Showing posts with label bells. Show all posts
Showing posts with label bells. Show all posts

Sunday, 4 August 2024

2024 France and Northern Italy


The centre of Avallon
The centre of Avallon

23.7.24 under the English Channel

Sitting inside the front carriage of the Eurotunnel train, passing under the Channel to France.  But rather than on a train, it feels more like a wormhole from the UK to France.  The gentle rocking, and occasional external noises sound like the workings of mysterious technology.  The slight bumps and shakes feel like ripples in space-time

The road to the Eurotunnel terminal through southeast London, the unlovely part of the city.  Traffic good, even on the absurd contraflow on the M20, necessitated by Brexit’s self-harming madness.  The journey through France is part of our annual transhumance to Italy, passing through rural France and the Mont Blanc tunnel, an experience in itself, especially after the very different tunnels in Tajikistan and Kyrgyzstan.

First stop Carrefour by the French Eurotunnel terminal.  Pretty grim, but makes me think of the Carrefour in Tbilisi, of all places - rather smaller, but more romantic just by virtue of its position. In Carrefour car park.  Very windy - the three wind turbines nearby whirling around…  Patches of blue in the sky.  Since I am edge-on to the wind turbines, I can see them reposition themselves slightly by gyrating, as the wind shifts directions.

In Saint-Omer.  A gentle carillon tinkles away.  A bit of a nightmare finding somewhere to park - a bloke sitting in his car for 30 minutes - I ask if he is going, he says “no”, he is waiting for his daughter.  Meanwhile, another place becomes free, but impossible to get to directly because of all the one-way streets here.  I make a circuitous alternative route back and manage to grab it.

Our small square - Place Sithieu - is actually a triangle.  Old buildings around it - some extreme prismatic roofs, like those in Paris, but less grand.  In the middle, a bronze statue of Pierre Alexandre de Monsigny - a musician apparently, but not one I’d ever heard of.

On the way here, driving along the almost deserted A26, some fab French place names: Fréthun, Les Attaques, Ardres, Louches, Zutkerque, Fecques sur Heim, Éperlecques, Sengues, Tilques.  They sound like the sort of place Proust would have visited and raved about.

The organ in Saint-Omer cathedral
The organ in Saint-Omer cathedral

Just noticed our Place is under the ever-loving eye of a fat CCTV camera, which rotates to view different angles and streets.  Around the town.  To the cathedral - beautiful aged white stone, with one of the biggest church organs I’ve seen.  The Jesuit college - incredibly tall - a symbol of arrogance and aspiration.  Built of bricks too.  Crazy mouldings - coats of arms, and at the bottom a huge broken pediment a metre thick.

The Jesuit college in Saint-Omer
The Jesuit college in Saint-Omer

Sitting by the theatre, an interesting rectangular structure with a roof similar to Mole Antonelliana in Turin.  Set in a square that would be rather grand were it not for the huge car park in the middle.  The architecture of the buildings around the square very varied, but very French.  Four/five storeys, steep roofs - very steep roofs. One opposite us with the inscription “Ludovici XVI Munificentia”.  It has two rows of windows in its tall steep roof, with four statues perched on the top balustrade at the foot of the roof.  Terrifying.

24.7.24 Saint-Omer

Up early, and onto the streets, the cathedral bell ringing out its one sonorous note, echoing off stone and brick.  To the boulangerie, the smell of fresh bread in the air.  Nobody about, even though it’s 8am now.  This place is beautiful but so dead…  As we return, the cathedral’s bell has become two, a tone apart, ringing with more urgency.  I doubt whether many will respond and attend the imminent mass…

Avallon's clock tower arch
Avallon's clock tower arch

In Avallon - or rather back in Avallon, since we were here almost exactly a year ago.  Our destination a huge living space near the clock tower arch and the amazing ancient church of Saint-Lazare.  Quite weirdly created from a couple of rooms, with the dividing wall removed to leave only the supporting beams.  Works, though…

The theatre in Avallon
The theatre in Avallon

Hellish journey here, took seven and a half hours.  Two main problems.   First, a big jam on the A4 by Reims.  This is anyway my least favourite road section, where the A26 mutates into the A4 for no reason, and then turns back again.  Totally trivial roadworks caused 30 minutes of blockage.

