Final reflections of my semester study abroad in Italy

I thought that this would be the easiest piece for me to write, but it’s turning out to be the most challenging.  I hardly know where to begin. I was not sure I would even be able to go on this study abroad for 3 months, mostly in part to a family crisis that happened in the previous Fall semester that almost ended up being a tragedy. I will explain more about that in a bit. Ultimately, it made me appreciate and savor my experiences in Italy - the good and the “could’ve been better” - all the more. This was one of those big opportunities in life that I had at my grasp to make the most of, and I didn’t want to take a single moment for granted.

Over a year ago, when my philosophy professor first told me about this “experimental” 3-month study abroad that Armstrong was going to be trying out with the Dante Alighieri Institute in Siena - a school they had partnered with in the past for shorter programs - I knew immediately that this was something I wanted to do and for the next few months, I continued to think about it, even in the midst of getting ready to do a 2-week study abroad in France.

My last spring semester went by fairly smoothly, and I felt rewarded by ending another grueling semester successfully with my 4.0 GPA still intact by going on a study abroad trip to France. It felt deserved, and I was also going with several good friends and a few other acquaintances from French class. It was a fairly large group - 13 of us, plus our professor - but we had a great chemistry among us and bonded enough that I believe several of us will be friends for a long time; maybe even beyond our days at Armstrong.

I started the summer off equally well. Immediately after returning from France, I departed for Los Angeles where I would begin a coveted summer internship with a production company founded by producers and executives who had worked for the biggest Hollywood studios and won major awards for their film and TV projects. I completed it successfully (with a job offer on the table post-graduation), came back to Savannah to enjoy the rest of the summer with my boyfriend, and also to resume the last of my flight training needed to finally earn my long-sought pilot’s license. I received it in August near the end of the summer. It was another hugely important lifetime goal that I had successfully achieved for myself in 2016, but the year was not over.

As well as the first half of 2016 went for me, the second half went in nearly the complete opposite direction; it was almost a disaster. Very early morning on September 26th, I woke up to a text notification from my sister that my only brother and youngest sibling, Vincent, had been in a catastrophic flight accident while piloting a small aircraft. He sustained severe injuries, and it was not certain if he would even make it past the next couple of days. I immediately flew to Jackson, MS, and sat in between two other passengers with tears silently streaming, unsure if my brother would even be alive when I got there.

To shorten what could become a longer story, my brother pulled through. Despite the ordeal of severe blood loss, multiple internal broken bones, a developing systemic infection, and ultimately a right leg below-the-knee amputation, my tough younger brother survived, and he did so despite refusing to accept a strongly urged blood transfusion. It had almost become a nightmare for us all. The ordeal wasn't over for him or any of us who had stayed close by his side for several months, but he made it through the worst and so had we. Due to the crisis, however, I had to drop two classes so that I could stay near my brother and help out the rest of my family to support him. It had also taken a toll on us financially. At the encouragement of friends, I later created and promoted a GoFundMe campaign for Vincent to help raise money for him and my parents with social media community funding. After all of this, I had serious doubts that I would be able to go to Italy. Not after everything my family had sacrificed, including my boyfriend with his help getting me back and forth from Savannah to Jackson, and most of all, knowing what my brother would be facing with the stark reality of his new circumstance.

Once I realized he was on his way physically and that the rest of my family might be ok as well, I started to consider my own life, and I began to think about Italy again. After several conversations with my professor who was directing and coordinating the program, I bit the bullet, and I made my first deposit. I was committed.

Around that time, the general campaign for the Presidency had come to a close, and Donald Trump was elected. Fast-forwarding a couple of months, I began my journey to Italy on January 20th, the date of Trump’s inauguration. My first few months in Italy would be his first few months as President.

I’ve covered a lot of the details about my various travels within Italy as well as outside it when I traveled briefly to Greece and Switzerland in addition, but I wanted to follow up with some of the highlights of my time there in this final reflection.

It has always been one of my biggest dreams to visit Italy. There are many places still that I would love to see, and I’ve already been able to knock a few off my traveling wish list. However, Italy was at the top. It is the country I’m the most closely connected to because of my ancestry and also because of the fascinating and complicated (even controversial) history it has as a world leader in art, science, and civilization.

