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SPECIAL ISSUE: WOMEN IN THE SPOTLIGHT STROLLING THROUGH SANTA CROCE
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The statue of Dante in front of Santa Croce was placed there in 1865, on the 700th anniversary of the poet’s birth; the photo is from Sestini’s ‘Dante 700’ show.
A STROLL THROUGH SANTA CROCE Experiencing Layers of Art & History at One of Florence’s Most Iconic Churches, Where One can See the Birth of the Renaissance by Emma van Zuthem
photos by Massimo Sestini & Morgan Angove
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n itinerary through the Basilica of Santa Croce translates into a journey through the captivating history of Florentine art and faith. From its unprecedented façade to its interior flooring paved with 270 tombstones, the minute details within the church are intertwined with the city’s boundless artistic heritage. Santa Croce also exemplifies a unique fusion between Catholicism and the sciences where faith and reason converge, adding to the importance of this monumental complex. Considered a temple of Italy’s glorious history, in addition to the burial place of the great and powerful, the Franciscan basilica is recognized as one of the most important churches in Florence. Built in 1294 by architect Arnolfo di Cambio, its fascinating story has been molded by countless artists, writers, humanists, and politicians. Hosting monumental tombs of Michelangelo, Rossini, Machiavelli, and Galileo Galilei (to name a few), and home to nearly 4,000 artistic masterpieces of the Renaissance, heritage is constantly present in a church that brings history to life. So much so, that Santa Croce is often regarded as the Pantheon of Florence. The story of Santa Croce dates back to as early as 1209, when St. Francis’s followers first arrived in the city of Florence. Over the years, the group built an oratory, dedicated to the Holy Cross (Santa Croce), in
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one of the poorest neighborhoods in Florence. With a rapidly growing congregation, a larger complex would eventually be designed and constructed. In order to develop into the monumental space that it is today, the basilica was funded by wealthy Florentine families, who had gained control of the religious space by acquiring chapels. Thanks to a newly solid financial foundation, artists began to decorate the walls of Santa Croce with frescoes in the 14th century. This became a rapid, yet economical, way to spread and narrate biblical stories to the community, whose literacy rates were low. During the construction process, the church’s unique architectural style emerged. Described as Gothic, the church is defined by its height, light, and complex ornamentation. The quintessential verticality of a Gothic church is highlighted in the ceiling, above the arches, where a series of wooden trusses imitate the structural system of rib vaulting. Today, covering a grandiose area of nearly 12,000 square meters (129,000 square ft.), Santa Croce embodies a plethora of different styles in the sacristy, the Pazzi Chapel, cloisters, and the Novitiate Corridor with the Medici Chapel. While the central nave is lit by stunning stained-glass windows, the side aisles are adorned with meticulous sculptures and funerary monuments. At the counter façade stands Pio Fede’s Liberty of Poetry, a statue indirectly familiar to many. This tribute to the Tuscan playwright Giovanni Battista Niccolini is thought to have inspired Auguste Bartholdi, who sculpted New York’s Statue of Liberty after his visit to Florence. Glancing down at the floor, the space is lined with a myriad of gravestones, which visitors may freely wander between, around and over. Originally, these tombs were reserved either for Franciscans who had held important roles in the order, or military captains, and the neighborhood's most powerful families. Over time, however, the stones were supplanted by Renaissance monuments, facilitating Santa Croce’s claim as the guardian of Florence’s glories. It was in the 14th century that this new style of funerary monument became popular: tombs, instead of being mere gravestones, were embellished with elaborate sculptural elements and a sarcophagus. The lives of important Italian figures began to spread their significance across the walls of the basilica. And thanks to this evolution, a visitor can now travel through centuries of
Italy’s history by viewing commemorations of Renaissance artists, scientists, and philosophers, to more contemporary heroes, represented by memorials to soldiers who served in the two World Wars. After absorbing the powerful narratives circulating through Santa Croce’s aisles, and taking in the magnitude of the main nave, a visitor may find themselves headed towards the Novitiate Corridor. Paved with light marble and roofed with a barrel vault, this beautifully-lit hallway leads the way to the Medici Chapel. Built between 1435 and 1445, the structure of the chapel has remained virtually unchanged over the years; however, the collection of art has not. Whether it be a consequence of suppression during the Napoleonic era or the 1966 Florence flood, significant changes can be noted. Today, the walls remain adorned with the glazed terracotta works, gleaming with bright blue details, created by Andrea and Giovanni della Robbia. Inside the room, take a look to the left of the altar. This small space is where Galileo Galilei was buried after he died in 1642; his remains were later relocated into the Church in 1737.
Stepping outside, visitors are brought back to the present day, in a quiet courtyard which provides a tranquil space to collect one’s thoughts and reflect. This stretch of green space is populated with sculptural works, notably the statue of God the Father (carved by Baccio Bandinelli), and the funerary monument to the memory of Florence Nightingale, a tribute to the nursing pioneer in the city of her birth. Running along the side of the church is a pathway (in the shape of a typical loggia), to continue one’s journey through history, from one cloister to the next. Visitors are urged to explore the divine proportions of Brunelleschi’s Pazzi Chapel, one of the first and most representative Renaissance design projects. Built on a module, the chapel is arguably the most perfect space ever designed by man. By establishing ideal proportions and harmonious geometric forms, it is a prime example of architecture on a human scale. The result comprises impeccable acoustics and beautiful observable clarity. The details of this visual masterpiece are most definitely worth seeing and experiencing. The last room of the Museum of the
Pio Fede’s Liberty of Poetry in Santa Croce, which is thought to have inspired New York’s Statue of Liberty.
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opening Opera of Santa Croce, or the refectory, is a thought-provoking way to end a visit. This large, rectangular space has a unique trussed wooden ceiling, and like much of the experience, breathes history. Here, a visitor can observe the Last Supper and Tree of Life frescoes created by Taddeo Gaddi, one of Giotto’s best pupils. Originally, the function of this room was where the Franciscan friars would share meals, as emphasized by the Last Supper. The Tree of Life depicts Christ on a wooden cross at the center of the work. Artfully depicted messages, branching out from the core, weave all the way to prophets who receive tidings of salvation. It is here in here that one can also comprehend the tragedy of the 1966 flood that rushed through the streets of Florence, impacting numerous and priceless artworks. While Santa Croce is a leading symbol of this destruction, the refectory becomes a unique symbolic representation of this natural disaster and a celebration of the efforts undergone to restore damaged art. Several monumental paintings, including Vasari’s panel painting, The Last Supper, were submerged in water, mud, and debris. The flood level reached a height of 8 1/2 ft. Because the piece soaked for so long, the wood expanded, then contracted and pigment started to chip. Rescuers were faced with a monumental conservation challenge: from seeking ways to prevent the paint from peeling off, to physically searching through the mud in search of minuscule missing pieces. Rice paper was attached, and the Last Supper slowly dried out in a humid environment and waited for its final restoration, which began in 2010. And although Vasari’s famous painting (amongst several other works) was laid dormant in storage for decades, it was thanks to these unprecedented conservation efforts that the work has been properly restored and is on display today. While the monument is rooted in an anthology of historic stories, the narrative behind Santa Croce’s façade is an interesting one. The stark contrast between the simplistic stone exterior and the vastly detailed front façade is recognizable to any observer. Niccolo Matas (1798-1872) was tasked to create this beautiful, neo-Gothic façade—arguably the most scenic part of the Basilica. At the pinnacle of the façade, as a celebration of his own religion, or as a representation of Judaism, Matas placed the Star of David with an IHS in the center
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(a contraction of the Greek word for Jesus) to show the evolution from Jesus’s own Judaism to modern Christianity. Standard practice in the mid-1800s, the designer was never allowed inside the church because he (of course) wasn’t baptized. To this day, Santa Croce remains one of the few Christian churches with a Jewish symbol embellishing the façade. There is a grave marker with the name of Niccolò Matas just outside the front center doors. The Basilica of Santa Croce is one of the only places in the world where one can see
the birth of the Renaissance in 75 years within 75 steps, from Marcovaldo through Giotto and Taddeo Gaddi. An observer looks at the art, right where the artist intended for it to be viewed: it is here where the Renaissance happens right before one’s eyes. BASILICA OF SANTA CROCE Piazza Santa Croce Open daily 9:30 am – 5:30 pm, Sunday: 1 – 5:30 pm Admission: €9, reduced €6
From November 18 to December 17
solidarity
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EMPOWERING WOMEN VICTIMS OF ABUSE IN FLORENCE
Viva Vittoria Firenze & the Artemisia Anti-Violence Center
Left to right: AILO member Vesna Rusic, AILO president Begga Leifsdottir Mensuali and Linda Mensuali, AILO cultural chairperson (photo by Morgan Angove)
with reporting by Kaylie Taitano & Milan Loiacono photos by Morgan Angove & Anna Velazquez
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iva Vittoria, a volunteer-based project whose main goal is helping women who have experienced domestic violence, has been extended through December 18, 2023. Piazza Santa Croce was literally blanketed with a beautiful mural of 4,000 handmade knit and crocheted blankets on November 11: 3,100 were sold, with proceeds donated to organizations in Florence that help women who have been victims. Viva means life; Vittoria is a female name and symbolizes the success of women. The event on November 12 was rained out, so the sale of the remaining 900 blankets will continue at via Rondinella 62 on
Saturdays and Sundays; at the German Christmas market in Piazza Santa Croce until December 18; and in addition to the AILO Bazaar on December 8 and 9 at the Orticoltura garden, via Vittoria Emmanuele II, 4. The minimum donation is €20. AILO, the local partner for Via Vittoria, is a profound philanthropic organization comprised of English-speaking individuals from all over the world who strive to give back to the community. AILO’s goal is to assist charities within the city as well as in the province of Florence through fundraising and service. “You don’t need to know the language when you’re doing something—that’s the spirit of giving,”