Then past Troyes - yes, as in Chrétien de Troyes - onto the D444 to Tonnerre.  Beautiful villages along the way, particularly Chaource.  Past Tonnerre, a sign saying “route barrée” - but without offering a workaround.  We plotted a longer alternative route and turned back towards Tonnerre.  Luckily, on the way we noticed a sign “Deviation” that was almost invisible.  It was the official alternative route, down very small back roads.  It passed through Viviers, Yrouenne and Poilly-sur-Serein, the heart of Chablis country - the town itself is nearby.  Finally back on the D944, quickly to Avallon.  It’s a nice town, livelier than Saint-Omer, but also more touristic.  Knowing the place a little made it easier to find our lodgings, and park the car nearby.  Always interesting going back, layering memory on memory….

25.7.24  Sallanches

Easy drive down from Avallon, along the A6, then A40 to here, Sallanches, chosen for its propinquity to the Mont Blanc tunnel.  To avoid the insane queues, we need to get there early tomorrow morning.  The hotel, Ibis Budget, lives up to its name: two-star, and everything minimally comfortable.  Interesting: no key, just a code to enter.  Very basic, but cheap-is (100 euros), and close to the tunnel.

Mountains in Sallanche
Mountains in Sallanche

As ever, the landscape nearby is stunning - great walls of stone glowing in the afternoon sun, which is strong now.  30°C+.  The mountains look greener than I remember them: maybe more rain this year has made them particularly verdant.

20.8.24  La Thuile

In the Hotel La Thuile, in the village of La Thuile, in the Aosta valley, bordering France.  This place is schizophrenic: popular ski resort in winter, and hiking centre in summer.  In fact, my one and only experience of skiing was not far from here, in La Plagne.  I’m glad I did it, but it’s not something that ever really grabbed me as it does some.  I think skiing is popular in part because it is quite straightforward – you fall down a hill with a certain care – while accessing instant excitement in beautiful scenery.  

In fact this place is more than a ski centre, it’s a kind of Butlin’s holiday camp in a stunning location.  There are lots of mini shops here – including a butcher – as well as various games and activities.  It’s easy to see why there are lots of families with small children here.  Less clear is why there are so many older people.  Most of them seem unable to walk very well, let alone go hiking in the mountains.  Perhaps it’s the thought that counts.  To be fair, the air here is great – we are at about 1500 metres.  Nothing compared to Kyrgyzstan, but higher than the tallest UK mountains.

We chose here for a location near to the Mont Blanc tunnel, so that we could get there early and avoid the sometimes horrendous queues.   We didn’t spot that it was not only among the mountains, but actually up them.  

We turned off the main road in Aosta, to Morgex, then a positively Georgian road with nine rather steep and sharp turns took us up high quickly.  Mountains stunning in the late afternoon light.  The only problem I have with this particular beauty is that it is so neat and well-tended.  In this, it is the opposite of Tajikistan/Kyrgyzstan.  But I can imagine that one day both of these will be as popular as here, and just as neat.  Something will be lost, but of course the local economies will gain, so I shouldn’t carp.  And as with so many places, I have been fortunate to see them before this happened.

Driving through the village of La Thuile, it was striking how un-Italian it looked – all Swiss-style chalets and buildings.  The hotel too has wood everywhere – not unattractive.  Outside, the evening air is noticeably cooler here.  One bonus: no mosquitoes, which were bad in the low-lying parts of the country.

21.8.24 Avallon

We arose early, in order to get to the Mont Blanc tunnel before the queues formed.  Air markedly colder than in the other parts of Italy we had visited.  As we drove down from the ski resort/summer station, the sunrise illuminated the mountain wall towards France with the topmost peaks picked out like towers along a massive fortification.

About three cars at the toll booths for the tunnel – we didn’t even queue for ours.  The tunnel itself quite empty towards France, more traffic coming in the opposite direction – big lorries mostly.  Out into France, and huge horizontal banks of low-level cloud lay alongside the mountains.  This part of France with its huge swooping viaducts is particularly beautiful in the broken sunshine.  So dramatic, it makes driving here such a pleasure.

Easy road today: straight along the A40, on to the A6, to here, Avallon.   Not just to the town we stayed in before, but to the exact same place, by the clock gate, with the handy car park opposite.  Coming back makes the journey a real joy, because I knew exactly where I was going, no stress.  Ditto with the accommodation, which feels like a little home from home, since it required no effort of familiarisation.

