Florence, Tuscany, Italy

Florence is an iconic city known around the world as many people flock to visit her each year. It is the capital of Tuscany, which is one of 20 regions that form the country of Italy.

It is a city where its history is etched in its art and woven into its architecture. The city became the leading light in a new Europe after the darkness of the Black Death had pervaded it. This led to the birth of Humanism, which ultimately affected the birth of the Renaissance in the 14^th -16^th centuries. Much of this is down to the Medici family that saw an opportunity to build a dynasty. Each generation of the family were patrons of the arts and endowed much wealth into improvements to the city’s architecture.

The great beauty of Florence has left many a person in awe. Sore necks or even Florence Syndrome can be caused by the constant viewing!! Read on as I try to piece together Florence’s fascinating history, the characters that shaped the city and explain where the evidence for all this can be seen. This final blog on Florence (there are references to previous posts) is by way of summary of its history.

Florence Early beginnings

Originally founded by the Etruscans in the 6^th & 7^th centuries BC, it was supressed by Rome in 395 BC. Florence’s location was important as it was the only practical crossing of the River Arno as discovered in the post on Ponte Vecchio. The Romans saw the importance of the strategic location and as roads were built out of Rome, they knew that this location would provide access to Bologna and Faeza.

A military outpost was set up. This led to building of Roman structures like a theatre, spas, forum, etc. Sadly, there is little evidence of the Roman presence in the city although a visit to Vecchio Palace will allow you to see some Roman ruins (not accessible on my visit). The Romans named the city ‘Fiorentina’ meaning “flowering” (also the name of the city’s football team).

Florence in the Middle Ages

During the Middle Ages the city began to rise in prominence. It’s gold ‘Florin’ became the leading currency in the western world as Florentine banks established branches throughout Europe. This led to a war between Florence and Siena for control of Tuscany and the ultimate client the Holy See.

During 12^th and 13^th centuries the city struggled internally as factions who supported the Pope (Guelphs) clashed with those who supported the Holy Roman Emperor ((Ghibellines) – not to be confused with Rome – the emperor controlled most of central Europe before its defeat to Napolean and dissolution in 1806). The established banks in this period suffered an economic crisis in the 14^th century as loans made to European sovereigns were defaulted because of the 100 years wars leading to their collapse.

It was during these struggles that Dante Alighieri was exiled and wrote ‘The Divine Comedy’. Born in Florence, Dante still looms large over the city. His body isn’t buried in the city. A read of his books and a visit to his childhood home (sadly hasn’t been completed) would provide ample information on the man himself. Sadly, all I learnt about him was from the large statue in front of Santa Croce, his cenotaph inside, and his Death Mask house in the Palazzo Vecchio.

Arnolfo also started works on 3 iconic buildings within the city, Basilica of Santa Croce, Palazzo Vecchio and Cathedral of Santa Marie del Fiore. At the same time city walls were constructed to protect the people.

Cosimo de’ Medici (Father of His Country)

In the 15^th century the Medici family saw their opportunity and began forging their dynasty. As the Medici family was not of the aristocracy, it had to force their way onto to the scene. Their opportunity came after the banking collapse in the 14^th century as Cosimo secured the papal account to add to his expanding network of banks.

As their wealth grew, Cosimo built important alliances and patronages. He used these to control and rule Florence. His main passion was building. Evidence of this can be gathered all around the city of Florence. Brunelleschi’s dome, the basilica of San Lorenzo, the convent of San Marco, Palazzo Medici Riccardi, the Medici chapel in the Basilica of Santa Croce and a chapel at San Miniato were all beneficiaries of Cosimo’s generosity.

Cosimo surrounded himself with the geniuses of the time. Many of the artists and sculptors were assured of commissions but were treated like friends. Cosimo organised an extensive and methodical search for ancient manuscripts. These were brought and stored in his library. Cosimo opened his library and held meetings with great people of powerful minds as they discussed these manuscripts and ideas. This led to the birth of Humanism.

Lorenzo de’ Medici (the magnificent)

Lorenzo de’ Medici was grandson of Cosimo and son of Piero de’ Medici. He followed in his grandfathers’ footsteps. He was also a patron of the arts and letters, a talented poet, a skilled diplomat, and a great ruler. His diplomatic skills brought peace and stability across the Italian city states.

He married into Roman nobility when he married Clarice Orsini. As the banks’ funds were draining up due to poor decisions and lavish spending, he planned for a future by getting his offspring a foothold in the church. Most notable was his son, Giovanni, who would later become Pope Leo X. He survived the Pazzi conspiracy of 1478 when the Pazzi family tried to rule, but his brother Giuliano was murdered in the plot. Giuliano had an illegitimate son, who would later become Pope Clement VII.

Lorenzo’s love of art was confirmed in his court of artists. It was filled with the great names of the 15^th century renaissance. These included Piero, Michelangelo, Pollaiuolo, Verrocchio, da Vinchi, Botticelli, Ghirlandaio and Buonarroti. Evidence of their works are seen all over the city, most notably in the Uffizi Galleries, Galleria dell’ Accademia of Florence and The Bargello Museum.

Lorenzo the Magnificent among humanists and man of letters

Room of Lorenzo de' Medici called the magnificent

Lorenzo the Magnificent receives the tribute of the ambassadors

A gap in Medici Rule of Florence

After Lorenzo’s death in 1492, his son (Piero) would take control of the city. He is often referred to ‘the Unfortunate’ which is unfortunate in itself!! He was ultimately banished from the city after a failure in leadership. This led to a gap in the Medici rule as Niccolo Machiavelli (bust is seen in Palazzo Vecchio and grave in Santa Croce) was appointed senior official in the Republic. Artists would come in search of fame and fortune.

A man called Savonarola, an ascetic Dominican friar, led an uprising amongst the people and effectually created a republic. Savonarola held extreme views and spoke out against the corruption of the clergy and excesses of the Renaissance. This was mainly accomplished from his base in the convent in San Marco (a place yet to be visited in the city).

He encouraged bonfires to be lit to destroy luxuries. The biggest of these took place on 7^th February 1497 known as the bonfire of Vanities. Shortly after this the then current Pope, Alexander V, had him excommunicated. He was tried on charges of sedition and heresy. He was executed in Piazza della Signoria in 1498. He was only 46.

After Savonarola’s execution, Piero Soderini was declared Gonfaloniere of justice for life. I discovered his name in the room of 500 where he had instructed the two famous artists to paint scenes of Florentine history. He fled Florence after the Medici conquest of 1512.

During this time Lorenze’s son Giovanni was a cardinal to Pope Julius II. He used his close connections with the Pope to influence the addition of members of his family into positions of power. This was laid the groundwork for the future generations of the family. In 1513 Giovanni was elected Pope Leo X.

As head of Christendom, Leo X paid little attention to the church!! Strange, but true. Like his father he was more interested in the arts and letters. He drained the Vatican of its funds to support his extravagant patronage of the arts. He was so distracted by his patronage that he failed to pay sufficient attention to an unimportant monk by the name of Martin Luther but that’s another story. There are rooms dedicated to Leo X in Palazzo Vecchio.

Cosimo I de’ Medici (1st Grand duke of Tuscany)

Eventually the first grand duke of Tuscany, Cosimo, firmly restored the power of Medici rule in Florence. There is bold statue of him is the Piazza della Signoria. He became Duke of Florence at the age of 17 after his cousin Alessandro de’ Medici was assassinated. Cosimo was a strong and ambitious leader.

Cosimo reached out to Charles V (Holy Roman Emperor), who in exchange for Cosimo’s help against the French during the Italian wars, gave him the position of head of the Florentine state in 1537. He was elevated to the rank of Grand Duke of Tuscany in 1569 by Pope Pius V. Thus began the Medici hereditary rule that lasted until 1737.

Evidence of his rule is displayed all over the city as shown in previous posts. The decorations in the Palazzo Vecchio, the building of the Uffizi Gallery, Vasari Corridor and the purchase of the Palazzo Pitti.

Cosimo was a military man as well. Further exploration of Tuscany may provide evidence of his battles and what was built in Tuscany to secure the region. In Palazzo Vecchio in the hall of 500 the painting ‘Battle of Marciano’ is one of the 6 battle scenes that adorn the walls. This shows his successful battle over the city of Siena in 1555.

Cosimo married a Spainard, Eleanor of Toledo. Previous posts provide information about their time in the Palazzo Vecchio before they purchased the Palazzo Pitti.

Cosimo’s architect was a certain Giorgio Vasari. Cosimo commissioned Vasari for many projects and pieces of art. Evidence is all around Florence of their work. Frescoes inside the Brunelleschi Dome, the ceiling in the room of 500, remodelling and expansion of Palazzo Pitti are few that I have seen on my meanderings around the city.

Statue of Cosimo de' Medici in Piazza della Signoria

Portrait of Eleonora di Toledo with her son Giovanni

Further Medici rule in Florence

Medici rule continued until 1737 when Gian-Gastone passed away childless. He was the 7^th and final grand duke of the Medici family. Staring in the 16^th century the dates are – Francesco I (1574-1587), Ferdinando I (1587-1609), Cosimo II (1609-1621), Ferdinando II (1621-1670), Cosimo III (1670-1723) & Gian Gastone (1723-1737).

Each generation of the family continued the family’s legacy. Lovers of arts and science they commissioned major pieces of artwork. These were done to show the association between the family, religion and political control. A more detailed visit to the Palatine Gallery in Palazzo Pitti and Uffizi Gallery would show the artworks commissioned and collected.

A visit to the Medici Palace and other museums around the city would show more of the vast collection of art gathered.

During these years patronage was given to astronomer Galileo Galilei whose grave was seen in the Basilica of Santa Croce.

By the time the Medici rule came to an end the duchy was bankrupt.

Anna Maria Luisa de’ Medici, (1667-1743) who was the last in the family dynasty donated the Medici collections to the city of Florence. That was some gift.

Florence after Medici rule

After the rule of the Medici family, Florence was governed by the Habsburg-Lorraine dynasty. It was briefly interrupted by Napolean but their time came to an end in 1859. Florence then annexed itself to the new Kingdom of Italy. It was around this time that the facades of Santa Croce and Cathedral of Santa Marie del Fiore were completed. As the new Kingdom of Italy was being formed Florence served as its capital between 1865-1870. Sadly, during these years much of the city was altered. City walls were pulled down as urban expansion took place (walls remain around the edges of Boboli gardens).

German occupation during the later stages of World War II resulted in Ponte Vecchio being saved, mercifully, as all the other bridges were blown up to halt the allied advance.

I have discovered in previous posts how the river caused death and destruction in 1966. A total of over 100 people were killed along with huge amounts of damage to the city’s art. “Angels of Mud” (Angeli del fango) was the name given to the people who came from all over the world to try and save as much of the art as possible.

Florence Conclusions

Florence now is now a popular and a ‘must see’ tourist hotspot. A constant hub of activity as people arrive at the Tuscan capital. Maybe Anna’ de’ Medici didn’t foresee the vast appeal the city and her family’s art collection would have but we’re grateful to her act of kindness in leaving it to the city.

A visit to Florence can be incredible and frustrating at the same time. Is there such a thing as too many tourists? A visit to Michelangelo square at sunset or walking across Ponte Vecchio or general walking the streets will provide the reason for frustration. One wonders if such have discovered anything of the tremendous history of Florence, taken an open mind to artistic endeavours and enjoyed an open-air classroom.

I came to Florence for differing reasons; my knowledge on the city was sadly limited to a TV show. I soon began to realise than I needed to delve into the detail and return to explore this majestic city. Many books have been purchased and read to aid this thirst for knowledge. The result of this has been surprising.

My interest in and admiration of the arts has developed beyond recognition and perhaps set the pathway to future posts. My desire to learn has only been encouraged by my visits to Florence. The fire within burns ever brighter as further tours and visits of the surrounding area and rest of the country are planned. As I’m starting to find out, Tuscany is more than just Florence.

August 3, 2025August 3, 2025

Cathedral of Santa Maria del Fiore, Florence, Italy

The symbol of Florence! Often called the Florence Duomo. But to use its proper name the Cathedral of Santa Maria del Fiore. A precursor to renaissance Florence. Brunelleschi’s brilliance. A sublime statement. An architectural achievement. Superb and spectacular. The master of masterpieces. The crowning glory.

Florence was determined to be the leading city in Tuscany; it compared itself to former glory days of Rome. Florence, like other Italian cities (notably in Tuscany) was competing to build the largest, grandest and most impressive cathedral. Florence began work on its cathedral in the 13^th century after Pisa had started its cathedral in 1063 and Siena built its cathedral by around 1260. The Cathedral of Santa Maria del Fiore took over 140 years to build. The result definitely from the outside is breathtaking, the interior is open for debate. Join me as I explore the incredible Duomo of Florence.

History of Cathedral of Santa Maria del Fiore

On my meanderings I’ve discovered that during the medieval years much wealth poured into Florence. Trade in wool and an extensive banking system brought untold wealth to the city. As a result, the people of the city thought of themselves in a city similar to ancient Rome. They decided they needed the grandest church in Tuscany, to compete with the cathedrals of Pisa and Siena. At the time population of the city was around 100,000 people, and it was expected that they would all be able to fill the church when completed.

Construction on a new cathedral began on the site of the old cathedral of Santa Reparata in 1296, with the first stone laid on 8^th September. The renowned architect Arnolfo di Cambio was entrusted with plans and building the church. A familiar name from my meanderings around Florence thus far. His other building works I have discovered were the Church at Santa Croce and Palazzo Vecchio. Remember the tower at the Palazzo Vecchio is named after him.

How much of his plan was achieved maybe be minimal. His planned size a small comparison compared to the colossal size it finished. As he died 6 years after he started. Several architects were to continue working on the church after his death. This included Giotto, Talenti, Giovanni Ghini and Brunelleschi.

In the year 1366 a model was created to illustrate the shape and scale of the design. This was not to be altered. This was the plan, and they were going to stick with it. For all the plans made there was a major flaw. They didn’t account for how the Dome would be engineered and constructed. They hoped as time passed this problem would solve itself, through advancements in engineering and building techniques.

In 1418 a competition was opened to find someone who could build the dome. 200 florins was the winner’s reward. The winner was a certain Phillipo Brunelleschi. I will explore his plan in more detail when I cover the Dome later in the post.

When the dome was completed the Cathedral of Santa Maria del Fiore was consecrated by Pope Eugene IV on March 25, 1436.

The outward appearance that is admired today shares a similar tale as Santa Croce in that it wasn’t completed until the 19th century. The façade of the Cathedral of Santa Maria del Fiore is a neo-gothic masterpiece. It was designed by De Fabris. If you look closely, you will see that it is adorned by the greatest Tuscan artists. The external walls are covered in white, green and red marble.

Figurine on Cathedral of Santa Maria del Fiore

The façade of the Cathedral of Santa Maria del Fiore

Doors to Cathedral of Santa Maria del Fiore

Design of Cathedral of Santa Maria del Fiore

The cathedral of Florence is one of the largest churches in the world. The cathedral is a Latin cross design. The plan consists of a triple nave, where the main central nave is joined with adjacent smaller aisles either side. The aisles are separated from the nave by towering pillars. In this visit I’ve learned that the area between the arches is referred to as bay. The bays here are larger than normal, which creates a much more open feel to the nave.

The designers didn’t want the Cathedral of Santa Maria del Fiore to be similar to the cathedrals of the north, most notably in France and Germany. The Cathedrals in the north focused more on their vertical elements where Florence’s Santa Maris del Fiore placed an emphasis on horizontal elements.

Like all other churches and cathedrals, the nave stretches from the entrance (at the bottom of the cross) to centre of the cross. The High altar is located at the centre of the cross. To the north, south and east of the high altar is an arrangement of three apses. Each of the apses has 5 chapels. The design when looking from above was to suggest the form of a flower. With more time, I would explore possible links between the name of the cathedral (Our Lady of the Flower), with the city’s coat of arms (its emblem the Florentine lily) and the city’s name (“Florentia”, that is, “city of flowers”).

The inside of the cathedral I found to be a very dull affair, which is perhaps why I’m lacking in photos of the interior. There is a distinct lack of windows in comparison to other cathedrals visited here in the UK and the rest of Europe. I must admit that the sheer size of the nave is incredible to see. Thankfully I had booked tickets to the visit the Dome which would provide the best view of the fresco painted on the ceiling.

Saint James the Greater by Jacopo Sansovino

Brunelleschi’s Dome

The Done was built between 1420 and 1436. In the competition to find a suitable designer, Phillips Brunelleschi beat his longtime rival, Lorenzo Gilberti.

Lorenzo had beaten Phillipo in a previous competition to build the bronze doors for the baptistry. Brunelleschi was named the chief architect (capomaestro) in 1420 and would hold that position until his death in 1446.

Brunelleschi was a sculptor and architect who had left Florence after his aforementioned defeat in competition to Gilberti. He decided to explore and survey Rome. Here he gathered ideas and drew inspiration from Rome’s ancient buildings. In particular the Roman Pantheon provided him with the knowledge and ideas to succeed with his dome.

Brunelleschi’s design was a double-shell dome. The two domes working together but with separate purposes. The outer shell covered in terracotta tiles, would protect the inner shell from the elements whilst the inner shell would be used to support the outer shell. The inner shell spans the diameter and is self-supporting. He would use a unique brick pattern on the inner dome referred to as herringbone pattern.

Brunelleschi used a series of compression rings around the inner dome’s circumference. These were to stop the dome from collapsing. The gap between the two domes would act as a stairwell to the top. At the top of the dome is Brunelleschi’s lantern. This was another competition that he won though the lantern was not built until after his death. The 463 steps to the top are worth it for the panoramic views gained over the city of Florence.

Brunelleschi had to think on his feet during the construction process. The challenges must have been relentless. A masterful piece of work and engineering genius. It’s beyond impressive.

When climbing the stairs to the top of the dome, rest maybe taken at internal balcony. Here you can admire the ‘Last judgement’, a fresco painted on the inside of the internal dome. Cosimo and Vasari combine yet again for another incredible piece of Art. It was started in 1572. Completed at first by Giorgio Vasari (died in 1574 the same year as Cosimo) and finished by Federico Zuccari in 1579.

