
This is where my truffle obsession started.
The sweet shops! Oh my these were wonderful. I bought lots of them home as 'gifts'. Gifts that ended up in my stomach. Sorry lovely friends, next time I won't eat your presents (probably).

But sometimes so much perfectness can be a little… disconcerting. It felt very much like walking through a stage set – it was so perfect it didn’t seem quite real. But I guess that’s a small nit-picky thing to say, it’s beautiful really.

Interestingly you have to pay to go into churches in Florence (a more mercantile city than Rome, where all the churches are free to enter) but since I’d dragged Luke to many, many churches in Rome, and since we only had two days in Florence, we didn’t bother. Instead we went to the Uffizi and the Academia on one day, and just wandered the streets trying the local food and wine and getting lost, on the other (a perfect activity in such a lovely place).

Now, I’m not a very tall person, and one of the things I’ve noticed before about galleries showing Renaissance paintings is how hard it is to see them clearly, the dark, reflective varnished surfaces make them difficult to see, and very difficult to photograph. It doesn’t matter of course because the major works are so familiar, you can fill in the details, or just move your head a bit so the light catches the surface in a different way. But still, they’re not easy to see the way they are in a reproduction.
However, the advantage of that is that I started to look at the parts of the paintings that were directly in my eye line (lots of feet, flowers and dogs since you ask). I spent a lot of time too, looking at the corners of the works, the people in the backgrounds, the little details, the amazing gilt frames. And this was the extraordinary thing… I saw things in those paintings (paintings I would have said I knew like the back of my hand) that I’d never seen before. The little vignettes, perfect, small back-stories, hidden gems under the murky varnish. It gave me a whole new appreciation of seeing works in the flesh (so to speak), because these details couldn’t be seen in reproduction. Generally the major narrative is what you see, (what’s Mary doing? Who’s that guy with the sword?) but when you’re actually in front of the paintings you can see the small details, (there’s a kitten under that chair, look, violets growing in the grass) the edges intersecting with the frames (my goodness those frames!), the colour of the walls, the positioning of the works. They are all the things available to you when you’re in the gallery itself. It creates a space where what you see is influenced by being present and being able to see something contextually and thoroughly. It was a wonderful revelation to me, and a new way of looking at the familiar. Once I started I couldn’t stop, and ended up coming home with hundreds of photographs of the corners of paintings.

Interestingly you have to pay to go into churches in Florence (a more mercantile city than Rome, where all the churches are free to enter) but since I’d dragged Luke to many, many churches in Rome, and since we only had two days in Florence, we didn’t bother. Instead we went to the Uffizi and the Academia on one day, and just wandered the streets trying the local food and wine and getting lost, on the other (a perfect activity in such a lovely place).

Now, I’m not a very tall person, and one of the things I’ve noticed before about galleries showing Renaissance paintings is how hard it is to see them clearly, the dark, reflective varnished surfaces make them difficult to see, and very difficult to photograph. It doesn’t matter of course because the major works are so familiar, you can fill in the details, or just move your head a bit so the light catches the surface in a different way. But still, they’re not easy to see the way they are in a reproduction.
However, the advantage of that is that I started to look at the parts of the paintings that were directly in my eye line (lots of feet, flowers and dogs since you ask). I spent a lot of time too, looking at the corners of the works, the people in the backgrounds, the little details, the amazing gilt frames. And this was the extraordinary thing… I saw things in those paintings (paintings I would have said I knew like the back of my hand) that I’d never seen before. The little vignettes, perfect, small back-stories, hidden gems under the murky varnish. It gave me a whole new appreciation of seeing works in the flesh (so to speak), because these details couldn’t be seen in reproduction. Generally the major narrative is what you see, (what’s Mary doing? Who’s that guy with the sword?) but when you’re actually in front of the paintings you can see the small details, (there’s a kitten under that chair, look, violets growing in the grass) the edges intersecting with the frames (my goodness those frames!), the colour of the walls, the positioning of the works. They are all the things available to you when you’re in the gallery itself. It creates a space where what you see is influenced by being present and being able to see something contextually and thoroughly. It was a wonderful revelation to me, and a new way of looking at the familiar. Once I started I couldn’t stop, and ended up coming home with hundreds of photographs of the corners of paintings.