said AILO president Begga Leifsdottir Mensuali. The designated recipients of the funds will be Artemisia Centro Antiviolenza, ACISJF Firenze, and Nosotras onlus. All of these organizations give help to those who are in need of assistance, particularly women. Artemisia aids women, children, and adolescents who have experienced violence, and ACISJF is a Catholic association that mainly focuses on supporting single women, women with children who are homeless, or those who wish to escape from an abusive relationship. The third non-profit, Nosotras onlus, seeks to empower women—Italian and migrant alike—through
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solidarity counselling, guidance, education, and training, amongst other activities that focus on the freedom and independence of women. The time and effort dedicated to making the blankets was more complex than factory-made blankets. Since January 2022, crocheted squares 50 x 50 cm (19 x 19 in.) have been made by hand and donated by a vast community in Florence, other cities in Italy, and by people around the world ranging in ages 6 to 102. Under the guidance of AILO, individual squares that complemented each other were sewn together to create a blanket 100 x 100 (about 3.3 x 3.3 ft.) in size. Tied together with red thread, a color that specifically symbolizes violence against women, the blankets all share a message to unite in the name of a cause that needs attention. THE ARTEMISIA ANTI-VIOLENCE CENTER Artemisia Gentileschi was a painter in an era where women in the artistic community weren’t often accepted. In 1611, she was raped by her father’s colleague, Agostino Tassi, who was later tried and found guilty. After this traumatizing experience, Artemisia’s art reflected the trials of strong women and suffering. Her legacy of empowering women lives on through Florence's Artemisia Anti-Violence Center. The Artemisia Association was founded in 1991 due to the efforts of those fighting against the abuse of women, a cause led by Nicoletta Livi Bacci and Catia Franci. The Anti-Violence Center has continued over the years both to deepen research and studies on the topic, and to intervene in the fight against violence, building support and creating treatment paths together with women, children, girls and adolescents who are victims, and with adults who have suffered violence in childhood. Always active in the promotion of the right to freedom, integrity, dignity, equality, safety, health and care, Artemisia has celebrated 30 years of existence. This goal was achieved with an eye to the future, projected towards horizons of freedom. Artemisia, which continues to support and aid the abused, is the point of reference for people asking for help in Florence and in the Florentine metropolitan area. Staff is with them every step of the way, providing different paths that recovering victims can take. Women who are in abusive relationships, children who are the subject of
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The Viva Vittoria installation in piazza Santa Croce
violence and adults (male or female) in the same situation, can receive treatment from the center. Artemisia offers both psychological and judicial support. On staff are 25 psychologists and psychotherapists, two social workers and nine volunteer lawyers who come in to offer legal advice. In order to volunteer, one must be trained by the center. Volunteers work with counselors who offer their services to the children of the center as well. Teachers come after school in order to teach children whose mothers aren’t able to bring them to school during normal hours due to their jobs. Volunteers are also involved in heightening awareness providing information, and organizing fundraising events and other initiatives. If a woman and her children are at risk of physical safety the center offers eight
refugee homes. The exact locations of these shelters are kept secret. The stay lasts around six months to a year or from three to six months. Social workers help women figure out a plan to get back on their feet and find alternate housing and jobs. Through the aid of those on staff and volunteers, the women that come to Artemisia find what they are looking for: a safe haven. The center works to promote knowledge and awareness of abusive relationships through community outreach programs, where the topic of conversation is preconceived notions regarding women and abusive relationships. Current President of the Artemisia Association, Elena Baragli, says that “while there have been many advancements made on the behalf of abused women in Italy, there are many stereotypes that have to be broken and work to be done.”
displays & shows
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UNVEILING AN ARTEMISIA MASTERPIECE AT CASA BUONARROTI The Presentation of Gentileschi’s ‘Allegory of Inclination’ After On-Site Restoration by Elizabeth Wicks photos by Ottaviano Caruso
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Allegory of Inclination - digital reconstruction of the original under the veils Massimo Chimenti Culturanuuova
rtemisia Gentileschi’s master painting, The Allegory of Inclination, is on view in a smallscale but fascinating exhibition, Artemisia in the Museum of Michelangelo in downtown Florence. The newly restored painting and the results of the complex conservation and study project, Artemisia UpClose, which took place from September 2022 to May 2023, are the main attractions of the show. The show also focuses on Artemisia’s Florentine period, with her Penitent Mary Magdalene from the Pitti Palace painted for Cosimo de Medici II, as well as works by other Florentine artists in Artemisia’s circle. There are also rare original letters and documents on view pertaining to Artemisia’s introduction into the Medici Court, and to her enrollment in the Florentine Academy of Arts, the first such academy in the world. Artemisia was the first woman artist to be admitted into the prestigious Academy, in 1616, when she was 22, the year she painted The Allegory of Inclination. The work was part of a group of canvases commissioned for the ceiling of the Gallery Room in the Buonarroti home, which Michelangelo Buonarroti the Younger designed as a tribute to his “divine” great-uncle. Artemisia met Michelangelo the Younger either in Rome or shortly upon her arrival in Florence in 1613, and he became her close friend and mentor. He commissioned her to paint the personification of an attribute or quality Michelangelo possessed, “Inclination,” which meant the natural talent for artistic creativity. Artemisia portrays “Inclination” as a life-size nude female figure, standing on fluffy clouds, holding a compass and gazing up at the north star as her guide. Galileo, another close friend of both Artemisia and Michelangelo the Younger, may have given the artist advice on painting the compass; a similar 17th century compass, based on his design, is on display at the exhibition. Artemisia gave the allegory her own face, thus underscoring that the inclination to create was a quality that not only Michelangelo, but one she herself, possessed. This idealized self-portrait, the first frontal nude painted by a woman, was an especially bold choice given the artist’s personal history. At 17, while living in the Gentileschi household in Rome, Artemisia was raped by
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displays & shows Coordinated by conserher father’s colleague, whom vator Elizabeth Wicks, the her artist father Orazio had team of scientific experts who hired to teach Artemisia percarried out the diagnostic respective drawing. search include the National Orazio brought charges Institute Optics Center for against the rapist, but it was Cultural Heritage, the Nathe victim, Artemisia, who tional Research Council’s underwent torture at the Institute of Heritage Science, hands of the ecclesiastical and image diagnosticians Otcourt, in order to prove that taviano Caruso and Teobalshe was telling the truth. The do Pasquali. Their findings rapist was convicted, but the were processed by Massimo resulting scandal made conChimenti of Culturanuova tinuing to live in Rome imsrl to create a virtual reconpossible for Artemisia. The struction, as faithful as possiTuscan born Orazio therefore ble to the original painted by wrote a letter to the ArchArtemisia. The digital image duchess Cristina de’ Medici, without veils is being shown asking that she be received at to the public for the first Court, and he also had Artime during the show at Casa temisia marry a Florentine. Buonarroti, and will be made The ground-breaking Allegoaccessible to future visitors to ry of Inclination, audacious in the museum. subject manner and exquisite Wicks said, “Thanks to in execution, cemented Arteour generous project sponmisia’s professional success in sors Margie MacKinnon Tuscany, and secured her arand Wayne McArdle, and tistic future as she started her philanthropist and art colnew life in Florence. lector Christian Levett, we After over 400 years lying used the best technology to belly-down on the ceiling of explore beneath the surface the Gallery, the painting was and discover Artemisia’s sagging from its stretcher original painting underneath and in dire need of conserthe drapery. Another wonvation treatment. The strucderful aspect of the restotural problems affecting the ration process was that it was canvas had caused very visientirely carried out in public ble cracking and cupping of view in a dedicated room of the paint layers, which imCasa Buonarroti, allowing peded a correct reading of The Inclination after conservation. Photo by Ottaviano Caruso museum visitors to follow the image. Later applications the work in progress and inof varnish had darkened and teract both with the conseryellowed, obscuring Artemisia’s original brilliant colors, such as the Volterra, to cover up the figure. Il Volter- vation team and with the painting itself.” When visiting the exhibition, make sure sky, which she painted with precious lapis rano swathed the Inclination with drapery to also see the museum itself, which houslazuli blue pigment. and veils in white, gray and yellow paint. Another reason for the restoration and Because the coverup was carried out by es Michelangelo’s drawings and models, as study project was that several decades after a famous artist, and because the removal of well as his earliest surviving marble sculpit was painted the nude figure was covered the thick, almost contemporary overpaint tures, the Madonna of the Steps and the Batby drapery and veils applied in thick lay- could conceivably cause damage to the tle of the Centaurs. ers of oil paint. Michelangelo the Young- original underneath, it was decided to leave Until January 8, 2024 er’s nephew, Leonardo Buonarroti, then the drapery. Instead, the figure has been ARTEMISIA IN THE MUSEUM owner of the home, felt that the naked “unveiled” virtually, by using diagnostic OF MICHELANGELO lady on the ceiling offended the modesty imagery to create a digital reconstruction Casa Buonarroti of his wife and young children, and called of Artemisia’s original nude. There are two Via Ghibellina 70, Florence upon the late Baroque painter Baldassare multimedia sections, one in the first room Open 10 am – 4:30 pm, closed Tuesday Franceschini, also known as Il Volterrano on Artemisia in Florence and the third Admission: €8, €5 reduced thanks to his origins in the Tuscan city of room, on the restoration of the painting.
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buon appetito!
