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Florence Cathedral: A Timeless Marvel of Art and Architecture

Florence cathedral(Duomo)

Introduction: Nestled in the heart of Florence, Italy, the Florence Cathedral, also known as the Cathedral of Santa Maria del Fiore, stands as a testament to the city’s rich history, architectural prowess, and artistic splendor. In this post, we’ll explore the magnificence of the cathedral, its iconic artworks, and practical details for planning an enriching visit.

History and Architecture: Built over several centuries, with construction commencing in 1296, the Florence Cathedral is a masterpiece of Gothic and Renaissance architecture. Its stunning dome, designed by Filippo Brunelleschi, is an engineering marvel and remains the largest brick dome ever constructed. The intricate façade, adorned with polychrome marble panels, showcases the craftsmanship of generations.

Artistic Treasures Inside: 1. The Last Judgment by Giorgio Vasari:

Ceiling Mural, Georgio Vasari, 1572 and completed by Zuccari 1579

Adorning the interior of the dome, this fresco depicts the final judgment and is a testament to Vasari’s mastery of composition and storytelling.

2. The Baptistry Doors (Gates of Paradise) by Lorenzo Ghiberti:

Baptistry showing Ghiberti’s doors (copies). Originals in museum.

Located on the Baptistery adjacent to the cathedral, these bronze doors are a Renaissance masterpiece, showcasing scenes from the Old Testament with exquisite detail.

3. The Duomo Museum:

Michelangelo’s Deposition (incorrectly known as the Florence Pieta)

Housing original sculptures from the cathedral, the museum offers insights into the art and history of the Florence Cathedral. Visitors can marvel at Michelangelo’s unfinished Pietà and other precious artifacts.

Opening Times:

  • Cathedral: Daily from 10 a.m. to 4:30 p.m.
  • Dome: Daily from 8:30 a.m. to 7 p.m.
  • Baptistery: Daily from 8:15 a.m. to 10:15 a.m. and 11:15 a.m. to 7:30 p.m.
  • The Duomo Museum: Daily from 9 a.m. to 7 p.m. (closed on the first Tuesday of each month)

Planning Your Visit: To make the most of your visit to the Florence Cathedral, consider purchasing a combined ticket that grants access to the cathedral, dome, baptistery, and museum. Be mindful of dress codes, as visitors are expected to dress modestly when entering religious sites. Climbing to the top of the dome provides not only panoramic views of Florence but also a close-up look at the magnificent frescoes.

Experiencing Florence’s Cathedral: Wandering through the grandeur of the Florence Cathedral is a journey through time and artistic innovation. As you marvel at the architectural details, gaze upon masterpieces, and absorb the ambiance of this sacred space, you’ll find yourself immersed in the rich cultural tapestry of Florence. Advance tickets are recommended. Queues can be long especially in summer months and at weekends.

Conclusion: The Florence Cathedral stands as a beacon of art, culture, and spirituality. From its awe-inspiring architecture to the masterpieces housed within, a visit to this iconic landmark promises an enriching experience for art enthusiasts and history lovers alike. Plan your visit thoughtfully, and let the Florence Cathedral unfold its tales of centuries past before your eyes.

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The Royal Garrison Artillary in World War I

Range finding an 8 inch Howitzer on the battlefield during WWI. Imperial War Museum.

During World War I, the Royal Garrison Artillery (RGA) was a crucial component of the British Army responsible for providing heavy artillery support on the battlefield. The RGA played a significant role in the war, employing a wide range of artillery pieces to support infantry operations, conduct counter-battery fire, and carry out other vital tasks.