At 3,600 square metres the completed fresco represents one of the largest paintings in the world. Vasari worked with Cosimo’s literary and theological adviser Vincenzo Borghini. With around 700 figures used in the painting trying to understand its meaning would take some time that is unavailable as you must be at the top of the dome in a certain time.

It really is something to admire and admire you should. I was so taken back that I ignored the stained-glass windows at this level. There are eight drum windows, by Donatello, Ghiberti, Andrea del Castagno and Paolo Uccello.

Campanile di Giotto

The Italian lesson continues as I learn than Campanile means bell tower. Giotto is the name of the famous 13th century painter, whose artwork I discovered in the church at Santa Croce. Giotto began work on the tower in 1334, and just like Arnolfo di Cambio he died before he could finish the tower in 1337. The tower was completed in 1359 after Andrea Pisano and Francesco Talenti had continued the construction.

Giotto’s bell tower stands 85m high on a square 15m base. Giotto planned for the tower to be 115m in height but ultimately it was to fall short. 414 steps will get you to the top of the tower which provides a different perspective of the cathedral and another view of the city. The tower is a masterpiece of Italian Gothic architecture. A theme I’m starting to pick up when visiting churches and cathedrals around Italy has been the separation of a tower to house the bells.

Conclusions

Towering above the buildings of Florence the imposing Cathedral of Florence can’t be missed. Such a dominating structure draws the attention of all visitors to the city. Brunelleschi’s dome really is something to behold. It defies logic. I can’t recall a city where a building dominates its skyline as much as this cathedral. It really is the central focus.

My visit has provided me with an enhanced appreciation of cathedrals. I’m still dumbfounded at how they managed to build them. I continue to pick up the odd Italian word here and there to boost my meagre knowledge of the local language along with increased fascination of the arts. A visit to Florence Cathedral allows you to see some of the great work completed by so many famous names.

The visit has given fresh zeal to visit some more cathedrals. In order to see what the competition was, visits to cathedrals at Pisa and Siena are necessary along with some further afield that are larger than Florence cathedral. These include the Basilica of St. Peter in Vatican City, St. Paul’s Cathedral in London, the Cathedral of Seville and the Cathedral of Milan.

July 27, 2025July 29, 2025

Uffizi Gallery, Florence, Italy

The world-renowned Uffizi Gallery is home to an extensive collection of art, ancient statues and historical artefacts. Throw in names like Vasari, Leonardo, Raphael, Caravaggio, Michelangelo, and Botticelli and it is easy to see why it ranks so highly in Italy’s attractions, coming second only to the Colosseum in Rome each year.

Construction of the Uffizi Gallery was commissioned in 1560. Although the art draws you in, I’m equally fascinated by its origins and links to the Medici family. These links are perhaps unknown to many but provide a level of intrigue. Join me as I explore its origins and the vast and expansive collection of art.

Uffizi origins

I doubt many know that the Uffizi Gallery they visit today wasn’t built to display art. In 1560 the first Grand Duke of Tuscany (Cosimo I) commissioned the building of the “Uffizi”. Its original purpose was to house the administrative and judiciary offices of Florence.

My Italian lessons continue as I find out that “Uffizi” means offices. Cosimo commissioned his favourite architect (Vasari – remember the rooms in Palazzo Vecchio, the rebuild of Palazzo Pitti and the Vasari corridor) to design them.

To build these new offices, space was needed for the huge complex. Local buildings were pulled down which included the ancient and Romanesque church, San Pier Scheraggio. After Vasari’s death in 1574 the offices were completed in 1581 by architects Buontalenti and Parigi.

Cosimo also instructed that a corridor be built linking the offices and his new residence at Palazzo Pitti. In the post regarding Ponte Vecchio, I discovered that the corridor was named after the man who constructed it – the Vasari corridor.

The corridor took just 5 months to complete and was built to celebrate the marriage between Cosimo’s son Francesco to Giovanna d’Austria in 1565. When visiting the Palazzo Vecchio, you’ll discover that the courtyard behind the main entrance was refurbished by Vasari and decorated in time for their nuptials.

Francesco (Cosimo’s eldest son) was to become the next Duke of Tuscany after his father. He ruled the grand duchy from 1574 until his death in 1587. It was Francesco who decided to set up a private gallery within the Uffizi. This was to house the vastly expanding collection of statues and other precious objects belonging to the Medici family.

The location chosen was the top floor of the east wing. The main room of this private area was the octagonal room called the Tribuna, built by Bernardo Buontalenti in 1584. The stunning room is adorned with thousands of shells on the inside of the dome.

“Uffizi” a museum

Florence is so rich in art, and this is due to one person. This is because the last remaining member of the Medici family, Anna Maria Luisa de’ Medici (sister to the last male Medici Gian Gastone), signed the ‘family pact’. This was an agreement that was made with the new ruling family of Tuscany the Habsburg-Lorraine.

Anna was forward thinking; she saw the value in the art but wondered how it could attract the curiosity of foreigners. You might say she saw the future for the whole of Florence. Her stipulation in the pact was that the art and treasure collected by her family over the centuries should remain in Florence.

It was 16 years after her death that doors of the offices/gallery were opened to the public viewing under the instruction of Grand Duke Peter Leopold. So out of the original administrative offices was born the Uffizi Gallery Museum.

Adoration of the Child and archangel Gabriel

The Uffizi Gallery

Walking around the gallery is a breathtaking experience. I was immediately blown away by the incredible number of statues from Roman times. There are portraits of Agrippa, Nero, Antoninus Pius, Septimius Severus & Marcus Aurelius, to name a few. You could be easily confused, thinking you were in Rome and not Florence.

Whenever one visits a grand building, it is advisable to look up. The beautifully painted ceilings in the corridor of statues add to the majestic atmosphere. At the tops of the walls before the beautiful ceiling there is a fascinating collection of portraits. Some of the portraits look recognisable. Names on the portraits are in Italian. My Italian being non-existent, I would take a guess that some of the kings of England are on display.

The hordes kept piling in. Taking time to appreciate the display of paintings and statues was not easy nor, in the end, was it particularly enjoyable. I’m not sure when the best time would be to visit. I was sufficed with picking out bits of art and rooms that seemed to be ignored.

My fascination with the Medici family continued as I came across two portraits of the famous original members of the family – Cosimo the elder & Lorenzo the magnificent. Another name that has been discovered in these travels was Eleonora of Toledo. She also features in another painting.

Vasari Corridor

The Vasari corridor reopened at the end of 2024 after an 8-year closure. Access to the corridor is through the Gallery of Statues and Paintings. Tickets must be pre-purchased. To walk the corridor is a brilliant opportunity to follow the footsteps of the Medici family. Though bland internally it provides fascinating insight into history and unique viewing points of the city. It is approximately 750m long. The end of the corridor brings you out next to the Grand Gotto in the Boboli Gardens.

Uffizi Gallery Conclusions

Without doubt the Uffizi Gallery is a must see when visiting Florence. Though the rooms and corridors that house the art are impressive they are made so by the art that adorns them. A debate about the most impressive rooms in Florence would include mention of Palazzo Vecchio and Pitti Palace. Those in Uffizi may not be as high on the list.

That said, the collection of ancient statues is incredibly fascinating. It whetted the appetite to delve into Rome and Roman history.

The Cosimo and Vasari combine again to deliver a symbol of Florence. Though not their original plans I think everyone who visits fully appreciates the work.

So, the Uffizi can be put on a list of the great art museums around the world. The Vatican, the Louvre, the Rijksmuseum, the MET & the National Gallery, etc. could all lay claim to being the best art gallery. I will leave that debate for another day, or another post.

July 13, 2025July 29, 2025

Ponte Vecchio, Florence, Italy

Ponte Vecchio is one of the most iconic symbols of Florence. The beautiful bridge is translated to ‘Old Bridge’, but at times may have been referred to as ‘Florence’s bridge of Gold’. Overflowing with character, beautiful to view, etched in history and with a whiff of romance in the air, it draws the inevitable crowd.

My journey through Florence has taken me to churches, art galleries, restaurants and palaces. In my recent visit to Palazzo Vecchio, I learned, and you may recall, that ‘Vecchio’ means Old. A quick search immediately informs me that ‘Ponte’ means bridge.

Ponte Vecchio embodies the spirit of Florence. Its beauty, architecture, resistance, history, character and secret passage will all be explored in this blog.

Ponte Vecchio history

Ponte Vecchio crosses over the narrowest point of the River Arno. The River Arno is the largest river in the region and second most important river in central Italy after the Tiber. It runs from its source in the mountains close to the Tuscan and Emilia-Romagna border. The Arno flows across Tuscany to the Ligurian Sea at Pisa.

The Arno River, whilst I have always seen it looking peaceful in Florence, has an historic aggressive side to it. The river destroyed the original bridges when it burst its banks in 1333. That resulted in a new bridge being commissioned. The bridge took 5 years to be built and was completed in 1345. The bridge is an outstanding engineering achievement confirmed in that it still stands to this day.

Over the centuries Ponte Vecchio became a desirable meeting point, a place that has constantly evolved. Shops were constructed on the bridge to accommodate butchers, tanners, fish mongers, leather artisans, jewelers who plied their trade on the bridge which has always bustled with people.

The powerful Medici family has left evidence of its presence all over the city. Ponte Vecchio is no exception. I will explore this further in the blog, but Cosimo 1^st instructed his architect to build a “secret passage” that connected Palazzo Vecchio with Palazzo Pitti.

During World War II, when the German army was retreating from the British Army, Ponte Vecchio was not destroyed unlike all the other bridges in Florence. Rumours are that Hitler himself gave orders that the bridge was not to be destroyed. Instead, the buildings at each end of Ponte Vecchio were destroyed to halt the British advance.

In 1966 the Arno overflowed its banks. This tragic event killed over a hundred people and did so much damage and destruction to the city. Incredibly the bridge survived to tell another tale, so to speak, having been completely (shops as well) submerged under torrents of water.

Today Ponte Vecchio is now a must see for all visitors. The bridge is always packed with crowds. Romance sometimes feels in the air. It is a perfect spot to enjoy views of the River Arno and the City of Florence. Good are on sale in the shops. Although the gold trade may have diminished the sale of jewellery continues.

Ponte Vecchio Architecture

Taddeo Gaddi (a pupil of Giotto), it is believed, was designer and builder of Ponte Vecchio. Ponte Vecchio consists of 3 shallow segmental arches, a breakaway in design from the classical Roman bridge design.

The middle of the three arches is the largest with a 30m span and the arches either side spanning 27m. The 14^th century bridge is constructed out of stone. There are two islands in the middle of the bridge to support the arches. My research and studies teach me that these islands are often referred to as piers. They are connected to the riverbed by oak piles then surrounded by concrete and stone. The two piers feature triangular prows which assist in deflecting the river’s flow.

The bridge soon became the location of a medieval marketplace. One can imagine the frenzy on the bridge as ‘wheeling and dealing’ took place.

A byproduct of the marketplace was the smell of the goods sold there! Grand Duke Ferdinando I de’ Medici (1587-1609) was not happy with it and took merciless action. He sent the vendors away and instructed that the only shops allowed were goldsmiths and jewellers. Thus, the appellation ‘the bridge of gold’ was born. 48 shops grace the bridge. Trade is still common practice to this day, but only gold and jewellery are permitted there.

My research has also highlighted that the design of Ponte Vecchio may have inspired the ‘Pultney Bridge in Bath, England. Surely a reason to revisit Bath and explore the similarities. Both bridges just mentioned are part of 4 in the world that have shops across its full span on both sides (the other two being in Venice – Italy and Erfurt – Germany).

Benvenuto Cellini

Benvenuto Cellini was a 16^th century artist who started his career as a goldsmith and is honoured with a bronze bust sitting on a fountain in the middle of the bridge. Someone else I never knew existed! This educational journey makes that short lived.

An internet search informs me who he was. Not much of his work survives, which is perhaps why he is a little less known. He was a creator of a couple of famous pieces – the first one is a magnificent gold salt cellar made for Francis I of France, now in Vienna. Can’t remember seeing that in my visit.

The second is one that I have seen in Florence. This is the bronze statue of Perseus holding the head of Medusa. It now stands in the Loggia dei Lanzi which is very visible in the south corner of Piazza Signoria close to the entrance of Palazzo Vecchio.

Looking at Benvenuto Cellini and the River Arno

Vasari Corridor

The most eye-catching modification to the bridge came in the sixteenth century. Cosimo I de’ Medici instructed Giorgio Vasari to construct a corridor connecting Palazzo Vecchio and Uffizi Gallery with the Palazzo Pitti.

This corridor provided Cosimo and his successors (and their families) private access between their private residence (Pitti) and the city’s government building (Vecchio). The corridor was filled with paintings and busts of significant figures from Florentine history. This was done to show status, wealth and power.

The corridor recently opened after refurbishment and is very bland and empty, which is in stark contrast to Cosimo’s Walk. Access to the corridor is gained through the Uffizi Gallery.

View of Ponte Vecchio from Vasari Corridor

Conclusions

In conclusion Ponte Vecchio cannot be missed on a visit to Florence. Not many do miss it as it is always crowded with tourists. I prefer to view the bridge from different points around the city.

I found the Vasari corridor intriguing. How many know about the ‘secret passage’, I’m not sure.

Ponte Vecchio has played an important role in the history of the city, providing a path over the River Arno. The famous bridge has evolved over time, from a thriving marketplace to a refined, gold trading outlet.

It has withstood the power of nature and survived the bleak periods in the history of Florence. I’m sure it would have many stories to tell. My preference is viewing it from afar. Everybody flocks to Piazzale Michelangelo for a view of the bridge and city. The views here are stunning but I prefer to find a less crowded viewpoint.

My favourite so far has been in a nearby restaurant with an outside seating area overlooking the river. As I sip on some wine, the sun beats down and the bridge displays a kaleidoscope of colour. The golden moment is beautifully reflected in the peaceful Arno beneath. I ponder the need to revisit Bath to view a similar example. Then I consider if Ponte Vecchio is up there with some of the great bridges around the world. Maybe a different type of blog to write in the future.

July 6, 2025July 9, 2025

Palazzo Pitti, Florence, Italy

Following the visit to Palazzo Vecchio, Florence, Italy I looked to increase my Florentine knowledge. I headed off across the River Arno to Palazzo Pitti. My reasons for visiting were simple. At Palazzo Vecchio I learnt lots about the Medici family and was keen to expand my knowledge of the Medici family.

I must confess that my original discovery of the Medici family came from watching a TV series. The series certainly provided inspiration to visit and explore Florence but exposed major gaps in my knowledge of European history. The series focused on the first line of the Medicis in the 15^th century. The Medici family ruled Florence and, later, Tuscany from 1434 to 1737 (apart from two brief intervals). I have drawn a family tree to help with my learnings.

The TV series covers the establishment of the family dynasty in Florence, which left me with an impression that they came to an end after Lorenzo the Magnificent. How wrong could I have been?

It was with my ‘tail between my legs’ that I visited the Palazzo Pitti to enhance this knowledge. The Palazzo Pitti resides on the southern side of the Arno River. It feels slightly detached being away from the city centre. It is located at the foot of the Boboli hills. Read on as I try to explore the largest palace in Florence. As well as continuing my journey to find more about the Medici’s. Included in all this was a visit to the renowned Boboli gardens.

Palazzo Pitti History

The Palazzo Pitti , to this day, is named after its first owner Luca Pitti. There is much myth and mystery surrounding the construction of the original building. No records have been found. Rumours are that the original architect was Brunelleschi. Perhaps it was his pupil, Luca Fancelli, who should take the credit for its designs.

Luca Pitti was an ambitious Florentine merchant who supported Cosimo de’ Medici (the elder) in his government. This brought him much wealth, prosperity and influence. He commissioned a new personal residence, which was to rival the glory of the Medici palazzo. There was rivalry between Pitti and the Medici family. Pitti wanted to become the most powerful man in Florence. Luca saw his opportunity when Cosimo passed away. He was unsuccessful in a coup to murder and overthrow Cosimo’s son Piero. Luca Pitti was pardoned by Piero (almost unbelievable) after his failed coup and before he died in 1473, 9 years after Cosimo. The building remained unfinished but still in the Pitti family. The Pitti family no longer reaped the rewards of their close association with Cosimo, ran into financial difficulties and had to sell.

As I found out at Vecchio Palace, Eleonara di Toledo purchased the Palazzo Pitti in 1549. Her husband was Cosimo I de Medici. The palace was purchased as a family home as they were struggling with living in the Vecchio Palace along with their 8 children. Cosimo instructed his architect Vasari to enlarge the building, making it worthy of a Ducal Palace. This included a programme of renovations and modifications. Cosimo’s second son, Duke Ferdinando I, and his wife were the first ones to live within the palace. Their son Cosimo II married Maria Magdalena of Austria. She brought a vast collection of art with her as part of her dowry. This was a great addition to the Medici collection. Cosimo II also regularly purchased art from Rome. It was clear that each Duke from the Medici line followed the previous incumbent as the collection grew. The paintings were stored in different parts of the palace. At the same time the grounds and gardens were enlarged.

The Medici line came to an end in 1737 (see above). At Palazzo Pitti I discovered that the Medici title ‘Grand Dukes of Tuscany’, passed to the second dynasty to live in the palace, that of the Austrian House of Habsburg-Lorraine. Their occupation of Palazzo Pitti was disturbed for a few years by Elisa Bonaparte taking possession after the French invasion. After the fall of Napolean, the Vienna congress returned the palace back to the Habsburg-Lorraine family. The family continued the renovation of the palace. They also organised the vast art collection. Like their predecessors’ passion, they continued collecting art whilst commissioning more pieces of art and décor throughout the palace. It was this family that opened the palace as an art gallery..

As the Habsburg-Lorraine dynasty came to an end in 1860, so did the Grand Duchy of Tuscany shortly after. Tuscany came under the control of the House of Savoy, the third and final dynasty to live in the palace. It was at this time that Tuscany became one of the provinces of the Kingdon of Italy, during the Risorgimento (unification of Italy). King Vittorio Emanuele II resided in Pitti Palace when Florence was the capital of Italy. The family were overthrown in 1946 as Italy became a republic. Their legacy of the Palace was made in 1919 Vittorio Emanuele III donated the Palace to the Italian state.

