My Florence Attractions

Vexed, Hesse asked himself why his countrymen were coming to ruin Florence; Rolland lamented not being born and authors we have read and chosen expressed the same, precise and constant admiration for Florence. It seems that each of them the 15th Century until the present, approached this city knowledgeably, having already made a carefulstudy at their desks of the classic, of other travel books, of history and history of art until finally assimilating and making themselves that which is histroy and art, a civilization owed to Florence and that which Florence owed to them. More than a journay, it seems like an appointment long marked on the calendar and prepared for with the devotion of a pligrim who gave himself finally and perhaps for the only time in his life to the meeting with the holy city of his faith.

And how does Florence Appear to these distinguished guests? What do they expect and what fascinates them most of all ? The different launguages, the different styles and the different sensitivities end with a single thread, invisible and perhaps incomprehensible, which always relocates the reader in the middle of any disclosure, any description, however personal. There is a chromatic Florence, an oneiric Florence, a misty Florence (that which appears extemporaneously regal and mysterious in the valley) and however it may seem excessive to say it, there exsist a spiritual Florence which is not necessarily seen. Of course, society and habits change continuously and not everybody, perhaps nobody, could benefit from the suggestion of Ruskin on how to go the Certosa del Galluzzo, and to see it and what to do afterwards so as not lo loose the effect; or the impressions of the Countess of Blessington on the less frequented paths of Le Cascine, filled with pheasants and hares, could make one smile and shake one's head; but there exists also a physical Florence that time has changed and which is the same to our eyes as it was to those of our mentors: a Florence filled with domes and spires, peaks and hills and above all, with statues, a triumph of the third dimension, of the white which leaps from the dark of the stone and wins over it, a Florence once again compared to Athens, a Florence on water which serves, above all, to justfy the harmony of its bridges, the offering of a captivanting view and the exaltation of the houses and their roofs amassed without a break toi make ourselves small, retreating to honour the great, the immense and eternal.

And does the Florence of these five hundred years of written testimony really exist ? Photography, a form of literature as capable as writing of grat sincerity and maximum simulation, seems to reassure us, leaving the right ambiguity between that which the author wishes it were it were and which is . It reassures, offering form, colour, light, spirit and life to a city described many times and in many tongues. This is a ewb site ( florence-holidays.com - my Florence Attractions ) in five language which are maidservants to each other adapting to the unwritten and therefore universal language of the image. Because photography is as valid as painting which, Leonardo said: "does not need interpretation in different languages, because it immediately satisfies the human spacies". Five languages but a single spirits which, if true, was already affirmed in 1772 by Jean-Jacques Rousseau in his "Considerations sur le gouvernement de Pologne": "Today there are no more Frenchmen, Germans, Spaniards, even Englishmen, there are only Europeans. All have same tastes, the same passions, the same habits.
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