Category Archives: Explore Europe

Thrifty Duchesses

Like every other Anglophile, I’m breathlessly waiting for Kate, Duchess of Cambridge, to give birth to a new royal heir.  In the meantime, I’m admiring her common touch–she is, after all, a commoner.  This week she made fashion news by wearing a maternity dress costing L17.50 (about $27), off the rack at a chain called Asos.  Naturally, thousands have been sold.  As far as I can see, she has not put a foot wrong in all the years she’s been Prince William’s main squeeze.

I admire another duchess from an earlier generation, too:  Deborah Devonshire.  She was born into a family of not-very-rich minor aristocrats, the Mitfords.  There were six girls and one boy, and very little money to support them all.  Only the son was properly educated; the girls were expected to marry well.  They begged to go to school and were put off. They were given London debutante seasons instead. But they were all beautiful, brilliant and creative.  So they made their own way in the world.

To make ends meet, Deborah’s mother sold eggs.  Her father dreamed of striking gold in Canada.  In spite of several trips where he personally dug for gold, it never happened for him.  Deborah was the youngest of the family and was considered a little dim as a child.  Nothing could have been further from the truth.

In my last post I described how Deborah became Duchess of Devonshire when the heir to the Cavendish title and property was killed in action in World War II, and then the sitting Duke died unexpectedly.  The dreaded Death Tax took effect:  the authorities demanded millions of pounds, reportedly about 80% of the total value of the inherited estate.

Deborah personally took charge.  The Cavendish family seat, Chatsworth, had always welcomed tourists.  After all, grand country homes were meant to be seen and admired.  Traditionally, the housekeeper conducted tours–for only the right sort of people, of course–and was allowed to keep the resulting tips.  Many housekeepers saved enough money to eventually open their own shops. (In Downton Abbey terms, think of Mrs. Hughes discreetly pocketing money from well-to-do tourists).  The housekeeper was responsible for vetting the tourists who rang the doorbell.  I’m thinking baseball caps, Bermuda shorts and fanny packs would not make it inside.

Anyway, when Deborah took matters in hand, the only facility to welcome tourists was a water tap outside.  That tap still exists.

Water tap outside Chatsworth

Water tap outside Chatsworth

But Deborah decided that people like to buy things, and they like to eat.  She created a restaurant and extensive gift shop, now so large and full of delights that it’s a destination in itself. She created a Farm Store (think a very exclusive Whole Foods, with everything in it produced on the grounds of the estate). She created a children’s farm, where city kids can learn how their food is produced. She oversaw a huge renovation of the grand house.  She created placards describing the house’s treasures. She began formally charging admission and hiring staff to guide tourists. She created guidebooks and eventually audioguides, with help from historians and art experts. She wrote about a dozen books, about the property and about her colorful life.

Today, a visit to Chatsworth can keep a visitor happy for an entire day.  One of my purchases at the gift shop on my last visit was a wonderful book all about the Mitford sisters, The Sisters by Mary Lovell.  Reading it is a fascinating history lesson.

SistersBook

At age 93, Deborah still presides–pretty much as CEO–over the thriving enterprise she created, starting at a time when all seemed lost for the noble Cavendish family.  Let’s hear it for duchesses with good sense and a common touch!

Jeeves: the Ultimate Valet

In the British TV series Jeeves and Wooster, ditsy aristocrat Bertie Wooster answers his door to find a dignified personage, his new valet Jeeves, who says, “I was given to understand that you required a valet, sir.”  As usual, Bertie Wooster’s life is in disarray, so Jeeves has arrived not a moment too soon. So begins a howlingly funny saga that says a lot about British social classes.  The series, drawn from the Jeeves and Wooster stories of P.G. Wodehouse, ran from 1990 to 1993.

JeevesDVD

Hugh Laurie, better known to American audiences as the difficult genius Dr. House, plays Bertie.  His real-life friend and collaborator Stephen Fry plays Jeeves.

The joke is that the valet is miles ahead of the aristocrat in intelligence, education, proper behavior, and common sense.  So Jeeves uses his ingenuity to pull Bertie out of one impossible scrape after another, all of them caused by Bertie’s cluelessness.

Jeeves is also at pains to save Bertie from fashion faux pas, as in this exchange, concerning an unsightly white jacket Bertie insists on wearing:

Jeeves: I assumed it had got into your wardrobe by mistake, sir, or else that it has been placed there by your enemies.

