The Stones of Florence (Travel Library)

Prior to reading this book, my favorite book on Florence was "The City of Florence: Historical Vistas and Personal Sightings" by R.W.B. Lewis which, like much of what one reads about the city, is generally positive. In searching out books on the subject, I had repeatedly come across references to "The Stones of Florence," which I avoided because I viewed Mary McCarthy (1912 - 1989) as a sort of upscale Danielle Steel, a popular novelist incapable of perceptive insights. That assessment was wrong. Instead, from the first page, the reader is confronted with perceptive and knowledgeable opinions that challenge his or her own perceptions (e.g., the Florentines are a cantankerous, miserly bunch). You may not agree with her, but there is no doubt that she is highly intelligent and has seriously thought out her positions. In the end, the reader comes away with strong admiration for her intelligence, candor, and succinct writing style. For example: "Up until this time (the age of Michelangelo), sculpture and architecture had been relied on by the Florentines to affirm the strength of the Republic. That is why the Uffizi, beautiful as many of its paintings are, is only a picture gallery, while the Bargello and the Museum of the Works of the Duomo are Florence." (p. 108). "The kind of vulgarity in decoration that is today thought of as middle-class seems to stem straight from Tuscany in the time of the Medici grand dukes (citing Cosimo I)... The interiors of the grand-ducal palaces and villas are sumptuously, stuffily ugly in a way that is hard to connect with a period that was contemporary, after all, with classic Palladio in the Veneto." (p. 201) "Lorenzo the Magnificent was `incredibly devoted to the indulgence of an amorous passion', as Roscoe, his eighteenth-century biographer, puts it; his sexuality was uncontrollable, a perpetual bullish rut." (p. 176) This is not a book for readers considering a first trip to Florence or for those whose sole exposure has been a whirlwind tour of the Uffizi, Duomo and David. It presupposes an in-depth knowledge of the city itself, its history and literature. Those who have that knowledge will find it thought-provoking and rewarding. The title of this book is explained by the fact that three years before writing "The Stones of Florence," McCarthy wrote "Venice Observed," in which she relied heavily on John Ruskin's masterpiece "The Stones of Venice." Readers interested in an objective view of the Medici, particularly Lorenzo il Magnifico, should consider "Medici Money" by Tim Parks. The final chapter is spectacular, pulling together what for me had previously been separate strands of history.

McCarthy writes with wit about the history, current conditions(1964, when the book was published) and tourist attractions in Florence. Her advice is invaluable for finding little-known churches, and her descriptions of life in the city, and advice on when to go and where to stay, are vivid and helpful for any traveler in Italy.

There are several reasons to go for Mary McCarthy's THE STONES OF FLORENCE. You are about to go to, are in or have been to Florence, Italy; you enjoy the literature of travel; you appreciate a well-written book. I fall into the latter two categories and thoroughly enjoyed this idiosyncratic work. McCarthy wrote this in the very early 1960's when the very nature of Tuscany's chief city couldn't help but attract tourists at the same time it seemingly did everything to discourage them. She swiftly dispenses with the contemporary city and spends the book peering back into its Renaissance soul, primarily the 14th through the 16th centuries when Florence was the Western center of intellectual activity. What emerges is the picture of the greats-Dante, Giotto, Brunellseschi, Donatello, Fra Angelico, della Robbia, Botticelli, Da Vinci, Machiavelli, Michelangelo, Cellini, and various Medici to name a few-functioning amidst social, political and occasional natural upheaval. As she suggests about one artist, perhaps the productivity was inspired by the need to make order out of chaos. That and no doubt the fact that the Florentines used and valued art in their daily lives in ways that it is not today. That science, engineering, architecture and art were closely aligned offered cross disciplinary assistance is also key-without the mathematicians, for instance, would artists have been able to as easily co-opt perspective and volume?THE STONES OF FLORENCE is both direct and impressionistic. McCarthy's prose moves right along, never bogged down by a "perhaps" or the need to recite contemporary opinion. Her progress from the 14th to the 16th century is zig-zaggy, so that most of the Renaissance is spoken of as if on a continuum. There is a sly wit at work (in the personality contest, the score is Leonardo 10, Michelangelo 0) and McCarthy presents a strong spine-she is unequivocal about the decline of the Renaissance in the 16th century as the major players moved away from Florence and the populace fell into a "gee-gaw" mentality. This is a travelogue and, after a fashion, an art history catalogue, and yet there are no pictures (in this edition). That and its not too chronological organization would suggest an abstract mess but it is nothing of the kind. I became very much aware of how much of the Renaissance was covered in my early education as every reference brought up old lessons and visits to museums out of the tar pits of memory. I felt at home, not at a loss.

I have the large hard-cover version of this book with absolutely wonderful black and white photographs. They are what originally drew me to it - I had read "The Group" in college but wasn't a big fan of Mary McCarthy. Well, that changed fast!In Florence, more than in any other city I know of, history and art are entwined in such a way that you can't talk about one without talking about the other. In this book, Ms. McCarthy conveys this duality better than I have ever seen done before. Her style is quite literary, in a dreamy way, so it reads smoothly and flows logically. You learn a lot without realizing it. The photographs are somewhat old-fashioned; sharp-focus B & W, many of minute details. The text and the pictures complement each other beautifully - her style is such that even without the pictures, you can see what she's talking about in your imagination - the very best kind of writing.Ms. McCarthy also wrote "Venice Observed," a similar kind of book. Both are out of print, but are not too hard to find in used book stores, where I found the Venice book. I highly recommend them to anyone with an interest in Florence, art, the Renaissance, history...

Of all the works on this great city, this book stands above the rest. It is both a travel guide and a art history book.