Key aspects of the Royal Garrison Artillery during World War I:

  1. Role and Organization: The RGA was a specialized branch of the British Army dedicated to operating and managing heavy artillery, including large-caliber guns, howitzers, and mortars. It was responsible for defending key locations, such as ports, cities, and other strategic positions, as well as providing artillery support to the British Expeditionary Force on the Western Front.
  2. Heavy Artillery: The RGA operated a variety of heavy artillery pieces, ranging from 4.5-inch howitzers to massive 15-inch and 9.2-inch guns. These guns were used for long-range bombardments, destroying enemy fortifications, disrupting enemy lines, and providing cover for infantry advances.
  3. Trench Warfare: In the context of trench warfare on the Western Front, the RGA’s role was crucial. They were tasked with softening enemy defenses before major offensives, aiming to create breaches in the enemy lines through intense and prolonged artillery barrages.
  4. Counter-Battery Fire: The RGA also engaged in counter-battery fire, targeting enemy artillery positions and attempting to neutralize or destroy them. This was a critical task to reduce the effectiveness of enemy artillery and protect British troops.
  5. Gas Attacks: During World War I, chemical warfare, particularly gas attacks, was employed by both sides. The RGA was responsible for deploying gas shells when required, though the use of chemical weapons was highly controversial and led to devastating consequences.
  6. Coast Defense: Apart from its role on the Western Front, the RGA also played a significant role in coastal defense, operating heavy coastal artillery to protect important ports and naval bases from enemy naval attacks.
  7. Involvement in Major Battles: The RGA was involved in numerous major battles of World War I, including the Battles of the Somme, Ypres, Passchendaele, and others. Their firepower and support were instrumental in some of these battles’ outcomes.
  8. Technical and Tactical Innovations: World War I brought about significant advancements in artillery technology and tactics. The RGA was at the forefront of these developments, learning to adjust fire more accurately, use new types of ammunition, and adapt to the evolving nature of warfare.
  9. Sacrifice and Casualties: The Royal Garrison Artillery suffered significant casualties during World War I. Operating heavy guns often put artillery crews in vulnerable positions, making them susceptible to enemy counter-fire.
  10. Post-War Legacy: After the war, the Royal Garrison Artillery continued to be a vital part of the British Army, evolving alongside military technology and doctrine. However, the devastation of World War I and subsequent developments in warfare would lead to further changes in artillery tactics and organization.

The Royal Garrison Artillery’s efforts during World War I were critical to the overall success of British operations and played a vital role in the complex and challenging trench warfare on the Western Front. The sacrifices and achievements of the RGA members are remembered and honored to this day.

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Battle of The Somme, France 1916 onwards

Royal Garrison Artillary Battery of the British Army. Imperial War Museum.

World War I, also known as the Great War, was a global conflict that lasted from 1914 to 1918. It involved many of the world’s major powers divided into two opposing alliances: the Allies (comprised primarily of France, the United Kingdom, Russia, and later joined by the United States) and the Central Powers (led by Germany, Austria-Hungary, and the Ottoman Empire).

The Somme is a river in northern France, and the Battle of the Somme was one of the most significant and devastating battles of World War I. It took place between July 1 and November 18, 1916, in the region known as the Somme Valley.

Key aspects of the Battle of the Somme and its relation to World War I:

  1. Context: The Battle of the Somme was part of a larger offensive by the Allies to break the stalemate on the Western Front. The Western Front was a series of trenches stretching from the North Sea to the Swiss border, where both sides were locked in a bloody and entrenched war of attrition.
  2. British Offensive: The Battle of the Somme was primarily launched by the British Expeditionary Force, with the support of French troops. The British forces aimed to relieve pressure on the French, who were heavily engaged in the Battle of Verdun, another major conflict on the Western Front.
  3. Trench Warfare and New Technology: The battle is often associated with the horrors of trench warfare. Both sides had constructed elaborate systems of trenches, barbed wire, and defensive fortifications. The British used new military technology, including tanks, which were introduced for the first time on the battlefield.
  4. Casualties: The Battle of the Somme resulted in massive casualties. On the first day alone, July 1, 1916, the British Army suffered nearly 60,000 casualties, making it the bloodiest day in the history of the British military. The battle lasted for months, and the total number of casualties, including dead, wounded, and missing, reached over one million.
  5. Limited Gains: Despite the immense loss of life, the gains made by the Allied forces during the Battle of the Somme were relatively small and did not lead to a breakthrough of the German lines. The battle ended in a strategic stalemate.
  6. Impact on Warfare: The Battle of the Somme had a profound impact on military tactics and strategy. It exposed the limitations of frontal infantry assaults against well-entrenched positions and highlighted the need for better coordination between infantry, artillery, and other forces.
  7. Symbolism and Remembrance: The Battle of the Somme became a symbol of the senseless loss of life and the horrors of war. It is remembered as a turning point in the public perception of the war and contributed to growing anti-war sentiments in many countries.
  8. Legacy: The Somme remains a place of historical significance and remembrance. Today, numerous memorials, cemeteries, and museums in the region commemorate the soldiers who fought and died during the battle.

