Comfortable viewers from Italy starts for you Italy
the only container without the I'm going to go back to the bottom because you can find us in there.
all the Italian beauty.
We start as always with art in Florence Michelangelo also worked
in the Basilica of San Lorenzo that that doctors always considered
like their church.
is in fact there that many members of the noble Florentine family are
buried in Barbagia at Ottana and Mamoiada two of the demonstrations
most significant and full of charm awakening the archaic part of the
Sardinia.
Every year during the carnival these solemn ceremonies are repeated
shrouded in the mystery that lies behind it origin and meaning.
We sewed it all up. the days, and we don't even notice.
Yet it is an object that contains a universe of possibilities also
artistic.
is the button of Italian excellence that few know but to begin with.
Let's start again from Florence and from those which are universally known as the
the Medici Chapels, or rather the one part of the Basilica of San Lorenzo
dedicated to the tombs of the family of the Doctors.
We're in one place.
Filippo Baldi Nucci writes to the the end of the seventeenth century that with its
beauty and its rarity fills the of wonder the whole of Europe.
The Chapel of the Princes.
Balducci tells us that at the end of the day. of his life first Cosimo the
first duke and then grand duke of Tuscany asked Giorgio Vasari the builder
of the image of Tuscany as a was modern.
To imagine a great boast for the family a burial place
for the Medici dynasty.
Under the Medici in Florence was born a new manufacture the work
of the Hard Stones becomes one of the most of the medical court that flooded the
Europe of gifts in tunnels there's a laboratory that works for
centuries one of the characteristics of this place where we are.
is its centuries-old lifespan.
The floor I'm on is was only finished ten years earlier
that was born in 1961 there's a job which starts in the middle of the
Five hundred and it comes down to us of the mid-sixteenth century we begin
to imagine and only in the last few years years of the sixteenth century in the first
years of the seventeenth century that Matteo threw Bernardo good talents Don Giovanni
of the Doctors a member of the family finalise the drawings and projects
for this place.
is a place that in its form has two large matrices a Fiorentina
and a Roman one the Roman one and the Pantheon the temple round the place
where all the gods are worshipped and then all the saints and it becomes
the model of a classical architecture perfect in form and celebrating
a group concluded in this case the pantheon of the entire dynasty
the chaplain of the princes tells me is the symbol of a Florence by now
dynastic of a Medici Florence of a grand-ducal Florence.
What is the Chapel of the Princes?
Certainly it's a dynastic place a monument to a dynasty and a
tomb but at the same time is also a great place of knowledge of the
nature.
Here it's as if you're watching together a catalogue like we're from
in front of a catalogue of stones.
You can study the geology itself they can study the minerals in the
hard stones the bowels of Tuscany and all of Italy.
They offer the best in a prodigy of art wanted to tell the
doctors, but he is also a huge prodigy. of nature.
is a sacred place but it is also a place of knowledge is a place
of art, but it is also a place where collection.
There's everything that animated the spirit of the Medici culture.
There's a very strong connection between the where we are and the collections
of the doctors.
An Invisible Thread Hair Alloy of the principles at the Uffizi and the
other places where the works collected by the doctors in this
their hunger for knowledge.
This desire of theirs to reunite All that beautiful of rare
of singular you could find in this huge family tomb.
The walls are fully lined of stones at first it was
he thought the ceiling was supposed to be Look like the pantheon.
decorated with Lagunarians with gods coffers only in very old times
late were instead made these frescoes that are the part
less happy than the chapel.
What strikes us instead is precisely what's around us.
This dark chord of stones which will become a symbol of a
Baroque Florence that does not cut the bridges with the culture that today
we call mannerist is a chapel that in its form and in its
idea was born in the mid-sixteenth century even if it is then accomplished
materially or even merely in the twentieth century and in some ways
should still be done.
We could have fun isolating each other of the parts of this chapel
by speaks five six seven eight And nine hundred follow one another, and behind them
what's behind it is the work of generations of artisans of
generations of stone cutters of generations of architects.
And we have to say it even if it disconcerts us there is the work of hundreds of thousands
of Turkish slaves of Turkish slaves to the Muslim slaves who are in jail for a long time.
of doctors with the Order of Saint Stephen captured in the seas of the
Mediterranean.
They were taken to Livorno and then were brought here to cut off
the stones.
Diaries that tell the story of the construction of the chapel show a
Go away of stones but also a way of men's vai of men's of another
faith today seems unthinkable to us see behind these stones the
the hard work of those who built it and yet that also tells the story of the
I'm sorry. I'm sorry. I'm sorry. I just... I'm sorry. I'm sorry. I'm sorry.
Brecht warned us to ask ourselves who built Thebes from the
Seven doors we always forget That there is behind that which is beautiful
but let's see when we have to to try and rebuild it.
The Chapel of the Princes is an organism alive and complex.