Inscription on church in Avallon
Inscription on church in Avallon

Avallon warm and bustling with people.  Mostly people with dogs, it would seem, oddly enough.  Got to see inside the collegiate church of Saint-Lazare nearby.  Amazing stonework around the door.  Inside musty but atmospheric.  A fine organ over the door.  Outside, a carved inscription that starts fully legible, but becomes more and more eroded towards the end, a wonderful metaphor for time and loss.

Tomorrow, we go back up to Troyes (hi, Chrétien), then on to Saint-Omer.  Not the same place, but nearby, so at least navigating the one-way streets will be easy.

22.8.24 Avallon

During the night, the big bell on the clock gate tolled the hours not once, but twice, with a distance of a minute or so.  It also gave a quieter semitone tinkle for the half-hours.  But it’s amazing how you can sleep through such things – I only heard a couple of them…

Clos du Bailli hotel in Saint-Omer
Clos du Bailli hotel in Saint-Omer

More bells – this time back in Saint-Omer.  More precisely, in the Clos du Bailli hotel.  This is barely 50 metres from our accommodation here a month ago.  The hotel’s design is unusual. It was clearly a house of some local well-to-do individual.  Today, it is kitted out with period furniture, prints and even tapestries: all rather impressive.  There is a courtyard at the front, visible through railings, and the hotel entrance alongside – where the carriages passed, I imagine.  The rooms lie in the house itself, which sits at the angle of Place Sithieu and the cathedral’s Enclos Notre Dame.  We are in room 12, which has a great view of the triangular Place.

The journey here split in two: from Avallon to Troyes, passing through a series of picturesque villages, the best of which was Chaource.  The downside of these charming villages is that they often have speed limits of 30 km/h – about 19 mph.  The surrounding countryside is attractive, agricultural, with plenty of trees in same places, in others, vast open spaces.  At Troyes we joined the A5 briefly, before turning north, on to the A6.  Then a long and rather boring drive up here.

Saint-Omer seems busier than before – more tourists presumably.  Lots of people smoking cigarettes here – I thought that was out these days.  I saw lots of individuals limping as they walked, and others with knee braces.  Weird.

In search of a supermarket we walked along Rue de Dunkerque, which seems to be the main shopping street.  Found a small but decent Carrefour there.

Tomorrow, a short trip to Calais, then under the Channel and home.  As ever, the journey back is easier than out, because the destination – home – is known.  And the journey home has about it a sense of the inevitable, because transhumance by its very nature – a temporary transfer of residence - implies a return.

Thursday, 26 January 2023

2023 Barcelona

21.1.23

Sitting in the splendid cathedral in the Gothic Quarter.  The wild, interlocking arches look like something out of Piranesi.  Lots of chapels filled with gilded polyptychs.  The Gothic area looks like Venice without the canals.  Lots of high buildings squeezing narrow alleyways beneath.  Glorious day, cold but sunny.  Cloisters complete with geese.  Bells boom.

In the Plaça del Rei.  Strange construction in one corner with rows of empty arches, the Mirador del Rei Martí – reminds me of the 
Palazzo della Civiltà Italiana in Rome, as used in Greenaway's “Belly of an Architect”.  Already a few guided tour groups.  Must be hell in summer.

Good to be back in this civilised city.  The third time for me – once, 40 years ago, when I came here on my Interrailing.  Don’t remember much of that, except the then rather run-down Gothic area.  Now it is all splendidly restored, like everywhere in the city.  The second time was just before Covid struck, when I gave a talk to LIBER, the library association, in the Maritime Museum.  Managed to see the great Picasso Museum – still remember his amazing variations on “Las Meninas”.

Flew in yesterday evening – just one hour 40 minutes from Gatwick.  Picked up by taxi, efficiently, to our flat near Entença.  Strange design in what were probably warehouses, nicely converted with lots of exposed brickwork.  Went out for a meal in C
afé Bassy, very near.  Felt almost exactly the same as the little café in Rue Dauphine.  Big portions, good Rioja, from a freshly opened bottle.  Neither of us could remember the Spanish word for “glass” (copa).  Very interesting to see Catalan signs everywhere, but more Spanish spoken, I think.  (The service in the cathedral was in Catalan).  On the way back, bought fab strawberries, grapes and apples from a fruttivendola – local produce, presumably.  Good quality.

This morning, by metro to here.  Modern, clean, efficient – and very extensive.  Unlike London or Paris, the metro is more of a mesh.  Very good value – paid 11 euros for 10 trips – less than a quid each.  Eating churros, decent coffee.