Palatine Gallery at Palazzo Pitti

The Palatine Gallery is one of several museum complexes within the Palazzo Pitti . Opened in 1834, it is breathtakingly beautiful! Each room is a treasure trove full to the brim of artistic wealth. This is an endeavour of love, captivating in appearance, meticulously preserved, with plush furnishings, extravagant chandeliers and spectacular ceilings with stunning frescoes. A walk through the gallery is mind boggling leaves the visitor spell bound. An appreciation of the talent on display should be the focus. The incredible collection includes priceless works by Titian, Tintoretto, Caravaggio and Rubens. The gallery is also home to the largest concentration of paintings by Raphael in the world.

Sadly, the vast size of the palace, and not fully knowing my way around, I think I left my visit to the Palatine Gallery. Travesty I know, but proof that I needed more time than I ever thought to explore this palace. The other areas in the palace that I missed included the Royal Apartments, Tapestry apartments, Modern Art Gallery, Fiorino room, Winter Apartments and the museum of costume and fashion. Reasons enough to visit again.

Boboli Gardens

The gardens really are something to behold. As I quickly found out they’re not a whistle stop destination but a vast open-air museum. It requires more time than I thought, firstly to see it all and secondly to truly appreciate its peaceful tranquility.

The Boboli Gardens share a similar path of history to Palazzo Pitti . When Eleonora and Cosimo purchased Palazzo Pitti not only did they start works on the palace but the gardens as well. The first plans were designed by Niccolò Tribolo who sadly never saw the works completed before his death. The honour fell on the famous Giorgio Vasari, who along with Ammannati and Buontalenti completed the initial plans. Not only did other generations of the Medici enlarge and enrich the gardens but so too did the Habsburg-Lorraine and Savoy dynasties add to it.

The Boboli gardens are populated with countless ancient and renaissance statues, large fountains, tree lined avenues and grottos. The garden provides endless opportunities for exploration and enjoyment. Palazzo Pitti looks much better from the gardens side than its ugly front entrance.

The first part of the garden is the amphitheatre which not only provides a view of the rear of the palace but is decorated with statues around the outer edges. Leading up from the amphitheatre you climb several steps as you pass the Forcone Basin and several of the statues scattered around the grounds. At the top of hill, you will see the colossal statue of Plenty, moved to its current location to represent the prosperity of the Tuscan state. Work began in 1608 by Giambologna and completed by Pietro Tacca and Sebastiano Salvini in 1637. Also slightly hidden at the top of the hill is ‘The Knights Garden’ which offers an enchanting view of the local Tuscan hills.

From here navigate your way back down to pick up Cypress Lane, a large path running through the heart of the gardens. It is lined each side with cypress trees and has statues placed at the crossroads as other paths connect to Cypress Lane. If you don’t divert off the avenue to explore these gardens the long downhill path will lead you to the ‘Island Pond’ and beyond this is the Meadow of Columns.

After retracing my steps back to the palace, I find the ‘Buontalenti Grotto’ also known as the ‘Grand Grotto’. On the façade, the Medici coat of arms is supported by two mosaic feminine figures who symbolize Peace and Justice. The lower part of the façade was built by Vasari. In the main it was built by Bernardo Buontalenti between 1583 and 1593 on behalf of Francesco I de’ Medici. The Grotto is a masterpiece of Florentine Mannerist style and is divided into 3 sections. The first section was frescoed and combined with stucco work showing shepherds protecting their flocks from wild beasts. Also, in this first section you will see copies of the 4 “Prisoners” by Michelangelo (the originals have been moved). The other 2 sections that follow exhibit the sculptures “Bathing Venus” of Giambologna and the group of “Paris and Hellen” of Vincenzo de Rossi.

Valerie Cioli, Dwarf Morgante, white marble, 1560

Palazzo Pitti Conclusions

Thus concludes my visit to the Palazzo Pitti , It is an extraordinary palace to visit. It is a palace to rival some of the great European palaces. Its outward appearance is not very alluring, bland and rather dull, especially from the front. What lies behind the grand façade is anything but.

My short visit was not enough. I must return to Palazzo Pitti and ensure that I visit all that it has to offer including more of the Palatine Gallery. The gardens also require further and more in-depth exploration.

I leave the palace overloaded with knowledge and a newfound appreciation for art and decor. I’m sure everyone has heard of Florence but the city is proving to be fascinating. Each place I have visited has been captivating. The next stop on my meandering around this great city is to one of the most famous bridges in the world.

June 29, 2025July 7, 2025

Palazzo Vecchio, Florence, Italy

The next stop on my meanderings around Florence is a visit to the Palazzo Vecchio which is located right in the middle of the city on the edge of Piazza Signoria. The piazza and palace are emblematic of the city. The Palazzo Vecchio has been the seat of the city’s power and strength throughout history. The palace’s cube shape design and outward appearance expresses power, strength & might in stark contrast to the stunning and detailed rooms that adorn the interior and exude class. The whole palace possesses an air of importance and an aura of historic fascination. Join me as I explore the Palazzo Vecchio and learn about the heart of the city with its civic emblem before finishing my visit with a climb of the Torre di Arnolfo, which gives beautiful views of the city skyline.

History of Palazzo Vecchio

Construction of Palazzo Vecchio started in 1299 when the people of Florence decided to build a palace worthy of the city’s importance, to provide a secure and defensible retreat, and to house the government organisations of the republic. Arnolfo di Cambio, who also built the church at Santa Croce, set about building the palace upon the ruins of Palazzo dei Fanti and Palazzo dell’Esecutore di Giustizia.

The government of Florence at the time constituted 8 elected priors who represented different trade guilds. The palace at this time was called Palazzo dei Priori (Palace of priors). In the next century the palace changed names as the form of government changed to become the Palazzo Della Signoria as it was then called after one man known as the Senior de Firenze.

The cubical building is made of solid rusticated stonework with two levels of windows high above the piazza. The crenelated battlements sit like a crown on top of the building and are supported by corbels (a structural piece of stone or wood that is weight bearing). The tower looks lonely as it stands above the structure below.

In 1540, Duke Cosimo I decided to show the power of the Medici by moving from the family palace into the Palazzo della Signoria. As a result Cosimo set about restructuring and decorating the palace into his family’s residence. The major remodelling and artwork was undertaken by Giorgio Visari, a name that cropped up on my visit to Santa Croce.

The Medici believed in beauty as a privileged means of communication. Walls and ceilings were decorated with stories of divinities, heroes and heroines of Greek mythology who fight for the freedom of their people. As a result, and I assume because of Cosimo’s position and title of duke, the palace changed names from its origins as Palazzo della Signoria to the Palazzo Ducale.

The new residential rooms were mainly used for Cosimo and his wife Eleonora of Toledo and their children. In 1549 Eleonora purchased Pitti Palace on the other side of the Arno River. My reading and research haven’t confirmed if Cosimo and Eleonora ever moved in officially into Pitti Palace. After purchasing what was a house, they started works on building it into a grand Ducale Palace. As my tour of Florence continues, I will learn about how the two palaces were connected by a secret passage. In this transitional period, Cosimo referred to and named the former Palazzo Ducale as Palazzo Vecchio, “the Old Palace” and maintained the Pitti Palace name.

The Medici family ruled Florence and Tuscany till 1737. After the Medici line ended, Florence and Tuscany passed into the hands of the Austrian crown. In 1861 decisions were made to join the united kingdom of Italy. In 1865 through to 1871 the ‘Old Palace’ gained new importance as the seat of united Italy’s provisional government as Florence was temporarily the capital of Italy. Palazzo Vecchio is now a museum but since its brief stint as home to the Italian government, it now houses the mayor of Florence.

Entrance and Courtyards of Palazzo Vecchio

The gateway to the Palazzo Vecchio is easily recognisable from holiday brochures on any visit to Florence. Replicas of Michelangelo’s gigantic ‘David’ and Bandinelli’s ‘Hercules’ stand at the steps leading to the palace and are likewise easily recognised. Behind them and closer to the entrance of the Palazzo Vecchio are two smaller statues, the two Herms, also by Bandinelli. Above the door is the 1528 frontispiece which is flanked by two gilded lions (known as the Marzocco Lion – the animal represents the free republic of Florence). In the centre is written “Rex Regum et Dominus Dominantium” which translates to “King of Kings and Lord of Lords”.

It is free to walk into the courtyards and if you don’t want to stump up the money to visit, the courtyard alone is worth the ‘free’ entry. The courtyard was designed by Michelozzo in 1453 and decorated by Vasari 1556. Cosimo I asked Vasari to make the space more spectacular for the wedding of his son Francesco I de’ Medici to Giovanna of Austria. Painted on the walls are cities of the Habsburg Empire.

The stucco work on the courtyard columns was entrusted to Pier Paolo Minoccio da Forlì. At the centre of the courtyard is a fountain designed by Vasari to replace the old well. The bronze statue is a replica statue of ‘Putto with dolphin’ by Andrea del Verrocchio. The original was built in 1470 and was placed on the fountain in1557. The original was removed and stored in the palace in in 1959.

Replica of Michelangelo’s gigantic ‘David’

Sala dei Cinquecento – The Hall of the five hundred

On the first floor is the largest and most important room in the palace. It is full to the brim of art with historic value. The room’s history began as a meeting place for the ‘Great Council’ before Giorgio Vasari was entrusted to dramatically and radically transform it.

When the Medici family were temporarily driven out of the city of Florence, shortly after the death of Lorenzo de’ Medici ‘The magnificent’, Girolamo Savonarola managed to rule over Florence. A lot will be learned about this man with a visit to San Marco in Florence (another time and another blog). Savonarola introduced a democratic government on the city known as the Council of Five Hundred. In setting up his new form of government and setting certain criteria, he found more than a thousand people were eligible. Therefore, it was decided to create a room allowing five hundred people to attend meetings and be involved in government decisions. This first room was built in 1494 by Simone del Pollaiuolo and Francesco Domenico and commissioned by Girolamo Savonarola.

Savonarola didn’t last too long, as he was arrested in 1498, hanged and burned at the stake in the Piazza della Signoria. Power was passed to Piero Soderini, who decided to decorate the room. He reached out to two of Florence’s greatest artists at the time, Leonardo da Vinci and Michelangelo Buonarroti to construct two murals celebrating victories of the republic (the battle of Anghiari and Cascina). Leonardo experimented, with disastrous effects, with an encaustic technique. Michelangelo was called to Rome by Pope Julius II meaning their works were never finished.

In the 1540’s when Duke Cosimo returned to power and moved the family home into the palace, he decided to transform the Salone dei Cinquecento into an audience room where he could greet people and receive ambassadors. He entrusted Giorgio Vasari with the renovations and designs. Vasari decided to raise the ceiling (by roughly 7m) to accentuate the grandeur of the hall and install a decorated, coffered ceiling to exalt and glorify the Medici family.

The coffered ceiling is made up of 42 individual panels with Duke Cosimo depicted in the centre. Vasari co-ordinated a team of painters which included Giovanni Stradano, Tommaso di Battista del Verrocchio, Ridolfo del Ghirlandaio and many others. The works started in 1542 and ended in 1571.

On the walls are six scenes of battles that represent the military success of Cosimo I against Pisa and Siena. On the eastern side, is the Conquest of Siena, the Conquest of Porto Ercole, and the Battle of Marciano. On the western side, the defeat of the Pisans at the tower of San Vincenzo, Maximilian of Austria attempting the conquest of Livorno, and Pisa attacked by the Florentine troops. Breathtaking in size and detail, this is art that I truly appreciate.

At the northern end of the hall is a raised area known as the Tribuna dell’Udienza. This raised area was designed to accommodate the throne of the duke. It was built by Giuliano di Baccio d’Agnolo and Bartolommeo Bandinelli. The architecture was inspired by a Roman triumphal arch to enhance the power of the sovereign. There are several statues of differing members of the Medici family.

Western side of the Sala dei Cinquecento.

Entering the gallery on the second floor

Capture of the Fort near the Porta Camollia

The spectacular view of the Sala dei Cinquecento.

The ceiling of the Sala dei Cinquecento.

Medici family rooms

After leaving the Salone dei Cinquecento one passes through several rooms on the first floor. Each room visited has been dedicated to a personality of the Medici family. The first room is dedicated to Cosimo de’ Medici called the Elder. He was the first powerful Medici, and set in place many building projects, most notably the dome of the Duomo. In his room the paintings depict moments of his life including ‘his return from exile’, and a painting with the architects Brunelleschi and Ghiberti showing Cosimo a model for the Basilica of San Lorenzo.

The next room is dedicated to his grandson, Lorenzo, called the Magnificent. His father (Piero) was a man of poor health, and it was Lorenzo who took on the legacy of his grandfather (Cosimo). A man of political acumen, this led to him holding a powerful sway over not only over Florence but Italy. This is displayed in the paintings as often Lorenzo is shown talking with philosophers and ambassadors. I found it interesting to notice a giraffe in one of the paintings, which supposedly was a gift from the visiting Sultan of Cairo.

The final room to visit on this floor is the room of Leo X, a pope. Giovanni de’ Medici was the son of Lorenzo the Magnificent and became a cardinal at the age of 13 before being elected to the papacy in 1513. He was the Medici’s first pope, and he laid much of the groundwork for the future Medici duchy of Tuscany. The paintings here show his triumphal return to Florence, and close inspection shows the David statue in one the paintings.

Second floor of Palazzo Vecchio

On the second floor are found the rooms of elements, the Ducal apartments, the apartments of Eleonora of Toledo (wife of Cosimo I), a small chapel decorated by Bronzino, Chancellery and the hall of Geographical maps.

When moving between the rooms on this floor, you get the chance to walk along a gallery which gives a spectacular view of the Sala dei Cinquecento. In the elements rooms you will find frescoes which include ‘The birth of Venus’, ‘Vulcan’s Forge’ and ‘Saturn receiving gifts of Earth’.

The tour then heads through the ducal apartments which includes the apartments of Eleonora. Eleonora and Cosimo had 11 children so required several bedrooms for them to sleep. The tour of the second-floor finishes in the chancellery and the hall of Geographical maps.

In the chancellery you will see a bust of Niccolo Machiavelli in painted stucco. You’ll remember that he had his tomb in the Basilica at Santa Croce. The hall of Geographical maps is a fascinating room full of maps of the known world. On the ceiling were meant to be the forty-eight celestial constellations.

Saturn recieving the gifts of the Earth - Room of the Elements

The birth of Venus - Room of the Elements

Map of Great Britain taken from Hall of Geographical Maps

Map of Italy taken from Hall of Geographical Maps

Torre d’Arnolfo

The unmistakable tower, 95m in height was named after the original architect Arnolfo di Cambio. The tower was part of the city’s defence system as it provided a view over the city and surrounding area. The view over the city was particularly important as the government was able to monitor the heights of Florentine houses, ensuring that they didn’t exceed a permitted height.

When looking at the palace from the piazza, you will notice that the tower is not in a central location. Arnolfo used the former Foraboschi family tower as the substructure to build the tower seen today.

At the top of the tower, you will find a prison cell where both Cosimo de’ Medici (in 1435), and Girolamo Savonarola (in 1498) were imprisoned. The latter was taken from this cell and executed in the piazza below. The one-handed clock in the tower was originally constructed in 1353 by Nicolo Bernarado before being replaced in 1667 with a replica installed by Vincenzo Viviani and made by Georg Lederle from Augsburg.

In Conclusion

A visit to Palazzo Vecchio has been an enjoyable and thoroughly educational visit. Knowledge has been gathered about the history of the city and the forms of government that ruled over the city at differing points throughout history. It also provided an insight into the famous family of Florence, the Medicis.

The visit built on the first learnings made to Santa Croce as two names that have links to both, seems to have started a theme. Arnolfo di Cambio is a name that perhaps is not associated with Florence or history itself but it is becoming apparent that he was the founding father of the city’s iconic architecture. The other name, Giorgio Vasari, it would appear, has probably left as much of an influence on the city as the so-called famous artists of Florence.

Before exploring Florence, I had watched the Medici TV series. This had limited my knowledge to only the first half of the Medici family (the Elder). My visit here opened my eyes to the second half of the Medici family (the grand dukes) and showed the legacy that they created and the results it left behind.

Throughout all this education, it was interesting to find out about the brief interruption in Medici rule which has now inspired a visit to Basilica San Marco to learn about Girolamo Savonarola along with visits to the Church of San Lorenzo (Medici church and tombs) and Medici Palace Riccardi.

My next stop though is to visit Cosimo’s and Eleonora new home (Pitti Palace) after their short stay here in Vecchio Palace.

June 22, 2025June 22, 2025

Basilica of Santa Croce, Florence, Italy

In the heart of Florence and at the eastern end of the Piazza Santa Croce, stands the impressive Basilica of Santa Croce. A tall, elegant and grand church which on first impressions immediately appeals to my inquisitive mind. The church was built on former marsh lands that were outside the old city walls in what was often referred to as the poor part of the city. Santa Croce is the largest Franciscan church in the world.

In this visit I discover about the Saint Francis Assisi, the man who gave up his family’s fortune to pursue a life of God through poverty. He became the patron Saint of Italy and founder of the Franciscan church. The Franciscan order is characterized by total poverty. Its links to its past and origins might seem strange when exploring the church. Plain on first sight, an intimate walk around proves that this church is a treasure trove of wealth and art. Join me as I discover why this church is often referred to as the Temple of Italian Glories.

History of Santa Croce

Santa Croce’s history begins with the spreading of the religious message of Francis of Assisi. He was a spiritual leader who set out to follow the example of Jesus Christ by following the gospel accounts after giving up a life in the military. He devoted his life to serving God and helping the poorest in society. His following, referred to as Franciscans, arrived in the winter of 1209 to build a church and monastery in the poorest part of Florence.