Bertie Wooster: I’ll have you know, Jeeves, that I bought this in Cannes!

Jeeves: And wore it, sir?

Bertie Wooster: Every night at the Casino. Beautiful women used to try and catch my eye!

Jeeves: Presumably they thought you were a waiter, sir.

Actually, Jeeves is much more than a valet.  Bertie is a single young man, and the time is the 1930’s when servants are becoming few and far between.  So Bertie only has one servant.  Jeeves is cook, butler, driver, valet, and guardian angel.  Jeeves knows everything. (The search engine “Ask” was originally named “Ask Jeeves”). In his spare time, Jeeves reads Shakespeare and Spinoza, and can come up with a pithy quote for every occasion.

P. G. Wodehouse wrote about Jeeves and Wooster all through his long writing career, over a span of 59 years.  Jeeves’s first appearance was in 1915 and his last in 1974, the year before the author’s death. During that time, ideas about the master/servant relationship changed dramatically.

World War I brought about the greatest change.  As in Downton Abbey, servants often accompanied aristocratic officers to the battlefield.  In the story, footman William accompanies Matthew Crawley to the trenches.

During the war, it became clear to everyone that servants faced battle with at least as much courage as their social betters.  In fact, true or not, there was a popular idea that aristocrats were much more likely to be victims of what was then called “shell-shock.”  The number of servants employed in Britain went from about a million and a half before the war to just over a million afterwards.  Those who returned from the fighting often sought better opportunities.  Wealthy families had less money to keep up their estates, too. And lampooning the rich made P.G. Wodehouse extremely popular.

One of the pleasures of watching British films is trying to recognize film locations.  One episode of Jeeves and Wooster, “Trouble at Totleigh Towers,” was filmed at–you can probably guess–Highclere, the location for Downton Abbey.  All the more reason to visit sometime!

Join me next time for more explorations into the art, literature and history of Europe and the British Isles.

Why Do Americans Love Downton Abbey?

I can’t speak for everyone, but I like the show for the sheer Englishness of it.  The show actually depicts a long-vanished England, so there’s an element of nostalgia, too.  And the England depicted never did really exist except for a very tiny minority of aristocratic people and the comparatively small number of ordinary people who served them in their grand country homes.  So there’s a large element of fantasy.

Even today, as England becomes more and more diverse, I love the uniquely English expressions, habits and ways of looking at the world. For example, here is a sign that stands outside the very old, very ornate gate of the private driveway of Chatsworth House, in Derbyshire:

DeadSlowHoot

The hand-lettered sign reads “Dead Slow. Hoot.”  What does it mean?  I could not think of any legitimate reason that as a lowly tourist, I could drive up to the private gate and demand entry.  But I think the sign means that drivers are to approach the gate as slowly as humanly possible, and then  to sound their horns to be let in.  The word “Hoot” implies, of course, a decorous tap, not a prolonged blast. Apparently there is no automatic opener and no card-recognition system on the 18th-century gate.  Someone will have to run out, confer with the driver, and swing the gate open.

Notice also the gathering of people and animals beside the gate.  The wearing of practical rain gear and the watering of dogs are hallowed activities in the countryside of England. So is the visiting of stately homes–it has been a favorite pastime at least since the days of Jane Austen.  In Pride and Prejudice, Elizabeth Bennet famously changes her fate when against her better judgment she tours Mr. Darcy’s estate, Pemberly, and comes face to face with Mr. Darcy himself. Many people believe that Jane Austen based Pemberly on Chatsworth House.

I just read that the “real” Downton Abbey, Highclere Castle, is completely sold out of pre-bookable tickets for the coming opening times, mid-July to mid-September.  There are some tickets available to walk-ups, usually after 2 pm.  However, if I were traveling to England this summer, I would not let that worry me. I would go instead to Chatsworth House, and then I would go to at least a dozen other stately homes.  They’re all over England, and each has its own story every bit as fascinating as the fictional one so many of us love.

I’m going to write in coming posts about English country houses I have visited.  Join me next time for more explorations into the art and history of Europe–with the British Isles thrown in!

Native Americans at the Vatican

Remember the ditty, “In fourteen hundred and ninety-two, Columbus sailed the ocean blue?” Two years after Christopher Columbus’s  voyage, in the year 1494, the Renaissance artist Pinturicchio apparently added images of the Native Americans described by Columbus to a fresco in the Vatican.