The Battle of the Somme, along with other major battles of World War I, had a profound impact on the course of history. It contributed to the eventual defeat of the Central Powers and the redrawing of the political map of Europe. The war’s devastating consequences and the failure of the Treaty of Versailles to address underlying issues also set the stage for future conflicts, including World War II.

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West Front of Wells Cathedral : An iconographic masterpiece

The facade of Wells Cathedral, located in Wells, Somerset, England, is a remarkable example of medieval architecture and holds significant iconographic meaning. Completed around the 13th century, the facade incorporates intricate sculptural details and symbolism, reflecting the theological and narrative themes of Christianity. Here are some key elements of the iconography found on the facade:

  1. The West Front: The main entrance to Wells Cathedral is marked by a grandiose structure known as the West Front. It consists of three tiers, each featuring different sculptural elements.
  2. Statues and Figures: The West Front is adorned with numerous statues and figures, primarily placed within niches. These sculptures depict biblical figures, saints, angels, and various symbolic representations.
  3. The Christ in Majesty: At the central pinnacle of the West Front, there is a sculpture of Christ in Majesty. This iconic representation depicts Jesus seated on a throne, often accompanied by symbols of the Evangelists (Matthew, Mark, Luke, and John) in the form of their respective animals (angel, lion, ox, and eagle). This symbolizes Christ’s authority and his role as the divine ruler.
  4. Apostles and Prophets: Flanking the central Christ in Majesty sculpture, there are statues of the Twelve Apostles and various Old Testament prophets. These figures symbolize the foundations of Christianity and the continuity between the Old and New Testaments.
  5. The Last Judgment: The middle tier of the West Front features a large relief sculpture depicting the Last Judgment. This scene portrays the biblical narrative of the final judgment of souls by Christ, separating the saved from the damned.
  6. Scenes from the Bible: Various relief sculptures on the West Front portray scenes from the Bible, including the Creation, the Fall of Adam and Eve, the Nativity, the Crucifixion, and the Resurrection. These scenes communicate key theological teachings and serve as visual narratives for the illiterate medieval audience.
  7. Decorative Motifs: The facade also incorporates intricate decorative motifs, such as foliage, geometric patterns, and ornamental details. These elements contribute to the overall aesthetic appeal while also serving symbolic purposes, representing ideas such as abundance, order, and divine beauty.

The iconography of the Wells Cathedral facade reflects the medieval Christian worldview, emphasizing the authority of Christ, the importance of biblical narratives, and the promise of salvation and judgment. The sculptures and reliefs create a rich visual narrative, inviting viewers to engage with the theological themes and contemplate the teachings of the church. The facade serves as a powerful statement of faith, a testament to the artistic and spiritual aspirations of the time, and a significant example of the iconographic tradition in medieval architecture.

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Spiral Jetty by Robert Smithson

Spiral Jetty, 1970, Great Salt Lake Utah, USA

Spiral Jetty is an iconic and influential landmark work of art created by American sculptor Robert Smithson in 1970. It is situated in the Great Salt Lake, Utah, and has gained worldwide recognition for its unique and thought-provoking design. As a significant example of Earth art or Land art, Spiral Jetty continues to captivate audiences with its artistic vision and profound connection to the surrounding environment.