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FINE DINING NEAR SANTA CROCE Boccanegra: A Varied Culinary Journey Under One Roof
The interior of one of the restaurant’s dining room by Jonah Foster
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mmediately upon entering Ristorante Boccanegra, a gem in the heart of Florence, one is greeted by a welcoming, intimate ambiance that provides the groundwork for the culinary experience to come. This warm but sophisticated eatery, located in a former Medici-owned building from the 1200s, hosts three sections—a restaurant, an osteria, and a pizzeria, each with its own atmosphere. The restaurant is decorated with large artworks that hang on the plaster walls, burnt red tile flooring and high wooden beam ceilings. The osteria is characterized by exposed brick and stonework, while the pizzeria is immediately identifiable thanks to the brick oven positioned behind the bar. First courses (primi piatti) also utilize the in season truffles, such as in the tagliolini di pasta fresca (thin, handmade egg noodles) al tartufo bianco. Another must-try are the homemade tagliatelle al pesto di cavolo nero e mandorle, a delicious dish consisting of homemade pasta with kale and almond pesto, studded with slivers of sun-dried tomatoes. Main course (secondi piatti) standouts are the beef dishes that Boccanegra offers. Controfiletto di manzo arrosto al tartufo nero is a tender filet topped with truffle shavings. The contrast of beef versus the earthy and aromatic truffle creates an indulgent flavor experience. In contrast, the tagliata
di manzo con radicchi embraces a more rustic approach, presenting sliced grilled beef which harmoniously complement crisp and peppery salad greens. Above all, Boccanegra is renowned for its the gran bistecca alla fiorentina, Florence’s version of a T-bone steak. Cooked to perfection and dressed with pepper, crushed herbs and a drizzle of olive oil, this dish, a tour de force of simplicity and quality, is customarily enjoyed between two people.
Desserts, meanwhile, are delectable, featuring classic selections ranging from cheesecake and a vanilla-glazed apple tart to chocolate flan and tiramisù. In addition to the three sections of the restaurant, Boccanegra’s premises also contain an underground wine cellar focusing mainly on Tuscan vintages, marked by the year and vineyard of production. The vast collection nearly reaches the centuries-old ceiling fresco, which is adorned by a Medici crest. The scale of the cantina’s inventory is a testimony to the devotion of owners Marco and Andrea Angelini, to curating a selection of international excellence. Staff will ensure your meal is complemented by a perfectly paired glass of wine. Boccanegra is a multi-faceted establishment encompassing fine food, an extensive wine list, and a relaxed yet refined atmosphere. The qualified staff members are more than happy to guide prospective diners through their culinary choices; English menus are available upon request. The restaurant truly delivers a thoughtfully crafted, varied dining experience with something for every taste. RISTORANTE BOCCANEGRA Via Ghibellina, 124/R, Florence Open Monday - Saturday, closed Sunday Dinner: 7 pm - midnight Book reservations online www.boccanegra.com
Tagliolini (thin ribbons of fresh pasta) deliciously topped with white truffle
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higher education
Sharyn Baddeley
O A ROLE MODEL AT FLORENCE’S INTERNATIONAL SCHOOL Head of School Sharyn Baddeley’s Impact on the Local Community
by Abigail Dawson
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ver a year into her role as the Head of School at the International School of Florence, Sharyn Baddeley continues to make a positive impact on the lives of many, cultivating an inclusive, caring, and culturally responsive school community. With 545 students, 120 staff members, and over 40 nationalities represented, the International School of Florence (ISF) is one of the oldest international schools in Europe. Originally from Melbourne, Australia, Sharyn’s background in education spans nearly 38 years, and her diverse set of degrees—including a Bachelor’s in Applied Science, a Bachelor’s in Business Management, a Master’s in Educational Leadership, and a Master’s in Cultural Leadership and Coaching—has more than qualified her for a career as a leader. Prior to ISF, her most recent position was Head of School
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of an international school in Beijing for six years, much of which took place during the pandemic, calling for crisis management. Though the demands of her position as Head of School limit her direct involvement in the classroom, she cherishes all opportunities to connect with students. Sharyn has gravitated toward the field of education since she was young. During her own education, she had exceptional teachers and role models who profoundly impacted her confidence and instilled a lifelong love of learning. She, however, has also had teachers who had a negative impact on her self-esteem and learning, which gave her a clear understanding of the type of teacher and leader she wanted to be. Her goal as an educator and leader is to make a lasting and positive difference in the lives of students, helping them to build confidence, learn effectively, and achieve
their full potential, as well as empowering staff and encouraging them to continually learn, develop their skills, and grow as leaders. As the head of ISF, she aims to create an environment where every student, faculty member, and parent feels valued and heard, regardless of their background or circumstances. Motherhood has also played a role in shaping her empathetic approach to leadership, as her three children have helped teach her to be flexible, understand concerns, and provide proper support. It is important to acknowledge that, as a woman in power, not every part of Sharyn’s journey has been smooth, as she has faced and continues to face challenges in being taken seriously as a leader. Nonetheless, she is committed to learning from inevitable negative episodes and is determined to focus instead on positivity and resilience, putting deep trust in the staff and recognizing the value of the school’s close community. She continues to find support and inspiration from her role models and apply that wisdom as Head of School. By sharing her experiences, she hopes to set an example for women to believe in their ability to excel in any field and pursue management positions. An important goal is the ISF Women in Leadership conference that Sharyn is organizing in spring 2024. The initiative reflects her drive to initiate and deepen conversations about women’s roles in executive positions and open them up to a wider audience. It is her genuine desire to reshape the future of workplace culture so women can lead with the equity, inclusion and respect that they deserve. Giving back is extremely important to Sharyn and ISF. This past year, Sharyn initiated a Community Service Day to ensure their students learn about and get involved in social justice issues. On this day, the local organizers of Viva Vittoria, an initiative to raise awareness about violence against women, represented one of the many organizations to visit ISF. Through a knitting workshop, volunteers explained the knitting metaphor for personal growth and self-creation that the initiative represents. ISF participated in the Viva Vittoria event in Santa Croce (see related article), further lending their voices to the collective call for justice. ISF had a sobering opportunity to give back to the community after torrential rains caused severe flooding just outside of Florence. Meeting first at the school to pick up equipment, on Sunday, November
5 Sharyn and staff members volunteered as “mud angels” in clean-up efforts at Campi Bisenzio, where a tributary of the Arno River had overflowed its banks in the wake of the devastating storm Ciaran. The International School of Florence provides students with the unique opportunity to experience the best Florence has to offer – both near the city center and in the Florence countryside. The rigorous curriculum and cultural diversity at ISF prepare students to face the future with a broad, global perspective. Additionally, a wide range of after-school activities are offered, such as Model United Nations, TEDx, and STEAM. In an increasingly interconnected world, ISF provides exposure to diverse perspectives, global issues, and a multicultural environment, and its students go on to attend universities all over the world. An international education equips students with the skills, knowledge, and perspective they need to succeed and make a positive impact as the next generation of world leaders. The rich history of ISF began in 1952, Horace Gibson and Paul Burke Mahon founded the school as a tutoring service with only six students in Rome. In 1968, the school moved to Florence, where it became the American International School. In 1980, the school moved to the Villa le Tavernule in the beautiful hills of Bagno a Ripoli. In 1984, it became an IB world school, offering the Primary Years Programme and the International Baccalaureate Diploma Programme. In 2003, the institution was renamed the International School of Florence, opening a second campus for the Middle and Upper School at Villa Torri di Gattaia near Piazzale Michelangelo. Today, ISF has established a distinguished name, synonymous with educational excellence, personal development, and experiential learning. ISF is constantly looking for creative ways to strengthen its curriculum and ensure students have access to fresh learning experiences. Sharyn believes that schools should reflect the times they live in, and is currently overseeing the early stages of building a new campus. Each new day presents both opportunities and new challenges for Sharyn, but this dynamism is what keeps her passion flourishing. She cultivates an inclusive, caring and encouraging school environment, empowering her students and staff members to thrive both emotionally and academically as they prepare for their futures.
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The International School of Florence stands as one of Europe’s most established international educational institutions, offering the coveted International Baccalaureate Diploma, ensuring students a direct route to a diverse range of colleges and universities worldwide.
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Our MISSION is to be a laboratory for learning where we collaborate to add meaning to a shared future. Our VISION is to aspire to build communities of makers and doers.