As times changed, wealth and money started to pour into the city of Florence. Wealthy merchants donated their newfound money to the building of a new church. As Florence became a powerhouse of the Middle Ages the church was rebuilt before being enriched and modified. Fires and floods added complications and resulted in more modifications and improvements to the church and the complex.

By the 19^th century Santa Croce had established itself as a ‘must visit’ tourist site. People from all over Europe would come to visit the church. But at the time of the Napoleonic suppressions the Franciscans had to give up the church and monastery which was taken over by the military with barracks set up in an area of the complex. By the time Napolean was defeated Santa Croce was given back to Franciscans in 1814.

Shortly after the wars came the unification of Italy, a subject I must confess to knowing little about. The ‘House of Savoy’ and the ‘papacy’ are all subjects to learn about as my exploration of this country continues. Before Rome became the capital of Italy, the honor fell to Florence. It was during this period that the church became the property of the central state.

In the year 1933 Santa Croce was elevated to the honorific rank of Basilica. The floods of 1966 almost destroyed the church, but the church survived and has been the subject of intense restoration ever since.

Santa Croce Façade

Standing in the middle of the Santa Croce square the impressive façade stands tall and proud in front of you. The façade that is seen today was financed in part by an English Protestant magnate, Sir Francis Joseph Sloane. Sir Francis had made his fortune from a local Tuscan copper mine. When I have some more time I will explore if there is a link between Sir Francis and a namesake square in London.

The façade is the work of architect Niccolo Matas who finished the façade between 1853 and 1865. It is clad in white marble and framed in green marble, a very traditional Florentine appearance from the Middle Ages and Renaissance. This is an appearance that is all too common in the rest of the city. In my eagerness to enter the church I really didn’t pay much attention to the details of the façade. At the top of the façade, surprisingly is a star of David. Rumors are this was built here because Niccolo was Jewish.

Monument to Dante

As I leave the square and make my way around to the entrance of the church, I cannot miss the tall and imposing monument placed near the church. On closer inspection I find out this is a monument to ‘Dante’.

I must confess to knowing nothing of the man and must add this to the list of research and self-education after my visit. A quick search teaches me that he was a famous Italian poet, philosopher and writer whose famous work was ‘The Divine Comedy’. The first section of this work includes what is known as Dante’s Inferno and is a medieval description of hell. The monument seen here today is from 1968, but the original statue dates to 1865, the year of grand celebrations of the famous Dante’s birth in 1265.

The creation of this monument was planned to coincide with the completion of the new façade. Its original location was in the middle of the square before it was moved to its present position. When it was unveiled in its new location the new king of Italy (Victor Emanuel II) was there for the unveiling. According to my guidebook, the base is adorned with two Marzocco, the heraldic lions of the old Florentine republic.

The basilica of Santa Croce

The construction of the current church was started in 1294 to replace the old church founded by St Francis and his followers. Santa Croce translated means ‘Holy Cross’. The design of the church was by Arnolfo di Cambio.

In recent visits I started to comment on how churches are constructed in the shape of a cross. Santa Croce is no different, except that its floorplan is in the form of a Tau cross. I was blissfully unaware that there were different types of crosses. A Tau cross is a T shaped cross and is called a Tau because it is shaped like the Greek letter Tau which in its upper-case form has the same appearance as the Latin letter T.

Entry is made on the north side and into the nave and not through the western entrance in the ornate Façade. Towering arches have been built on octagonal pillars on either side of the nave. Looking upwards to the ceiling, a very bland set of timber trusses contrast beautifully with the white arches.

The nave itself simmers. All is silent as visitors walk slowly round, appreciating all that is before them. The feeling I had was this was a church that is yet to be discovered by most tourists. This leaves time and space to learn and appreciate one of Florence’s less visited sites. As I walk round to the western entrance to start my visit properly, the high altar at the far end of the nave seems spectacular and worthy of a detailed look. There is so much to see that not all can be seen in the one visit. I’ll be back.

Temple of the Italian Glories

Interspersed around the chapels of the basilica Santa Croce, on both floors and walls in both the nave and aisles are several tombs, graves and elaborate monuments to notable Italians. As my exploration of Florence, Tuscany and Italy broadens I’m sure a better education will take place on some of the names I’m about to mention. This place is known as the temple of Italian glories (we in England might use the word worthies). It is a who’s who of Italian history. Santa Croce went from an initial graveyard, which served the Franciscan friars before wealth and power dictated more elaborate monumental tombs and graves to be placed within its walls. As a result, Santa Croce became the guardian of Florence’s glories.

It started in the 15^th century with two tombs for Leonardo Bruni and Carlo Marsuppini, two literary figures who earned their fame as chancellors of the Florence Republic. The signoria (local government) stumped the costs of these graves which began the transition to Guardian of Florence Glories. Cosimo de Medici revived the tradition of using the church to honour the great and good when he commissioned the monument to world renowned sculptor and artist Michelangelo (famous for his painting in the Sistine chapel and his David sculpture). Others would take a leaf out of his book as monuments were added, most notably for astronomer Galileo, and political philosopher Machiavelli (from whom we get our English word Machiavellian).

From the 19^th century onwards, the church transformed from Guardian of Florence’s glories to the Pantheon of the Italians. A monument to Vittorio Alfieri was completed in 1810 before a cenotaph of Dante Alighieri was erected in 1829 (he is still buried in Ravenna). Monuments and tombs to Gioachino Rossini (who was buried in Paris, before his body was removed and brought here) were added at the beginning of the 20^th century. In 1871 the remains of Foscolo were also transferred to Santa Croce. Efforts were also made to try and bring back Dante’s remains but, sadly, agreement could not be reached.

There are over 250 graves and monuments to explore and about which to learn. I won’t bore you with the details of each one but challenge you to see it all for yourself if visiting Florence – you won’t be disappointed.

The Masterpieces

Santa Croce’s origins as a Franciscan Church seem almost forgotten when viewing the incredible artwork that adorns the place. This church is so rich in its fabulous works of art that it almost defies the Franciscan order of poverty. There are around 4,000 pieces of work, ranging from the 13^th to 20^th century which bless this church and complex. One can only imagine the arts of work here are priceless as most of what is seen is original.

Some of the highlights include the main altar, surrounded in frescoes of the ‘Legend of the True Cross’ by Agnolo Gaddi. The frescoes by Giotto. There is the Cimabue crucifix dated 1288. There is the Bardi altarpiece. 3 pieces of work by Donatello, the crucifix in painted wood, Saint Louis of Toulouse in gilded bronze and the Annunciation of the Virgin. Construction of Pazzi chapel by Brunelleschi. Michelangelo’s tomb, Salviati’s ‘Deposition’, Bronzino’s ‘Descent’. The list could go on and on.

The 16 chapels built within the church, combined with the greater church complex, draw inspiration for so many and even influence some. In the 19^th century French author Stendhal visited Florence and Santa Croce, and he was overcome with emotion. He wrote “I was in a sort of ecstasy, from the idea of being in Florence, close to the great men whose tombs I had seen”. Stendhal syndrome was born, also known as Florence syndrome which occurs when individuals are exposed to such magnificent art.

Cimabue's Crucifix at the entrance to the Rinuccini Chapel

Donatello - Annunciation and detail of the angel circa 1435

St. John Gualbert Enthroned with Four Stories from his Life

In Conclusion

Santa Croce was a great place to start my education on the beautiful city of Florence. The basilica of Santa Croce certainly wasn’t on my list of places to be visited constructed prior to arriving. There are reputedly more famous and iconic attractions in the city. So, I’m grateful for the recommendation to visit by a dear friend.

What was learnt at the basilica has built on knowledge gleaned in recent meanderings. I had learnt how that a church’s floorplan represents a cross, but these meanderings further enhanced that knowledge base as I learned that there are different types of crosses. The basilica is a combination of the grandiose Gothic architecture, the tombs of great Italians, the perfection of Brunelleschi’s Pazzi Chapel and some of the finest examples of Florentine painting.

Its origins date back to one of the two patron saints of Italy, Saint Francis. This has given rise to an interest in visiting Assisi (Umbria region, south of Tuscany in central Italy) if the opportunity arises. I found out that some of the great people of Florentine and Italian history are buried here. Not only did the basilica provide the perfect place to start exploring but also has inspired me to visit and explore Ravenna (where Dante is buried).

So, I leave the Basilica of Santa Croce behind and meander off in search of the next jewel in Florence’s crown.

June 1, 2025June 3, 2025

Royal Observatory, Greenwich, London

Introduction

As I walk through Greenwich Park and up a steep hill, I begin an approach to the former site of Greenwich Castle. Once at the top it is easy to see why this would have been the perfect location for a castle. The views from the top are rather impressive. Sadly, the castle is long gone, and though I was not here primarily for the wonderful views over the Thames and greater London they were a bonus. I was here to visit the ‘Royal Observatory’, another London Landmark and part of the Royal Museums Greenwich. This was to be a meandering full of education, and one that, as always, I hope provides inspiration! During this visit I delved into the world of astronomy, time, longitude and latitude. Read on as I walk back through the corridors of time on a voyage of discovery.

Early beginnings

During the 17^th century England had suffered some turbulent times. I have always been fascinated by the struggle between Oliver Cromwell and Charles I. I have never paid much attention to what happened next. After the Civil War, then the execution of the king in early 1649, the subsequent republic and then the death of Oliver Cromwell, the monarchy was restored. Charles II was defeated by Cromwell at the Battle of Worcester in 1651 and had to flee to Europe where he remained in exile until 1660 when the English throne was restored to him. He was 30 years old. He was a controversial character but left a lasting impression by way of improvements in navigation and ship design.

Under his orders he founded the Royal Observatory at Greenwich. The world and, particularly, European nations, were now relying on the sea for trade as their empires were expanding. These ships needed to know where they were headed. Incredibly they could work out their position using the sun and stars to work out North and South (latitude). They had no idea how to work out East and West (longitude). So, Charles was convinced by leading scientists that an observatory was needed to find longitude and put England back at the forefront of seamanship.

Flamsteed House

John Flamsteed was appointed as Charles II’s astronomical observer. As he was the first Royal Astronomer, I begin to understand why the oldest building at the Royal Observatory is named after him – Flamsteed House. John was appointed on 4^th March 1675, but it wasn’t till 22^nd June that the decision was made to build ‘a small observatory within our park at Greenwich, upon the highest ground’.

The name Christopher Wren has come up in my previous meanderings in Oxford and more recently at Kensington Palace. A well-known architect, I have yet to write about his most famous work, St Paul’s Cathedral, London. Watch this space! Before Christopher became a well-known architect, he had been a professor of astronomy at Oxford. He and his assistant, Robert Hooke, suggested the ruined site of Greenwich Castle. They reasoned that solid foundations were already in place, there was excellent access to London via road and river, and the site was far enough away to avoid air pollution from the city.

The foundation stone was laid 10^th August 1675 by John and 11 months later, on 10 July 1676, he moved in. John was to spend the next 40 years observing the moon and the stars. On entering Flamsteed House, you are provided with information regarding the 10 Astronomers Royal that lived and worked here:

John Flamsteed (1675-1719), Edmond Halley (1720-1742), James Bradley (1742-1762), Nathaniel Bliss (1762-1764), Nevil Maskelyne (1765-1811), John Pond (1811-1835), Sir George Biddell Airy (1835-1881), Sir William Henry Mahoney Christie (1881-1910), Sir Frank Watson Dyson (1910-1933), Sir Harold Spencer Jones (1933-1955) & Sir Richard van der Riet Woolley (1956-1971).

As I walk round Flamsteed House it becomes clear that the Royal Observatory’s life began to evolve from the early days of a basic observation post into more of a family home. The tour looks at the families of two of the Astronomers Royal and their families – The Maskelyne & Airy Family. Observatory life began to change as guests would be wined and dined, and the families began to live with the astronomers. This meant that Flamsteed House was expanded to accommodate more people as seen when walking around.

The Octagon Room

As I leave the first rooms visited, we make our way up into the Octagon room. It is a bland and tall room, full of windows which beam natural light in and is filled with clocks. The eye is drawn to the many fascinating devices. When the room was built there were no instruments installed so John Flamsteed had to bring in all his own.

The Octagon room design didn’t consider the true north south line so, was unsuitable for measuring star positions. Instead, John used this room for the observation of specific events like the appearance of comets and eclipses. Most of his work was completed in a purpose-built structure nearby. A lot of the clocks in there were supplied by Thomas Tompion, London’s leading clock maker and paid for by John’s patron, Sir Jonas Moore.

The time ball at Royal Observatory

The rest of the visit to Flamsteed house is spent looking at a vast array of clocks, chronometers and other such devices. The Royal Observatory established itself as a centre for measuring and sharing time.

When leaving the house, look immediately at its roof. You will notice a funny looking pole, located on top of the Octagon Roof, with a large red ball. This was an installation by John Pond, the sixth Astronomer Royal, in 1833. Nearly 200 years later it is still in operation. Fortunately, I timed my visit to witness the time ball descend at 1300 though I had no prior knowledge that this event took place each day. This time ball is dropped to provide a visual time signal. Having walked up from the River Thames I reckon that a telescope is needed to observe the red ball and its movement.

It was designed so that all the ships at the docks in London could see the ball drop and know that it was 1pm and set their clocks to the right time. You could say that this was the beginning of establishing Greenwich Mean Time (GMT) as measured at the Meridian Line (the earth’s zero degree line of longitude). I found it interesting to learn that, around Britian up until the mid-19^th century, the sun was used to set local time in villages, towns and cities. For example, this meant that Yarmouth to the east was 7 minutes ahead of Greenwich and somewhere as far west at Penzance was 22 minutes behind.

The development of railways was to change all this. There was the need for a centralized time. The chaos and lack of management from trying to run a timetable where every destination was in a different time zone on such a small island is beyond contemplation. Sir George Airy saw the potential in a new clock system. He ordered one for Greenwich which was made by Charles Shepherd of London and had it mounted on the gates to the Observatory. It is known as ‘The Shepherd Gate Clock’. It was then linked to other parts of the observatory and London train stations.

Airy wrote of this system ‘I cannot help but feel a satisfaction in thinking that the Royal Observatory is thus quietly contributing to the punctuality of business through a large portion of this busy country’.

Shepherd Gate Clock at Royal Observatory

The Meridian Observatory

The other important building of the Royal Observatory is the Meridian Observatory building. I mentioned above that John Flamsteed did most of his work away from the octagonal room in a purpose-built structure. By the time his successor took over the building was subsiding and falling away which meant that subsidence rates had to be factored in to measurements of star positions!! Edmund Halley commissioned a new building to replace the old and installed an improved quadrant device and accurate timekeeper supplied by the prestigious clock maker from London George Graham.

James Bradley was Halley’s successor, and he was granted money to build additional spaces to Halley’s original buildings, which included a new observatory, bedroom for the assistant, a library and calculating room. These were the rooms which I saw on my visit. It is also where the astronomical work was completed until the 1950s before such work was carried out at the rural location of Herstmonceux in East Sussex.

As time went on, each Royal Astronomer kept collecting more data and improving the instruments in use. The 7^th Astronomer, George Biddell Airy, designed the Airy transit circle. This was the defining instrument of the world’s prime meridian. Unlike the equator which provides a natural zero line north and south there wasn’t a natural prime meridian for longitude.

In 1884 at the international Meridian Conference in Washington delegates recommended that the Meridan passing through Greenwich should be used. They also recommended that Greenwich be the starting point of the day, year and millennium at the stroke of midnight Greenwich Mean Time (GMT). This applied to the whole world thus creating the time zones system with which we are familiar today.

Transit instrument, Edward Troughton, 1816

Device from inside the Meridian Observatory

The Camera Obscura

Across the courtyard from the Prime Meridian line is the camera obscura. This is an example of how attempts were made to capture images before photography was invented and developed. This obscura was a former summerhouse. On clear days you can see a projection of Romney Road and the Queen’s house.

Sadly, this isn’t the original. John Flamsteed’s original was removed quickly after his tenure before Nevil Maskelyne installed a new one during his stint at the observatory. The one that I visited today was built in 1994 and provides a chance to see London the way they did back in the day.

Conclusions about Royal Observatory

This concludes a fascinating and educational visit to the Royal Observatory. Being close to the Cutty Sark it was convenient to expand my knowledge of Maritime Greenwich. The visit to the Royal Observatory taught me about longitude and latitude. I found out that it is possible to navigate using the moon and the stars! The importance and history of this site will be remembered every time I talk about time, travel, etc.

The visit has also challenged me to revisit Christopher Wren’s masterpiece and finally write about St Paul’s Cathedral. Yet, surprisingly, it has given me a completely different direction in which to travel as I feel a visit to Herstmonceux in East Sussex would prove very inquisitive and interesting in building on the knowledge gathered here. I hope that you have enjoyed reading about my visit to the Royal Observatory and have joined me in learning about longitude, latitude and GMT.

May 18, 2025May 20, 2025

Cutty Sark, Royal Museums Greenwich, Greenwich, London, UK

Cutty Sark
Royal Museums Greenwich, London, UK

The Cutty Sark is one of the most famous ships in the world and is another London landmark that has been visited. Not a battle-hardened ship, with stories of famous victories. Instead it was a state-of-the-art and record-breaking tea clipper. The Cutty Sark now resides in Maritime Greenwich close to the banks of the Thames.

It is an award-winning visitor attraction and is part of the Royal Museums Greenwich site which also includes the National Maritime Museum, the Queen’s House and the Royal Observatory. Join me as I explore this iconic ship and learn about its dramatic life, the tea trade and how it was saved before coming to ‘live’ in London.

Cutty Sark

The ship was built by Scott & Linton at their premises Woodyard at Dumbarton on the bank of the River Leven, Scotland. It was commissioned by John Willis. John had retired from sea to take over his father’s established shipping business. John paid Scott & Linton £16,150 to complete the works by July 1869. Design problems resulted in cashflow issues which meant that works were suspended before creditors, most prominent among them being William Denny & Brothers, completed the building.

The Cutty Sark was a clipper ship which was designed for speed. The Cutty Sark’s clever design, neither a wooden nor an iron ship but a composite construction. This meant that there was more space for storage as well as having high speed. 138 iron frames and over 20,000 bolts were used to construct the Cutty Sark. The hull was sheathed up to the waterline with thin plates of Muntz metal (this was done to protect the hull and ensure it wouldn’t slow down).