I have always been a fan of the Renaissance Age and, in particular, Leonardo da Vinci. I admire how he has always been the foremost historical figure at the intersection of art and science. He is known not only for painting masterpieces such as The Vitruvian Man and Mona Lisa but also for being an early engineer of sorts, with sketches of his found that show prototype designs for aviation machines. In many ways, I have tried to model my own life to be the same way. In my social networks, I am known for being an actress and artist and in more recent years, a writer, but I am also known as an aspiring pilot and aviation and space science enthusiast. I actually had serious considerations about pursuing aerospace engineering or physics, but due to some life circumstances (and an intense 4-week pre-calculus course that didn’t go as well as I’d hoped), I decided to instead pursue an English/Professional Communications major and maybe make my contributions to science by developing writing and filming projects inspired by scientific topics, thereby doing my part to increase public enthusiasm and support, especially for the aerospace sciences.

During my art history and appreciation course, I learned how art and science complimented each other with Renaissance artists like Michelangelo, Leonardo, and Botticelli inserting “codes” for other artists within their paintings to show what they had discovered about the human body after secretively opening up cadavers, which was forbidden by the Catholic Church. For instance, in Botticelli’s La Primavera, behind the Roman goddess, Venus, the leaves of the garden form what appears to be the shape of human lungs. Another example is the Vitruvian Man by Leonardo da Vinci, which is an artistic study of human anatomy and physiology. Finally, there is what may be considered the mostly widely viewed and celebrated masterpiece: the scene of God and Adam with their fingers outstretched and almost touching each other at the center of Michelangelo’s majestic frescoes on the ceiling of the Sistine Chapel in Rome. There is what seems to be the unmistakable outline of a human brain formed by angels and red robes surrounding God. Some theorists have proposed the hypothesis that this scene is symbolic of God, the head of all creation, bestowing intelligence on the first human.

During my anthropology course, which was a study of the history and sociology of Siena, I learned a lot about the Etruscan civilization, which pre-dated and influenced ancient Rome, and it made a big impression on me, especially what I learned about Etruscan women. They enjoyed eating well, dressed extravagantly, and lived freely as equals among the men. I even bought some big bold jewelry while I was there, including a few sets of earrings that were mismatched but still meant to compliment each other. (One of the sets is a “lock” on one side and a “key” on the other, made in Rome from recycled aluminum; it suits the bohemian environmentalist in me.) Learning about the Etruscan women influenced me to feel more confident about living life fully and freely, making my own informed and independent choices, being a strong leader when the occasion calls for it, but also being comfortable following others when they have good ideas and clear direction.

Although not part of the course, I was motivated to study more about ancient Greek civilizations and art history while I was there because of how much the Greeks influenced the Roman culture. After reading and learning about important sculptures like The Calf-Bearer and The Kritios Boy, which were found around the Acropolis, I decided to go to Athens where these masterpieces were kept so I could see them for myself. I especially appreciated The Kritios Boy. It made an impact on me. The young man is missing the lower half of his right leg, which reminded me of my brother. He stands straight and tall, and his eyes gaze ahead calmly and self-confidently. What is interesting about this sculpture, dated around 480 B.C.E., is that it represents a transitional piece between two major ages of Greek history: the Late Archaic period to the Early Classical period. I reflected on what could represent a transitional moment in a person’s life; that time when you could see the effects of change on someone, for better or worse, after they’ve been through a significant event.

The hardest part for me about being in Italy was being away from my loved ones and feeling guilty. I felt guilty that I was able to spend this time learning and studying other cultures with few responsibilities except completing my assignments, and even those deadlines had a certain amount of flexibility. But I realized that this was part of the transition of life; sometimes things go from difficult and challenging to pleasant and rewarding and then back again. It is like that for the entirety of life, but every experience, good and bad, is something that can be learned from to apply to the next.