Detail of fresco showing Native Americans

Detail of fresco showing Native Americans

News reports vary.  Either the images were more or less overlooked for the past 500 years, or they were uncovered in a recent cleaning of the fresco. The images are difficult to see.  They appear at the top of the open tomb.

Pinturicchio "Resurrection of Christ"

Pinturicchio “Resurrection of Christ”

The fresco, titled “Resurrection of Christ,” was commissioned for the rooms to be occupied by the newly-elected Pope Alexander VI.  This Pope was the former Spanish cardinal Rodrigo Borgia, so his rooms came to be called the “Borgia Apartments.” All the great powers in Europe at the time were much interested in the so-called “New World.” Of course, we now know that a big part of the interest in “the New World” was in exploiting the people and the riches to be found there.  But seeing this fresco gives us a little insight into the excitement in Europe over the new discoveries.

I first read about this discovery in The New York Times, http://artsbeat.blogs.nytimes.com/2013/05/06/early-images-of-american-indians-found-in-a-vatican-fresco/. I have to thank Kathy Schiffer, in her blog “Seasons of Grace,” for coming up with the full image of the fresco.  Her article is at http://www.patheos.com/blogs/kathyschiffer/2013/04/first-ever-painting-of-native-americans-discovered-in-the-vatican/.

The year before last, I was lucky enough to be in Rome just when the Vatican Museums were first open on Friday evenings from 7 to 11 pm.  All the daytime tourists leave, another long line forms, and at 7pm the doors open again.  The museums do fill up, of course, but things are much less crowded than during the day.  This program has been expanded; it now runs from May 3 to July 26, and again from September 6 to October 25.  I hope to be there again on a Friday night before too long!

Join me next time for more explorations in the art and history of Europe!

“Nice Fish” at Guthrie Theater

One of the best things about travel is making connections between things that seem unrelated.  For instance, last night I saw the play “Nice Fish” at the Guthrie Theater in Minneapolis and found myself thinking about Ludwig II of Bavaria. I’ll explain!

First, about the play: the wonderful actor Mark Rylance introduced large television audiences to the work of Duluth poet Louis Jenkins (who has been featured reading his prose poems on Garrison Keillor’s Prairie Home Companion, among other places). In 2008, while accepting his Tony award, Mr. Rylance did a hilarious deadpan recitation of a poem about the wearing of uniforms. You can watch the speech at http://www.youtube.com/watch?v=TU9iCgGDjRI.

Louis Jenkins emailed him, and soon the two men were collaborating on what eventually became the play “Nice Fish.”

NiceFishPosterIn the play, two men share an afternoon on a frozen Minnesota lake–a time-honored pastime in these parts.  The actors are Mark Rylance himself, on the right, and Jim Lichtscheidl on the left. Besides co-writing the play, Mr. Rylance also directed, along with his wife, Claire Van Kampen.

In the course of a long freezing afternoon, they encounter an insanely officious game warden. Then things turn surreal with the appearance of three figures from Germanic myth–sort of.   There’s an alluring young girl who pops out of a fishhouse in a bikini. She later changes into a festive prom-like party dress and teaches the lovestruck Ron to waltz.

Mark Rylance’s character can hardly believe his good fortune when she seems to fall in love with him, but she confides that Wayne, the owner of the fishhouse, is her sort-of boyfriend who’s gone off to fetch supplies.  When Wayne returns, roaring onto the ice on a vintage snowmobile, he summons his brother, Wainwright, who acts as his wingman.  Complications ensue.

Mr. Rylance writes in the play’s program that he got the idea of introducing these characters while watching the opera Das Rheingold, by Richard Wagner.  Probably none of us would be watching Wagner operas if Ludwig II of Bavaria had not decided to be Richard Wagner’s patron.  I’ve written about Ludwig’s awe-inspiring grotto at Linderhof Castle, constructed as his personal theater for private performances of Wagner’s operas.

Ludwig's Grotto

Ludwig’s Grotto

Having arrived just before curtain time, I watched the entire play without reading the program notes.  So I didn’t know that Flo was a stand-in for Freya, the Norse goddess of eternal youth.  I didn’t know that Wayne and Wainwright were stand-ins for the giants who kidnapped Freya. (The plot of Das Rheingold, involving a magical ring, also provided some of the inspiration for J. R. R.  Tolkien’s The Hobbit and The Lord of the Rings). I doubt most of the audience around me cared much about the underlying myths, either.  The show was laugh-out-loud funny and thought-provoking to those of us who thought we were just watching Midwest eccentrics on a frozen lake.  (Yes, the supposedly staid Midwest has plenty of eccentrics–we all have relatives, don’t we?)