The main mast is 153 feet high and if all the sails were out, they would measure 32,000 square feet in total. The Cutty Sark is 64.7m long and 11m wide. Its Scottish origins meant it was given the name Cutty Sark, which means ‘short skirt’ and came from the garment worn by the witch Nannie in Robert Burn’s Poem ‘Tam o’Shanter’.

China Tea Trade

Walking on to the ship you’re immediately greeted by differing educational stations where you can learn about the China Tea Trade, Opium wars and the Cutty Sark’s history. The British have a reputation for drinking tea, but did you know that it didn’t reach these shores until the 1650s. This was primarily due to Catherine of Braganza (wife of King Charles II), who was from Portugal where tea drinking was already popular.

At the time tea was heavily taxed which meant that only the higher echelons of society could afford to enjoy drinking the tea. But, by the 19th century taxes were slashed. This was because of the extensive smuggling network supplying tea and driving its popularity across the nation. As a result, the great tea races were born. Ships were built for speed and competed to be the first boat back carrying the cargo. These races were the reason that the Cutty Sark was built.

The Cutty Sark would complete only 8 of these races. As steam ships developed and the opening of the Suez Canal happened making the ship almost redundant.

Australian Wool Trade

Having been forced out of the tea trade, the Cutty Sark entered the Australian wool trade in 1883. It was here that the she made her name. Upon its first entry in a race to sail halfway round the world, it beat its competitors by 25 days in 1883 before, in 1886, Captain Richard Woodget mastered the ship and set a record of 73 days for the trip from Sydney to London.

The wool trade was to succumb to the same fate as the tea trade as the steam ships made their way into the market. Not making money, the Cutty Sark was sold to a Portuguese firm.

Portuguese Ownership

The purchasers of the Cutty Sark were the Ferreira & Co. of Lisbon who paid £2,100 for her. Upon acquiring the ship, the owners renamed it Ferreira, and it became a cargo ship. It was responsible for transporting goods between Portugal and countries in its own empire. The Cutty Sark managed to come through the First World War unscathed but was starting to show signs of ageing.

A stroke of good luck occurred when, after suffering damage during a storm, she was sent to Falmouth for repairs. It was here that a retired sea captain, Wilfred Dowman, recognised her and was determined to save her. He paid £3,500 to buy her, which was more than she was worth, and more than Ferreira & Co had paid for her.

Cutty Sark’ first Restoration

Wilfred completed the purchase in October 1922 and made plans to restore the Cutty Sark to its appearance in 1870 with help and support of his wife Catherine. They succeeded and in 1924 they opened the ship as visitor attraction and training ship for cadets. It was to stay in Falmouth till 1938.

Wilfred died in 1936 on a homeward voyage from the West Indies and was buried at sea. Wilfred’s widow gave the Cutty Sark to the Thames Nautical Training College along with a generous gift of £5,000 to help with its maintenance. The ship was taken from Falmouth in 1938 and remained as a cadet ship until the end of the Second World War.

With the changing times the Cutty Sark became redundant as more modern ships were utilised. The college took possession of HMS Exmouth and started ploughing its resources and funds into that ship. The Cutty Sark had become unloved and unwanted.

Cutty Sark at Greenwich

The ship’s final saviour was a Frank Carr. He was Director of the National Maritime Museum (mentioned above as one of the 4 museums that make up the current Royal Maritime Museums). Frank set about forming the Cutty Sark Preservation Society. He managed to persuade HRH The Duke of Edinburgh to join who provided much support and enthusiasm. The funds were raised and after a short period of display it was moved into a purpose-built dock.

And so, the Cutty Sark came to her final resting place, a memorial to Britain’s illustrious maritime history. Following further restoration, the Cutty Sark was opened by the late Queen Elizabeth II in 1957. The Cutty Sark would go on to be one of London’s famous and most successful tourist attractions.

A significant report was completed in the mid-1990s that highlighted that without further work the ship would cease to exist. Thankfully the funds were raised with the help of the Heritage Lottery fund and work began in late 2006. In May 2007 a fire broke out which delayed the project but thankfully didn’t destroy the ship. The works were completed, and the Cutty Sark was finally re-opened on 25th April 2012 by her Majesty Queen Elizabeth II. This was the second time, 55 years after the last time she did the honours.

Conclusion

This completes an educational visit to the iconic Cutty Sark. Built for speed in the transportation of cargo and exclusively for the tea trade, she had a very small window of operation, before different ways have been found to preserve her. She was a record breaker when she started to ferry cargo for the wool trade.

My visit taught me about the tea trade and the Australian wool trade, both of which I was blissfully unaware. Her home port was London and is fitting that this is where she found her final resting place. A big thank you to all those who helped preserve her for future generations to enjoy and to learn and appreciate the history that made this country great.

May 11, 2025May 26, 2025

Dunster

Dunster
Somerset, Exmoor

You may not have visited Dunster. You may never have even heard of Dunster. But, I hope I can portray this small, charming and beautiful medieval village. Located off the A39 near the seaside town of Minehead in Somerset and on the northeastern edge of Exmoor National Park, it is England at its best.

Whether you have a couple of hours or can manage a couple of days it is a fascinating place to visit and the perfect base from which to branch out onto Exmoor. Full of interest and intrigue, Dunster has it all. There are around 200 listed buildings and monuments that form the village.

There are beautiful cottages, a historic castle, a desirable high street, elegant church, medieval buildings and a unique Yarn market that grace the village – what more could you want! It was once a thriving trading port before its wealth came through the wool trade. Join me as I explore this dreamy village.

The National Park Centre

The National Park Centre in Dunster is one of three located across Exmoor (the other two being at Dulverton & Lynmouth). I have found when travelling and exploring anywhere in the world, not just the UK, that these venues provide the perfect starting point to gather information, resources, tips and advice.

A visit here is made to gather information regarding the special habitats that exist across Exmoor for when one moves away from Dunster village. There is plenty to see and do on the moors. On this occasion they provided me with a useful map of the town of Dunster and some other leaflets which should inspire me to visit other places it its environs.

The road, the A396, which leads to the village from the A39, is known as Dunster Steep before it continues through the village and out onto Exmoor. The National Park Centre is located on the left-hand side as you approach the village. After my visit I leave here following my map and take a short walk towards the village before taking a footpath on my right which leads me to Conygar Tower.

Conygar Tower

To the naked eye this tower could be easily confused as part of the castle, but as one approaches or explores the village of Dunster you soon realize that this is a separate site to the castle. It still has connections to it though as it was commissioned by Henry Luttrell and designed by Richard Phelps to enhance the landscape around Dunster Castle.

Standing on top of the hill it offers views out over the bay of Minehead. Conygar Tower is circular in design, has no roof, is a grade 2 listed building and was built in 1775. It stands about 18m in height. The word Conygar comes from two medieval words: coney which meant rabbit and garth meaning garden. The surrounding woods offer a very pleasant walk up to the tower and it should be added to everyone’s ‘must see’ list when visiting the village of Dunster.

After walking up to Conygar Tower, I retrace my steps back to the main road and walk along ‘The Ball’, a narrow road that leads to a footpath. Along the way and before the footpath is reached is the chance to capture the iconic ‘picture postcard’ image of Dunster. After walking along the footpath I reach my next discovery, Dunster Butter Cross.

Dunster Butter Cross

The unknown and rather puzzlingly situated Butter Cross is found on the outskirts of the village. Once a staple of high streets in many market towns across the country they provided the people of England with a reminder of the death and resurrection of Jesus. On closer inspection you may find that this particular cross is more of a stump than a cross. This is due to its relocation from the high street to its current location at the end of a footpath.

This cross dates to the 15^th century and is referred to as ‘butter’ cross as this is where the butter would have been sold on market day. The cross could have been damaged during the years of the reformation, but again there is no proof as to when. There is also little evidence as to ‘why it was moved’ but adds a layer of intrigue to this fascinating village.

After a photo and learning about the ‘Butter Cross’, I turn left down St George’s Street and head back towards the village centre. You can perhaps guess where this street leads to by the name of it as it refers to St George’s church. Before St George’s Church is entered time was taken to turn left along ‘Priory Green’, a road which leads back to the footpath accessed previously. Instead of walking the length of this road, there is but a short distance to discover the Dovecote, Memorial Garden and Tithe Barn which are all located opposite each other.

Dovecote

This charming building is tucked away opposite the Tithe barn and walls of the Priory Church of St George. There is no evidence of when it was built but it is estimated that the building was built around the 13^th and 14^th century as it similar in design to others known to be of that period. The Luttrells did some repair work in the 18^th and 19^th century.

The Dovecote was to provide the privileged with fresh meat in the form of squabs (newly hatched pigeons) which meant that the buildings were often referred to as Pigeon houses. These buildings are Norman in design, and it was estimated that 26,000 of them were situated around England in the 17^th century. There is another example in nearby Porlock, so I will have to keep my eyes peeled when we leave this fascinating village.

Tithe Barn

Also dating back to the 14^th century, this barn was originally part of the Benedictine Priory. Sadly, very little of it remains due to several refurbs, it now serves the community. A tithe refers to an ancient Christian tradition based on Old Testament law. A tithe of 10% of the annual produce in crops was to be stored in the barn for the owners. The information board nearby lets us know that this was once part of the Dunster Estate under the de Mohuns before it was transferred to the Priory when William de Mohun established one here.

Memorial Garden

Completely hidden and sheltered is Dunster’s Memorial Garden and is probably unknown to many. It is a quiet and peaceful place and offers a chance for reflection. Access is through a small gate hinged in a beautiful archway in the tall wall that surrounds this former cloister garden of Dunster Priory.

The garden now takes the name of Memorial Garden as it was dedicated to the lives lost in conflicts.

This walking tour takes us back to the entrance to St George’s church where it is possible to walk through the graveyard, past the preachers cross and the western Norman entrance to the southern entrance.

St Georges Church

A religious building has stood here almost as long as the castle. Sadly, nothing remains of that era. You can read more detail of the discoveries made when I visited the inside of the church, here. The parish and priory church of St George is a fascinating church. The priory was dissolved in 1536 on the order of Henry VIII at the time of the dissolution of the monasteries.

It is claimed that the rood screen is the longest in England. Inside one can learn the basics about the villages’ two famous families, the de Mohuns and the Luttrells.

Leave the church to the south and come out on Church Street (also the A396) and take a right onto West Street before taking a left just after the Forrester Arms and along Park Street and head towards Gallox bridge.

North Western entrance to St George's Church — North western entrance to St George's Church

Church, showing tower, Nave and southern entrance

View of St George's church from Gardens on Castle Hill

Gallox bridge

This picturesque medieval stone bridge crosses over the River Avill and was originally known as ‘Gallows Bridge.’ Dating back to the 15^th century, the bridge was built for the packhorses to transport fleeces from Exmoor to Dunster. These bridges are apparently commonplace across Exmoor, so it is best to keep eyes peeled when out and exploring. Access to the bridge from the town side is along Park Street at the end of which are some very handsome cottages. On the other side of the river there looks to be a dead end, but those with time on their hands can pick up the public footpath to Bats Castle (an old Iron Age hill fort).

Return over the bridge and retrace one’s steps slightly and then take a right turn up Mill gardens which leads to Dunster Watermill and Castle grounds entrance.

Dunster Castle

The castle, it could be argued, is the jewel in Dunster’s crown. In the Dunster Castle blog there is detail of the two families who built the castle we appreciate today. There is little to no evidence of the castle that stood here nearly 1000 years ago but evidence from the 13^th century onwards can been seen and is worth the entrance fee. The site is now run by the National Trust.

After completing a visit to the castle, leave by the main entrance and follow a little road down to the high street.

Dunster Yarn Market

The high street of Dunster village offers a picture of ‘British High Streets’. Quintessentially English it has charming independent shops and eateries that are interspersed with pubs and hotels. No doubt little has changed in appearance in preceding centuries. The shops, food and accommodation will likely draw you in but shouldn’t distract you from the octagonal building situated at the far end of the high street. This octagonal structure, known as the Yarn Market, was built in 1609 by George Luttrell of Dunster Castle with repairs being made in 1647. It was a covered market where the sales of local broadcloth and homespun and is evidence of Dunster’s once flourishing wool trade.

This brings us to the end of the tour around the historic and charming village of Dunster. Slightly further afield are two places that also form part of the village and shouldn’t be ignored. They are within walking distance but can be reached by car.

Timber frame work of Dunster Yarn Market

English Heritage Information Board at Dunster Yarn Market

Dunster Station

One way of arriving at Dunster and avoiding all the busy roads is by a heritage steam train. Previously mentioned the West Somerset Railway runs steam trains here during the season, just like the line’s original plans. The line was an extension of the line that was bringing success to the neighbouring Watchet, so, George Luttrell, seeing its success, encouraged an extension of the line to Minehead. The Luttrells sponsored the building of the station for visiting guests, most notable polo players. Rumours are that George did not want his picturesque castle and polo grounds disturbed so the station was set a fair distance (about 1 mile) from the town centre. Goerge did invite the Maharajah of Jodhpur but was a little surprised when he turned up with his full team which included 62 polo ponies. Other players from all over the world came to play polo at Dunster and included Winston Churchill.

Dunster Beach

A fair walk from the village centre is Dunster Beach. The West Somerset railway line runs along the coast edge from Blue Anchor Station and arrives at Dunster Station. The beach on its northern side is that of Dunster beach, a pleasurable mix of sand and shingle. Views from the village are exquisite on a good day. The beach is nearly a mile and half from the village centre so is often overlooked when visits are made to Dunster. Wooden posts in the beach segregate individual sections of the beach and there is a “pill” box guarding the bay. These concrete pill boxes were built as a defence against unlikely invasions during World War II. Sadly, access isn’t permitted to these.

Conclusions

This concludes an excellent meandering to the village of Dunster. My trip was one of complete discovery, education and admiration. It began with the understanding of a church’s construction as phrases and names were better understood. It has left me with a little bit of inquisitiveness that maybe answered with a visit to the Abbeys at Bath and Glastonbury. A visit to the village’s 11^th century castle built on the initial findings of the names de Mohun and Luttrell as I discovered these families’ association with the village. The castle has been on the site for nearly 1000 years and has witnessed the great and gory history that shaped these lands. Dreamy Dunster is a picture of England, I hope that you enjoy it as much as I have!

April 27, 2025May 19, 2025

Dunster Castle

Dunster Castle
Dunster, Exmoor

The strength and power of England is encapsulated in the majestic view of Dunster Castle which is gained when arriving along the A39. The view from the railway line that runs between Minehead and Bishop’s Lydeard (now run by the West Somerset Railway and using preserved steam and diesel locomotives) is equally grand. It’s an artist’s dream and quite photogenic. Cattle graze lazily to give a canvas of England’s green and glorious lands which lay low in foreground coupled with the darker hues of green which grace the hills that surround Dunster castle and village in the background. Between the two and perched on top of the tor, Dunster Castle is a classic picture of English stately elegance. The exotic and diverse shades of greenery surrounding the castle almost camouflage its very existence. Read on as my ‘education through exploration’ follows on from my visit to St George’s church. In St George’s we discovered two family names – de Mohun and Luttrell. On this visit I discovered that they were the only families to own the castle. A visit to Dunster Castle explores 1000 years of history and expands my recently acquired knowledge and caused me to search for further details regarding the families. During my tour of the castle I made a fascinating discovery before going off to explore the castle grounds and working watermill.

View from Cafe — Looking out from the cafe

The de Mohun’s – a medieval military base – 1086-1376

The castle’s history covers all the great and iconic moments of England’s history over the past 1000 years. If buildings could talk, I’m sure that it would have many tales to tell. Dunster Castle’s history begins not long after the Norman invasion of 1066 and subsequent victory at the battle of Hastings. William de Moyon (this was his French name, and he adapted this to his English family name of de Mohun) was a Norman lord who assisted William in his conquering invasion. His efforts and loyalty were rewarded when he was granted some 55 west county manors which included lands in and around Dunster. In 1084 he became the sheriff of Somerset and is also credited with the founding of Dunster Priory (which we learnt about in our visit to St George’s Church). His son William de Mohun II became the first Earl of Somerset and between him and his father set about building a motte and bailey timber castle atop the tor to keep guard over a rebellious west country. William de Mohun II was the most prominent of the de Mohuns, becoming infamous in the west country during the power struggle between Matilda and Stephen in the Civil War of 1139-1153. The castle was run by the de Mohuns for about 300 years. During the ownership of the castle by the de Mohuns, they built it into a powerful medieval stronghold as stone battlements, towers (there is half a tower remaining) and the lower-level gateway and oak doors (the only complete parts that remain) were added to its fortifications. In 1376 John de Mohun died and was the last senior male in the line of the de Mohuns of Dunster. Having no heir, his widow, Joan, then decided to sell the castle to Lady Elizabeth Luttrell (you might remember her name, when we discovered her tomb in St George’s church). Lady Elizabeth was the head of the Luttrell family and agreed to pay 5000 marks (in England and Scotland we used marks as having monetary value though they did not appear as a physical coin; their value at this this time was two thirds of a pound sterling) to transfer the ownership of the Dunster castle and estate post Joan’s death.

