The exhibition is linked to a project series titled
Relocated in which well-known works receive temporary new homes, engaging viewers in an entirely different viewing experience. Medici tapestries and the Chimera of Arezzo have also been innovatively placed as part of the initiative.
Director of The British Institute of Florence Simon Gammell commented "I'm delighted and frankly astonished to see the work in the Sala Leone X because it's almost like seeing it for the first time. It has a completely different resonance and affect in this contained cube of space as opposed to the open cloister of Santa Croce. It becomes far more intimate and, certainly for me, more powerful and more focused when framed in this space."
an ingenious timelapse of never-ending passersby, like the trudging circles in the
Inferno, in front of the nineteenth-century Carrara marble tribute by Paolo Emilio Demi. The half-hour of camera clicking has attracted the attention of the young army officers standing guard over the U-shaped corridor and its priceless possessions. “I wonder why Alighieri is spelled with two ‘l’s,” the soldier muses. “Maybe it’s a mistranslation from the Latin.” Any ideas?
This issue of
The Florentine celebrates Florence’s Supreme Poet ahead of Dantedì on March 25, the date when Dante is believed to have started writing his ‘Divine Comedy’ and the date that the Italian government has dedicated to the writer as a symbol of Italian culture worldwide. For Eugenio Giani, president of the Tuscany Region, Dante is the “cultural father of all of Tuscany” as well as a “friend… a familiar presence even to those who haven’t studied literature”, while for Mayor of Florence, Dario Nardella, “Dante will be our most powerful driving force for rebirth”. (You can read these institutional greetings on page 12 in the magazine.)