The play ends with a hilarious yet touching enactment of aging, death and the afterlife. It has had mixed reviews, including complaints that it is too long.  Personally, I would cheerfully watch Mark Rylance read blizzard school closings for the entire state of Minnesota.  Seeing what he can do as playwright and director is well worth my time any day.  I just might go see the show again before it closes!

Join me next time for more explorations into the art and history of Europe–with connections to modern life.

Moonwalk with Ludwig

"King Ludwig II of Bavaria," Ferdinand Piloty, 1865, Public Domain

“King Ludwig II of Bavaria,” Ferdinand Piloty, 1865, Public Domain

Ludwig II of Bavaria identified with Louis XIV, the Sun King of France. (In German, Ludwig is the same name as Louis).  The trouble was, the French King Louis XIV actually was an absolute monarch who expanded and presided over quite a large and powerful empire.

Louis XIV by Rigaud, Public Domain

Louis XIV by Rigaud, Public Domain

Louis XIV was also a warrior. He actually led his own forces in the battlefield.  Ludwig? Not so much. And he had little interest in the day-to-day work of government. Ludwig was a monarch of the kingdom of Bavaria, which was much smaller and less powerful than France.  Through no real fault of Ludwig’s, Bavaria was more or less eaten up by Germany, under Kaiser Wilhelm I of Prussia, during his reign.  But while Bavarian independence lasted, Ludwig was a much-loved monarch of a proud independent kingdom.

LudwigBed1

He visited Versailles early in his reign.  When he came home, he decided to build a dream home–or maybe two or three or four dream homes.  Linderhof Palace, where he actually spent a lot of time, was designed as a mini-Versailles-for-one.  It is in French Rococo style and has any number of references to the Sun King, including this ceiling medallion in the main entry.

SunMedallion

But Ludwig called himself the Moon King.  He often stayed up all night and slept all day.  He was fond of moonlit sleighrides. Pulled by four white horses, he rode in solitary splendor, enjoying the spectacular Bavarian landscape of mountains, foothills and farms.

During these forays into the countryside, he would often stop and visit with the locals, who adored him.  His life was lonely, but by all accounts at least some of his servants and a few of his peers became loyal and trusted friends.  The movie Ludwig, directed by Luchino Visconti, touchingly describes some of these friendships, which lasted to the untimely end of Ludwig’s life.

Michael Jackson in Vienna, Austria, 1988, Zoran Veselinovic, Creative Commons Attribution Share Alike

Michael Jackson in Vienna, Austria, 1988, Zoran Veselinovic, Creative Commons Attribution Share Alike

If I had to make a modern comparison, I would compare Ludwig IV to Michael Jackson.  I would not want to offend fans of either man by carrying the comparison too far.  But both of them were romantic, idealistic, talented, misunderstood, and wildly famous but still lonely. Both of them died far too early in mysterious circumstances.  And both died accompanied only by their physicians.  Sometimes the past can help us understand the present.

Join me next time for more explorations in the art and history of Europe!

Lunch with Ludwig II

In his dining room at Linderhof Palace, King Ludwig II did not want servants bothering him.  Maybe he wanted to avoid the inefficiencies of dining at his childhood home, Hohenschwangau Castle, a few miles away from Linderhof.  In Hohenschwangau, the kitchen was in a separate building.  When the family  sat down to eat, someone had to stand next to the window.  This servant would wave at another servant stationed at the kitchen window when it was time to bring in the next course.  Then the food had to be carried up a couple of flights of stairs in insulated containers.

Hohenschwangau Castle

Hohenschwangau Castle

When he built his own personal dream home at Linderhof, Ludwig did away with all that nonsense.  He designed a dining table that disappeared through the floor into the kitchen directly below.  I had seen this table, but I couldn’t imagine how it actually worked until I watched Luchino Visconti’s film Ludwig, made in 1972.  There is a scene where Ludwig leans back from finishing one course, and a couple of servants down below crank the table down to restock it.  Sliding panels automatically fill in the space, relieving my worry that poor Ludwig would accidentally fall into his kitchen. It’s a sad scene. The liveried servants down below are making coarse jokes about their employer and guzzling his leftover wine.