Now in Els Quatre Gats.  Rather nice, even if a famous tourist hotspot.  Quiet, only half the tables occupied, suitably cool jazz playing.  Lovely tiles, ceramics, paintings, photos (black and white).  Strange bowls on the wall with chunks missing of the rim: not broken, because the pattern stops.  Clearly functional… Food OK, nothing special, but ambience good.

At the airport yesterday, and a first for me.  Seeking to avoid the usual queue, we went to one side as directed, to scan our passports automatically.  So far, so normal.  But the scanning unit also wanted our fingerprints.  Needless to say, this failed abysmally, and took two or three minutes to sort.  So much for automation…

Sitting on the steps by the port, the sun low in the sky in front of us.  Obscenely big motor cruisers before us, a monstrous cruise liner in the distance.  The thin wires of the Telefèric del Port visible with the cars passing now and then.  Wind strong, quite cold.  Lots of people out, taking their passeggiata.  

Before, went along to MACBA, the big white museum of modern art.  Looks like Centre Pompidou, but with only its white underwear on.  Didn’t go in, because I have Bilbao and the Guggenheim in a month or so.

Waiting for the  Telefèric lift – queue not too bad.  Reminds me of Bratislava…  Slow and beautiful slide across the harbour, Barcelona laid out like a map.  Reminds me of Hong Kong, although much less elevation in the buildings.  Sagrada Familia dominates the scene.

When we arrive at the other station, on Montjuic, the wind had risen, and the temperature fell as a result.  But the view great – almost identical to that from Bratislava castle, although the details were obviously different.  The problem was how to get down to the nearby metro Paral·lel.  After wandering around for a while, we came across a taxi, and took it down to the metro, which proved further away than it seemed on the map.  On the way back, got on the train going the wrong way – I claim the signage was misleading…

Barcelona confirms itself as a great, flourishing city.  Lots to see and do, and everything working well.  London is obviously a greater city, but it is far more unequal, with evident dysfunctions.  Still, Barcelona is clearly a fab place to visit, as it has been for many years.

22.1.23

Sitting in Santa Maria del Mar: fabulous. Soaring columns, raw stone, very spacious.  Mottled rock makes the view incredibly varied, adds to sense of something built, block by block.

Up to another glorious day, then on the metro to Diagonal.  Streets quiet, even more impressive because Passeig de Gràcia is pedestrianised in the middle, with traffic creeping by shamefacedly.  To La Pedrera, first of an intensely Gaudiesque day for us.  Fairly restrained for Gaudí, only the ironwork of the balconies out of control.  Unlike Casa Batlló – totally bonkers, with frightening Venetian masks on the balconies, weird alien eyes behind.  The roof even more insane. The other buildings in this fine boulevard are inventive with their crowns and pepperpots.  The street feels like Champs-Élysées with better architecture.  Down past Plaça de Catalunya, then walking towards here through the Gothic quarter.  The amazing Antic Theatre – equally crazy.  Clearly something in the air here.  The backstreets remind me strongly of Venice again…

Amazing the columns by the altar of Santa Maria del Mar: eight thin pillars holding up the roof.  Bare for two thirds, then fluting up to the centre.  All sturdy octagonal pillars, with tiny, barely pointed arches between them at the top.

On the metro, to La Sagrada.  Already booked ticket for 2.30pm, plus trip up Passion tower.  So until then, along to Granier café nearby. Honest little place, basic fare.  Better than nearby La Sagrada, with its huge heaving crowds.  Madness.  Dread to think how it is in peak season.  Looked in estate agents, prices here very cheap (compared to London…).  But more generally, things are cheap here – food etc.  Very liveable as a city.

On the  Telefèric yesterday, the curve of the beach emerged clearly.  Another remarkable aspect of Barcelona – it has a good beach nearby.  I can’t think of another major city that has all the facilities of Barcelona, and a beach, plus the ancient quarter.  San Francisco has the first two, but not the last.  And here, the mountains are not far away, either…  A city that has everything…

Back past La Sagrada – you forget just how massive it is, how it looms over everything.  And the main tower is still unfinished – it will be so tall…. Up along the Avenida de Gaudí – lovely pedestrianised area, full of people out in the sun.  Strangely, reminds me of Armenia, Vazgan Sargsyan Street leading to the main Republic Square in Yerevan.  Up to Sant Pau – not quite Gaudi, but extravagant.  The old hospital being converted to galleries – even more of them, in a city already well endowed.  Another reason to return.

