a pope in both Rome and Avignon – again, both elements changing and influencing art.

Catedral de Granada

The cathedral of Granada is located in the city of Granada in the autonomous region of Andalucia, in Southern Spain. Andalucia was under Muslim rule until the end of La Reconquista which came to an end in 1492. This meant that the Cathedral is a later addition to the city unlike earlier cathedrals in Northern Spain.

The Cathedral represents in part the Spanish Renaissance style although I did spot a few gothic elements around the back with pinnacles which is because the designs were initially Gothic before the later designs made way for the emerging Renaissance style. 

It began construction in 1518 and was built on the site of an earlier Mosque. The architect was Enrique Egas to begin with, who was responsible for the foundations and the Capilla Real of the building that stands today. (The Capilla Real being the 'Royal Chapel' that encorporates Gothic design and is the Gothic view from behind that I spoke about). 

From 1529 onwards Diego de Siloe then became the architect and saw to much of the work being done. 

However, there are other noted architects involved seeing as it took long over a century until it was complete. One important one to mention is Alonso Cano. He is the reason that the facade design was altered... hence the Baroque elements that would have been out of place at the beginning of it's construction when the Renaissance style was favoured.

I've tried to upload the pictures in the order that I took them as I walked around the circumference of the building, so that it should in a way allow you to imagine walking around it too. We went behind the left side and came back around on the right hand side!

The rich carving and the scale of the bottom compartment in comparison to the top compartment makes the building impressive and daunting - typically Baroque. Baroque elsewhere in Europe was a response to the reformation and abided by the guidelines set out by the counter reformers. Architects were ordered to build densely, impressively and on a huge scale to show the world just how powerful the Catholic Church was. 

However, I find it interesting that Baroque in Spain takes on a meaning of it's own. Of course, Spanish rulers had the catholic vs Protestant issue on their minds seeing as they had occupied the south of the Netherlands and were faced with the Protestant faith of their immediate neighbours (Northern Netherlands- or Flanders, at the time). However, they had also recently reconquered Muslim Spain and therefore the idea of baroque took on a far more significant role ( I think so anyway!!). This is even more interesting when you realise the facade is built upon the base shape of a triumphal arch. Triumph over the Nazarene Dynasty that ruled Granada for centuries. 

I have never seen a cathedral so close to domestic buildings (and some cafés)

The Baroque as an evolution of Mannerism, shook up the language of classical architecture. Notice that there is not one column or pilaster, but multiple, that convex and concave. Also, notice how the pediment on the far top left is within a pediment itself, while the circular shape that the ogee pediment morphs into is echoing the oculus window below it. Much like St Paul's in London actually, it has round shapes echoed all over the place and of course represents our quirky take on Baroque in England. 

The scene of the annunciation. This is given prime position over the main entrance because the church is dedicated to the annunciation. There is also a vase like thing at the top with lillies emerging from the top to allude to the virginity and innocence of the virgin.

If I had to guess who this is I would say it is St. Paul. This is because he has a book under his left arm which is his attribute (although he usually holds a staff  in his other hand with a cross at it's top which I cannot see-perhaps he has a cross in his hand without the staff? ). Also, St. Paul and St. Peter are often represented together (read on and that will eventually make sense) because they share the same feast day which would further imply this figure is indeed St. Paul. The two figures flank either side of the entrance.

St Peter - or San Pedro in Spanish - the first pope hence he's holding the crossed keys of heaven. The attribute of the pope in the Catholic Church and the papacy as a whole.

You see this as you walk down the alleyway to the left of the building. Here you see a slightly more medieval portal like entrance with jambs ( the French word for legs - the base 'legs' of the arches). Weirdly though, it reminds me of a Renaissance tomb - not a tomb in the sense of a singular enclosed grave but the decoration that would surround a tomb of a royal, saint or someone important altogether. For example, Michelangelo's tomb. Other elements here are barroquial (overlapping pilasters for example) but for me personally I cannot shake off the Renaissance impression that I immediately got from it. It is eclectic in style.

I may be wrong, but when I said their styles are more eclectic (much like everywhere except for High Renaissance Italy) I meant this kind of thing. This is a close up of the picture above. Look at the creatures, creatures like this remind me of Gothic architecture much more than it does anything else. But then again, the placard has the date 1639 written on it - by which time the gothic Influence from over 180 years beforehand may have sizzled out. Maybe it was added later and weathered badly. I don't know. I should probably research these things before I babble on about them.

As you can probably tell this building is odd and is not straightforward in its style, as every bit of architecture is lol. This appears more classical to me ( the top bit). 

Loyalty and justice - fides and justicia

So pretty! Not sure of the date of that door that I just about caught in the picture but having seen the Alhambra before my visit to the cathedral I am led to believe that the Spanish may have taken some tips from their predessesors. I will upload my photos from the Alhambra but in the meantime take my word for it that these can easily remind you of the marquetry on the ceiling of the palace.

Pilaster immediately next to a column and yet again alternating planes - features that came to define the Baroque style. It is comparable to the front facade for definite but is definitely more decorated.