Iron bound doors through defensive inlet

Looking out the gateway with the stables and St George's church in the view

The Luttrell’s – a family home – 1376 – 1976

Lady Elizabeth (a granddaughter of Edward I) died before Joan, so her son Sir Hugh Luttrell acquired the castle after Joan’s death in 1404. You can begin to see why he had such a grand tomb in St George’s church as the first of the Luttrells to own the castle. Sir Hugh didn’t move into the castle till Christmas 1405 but set about repairing and expanding it into a country home fit for the family. This included glazing all the windows and, in 1420, building the gatehouse (at a cost of £250) by which entrance to the castle is made to this day.
When the quick tempered and argumentative George Luttrell inherited the castle in 1571, he set about converting it into a luxurious country home. In 1617 he employed William Arnold (a master mason and designer who had worked on Wadham College, Oxford and Montacute House, Somerset) to reform the castle into a Jacobean-style mansion (James I was king of England at the time).
Luttrell allegiances during the years of the Civil Wars of 1642-1651 changed back and forth. They were on the side of Parliament when the wars broke out. When the castle was under attack by the Royalists (those loyal to King Charles I), the Luttrells surrendered to the Royalists and switched sides! This change in allegiance meant that Prince Charles (later Charles II king of England, Scotland and Ireland 1660-1685) stayed in the castle (a bedroom has been named after him). Parliament forces then seized the castle in 1645.
After the war Oliver Cromwell (Lord Protector of England, Scotland and Ireland 1653-1658) decided that the castle walls needed to be demolished to ‘slight’ the castle (we saw the same evidence of this when we visited Berkley Castle, Gloucestershire). It took about 200 men 12 days to complete his wishes. Thankfully, and for our benefit George Luttrell managed to convince the men to only destroy the outer walls.

Former passage to church at Dunster Castle

After the turmoil of the English Civil Wars and over the next few centuries, each generation of Luttrells spent money on improving the “castle” (castle in inverted commas as it became a country mansion rather than remain a castle). One of those whose improvements that can still be seen today happened after Francis Luttrell married a wealthy Dorset heiress, Mary Tregonwell, in 1680. She brought much needed funds to the project. These additions included the wooden staircase that provides us with access between the two floors, a new dining room and elaborate plasterwork ceilings.
Other improvements were made by the next generations, which included the employment of Salvin. He altered the exterior of the house to resemble a castle once more. Two new towers and battlements were added to give it a more aesthetic appearance. George Luttrell inherited the house in 1867, and with the help of Salvin they altered the exterior of the property by building two new towers and adding some additional battlements to ensure a more picturesque castle. He probably did as much destruction as he did construction, as, sadly, he removed the chapel. His extensive modernization project also included the supply of running hot water, the conservatory, Victorian windows, a billiard room, drawing room, a library, outer hall and a new gallery on the first floor.
The end of the Luttrells’ association with Dunster Caste came in 1976 when Lieutenant Colonel Walter Luttrell gave the castle to the National Trust thus concluding his family’s fascinating history with Dunster Castle.
Dunster Castle has a fascinating history from its origins as a Norman and medieval fortress before evolving into a family home. The current keepers of the castle are the National Trust who do a great job striking the right balance between conserving the castle and allowing people to enjoy its special charm and character.

Wooden carvings on chairs at Dunster Castle

The leather Gallery In Dunster Castle

One room in a tour of the castle requires special attention as the works displayed there are unique. A conversation with the gentleman who kept an eye on this room’s treasures revealed that if there was a fire then everyone would run to this room to save the paintings. The paintings on display depict the love story of Roman general Anthony and the Egyptian queen Cleopatra. The detail in these paintings is incredible and unique as they’re painted on leather. Details of how they were produced is given on note boards. On closer inspection one can see where the work was cut and stuck back together. As I read my guidebook it informs me that, as they weren’t commissioned for Dunster, they were altered to fit the room. It is astonishing that such works of art were so freely cut and rehung. As the only collection in the UK, they should draw a crowd, but I wonder how many pass by, blissfully unaware of the significance and wealth in these paintings.

Dunster Castle gardens

Remember our first view of Dunster Castle, where an exotic and diverse view of greenery almost camouflages the castle! One imagines that this was not always the case, as we learnt about the castle’s strategic importance. Flourishing flowers and green trees would have been the last thing on a garrison’s mind. It was during the Luttrell family occupancy that the castle became a family home, and changes were also made to the gardens. The castle’s location perched on top of a tor means that the gardens are steep. Different Luttrells have added their splash of creativity to the gardens as fashion and trends have changed through the centuries. It was in the 19^th and 20^th century that the garden really took the form that we see today as George Luttrell built an impressive Victorian garden full of terraces and colorful borders. But it was Alys Luttrell, an avid gardener and plant collector, who transformed the Victorian garden into a subtropical haven. Dunster’s climate provides the opportunity to thrive! Meandering along the eastern edge of the castle grounds is the river Avill.

View from the Southern Terrace out to Bristol Channel

View from Southern Terace over the Dunster Estate

Watermill

The river Avill provides the water to power this working watermill. A watermill was a necessity years ago, but it is remarkable to see one still in action and producing goods. The watermill currently produces 14 tonnes of flour a year.

Conclusion

Dunster Castle has provided a fascinating insight into the history of two families closely associated with the village of Dunster. Details of this history are in notes on display in the various rooms of Dunster castle. Specialized tours are also available at various times and at an extra cost. Dunster Castle is a lesser-known castle compared to some of the more illustrious of our land, Windsor, Edinburgh, Warwick, Cardiff, Dover, etc. It is, however, fascinating with its own story to tell. My explorations have built on the initial findings made in St Georges Church as meaning was put to the names of the tombs found inside the church. Dunster Castle has survived the ravages of war and somehow managed to remain in the family during so many political and social changes. As the castle has evolved the transformation from a timber motte and bailey into a splendid country house is remarkable and well worth a visit. Though no longer a family home it has been carefully passed on to the public to enjoy as their country home!! I hope, like me, you enjoy a visit to this castle, and feel free to let me know your thoughts!

April 20, 2025May 12, 2025

St George’s Church, Dunster

The dreamy and historic village of Dunster, Somerset, England, is situated on the northeastern edge of Exmoor National Park. Like most villages, towns and cities in England there is a church at its heart. St George’s church in Dunster is in a prominent setting also like other towns and villages across the land. England’s rich history is entwined with religion. In fact, religion has shaped our country through the centuries to leave us with a fascinating and complex mixture of various Christian based faiths and buildings.

The priory church of St George’s church in Dunster provides the perfect starting point to learn not only about this church and the Church of England in general, but, about Dunster and its associated history. Read on as this ‘education through exploration’ examines the fascinating St George’s Church.

Outside St George's Church

When arriving at a church one is normally drawn to its grand appearance, majestic architecture and lavish decorations (certainly true in some of the churches and cathedrals that have been recently visited – see elsewhere on Marks Meanderings) but St George’s church is not lavish or grand in appearance from ground level. St George’s Church is a reddish sandstone colour.

Walking through the graveyard that surrounds it you may notice a preaching cross. This marks the spot where preachers addressed parishioners. As you walk around the church you will immediately notice a smallish tower in the middle of the church but it’s not until a postcard is examined that the layout of the church is revealed. Looking from above or flying over the building it appears that it has been constructed in the shape of a cross, and this is surely by design to represent the cross on which Christ was crucified.

Beautiful building at southern entrance from Church Street

St George's Church Nave

My church building education begins with a step inside St George’s church from the southern entrance. Entrance is made into the ‘nave’. Traditionally a ‘nave’ runs from the western entrance to the transepts (we will learn about these later). The axis for most ancient church buildings is east west.

The nave (Latin for ship; think naval) is easily recognised as the place where a congregation generally sits. Historically, wooden pews were lined up either side of central aisle (a common set up in an English church) and some of these were boxed pews of which may remain. Large pillars support the structure (especially the roof), and pews often are designed to let the congregation see what happens without having their view obstructed. These days there are many places where individual seats are used, then stacked and stored for another service to allow visitors the freedom of the nave.

The pillars at St George’s Church date back to the 15^th century which was a wealthy period for Dunster and when wealth was invested in church building. In St George’s Church the ceiling and roof are of a fascinating timber construction where the trusses have been spread the length of it, and this, to my mind, is a perfect illustration of how roof construction takes place. On the western face of the church is the main entrance to the church, which is generally used on special occasions.

The doors here are basically Norman but were heavily restored in 1860s. Surmounted above the door is a circular stained-glass window. Between the two entrances is the font (this holds the water used in Holy Baptism). You will generally find the font at the entrance to a church as when a baptism takes place it symbolises an individual being admitted into the church. At the opposite end but on the northern side is the pulpit (the pulpit being where sermons were generally delivered from). This pulpit dates to Victorian times.

Timber trussed roof — Timer trussed roof

The screen at St George's Church

As we leave the nave we come to the main educational point in this exploration, a beautifully carved timber frame that runs the entire width of the church. This ornate, timber partition is known as the ‘screen’ or ‘roodscreen’ (rood is derived from a Saxon word meaning cross) and the one at St George’s is rumoured to be the longest in England/Europe, depending on your source of information. The church was originally a priory church and the main religious centre in Dunster. As a result of Dunster’s newfound wealth, which came through the wool trade, there was a need for a church for the townsfolk. This dispute was settled after an arbitration at Glastonbury (I assume Glastonbury Abbey and that this was when the country was Roman Catholic, and abbeys were the power of the land (cathedrals didn’t really exist till Henry VIII pulled us out of Roman Catholic rule). A future visit to Glastonbury Abbey may shed some light on this). The result of the tribunal ruled that the area to the east of the transepts should become the Priory Church with the remaining area (the nave) to be the Parish Church.

The Transepts at St George's Church

As we step through the beautifully carved screen (there is an abundance of these beautiful roodscreens in the West Country) we pass through the choir area and enter the ‘chancel’. This is the area of St George’s church, the centre of the cross as looking from above if we like, where the high altar is situated with the tower directly above. Then to the north and south of the chancel are what is referred to as the transepts. Transepts relate to the two parts forming the cross shape. The southern transept now houses a bookstall and a café with seating area. An additional chapel was added to the southern transept and eastern part of the church in the 14^th century. This is known as St Lawrence Chapel.

St Lawerence Chapel

Between the southern transept area and the chapel are other artefacts of interest – 3 chests, a tomb and a monument. The tomb and monument demand closer inspection. The Luttrell monument is raised to the memory of Thomas Luttrell, his wife and son (George) and wife. The tomb on the floor is that of Lady Elizabeth Luttrell mother of Sir Hugh Luttrell. This family name is integral to Dreamy Dunster’s history, and one that I will certainly learn a lot more about as these meanderings progress.

Stained Glass window of St Lawrence Chapel

The Priory Church

The eastern part of the St George’s church (or the top of the cross when looking from above) is known as the Priory Church. It also goes by the name of the Lutrell chapel. In the corner on the southern side of this church is a tomb, which is said to be the tomb of Lady Christian de Mohun, a name that will be referenced again as we broaden our explorations. Opposite her tomb is the tomb slab of Sir Hugh Luttrell and his wife Catherine de Beaumont. Sir Hugh was the first member of the family to take possession of the Dunster Estate, and don’t forget his mother’s tomb was in St Lawerence Chapel.

Sir Hugh Luttrell and his wife Catherine de Beaumont

The de Mohun Chantry

This area of the church is located on the far northeastern corner of the church and was formerly known as the Holy Trinty Chantry. It is the only remaining chantry chapel of 3 that were part of the church. The chapel was founded in 1491 by Henry Franke (I can’t see a connection with the current name given to the chapel). An information board provided me with the following: ‘When a chantry chapel was founded and endowed, a priest, or chaplain, would be appointed to say prayers for the souls of the founders. The priest was appointed by Feoffors (trustees) and he was independent of the church’s incumbent’.

Summary

Thus concludes my exploration of the Church of St George in Dunster. It has been a fascinating experience, and I have learned more as I have explored in more detail than when I have visited other churches. I am beginning to come to terms like nave, chancel, roodscreen, transept, etc. as I have taken more interest in the inner architecture and structure of a church. This will be a journey where more terminology will be discovered. Almost by chance, we discovered the largest roodscreen in England that was used to create a barrier between the townsfolk and the priory, and this has led to a link with Glastonbury and its abbey (I can’t wait to explore this one). The church is one of the furthest from Bath in the diocese of Bath & Wells. As a starting point to exploring the village of Dunster it has been enlightening, and I reckon that I will be seeing the names of Lutrell and de Mohun a lot more as I make my way around the town and not only here but further afield.

April 13, 2025July 10, 2025

Bologna, Italy

Nestled in the heart of Italy is Bologna. It is less visited than, say, Rome or Florence but is surely a contender for a hidden gem in Italy’s crown. Bologna is the capital of Emilia-Romagna, a region in northern Italy. The locals have strong political views and a passion for culinary delights. The city is a beautiful fusion of architecture and history. Its streets are adorned with endless sights of its famous porticoes. Bologna is a medieval masterpiece and boasts warm terracotta hues. It enjoys a vibrant and authentically Italian atmosphere.

Read on as we explore its charm and nicknames – “La Dotta” (The learned), “La Grassa” (The fat), “La Rossa” (the Red) and Turrita (with towers).

Monument to the Fallen at Park della Montagnola

Column of the Blessed Virgin of the Rosary

Bologna History

Bologna’s rich history spans millennia. What started as a small Umbrian settlement before it was conquered by the Etruscans (who called the settlement Felsina) before becoming a Roman colony named Bononia. During the medieval years, the construction of its two famous towers were built to monitor those who wished to enter and defend as necessary.

Bologna became a city of learning and was transformed into a renaissance and Baroque hub. This led to a boom leading to the building of magnificent homes, palaces and striking squares. The city was also a key player in the Risorgimento (unification of Italy) which brought the city further riches as it became a centre of industry and commerce. Towards the end of World War II, the cities rail hub and industry meant it was a strategic target for air raids which did significant damage.

Bologna “La Dotta”

“La Dotta” means ‘the learned’ and is reference to the city’s historic university, “Alma Mater Studiorum”. The university is the oldest in the Western world (just pipping Oxford in the UK – AD1096). Bologna’s university was founded in AD 1088 and provided teaching and learning dedicated to the study of law.

Archiginnasio Palace was once the main buildings of the university. A visit to the palace allows one to see the incredible courtyard adorned with coats of arms. The main draw of visiting the palace is the Anatomical Theatre where lessons were given on, you guessed it, the anatomy.

The theatre is made from spruce wood with the original marble table in the middle of the room which was used for autopsies (the room was severely damaged during the war but rebuilt). The ceiling has been decorated with symbolic figures which represent the fourteen constellations and Apollo, the protector of medicine, positioned in the centre.

Entrance to Archiginnasio Palace Courtyard

Ceiling of staircase in Archiginnasio Palace

Bologna “La Grassa”

‘La Grassa’ means ‘the fat’ which refers to Bologna’s hospitality and traditional food. Known as Italy’s food capital, it is the birthplace of some of Italy’s most beloved foods. The city is famous in Italy for its balsamic vinegar, wine, cold cuts of meat, parmesan cheese and fresh pasta.

Traditional dishes include Tagliatelle al ragu (what many people may called spaghetti bolognaise), tortellini in broth, lasagna al ragu (my personal favourite) and cotoletta petroniana (breaded meat fillets fried in lard, topped with prosciutto, parmesan cheese). Bologna’s famous cooked sausage, made with finely ground pork, fat and spices is called Mortadella, and it can only be called Mortadella if has been made in Bologna. It is easy to see why Bologna’s reputation is the food capital of Italy.

Bologna “La Rossa”

Bologna owes the name “la Rossa” to its famed red buildings and to the fact that it is the birthplace and the home of Italy’s political left. Politics is always a subject best left alone so I focus on the red architecture and terracotta roofs that render the city – La Rossa. When walking the streets of the city, the buildings and churches are often missed as the large porticoes hide them. A visit up any of the towers that allow access will show off the famous red rooftops of the city.

Bologna Porticoes

The famous porticoes of Bologna make for a unique experience. Over 40km of them can be found in the city, with the longest continuous portico leading from Porta Saragozza to San Luca (you can read about that here). UNESCO has now declared these and the city itself a world heritage site which is confirmation of their cultural significance.

The porticoes were built out of brick, stone or wood and some date from the twelfth century. A requirement was that they had to be tall enough for a man sat on a horse to ride through them. They can be found wherever you walk around the streets of the city and you can’t miss and admire these architectural masterpieces.

Bologna “Turrita”

Bologna is described as towered (Turrita) because at one point the city could boast around 100 towers. As a result it surely would have given Manhattan a run for its money in appearance. Towers were built to symbolise power and had to be tall and imposing. Sadly, today there are only around 20-30 towers remaining. Two that do remain which are of particular interest. They are iconic and are often referred to as the ‘symbols of the city’ or ‘the two towers’.

They are just about still standing, although currently not accessible due to renovation works (if you would like to contribute to the restoration then click here). The tallest one, Asinelli at 97.02 metres, was built between 1109 and 1119 by the Asinelli family. The Torre Gardisenda (also named after the family that built it) stands next to it but at a much shorter height of 47 metres. The Gardisenda tower gives the leaning tower of Pisa a run for its money and actually leans more than Pisa’s tower by 0.03 degrees.

Bologna's Churches

At the heart of the city is Piazza Maggiore, which is dominated by the city’s most important church, and, one of the largest in the world, the Basilica of San Petronio. The church is dedicated to Saint Petronius, the patron saint of Bologna. It is known as the unfinished church due to its main façade never being completed. Inside is a vast gothic masterpiece, tall and imposing as soon as you walk in. 22 chapels line the side of naves. Personally, I wouldn’t say that this is the most important church in the city, as we found out when visiting Bologna Cathedral.

The cathedral is the seat of the archbishop and, by definition, be the most important in the city. Another church that we visited that is important is the one at San Luca. Here we learned about ‘Madonna and Child’ and its importance not only to the people of Bologna but the rest of the world. Other churches that must be explored upon our return are the Santa Stefano complex better known as “Seven churches”, the Church of the Holy Sepulchre, the Church of the Holy Crucifix and the Basilica of San Giacomo Maggiore to name a few.

Gothic interior of Basilica di San Petronio

Conclusions

In conclusion this blog gives a brief snapshot of this wonderful city. It is certainly not as famous as other Italian cities but has a lot to offer the inquisitive tourist. Perhaps I shouldn’t write so much about it and keep it my secret. Perhaps the locals do not want its soul sold to the tourism gravy train.

My meanderings have brought me to Bologna on many occasions and each time I learn more about this incredible city. Every time I come I fall further in love with this city. It satisfies some of my great loves -history, architecture and food. It is not just the imposing buildings, their interiors and the magnificent statues that appeal but the famous porticoes appear to be woven into its very fabric. Bologna is truly a special place. Whisper it quietly – this city should be on everyone’s ‘places to visit’ list.