My studies of the various states of flux that the civilizations in ancient Greece and Italy induced me to reflect deeply, not only about my own personal transitions from one phase to another or that of my nearest and dearest, but also of those happening within my own country and outside it. I saw a lot of parallels about the disputes between Athens and Sparta which led to the Peloponnesian War, as well as the events leading up to the dissolution of the great Roman Empire, which left it vulnerable to invasion from outside forces. Where it will all lead to, what we will lose in the process, and what will be the ultimate result, I don’t know. However, I feel sure that after my experience abroad, where I was able to devote most of my time undistracted to study and make connections, I will be more observant than ever before to watch how things unfold and to see if worldwide civilization today is possibly at the end of an age and in transition to begin a new one. We are creatures of re-invention, after all. It will be interesting to see where we go next and what we will become.

Religious vs. Temporal Institutions: History of Santa Maria della Scala Hospital

One of the most important establishments to visit in Siena is Santa Maria della Scala, once an ancient hospital and one of the oldest in Europe. The history of the hospital is certainly one of “hospitality”: the institution not only cared for the sick but also for the poor, for abandoned children, and for traveling pilgrims needing a place to stay. The hospital was also a storage place for food in the city of Siena, and currently it houses important art from medieval artists which are available for the public to go and view. By looking at these works of art, for instance Birth of the Virgin by Pietro Lorenzetti and Betrothal of the Virgin by Simone Martini which depict religious scenes, one can get a sense of the religious institution’s influence over the hospital at the time which also impacted Christian culture for a long time after with the exception of Jehovah’s Witnesses and other evangelists. The hospital has a complicated history of being in between the spiritual and temporal institutions both of which vied for control of this establishment.

Ancient hospitals were often used to house foreigners. Santa Maria della Scala was well known during medieval times for housing pilgrims. In Siena, this was due to two reasons: 1) It was geographical. Siena was on the route for Christian pilgrimages on the way to visit the “holy land.” The route was London-Westminster Abbey to Paris to Luca to Siena and then to Rome. 2) In the 1300s, Pope Boniface established holy land (in Rome) which helped the institution of the hospital. By curing the pilgrim, it was considered to be the same as curing Christ. So in a sense, they were helping themselves by helping the pilgrim who was viewed as a “poor Christ.” By the 16th century, the pilgrim is seen as just a person who wanders and not a normal person.

Santa Maria della Scala was at the center of economy. The hospital acquired wealth due to 1) the dean of the hospital and people who worked in the hospital administration, and 2) everyone had to give responsibilities to the hospital, including inheritances. The same thing happened to the monasteries. This turned out useful when the food shortages came. The city forced the hospital to sell food at certain prices. The hospital received its primary financial assistance from the donations of the wealthy (Baron).

Other duties of the hospital were to take care of abandoned children. Families were actually encouraged to give their children to the hospital due to social and economic reasons. The year during which the last child was recorded to have been abandoned was 1889. Girls in the countryside were paid to breastfeed the children. Then the children returned and were trained to work in artisan shops. Children (girls) were also sent to the hospital to work on textiles. The hospital would give money to the girls so they could get married. In Siena (and other cities), abandoned children would take the surname of the hospital (“della Scala.”)

“Della Scala” didn’t appear until around the 14th century. It is a fashion to describe the narrative of the changing of the times. At the time, the concept was to be complete. So when things were lacking, there were fantasies of the completion of things. It helps to picture life within the hospital. In the 15th century, there was a moment when the administration of the hospital fell into the administration of the city. A bishop tried to extend spiritual assistance into the hospital. The city did not want influence from the church and therefore the hospital became autonomous. In the 18th century, during the Enlightenment, there were radical changes in how people began to see medicine. At Santa Maria della Scala, there were different medical cultures. It was one of the first places to try a medical vaccine: inserted small pox vaccine.

For the purposes of analyzing a civic institution which benefits a fundamentally diverse public, such as a non-profit religious hospital, Santa Maria della Scala is an interesting early example of both the benefits and controversy of not having separation of church and state. As shown by previous examples in this essay, the philanthropic mission of Santa Maria della Scala was to provide hospitality to the poor and needy as well as to further the advancement of medical technology. The emperor of the 15th century was astonished by the technology available to help sick people at Santa Maria della Scala.