In La Sagrada.  Insane levels of security – full airport scans of clothes and person.  Inside, impressively high nave, with jagged angels on high, tree-like branches on top of the columns.  Gaudy (sic) colours stream through the stained glass windows – oranges, reds, greens, blues, geometric shapes that probably represent something.  The altar unimpressive – the canopy over the crucifix looks like a circus big top.  Indeed, the whole place is close to tipping over into the vulgar.  Perhaps the external view is best to dwell on…

Up the tower.  Views OK, nice to see the other towers being built.  But the overall feel is still that it is the view from outside that will impress, not the interior, once everything is finished.  Even the outside is spoilt (IMHO) by the words built on the surface of the building – they look like ads.  Descending inside the tower was a good reminder of the reality of heights, all-too hidden by lifts.  The 400 steps down the spiral staircase went on for ever; the central void that went from top to bottom – no guard rail – was quite stunning.

Perhaps the most telling moment was at 3pm, when the bells struck: four times for on the hour, three for the time itself.  At least the bells were good.  Nope: as we moved through the tower, we saw there were no bells, only loudspeakers.  It was all recorded…

A long walk along Passeig de Sant Joan to the Arc de Triomf – which looked rather Indian to my eyes.  Then on the metro to here, the Plaça Reial, for a drink in perhaps the most civilised square here.  The sun still visible on the eastern side, illuminating the tops of the palm trees...

Saturday, 18 April 2020

1987 Italy

30.8.87 San Gimignano

The sort of place you could spend a lifetime in – looking at every stone: The Stones of San Gimignano. Every part of every building seems to have a history: like Venice, where every stone is part of its palimpsest.  Everything has been fitted over, on top of, together: you can see windows filled in, old arches, lintel lines, roof hips.  And the vertical rules.  The towers: they are the essence of rectangularity, verticality.  Medieval they may be, but time has not softened their edges.  It is said they were built partly because of noble rivalry: that pride endures.  They conquer all horizontals; they lift the town.

The faces of the buildings are ancient, timeless and modern.  Ancient in that they are old and crumbling, weathered; timeless because they suggest granitic immanence; modern because their rich textured patchwork looks like nothing so much as some modern art – a sort of cross between a happier Soulages, the Boyle family, and Giacometti.  You could easily imagine them as cut up and hung on cool impersonal museum walls.  This denies their substantiality: they could be all surface, albeit with a rich impasto.  The piazzas become like those Western towns built for films: all facade.  Except that San Gimignano is, through its massive stony solidity, anything but surface.

Towers mean bells.  And bells are perfectly suited to a stone city.  It is the perfect hard acoustic, sending off scads of sharp reflections.  And against that sharpness there is the sheer unplaceability of the bell's tone.  We tend to forget that although bells were for centuries one of the few instrumental sounds, that sound is of an impossible richness.  The overtones cause the note to shift and sway dizzyingly.  And the physicality.  No other musical instrument requires so much effort, total bodily input.  And the striking of the bell is brute force: a literal blow.  Which makes it easy to attribute something magical to the disembodied sound which ensues.  Thor's hammer.  Watch the bells in the bell-tower: they loll like huge puppies' tongues, languorous.  The sight is as hypnotic as the sound.  San Gimignano is built for bells.  

You need the blue Tuscan sky to define the towers: it acts as a perfect seamless backdrop.  With clouds or any blur in the air you would lose that unique edge.  And you need the piazzas.  The towers loom from behind buildings.  Without open spaces height does not exist.  

In its medieval purity, San Gimignano is like Venice.  Apart from the postcards outside the shops, there is little to disturb the illusion.  There are no roads, just streets.  Cars are practically non-existent – making San Gimignano uniquely quiet – like Venice.  But San Gimignano has something that Venice can never aspire to: hills.  It is built on a hill and its streets wind and wheel away, up and down, taking the buildings with them.   

From the tower: roofs, harmonious yellows and ochres – everything very flat.  Sounds rising up from the piazzas which form gaping holes in the sea of roofs.  The herringbone patterns of the bricks look almost too neat.  There is a violinist with accompanying tape: his clear, acidulous tones cut through the hum of the town sounds.  Roundabout, a patchwork of rolling hills and fields.  And trees – woods, forests almost.  This is another Tuscany.  From the tower: people's verticality is emphasised: as in Florence, from Giotto's campanile.  Towers of San Gimignano answer this.  But with very little sensation of height.  That comes inside: there you have the fragile metal staircase, which maps out height.  It is also possible to see through it – so you are more conscious of being suspended in the air.

