Renowned for her sharp literary style, essayist and fiction writer Mary McCarthy offers a unique history of Florence, from its inception to the dominant role it came to play in the world of art, architecture, and Italian culture, that captures the brilliant Florentine spirit and revisits the legendary figures—Dante, Michelangelo, Machiavelli, and others—who exemplify it so iconically. Her most cherished sights and experiences color this timeless, graceful portrait of a city that's as famous as it is alluring.
|Publisher:||Houghton Mifflin Harcourt|
|Edition description:||First Edition|
|Product dimensions:||5.31(w) x 8.00(h) x 0.65(d)|
About the Author
MARY MCCARTHY (1912–1989) was a short-story writer, bestselling novelist, essayist, and critic. She was the author of The Stones of Florence and Birds of America, among other books.
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The Stones of Florence
By Mary McCarthy
OPEN ROAD INTEGRATED MEDIACopyright © 1963 Mary McCarthy
All rights reserved.
'How can you stand it?' This is the first thing the transient visitor to Florence, in summer, wants to know, and the last thing too—the eschatological question he leaves echoing in the air as he speeds onto Venice. He means the noise, the traffic, and the heat, and something else besides, something he hesitates to mention, in view of former raptures: the fact that Florence seems to him dull, drab, provincial. Those who know Florence a little often compare it to Boston. It is full of banks, loan agencies, and insurance companies, of shops selling place mats and doilies and tooled-leather desk sets. The Raphaels and Botticellis in the museums have been copied a thousand times; the architecture and sculpture are associated with the schoolroom. For the contemporary taste, there is too much Renaissance in Florence: too much 'David' (copies of Michelangelo's gigantic white nude stand on the Piazza della Signoria and the Piazzale Michelangelo; the original is in the Academy), too much rusticated stone, too much glazed terracotta, too many Madonnas with Bambinos. In the lacklustre cafés of the dreary main piazza (which has a parking lot in the middle), stout women in sensible clothing sit drinking tea, and old gentlemen with canes are reading newspapers. Sensible, stout, countrified flowers like zinnias and dahlias are being sold in the Mercato Nuovo, along with straw carryalls, pocketbooks, and marketing baskets. Along the Arno, near Ponte Vecchio, ugly new buildings show where the German bombs fell.
Naples is a taste the contemporary traveller can understand, even if he does not share it. Venice he can understand ... Rome ... Siena. But Florence? 'Nobody comes here any more,' says the old Berenson, wryly, in his villa at Settignano, and the echoing sculpture gallery of the Bargello bears him out; almost nobody comes here. The big vaulted main hall seems full of marble wraiths: San Giorgio, San Giovanni, San Giovannino, the dead gods and guardians of the city. The uniformed modern guards standing sentinel over the creations of Donatello, Desiderio, Michelozzo, Luca della Robbia, Agostino di Duccio have grown garrulous from solitude, like people confined in prison: they fall on the rare visitor (usually an art historian) and will scarcely let him go. The Uffizi, on the contrary, is invaded by barbarian hordes from the North, squadrons of tourists in shorts, wearing sandals or hiking shoes, carrying metal canteens and cameras, smelling of sweat and sun-tan oil, who have been hustled in here by their guides to contemplate 'Venus on the Half-Shell'.
'Il Diluvio Universale,' observes a Florentine, sadly, punning on the title of Paolo Uccello's fresco (now in the Belvedere). There is no contradiction. 'Nobody comes here any more' is simply the other side, the corollary, of the phenomenon of mass tourism—the universal deluge. The masses rush in where the selective tourist has fled. Almost nobody comes to see Donatello's 'David' in the Bargello, the first nude statue of the Renaissance, or San Giorgio or San Giovannino, Donatello's also, or the cantorias of dancing children in the Museum of the Works of the Duomo, but Michelangelo and Cellini, partly, no doubt, because of vaguely sensed 'off-colour' associations, draw crowds of curiosity-seekers. Florence is scraping the bottom of the tourist barrel. And the stolid presence of these masses with their polyglot guides in the Uffizi, in the Pitti, around the Baptistery doors and the Medici Tombs, in the cell of Savonarola and the courtyard of Palazzo Vecchio is another of the 'disagreeables', as the Victorians used to call them, that have made Florence intolerable and, more than that, inexplicable to the kind of person for whom it was formerly a passion. 'How can you stand it?'