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commerce & industry
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MEGAN DELBRENNA IN CORTONA & FLORENCE The Fundamental Contribution of an American Woman to an Italian Jewelry Firm by Rita Kungel
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n the hilltop town of Cortona, tucked beneath the stairs of the City Hall in Piazza della Repubblica, visitors can find a small studio displaying exquisite hand-crafted jewelry. The history of jewelry-making in the DelBrenna family goes back to in 1201 in Florence’s gold district, but the 21st century has brought new energy, expansion and marketing to the business. Current owners Sebastian and Megan DelBrenna, utilizing the artistic techniques passed down from the previous generations, produce necklaces, bracelets, earrings, rings, and charms, integrating their unique chain design inspired by ancient Etruscan jewelry. Megan enrolled in a study abroad program in Castiglion Fiorentino in the Val di Chiana between Arezzo and Cortona in 2003. On her way home to Kansas at the end of her stay, she received a call in the Paris airport just prior to boarding, asking her Megan DelBrenna to return to Tuscany for a job as a resident assistant at the campus, and she accepted. During her second stay in the Tuscan village, she met Sebastian, who impressed her by revealing he was a jeweler. Several years later, the two wed and created together the reincarnation of the DelBrenna brand. Megan personally designed and actively participated in the construction of the first retail boutique in Cortona, and created a name, a logo, and unique identity for the line. She adopted the noble family name of Sebastian’s mother’s family and chose the family crest as the logo. Sebastian’s twin brother, sister-in-law, and father collaborated and are still engaged in the jewelry crafting side of the operation. The business model included establishing an online presence. Megan developed a website, social media presence, and a newsletter to elevate brand awareness. On a more hands-on design level, she designed and built the unique Cor-ten steel weather resistant
window displays, now a feature in all the showrooms. The DelBrennas inaugurated their second jewelry showroom in 2013, located in an ancient palazzo in Cortona, and subsequently in Kansas City, not far from Megan’s hometown. In May 2023, they opened a shop in downtown Florence, just around the corner from the designer store filled Via Tornabuoni and adjacent to the Ferragamo Museum. Asked how the couple’s individual skills and personalities meld in their company, Megan discloses that Sebastian is the risk taker, with big ideas and willingness to follow them to fruition. She, with her design and architecture background functions as creative director and marketer, plans and conceives the studios and shops, down to designing the display cases and chandeliers, in addition to product development. With inspiration from Tuscany’s rich artistic and cultural heritage, each piece of jewelry reflects the combination of tradition and modern aesthetics. The vast selection is based on the four different unique chain designs, which come in different lengths: some simple, some with pendants such as a dragonfly, a tree of life, or a miniature birdcage. One stunning chain in silver, with a 24K gold finish, holds a single blue topaz encircled by the matching chain design. Another, the Botticelli necklace, has circles of links interspersed with sea foam green chalcedony stones. Rings, bracelets, charms, earrings, and cufflinks complete the collection. DelBrenna also creates customized one-of-a-kind jewelry, and offers stylists to assist customers in their purchases. “DelBrenna’s identity would have taken a significantly different path had I not embarked on this remarkable journey with the family, or had they not accepted me with warm hearts — and for this, my gratitude knows no bounds,” says Megan.
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CORTONA FROM A DIFFERENT POINT OF VIEW A Self-Guided Renaissance Tour of an Etruscan & Medieval Tuscan Hilltop Town
by Rita Kungel
additional reporting by Jonah Foster photo by Andrea Pistolesi
Above, the Latin cross design and cupola, thought to be designed by Leonardo Da Vinci, of Santa Maria delle Grazie al Calcinaio; left, The Assumption of the Blessed Virgin Mary in the Diocesan Museum.
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ortona, a jewel of a hilltop town set amidst vineyards and olive groves, overlooks the Val di Chiana in southern Tuscany quite near the Umbrian border. The enchanting town receives fewer visitors than some of the more wellknown Tuscan hilltop villages. It’s famous for wine and Etruscan artifacts, but perhaps more for being the subject of the book Under the Tuscan Sun and the eponymous film. Without a doubt, Cortona’s churches are the town’s most significant vestiges of the Renaissance, set both inside and outside the city walls This year the town commemorates the 500th anniversary of the death of Renaissance pioneer, the painter Luca Signorelli (1450-1523), one of the city’s most celebrated sons. Signorelli’s art graces the walls of several churches within Cortona. An early visionary in the art world, his innovative style and use of perception and geometry set the scene which would be followed by Michelangelo and Raphael. Known for his great attention to anatomical detail, he was said to do research in graveyards and his mastery of human anatomy indicates the artist had conducted
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TUSCANY’S CULTURAL GUIDE
dissections. Signorelli is also known for his skills in chiaroscuro, the effect of creating light and shadow patterns using bold contrast—the interplay of light and shadow heightens the spiritual drama, transporting viewers into a realm where the divine meets the mortal. His portrayal of figures in action likely inspired Michelangelo in his execution of the Sistine Chapel frescoes. Nearly all Cortona’s churches host a Signorelli masterpiece; those that don’t, such as the Chiesa di Santa Maria Nuova, were present during Signorelli’s time. Visitors are welcome to go on a self-guided Signorelli and Renaissance architecture tour amidst the captivating churches and the paintings housed inside, representing the artistic history that defines the town. Cortona’s greatest church, Santa Maria delle Grazie al Calcinaio, is set on a hillside amidst olive groves, lying 1.3 km. (just under a mile) down the hill from Piazza Garibaldi. According to legend, on Easter Sunday of 1484, an image of the Madonna and Child, painted on the side of a vat used for tanning leather, called calcinaio due to the lime used for the process, began to perform miracles. The icon, still visible today on the high altar, is venerated as sacred. As the word of the miracles spread, the Shoemaker’s Guild elected to build a church to enclose it. Due to the steep terrain and presence of a stream, the project proved to be difficult, but the architect Francesco di Giorgio Martini took on the job and drafted the design. By 1525, the church was completed. Created with the architectural principles of perspective and proportion, the result remains a masterpiece of Renaissance architecture. The interior of the church, reminiscent of Brunelleschi, provides a contrast to the austere exterior with the Latin Cross design and two side chapels and unusually high arches. A beautiful rose window in stained glass graces the interior along with several Renaissance era paintings including Madonna and the Saints by Florentine artist Alessandro Allori. Another Renaissance era
church, Santa Maria Nuova, was built to house a miraculous icon of the Virgin Mary. Based on an original design by Giorgio Vasari, the church was built between 1550-1610. Nestled up on a hillside just outside the walls, it can be found by exiting the gate called Porta Colonia then down a short distance on Via Santa Maria Nuova. The church, constructed in a Greek cross design, contains a dome later added in the 17th century. Inside can be found several Renaissance paintings including one of Cardinal San Carlo Borromeo administering communion to those afflicted by the plague, painted by Baccio Ciarpi. Less than 200 meters from Cortona’s bus stop sits the first installment of Cortona’s artistic legacy, the Chiesa di San Francesco. Notable as the first church established by Franciscans outside of Assisi, it is believed to host Signorelli’s remains, which purportedly lie in the crypt below the church. The church’s interior captivates visitors both spiritually and aesthetically. Here, Signorelli’s artistic virtuosity shines through in the magnificent frescoes that adorn the Cappella dell’ Annunziata. These frescoes, completed between 1501 and 1504, depict scenes from the life of the Virgin Mary and the Annunciation.
The treasures of Chiesa di San Niccolò, a small church tucked away on a side street, reveal yet another facet of Signorelli’s creativity. Here, an enthralling two-sided altarpiece by the master is on display, a rarity in the world of art. On one side, the altarpiece presents Madonna and Child between Saints Peter and Paul, radiating maternal tenderness through one of Signorelli’s many encapsulations of the Virgin Mary. On the other side, The Deposition of Jesus from the Cross balances a somber tone against a portrayal of divinity. The two panels showcase Signorelli’s versatility, equally adept at representing the serenity of the Madonna as of the bereavement present in Christ’s passing. While the scenes portrayed on each side display drastically different tones, his grasp and control of color is notably present in both. As opposed to the less vivid tones that mark his period, Signorelli utilized bold reds, bright yellow golds, deep pinks, and shimmering blues, shades that work in harmony with a nearly three-dimensional vibrancy. The artist’s commanding use of color is thought to have even influenced Raphael. The walled city can be entered through seven different gates rebuilt through the centuries using existing stones, some from the Etruscan era. Inside the gates Cortona is filled with narrow alleys called vicoli dating from medieval times. The streets steeply climb up and down the hill with one exception, the Rugapiana, “the Flat Road” connecting Piazza Garibaldi and Piazza della Repubblica. This main thoroughfare, now called Via Nazionale, a narrow pedestrian only street, attracts ramblers with its small cafés, shops and wine tasting venues. The walk along Via Nazionale begins in Piazza della Repubblica, the heart of the town and the political, administrative and social center. The square is dominated by Palazzo Comunale or town hall with its clock tower and broad steps installed during the Renaissance. This piazza beckons visitors to sit and enjoy a coffee or a spritz, providing a perfect people watching venue. If one is lucky, the respite will be enhanced by live music often performed in the piazza. After strolling along Via
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Deposition of Christ, Church of San Niccolò
Nazionale while browsing the many shops and art galleries, one arrives in Piazza Garibaldi, also called the Belvedere di Cortona. Pause for a few minutes and take in the breathtaking views of the landscape, with Lake Trasimeno and the lava dome of Monte Amiata, the area’s highest peak. Just outside the gate lies the Church of San Domenico. This Gothic style church hosts Signorelli’s Madonna with Angels and Franciscan Saints. The church also contains a fresco over the doorway by Fra Angelico another important Renaissance artist who lived in the adjoining monastery for a period. Visitors today can find many other remnants of the Renaissance era. Via Nazionale contains several palazzi, including the imposing Palazzo Laparelli, Palazzo Venuti, built in the late 1400s, and Palazzo Mancini-Ferretti. A stroll down pretty Via Ianelli with its 14th century timber-framed houses and rough-hewn stones with upper floors hanging over the street, supported by wooden joists evokes medieval times. The scene might create the sensation of living in Renaissance times were it not for the occasional parked car. Located in Piazza Duomo, the Diocesan Museum contains several Signorelli paintings. Included are The Assumption of the Blessed Virgin Mary, which depicts the apostles gathering around Mary’s empty tomb to watch her assumption into heaven where she is surrounded by musicians. The painting’s impressive vivid colors make it a standout in the collection. A
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powerful rendering, Lamentation over the Dead Christ, completed the same year that Signorelli lost his son Antonio due to the plague, expresses the pain the artist must have experienced with his own loss. Outside the city, on a hilltop overlooking Cortona, the 16th century fortress
commissioned by Duke Cosimo I de’Medici sits commanding marvelous views over the countryside. A 20-minute walk from Piazza della Repubblica following Via Santa Margherita affords views of the surrounding countryside and Lake Trasimeno along the route. For a special experience, visit at sunset when the illumination from the villages in the valley put on a twinkling light show. The Girifalco Fortress, never used in battle, now hosts exhibitions and events. Next to the fortress is the Basilica of Santa Margherita. Dedicated to St. Margherita of Cortona, the patron saint of the town, the saint’s remains lie in a silver casket. According to legend she is also the patron saint of society’s downtrodden and disenfranchised; the homeless, insane, orphaned, single mothers, reformed prostitutes, stepchildren and tramps. Cortona boasts a unique history with remnants of almost 3000 years of history which wait to be discovered. Wander the steep and narrow streets, exploring and sensing the centuries. Be sure to wear comfortable walking shoes and do expect to get lost.