The world’s largest non-government provider of medical and healthcare services is the Roman Catholic Church which has some 18,000 clinics, 16,000 homes for the elderly and those with special needs, and 5,500 hospitals, with 65 percent of them located in developing countries (Agnew). There is no doubt that millions of people around the world since ancient times have benefited from these medical institutions with Santa Maria della Scala hospital being one of the earlier examples. However, there also controversial issues which arise from a powerful religious organization having control over a medical institution providing care to a complex and diverse community with fundamentally different views, beliefs, and values.

At the beginning, charity and healing were the priorities of the institutions but with the influence of the Church, medical advances and progress had to subordinate to the doctrines and dictates of the religious order. For example, because of the sanctity of life views of the Catholic Church, in vitro fertilization (IVF), which is used to treat genetic problems and assist with conception, is a controversial issue due to the series of complex procedures which destroy embryos. In 2012, President Obama received scrutiny due to his announcement that his administration would require religious institutions like hospitals and universities to provide coverage for contraceptives in employee health plans. Obama’s mandate would not have required employers at houses of worship to provide their employees with contraceptives, but his announcement sparked a firestorm in different religious communities, pitting freedom of religion against the separation of church and state. Obama has since said that he and his advisers are looking for ways to make the new requirements “more palatable” to religious institutions (O’Claire).

When evaluating the history and evolvement of Santa Maria della Scala from a religious establishment to a public institution independent from the Church, one can use it as a model to analyze against current medical institutions with religious leadership to see how the institutions can be leaders in medical advancement and philanthropy but also as a hindrance to medical progress if subdued by religious influence. On the flip side, there are also foreseeable problems when the federal government or state forces laws on someone trying to abide by spiritual principles, for instance, if a doctor or nurse is forced to perform an abortion or blood transfusion which transgresses against their deeply held beliefs due to a spiritually cultivated and trained conscience regarding the sanctity and value of human life.

Works Cited

Baron, J. H. "The Hospital of Santa Maria della Scala, Siena, 1090-1990." BMJ 301 (1990): 1449-1451

O’Claire, Sandra. “Should Catholic and Other Religious Institutions Have to Cover Birth Control?” U.S. News. 9 February 2012. Web.

Agnew, John. "Deus Vult: The Geopolitics of Catholic Church". Geopolitics. 12 February 2010. Web.

The Etruscans: Challenging the Perception of Gender Parity in an Ancient Civilization

Imagine you are at a party. A sumptuous feast is set out with a table piled high of almost every kind of meat you could want to taste: beef, lamb, pork, deer, wild boar, hare, and all sorts of game birds. There is a great variety of seafood as well, especially tuna, accompanied by enormous rounds of sheep’s milk cheese, vegetables, fruit, olives, porridge, bread pancakes, eggs, raisins and nuts. To further enhance the flavors, condiments of herbs, mint, honey, vinegar, pepper, and other spices are added. The people you are among happen to belong to a society which is a great exporter of wine, so there is no shortage in that department either, and domestic servants keep it flowing by continuously bringing the intoxicating burgundy-hued liquid to you in delicate silver pitchers. To keep the mood of the gathering uplifted, you hear the lively and delicate tune of the flute accompanied perhaps by the lyre, a small stringed instrument.

As you make your way around the room, you observe the other dinner party attendees, all of whom are in groups, with no one being alone. They are not sitting upright in chairs at a long elegant table but, rather, they are reclining on one-armed sofas. Some are even on floor mats surrounded by plush luxuriantly designed pillows. The men wear Greek-style tunics with complicated braided hairstyles. The hairstyles of the women are similar but with the addition of elaborate gold adornments and sparkling bold jewelry which compliments their brightly colored attire.

Your eye is drawn to one corner of the room where there is a couple sitting on a sofa. A woman sips heartily from a goblet of wine, tosses her head back with a boisterous laugh as she settles languorously against the gentleman next to her, her left breast slightly exposed and just caressing the right side of his chest. As you become more engaged and conversational with your fellow guests, you realize that this couple is not married! In fact, the woman’s husband is very close by, appearing to be equally relaxed and enjoying himself with other guests. In this gathering, there is nothing that is unseemly or taboo about the scene here.

