The Art of the Aperitivo

Talk about having to stop for an aperitivo, well this is exactly what we had to do whilst driving from Bagni di Lucca to Pistoia one afternoon this summer. However, this was an aperitivo with a difference. We weren’t attracted by any caffe/bar, rather it was the sight of a monumental sculptural fountain on the bend of the via Modenese road at Le Piastre in the Province of Pistoia that had stopped us quite literally in our tracks. We parked up close by then walked back to where the fountain was located. I gleefully thought that we’d discovered the source of Campari and had visions of filling up a bottle or two to take home!

The Fontana Campari (Campari Fountain) in Le Piastre in the Province of Pistoia was one of a series (of twelve or thirty depending on which source you read) commissioned by the Italian aperitif company Campari and sculpted by the Florentine sculptor Giuseppe Gronchi (1882-1944) during the late nineteen twenties and thirties. Gronchi is famous also for his contribution to the decoration of Milan central station amongst other works.

The first example of the Campari fountain was made of travertine and inaugurated in 1929 in Chiusi Della Verna. Interestingly I wasn’t too far off the mark with the hope of the Le Piastre fountain being a source of Campari since I later read that some people said that for a few hours during the inauguration of the fountain at Verna, real Campari actually flowed from the tap. Myth or reality I do not know for certain.

The fountain at Verna served as a combination of a piece of advertising, a work of art and a public utility function. Significantly it is considered to be one of the first examples of 3D advertising art.

In addition to the Campari fountains in Le Piastre and Chiusi della Verna there is a third surviving Campari fountain in Brunate, Lake Como. In contrast with the first example of the fountain these are made from cement and stucco.

The fountain at Le Piastre, with its massive heads (one male and one female) and column decoration, shows the influence of classical Rome as well that of the Viennese Successionists (art movement related to Art Nouveau).

Even today the Campari Fontana still managed to serve its purpose well on the advertising front since on arriving in Pistoia we made a beeline for the nearest caffe to enjoy this iconic red bitter aperitivo!

Christmas in July!

With temperatures already topping 30 degrees outside at 10’oclock in the morning, it was a relief to enter into the cool interior of the Arte Barsanti firm in Bagni di Lucca. This prize-winning company which specialises in the production of religious plaster figures was founded in 1900 by Carmelo Barsanti and after three generations it is still operating with family member Simone firmly at its helm.

My husband and I had booked up for a guided visit to the company which had been organised by the Michel de Montaigne foundation in Bagni di Lucca. As the small group stepped into the first of the many warren-like work-shop spaces we encountered a huge information panel recounting the history of Simone’s family who had founded the firm. Surrounded by shelves groaning with figurines and statues in various stages of production and ceilings veiled with a network of white plaster dust covered cobwebs above us, Simone led us through each stage of the production process. We watched on and listened intently as he described the processes involved to complete the figurines from the casting through to the painting of the statues. Incredibly the figures are still handcrafted using the original casts dating back 100 years and it was fascinating to see these. Simone proudly showed us a variety of documents and paraphernalia relating to the early years of the company as well as more recent letters of thanks from important people such as Queen Elizabeth, the Queen Mother and Pope John Paul II.

At the end of our visit we had the opportunity to purchase something if we wished. I bought a small unpainted but simply gilded Nativity group: a wonderful souvenir of our visit and certainly a Christmas ornament with a story.

Great to be back in Florence again!

I must admit I didn’t really know quite what to expect when I returned to Florence recently following a break of about two and a half years due to the global pandemic. I remember seeing images on Instagram of a deserted city devoid of tourists and reading about restaurants that had closed at the height of the pandemic. Some Florentines apparently were actually even lamenting the absence of tourists from the city centre.

Florence is an art historian’s dream so I knew that all would be perfect in that respect but would I still feel the buzz from everything else that Florence has to offer?

Well, we did still encounter the usual chaotic ‘ora di punta’ (rush hour) traffic whilst driving into the city (not that this is fun but it did at least give us a sense that normality of sorts had returned).

As always we entered the city from its southern side and on seeing the Porta Romana I really had to pinch myself that we were back. Naturally I just had to take a photo with my book outside the Hotel Annalena and outside several other monuments linked with Annalena Malatesta (after all this was my very first visit back to Florence since my book had been published!)

The city was comfortably full of people and with the exception of hearing some American students who were probably studying in the city, we only heard Italian voices. Fortunately, our favourite restaurants and cafes were still thriving and some new eating places and shops had also opened up. It was still a delight to window shop along the Via Tornabuoni with its smart designer shops and lust after those luxury items that one dreams about.

What better welcome back to Florence than a 'blockbuster' exhibition. The Donatello exhibition at the Palazzo Strozzi and Bargello museum didn’t disappoint and if anything will draw back the crowds then this is it. I wasn’t quite sure how I would feel being back in the presence of crowds at a major exhibition however, with timed admittance, verification of green passes and ample space to view the art works I felt quite at ease.

Of course the beauty and magnificence of Florence still exists in all of its glory: beautiful views, seeing the sunset from the Ponte Santa Trinita , climbing up to the church of San Miniato al Monte………...

Donatello La Speranza (Hope), gilded bronze, 1427-1429, baptismal font, Siena baptistery