It’s a rainy morning in Florence, although I didn’t know it until I stepped out the door. The window in my room at the Hotel Davanzati has a pair of heavy wooden shutters which I kept closed all night, creating the darkest and most blissful cave in which to catch up on my sleep. Needless to say, I’m getting a late start. So late, in fact, that I barely catch the tail end of breakfast at 10:30 AM. Thank goodness for Patrizia’s delicious cappuccino. It’s helped me to wake up with a spring in my step.
Among other things, I’d liked like to do some shopping today. My Dad wants a new leather wallet and my nephew a leather belt. Tommaso is at the reception desk again this morning, so I approach him for some advice on where to go. Like his father, Fabrizio, he’s good at multi-tasking. He’s juggling the phone while he pulls out a map and circles the location of several boutiques he’d recommend, in addition to the San Lorenzo street market.
This is my third stay at the Hotel Davanzati, and yet somehow I’ve never visited the Palazzo Davanzati which is, quite literally, next door. I decide to go there first. With its lushly frescoed walls and wood beam ceilings, is a wonderful surprise. Yes, the hours are limited, which likely explains why I haven’t visited before, but the admission is cheap and the collection of furnishings, ceramics, and lace is magnificent—a time capsule, really, of Florentine life in the 15th and 16th centuries, at least for those families fortunate enough to be in the merchant class.
When I emerge an hour later, the pavement outside is still slick and wet as I turn from Via Porta Rossa onto Via Calimala. I walk past Piazza della Repubblica and its brightly colored carrousel and stop at Gilli to look at the window display. There’s an attractive selection of candy boxes in the shape of Florence’s cathedral dome, baptistery, and bell tower, but none that could survive uncrushed in my crowded suitcase at the moment.
My next destination is the Palazzo Medici Riccardi, where I’m going to see a famous cycle of frescoes by Benozzo Gozzoli in the “Chapel of the Magi.” It’s another loose end left over from a previous trip’s itinerary. It’s a small space with limited access, which leads to a line of visitors downstairs, but it’s well worth the wait. The colors are rich and vibrant, and the scene is breathtaking in its detail. Ostensibly, Gozzoli depicts the procession of the Three Kings on their way to Bethlehem, but in a nod to his patron, the work is set in a rich Tuscan landscape, filled with wildlife and crowded with the faces of Florentine noblemen in their finest clothes. Some even believe that Casper, the youngest of the kings, is a portrait of Lorenzo de’ Medici, who would later become a patron of the arts in his own right to luminaries such as Leonardo da Vinci, Sandro Botticelli, Domenico Ghirlandaio, and Michelangelo Buonarroti.
After two museums in a row, I’m ready to go shopping, I stroll through the San Lorenzo street market, but see little to tempt me. When I can’t find anything I like at Peruzzi, either, I decide to try the venerable Scuola del Cuoio, a leather school in the friary at Santa Croce.
I haven’t been inside of the basilica itself since my first trip to Florence in 2008, when the entire apse was filled by a skyscraper of scaffolding. Surely, the work must have been completed since, so I decide to make a return visit along the way. Except that it hasn’t been completed, not even close. I think about the number of years it took to restore the campanile in Venice, or Bernini’s “Fountain of the Four Rivers” in Piazza Navona in Rome, and recall my conversation with Tommaso about Italian politics and how hard it is to get anything done in Italy.
The wallets at the leather school are simple and beautiful, just what I had in mind. I pick out a bifold in lambskin for my Dad in a deep chocolate brown, and I’m surprised at the register when the clerk tells me they would be happy to monogram it for him free of charge. She sends me back to a row of ancient looking worktables where I meet a cheerful young man who places the letters I need in a branding iron and holds it over a flame, before pressing it vigorously into a piece of gold leaf on the inside of the wallet. It’s the perfect gift and I can’t thank him enough.
By the time I leave, the sun has brightened considerably and the late afternoon temperature is rising. I decide to stop by the hotel for Happy Hour and to drop off my bag from the Scuola del Cuoio. Afterwards, I grab a light dinner at La Bussola and then take a slow walk up to the Duomo and back, stopping to watch an artist create a copy of Vermeer’s “Girl with a Pearl Earring” in chalk on the street.
I’m standing on the Ponte Santa Trinita when the street lamps turn on at half past nine. There’s a musician with an accordion nearby playing a medley of “Somewhere over the Rainbow” and “It’s a Wonderful World.” As I listen, I watch the color drain from the sky over the Ponte Vecchio, as if consumed by the fiery orange of the sunset dying behind me.
I’m thinking about how much I love Italy, and how glad I am to have come back to Florence, in particular. This place really is quite something.