No doubt it was always hard to find good help.  Ludwig was probably not the most considerate employer, either. Today, it is possible to peer in through the ground-level kitchen window and see the mechanism that lifts and lowers the table.

The dining room is French Rococo, like the rest of the very small palace. That translates into a lot of carved gilded woodwork, framed mirrors and exquisite porcelain.

With tourists traipsing through the place, the windows are covered with heavy shades to protect the interior.  But Ludwig would have looked out at a very pretty French-styled garden complete with fleur-de-lis flower beds.

LinderhofDiningView

Ludwig’s disappearing table is not large. Today, there is only one throne-like chair.  Ludwig almost always ate all alone.  In fact, there were no guest quarters in the small palace because there were no guests. But according to the guides, Ludwig often had the table set for at least one other person, sometimes two or three.  He liked to chat with some of his imaginary friends, whose portraits appear in the room:  Marie Antoinette, Madame de Pompadour, and Louis IV.

When the Bavarian government finally got fed up with Ludwig’s spending and failure to sit in boring Cabinet meetings, much was made of his unusual habits.  Was having imaginary friends evidence of insanity? Personally, I don’t think so.  I think Ludwig was a man who wanted to create the illusion of being with his favorite people in a perfect world.  For about 22 years of his life, from 1864 to 1886, he had the means to do just that.

Join me next time for more insight into some of the quirky byways in the art and history of Europe!

Ludwig’s Local Starbucks at Linderhof

After the Siege of Vienna by the Ottomans was broken in 1683, the conquering army of Austrians found sacks of Turkish coffee left behind.  Immediately coffee became a popular drink, and coffeehouses sprang up.  Of course, Ludwig was not a sociable man, and he had no use for internet access.  So instead of heading to his local watering hole, he savored his morning coffee in his very own Moorish Kiosk on the grounds of Linderhof Palace.

Moroccan House at Linderhof

Moroccan House at Linderhof

The structure was built for the International Exhibition in Vienna in Paris in 1867.  Ludwig wanted to buy it, but a railroad mogul beat him to the punch.  He had to wait until a little later, when the railroad went bankrupt. The interior is otherworldly, lit mostly by sunlight streaming through stained glass.

Moroccan House Interior

Moroccan House Interior

The most distinctive feature is the Peacock Throne.  Unfortunately, tourists are only allowed to peer into the doorway, so it’s hard to say whether the throne was built for comfort.

Ludwig was always dressed impeccably for any occasion.  History does not record what he wore for his jaunts to his favorite morning coffee spot, but I can use my imagination.

Join me next time for further exploration into quirky corners in the art and history of Europe!

Linderhof: “Mad” King Ludwig’s Real Home

Last fall I was finally able to visit Linderhof Palace, King Ludwig II’s favorite home, at a time when the grotto was open.  I was anxious to see it, especially after watching Luchino Visconti’s very fine film Ludwig, about the life and mysterious death of the notorious Bavarian king.

LudwigPoster

Ludwig built Linderhof as his own personal getaway.  In fact, it was the ultimate bachelor pad.  But he enjoyed the place in solitary splendor; he rarely if ever had visitors.  He built a special music room for his favorite composer, Richard Wagner, but Wagner never saw it. The grounds are breathtaking, and because the palace is quite small, each room looks out onto a beautiful manicured view with pristine mountains in the background.

Linderhof Palace

Linderhof Palace

In Visconti’s 1972 film Ludwig, the king is played by Visconti’s real-life romantic partner and muse, Helmut Berger.

It is hard to say how accurate the life story is.  But it is certain that Ludwig was an eccentric and  dreamy romantic.  His people loved him, but he was not much of a king when it was time to hang the ermine in the closet and get some work done.

One of Ludwig’s very few friends was his cousin, the Austrian Empress Elisabeth, nicknamed Sisi. She was famously married to the Emperor when she was only 15, and spent the rest of her life wanting out.  She is played by Romy Schneider (who also played Sisi in the very silly but entertaining semi-fictional series of Sissi movies).

The grotto was built up the hill behind the castle.  The entrance looks like a fort a very ambitious child might build.

GrottoEntry

But the grotto itself is as jaw-droppingly weird and beautiful as it was in Ludwig’s day.  He had Wagner’s operas performed inside for his own personal pleasure.  The water was heated, so that he could swim in it if he tired of being rowed around in his gilded shell boat.  And the lighting could change colors depending on his mood, or the mood of the opera scene.