Florence is a manly town, and the cities of art that appeal to the current sensibility are feminine, like Venice and Siena. What irritates the modern tourist about Florence is that it makes no concession to the pleasure principle. It stands four-square and direct, with no air of mystery, no blandishments, no furbelows—almost no Gothic lace or baroque swirls. Against the green Arno, the ochre-and-dun file of hotels and palazzi has the spruce, spare look of a regiment drawn up in drill order. The deep shades of melon and of tangerine that you see in Rome, the pinks of Venice, the rose of Siena, the red of Bologna have been ruled out of Florence as if by municipal decree. The eye turns from mustard, buff, écru, pale yellow, cream to the severe black-and-white marbles of the Baptistery and of Santa Maria Novella's façade or the dark-green and white and flashing gold of San Miniato. On the Duomo and Giotto's bell tower and the Victorian façade of Santa Croce, there are touches of pink, which give these buildings a curious festive air, as though they alone were dressed up for a party. The general severity is even echoed by the Florentine bird, which is black and white—the swallow, a bachelor, as the Florentines say, wearing a tail coat.
The great sculptors and architects who stamped the outward city with its permanent image or style—Brunelleschi, Donatello, Michelangelo—were all bachelors. Monks, soldier-saints, prophets, hermits were the city's heroes. Saint John the Baptist, in his shaggy skins, feeding on locusts and honey, is the patron, and, except for the Madonna with her boy-baby, women saints count for little in the Florentine iconography. Santa Reparata, a little Syrian saint, who once was patron of the Cathedral, was replaced by the Madonna (Santa Maria del Fiore) early in the fifteenth century. The Magdalen as a penitent and desert-wanderer was one of the few female images, outside of the Madonna, to strike the Florentine imagination; Donatello's gaunt sculpture of her stands in the Baptistery: a fearsome brown figure, in wood, clad in a shirt of flowing hair that surrounds her like a beard, so that at first glance she appears to be a man and at second glance almost a beast. Another of these hairy wooden Magdalens, by Desiderio, is in the church of Santa Trinita. Like these wild creatures of the desert, many of the Florentine artists were known for their strange ascetic habits: Paolo Uccello, Donatello, Piero di Cosimo, Michelangelo, Pontormo. When he was doing a statue of Pope Julius II in Bologna, Michelangelo, though an unsociable person, slept four to a bed with his workmen, and in Rome, so he wrote his relations, his quarters were too squalid to receive company.
Many Florentine palaces today are quite comfortable inside and possess pleasant gardens, but outside they bristle like fortresses or dungeons, and, to the passing tourist, their thick walls and bossy surfaces seem to repel the very notion of hospitality. From the Grand Canal, the Venetian palaces, with their windows open to the sun, offer glimpses of sparkling chandeliers and painted ceilings, and it is not hard for the most insensitive tourist to summon up visions of great balls, gaming, love-making in those brilliant rooms. The Florentine palaces, on the contrary, hide their private life like misers, which in fact the Florentines are reputed to be. Consumption is not conspicuous here; an unwritten sumptuary law seems to govern outward display. The famous Florentine elegance, which attracts tourists to the shops on Via Tornabuoni and Via della Vigna Nuova, is characterized by austerity of line, simplicity, economy of effect. In this spare city, the rule of nihil nimis prevails. A beggar woman who stands soliciting in front of Palazzo Strozzi, when offered alms a second time in the same day, absently, by another Florentine, refuses: 'No. You gave me before.' Poverty has its own decorum; waste is frowned on. This is a city of endurance, a city of stone. A thing often noticed, with surprise, by foreigners is that the Florentines love their poor, for the poor are the quintessence of Florence—dry in speech, frugal, pessimistic, 'queer', disabused. 'Pazienza!' is their perpetual, shrugging counsel, and if you ask them how they are, the answer is 'Non c'è male'. 'Not so bad'. The answer to a favourable piece of tidings is 'Meno male', literally, 'less bad'. These people are used to hardship, which begins with a severe climate and overcrowding.