Who is this woman? And who are these people? As you have probably guessed, you are being entertained at the home of someone belonging to an ancient civilization. The civilization is that of the Etruscans.

Etruscan Women

Preceding the rise of Rome as a super power, the entirety of Italy was ruled by the Etruscans. The surrounding seas were dominated by their ships. Their reputation was fearsome enough, as word of them spread abroad to other nations, without the added uneasiness of hearing how Etruscan society accorded women with influence and power.

There is little to be known about the Etruscans. Once they were conquered by the Romans, much of what was left of their civilization was lost, with none of their literature surviving. Archaeologists and historians have pieced together what Etruscan life was like by interpreting the vivid art that was left on their pottery, which illustrated depictions of elite Etruscans dining on top of the sarcophagi of dead loved ones, and there were also scenes of women drinking and sharing repast with the men - something that was rarely seen in ancient Greek and later Roman society. Only courtesans and prostitutes would be at a party among Greeks and Romans, and proper women in those societies would not be drinking wine, at least not until Rome was an empire. Yet, not only were Etruscan women expert drinkers, they freely imbibed right alongside the men.

The gender parity that existed between Etruscan men and women is probably what stands out most about what is known of their civilization. Etruscan women “scandalously” went out publicly, were able to read and write, and likely passed these dire habits on to their offspring (which they raised themselves). It was not uncommon for Etruscan women to be seen naked - at parties, at athletic events (which they participated in) - and even to share sexual experiences with partners who were not their husbands. They freely engaged in wining and dining publicly with their husbands and were actually elevated to higher social status for doing so. There are sculptured sarcophagi that show couples reclining together, affectionate and relaxed, the woman speaking and gesturing while the man placidly looks on. Murals also show women reclining or dancing amidst the men. They show female camaraderie and intimacy, notably in one painting that shows women who lay together, faces close as if kissing.

To share wives was an established Etruscan custom. Etruscan women took particular care of their bodies and exercised often, sometimes along with the men, and sometimes by themselves. Pitch tar was used to remove excess hair from their bodies. It was not a disgrace for them to be seen naked but rather, it was common. They did not share their couches only with their husbands but also with the other men who happened to be present, and they proposed toasts to anyone whom they chose to.

As mentioned previously, Etruscan women raised their own children and other children, regardless of who the father might have been, but more than that, archaeology suggests that there may have been matronymic lines in that the ancestry could be traced back to the maternal lineage rather than the paternal, based on certain inscriptions. Sometimes the father’s surname was added to the mother’s, which indicated a bilateral system which recognized matrilineal connections.

Women’s roles in the Etruscan-Roman relationship

One of the key female figures in ancient early Roman history is that of Tanaquil, the daughter of a powerful Etruscan family in Etruria and wife to Lucius Tarquin, the first Etruscan king of Rome. She was rumored to have prophetic abilities (something that nowadays might be considered to be female intuition) that persuaded her husband to move to Rome and become established with the local aristocracy, despite being an immigrant. While traveling to Rome, an eagle flew from Tarquin’s head and then returned back, which Tanaquil interpreted to be a divine sign that he was meant to be king. Her prophecy was eventually realized when Tarquin became friends with King Ancus Marcius, who made Tarquin the guardian of his children. When the king died before his children were old enough to become successors, Tarquin gained enough popularity to be elected as the fifth king of Rome. Tanaquil later used her influence again to play a role in the rise of the sixth king, Servius Tullius, whom she raised as her own child.

Due to her legendary status in early Etruscan-Roman politics, Tanaquil was respected and remembered favorably by Romans who elevated her to mythological status and changed her name in the history books to Caia Caecilia. It even became Roman public decree that when a new bride entered into a royal palace, she would go by the name “Gaia” if asked. This was meant to be an omen of frugality and simple living for women of that time period.

What was lost?

Once the Romans grew dissatisfied with Etruscan rule, the Tarquins were expelled from the city, and Romans began to establish a Republic just as their Etruscan counterparts were doing throughout the rest of Italy. This overthrow marked the beginning of the end of Etruscan rule in southern Italy. First they lost the routes to the cities leading to fertile land in the region of Campania, which was tolerable, but once they lost their naval strongholds, it was all but over. Following the destruction of their navy along with hostilities from all sides and internal struggles, the Etruscan city-states were conquered one by one and eventually fell to Rome. The Romans assimilated parts of Etruscan culture and discarded the rest.