This is Benozzo Gozzoli's town.

31.8.87  San Gimignano

In the early morning, the low glancing light catches the rough face of the main tower.  The surface boils with rock and its texture. 

Most people know the Tuscany of Florence.  Some perhaps know the Prato-Pisa-Lucca railway line.  A world of neat but midday-dead stations; hot and dusty; airless cities sweltering in the Po valley.  There is another Tuscany, a hidden Tuscany.  It lies to the south, among the rolling hills and mountains.  It is not a flat, arid plain shimmering in the heat; scrubby vegetation on one-street town along the main routes.  Fields are hunched shoulders of land, their coarse rich earth ploughed in huge gobbets of mud; from a distance they look like crops of boulders.  Gaunt square farmhouses like castles stand in isolation amidst the fields, the land cultivated to the doorstep.  The roads are quiet and wind endlessly around hills.  Trees abound.  And along the way, as you pass ridges, there are hilltop towns hugging the rise of the land, spilling down slopes.  Volterra is the king of these,  San Gimignano the queen.

There are two main piazzas in San Gimignano: Piazza della Cisterna, and Piazza del Duomo, secular and sacred centres.  In both you need to be an artist to capture them, or even part of them.  The windows are stacked three or four high; they form a kind of contrapuntal essay, with now one, now another voice dropping out.  As the threads of the windows move round the square, so the tonality of the buildings changes: rusticated stone, brickwork, crumbling plaster, dark green creepers; but just as a fugue will modulate and vary its themes, so the essential, organic unity remains.  It is squares like these which rudely expose the crass insufficiency and poverty of modern buildings.  First, they lack detail, and in particular the human scale; secondly, they arrogantly fail to acknowledge their older neighbours.  Such discourtesy always gets its comeuppance.

Towers need piazzas: but piazzas benefit from local towers.  As the sun moves round, great slabs of shadow creep across ground and walls, varying the scene constantly.  And generally, the old stone facades turn like flowers in the sun, changing their face in response to the shifting angle.  Especially when the sun is high: all the joints and scars of the bricks and stones are picked out as if with black ink.  The scars of seemingly impossibly high buildings, testimony to the other one hundred or so towers that have been lost.  The verticality of the towers is emphasised because their lines descend fully to the ground.  Just as the height of Gothic spaciousness in cathedrals was achieved by running pillars from floor to ceiling in one long swoop.

San Agostino has the simplest possible brick exterior.  It is in a small hot square which gives back the heat San Agostino radiates.  Inside comes as a delicious shock: cool, slightly suffocating air, the smell of old incense, old wood, old religion.  Gozzoli rules OK.  The frescoes of Augustine are extraordinary.  Nearly invisible – especially in the neck-craning upper regions, in the small apse behind the altar are certainly some of his best works, and in expression and humanity rarely matched elsewhere.  Above all, it is the faces which linger: so completely personalised and individual.  Timeless and thus modern, surely they were all done from life.  And Saint Augustine himself: a noble-looking man – not your usual bumptious self-righteous prelate, or wimpy proto-martyr.  Thus San Gimignano matches (almost) the great frescoes of Arezzo.

The cloister of San Agostino is delightful – so nice to come across living green in this stony place.  Even the park at the Rocca is poor stuff. Here there is a rich privet hedge, four majestic trees, and Mediterranean palm trees.  Birds chirrup – no hunters here – and there are even huge dragonflies.  

Details: the front-on staring at us; the man with a canker and boil; the small dog.  And the men have shaved – real men.  And the last San Augustine: I have never seen anyone look so calm and mature – except perhaps in Michelangelo.  

Songbirds' cages fixed permanently to the wall – like prisoners exhibited – just food and water, no shelter.

San Agostino's bells – two completely out of sync – like a holy Steve Reich composition – only better.  The way they tail off – then the long plangent reverb. 