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views & interviews
IN CONVERSATION WITH AMERICAN NOVELIST LISA ROBBINS A Look at Lisa’s Wide-Ranging Literary Career by Sophie Holloway photo by Sophie Holloway
Author Lisa Robbins
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t is not always easy to recollect when we learnt or discovered something. But Lisa Robbins, a published American novelist living in Florence, recalls the age she first put pen to paper with absolute clarity. “I would have been 13 years old, and living in Taiwan, where my father was stationed,” she says. For her, writing was a way of “making sense of the world,” and it remains to this day one of the main reasons she continues to write. While her love of writing began young, her career as a novelist started only after she had pursued two different professions: first as a banker, and later as a financial journalist. But “neither made my heart sing,” she says, which is what prompted her move to a different branch of journalism, one that opened up a whole new world to her. Here, she was given the freedom to report on a far wider range of subjects and was even given the opportunity to interview famous people, including Dick Francis and Richard Burton. Asked about how her career in journalism informed her career as a writer, Lisa makes an astute observation about the two professions. “The ‘Who? What? When? Where? and Why’ of journalism taught me to set the
scene; with fiction, you need to withhold some of that, of course, but a journalist’s method still applies, to some degree,” she says. Lisa draws inspiration from across time and space. Her first book, for instance, is a collection of short stories, indebted to her travels in Hong Kong, Taiwan, the USA and UK, and it represents a fictionalised account of her own reality, reshaped aspects of her own lived experiences. Themes that emerge from the stories include identity, belonging, residence vs transience, and looking in from the outside, the immutability of the ‘foreigner’ status when we venture abroad. Additionally, she uses her fiction to explore the subject of gender and is unafraid to “try on a different hat.” In her upcoming book, Lisa examines the unavoidable topic of grief, but from a male perspective—a father of three who has recently lost his wife. “It is not about challenging myself, it’s about just doing it and seeing what happens,” Lisa remarks, on the literary and psychological aerobics involved in writing from the opposite sex’s point of view. Her life abroad has also pushed her to explore not only the dichotomy between the male and female perspective, but between Western and Eastern viewpoints. It is the job of a writer to step into the shoes of another. Her current book in progress is set in Hong Kong and for part of the story, she inhabits the perspective of a Philippine woman. Lisa is also working on various other novels, including the story of a lawyer who turns corrupt, a couple who move to Italy to escape family struggles, and truffle hunting. Asked how Florence has infiltrated her writing, Lisa replies that the city has taught her a lot about art and instilled in her a deep appreciation of just how much painters are able to convey through their work, giving Da Vinci’s Salvator Mundi as the example. “His eyes are so full of pain,” she says, ‘He really is the saviour of the world.” The principle of “showing, not telling,” which has guided the evolution of her writing, parallels her love of art, a medium that does exactly this, wordlessly.
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artists & artisans
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SONIA: THE WOMAN BEHIND ‘LA PELLE’S’ LEATHER GOODS She Carries on the Florentine Tradition of True Leather Craftsmanship
by Abigail Dawson
photo by Abigail Dawson
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ourists come to Florence for countless reasons—the abundance of art, the beautiful architecture, the delicious food, and especially for its coveted artisanal goods, such as leather. Located just a short distance past the Ponte Vecchio, visitors and residents alike will find La Pelle, one of Florence’s most high-quality leather shops. Founded in 1983 and currently owned by Sonia and her husband Aldo, this family-run business continues to serve clients from far and wide for all of their leather needs. La Pelle was established by Sonia’s father Silvano, who oversaw the making of the leather jackets in a workshop in downtown Florence. The firm's leather goods continue to be crafted by Florentine and Tuscan artisans. Specializing in leather jackets, pants, skirts, handbags, wallets, and belts made out of sheepskin and lambskin, La Pelle has also begun making jackets and shoes with python. Each year, the two-story shop produces seasonal collections, with their winter collections defined by natural fur linings. While Sonia stays true to classic styles, such as La Pelle’s popular bomber jackets, she also experiments with contemporary designs and is always willing to create individualized styles upon client request. Their current specialty is producing colorful, hand-painted leather jackets, each one unique. When it comes to Sonia’s role within La Pelle, it is clear that she is a true Renaissance woman. As an entrepreneur, she does it all—designing products, overlooking international shipping, working with clients, setting up the shop window, organizing, and even cleaning the premises. La Pelle has become her second home and she works full-time daily except Sunday when the store is closed. Though Sonia is the owner, she ensures there is no hierarchy in the shop. She, her husband, and other employees make decisions as a team regarding colors, styles, and accessories. Sonia’s inclusivity creates a welcoming environment both for employees and customers, and it is clear there is something for everything at La Pelle. Sonia considers her work very satisfying, as she can see the effect her family-run business has had on others over the years. The personal relationships she has made with customers have transcended generations—not only do they have countless habitual clients and referrals, but the children and grandchildren of original customers
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artists & artisans
from 40 years ago still come to the shop. They continue to stay loyal to La Pelle because they know they will not only receive the highest quality leather but also the highest quality care from the employees. Customer care and relations have always been of utmost importance. When working with a client, Sonia makes suggestions on what style and color suits them best, however, she is never pushy and lets them think through their decisions, which is appreciated. Each and every one of La Pelle’s customers is valued, and Sonia truly considers them part of the family. In addition to the dedication to their clients, what separates La Pelle from the countless marketplace leather shops that populate Florence is the superior craftsmanship. The method used to tan leather determines the level of quality. Items in many leather shops utilize the cheap, 24-hour, chemical, “quick tan method” where hides are sprayed by a mixture of chlorine, water, and dye on an assembly line. This process creates inferior leather as it doesn’t allow for the dye to properly sink in, and therefore leads to peeling, loss of color, and an overall cheap leather product. On the other hand, La Pelle’s hides are naturally tanned in a large barrel of water, tannin, and dye, which allows for the dye to properly absorb. The hides are then rinsed before being put back to soak in the mixture. This longer process also makes the leather more elastic and resistant to water damage. A tip to determine the quality of the leather is to cut it to see if the color has been soaked through the thickness of the piece. “Chemically tanned leather often is not visible all the way through, which makes it more susceptible to fading and spotting,” says Sonia. Prioritizing quality and the customer, the shop also specializes in quick alterations as well as custom-made products that can be shipped abroad. People come from all over the world for the authentic Made in Italy clothing and accessories that La Pelle has to offer. Sonia continues to carry on her father’s legacy of producing quality leather goods, and her commitment to quality and customer care is inspiring. Those who are seeking a staple leather jacket, a durable wallet, a fun pair of snakeskin boots, or anything in between, need not look further than La Pelle, located on via Guicciardini 11/R, Florence, open 10:30 am - 6:30 pm every day, closed on Sunday.