One of the cultural aspects that was lost in relation to Etruscan women when the transition of power was passed to Rome was the freedom and social status of women. While Etruscan women did not have especially significant roles in initiating political changes in their society (Tanaquil being one of the historical exceptions), the Etruscan women had a lot more freedom to interact with their husbands and other men in public, attending parties and such, whereas Greek and Roman women did not. One thing to keep in mind, based on what is read and one’s own personal perception, is that much of the art depicted on the ancient archaeological findings of Etruscan pottery is that of wealthy elite-class Etruscan women. It is unknown what life was like for more lower-class Etruscan women and how much freedom they might have had.

Contrasting current perceptions of female-assigned gender roles

One thing that is striking when reading about ancient Etruscan women is how they were perceived by ancient chroniclers who were accustomed to how much more subordinated Greek and Latin women were in contrast to their Etruscan counterparts. Having the freedom to participate actively at parties while dressed in colorful eye-catching clothes and elaborate adornments, they were looked upon as “licentious” for doing so, whereas in their own society they were respected. Earlier Greeks left personal testimony for later Greeks to base their own perceptions and when reading these subjective eyewitness accounts, one could almost detect a hint of envy mixed in with an air of judgment. When considering these ancient comparisons of how women could be labeled based on personal perception and cultural relevancy, it brings to mind that similar contrasts could be done today.

A good visual example to consider would be that of a photo capturing Prince William and his wife Kate Middleton being greeted by topless women when they visited the Solomon Islands in 2012. In their own local culture, nothing about these women addressing the British royal couple in this way would be perceived as inappropriate and yet, as a guest, it is interesting to note that Kate Middleton did not assimilate to the local culture and appear topless herself; she is fully covered in a blue dress. On the other hand, if one of these local women of the Solomon Islands appeared topless on a street in London, there would likely be more scrutiny and disapproval, if not outrage.

Another and more recent example to contrast, specifically regarding gender parity in politics and business, would be that of Hilary Clinton, the primary Democratic candidate for the 2016 Presidential election. In comparison to Donald Trump, who was captured on audio making inappropriate statements about women, which was ultimately dismissed by many of his supporters as something that was “in the past,” Clinton herself was not given such a pass for the discovery that she had used a private server for emails even though it was never proven that she committed anything treasonous. The burden of proof was shifted to her to prove her innocence to the public during this political witch hunt, rather than the other way around - burden of proof shifting to those accusing her of guilt - which is supposed to be the maxim upheld in American justice. It would seem that the public perception of her being “dishonest” and “manipulative” were assigned more to her as a woman than the same accusations that were applied to Donald Trump and yet, he was rewarded in this political narrative whereas she was punished.

A final example to look at is that of Wendi Deng, a Chinese-American actress, producer, and businesswoman. She was formerly married to media titan, Rupert Murdoch, CEO of News Corporation, and has more recently been rumored to be the girlfriend of Vladimir Putin, the President of the Russian Federation. She has a history of seducing older married men with the opinion that it was in order to increase her social strata, which has caused some to look at her as a “gold-digger” and social climber; even gaining her labels such as “glorified escort” and more. Yet, she has a professional résumé that would credit her as an executive who increased the presence and investments of NewsCorp in China, among other impressive professional ventures. Even still, for anyone who is vaguely familiar with who Wendi Deng is, it is suspected that they are more likely to associate her for her latent connections to high-profile men rather than on the merit of her own accomplishments without doing further digging.

Conclusion

In the current parlance of our times with feminism, sexuality, and women’s rights being dominant issues in the foreground of sociopolitical discourses, I believe that the Etruscan society, especially regarding the role of women, merits consideration. Aside from being a fascinating civilization, it provides a comparative lens for which to do analysis with our contemporary cultural relevancy. If not much else is known about the Etruscans, it is apparent that women were not only respected and encouraged to pursue social freedoms, they were considered equals. It is not only a feature, but a central narrative which dominates the illustrations of ancient Etruscan artifact.

