Our City of Florence class has been one of the highlights of this semester thus far, giving us the opportunities to try our hand at painting in a local artist’s studio and examine how the Scuola del Cuoio constructs leather goods by hand. This time, however, our City of Florence class took me back to one of my favorite museums in Florence, the Opificio dell Piedre Dure. By the recommendation of our host mother, Julia and I visited this museum during one of our first weekends in Italy, and it’s one of my favorite museums in Florence.
However, this time we were granted special access to the restoration workshop and school that accompanies the museum. At the school, a select number of students learn the traditional Florentine practice of creating mosaics with delicate pieces of semi-precious stone, an incredibly demanding craftwork that requires a ridiculous amount of patience and exactitude.
First, we met our guide, who graduated from the school and now works full-time as an artisan. Funding from the state is shaky and never guaranteed, so artisans like her are often hired for short contracts to restore a particular piece of artwork. “But this is my passion,” she told us.
We huddled into the workshop itself, where the artisans were diligently hard at work.
In their spare time, the artisans are currently working on recreating a painting into a mosaic comprised of countless tiny pieces of stone. There’s another one like it in a vault somewhere in a collection, though none of the artists have ever seen it. Once they finish this mosaic, they hope to compare it to the older piece to see what was done differently.
Interestingly, the best way to cut out the tiny pieces for the mosaics is by hand––machines cannot yet achieve the exactitude or carefulness that the artisans can achieve themselves. Though they also have top-grade stone cutters, they often stick to the old-fashioned method since it’s less likely to crack the pieces.
After touring the school, we then visited the restoration workshop, where unfortunately no cameras were allowed. They were currently working on restoring an old Roman mosaic floor that was found underground the Baptistery. It was only accessible by a narrow, deep hole, so they had to break up the mosaic to restore it once they realized that it was suffering from water damage. However, there’s no space for the mosaic floor in any museum in Florence. So once it’s restored, it will go back underground––never to be seen by the public.
But really––restore a Roman mosaic floor so it can go back underground? Couldn’t something else be done?
It’s strange to think how countries like Italy have such a wealth of art and archaeological artifacts––way more than can ever be on display in its many museums. We came across that in Turkey, too. Many of the archaeological sites we visited had way more to be uncovered, though it will take huge amounts of money and time to finally uncover what treasures may still lie there, like in Ephesus, Pamukkale, or Laodicea.
Our group then headed into the museum, where once again I got the opportunity to admire this beautiful craft.
There’s a lot of directions you could go with a class called the City of Florence, but I appreciate how our professor chose to focus on the art scene that’s still very much alive in the city. You can stare at masterpiece after masterpiece of centuries-old art in Florence’s many museums. But art is also alive today, kept in practice by the many artisans who are still very much engaged in the city’s past and making it the city’s future.