Ludwig's Grotto

Ludwig’s Grotto

The grotto is still festooned with the floral swags that Visconti’s movie crew put up.  The film has a fantastic scene where an Austrian actor is taken into the grotto to meet Ludwig, who wants him to recite dramatic speeches 24/7.  Helmut Berger, as Ludwig, floats out of the gloom in his shell boat, wearing a dark overcoat and a black Homburg–with an enormous diamond brooch pinned to the side. He fixes the actor with an imperious, piercing stare. The actor tries hard to be Ludwig’s New Best Friend, but the friendship ends badly and Ludwig is alone again.

Nearby Neuschwanstein and Hohenschwangau Castles are justly famous, but they are overrun with tourists.  Armed with a Bavarian Castles Pass, I actually went to Linderhof twice during my last trip.  One day it was rainy, the next it was sunny.  I can’t say I had the place to myself, but there was time and space enough to ponder the mysterious life of Ludwig.

Join me next time for more explorations in the art and history of Europe!

How Brunelleschi Gave Us Perspective

Filippo Brunelleschi, the genius who figured out how to build the spectacular octagonal dome of the Florence Cathedral, is often credited with inventing linear perspective around 1420.  Actually, his great rival Lorenzo Ghiberti would beg to differ.  So would the Arab mathemetician known as Alhazen, who lived around 965-1040.  A copy of Alhazen’s work on the subject, with notes by Ghiberti, is in the Vatican Library.  The ancient Greeks and Romans had the knowledge too, but it was lost in the Middle Ages.  So Brunelleschi’s work was really more of a rediscovery.

What exactly is linear perspective?  It is the technique of making an image in two dimensions–a flat surface–appear to be in three dimensions, with depth.  As a not-very-good, self-taught painter, I’m always looking for ways to make my paintings less bad.  Awhile ago, I bought a kit that promised to help me:

Linear Perspective Kit

Linear Perspective Kit

The kit consists of various frames and grids.  If I had the patience to actually work with the kit, I could create more realistic paintings by establishing a vanishing point, a horizon line, and accurate diagonals.  While writing about Filippo Brunelleschi, I realized that the illustration on the cover of my kit depicts the master’s famous demonstration of linear perspective.  The building shown on the cover is the Baptistery of Florence.

Florence Baptistery

Florence Baptistery

The hexagonal building stands directly across from the Florence Duomo. Brunelleschi stood in the doorway of the still-unfinished cathedral.  Using the rediscovered calculations and techniques of perspective, he painted a very accurate picture of the Baptistery.  (We could take a photo, but there were no cameras in his day). Then he poked a hole in the canvas and looked through the back of the canvas at a mirror.  When he quickly moved the mirror away, the viewer could see how accurate the painting was.  Very quickly, every Renaissance painter worth his salt began using the technique.  It was part of the new realism that swept the art world after centuries of art that was much more symbolic than realistic.

The Baptistery was constructed sometime between 1059 and 1128.  Right up into the 19th century, this was the place every Florentine Catholic was baptized. In about 1400, new doors were needed.  The city fathers held a competition for the plum job of creating bronze doors for this very important building.  Brunelleschi was 21 at the time; Ghiberti was barely 20.  The younger pup won.  Ghiberti ended up working on these doors, plus a subsequent set, for pretty much the rest of his life.  It took him 20 years to finish the first set of doors and 25 more years for the next set.

Brunelleschi was disappointed; this may have been one reason he turned his talents to architecture and design.  Personally, I think he was lucky he lost this competition. It enabled him to enter and win the one for the cathedral dome.  Both men became famous and had illustrious, well-paid careers.  But today, it is hard to fully appreciate Ghiberti’s work even when standing right in front of the doors.  We’ve lost our taste for intricate bronze reliefs.  Brunelleschi, on the other hand, got to spend 16 years on a complex project in the open air of Florence, while everyone in the city discussed and admired his work.  Today, every visitor can admire the Duomo from countless vantage points in and around the city.

The most famous image of Brunelleschi is a large statue that shows him gazing up at the crowning achievement of his life, the dome of the cathedral.

Photo by Richardfabi, released to public domain

Photo by Richardfabi, released to public domain

Leonardo da Vinci remarked, “Perspective is the rein and rudder of painting.”  Now, maybe I had better get that kit off the shelf and get to work painting.

Join me next time for more explorations into the art and history of Europe!