The summers are the worst. The valley of the Arno is a natural oven, in which the city bakes, almost without relief, throughout July and August. Venice has the sea; Rome has a breeze and fountains; Bologna has arcades; Siena is high. But the stony heat of Florence has no extenuation. Some people pretend that it is cooler in Fiesole or near the Boboli Garden, but this is not true, or at least not true enough. For the populace and the tourists, the churches are the only refuge, except for UPIM, the local five-and-ten (a Milanese firm), which is air-cooled, and for an icy swimming pool, surrounded by a flower garden, in the Tennis Club of the Cascine that few tourists hear about and that the native population, on the whole, cannot afford. The Boboli Garden is too hot to walk in until sunset, which is the time it closes. In some Italian cities, the art galleries are cool, but the Uffizi, with its small rooms and long glassed-in corridors, is stifling, and the Pitti stands with wings extended in a glaring gravel courtyard, like a great brown flying lizard, basking in the terrible sun. Closed off, behind blinds and shutters, the city's inhabitants live a nocturnal life by day, like bats, in darkened rooms, wanly lit for the noon meal by electricity. At seven o'clock in the evening, throughout the city, there is a prolonged rumble that sounds as if it were thunder; the blinds are being rolled up to let in the exhausted day. Then the mosquitoes come.
For the tourist, it is too hot, after ten o'clock in the morning, to sight-see, too close, with the windows shut and the wooden blinds lowered, to sleep after lunch, too dark to read, for electricity is expensive, and the single bulb provided for reading in most Florentine hotels and households is no brighter than a votive candle. Those who try to sight-see discover the traffic hazard. The sidewalks are mere tilted rims skirting the building fronts; if you meet a person coming towards you, you must swerve into the street; if you step backward onto the pavement to look up at a palace, you will probably be run over. 'Rambles' through Florence, such as the old guidebooks talk of, are a funny idea under present conditions. Many of the famous monuments have become, quite literally, invisible, for lack of a spot from which they can be viewed with safety. Standing (or trying to stand) opposite Palazzo Rucellai, for example, or Orsanmichele, you constitute a traffic obstruction, to be bumped by pedestrians, honked at by cars, rammed by baby carriages and delivery carts. Driving a car, you are in danger of killing; walking or standing, of being killed. If you walk, you curse the automobiles and motor-scooters; if you drive, you curse the pedestrians—above all, old women, children, and tourists with their noses in maps or guidebooks.
A 'characteristic' Florentine street—that is, a street which contains points of touristic interest (old palaces, a Michelozzo portal, the room where Dostoievski finished The Idiot, et cetera)—is not only extremely narrow, poor, and heavily populated, lined with florists and greengrocers who display their wares on the strip of sidewalk, but it is also likely to be one of the principal traffic arteries. The main route today from Siena and Rome, for example, is still the old Roman 'way', the Via Romana, which starts at the old arched gate, the Porta Romana (1326; Franciabigio fresco in the archway), bends northeast, passing the gardens of the Annalena (suppressed convent) on the left and the second gate of the Boboli on the right, the church of San Felice (Michelozzo façade) on the left again, to the Pitti Palace, after which it changes its name to Via Guicciardini, passes Palazzo Guicciardini (birthplace of the historian), the ancient church of Santa Felicita ('Deposition' by Pontormo inside, in a Brunelleschi chapel), and continues to Ponte Vecchio, which it crosses, changing its name again to Por Santa Maria and again to Calimala before reaching the city centre. The traffic on Via Romana is highly 'characteristic'. Along the narrow sidewalk, single file, walks a party of Swiss or German tourists, barelegged, with cameras and other equipment hanging bandoleer-style from various leather straps on their persons; clinging to the buildings, in their cleated shoes, they give the effect of a scaling party in the Alps. They are the only walkers, however, who are not in danger of death. Past them flows a confused stream of human beings and vehicles: baby carriages wheeling in and out of the Boboli Garden, old women hobbling in and out of church, grocery carts, bicycles, Vespas, Lambrettas, motorcycles, topolinos, Fiat seicentos, a trailer, a donkey cart from the country delivering sacks of laundry that has been washed with ashes, in the old-fashioned way, Cadillacs, Alfa-Romeos, millecentos, Chevrolets, a Jaguar, a Rolls-Royce with a chauffeur and a Florence licence plate, bands of brawny workmen carrying bureaus, mirrors, and credenzas (for this is the neighbourhood of the artisans), plumbers tearing up the sidewalk, pairs of American tourists with guidebooks and maps, children, artists from the Pensione Annalena, clerks, priests, housemaids with shopping baskets stopping to finger the furred rabbits hanging upside down outside the poultry shops, the sanitation brigade (a line of blue-uniformed men riding bicycles that propel wheeled platforms holding two or three garbage cans and a broom made of twigs), a pair of boys transporting a funeral wreath in the shape of a giant horseshoe, big tourist buses from abroad with guides talking into microphones, trucks full of wine flasks from the Chianti, trucks of crated lettuces, trucks of live chickens, trucks of olive oil, the mail truck, the telegraph boy on a bicycle, which he parks in the street, a tripe-vendor, with a glassed-in cart full of smoking-hot entrails, outsize Volkswagen station wagons marked 'U.S. Forces in Germany', a man on a motorcycle with an overstuffed armchair strapped to the front of it, an organ-grinder, horse-drawn fiacres from the Pitti Palace. It is as though the whole history of Western locomotion were being recapitulated on a single street; an airplane hums above; missing only is the Roman litter.