Under my feet is the crypt where they rest materially
the bodies and it makes a certain effect to think that you're so close to what you've been saying.
remains of body material of Cosimo di Eleonora and all the
Dukes of princes le grand duchess that have followed each other and above
instead of the monumental level where I'm here, there's a huge number of
bases at the center of the epigraphs very simple reminiscent of the
name and years of life on dates of the various grand dukes the sarcophagi
the crown rests on the sarcophagi and then a large niche a few
inhabited by bronze statues golden and empty.
This void reminds us of the incompleteness at the bottom of this
of this place the monument was so ambitious that time hasn't stood still.
it was enough to finish him off.
The New Sacristy by Michelangelo in San Lorenzo in Florence is one of the most
pulsating hearts of art history and one of the places where the
the human spirit has reached the point of higher peaks.
It's like we're in it. a song from the Divine Comedy
or in a Shakespeare play.
It's called the New Sacristy because in the previous century Cosimo the
Old man had wanted the basilica of San Lorenzo his parish
to house a sacristy that would later will be called an old woman who entrusted him
to Brunelleschi the same architect that rebuilds all of San Lorenzo
that it was an ancient basilica was was consecrated by Saint Ambrose
in person than in that Sacristy
Old where not only Brunelleschi but Donatello also leaves his own
footprint.
There wasn't just one place we could go to. they would change their sacred vestments
a functional place a sacristy as we understand it today but it was
with a very happy piece of trash. that is to say, with one act, we could say
of fake humility.
It was the place that housed the the tombs of the first doctors.
When the Medici family becomes a dynastic family.
When he even manages to get a Pope Leo tenth the son
of Lorenzo the Magnificent looks at himself in San Lorenzo with a new eye
and it is Pope Leo tenth who wants a new sacristy to house
the graves of his father Lorenzo the Great about his uncle Giuliano and
of two members of the Medici family that we know far less about today
from a historical point of view and that I am Lorenzo Duke of Urbino and Giuliano.
the Duke of Nemours.
Two unsuccessful attempts by the family of feudality Parsis of
to extend its power that was born as a family's birthright.
of bankers and merchants on a State in the case of Urbino and inside
of a monarchical system like that French.
So far, the external story is really but of little importance compared to
what we see.
A place where Michelangelo imagines that the space in which we find ourselves
to be redefined by the sculpture.
Doors with continuous jets.
The walls are moving, it seems that come to meet us there is nothing
of static everything is dynamic in the There's a living force in the literal sense.
It seems that the walls if we Let's help them move us.
can meet us or instead to get away.
And this great organism of architecture and sculpture.
Here it is impossible to say where it starts one happy the other in this organism
also find a place for some of the figures first of all the figures of the
Dukes of Duke Lawrence who will come called the thoughtful for all of his life.
his melancholic attitude.
Nothing militaristic is not a a warlord seems more like an intellectual
tormented folded on himself and Giuliano who in his bizarre
with that unbelievable, unbelievable. mask on the chest tightening
in the hands of the command stick look to the Virgin.
It's a sacred place, looks converge. all towards Our Lady who at this time
Hercules child that instead of Watching the deceased faithful who recur
to him and his power flees towards the breasts of Mary and her mother
to get Torcello milk.
In this typical attitude Michelangelo next to Cosma
and Damiano who were not carved by Michelangelo and that they are the saints
doctors and family protectors Doctors.
There is a common thread that concerns the whole chapel and that binds them together.
figures of the dukes and the Madonna also the allegories of the hours of the
day on dusk the Aurora the day and night.
And that idea is says Michelangelo that time consumes everything and the
time that he has brought with him as he has passed through the ages. too fast.
To the early death of these dukes which led to the destruction of the
material body of the Magnificent Lorenzo and of his brother Giuliano is the
time that consumes everything and to which even principalities can't escape.
There is a unique thought that binds the whole chapel to the poetry of
Michelangelo.
Michelangelo suspends work around 1529 1530 in this
chapel because the doctors are besieging Florence to get into it
from masters and at that moment Michelangelo chooses him who has
always hesitated to take a side has always looked a lot also
to his advantage and success. at that moment, however, chooses to
to be with Florentine freedom.
Participates in the fortifications of Florence to get back to work
to the chapel will have to be forgiven by another Medici pope Clemente
Seventh thinking of his figures of the hours of the day that appear
asleep will write several very famous dear but sleep is
plus the being of stone until the and the shame is hard.
is beautiful is beautiful for me is convenient says Michael to have Michelangelo say
his statues being asleep and be marble while it lasts
the damage and shame of this domination of this medical dictatorship
and then forcefully set it.
These verses will remain dear to you and Florentines Piero Calamandrei
will give them up in 1944 and reopen their doors. the Universities of Florence and the
will interpret as verses from a new resistance to the anti-fascist one
that frees the city.
The new sacristy is the place in Which perhaps more than in any other
place where absolute freedom is celebrated of an artist.
Michelangelo deserves up to I background the name of divine Ludovico
Ariosto was the first to give him and that he'll always be tied to him.
because with the power of a God who takes the liberty of changing
language.
The contemporaries of Michelangelo had immediately made it clear that in
no place like in the Sacristy New language of architecture
of sculpture and language was being revolutionized.
but I'm not sure I'm that deep.