Style and Art: A Textual Analysis

A common theme that has come up as I have been observing and learning more about art history while in Siena is that of style. A style is something that an artist may use to convey an emotion, a particular allegory, the period of time a work was created, and even to portray their own perspective of a possible truth. And that is what has been interesting to me about some of these works of art: it is not so much the insistence of a particular truth but the possibilities of what truths could be.
In Perseus in the Wind, Freya Stark connects style and truth together when she observes that “style is fundamentally a truthful statement, if we take for truth something more careful than the not telling of a lie. There are layers and layers of truth; and style, whether in dress or life, art or literature is involved in their discovery” (81).

My personal discovery while studying this art, particularly the gothic art of the Medieval period which is almost entirely religious art, is that with the style of the artist, the iconography was made to represent and persuade the viewer of perceived (even imagined) truths...and the artist was powerful because of this, even held responsible by the Church depending on the style the artist used. As the views, understandings, and teachings of the Church changed over time, so did the style of the art.

For instance, there are multiple versions of The Annunciation - a depiction of the angel Gabriel informing the young virgin Mary that she would become the mother of Jesus Christ. There are three paintings from different time periods ranging from Middle Age to High Renaissance to Late Renaissance that I observed and compared. Perhaps three of the most famous paintings of this particular theme are the ones created by Simone Martini, an artist of the Medieval Era, and later the one painted by Leonardo Da Vinci, at the peak of the Renaissance Age - both of whose paintings can be seen at the Uffizi Gallery in Florence, Italy - and lastly the one painted by Giorgio Vasari of the Late Renaissance Age, whose painting can be seen at The Louvre in Paris, France.

The painting of The Annunciation by Simone Martini, created in 1333, depicts the virgin Mary as very closed off. She is leaning away from the visiting angel, her back towards him, and she is guarding herself with her right arm. Her face looks grim, and she appears scared. She is also wearing a dark blue robe with only a small bit of fabric from the red dress she is wearing underneath peeking out. This is in keeping with the Church discouraging, or outright forbidding, artists from depicting the Virgin Mary wearing crimson, which was considered the color of harlots. It is also evidence of a slight progression in how this theme was illustrated when compared to much earlier works of art of the same theme, in which the virgin was shown wearing all blue and no red at all (for instance, The Virgin and Child, currently on display in Saint Catherine’s Monastery, which was painted in the year 600.) She is also shown to be looking more regal with gold trimming around the hems of her robe and gown and a golden jewel-encrusted head adornment that appears to be a crown.

Moving further along in time by almost 150 years, the Annunciation by Leonardo Da Vinci was painted in 1472 at the height of the Renaissance Age. The mood and style of this painting is somewhat different from Martini’s. It shows Mary in an open receptive position; she is facing the angel, her hand is held upward and away from her body, and her face appears softer. She is also shown with more of her red dress appearing from under the blue outer robe she wears, and her clothing is less regal than that seen in Martini’s painting.

The final painting in this analysis of the Annunciation, created by Giorgio Vasari around 1565 during the Late Renaissance, shows an even more open and receptive depiction of the virgin and the visiting angel. He is closer to her than as seen in the two earlier aforementioned paintings, and she is wearing a red dress with no blue at all. She also appears to be very humble and simply dressed with no gold in her adornment.

I found it to be an interesting discovery and analysis of how the perception of truth can be influenced and even altered according to the style of an artist during a particular age. During the Medieval Age, when artists were influenced more by the Catholic Church, the style was to show the interaction of the virgin and angel as more stern, austere, and guarded with the virgin wearing little to no red. During the Renaissance, which was guided more by individualism than the Church, the theme is softer, more open, and she is wearing more red.

During a recent visit to the Santa Maria della Scala hospital in Siena, Italy, I saw an exhibit of what is considered to be a relic of the fabric that Mary wore, and it was red. Whether it’s true that this was actually a piece of her garment or whether it was sensationalized due to the “business” of relics and how important they were to a particular city in luring others to make a pilgrimage, I am not sure. However, I found this to be a notable observance informing my analysis which synthesizes with the statement Freya Stark made about style and truth perceived from art.