The primary feature of Spiral Jetty is its large-scale spiral shape formed by rocks, mud, and salt crystals, extending into the lake waters. The construction of the artwork involved the use of heavy machinery to move over 6,000 tons of material to create the 1,500 feet long and 15 feet wide spiral. The jetty’s spiral form interacts with the natural elements of water, land, and sky, and its appearance changes with variations in water levels and weather conditions, creating an ever-evolving experience for viewers.

One of the notable aspects of Spiral Jetty is its remote and isolated location. Smithson deliberately chose this site to distance the artwork from the conventional art world, creating a new paradigm where art merges with nature. By placing Spiral Jetty in an untouched landscape, Smithson aimed to challenge the boundaries of traditional gallery spaces and prompt viewers to engage with the natural world in a different way.

1970 Extraction Film

The spiral shape of the jetty has multiple symbolic interpretations. Some consider it a symbol of eternity or cyclicality, reflecting the continuous cycle of life and nature. Others see it as a representation of entropy, drawing attention to the processes of erosion and decay. Spiral Jetty’s location within the Great Salt Lake also adds layers of meaning, as the saltwater evokes themes of preservation, timelessness, and the connection between human and geological history.

Smithson’s Spiral Jetty is often associated with the artistic movement known as Land art or Earth art, which emerged in the late 1960s and early 1970s. This movement sought to challenge the commercialization and commodification of art by creating works in nature that were often temporary, site-specific, and integrated with the surrounding environment. Spiral Jetty embodies these principles, emphasizing the relationship between art and the natural world while questioning the institutionalization of art within galleries and museums.

Over the years, Spiral Jetty has become an important cultural and historical landmark. Despite its remote location, it has attracted visitors from around the globe, leaving a lasting impression on those who make the journey. It has also inspired numerous artists and continues to influence contemporary art practices. Its enduring legacy lies in its ability to provoke dialogue about the intersection of art, nature, and the human experience.

The conservation and preservation of Spiral Jetty have been ongoing concerns. Changes in water levels, weather patterns, and the accumulation of sediment have affected the visibility and accessibility of the artwork. Efforts have been made to protect and maintain the jetty, ensuring its longevity and allowing future generations to experience its profound beauty.

In summary, Spiral Jetty stands as a landmark work of art due to its innovative integration of sculpture and the natural environment. It challenges traditional notions of art by immersing itself in a remote landscape, blurring the boundaries between artistic creation and the forces of nature. With its powerful symbolism, historical significance, and ongoing influence, Spiral Jetty remains an enduring testament to the transformative power of art.

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St Peter’s, Rome an architectural miracle

Main façade and dome of St. Peter’s Basilica, seen from St. Peter’s Square

St. Peter’s Basilica, located in Vatican City, Rome, is one of the most renowned and significant architectural landmarks in the world. Its grandeur and historical significance make it an iconic representation of Renaissance and Baroque architecture. Here is a brief discussion of the architecture of St. Peter’s Basilica:

  1. Overall Design: St. Peter’s Basilica was designed primarily by Donato Bramante, Michelangelo, Carlo Maderno, and Gian Lorenzo Bernini. It is a massive church that follows a Latin cross plan with a central nave and four smaller aisles. The basilica covers an area of 21,095 square meters (227,060 square feet) and has a capacity to accommodate over 60,000 people.
  2. Facade: The magnificent facade of St. Peter’s Basilica is characterized by its grandeur and classical design. It was completed in 1614 by Carlo Maderno. The facade features Corinthian columns, colossal statues, and intricate details. The central part of the facade is dominated by a large balcony, known as the Loggia of Benedictions, from where the Pope delivers blessings.
  3. Dome: One of the most striking features of St. Peter’s Basilica is its majestic dome, which was designed by Michelangelo. The dome rises to a height of approximately 136 meters (446 feet) and is one of the largest domes in the world. Its design combines Renaissance and Baroque elements and is considered a masterpiece of engineering. The interior of the dome is adorned with stunning mosaics depicting scenes from the Bible.
  4. Interior: The interior of St. Peter’s Basilica is vast and opulent. The central nave is flanked by marble columns and decorated with numerous statues and artworks. The main altar, called the Baldachin, was designed by Bernini and is made of bronze. The basilica houses numerous chapels, including the famous Michelangelo’s Pietà, which is located to the right of the entrance.
  5. Bernini’s Colonnade: Surrounding the square in front of St. Peter’s Basilica is Bernini’s colonnade, which consists of two curved rows of columns. The colonnade embraces visitors as they enter the square and symbolizes the welcoming arms of the Catholic Church. It is adorned with statues of saints atop the columns, creating an impressive visual effect.
  6. Vatican Grottoes: Beneath St. Peter’s Basilica, there are the Vatican Grottoes, which house the tombs of numerous popes, including Saint Peter, the first pope. The grottoes can be visited by the public and serve as a significant pilgrimage site for Catholics.