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IN TOWN AND AROUND 20TH CENTURY ART MASTERPIECES IN PISA The Avant-Garde: Masterpieces from the Philadelphia Museum of Art is a mustsee show. The bright blue color of the building that hosts the exhibitions isn’t the only unique factor. The retrospective showcases pieces from iconic 20th century artists including Chagall, Dalí, Duchamp, Kandinsky, Mirò, Picasso, Matisse, Mondrian, and Klee. These artists all have unique styles, from abstract to surrealism, but are united in the sense that their work was so revolutionary that the art world was changed forever. The exhibits, created between 1900 to 1950, were a reaction to times that encompassed war, repressive regimes, depression, creating a world full of chaos that led to new ideas and forms of expressions that are known as avant-garde. (C. Ryan) MAPPLETHORPE PHOTOGRAPHY SHOW In 1983, Robert Mapplethorpe’s work was introduced to Florence for the first time at an exhibition hosted at Palazzo delle Cento Finestre. Now, 40 years later, the illustrious images return to Museo Novecento in a never-before-seen comparison with works by Wilhelm Von Gloeden and historical images from the Alinari Archives. Robert Mapplethorpe and Wilhelm Von Gloeden were two photographers whose connection lies in their thematic explorations rather than any direct influence. Mapplethorpe (1946 – 1989) was an American photographer known for his provocative Polaroid and black and white photographs from the 70s-80s, whereas Von Gloeden (1856 – 1931) was a German photographer created the majority of his portrait photographs in Sicily. Although separated by time, context, style, and social reception, the two artists are united in their thematic explorations of classicism and the naked form. Mapplethorpe’s work, emerging decades after von Gloeden, can be seen as a continual and evolving exploration of the body in the context of changing social norms. Through his meticulous posing and bold compositions, Mapplethorpe transformed transgressive depictions into fine artistry, leaving minimal space for moral judgement and critique. (M. Ruiz-Garner)
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AUTUMN FESTIVAL Change is a beautiful part of life. Autumn is emblematic of change, where the interim between warm and cold shows off its vibrant and evanescent hues. While the leaves shift their color in accordance with the season, so does tradition shift its practices. With the Autumnia festival, one can discover the fall customs of a Tuscan village just outside of Florence. Food, wine, and folklore are just some key aspects of Italian autumn culture that are represented at the festival. Typical seasonal food products of the area will be available alongside local craftsmanship. The festival takes place in Valdarno, a city only a few miles from Florence. At the heart of the event is Piazza Marsilio Ficino, one of the most beautiful squares in Tuscany. The piazza will have areas dedicated to local wines and food: chestnuts, porcini, mushrooms, extra virgin olive oil, and more. Cooking shows feature chefs, sommeliers, and kitchen professionals. Stands and tables at the event will be open to
visitors for lunch, dinner, and even snacks. There are activities and games for children, from the opportunity for them to play at being firefighters, to entering the livestock area and animal farm to mingle with sheep, cows, pigs, chicken, dogs, and other animals. (D. Capobianco) CALENDAR November 10 – 11 AUTUMNIA Figline Valdarno Until Feb 14, 2024 BEAUTY AND DESIRE Museo Novecento Open 11 am - 8 pm, closed Thursday Admission: €10.50 Until April 7, 2024 THE AVANT-GARDE Palazzo Blu, Pisa Open daily 10 am to 7 pm Admission: €14
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TAKE CARE OF THE PRESENT SAVE THE FUTURE
TRADITIONAL FAIR DEDICATED TO AGRICULTURE THE ENVIRONMENT AND FOOD
10 - 11 -12 november 2023 FIGLINE VALDARNO JUST A FEW KM FROM FLORENCE
sports & fitness
TUSCANY ’S CULT URA L G UI D E
CATCH SOME SLOPES RIGHT HERE IN TUSCANY A Tour of Abetone, the Local Ski Resort
by Molly Mulvihill photo by Morgan Angove
Abetone’s winterscape
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hen one thinks of Tuscany, skiing (or even snow, for that matter) probably does not come to mind. Newcomers to the region are surprised when they learn about Abetone, a haven of winter sports in Tuscany’s Apennines, which provides the tranquility of the mountains but is only an hour and a half from Florence. THE MOUNTAIN The ski resort is divided into four valleys, offering 19 lifts and 30 miles of trails. Most of the trails are mid-level groomers, but some moguls and freeride bowls are also offered depending on snow conditions. The season typically lasts from mid-December to Easter. A day lift pass to all four sections of the resort is €35 during the week and €50 on weekends, and gear rentals can run from €25 to €50—making Abetone much more affordable and easier to access than the nearby Alps but with a similar quality of slopes. The offerings of the four areas—Ovovia, Regine and Selletta, Val di Luce, and Coppi al Pulicchio—vary greatly. Monte Gomito, the highest point of the resort
at an elevation of 6,200 ft., in the central Ovovia territory, offers wide, recreational slopes. Le Regine (the Queen) has a more secluded feel with thick woods and narrow, quiet slopes, and Pulicchio has a few steep walls and a terrain park that make it a freestyle playground. Val di Luce (Valley of Light) is aptly named—known for its open alpine environment, it is a picturesque, secluded valley on the back side flooded with sunlight and offers some freeriding bowls when there is enough snow.
and lodge, making it an easy base point throughout the ski day. For those looking to learn how to ski or snowboard, Abetone has an extensive school designed for all ages.
GETTING THERE Less than two hours away by car, Abetone is a quick journey from Florence: it is also just as easy with public transportation. A train ride to Pistoia and a two-hour bus ride from the Pistoia train station bring you directly to the town (the roundtrip train costing about €10 and roundtrip bus around €12). Upon arrival, you’ll find a few ski rental shops and signs directing you to the different lifts. Ticket offices are at the base of each lift, meaning you can start skiing from anywhere on the mountain. The main base located at Ovovia also has a ski rental shop right next to the gondola
EXPERIENCING ABETONE As a spoiled native Coloradan and exski racer, I really didn’t expect much from Abetone. I underestimated the snow quality and thought the mountain would feel rather small and repetitive. I was, however, blown away by the size of the resort, quality of snow, and homey atmosphere. Abetone is big enough that the day still feels like an adventure, and it would take a few days of dedicated skiing to fully explore everything it has to offer. Resort staff and instructors are all very welcoming, and you can tell that everybody there is there to ski because that is what they love to do.
RESTAURANTS AT THE RESORT When lunchtime rolls around, Abetone offers a variety of food options at the resort. There are four restaurants on the mountain located directly on the slope, offering quick “ski-in” snack stops or a leisurely lunch.
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music & dance
HARMONIES OF HER Amici della Musica Celebrates Women in Music by Sofia Barsan
Pianist Gabriela Montero
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s autumn’s golden hues paint the city of Florence, the 2023/2024 Amici della Musica concert season, presented by Andrea Lucchesini, stands as a mesmerizing ode to femininity in music, where soul-stirring melodies and captivating compositions take center stage. History reveals Italy’s often overlooked gems: early figures in Italian Baroque and Renaissance music, the likes of Maddalena Casulana, Caterina Assandra, Francesca Caccini, and Barbara Strozzi, have been testaments of a legacy in obscurity as their artistic brilliance has historically been relegated to linger in the shadows of their male contemporaries. The Amici della Musica concert lineup shines a spotlight on modern feminine genius in music. This season’s lineup features the Grammy Award nominee Sol Gabetta, a renowned Argentinian cellist who was the recipient of the esteemed ECHO Klassik Prize between 2007 and 2014, and again in 2016. Gabetta will interpret a variety of Mendelssohn’s compositions, as well as Brahms’ Sonata No. 2 in F Major, op. 99, at the Teatro della Pergola on December 9. Not to be missed is Ying Li’s stirring solo performance on piano, Circle of Life, featuring an impressive array of classics from Ravel, Liszt, Couperin, Bartók, and Prokofiev (December 10) at the Cherubini Conservatory. At 25 years old, the Julliard alumn has performed with the Philadelphia Orchestra, New Jersey Symphony, Brevard Music Festival Orchestra, and the
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Orchestra dell’Accademia Teatro alla Scala. Various chamber concerts will showcase female musicians, including Julia Hagen (February 18), Alena Baeva (February 24), and Viktoria Mullova (April 6). The debuts of pianist soloist Gabriela Montero (December 2) and violinist Viviane Hagner (April 7) open further international horizons. One of the thematic highlights of the season is the Ritratti or Portraits series, a heartfelt tribute positioning living composers in dialogue with maestros of the past. After the success of last season’s concerts dedicated to Silvia Colasanti and Silvia Borselli, composer Clara Iannotta (December 3) will emerge as one of this year’s thematic focal points, featuring a mix of contemporary and classical pieces, from Rebecca Saunders’ Fury II, to Bach’s Excerpt from Partita No. 2 in D Minor, as well as Iannotta’s own compositions, A Blur of Fur and Bone (i) and (ii), and No Longer Navigating by a Star. The “Musica &...” cycle interweaves
FINE DINING AT ANY TIME OF DAY Ristorante Santa Felicita Historic, family-run restaurant in a square near Ponte Vecchio Open 9 am - 10:30 pm indoors and our patio for American breakfast lunch & dinner featuring Tuscan specialities & pizza Group events 15% discount with the Magenta Smart Card
Piazza Santa Felicita 6/r • Florence Tel. 055/709.9575 www.ristorantesantafelicita.com
performance media, such as art, poetry, and other narrative mediums, with traditional classical music. This year’s version will feature poet and author Mariangela Gualtieri, who will lend her talent and artistry to the program as she narrates Acqua Rotta, a presentation of her own lyrics and the works of Bach, Gubajdulina, Sculthorpe, and Curtoni, at the Niccolini Theatre on January 14. If attending a concert is out of your reach, don’t despair. Through the support of members, institutions, and collaboration with Radio3, Amici della Musica will be reaching music enthusiasts from around the globe as certain concerts will be broadcast through radio, bringing the classics to you. As the crisp air heralds the arrival of the new season, the Amici della Musica invites music lovers to join in celebrating the timeless artistry of women whose harmonies continue to shape the world of classical music. A detailed Music Calendar and tickets for sale can be found on the Amici della Musica di Firenze website.
TUSCANY ’S CULT URA L G UI D E
MUSIC CALENDAR NOVEMBER
22 Wednesday at 8 pm Teatro del Maggio, Piazza Vittorio Gui, 1 MAGGIO MUSICALE ORCHESTRA conducted by Daniele Gatti Music by Beethoven and Honegger 25 Saturday at 3:30 pm Teatro del Maggio, Piazza Vittorio Gui, 1 LA BOHÈME Maggio Musicale Orchestra conducted by Giacomo Sagripanti Opera by Giacomo Puccini
music & dance
by Milla Elizabeth
9 Saturday at 4 pm Teatro della Pergola, Via della Pergola, 12/32 CELLO AND PIANO CONCERT by Sol Gabetta and Bertrand Chamayou Music of Brahms and Mendelssohn
10 Sunday at 9 pm Luigi Cherubini Conservatory, Piazza delle Belle Arti 2 PIANO RECITAL by Ying Li Music of Couperin, Ravel, Prokofiev, Liszt
10 Sunday at 11 am Teatro del Maggio, Piazza Vittorio Gui, 1 MAGGIO MUSICALE ORCHESTRA & CHOIR conducted by Riccardo Bisatti, soloists Jörg Winkler (viola), Simão Pedro Alcoforado Barreira (cello), Marco Martelli (double bass).