Simone Martini, 1333.

Leonardo da Vinci, 1472.

Giorgio Vasari, 1565.

First week in Italy

Bongiorno!

Well, one lifetime dream is coming true - I am living (albeit temporarily) and studying in the heart of beautiful Tuscany in a little walled town called Siena, where there bares an inscription on the exterior arch: "Cor magis tibi Sena pandit" ("Siena shows a heart that is bigger than this gate.")

I have felt it.

I felt it when I first got off the bus and was greeted by my professor, Jane Rago, who also shares family ancestry in Italy and longs to connect with the country of origin of her grandparents. (Hers are from Naples and mine are from the same region of Campania, province of Naples, from two small neighboring towns called Boscoreale ("royal forest") and Boscotrecase ("three houses in a forest.")

Stepping back a day or two, I guess you could say my first introduction to Italy was actually when I landed in Rome and got to exchange some Italian phrases, have a cup of cappuccino (Italian style!) and briefly experienced the city that was once the center of the most powerful empire on earth and may well have been the most powerful one of all time. (Certainly the longest lasting.) I had a relatively comfortable, though exhausting, flight from Savannah, Georgia, to JFK, New York, to Lisbon, Portugal, and finally to Rome. It caused me to reflect: What is a "world traveler?" Is it someone who collects stamps on a passport or collects digital stamps by capturing the geo-location with GPS so they can have it proven they "were there" on their Instagram? Is it to be able to say "Je voudrais un café" in France or "Vorrei un caffe" in Italy with a certain amount of savoir faire and confidence? Can you pass for a sophisticated European traveler and not just another American tourist if you are at least wearing a sexy stylish trench coat with a nifty scarf?

As far as dining goes, hopefully you can get by ok without having traditional bacon and eggs for breakfast, because that is something you just won't see often in Italy, with the exception of the touristy areas. Most local Italians forego having breakfast and usually start their day with an espresso and a cigarette, but a simple carb like a cornetto (Italian type of croissant) or other pastry to go with your cappuccino is totally acceptable. The balance to having pastries every morning is that you will be walking everywhere around the city, up and down hills and stairs, so bring on the panforte! (Siena's signature spice cake!)


" in Italy or "Je voudrais un café" cappuccino in France with a certain amount of confidence and savoir-faire? (Even if the locals can spot you as an American a half-mile away no matter how smart you look in your trenchcoat.) I Feel That These easy assimilations would do well enough if one only has a few days (as a "tourist" ) but in order to really absorb cultures ... the rhythm of a city or even a country ... it would a disservice to oneself not to stay as long as they can, if they have the opportunityI have just completed the first of twelve weeks That I will be a temporary citizen (not traveler, not tourist, but CITIZEN) of Siena. I have had many micro-impressions, and I am Already kicking myself for not keeping up with my daily journal (Which I will catch up with later) to capture These various interactions. For now, let me say That as inscribed by the greeting on the entry archway, Siena does indeed reflect a heart. Not just in spirit but quite figuratively as well with the Piazza del Campo being the beating pulse exit ramps from Which the edges of the Field like atriums leading to wide thoroughfare streets like arteries, Which leads to narrower streets and corridors That are like capillaries - all avenues to deliver people to sustain the city - feeding it with cultures exchange of ideas, promoting the local II
I already feel like 12 weeks are going to go by too fast. It has been occurring to me this week that several months is the bare minimum one needs to really delve into the local language, the rhythm, the nuances, the personality, the spirit, and the customs of a foreign city. Even if it is just to figure out why local baristas might give you a funny look if you order a cappuccino or large caffe latte (not plain "latte" or you'll just get a glass of hot milk) at noon! If you would rather not scare the local Italians, just trust me...don't do it. Your sexy trench coat will not save you. You'll still look totally American. If you must have a coffee with milk and simply can not get up before 10 a.m., then order a caffe macchiato...basically an espresso with a spotted bits of foamed milk which is very little like the kind you get in America. (None of that viscous caramel syrup you've gotten used to, if you please...darn you, Starbucks!!)