Image Details
Date: 18 September 2022
Camera body: iPhone Xs
Lens: Telephoto Camera 52mm ƒ/2.4
Focal Length: 52mm
Aperture: ƒ/2.4
Shutter Speed: 1/156s
ISO: 16
Licensing: Image of a copyrighted work. This image cannot be licensed.

Object description
Type: Sculpture
Location: Loggia dei Lanzi, Florence, Italy
Material: Marble
Artist: Giambologna (1529-1608)
Date: 1599

Image Details
Date: 16 September 2022
Camera body: Nikon D50
Lens: Tamron 70.0-300.0 mm f/4.0-5.6
Focal Length: 135mm
Aperture: ƒ/4.5
Shutter Speed: 1/640s
ISO: 400
Licence: Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International

From Wikipedia

Il Porcellino (Italian “piglet”) is the local Florentine nickname for the bronze fountain of a boar. The fountain figure was sculpted and cast by Baroque master Pietro Tacca (1577–1640) shortly before 1634, following a marble Italian copy of a Hellenistic marble original, at the time in the Grand Ducal collections and today on display in the classical section of the Uffizi Museum. The original, which was found in Rome and removed to Florence in the mid-16th century by the Medici, was associated from the time of its rediscovery with the Calydonian Boar of Greek myth.

Tacca’s bronze, which has eclipsed the Roman marble that served as model, was originally intended for the Boboli Garden, then moved to the Mercato Nuovo in Florence, Italy; the fountain was placed originally facing east, in via Calimala, in front of the pharmacy that by association gained the name Farmacia del Cinghiale (Italian for “boar”). To gain more space for market traffic it was later moved to the side facing south, where it still stands as one of the most popular features for tourists. The present statue is a modern copy, cast in 1998 by Ferdinando Marinelli Artistic Foundry and replaced in 2008, while Tacca’s bronze is sheltered in the new Museo Stefano Bardini in Palazzo Mozzi.

Visitors to Il Porcellino put a coin into the boar’s gaping jaws, with the intent to let it fall through the underlying grating for good luck, and they rub the boar’s snout to ensure a return to Florence, a tradition that the Scottish literary traveller Tobias Smollett already noted in 1766, which has kept the snout in a state of polished sheen while the rest of the boar’s body has patinated to a dull brownish-green.[citation needed]

Image Details
Date: 16 September 2022
Camera body: Nikon D50
Lens: Nikkor AF-S DX 18-55mm ƒ3.5-5.6G ED
Focal Length: 35mm
Aperture: ƒ/4.8
Shutter Speed: 1/500s
ISO: 800
Licence: Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International

Giuseppe Garibaldi (Italian: [dʒuˈzɛppe ɡariˈbaldi]); 4 July 1807 – 2 June 1882) was an Italian general, politician and nationalist. He is considered one of the greatest generals of modern times and one of Italy’s “fathers of the fatherland” along with Camillo Benso, Count of Cavour, Victor Emmanuel II of Italy and Giuseppe Mazzini.

Garibaldi has been called the “Hero of the Two Worlds” because of his military enterprises in Brazil, Uruguay and Europe. He personally commanded and fought in many military campaigns that led eventually to the Italian unification. Garibaldi was appointed general by the provisional government of Milan in 1848, General of the Roman Republic in 1849 by the Minister of War, and led the Expedition of the Thousand on behalf and with the consent of Victor Emmanuel II. His last military campaign took place during the Franco-Prussian War as commander of the Army of the Vosges.

Garibaldi was very popular in Italy and abroad, aided by exceptional international media coverage at the time. Many of the greatest intellectuals of his time, such as Victor Hugo, Alexandre Dumas, and George Sand, showered him with admiration. The United Kingdom and the United States helped him a great deal, offering him financial and military support in difficult circumstances. In the popular telling of his story, he is associated with the red shirts worn by his volunteers, the Garibaldini, in lieu of a uniform.

Image Details
Date: 12 September 2022
Camera body: Nikon D50
Lens: Tamron 70.0-300.0 mm f/4.0-5.6
Focal Length: 280mm
Aperture: ƒ/5.3
Shutter Speed: 1/1,000s
ISO: 220
Licence: Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International

The monument depicts Ferdinando I de’ Medici, who was the Grand Duke of Tuscany from 1587 to 1609. The statue was created by the sculptor Pietro Francavilla and stands in the Piazza dei Cavalieri.The monument was erected in 1595.
At the base of the statue, there is a kneeling woman with two children, representing the city of Pisa and its plea for protection and prosperity from the Grand Duke.

From Wikipedia

Ferdinando I de’ Medici, Grand Duke of Tuscany (30 July 1549 – 17 February 1609) was Grand Duke of Tuscany from 1587 to 1609, having succeeded his older brother Francesco I. He expanded the culture of Tuscany, which included presenting the opera Euridice by Jacopo Peri. Ferdinando supported Henry IV of France following the assassination of Henry III of France and provided him with financial support. He expanded the Naviglio canal and started an irrigation project in the Val di Chiana. Ferdinando died on 17 February 1609.