March 30, 2025July 10, 2025

Monument to the fallen of Sabbiuno, Bologna, Italy

This is a site that probably deserves more attention yet I’m sure people are grateful for its peaceful seclusion. The site is a little further down the road than the ‘Sanctuary of Madonna at San Luca’ and approximately 9km due south of Bologna. The monument is a significant war memorial which elicits great amounts of emotion. The awe inspiring ‘Monument to the fallen of Sabbiuno’ is dedicated to the memory of soldiers who horrifically lost their lives in the line of duty towards the end of World War II.

This monument to the fallen not only serves as a poignant tribute to people who suffered in past events but a stark reminder of the need of peace and unity in current times. The stunning panorama is a memorial to the fallen of the atrocious events that took place here in December 1944.

This was the site of the massacre of approximately 100 Bolognese partisans and political prisoners who were shot by Nazi fascists. The accurate number and full truth will never be known, as the bodies were recovered after the Liberation and not all were identified. It is believed that these atrocious events took place between 14^th and 23^rd December 1944, an event known as the ‘Sabbiuno di Paderno massacre’.

Farmhouse at Sabbiuno — Farmhouse at Subbiuno

This remembrance site is striking. It runs along the crest of the ravine from an isolated farmhouse to a curved wall on the ridge. The curved wall has been built as a symbolic representation of the firing squad. There are gaps in the wall where replica machine guns stick out. Between the farmhouse and ridge rest 53 staggered boulders.

A close inspection reveals the names of the individuals who were tragically shot and were able to be identified. There is one additional boulder with no name which is dedicated to the forty-seven unidentified fallen. This striking monument was created by the Gruppo Architetti Città Nuova, and formed by Letizia Gelli Mazzucato, Umberto Maccaferri, and Gian Paolo Mazzucato, between 1972 and 1973.

Walking along beside the boulders is an eerie experience. It conjures up mixed emotions and feelings as the monument lays bare the horrific atrocities of war. My meanderings aren’t always fun tales of the good times but are often learning journeys where exploration leads to education. The education that took place here at the ‘Monument of the fallen of Sabbiuno’ was powerful. I thank Lorenzo our local taxi guide for telling us about this place. The monument to the fallen of Sabbiuno is a very touching tribute.

March 23, 2025July 10, 2025

San Luca, Bologna, Italy

Sanctuary of the Madonna of San Luca

Perched on top of the mountain Colle della Guardia and overlooking the city of Bologna is the iconic ‘Sanctuary of the Madonna of San Luca’, an important symbol of the city. There has been a church in some form at the site since the 12^th century with the current basilica built in the 18^th century. Read on as I learn why San Luca is more than just a tourist destination, and as I discover, more by luck than by judgement, about the ‘Madonna and child’ and the symbolism of the longest portico in the world.

History of San Luca

Tradition has it that in the 11^th century a pilgrim by the name of Theocles Kmnia arrived in Italy from Constantinople carrying a painting depicting the ‘Madonna and Child’. He was to take the painting to Monte della Guardia (a hill to the southwest of Bologna) but ended up in Rome. Thankfully a Bolognese senator was able to show him the right way. Theocles arrived at the gates of Bologna in 1160 and delivered the painting of ‘Madonna and Child’ to the then Bishop of Bologna, a Gerardo Grassi.

At the top of Monte della Guardia was a small church where Beatrice and Azzolina Guezi (two hermits leading a penitent life) took sanctuary. Bishop Grassi decided to deliver the painting to this church. Thus, the route that pilgrims still take to this day was born.

Over time a large influx of pilgrims visited the church which meant that it needed to expand to cope with the increased numbers. So, in 1194 the foundation stone, which came from Rome, was laid and blessed by Pope Celestine III. Since then, the church has had many transformations. Construction of the church as seen today was started in 1723 by Carlo Francesco Dutti and finished in 1757.

The Church

The basilica is prominent and spectacular being built on top of the hill. It is captivating, looks very Bolognese – plain and simple – basic in its external decor (orange in colour), and with a distinctive dome on top. As I walk in, I’m immediately drawn to the altar at the far end. Unknown to me, this is where ‘Madonna and Child’ is kept.

One soon realises the importance, grandeur and splendour of the altar area. Artwork, pillars, golden decorations adorn this area of the church. One cannot ignore the centrepiece, ‘The Madonna of San Luca’, which is kept in a silver looking case which sits in an ornate cove and is surrounded by golden borders. Also, inside the church it is possible to see works from Guido Reni, Donato Creti, Giuseppe Mazza and Guercino.

The Rains of 1433

In 1443 the heavy rains threatened to destroy the cities harvest. The city elders decided that that a procession from San Luca, carrying ‘The Madonna with Child’ to the centre of Bologna might help the situation. Miraculously, as the painting left the sanctuary so it began to stop raining. And so, since 1443 it has become tradition (feast of accession) to carry the painting down to the city where it resides in Bologna’s Cathedral for a 1 week before a procession takes it back. There were two occasions when this didn’t happen – firstly, in 1849 when the city was occupied by Austrians and, secondly, in 1944 during World War II.

The modern procession has broken a little from tradition as it now starts at Porta Saragozza and not San Luca and makes its way through the streets of the city to Bologna Cathedral.

The World’s Longest Portico

Built to protect pieces of artwork of the ‘Madonna and Child’ that had been created along the route, local merchants and wealthy families came together to provide the needed funds to build the portico. The world’s longest portico (covered walkway) was built between 1674 and 1793. The first arch starts at beginning of Via Saragozza, a street which leads away from the city at Porta Saragozza (gate of Saragozza).

The portico is made up of 666 arches and 15 chapels. The number of arches may be thought a very controversial number when you consider its religious significance (the number of evil and, some would say, the devil) but it is, in fact, by design. When looking from above the portico resembles a snake slithering up the hill to ‘meet’ the ‘Madonna’ church. The snake symbolises the devil and the church is seen as victorious and reigning supreme over the devil.

The length of the walk from bottom to top is 4km. For tourists and pilgrims alike, it is said that reaching the Sanctuary of the Madonna by foot can make a wish come true.

Conclusions

The Sanctuary of the Madonna of San Luca should not be missed when visiting Bologna. Simple in appearance yet significantly symbolic, it is a pilgrimage site for believers, but also a very popular tourist destination. A portico plod may be inspiring though extremely exhausting, especially in the summer months. Reach the top, however, and there is great reward. This trip educated me on the ‘Madonna and Child’ and the significance it plays in the city of Bologna, and how it effects its traditions and its people. San Luca is a beautiful place of myth and mystery.

March 16, 2025July 10, 2025

Bologna Cathedral, Bologna, Italy

Bologna Cathedral

As I leave my hotel and walk along Via Indipendenza towards Bologna’s city centre, I’m immediately drawn to a tall, imperious, church-like looking façade which is nestled almost secretly alongside buildings in the busy street. Bologna Cathedral is unlike other cathedrals I have visited (both home and abroad), Bologna’s cathedral seems to be a secret and is easily confused with the Basilica of San Petronio in Piazza Maggiore.

The locations of most cathedrals that I have visited are such that they normally dominate a square in the city centre. Such cathedrals stand proudly and majestically in sight for all to gaze in wonder and are hubs of activity. Normally a cathedral has a very commanding presence for a city but Bologna’s cathedral is shy and reserved in comparison. Although almost hidden as if a terraced property, it should not be ignored and provides a great place to start exploring Bologna.

The Metropolitan Cathedral of Saint Peter

This is Bologna’s cathedral’s full and proper name. In the 16^th century, Bologna’s bishop of the time was elevated by Pope Gregory XIII in 1582 to become an archbishop, which meant that the cathedral was given the rank of “metropolitan church”. Bologna’s cathedral then became the seat of the archbishop and gave the archbishop jurisdiction over the ecclesiastical territory (diocese), which included other cathedrals and their bishops.

Bologna’s archdiocese has three suffragan dioceses (dioceses other than the metropolitan archdiocese that constitute an ecclesiastical province). To the southeast of Bologna lies the Diocese of Imola (cathedral of Imola) and little further down the road the Diocese of Faenza-Modigliana (Faenza cathedral). To the northeast of Bologna, the third Diocese of Ferrara-Comacchio (Ferrara cathedral). I’m sure as we explore the churches and cathedrals in England we will come across many similar arrangements.

History of Bologna Cathedral

Looking at its history it is a bit of a calamitous church. Bologna’s cathedral is dedicated to San Pietro (Saint Peter), head of the apostles and the first pope. Most of the present building dates from the 17^th century with the cathedral’s origins being traced back to the 10^th and 11^th century. Its calamitous past has seen several changes over the centuries. It was ravaged by a fire in 1131 and damaged by an earthquake in 1222. This meant that the church was rebuilt a couple of times.

In 1477 two Ferrarese painters worked on the creation of a cycle of frescoes, and these would have had a significant influence on Niccolo dell ’Arca and Michelangelo. Sadly, the frescoes were lost in subsequent reconstruction. In 1599 the alterations made to the cathedral caused the vaults to collapse and the cathedral was then built from scratch and started in 1605.

Façade of Bologna Cathedral

Due to its location and its height it’s very hard to photograph the front of the cathedral. It has a very bland appearance and is constructed out of red stone. The façade that is seen today was built between 1743 and 1747 under the instructions of Pope Benedict XIV. The designs were completed by architect Alfonso Torregiani. Looking at the front of the cathedral, two statues may be seen – the one on the left is San Pietro and the one on the right is San Paolo (Saint Paul).

Inside Bologna cathedral

Walking into the cathedral nave, I immediately take my eyes off to colourful tiles in front of me and raise my eyes to the grand altar at the front of cathedral. There are golden pillars on each side with paintings on the ceiling and a coat of arms across the top. Looking at this display I notice the height of the ceiling of the whole room. Why so tall? Acoustics?

There are tall pillars on either side of the nave with chairs in the middle for the congregation to sit. The actual ceiling is very bland in appearance. In between the pillars there are different chapels, with paintings and lots of golden furnishings. In the first chapel (immediately on your right as you walk in) you will see a display of terracotta statues which is called the Lamentation of Christ. This was sculptured by Alfonse Lombardi between 1522 -1526.

Also, inside Bologna Cathedral it is possible to admire paintings by Prospero Fontana, Ludovico Carracci, Marcantonio Franceschini and Donato Creti. In the altar area is a wooden crucifix from the 12^th century.

Bologna Cathedral Crypt

A crypt is an underground vault which is normally used as a chapel or a burial place. Access to the crypt is permitted as part of a combined ticket with the bell tower and will cost you 5 euros and is only open on certain days and times. Lucky enough for it to be open on my visit, I took a visit to the crypt where I found a chapel and an archaeological site. The site has found remains of 10^th century Romanesque cathedral pillar beam, and also two beams from the 12^th century. In the nave they have put glass flooring in for viewing.

Bologna Cathedral Bell Tower

An incredible visit to the top of the tower is a must for those fit and daring enough. I quickly found out that the bell tower is a tower within a tower! The original tower is 40 metres high and survived the fire and earthquake mentioned earlier. In 1254 the bell tower that is seen today was constructed around the existing tower. The encompassing tower is now 70m high and is the second tallest tower in Bologna. The covered dome topping was added in 1426.

Its rather surreal when you climb the steps trapped between the two towers. When you arrive at the top, the views are incredible and give another perspective of Bologna’s skyline. Inside the bell tower are 4 bells, and the largest known as ‘nonna’ or ‘grandmother’ weighs 33 quintals. It takes a funny upside-down position. The bells are rung “in the Bolognese way” and this requires 23 people to ring the bells.

Conclusions

A secretive cathedral and possibly the most important church in Bologna. I’m sure many people like me would confuse Bologna Cathedral with the dominating and unfinished Basilica in Piazza Maggiore which has the appearance and location of a cathedral but as we have learned doesn’t have the archbishop.

I have learned that this church is the head of the archdiocese and I will have to visit the cathedrals in nearby Ferrara, Imola and Faenza, which make up Bologna’s diocese. A visit to the tower is always worth the hard work of climbing the stairs (I forgot to count how many) which gives a totally different view of the city.

I hope you enjoy this blog. For those planning a visit to Bologna in the future, ignore it at your peril. For those who have been please let me know your thoughts.

March 9, 2025

Mauritius

Nestled secretly in the western part of the Indian ocean and to the east of Madagascar is the Mascarene Archipelago. The archipelago is named after Pedro Macarenas, a Portuguese explorer and navigator. He discovered the more famous of the 3 islands – Mauritius – with Reunion and Rodrigues Islands being the other two. He discovered it some 500 years ago and we decided to visit Mauritius for our honeymoon. Not only did we follow in his footsteps, but those of the Dutch, French and British people that came here. Exploration was limited but we saw what we could in our brief time on the island of Mauritius.

We found Mauritius a curious and fascinating place to visit, a sun kissed haven and most hospitable. Not only did Mauritius offer us a tropical beach escape, but the island also taught us some of its history. It clearly has had a troubled past but now it is thriving and is one of the most prosperous economies in Africa. Mauritius was uninhabited and deserted for most part of its existence until the 16^th century when the Dutch settlers first arrived. For the next 4 centuries the Dutch, French and British took it in turns to colonise the island. I assume that the island was an important outpost, firstly, for explorers discovering previously unknown parts of the world and, secondly, for Indian trade with European companies.

Mauritius is a pear-shaped, volcanic island which boasts over 350km of coastline. Much of the island is surrounded by coral reef which protects the shallow lagoons and white sandy beaches. Mauritius is renowned as a honeymooner’s paradise with its pristine beaches, palm trees, turquoise waters and sumptuous resorts. We were lucky enough to stay at the Heritage Awali resort. This provided us with a base to explore the southwestern corner and west coast of the island with ease. With more time and perhaps with a little more daredevil spirit we could have ventured along the south coast and up the eastern side to the north of the island.

Dutch Occupation (1598-1710)
Our trip didn’t cover much, if any, of the island previously occupied by the Dutch. The Dutch arrived by chance and landed at Grand Port (southeastern corner of the island) in 1598 although colonisation didn’t fully start till 1638. Had we been a little more adventurous and gone to that corner of the island we would have seen evidence of their time on the island. The Dutch influence remains substantial in the fact that they brought sugar cane to the island, something that is seen wherever you go. The Frederik Hendrik Museum, and the Dutch First Landing memorial in Ferney would have provided us with a valuable education of the Dutch occupation. The Dutch named the island Mauritius in honour of Maurice of Nassau, Prince of Orange and stadtholder (a term we hadn’t encountered before but refers to leader in the Netherlands especially way back in the 16^th century) of the United Provinces of the Netherlands.

French Occupation (1715-1810)
We learned about the French occupation through visits to the Botanic Garden and Port Louis. When the French arrived in 1715, they named the island ‘Isle de France’ and the Governor was François Mahé de La Bourdonnais. We learnt about him in both the Botanic garden and in the city of Port Louis. The French established the city of Port Louis as a naval base and ship building centre. Governor François built a lot of the country that we saw or explored on this trip – Port Louis itself, the government house in Port Louis and Chateau de Mon Plaisir in the Botanic Garden. Towards the end of the 17^th century the island was claimed by the French crown whose administrative authority saw increased amounts of African slaves bought in and sugarcane established as a prosperous industry.

British occupation (1814-1968)
The British acquired the Island during the Napoleonic wars. They restored the name Mauritius and unusually allowed the customs, laws and language to remain French. Most of our education about the British occupation came from our trip to the Martello Tower Museum. There we witnessed the site of red coats, muskets and cannons.

The visit to Eureka mansion also assisted our learning process. This house was built by a British man. In 1835 the British brought about the abolition of slavery which brought much change to the island. As a result, a lot of indentured labourers from China, Comoros, Madagascar, Mozambique and Southeast Asia came to the island.

There were other sites that could have shown us more of the British rule had we had the time to visit them. One is the Aapravasi Ghat’s museum where we would have learned about indentured labourers during the nineteenth century. A visit to Cavendish Bridge (built by the British), Mahebourg seems a sensible trip.

We trust that these blogs have given an insight into this island’s short and fascinating history. Our day trips proved that Mauritius is a beautiful fusion of religion, food, colour, flavours, people and languages. For colours see the seven coloured earths of Chamarel. When travelling around the island it was difficult to make out the lie of the land, and Mauritius is still classified as a developing nation. Old and worn-down buildings mixed with modern and , to our way of thinking, ugly, new ones.

It is remarkable that on one corner there is a church and the next corner, a mosque. Religious statues sit alongside the roads or near beaches. The sacred lake at Grand Basin gives the visitor some idea of Hinduism. A significant pilgrimage site, the lake is surrounded by statues of their gods.

Mauritius is not all beaches and cocktails, (as much as we enjoyed that lifestyle), it is so much more than that. It’s where rivers and waterfalls flow and new acquaintances are made on daring activities or ambling around towns. We pushed ourselves out of our comfort zones and have created memories of a lifetime. Nature is a truly wonderful thing and one that we thoroughly enjoyed. According to Tripadvisor data Mauritius is the place to Honeymoon in 2025**! We certainly wouldn’t argue with that. We will leave you with the words of American writer and adventurer Mark Twain, “Mauritius was made first and then heaven, and heaven was copied after Mauritius”.

**Mauritius was recently voted by Tripadvisor data as the Honeymoon destination for 2025 (https://tripadvisor.mediaroom.com/2025-01-09-Tripadvisor-Reveals-2025s-Must-Visit-Destinations-Top-Picks-From-Travelers-Around-the-World) .

March 2, 2025April 28, 2025

Benitiers Island, Mauritius

Our final trip within Mauritius was a visit to the uninhabited Benitiers Island. We contemplated several organised outings to Benitiers Island, but we opted for a full day excursion with Vitamin Sea Ltd. I must confess that I didn’t fully realise what the trip itinerary was when I booked. It is conceivable that I was distracted by our newfound, lazy, beach life. I listened to some advice to book with this company. Booking on a whim is not my usual modus operandi. As we talked with our new friends at the hotel bar on the eve of our final trip, we began to question why we needed to be up so early for a relaxing boat trip to Benitiers Island.