The architecture of St. Peter’s Basilica showcases the skill, creativity, and grandeur of the architects and artists involved in its construction. Its harmonious blend of Renaissance and Baroque styles, along with its monumental dome, intricate details, and vast interior, make it an awe-inspiring masterpiece and an enduring symbol of the Catholic Church.

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Comparing Reynolds and Gainsborough Portraiture

Sarah Siddons as the Tragic Muse, or Mrs. Siddons as the Tragic Muse, is a 1783–1784 painting by English painter Sir Joshua Reynolds. The 1784 version is in the Huntington Library art museum, while a 1789 reproduction from Reynolds’s studio is in the Dulwich Picture Gallery.

Reynolds and Gainsborough were two prominent English portrait painters who flourished during the 18th century. While both artists were active in the same period and shared similar subject matter, their approaches to portraiture and artistic styles differed significantly. Let’s delve into a comparison of Reynolds and Gainsborough’s portraiture.

The Blue Boy (c. 1770) is a full-length portrait in oil by Thomas Gainsborough, owned by The Huntington in San Marino, California.

  1. Style and Technique:
    • Reynolds: Sir Joshua Reynolds was known for his grand, formal style of portraiture. He often portrayed his subjects in elaborate costumes and posed them in carefully composed, classical settings. Reynolds’ paintings were characterized by his mastery of capturing textures, fabrics, and details with meticulous precision. He employed a smooth, refined brushwork technique, and his portraits exuded a sense of dignity and stateliness.
    • Gainsborough: Thomas Gainsborough, on the other hand, adopted a more natural and informal approach to portraiture. His style was marked by loose brushwork, vibrant colors, and a focus on capturing the essence and character of his sitters. Gainsborough’s subjects were often depicted in landscapes or outdoor settings, which added a sense of spontaneity and liveliness to his paintings.
  2. Treatment of Subjects:
    • Reynolds: Reynolds’ portraits were often commissioned by the British aristocracy and high society, and he aimed to portray his sitters as dignified and noble figures. He employed a certain idealization in his depictions, emphasizing the virtues and elegance of his subjects. Reynolds’ use of poses, drapery, and props contributed to the construction of a narrative around the sitter, reflecting their status and achievements.
    • Gainsborough: Gainsborough’s portraits leaned more towards capturing the personality and individuality of his subjects. His approach was less formal and more intimate, allowing his sitters to appear relaxed and at ease. Gainsborough had a keen eye for capturing fleeting expressions and gestures, imbuing his portraits with a sense of spontaneity and naturalism.
  3. Influence and Legacy:
    • Reynolds: Sir Joshua Reynolds was a highly influential figure in the development of British portraiture. He established the Royal Academy of Arts in London and served as its first president. Reynolds’ emphasis on technical skill and his theories on the “Grand Style” of painting influenced many subsequent artists. His impact on the art world extended beyond portraiture, as his writings on art theory and criticism became foundational texts.
    • Gainsborough: While Gainsborough was not as influential in the academic and institutional realms as Reynolds, his contributions to portraiture were significant. His more informal and naturalistic approach had a lasting impact, paving the way for a shift in the genre towards greater informality and personal expression. Gainsborough’s focus on capturing the individuality of his subjects influenced later portrait painters, including the Impressionists.