But it is a pageant no one can stop to watch, except the gatekeeper at the Boboli, who sits calmly in his chair at the portal, passing the time of day. In his safe harbour, he appears indifferent to the din, which is truly infernal, demonic. Horns howl, blare, shriek; gears rasp; brakes squeal; Vespas sputter and fart; tyres sing. No human voice, not even the voice of a radio, can be distinguished in this mechanical babel, which is magnified as it rings against the rough stone of the palaces. If the Arno valley is a natural oven, the palaces are natural amplifiers. The noise is ubiquitous and goes on all day and night. Far out, in the suburbs, the explosive chatter of a Vespa mingles with the cock's crow at four in the morning; in the city an early worker, warming up his scooter, awakens a whole street.
Everyone complains of the noise; with the windows open, no one can sleep. The morning paper reports the protests of hotel-owners, who say that their rooms are empty: foreigners are leaving the city; something must be done; a law must be passed. And within the hotels, there is a continual shuffling of rooms. Number 13 moves to 22, and 22 moves to 33, and 33 to 13 or to Fiesole. In fact, all the rooms are noisy and all are hot, even if an electric fan is provided. The hotel-managers know this, but what can they do? To satisfy the client, they co-operate with polite alacrity in the make-believe of room-shuffling. If the client imagines that he will be cooler or quieter in another part of the hotel, why destroy his illusions? In truth, short of leaving Florence, there is nothing to be done until fall comes and the windows can be shut again. A law already exists forbidding the honking of horns within city limits, but it is impossible to drive in a city like Florence without using your horn to scatter the foot traffic.
Excerpted from The Stones of Florence by Mary McCarthy. Copyright © 1963 Mary McCarthy. Excerpted by permission of OPEN ROAD INTEGRATED MEDIA.
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Most Helpful Customer Reviews
To some extent, “The Stones of Florence “ is not only the history of a special town, but also that of the history of art and architecture. Some of the familiar names include Brunelleschi, Michelangelo and Cellini. Illustrations would have made this book even better, but with the help of GoDuckGo (c), I was able to research and enjoy some of these works of art, even if I cannot see them in person.
Mary McCarthy didn¿t just love Florence, she truly knew it. The good, the bad, the ugly, the downright sad, she observed it all, and The Stones of Florence is her report on the city. The book is not for the faint of heart, as it is as complicated as the history of the city itself. There is no seemingly obvious structure, with history and art intermingled throughout the book. Each chapter has a major theme, such as how Florence is not tourist-friendly, the sculpture, the paintings, the architecture. But she seems to meander in her chapters, ostensibly without a goal in mind, other than to present the city as she saw it. Since the book was written in the 1950s, I suspect that some of what she saw might be different over half a century later. The Stones of Florence is not a travel guide, a history lesson, or a discussion of Florentine art. Other books must be consulted for that information. Instead, it is an essay on the city, written by a perceptive spectator who appreciated the beauty of what she saw. I don¿t know if I will see the same things in Florence that she did. However, I suspect that I will return to the book upon our return from the city. Only time will tell.
A little dry in places but interesting all the same. Recommend it.