All of these pictures above are beautiful. By far my favourite corner of the ever changing facade of the cathedral. From the pictures I've seen of the inside, this is the side that looks most like the interior. It is lighter and more ornate but nonetheless very impressive. I was confused as to why the back of the building would be so nice, could it have been the front facing facade initially? Or intended to be after the failed plans to extend the building?

The heraldic imagery pictured above is the coat of arms that represented Isabella and Ferdinand- the two responsible for conquering Spain. They united two kingdoms from the north of Spain: the kingdom of Castilla and the kingdom of Leon. With the power that came from uniting the two most important kingdoms in Spain the Catholics had found the power to overrule the Muslims. Today Castilla y Leon is an autonomous community in its own right and the coat of arms remains similar to this. 

These are the gothic pinnacles I mentioned earlier, right around the back!

The City Hall of the City of Granada made and opened this passage way dedicated to the architect Diego De Siloe in the year 1982

Unfortunately I didn't get the chance to see the inside because it is shut during the afternoon and opens up again at 4 30 by which time I had already left Granada ! 

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Florence top 5

#5 Boboli Gardens
Beaut in the summer. These gardens belong to the Pitti Palace, the former residence of the Pitti family before the Medici's made it their summer house. Entry can be solely to the gardens or with entry to the Palace and galleries. Cutest place ever, but you need some good shoes if you want to make the most of it. Good value for money and literally a stones throw away from the Ponte Vecchio.

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#4 San Miniato al Monte
A gorgeous Romanesque church right on top of a hill in Florence. Lovely views, and neighbours a grave yard which houses the massive tombs of rich Floretian families from back in the day (and now). It is a good place to go because of the views and because the church begins to show hints of the proto-renaissance style. Florence is obviously the center of the Renaissance but it's cool to see where the Renaissance came from in the first place! If you time it right, then you will be able to catch the monks singing too which is a scary but unique experience. The name supposedly derives from the name of a saint of whom had his decapitated head rolled up the hill to its final resting place.





#3 Santa Croce
Santa Croce translates into English as the 'Holy Cross'. It is a church dedicated to the Story of the True Cross - where Helena, the mother of the first Christian Emperor of Rome Constantine searches for the cross that Jesus was crucified on. The story is illustrated in Fresco in the main chapel opposite the main entrance. I am unsure of whether the conservation work is yet complete but it's worth a look. What is more, the tombs of Galileo and Michelangelo reside here too, alongside the dining room in the convent of the church with the Last Supper by Taddeo Gaddi. If you happen to be in Florence during the Christmas season there is a lovely German inspired Christmas market in the Piazza outside of it too.










#2 Palazzo Vecchio
Palazzo Vecchio was the government house for the brief republic that thrived during the expulsion of the Medici. Needless to say, once they came back in the early 16th century they were not too pleased and held a public execution of the head of the republic (Savonarola) in the middle of the Piazza della Signoria to send the message that they are a force to be reckoned with. Moreover, for those who lurve a good old Dan Brown style conspiracy then the Hall of 500 inside of this building is where there is a supposedly lost Leonardo Da Vinci drawing. My lecturer out there was actually on a research team of whom had found evidence that there was Leonardo's very identifiable pigment behind the Vasari Fresco. Famously behind the Italian phrase 'cerca trova' - he who searches shall find. Outside is also a collection of sculptures both around the perimeters of the building and under the Loggia dei Lanzi. If you're rich as well then you should book the tour of the secret Medici pathway that runs from the Pitti Palace, through the Ponte Vecchio and ending at the Palazzo Vecchio. If you're not rich, like the most of us, then en route to the Pitti Palace you will come across a simple church to your left (if you're coming from the Ponte Vecchio), the entrance is free and once you enter, turn around and look up. The small window is part of the passage way, so that the people using the passage could admire the inside of the church. Once you've seen that, you'll be able to notice the path that the passage way takes: It weaves in and around already built buildings. And Robert Langdon went there.
P.S, if you like art and Florence then I 100% recommend Dan Brown's Inferno - I have never been so excited by a book before!!







#1 Gilded Doors of the Battisero di San Giovanni
It seems as if most people pay more attention to the Cathedral of Santa Maria del Fiore in the Piazza del Duomo than they do the Baptistery. The doors though deserve more attention because a) they are beautiful and so intricately carved b) they single handedly represent the transition from proto-renaissance to renaissance better than any museum or gallery could and c) because Dan Brown's Robert Langdon hid in there! The doors have been shifted around a bit so that the doors that face the door of the Cathedral (east) are now the Doors of Paradise, when really they were not in the central position to begin with. It is only when they were completed that the patrons decided that Ghiberti's doors deserved to be where they are now. It was originally Pisano's design that resided in its place but has since been moved to the south side of the Baptistery. The first doors were finished in 1336 by Pisano, Ghiberti then completed the second set of doors by the 1420's and then after their success began the long journey to complete the spectacular Doors of Paradise. They deserve a visit, and more than a superficial glance. However, these doors have recently been duplicated and the originals stored in the cathedral museum behind the cathedral for preservation, which is fairly pricey to enter.