Room with a view.  The sun has started sinking westwards: my room faces east, and is now in the shade and delightfully cool.  Before me, the wonderful patchwork of irregular fields.  A noisy cranking combine harvester finishes off a field – most have already been ploughed up for next year.  Others are neatly planted with rows of various bushes.  Now the familiar Da Vinci sfumato thickens, casting a deepening haze over the landscape.  This morning it was real mist.  The sun, rosy-fingered dawn, lifted through it, sending huge horizontal rays between hills.  It reminded me of Kashmir

A musical city – for buskers, anyway.  Violinists, flautists – and now a virginalist.  This one in the courtyard to Museo Civico.  A delightful place: herring-boned bricks, frescoes everywhere.  And also a performance artists.  With whited face, and to the accompaniment of a rather random recorder, a youngish lady strikes a histrionic pose – and holds it for several minutes.  Her main achievement seems to be keeping her eyes open.  Ah, all this easy symbolism in a city barely changed for 500 years…

Sala di Dante – a good presence helped by old wooden furniture.  Lippo Memmi, a terribly stern Mary in state, with flocks of unbending saints around.  Rather Spanish.  The sprung floors bounce delightfully: truly a spring in your step.  In the pinacoteca, various Byzantinesque numbers: one by the "master of Clarissa" quite fine.  Other bits and bobs: two by Filippo Lippi, an unusual separated Annunciation in two tondos; a very Peruginoesque Pinturicchio – with 'orrible disembodied cherubs plus two quite impressive figures, a pope and a saint.  A Benozzo Gozzoli – rather dark – but the men's faces are individualised again.  Otherwise just anonymous lot vaguely connected with San Gimignano: Sebastiano MainardiMemmo di Filippuccio (what a name).  

Best of all is Taddeo di Bartolo's polyptych with San Gimignano himself.  Confidence is not inspired by the first scene: "during prayers San Gimignano is forced to leave the church for a call of nature; the devil, who is waiting for him outside, is driven away with a sign of the cross".  Some saint.  His other miracles seem to be driving out the devil from the Greek Emperor's daughter, an apparition of the Bishop of Ravenna, Saint Severus, at San Gimignano's funeral, and a couple of salvations from Attila the Hun.  Still, San Gimignano is only a small city…

At the northern corner of La Rocca, an old woman has a tiny, tiny house.  Outside, she has a small lemon tree.  It is all totally picturesque.  When she comes out, she glares at the tourists who presume to peep into her life.  As the sun sinks, the furrows in the fields deepen and darken; the chaotic and coarse tiles on the roofs echo; the contours of the land show themselves more fully.  

Even down San Matteo, traces of former glory remain: the impressive, monumental remains of a palazzo, scarred by all the siblings it has lost around it.  From the tower of the Palazzo del Popolo: Via San Giovanni and its smaller siblings cut through the roofs like clear swathes to the main gate.  I'm the last down from the tower.  Bells ring, voices command.  A warm evening breeze stirs.  At the bottom, the virginalist is still there.  Typically Italian: an Avanti-PSI festival, held in the entrance hall to the town hall, Piazza del Duomo.  

The best rear view of the towers is from La Rocca, at sunset.  As the sun sets behind the high hill to the west of San Gimignano, only the flat gaunt towers catch the light.  They shine out like slabs.  Their grey stone picks up every hue, and gradually turns pink.  And with the night, the swifts come out, like something out of Leopardi, swooping elegantly and unoriginally in the air among the towers and palaces.

1.9.87 San Gimignano

A different sunrise.  The sun comes up as a cool pink disc, turning paler as it rises through the bands of invisible clouds.  Great pools of mist hang in the valleys, making the most distant mountains white.  Cocks crow, but unlike yesterday, there is no morning chorus of dogs.  Smoke rising from odd fires throughout the landscape produce a white, coarser veil.  

The dogs have started, as have the bells.  Obviously very religious, these dogs.  The sun is now an almost perfectly white, perfectly round disc.

Piazza Luigi Pecori – nestling behind the big tower, alongside the duomo – a tiny haven of pure peace.  Yet more buskers – a plangent guitarist, with a shrouded harp in waiting – is there no limit to the varied musicality of this place?  It must be the stone: a perfect acoustic.  The Museo Etrusco.  Signposts on squared notepaper.  Handwritten notes of explanation stuck on with sellotape.  Italia, a roomful of paintings by "ignoti" – who clearly couldn't paint.  Long explanations about the Etruscan collection – mostly to do with who the superintendent was, all in long, flowing, parenthetical Italian prose.  Il Duomo – a very Catholic church.  Every surface within covered with gaudy frescoes and designs.  The arches black and white like La Mezquita.  A big Gozzoli – San Sebastian.  

Can you know a town?

I have a problem with experience: too easily it feels like a memory.

