Florence is drowning
The Shock of Overtourism
9/20/20255 min read
Unlike Venice , where the waters are definitely rising, the River Arno continues to flow through Florence at a steady rate. But nonetheless , Florence is under threat. Exactly fifty years ago, we visited this stunning city, resplendent with its Renaissance art and buildings. Last weekend we returned to Florence for the final leg of our holiday in Italy. But what on earth has happened in the meantime? From the very second that we emerged into daylight from the underground car park, we were engulfed by people. For sure , Florence is drowning under a constant influx of tourists, who jostle and crowd the streets, and fill all the cafés, bars, and the ubiquitous sandwich shops. There are so many people that it is impossible to view properly, the beautiful architecture that surrounds us.
It was my big dream to revisit 'The Uffizi' and view Botticelli 's 'Birth of Venus' once more. But would the increased pressure of visitors to this famous museum, ruin the occasion? Our son had a good idea. We duly bought the first entry tickets for that day, starting at 8.15a.m. In that way we should be able to avoid the crowds. Even better, B. suggested that we leave our flat at 6a.m. in order to explore the streets in peace and quiet. This proved to be a brilliant idea. As we strolled towards the river, the crowds that had thronged the streets around The Duomo the day before, were nowhere to be seen. Only the occasional morning jogger, one or two tourists like ourselves, and a rubbish collection van crossed our path. And what a beautiful city met our eyes, for now we could fully enjoy the beautiful arcades, the coloured facades, carved doorways and marble statues that make Florence so utterly special and unique.
Only a few pigeons were there to share our view of a deserted Ponte Vecchio.
As the entry time for our visit to the Uffizi grew near, we noticed that the skies over the River Arno were growing lighter. A rowing crew passed beneath us . Already tourists were out and about and the streets began to fill up. Alas ,we spotted a small queue under the arcades of the Uffizi complex, , waiting to enter the museum along with us. But not to worry, we told ourselves, they would soon disperse over those vast and beautiful corridors. What's more, as soon as we were admitted, I knew exactly where to go . Botticelli's' Birth of Venus' occupied a large room at the very end of the corridor. Ignoring the earliest exhibition rooms, we would press ahead, and leave the crowds d behind.
Part of the pleasure of being in the Uffizi is derived from the building itself, with its secret views over Florence , its ornate ceilings and broad tiled corridors. For a while we had these completely to ourselves.
But when we got to our destination, we had a shock in store; there was no Botticelli to be seen.
There were two possibilities to consider. Either, my memory had played me false, or the Botticelli collection had been moved. As we retraced our footsteps , we realised with despair that a room further back now did indeed house the Botticelli painting that I most wished to see. However, when we saw the crowds that were fighting to even get through the door, we turned on our heels. Indeed, I count myself extremely privileged to have once stood in a room alone with this painting. I couldn't bear to see it in a different state, and half wonder what Venus herself must feel about these daily intrusions.
I confess that we did not stay long in the Uffizi after that. Whilst one cannot fail to be impressed by the beauty of Renaissance art, there are only so many nativities and crucifixions that one person can appreciate at any one time. Of all the biblical scenes that I saw , one painting appealed to me above all. I confess that I have no artistic training, but I always love to see examples where the artist has diverged from the stylism of the times, and introduced a sense of himself and the people around him. This triptych by Nicholas Froment, a French artist of the fifteenth century, rather amused me. The third panel is entitled 'Supper in the Pharisee's House.' Just look at the faces of the people who are surrounding Jesus. So utterly believable , one might still see them today, wandering around Nicholas Froment's native Uzès.
It goes without saying that just about every work of art we saw that day had been executed by a man. And so it may not surprise you to learn that before we left, we enquired as to where we could view the art of the seventeenth century female painter Artemisia Gentileschi. Two floors below, far away from the crowds, we were delighted to discover some paintings by this baroque artist as well as paintings by Caravaggio who led the way with this theatrical style. Her gruesome, yet moving painting entitled ' Judith Slaying Holofernes' will remain with me for ever.
