Accademia-Opera del Duomo-Prato

For my art history class this morning, we were scheduled to meet at Piazza San Marco at 8:30 to go into the Galleria dell'Accademia and then walk over the Museo del Opera del Duomo. Imagine my horror when I found that I had walked to Piazza Santissima Annunziata! Fortunately, I know the general lay of Florence by now and made it to San Marco (even though I was mapless) and, after calling my teacher's assistant, was able to meet up with the group and go into the museum (only 6 minutes late). Of course, the main attraction at the Accademia is Michelangelo's "David" but they also have his four later "Slaves" for the tomb of Pope Julius II, which are unfinished. It seems difficult to imagine them being completed, however, as part of their incredible presence is the fact that the figures haven't been "liberated" from the stone. In the tribune area of the gallery, the four slaves are set up so as to lead into the David. I don't know what I could possibly say about that work that hasn't been said before. It is so iconic that it felt a bit surreal to approach the real thing and I have to admit, even though I have gone up to the copy now standing in front of Palazzo Vecchio, I had no idea it was so over-life-sized. It was a completely awesome experience and I plan on going back once the tourist season has died off. Unfortunately, photography and film are totally forbidden and though many people sneak pictures anyway, I was with a school group and had not only the guards' but my instructor's and her assistant's eyes on me!
We then trekked down to the Opera del Duomo where we saw, among other things, Donatello's "Mary Magdalene," most of the "Gates of Paradise" panels by Lorenzo Ghiberti, and one of Michelangelo's late Pietas. These were the things you will find photographs of below. Mary Magdalene was about life size and totally crazy! She is carved out of wood and is represented after her supposed life in the wilderness during which she has wasted away and now wears her hair as her only clothing. She is a popular saint in Florence because she is seen as a sort of sister saint to John the Baptist, the patron saint of the city.
The Paradise panels are located in the courtyard where Michelangelo carved the David. It has now been roofed over with glass. Each panel is on display in glass with its back open for view. The Museum plans to place the panels back in their original frames in the original door in the future so the backs will no longer be seen. I don't know which ones were gone, but I believe there are three panels I did not get to see as they are on loan to the United States. I was glad I saw any because I thought they were ALL on loan to America! They were absolutely amazing! It is so unbelievable that they were each cast as a single piece and have so much variation in depth of relief. They were like paintings that have started to jump through the canvas. I took soooo many pictures of them!
But my favorite piece was the one I couldn't even remember ever seeing slides of. The Michelangelo Pieta that was on display was not commissioned from Michelangelo: he carved it for the purpose of ornamenting his own tomb (which it unfortunately does not!). It represents, of course, Christ and Mary but also Mary Magdalene and a man art historians are sure is meant to be Nicodemus. This is because Michelangelo has carved himself in the place of Nicodemus, one of the men who took Christ down from the cross and who is traditionally said to have been a sculptor. In fact, if you remember me mentioning that the Volto Santo in Lucca was supposed to have been carved by one of the men who removed Christ from the cross, it is the same person I was referencing. There was just something so moving about how Michelangelo embraces Christ and Mary. He was a very religious person and even said shortly before he died, "Think of Christ's death when you see mine."
I also saw another sculpture, "Abacuc," by Donatello as well as a choir which he designed and carved. In addition, there were a number of reproductions of the tools that the architect of the great dome of the cathedral, Filippo Brunelleschi, would have had his men using. They even had his death mask on display.
This afternoon, after weaving for about 2 hours, my class walked down to the area near the train station and bought bus tickets to Prato. When you buy a ticket you have to stamp it when you get on the bus or you could get a fine and look like you were trying to steal a ride. We visited a textiles museum, Florentine wealth having been primarily based on the fine cloth industry while Prato's was based on the practical cloth for the work-a-day man. It is in an old finishing factory and was pretty interesting! Photography was forbidden here as well. I have to admit that I mainly enjoyed it because it meant that I did't have to weave for 6 hours straight! However, one of the interesting things we saw was an exhibit on cashmire. My instructor talked about the specific climate a kashmir goat has to have in order to produce the right fibers for cashmire and then, in an aside, mentioned that she knows a lady who is trying to raise them in the Chianti region. Long story short, we might go and visit her! I think it would be hilarious.
So anyway, here are the photo links:

Mary Magdalene, etc:
Mary Magdalene

The Gates of Paradise:
The Gates of Paradise

Pieta:
Pieta

Enjoy!