2.9.87 Volterra

Volterra is as if San Gimignano made the mistake of growing up.  It has the same impressive position, the same sense of antiquity – greater, since the Etruscans were here for centuries more.  But it is a dump.  All the grace has been worn out of it: instead, it is dusty, hot and smelly.  It surveys the surrounding landscape wearily.  The old Palazzo dei Priori is impressive in its gnarled glory: the square that surrounds it is fairly squalid.  The old duomo is gaudy inside and unspectacular outside.  The poor old battistero looks woebegone and battered.  Even the great Etruscan gate is rather pathetic: four stumps of worn stone.  The main pinacoteca is similarly threadbare – but provides a wonderful ambience for the motley collection of paintings.  Below a certain level early Italian renaissance stuff looks gawky and lurid.  The best things there were two Signorellis; but even these looked ill-proportioned.

As it turned out, the heart of the city lay in its Museo Etrusco.  On three floors and filled with an enormous collection of funerary monuments, it is a testament to the scale of Etruscan Volterra – over three times the size of the present-day town.  But however wonderful they are, you can only see so many.  Questions arise too: why are most of the inscriptions in Latin?  And why Latin myths?  Perhaps the best thing there was L'Ombra della sera: a curious, very thin statuette – with a face of extraordinary frank and childlike simplicity.  The description – as of a shadow before you – is d'Annunzio's. 

3.9.87 Montepulciano

If Montepulciano is hell, San Biagio is clearly a vision of a perfectly-ordered heaven.  This masterpiece is so unexpected, its clarity such a shock after Montepulciano: it is like a perfect exposition of classicism.  Half pillars and pilasters, various cornices to the windows – and all done out in the amazing, pitted, living stone.  The campanile fits snugly into one of the Greek cross's gaps; it too is perfectly balanced, standing miraculously as if held by magnetism there.  Inside is less spectacular.  Things have been spoilt somewhat by the over-ornate decorations over the altar.  Like San Giorgio Maggiore, pure cool simplicity is needed for such a building.  Externally, everything is on a massive scale: even the triglyphs.  Everything is perfectly proportioned: double cubes and a square cross.

Where San Gimignano appears finite and knowable, Montepulciano is like some maze, a monstrous joke on the hillside.  Getting in is no problem – but getting out is.  There are no roads, just paved streets; few signs; and everything is steep.  A crossroad may present you with a choice of five narrow paths.  Imagine this place in the rain, at night.  During the day it was deathly quiet.

Montepulciano itself seems attractive enough – an imposing situation, a neat main square (Piazza Grande).  But it lacks the purity of San Gimignano.  The palazzo municipale is of the standard Tuscan design.  Its chief point of interest is the tower.  You can go up inside – if you dare.  No modern appurtenances: it was like climbing back 500 years.  Rotten wooden rails, crumbling stairs, little light, old bricks.  Wonderful.  And the whole things was free.  You just walked in – past all the administrative offices, and up the stairs to the top.  The duomo had a unornamented west front, a bit like San Lorenzo in Florence.  Inside it was cool, bare and simple.  The square outside looked very suitable as a scene for the music festival.  Opposite the church, a loggia by Sangallo – obviously the patron artist of Montepulciano.  Quite a nice building – except that the man put square columns above round ones – which doesn't work.  

From Montepulciano to Lago Trasimeno.  Unfortunately, by now the weather had turned entirely to heat haze, with thunder in the offing.  The lake itself is not particularly impressive.  The surrounding hills are more so – though rather obscured.  The general effect is of an enormous pond.  But pleasant enough to have a cappuccino or two by.

For the drive back, mostly mini-motorways – no crash barrier, which is disconcerting – especially as I passed one car which seemed to have managed to end up on the wrong side.  Soon the rain came.  Great big splodges of it.  This suddenly made all those boring signs about "pericolo in gelo o in pioggia" terribly relevant.  My entire route seemed to be filled with them.  But worse was the lightning.  This was none of your namby-pamby British "one clean bolt and let's call it a day".  This stuff forked around the sky – horizontally even.  And I was climbing up the landscape in my little tin car.

I obviously made it, but it was interesting.  As was the view from my balcony when I got back.  The eastern part of the Tuscan hills from San Gimignano were laid out before me.  A huge thick pall hung over it.  Great nets of lightning – often multiple – flickered over it all like a serpent's tongue.  You could see how myths were formed.  It looked like El Greco's picture of Toledo.

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