The Age of Innocence is an oil-on-canvas painting by Sir Joshua Reynolds, created in either 1785 or 1788 and measuring 765 x 638 mm. The sitter is unknown, but possibly, was Reynolds’s great-niece, Theophila Gwatkin (who was three in 1785 and six in 1788), or Lady Anne Spencer (1773–1865), the youngest daughter of the 4th Duke of Marlborough.

Mrs. Richard Brinsley Sheridan (1787) is an oil on canvas portrait painted by Thomas Gainsborough between 1785 and 1787. It was acquired by the National Gallery of Art in 1937. Mrs. Sheridan (Elizabeth Ann Linley) was a talented musician who enjoyed professional success in Bath and London before marrying Richard Brinsley.

In conclusion, Reynolds and Gainsborough approached portraiture with distinct styles and techniques. Reynolds’ formal and dignified portrayals contrasted with Gainsborough’s naturalistic and informal approach. Both artists left a lasting legacy, with Reynolds shaping the academic traditions of British portraiture and Gainsborough influencing the development of more personal and expressive approaches to the genre. Their contributions enriched the world of portraiture and continue to inspire artists today.

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Essay: The Political Protest Photograph as Artwork

The following essay was produced in 2014  and reworked a few years later.

“When a front cover of the photographic journal Camerawork (Figure One) appeared in the 2007 Who We Are: Photographing Britain exhibition at Tate Britain in London, its inclusion appeared to support the idea that documentary photography is an acceptable material for inclusion in a major exhibition of photography.

Moreover, its inclusion within the confines of an internationally important state funded museum, leads one to also suggest that it is considered a work of art rather than a work of photojournalism on display. Following that exhibition, the inclusion of other political art
photographs have been appearing in exhibitions in major galleries including those under the aegis of the state-funded Tate brand…”

Essay02Download
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Keeping this blog relevant

I realise I have neglected this site for too long. Every time it occurred to me that I have things to express to a wider audience, something else comes along and distracts my thought train.

“Hmm! If only I could publish my thought train?”

Heavily redacted of course! Even old gits have thoughts better kept to themselves. In this world of sanitised ideas, the stazi thought police and the like, it comes more and more difficult to express oneself the way of our forefathers. That may sound the wrong way round, given the explosion of social media faciliting instant declarations of stance on all subjects, but with so much fakery and downright lies, it becomes harder to stay honest.

Conversely, my grandfather would ‘call a spade a spade’ and anyone who objected (there were none that would dare, of course) might get subjected to having to confront 6 ft 7 inches of military bred muscle! Having said that, he was a soft spoken gentle giant with a wealth of military stories. I still regret today, falling asleep on his sofa as he imparted his tales of old, waking up an hour later and forgetting everything he had told me!

I have planned, and sworn to, a few features throughout this year to make amends. I’ve also planned new writings to appear over the next couple of years.

It is ten years since I attended the London Olympics as a volunteer and I will be reminiscing on my time as well as reviewing the voluntary sector in general.

Lockdown! Well that was interesting, so I will reflect on the consequences of having comorbidity conditions in the presence of a very nasty virus – Covid 19 in its many guises.

It’s an interesting time to be alive, but not everything goes to plan, but I promise to no longer neglect the blog.

Also watch out for a series of YouTube videos on the subject of looking after your data, on Windows computers in particular. The first will appear here in the Spring.

There will also be a YouTube series relating to 60s culture, which was dear to my heart as a youth. Not to be missed. Check in regularly to see the first video.

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Norfolk Wildlife Trust Cley Marshes

My first group of Spoonbills this year. There’s something ‘African’ about these splendid birds. Eight flew in to NWT Cley Marshes yesterday. Maybe we will get hundreds in the future. Also a sitting avocet posed for a photograph.