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FLORENCE’S HIDDEN JEWELS
Heading straight for the Uffizi Museum is the first item on most tourists’ Florentine agenda, Botticelli’s Venus rising out of her shell is a true temptress, but what about the waxen, pearl-clad naked ladies with all of their exquisitely carved organs on view at La Specola? Or why not take advantage ofhaving the totally neglected Horne Museum to yourself to enjoy the hauntingly beautiful panel of Queen Vasthi stepping out into an ethereal Tuscan countryside? While there is no lack of monuments and masterpieces in Florence, many museums go sadly ignored. Although the Uffizi, the Pitti and the Bargello house some of the most loved and best-known art works of the Renaissance, there is another way to explore the city’s treasures. Over the centuries other museums and collections have been formed which provide an alternative, sometimes quirky, and certainly less crowded, view of the city’s artistic riches.
Dark terracotta floors, leaded glass windows and coffered ceilings set the scene at the Horne Museum. Stepping back in time, a visit to this collection is like visiting a Renaissance patrician’s home. At the beginning of the 20th century, Herbert Percy Horne, a British scholar and would-be ‘Renaissance’ man lovingly restored the Palazzo dei Corsi to its 15th-century splendour and began to install his lifetime’s collection of fine and decorative arts. It was Horne’s dream to create a completely Renaissance environment in which to live and display his collection. Wandering the rooms, completely alone, I come face to face with masterpieces of 15th- and 16th-century art, displayed in a decidedly un-museum-like manner. It is easy to fall under the spell of the elegant atmosphere and general antique ambience, rather like walking onto a stage set of a period film, except that in this case the tables, chairs, tapestries and armoires are real. That is why, on rounding a corner into a small side room, Giotto’s painting of Saint Stephen, a perfectly preserved example of his panel-painting technique, is a wonderful surprise. No stage prop this, the static form of the saint, complete with his symbolic stone on top of his head, shimmers in front of a crackled gold background. Horne’s eye was exacting, and the collection is full of masterpieces. A later work, The Holy Family by Domenico Beccafumi, is a rare example of 16th-century Sienese art. The elongated features of the Madonna’s face glow in contrast to his typically smoky treatment of the accompanying saints.