16 Saturday at 4 pm Teatro del Maggio, Piazza Vittorio Gui, 1 THE MAGIC FLUTE Maggio Musicale Orchestra conducted by Giuseppe La Malfa and Manu Lalli Opera by Mozart
at 4 pm Teatro della Pergola, Via della Pergola, 12/32 PIANO RECITAL by Paul Lewis Music of Schubert 26 Sunday at 9 pm Teatro Niccolini, via Ricasoli, 3 VOICE AND PIANO RECITAL by Anna Prohaska and Julius Drake. Music of Faure, Ravel, Bernstein, Wolf, Stravinsky, Debussy, Daniel-Lesur, Messiaen, Reimann, Britten, Pfizner, Brahms, Ravel, Schumann, Ives, Purcell, Crumb, Schubert, Wagner, Eisler, Mahler, Britten and Rachmaninoff 29 Wednesday at 8 pm Teatro del Maggio, Piazza Vittorio Gui, 1 LA BOHÈME Maggio Musicale Orchestra conducted by Giacomo Sagripanti Opera by Giacomo Puccini
DECEMBER 1 Friday at 9 pm Teatro Verdi, via Ghibellina, 99 ORCHESTRA DELLA TOSCANA conducted by Diego Ceretta with soloist Alessandro Taverna (piano) Music of Beethoven 2 Saturday at 4 pm Teatro della Pergola, Via della Pergola, 12/32 PIANO RECITAL by Gabriela Montero Music of Prokofiev, Chopin and Rachmaninoff 3 Sunday at 9 pm Luigi Cherubini Conservatory, Piazza delle Belle Arti, 2 ELECTRIC GUITAR AND BASS CONCERT by Yaron Deustsch and Florentin Ginot Music of Saunders, Lang and Lannotta
CONCERTS FROM FALL 2023 TO APRIL 14th, 2024
6 Wednesday at 8 pm Teatro del Maggio, Piazza Vittorio Gui, 1 MAGGIO MUSICALE ORCHESTRA conducted by Daniele Gatti Music by Beethoven, Honegger and Debussy 7 Thursday at 8 pm Teatro del Maggio, Piazza Vittorio Gui, 1 MAGGIO MUSICALE ORCHESTRA conducted by Daniele Gatti Music by Beethoven, Honegger and Debussy
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music & dance 16 Saturday at 4 pm Teatro della Pergola, Via della Pergola, 12/32 CELLO AND PIANO CONCERT by Luigi Piovano and Antonio Pappano Music of Brahms and Rachmaninoff 17 Sunday at 11 am Teatro del Maggio, Piazza Vittorio Gui, 1 MAGGIO MUSICALE ORCHESTRA & CHOIR conducted by Pietro Mazzetti Music of Mozart and Beethoven at 9 pm Teatro Niccolini, via Ricasoli, 3 CONCERTO ITALIANO with soloists Silvia Frigato (vocals/soprano), Gabriele Lombardi (bass) and Rinaldo Alessandrini (harpsichord) Music of Corelli, Scarlatti, Marcello, Gasparini and Valentini 18 Monday at 9 pm Luigi Cherubini Conservatory, Piazza delle Belle Arti, 2 QUARTETTO DI FIESOLE with soloist Flavio Cucchi (guitar) Music of Puccini, Debussy, Company and Castelnuovo-Tedesco 19 Tuesday at 8 pm Teatro del Maggio, Piazza Vittorio Gui, 1 CHRISTMAS CONCERT Maggio Musicale Children’s Choir conducted by Sara Matteucci at 9 pm Teatro Politeama, Poggibonsi ORCHESTRA DELLA TOSCANA
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conducted by Diego Ceretta with soloist Erica Piccotti (cello) Music of Mozart, Tchaikovsky and Dvořák 21 Thursday at 9 pm Teatro Metropolitan, Piombino ORCHESTRA DELLA TOSCANA conducted by Diego Ceretta with soloist Erica Piccotti (cello) Music of Mozart, Tchaikovsky and Dvořák 22 Friday at 8 pm Teatro del Maggio, Piazza Vittorio Gui, 1 PETITE MESSE SOLENNE Maggio Musicale Orchestra & Choir conducted by Lorenzo Fratini Music of Giachino Rossini at 9 pm Teatro Signorelli, Cortona ORCHESTRA DELLA TOSCANA conducted by Diego Ceretta with soloist Erica Piccotti (cello) Music of Mozart, Tchaikovsky and Dvořák 23 Saturday at 9 pm Teatro Garibaldi, Figline Valdarno ORCHESTRA DELLA TOSCANA conducted by Diego Ceretta with soloist Erica Piccotti (cello) Music of Mozart, Tchaikovsky and Dvořák 24 Sunday at 5 pm Teatro Verdi, Via Ghibellina, 99 ORCHESTRA DELLA TOSCANA conducted by Diego Ceretta with soloist Erica Piccotti (cello) Music of Mozart, Tchaikovsky and Dvořák
JANUARY 1 Monday at 11:30 am Teatro del Maggio, Piazzale Vittorio Gui, 1 NEW YEAR’S DAY CONCERT featuring Fiesole Music School orchestras at 5 pm Teatro Verdi, via Ghibellina, 99 ORCHESTRA DELLA TOSCANA conducted by Nicolò Jacopo Suppa soprano Alessio Panza tenor Giuseppe Infantino Music of Puccini, Donizetti, Bizet, Leoncavallo, and Rossini 13 Saturday at 4 pm Teatro della Pergola, Via della Pergola, 12/32 PIANO RECITAL by Arcadi Volodos Music of Schubert 14 Sunday at 9 pm Teatro Niccolini, via Ricasoli, 3 CELLO RECITAL with soloist Mario Brunello and Mariangela Gualtieri (narration) Music of Bach, Gubaidulina, Sculthorpe and Curtoni 20 Saturday at 4 pm Teatro della Pergola, via della Pergola PIANO RECITAL by Luca Debargue Music of Fauré, Beethoven and Chopin at 4:30 pm Teatro Verdi, via Ghibellina, 99 ORCHESTRA DELLA TOSCANA PINOCCHIO conducted by Jacopo Rivani Music of Tarabella 21 Sunday at 9 pm Teatro Niccolini, via Ricasoli BROOKLYN RIDER QUARTET Music of Jacobson, Trueman, Tucker and Shostokovich at 9 pm Teatro Roma, Castagneto Carducci ORT BRASS & PERCUSSION ENSEMBLES narrated by Isabella Brogi Music of Bach
Concert Season
2023 - 2024
Artistic Director
Daniele Spini
22 Monday at 9 pm Luigi Cherubini Conservatory, Piazza delle Belle Arti, 2 QUARTETTO KLIMT Music of Schubert, Brahms and Strauss
Principal Conductor
Diego Ceretta
orchestradellatoscana.it
TICKETS ON SALE
online at Ticketone.it and at Teatro Verdi BoxOffice tel. +39 055 212320
25 Thursday at 9 pm Teatro Verdi, via Ghibellina, 99 ORCHESTRA DELLA TOSCANA conducted by Emmanuel Tjeknavorian soloist Valerie Eickhoff (mezzo soprano) Music of Mozart, Mahler, and Schubert 26 Friday at 9 pm Teatro Verdi, via Ghibellina, 99 ORCHESTRA DELLA TOSCANA conducted by Emmanuel Tjeknavorian soloist Valerie Eickhoff (mezzo soprano) Music of Mozart, Mahler, and Schubert 27 Saturday at 4 pm Teatro della Pergola, via della Pergola, 12/32 PIANO RECITAL by Alexandre Tharaud Music of Couperin, Debussy, Satie, Ravel
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TUSCANY ’S CULT URA L G UI D E 27 Saturday at 9 pm La Città del Teatro, Cascina ORCHESTRA DELLA TOSCANA conducted by Emmanuel Tjeknavorian soloist Valerie Eickhoff (mezzo soprano) Music of Mozart, Mahler, and Schubert 28 Sunday at 9 pm Teatro Niccolini, via Ricasoli, 3 CELLO & PIANO RECITAL by Jean-Guihen Queyras and Kristian Bezuidenhout Music of Mendelssohn
FEBRUARY
with Igudesman (violin) and Joo (cello) Music of Rachmaninoff
with Igudesman (violin) and Joo (cello) Music of Rachmaninoff
9 Friday at 9 pm Teatro Garibaldi, Figline Valdarno ORCHESTRA DELLA TOSCANA with Igudesman (violin) and Joo (cello) Music of Rachmaninoff
17 Saturday at 4 pm Teatro della Pergola, via della Pergola, 12/32 BELCEA STRING QUARTET Music of Beethoven and Bartok
10 Saturday at 4 pm Teatro della Pergola, via della Pergola, 12/32 PIANO RECITAL by Pierre-Laurent Aimard Music of Ligeti, Beethoven, Debussy, Chopin and Ligeti
18 Sunday at 9 pm Teatro Niccolini, via Ricasoli, 3 CELLO & PIANO RECITAL by Julia Hagen and Lukas Sternath Music of Debussy, Chopin and Franck
1 Thursday at 9 pm Teatro Verdi, via Ghibellina, 99 ORCHESTRA DELLA TOSCANA conducted by Kolja Blacher (violin soloist) Music of Beethoven and Mendelssohn
at 9 pm Teatro Moderno, Grosseto ORCHESTRA DELLA TOSCANA with Igudesman (violin) and Joo (cello) Music of Rachmaninoff
3 Saturday at 4 pm Teatro della Pergola, via della Pergola, 12/32 VIOLIN & PIANO RECITAL by Vadim Repin and Nicolay Lugansky Music of Debussy, Greig, and Franck
11 Sunday at 9 pm Luigi Cherubini Conservatory, Piazza delle Belle Arti, 2 RITRATTI/CARLO BOCCADORO Music of Stravinsky, Boccadoro and Reich
4 Sunday at 9 pm Teatro Niccolini, via Ricasoli, 3 PIANO RECITAL by Nicolay Lugansky Music of Mendelssohn, Chopin, Rachmaninov
12 Monday at 9 pm Teatro Politeama, Poggibonsi ORCHESTRA DELLA TOSCANA with Igudesman (violin) and Joo (cello) Music of Rachmaninoff
8 Thursday at 9 pm Palazzo della Esposizioni, Empoli ORCHESTRA DELLA TOSCANA
13 Tuesday at 9 pm Teatro Verdi, via Ghibellina, 99 ORCHESTRA DELLA TOSCANA
24 Saturday at 9 pm Palazzo delle Esposizioni, Empoli ORCHESTRA DELLA TOSCANA conducted by Dmitry Masleev Music of Tchaikovsky, Borodin and Rimsky-Korsakov 27 Tuesday at 9 pm Teatro Verdi, Pisa ORCHESTRA DELLA TOSCANA conducted by Dmitry Masleev Music of Tchaikovsky, Borodin and Rimsky-Korsakov 29 Thursday at 9 pm Teatro Verdi, via Ghibellina, 99 ORCHESTRA DELLA TOSCANA conducted by Dmitry Masleev Music of Tchaikovsky, Borodin and Rimsky-Korsakov
Gilda and son William are the heart and soul of Gilda Bistrot. Their inspiration for traditional cuisine with a personal touch comes from morning visits to the Sant’Ambrogio market. Gilda greets each customer with a radiant smile in a charming setting where no two menus or place settings are alike. Come by for breakfast, lunch, happy hour and dinner.