We arrived at the La Balise Marina around 0445!! Night was turning to day with every second that passed. Eerily peaceful, we were greeted by a Vitamin Sea representative. Customary paperwork completed, toilets visited, we were straight out on the jetty and climbing into our boat. Our crew (Brice & Whitney) were to look after us for our trip to Benitiers Island. We made a prompt departure. Obeying the speed restrictions, we followed a few other Vitamin Sea boats out of the marina. By the time we were clear of the marina, the sun was breaking through and lighting up the sky. We veered off to the north rather quickly. So much for our relaxing boat trip. Accelerator to the max it seemed we were in a rush for something. Nervously excited, we wondered what the rush was about.

We slowed down as we arrived to where other boats had gathered along with a group of kayaks (this was the same area where we had kayaked earlier in the trip). We were blessed to see a pod of spinner dolphins playing in the water. Our delight at seeing these playful mammals in their natural habitat was evident. As we were enjoying this special moment, Whitney started to talk to us about snorkeling equipment and kitting us out. Puzzled by the disruption to the display given by the dolphins, it soon became apparent she was preparing us so that we could go in the water and swim with them. We looked at each other in shock at what was happening. I mentioned at the beginning that I hadn’t fully read the itinerary. Lesson number 1 – read carefully before signing on the dotted line!! We had time to process the news and prepare for this monumental occasion as Brice said about heading south to find a better spot. Sit back, hold on, the morning sea breeze blowing through our hair (well, Hannah’s certainly, and mine, what’s left of it!!) as the accelerator was pushed to the full.

In just a short time our fast boat brought us south around to Morne Le Brabant (scene of our first trip within the trip) just as a rainbow appeared over the ocean. This area must be a magical spot for the dolphins (these ones were bottlenose) who approach the coast here to socialize, relax and play. The waves here were certainly bigger and the clouds had rolled in. We were told to sit on the back of the boat and, when instructed, to slide in. Masks and snorkels at the ready we spent the next couple of hours climbing in and out of the boat as we tried to keep up with the dolphins that were swimming all around us.

What…an…experience!! We politely slipped in and out of their world, the cold water not being a problem. Beauty was all around us, and our fears and anxiety immediately dissipated to be replaced with high levels of adrenaline. I must have read the bit on the Vitamin Sea blurb that says, ‘Life is about collecting experiences that take your breath away’. Well, this was certainly one of them! We were blissfully unaware of time (it didn’t seem to exist), but all good things must come to an end. By the time we left, we were exhausted. Mouths filled with salty water (we weren’t the best snorkelers), hearts pumping, tiredness in our eyes, but excitement pouring out of us. We had such a smile on each other’s face that could not be wiped off. We collapsed into our seats again as we went back the way we came and towards Le Morne. We thought that was the end of our snorkeling until Brice shouted out, “Sea turtle!” We still can’t believe how he was able to see this creature beautifully camouflaged in the reef. He brought the boat to a stop and allowed us to swim around with said creature. He/she was completely unfazed by our presence. We finally left the turtle to enjoy its surroundings, and we made our way a little further up the coast where we dropped anchor.

This was where we were to do the snorkeling that I remember being told about in the booking process. As we slid into the water the number of fish that greeted us was surreal! All sorts of fish of different shapes and colours swam around us. We mustered what energy we had left to swim around admiring these colourful creatures. The azure waters, coral reef and pristine sands were the perfect back drop to the array of colour. Hannah managed to stay in longer than I did as I was worn out. The adrenaline of the previous moments had left me, and the borrowed kit was starting to hurt. Hannah eventually decided that she had seen enough and got back on board. We then made a slow and leisurely trip towards Benitiers Island which passed through the lagoon near Crystal Rock.

Crystal Rock is a geological curiosity. Rising majestically out of the water, like a large crystal sitting on the surface, it certainly draws a crowd. The rock is a photographer’s dream. The rugged rock, crystal clear waters, blue skies, white puffy clouds create the perfect picture postcard shot. We circled it a couple of times to capture ‘the money shot’, before heading to Benitiers island and an eagerly anticipated lunch. The boat stopped close to the seashore, and we disembarked and walked through the low levels of water to the beach. Whitney and Brice assisted with the BBQ whilst we took a moment to stroll along the beach, all the while taking time to realise what an incredible morning that we had just experienced. Our 4 o’clock wakeup call had been completely forgotten about. We savoured the moment, just the two of us, hand in hand, walking in the sand. Splish, splash as we walked along the pristine sands and not a care in the world. No better feeling than sand between our toes. We reached the end of the isle, where Morne Le Brabant seemed to look at us. We said to each other, rather proudly, that we had conquered that mountain. We turned back, slowly realizing that the end of the trip was nigh – all good things, etc… We got back to the part of the beach where the smell of the BBQ of marinated meat and fish filled the air. We sat back and enjoyed a glass of wine watching our boat bob with the slight waves in front of us.

Dinner was served – a homemade Mauritian barbecue that included fresh fish, shrimp skewers, chicken, garlic bread and salad. Hats off to the chef – this was BBQ brilliance. I’ve certainly stepped out of my comfort zone in tasting and eating fish this holiday. This is something I may continue when I’m back home – we shall see! The meal finished off with grilled banana flambé straight off the grill. Again, all good things, etc…. We jumped back on the boat, said goodbye to Benitiers Island before Brice put the accelerator to max again. Brice got the music pumping as we sped our way back to the marina. It was with sadness that we had to say goodbye to Brice and Whitney (they were great representatives of Vitamin Sea), but we left with memories of a lifetime.

Île aux Bénitiers, La Gaulette VCA, Black River, Mauritius

February 23, 2025April 28, 2025

Port Louis, Mauritius

Port Louis is a fascinating place but our visit was far too brief and we only gained a small snapshot of the city. This was our penultimate outing in Mauritius but Port Louis is the capital city and it may have been an error to visit for such a short time since it is full of interest. Now that I’m home and have spent much time reading, researching and learning about the places that I visited (hopefully to educate myself and my followers). I write this with a certain amount of regret for not making the trip to the capital a full day. We live and learn.

Enough of what could have been! We arrived into Port Louis to light rain and parked in what appeared to be a modern car park near Caudan Waterfront. How many capital cities in the world would you be able to park right in its heart, free of charge and with ease? Leaving the car, we walked unknowingly around the back of the Blue Penny Museum which is dedicated to the history and art of Mauritius.

Directly opposite the museum was a bust of Nicholas Baudin, funnily enough a Frenchman, a cartographic surveyor and naturalist (research reveals that he died on the island on his return from exploring and surveying the coast of Australia).

As we continued our stroll, we left the museum behind us and walked under a canopy of colour. This came from several colourful hanging umbrellas. This looked like evidence of investment that had taken part in this part of Port Louis – a modern feel of entertainment, with shopping stores and eateries for the masses. The vibes were of a feel of a hangover as slowly but surely everything was springing into life. As we left the shopping precinct we passed a large anchor – a reminder of the city’s shipbuilding past.

Shopping precincts are, to us, boring at the best of times and we were glad to reach the harbour’s edge. We walked a while but this was soulless and barely a boat to see except for a large military ship looking old and retired yet dominating the view. This was very surprising considering the country has no military force. As we turned away to look towards the rest of Port Louis we saw 3 statues. Our driver informed us that one was Sir Seewoosagur Ramgoolam (see the blog on the Botanic Gardens). The other two have been researched since coming home and only then to realise that they were huge characters in modern Mauritius. Is this the reason for the three statues being together in one square? The other statues were of Sir Aneerod Jugnauth (affectionately known as SAJ, a former President and Prime minster of Mauritius, who considerably shaped the economic and political contours of modern Mauritius) and Professor Basdeo Bissoondoyal (a Mauritian social worker who played an important role in pre-independence politics. He was a man of knowledge, discipline and perseverance and is portrayed as a beacon of hope for the common people).

Leaving these statues we headed towards the underground walkway. As we were just about to go down the steps when the Mauritius Postal Museum was pointed out to us.

Sadly, this was passed by with speed as we made our way towards to the central market. As we stepped into the vibrant and bustling indoor market, we were aware of the bright colours of fresh food and the smells of spices on sale. Their rich aromas spread through the air tantalising our taste buds. Some stall keepers stood proudly hoping you would buy their produce, while others engaged in conversation with associates and there were plenty who were busily doing their much needed transactions. This all created a wonderful hullabaloo. We left the market by a different entrance and stopped at a few stalls selling some touristy bits which we picked up.

After our saunter in the market, we walked some of the local roads nearby before we retraced our steps back towards the Caudan waterfront. Along the way we passed some points of interest which included the entrance to Chinatown (I’ve never understood the fascination with these, common as they are in most cities these days) and the historic Jummah Masjid Mosque (oldest and first mosque built on the island – we didn’t know what we were looking at really so passed through quickly) and several colonial buildings. One of the colonial buildings in particular stood out, as it looked for all the world like “tin foil” had been used to repair a section of the roof. We returned back through what were now bustling streets surrounding the central market and past the main bus station. Lots of rickety, colourful old buses lined up ready to take locals to all various parts of the island. This is always a sight to behold and always action packed.

We picked up the underground bypass again and came out by the Postal Museum again. Before walking behind it to see the Port Louis Port Police building, we noticed a rather odd structure. Tucked away in between some modern buildings was a random windmill and it looked quite incongruous but fascinating. Puzzled by this building, I made sure that it was something that was researched when time allowed (windmills were built to assist the agriculture industry on the island and in 1999 this one was converted to a museum), and definitely would not be ignored next time we visit.

We had places to be so we left the windmill and hastily returned to the car via the Caudan waterfront. As we retraced our steps we passed the 3 statues though this time from a different angle. This meant that we noticed yet another statue behind them on the other side of the main road. This was the statue of Bertrand-François Mahé de La Bourdonnais (see Botanic Garden blog). His relevance not yet known he was sadly ignored, apart from a long range shot on the camera. His statue is located at the end Place d’Armes, which leads to Government house. We made our way back to the car jumped in and left for our next destination. I did make sure that we stopped at the Madurai Mariamen Temple.

Back to the regret thing. Research ahead of the whole trip makes sense. We missed the two cathedrals, the Champ de Mars (oldest horse racing track in the southern hemisphere), Fort Adelaide, Aapravasi Ghat World Heritage Site, hikes and viewpoints of Port Louis and countless museums. There’s loads to see and enjoy. Time beats you on occasions and opportunities aren’t grabbed. Let’s hope opportunities aren’t spurned in the future, and life will provide us with another chance…

Port Louis, Mauritius

February 16, 2025April 28, 2025

Chateau de Labourdonnais, Mauritius

Walking along the majestic avenue towards the Chateau de Labourdonnais is like passing through a tunnel. We’re told that the trees that obstruct the distant view yet create a magical, intriguing pathway are Ficus macrocarpa and also known as Chinese banyan. This is a ‘tunnel’ that is begging to be investigated. Every now and again the blazing sun appears from behind the white puffs of cloud in the sky. The natural sunlight almost provides spotlights along this tunnel as the rays shine through the branches and leaves. Heavenly birdsong drowns out the sound of our weary feet walking along the stony drive. We take a moment to pause. There is ‘light at the end of the tunnel’. We can see distant pillars forming part of a structure located behind a small fountain at the end of the path. We walk slowly under the blanket of greenery that shades us and the view changes with each step as we get closer to the building. Then, as if by magic, we have escaped. The avenue suddenly sprawls into a bowl shape that surrounds a basic and charming fountain. The water splashing out of the playful child statue cannot distract from the elegance and beauty of Chateau de Labourdonnais behind.

A brief history
The marketing material reads ‘estate established 1774’. As mentioned previously, this was during the French occupation of the island. At the time, the plot of land was a concession granted to two young orphans, Marie Louise and Henriette Tréouart de Longpré. We learned that these concessions were granted to colonists to develop the land. This normally involved property improvements and developing agriculture. By the time the British were in possession of the island, a certain Mr Jean Baptiste Germain bought a plot of the land in 1814. He built the first sugar mill in the island on that property. 7 years later in 1821, Mr. Jacques de Chasteigner Du Mée bought the estate. He set about extending it from a modest 186 to around 1400 acres in 8 years. Upon his death the property passed to his two daughters: Mrs Aubin and Mrs Bourgault. In 1839 the estate was named Labourdonnais (perhaps after the Governor we learned about in the last blog, however, he had nothing to do with this property). Mrs Bourgault’s son-in-law (Christian Wiehe) was married to her daughter Emilie. In 1856 Christian decided to build a chateau. It only took three years to complete. Christian Wiehe was evidently a clever man with good business acumen. I’m led to believe that he was a distinguished Mauritian.

The Chateau
This is not a castle (the French word château means castle), but a magnificent mansion. The pristine appearance screams wealth and prestige. The restoration work that has been undertaken here is most excellent. The designs of these plantation houses have taken into consideration the hot weather. This one has a double veranda that looks like a wrapping around the house that almost hides it. It is stunning with a colonnade of white/cream pillars, almost Romanesque, which are used to support the first floor and roof. It is, to my mind, a simple yet effective design. One could imagine sitting out on the veranda and enjoying the view back up the avenue. We sat awhile and watched the playful birds. There is a difference between Chateau de Labourdonnais and Eureka Mansion, built 1830, and it is stark. One feels that the first owner of Chateau de Labourdonnais was richer than Mr. Le Clezio but this is only an impression gained. This may be down to differing levels of investment in the refurbishments but there is a clear contrast.

After walking across the veranda and through the entrance hallway, we start to notice the symmetrical alignment and details of the whole house. The dining room has delightful scenes painted on the walls which add a real splash of colour. A chandelier provides glamour above a plain brown table which has been left laid, one feels, for some imaginary guests. On the opposite side of the hallway is the lounge. Again, this is beautifully restored. It is, however, very bland in comparison to the colour and style in the room we have left behind. Other rooms on this floor include a pantry, a storage room and a study.

On the first floor is a bedroom neatly laid out, and where you can watch a documentary about the restoration work that took place here (time was short and, sadly, we missed out), and then there are some exhibition rooms. These displays provide valuable information about the island, the agriculture activities that took place and the history of the Wiehe family. Regrettably, we didn’t have the time to read all this information as we were exhausted from our day out. Thankfully, I managed to take some notes on the important information that has proved invaluable in writing this blog. After completing this floor, we left the house from the far side to explore the grounds.

The Domaine
I mentioned earlier that the estate is vast and not all could be seen on this quick visit. We made do with the visit to the Chateau de Labourdonnais and a walk around the small garden area attached to the side of the house and also to a little ‘farm’ area. The small garden area and grounds around the house showcase the natural beauty of the vibrant flowers, and trees including towering palms. Altogether they create a sumptuous display of colour and exude a potent fragrance. Being animal lovers, we quickly bypassed the ‘farm’ area as it seemed to be too crowded and a lot of petting was underway. Instead, we enjoyed the local flowers and birdlife. Along the way we could see the sugar mill in the distance and we finished at the rum distillery. The wider estate has diversified as time has passed and developed a couple of shops, a restaurant, a café, a garden centre, and a school. A ticket to visit the chateau also includes a tasting session of their home-grown rum. Created using fruits and sugars grown on the estate, we feel sure that the rum is good, but, sadly, our taste buds didn’t enjoy it (to be fair we don’t enjoy rum back home either!!). We can say that we sampled the rum but are not the best tourists to pass comment.

Chateau de Labourdonnais was the most up to date attraction that we visited on the island. It is testament to the stunning work that has been undertaken to preserve Chateau de Labourdonnais. We hope to return one day. In the meantime, anyone visiting please feel free to let us know your feelings.

Chateau de Labourdonnais, Beau Plateau Road, Labourdonnais, Mapou, Rivière du Rempart District, 31803, Mauritius

Florence Early beginnings

Florence in the Middle Ages

Cosimo de’ Medici (Father of His Country)

Lorenzo de’ Medici (the magnificent)

A gap in Medici Rule of Florence

Cosimo I de’ Medici (1st Grand duke of Tuscany)

Further Medici rule in Florence

Florence after Medici rule

Florence Conclusions

History of Cathedral of Santa Maria del Fiore

Design of Cathedral of Santa Maria del Fiore

Brunelleschi’s Dome

Campanile di Giotto

Conclusions

Uffizi origins

“Uffizi” a museum

The Uffizi Gallery

Vasari Corridor

Uffizi Gallery Conclusions

Ponte Vecchio history

Ponte Vecchio Architecture

Benvenuto Cellini

Vasari Corridor

Conclusions

Palazzo Pitti History

Palatine Gallery at Palazzo Pitti

Boboli Gardens

Palazzo Pitti Conclusions

History of Palazzo Vecchio

Entrance and Courtyards of Palazzo Vecchio

Sala dei Cinquecento – The Hall of the five hundred

Medici family rooms

Second floor of Palazzo Vecchio

Torre d’Arnolfo

In Conclusion

History of Santa Croce

Santa Croce Façade

Monument to Dante

The basilica of Santa Croce

Temple of the Italian Glories

The Masterpieces

In Conclusion

Introduction

Early beginnings

Flamsteed House

The Octagon Room

The time ball at Royal Observatory

The Meridian Observatory

The Camera Obscura

Conclusions about Royal Observatory

Cutty Sark Royal Museums Greenwich, London, UK

Cutty Sark

China Tea Trade

Australian Wool Trade

Portuguese Ownership

Cutty Sark’ first Restoration

Cutty Sark at Greenwich

Conclusion

Dunster Somerset, Exmoor

The National Park Centre

Conygar Tower

Dunster Butter Cross

Dovecote

Tithe Barn

Memorial Garden

St Georges Church

Gallox bridge

Dunster Castle

Dunster Yarn Market

Dunster Station

Dunster Beach

Conclusions

Dunster Castle Dunster, Exmoor

The de Mohun’s – a medieval military base – 1086-1376

The Luttrell’s – a family home – 1376 – 1976

The leather Gallery In Dunster Castle

Dunster Castle gardens

Watermill

Conclusion

Outside St George's Church

Cutty Sark
Royal Museums Greenwich, London, UK

Dunster
Somerset, Exmoor

Dunster Castle
Dunster, Exmoor