Image Details
Date: 12 September 2022
Camera body: Nikon D50
Lens: Nikkor AF-S DX 18-55mm ƒ3.5-5.6G ED
Focal Length: 55mm
Aperture: ƒ/5.6
Shutter Speed: 1/1,600s
ISO: 200
Licence: Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International

ANCORA INCIAMPO NEL PRESENTE: I still stumble in the present

Image Details
Date: 12 September 2022
Camera body: Nikon D50
Lens: Nikkor AF-S DX 18-55mm ƒ3.5-5.6G ED
Focal Length: 55mm
Aperture: ƒ/5.6
Shutter Speed: 1/1,600s
ISO: 200
Licence: Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International

From Wikipedia

The Piazza dei Miracoli (Italian: [ˈpjattsa dei miˈraːkoli]; ‘Square of Miracles’), formally known as Piazza del Duomo (‘Cathedral Square’), is a walled 8.87-hectare (21.9-acre) compound in central Pisa, Tuscany, Italy, recognized as an important center of European medieval art and one of the finest architectural complexes in the world.[1] It was all owned by the Catholic Church and is dominated by four great religious edifices: Pisa Cathedral, the Pisa Baptistery, the Leaning Tower of Pisa (the cathedral’s campanile or bell tower), and the Camposanto Monumentale (‘Monumental Cemetery’). Partly paved and partly grassed, the Piazza dei Miracoli is also the site of the Ospedale Nuovo di Santo Spirito (‘New Hospital of the Holy Spirit’), which now houses the Sinopias Museum (Museo delle Sinopie) and the Cathedral Museum (Museo dell’Opera del Duomo).

The square’s popular name was coined by the Italian writer and poet Gabriele D’Annunzio who, in his novel Forse che sì forse che no (1910), described the square as the “prato dei Miracoli”, or ‘meadow of miracles’. It is also sometimes called the Campo dei Miracoli (‘Field of Miracles’). In 1987, the whole square was declared a UNESCO World Heritage Site.

Image Details
Date: 12 September 2022
Camera body: Nikon D50
Lens: Nikkor AF-S DX 18-55mm ƒ3.5-5.6G ED
Focal Length: 55mm
Aperture: ƒ/5.6
Shutter Speed: 1/1,000s
ISO: 220
Licence: Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International

From Wikipedia

Night is a sculpture in marble (155×150 cm, maximum length 194 cm diagonally) by Michelangelo Buonarroti. Dating from 1526 to 1531, it is part of the decoration of the New Sacristy and part of an allegory of the four parts of a day. It is situated on the left of the sarcophagus of the tomb of Giuliano di Lorenzo de’ Medici, Duke of Nemours.

Along with his Dawn, Michelangelo drew from the ancient Sleeping Ariadne for his sculpture’s pose.

Image Details
Date: 16 September 2022
Camera body: Nikon D50
Lens: Nikkor AF-S DX 18-55mm ƒ3.5-5.6G ED
Focal Length: 55mm
Aperture: ƒ/5.6
Shutter Speed: 1/1,000s
ISO: 320
Licence: Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International

From Wikipedia

David is a masterpiece of Italian Renaissance sculpture in marble created from 1501 to 1504 by Michelangelo. With a height of 5.17 metres (17 ft 0 in), the David was the first colossal marble statue made in the High Renaissance, and since classical antiquity, a precedent for the 16th century and beyond. David was originally commissioned as one of a series of statues of twelve prophets to be positioned along the roofline of the east end of Florence Cathedral, but was instead placed in the public square in front of the Palazzo della Signoria, the seat of civic government in Florence, where it was unveiled on 8 September 1504. In 1873, the statue was moved to the Galleria dell’Accademia, Florence. In 1910 a replica was installed at the original site on the public square.

The biblical figure David was a favoured subject in the art of Florence. Because of the nature of the figure it represented, the statue soon came to symbolize the defence of civil liberties embodied in the 1494 constitution of the Republic of Florence, an independent city-state threatened on all sides by more powerful rival states and by the political aspirations of the Medici family.

Image Details
Date: 16 September 2022
Camera body: Nikon D50
Lens: Nikkor AF-S DX 18-55mm ƒ3.5-5.6G ED
Focal Length: 55mm
Aperture: ƒ/5.6
Shutter Speed: 1/1,000s
ISO: 200
Licence: Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International

From Wikipedia

David is a masterpiece of Italian Renaissance sculpture in marble created from 1501 to 1504 by Michelangelo. With a height of 5.17 metres (17 ft 0 in), the David was the first colossal marble statue made in the High Renaissance, and since classical antiquity, a precedent for the 16th century and beyond. David was originally commissioned as one of a series of statues of twelve prophets to be positioned along the roofline of the east end of Florence Cathedral, but was instead placed in the public square in front of the Palazzo della Signoria, the seat of civic government in Florence, where it was unveiled on 8 September 1504. In 1873, the statue was moved to the Galleria dell’Accademia, Florence. In 1910 a replica was installed at the original site on the public square.

The biblical figure David was a favoured subject in the art of Florence. Because of the nature of the figure it represented, the statue soon came to symbolize the defence of civil liberties embodied in the 1494 constitution of the Republic of Florence, an independent city-state threatened on all sides by more powerful rival states and by the political aspirations of the Medici family.

Image Details
Date: 16 September 2022
Camera body: Nikon D50
Lens: Nikkor AF-S DX 18-55mm ƒ3.5-5.6G ED
Focal Length: 55mm
Aperture: ƒ/4.5
Shutter Speed: 1/1,000s
ISO: 280
Licence: Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International