Gilda Bistrot Piazza Ghiberti 40-41/r, Florence
Tel. 055/23 43 885 www.gildabistrot.it
Open 8 am - 11:30 pm, closed Sunday
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THE SEARCH FOR THE BEST COFFEE IN FLORENCE The Perfect Cups of Coffee Mantra, Caffé del Teatro Niccolini, Vivoli & Ditta Artigianale
by Karen Dotan
photos by Morgan Angove
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he business that exists behind the coffee Italians know and love can be extremely complicated. From the type of bean, to the roast, to the quality of the machine, much more than imagined goes into pouring what is naively considered a simple cup of coffee. Italy upholds one of the most unique, traditional, and profound coffee cultures in the world, and has been evolving since as early as the 1500s. Known for its ‘grab and go’ at the bar style, Florentine business owners are beginning to give Italian coffee culture a whole new meaning, while still paying homage to the tradition from which coffee was born. The two types of beans that are most commonly roasted for coffee, Arabica and Robusta, must be selected carefully. Arabica, originating in Ethiopia, comes from the bean of the Coffea arabica plant, and is the most popular coffee type. Arabica provides a smooth, sweet taste. Robusta, originating in Africa, India, and Indonesia, is made from the beans of the Coffea canephora plant. Robusta is somewhat of an acquired taste, known for its more bitter flavor, and is more acidic than Arabica.
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TUSCANY ’S CULT URA L G UI D E
Making authentic Italian coffee is no easy feat. The coffee roasting process which Italy is known for often results in a very dark and oily bean. Italian Roast Coffee is one of the darkest roasts on the market and is known for its bold, somewhat chocolatey flavor. Italian Roast is then utilized to brew what Italy is truly known for: espresso, the term used to describe the grind of the coffee. The grind size heavily affects the flavor of the coffee; the finer the grind, the more bitter the coffee may taste. The espresso is then brewed with a small amount of near boiling water under pressure through the ground coffee. The amount of water changes the type of espresso shot, and therefore its taste. Caffè ristretto is a “short shot,” making it a more concentrated espresso. This type of caffè is made with the same amount of coffee but with half as much water. Caffè lungo is a long shot of espresso, made with the same amount of coffee but double the water. Created with a shot of espresso and topped by steamed and frothed milk, cappuccino is the classic morning coffee drink in Italy. The cappuccino ratio is ⅓ espresso, ⅓ milk and ⅓ fine and smooth foam. For those looking for a middle ground between the classic espresso and the cappuccino, the macchiato is the drink to order. Starting with a shot of espresso, just one ounce of steamed milk is added, turning the deep brown coffee to a slightly lighter shade of caramel. Known as just latte in the United States, the caffè latte is similar to a cappuccino but with more milk. The ratio for a caffé latte is ¼ espresso and ¾ steamed milk.
But where can one find the best cup of coffee? In a city, as rich in its history as Florence, there are a plethora of options. Owned and operated by Giovanni Benini since 2018, Coffee Mantra, is a specialty coffee shop on Via della Mattonaia. Benini is deeply inspired by the tradition of Italian coffee culture, whilst also infusing the unique taste of specialty coffee—a term which denotes its superior level—into his business. In partnership with Gearbox Coffee Roasters, Coffee Mantra uses only the highest quality of Arabica beans. Coffee Mantra prioritizes the excellence of its specialty coffee in a variety of brew methods. The café is known for its single-origin daily coffee specials. Benini regards the origin of his passion for coffee as his ‘right’ as an Italian. “It’s in my blood,” he said. Benini also values the presentation of his products, often through the steamed milk designs of latte art. “You drink with your eyes first, then you taste,” he remarked. His work is fueled by Benini’s desire to create discussion and community through his love of coffee. Coffee Mantra is open 8 am - 6 pm Monday through Saturday, and 10 am - 6 pm on Sundays. Caffè del Teatro Niccolini, located in Florence’s historic 18th century Niccolini Theater, has been owned and operated by Fulvio Notari since February 2022. Imported from all over the world, the beans used in the coffee are processed in the Tuscan town of Arezzo. The Caffè is best known for coffee which originates from Peru, Costa Rica, and South Africa. The bariste also
operate a Cimbali espresso machine, which do not require the daily setup and maintenance of most espresso machines. Using Bluetooth, the Cimbali monitors the humidity and temperature, in order to accommodate the grind to achieve the best coffee according to the day’s conditions. Coffee aficionados, according to Notari, order their espresso without sugar and milk, and sip it slowly for its taste. Niccolini’s classic is the K90: 90% Arabica and 10% Robusto: the percentage of the latter, he notes, is what creates the delicate foam on the espresso. Clients can also order the K80: 80% Arabica and 20% Robusto. The menu offers a wide variety of options that extend beyond the simple cup of coffee. There is something for everyone, ranging from the most traditional cup of coffee to the 24K Gold Cappuccino with edible gold leaf. With diverse breakfast choices, Notari’s goal is to be able to host customers from all cultures, and make everyone feel welcome and satisfied in his coffee shop. Located at via Ricasoli 3, Caffè del Teatro is open 8:30 am - 9 pm, Tuesday through Sunday. Vivoli, a quaint family business known for its delicious coffee and gelato, is located on Via dell’Isola delle Stinche 7/r. Lorenzo Gori is a barista at Vivoli who has a deep passion and love for coffee. His goal is to create good coffee and a sense of community for everyone who walks through the door. Vivoli serves quality Illy espresso, which Gori believes is the Arabica coffee with the most delicate, yet satisfying taste.
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Vivoli is known for the smooth and chocolatey flavor of the coffee, which is complemented with the friendly ambiance of the shop and the delicious pastries made on the premises. Another reason that Vivoli serves a truly “good cup of coffee” is their Marzocco, the Mercedes of espresso machines. Invented in Florence in 1927, the Marzocco
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machine, known for its ability to produce a high-end flavor profile through its brewing process, continues to be handcrafted at Scarperia, in the province of Florence. Like all other Florentine cafés, Vivoli offers a variety of espresso based beverages, including macchiato, caffè latte, americano, and the macchiatona. Most similar in strength to traditionally brewed coffee in the United States, the americano is espresso diluted with hot water. The macchiatone is similar to a macchiato, but presented in a large cup with deliciously frothed milk. This family business has been operating since 1930, cultivating a deep sense of community while serving delicious coffee to all those who walk through the door. Vivoli is open 8 am – 9 pm, Tuesday through Sunday. Ditta Artigianale was founded in 2013 by Francesco Sanapo, and is known for its signature espresso blend and various espresso beverages. Ditta serves traditional espresso-based drinks, such as the caffè latte, cappuccino, caffè americano, moka, and flat white, distinguished by its thin layer of micro-foamed poured over a single or double shot of espresso. The menu, however, extends beyond the traditional, introducing more
options for a caffè latte, including Salted Caramel, Apple Pie, and Pumpkin Spice. Sanapo believes that he can create traditional coffee whilst also introducing new flavor combinations that can excite everyone who enters one of his cafés. Ditta Artigianale is unique in its method of following the coffee “from seed to cup,” explained Sanapo. He selects only the best origin coffee producers who import to Italy, and the beans that are the basis for his coffee is roasted with care. All Ditta Artigianale bariste are of the highest level of training so that they can serve clients with the best quality and care. Sanapo’s goal is to be able to serve and satisfy both Italian locals, as well as international customers. Ditta Artigianale has five locations (hours vary) in and around Florence’s historic center. Each venue has a different ambiance for a unique experience. So, where is the best coffee in Florence? There isn’t a single holy grail that outshines the rest. High quality depends on grind size, machine type, and the skill level of the barista. Some may consider Coffee Mantra’s specialty coffee to be the best. It certainly is delicious thanks its unique flavor profile. Italian locals may swear by Vivoli’s traditional, smooth cup. International customers used to diverse offerings and flavor combinations may be more drawn to Ditta Artigianale or Caffè del Teatro Niccolini. Italians, however, have made it clear their coffee culture is an art, of which they are proud. There is no perfect cup of coffee, simply because it is subjective to one’s taste. Florence is home to quality coffee shops that are ready to welcome any and all customers to the joys of Italian caffè.
n o e r u t n e v d A N r I u A o T N U Find Y O M e Y c n N e A r o C l S F A TU1/2 hours from 1
Abetone-Cutigliano offers skiing in the winter, hiking, biking and an adventure park in the summer, events, nature & and history excursions all year long with a student discount. The resort is divided into four valleys, offering 19 lifts and 30 miles of trails, more affordable than the U.S. and Switzerland with a similar quality of slopes for skiing and snowboarding.
For more information and to download the Magenta Smart Card for the student discount, visit www.tuscantrends.com and www.tuscanymountain.it