There was nothing in the tradition or in the fifteenth century that
could explain that he could prelude just that he could be
on a par with this radical change.
And it's Giorgio Vasari in Life by Michelangelo who gives voice in the
to an entire generation.
Giorgio Vasari writes in his Life by Michelangelo that with another
order of ornaments in the sacristy he made inside a composite ornament
in the most varied and newest way that in time some of the ancients
and the modern masters have been able to to operate.
Nothing in ancient times nothing in the Renaissance what we call
Renaissance had been able to prelude to Michelangelo's novelty and novelty
is the key word because in the novelty of beautiful capitals frames
and bases tabernacle doors and burials made it very different from what
measuring order and rule were doing men according to common usage
and according to Vitruvius and the antiquities so I wouldn't want to add to that.
Says Vasari.
No one has had the courage add something to a vocabulary
inherited from antiquity and perfected by the generation of Brunelleschi
and his students.
The new keyword is the second one word freedom that in the sixteenth century
it was called leave.
Whose license gave great soul.
To those who have seen the to imitate him and new ones
fantasies have since come to the rather than reason.
or rule over their ornaments.
Michelangelo frees artists and it allows their fantasy to be
Hurry up.
This will of course involve the payment of a price and the start of the
of the season that we would call the mannerism in which the imagination
of the artists seemed not to have more limit.
And yet Michelangelo's precedent he'll also be able to stop them at
to crush and intimidate the.
But Vasari's conclusion is wonderfully optimistic and
That's what we want with it forever. remember the works of Michelangelo
to the Nova Sacristy.
That's why the creators the artists have given him infinity
and perpetual obligation are forever in debt to Michelangelo for having
He broke the laces and chains of the things that because of a road
and continuously operated in the New Sacristy.
Michelangelo says Vasari breaks down the chains of artists donate to the
artists a freedom that before these walls before these shapes.
Before these statues, he was even unbelievable.
What.
In the heart of Barbagia in Sardinia Tonight mammoths perform a strict
procession through the streets of Mamoiada rules that instead dominate
The fury the Pina index of the ox in a disorderly and tumultuous
parade through the streets of Ottana to Mamoiada and Ottana every year
the ancient rituals are re-proposed linked to the cycles of death and death.
rebirth of nature a rite collective that refers to obscure
meanings but which involves and and it's a passion for all the inhabitants.
If you want, there's this mask. you feel someone else.
Maybe not hundreds of people.
When the mask is a mask that if it's you, you know it from the moment you're born.
that you wear the mask of the Sun you're not a dead man anymore.
I can't wait to put on the bells Mask and go jump these
were fertile fields together.
But still it was very important ingratiating oneself with nature for the good
harvests.
The Barbagia boasts a tradition very important carnival
mainly because we're talking about Carnival rituals that trace back to
somehow.
Agricultural traditions and rites to recall the fertility of the land.
Today the rites come in some the way they are placed on the dates of the Carnival
but we used to know very well that it was not so only with the advent
of Christianity were being relegated to carnival events.
On this line there are left Few the carnivals than in some
way they trace these rites Ottana and Mamoiada are the main ones.
Honey.
Keepers So Far bags.
There's no return of the following to you on the king's people.
Which is what Mercure needs for tame the sun and is composed of
a wooden stick.
What.
Almost always Castro wild olive tree.
It's for taming the ox.
Mine is always vegetables, but I must Sorrow.
has been said and so have I with this
there's nothing in store for you right now.
Others.
A mighty animal of everything.
is ready.
As a child, I've always masked myself. by Banner in the sense of heaviness
Of effort of jumps this dance that we were doing made me different.
and in the air we feel it inside that we have to wait for and party.
and do.
See that the carnival of Ottana he's still alive.
Clearly, it's in our blood.
is still.
A family tradition is handed down by.
One thing we hear while we're at it we need to expose.
They're just women in this country. we were born with this reality to parade
and make them silent.
is some kind of emotion is something who captures you and wants to attract you
and he wants to learn you just how to do it. The shocked wants you to pull towards
of itself the tradition for a child Mamoiada is something in progress
In ancient times these sounds were magical for the children of Mamoiada.
Ma.
Turin.
They represent a tragic figure a sad figure while by the hour
a more gentle and slimmer figure if we want more color.
On the one hand death, on the other hand life.
So two anthropomorphic masks but one can't be without the other.
So it was a good one.
Joust.
In the case of Ottana the main the main characters are the vegetable boys.
It's a game.
The.
è.
The mask.
Represents life and death is a female figure that represents
The life, the death and the spindle that from the view of Carlo Bo represents
the animal.
Vegetables, on the other hand, represent the launch the owner.
Vegetables usually dress sheep hand tanned by local craftsmen
carries on his shoulder a kind of backpack called pockets where in antiquity
they'd put themselves on the famous market. that it was the meal that was the lunch and the
shepherd's dinner when he came out. to the mountains came back late at night
at home.
He's not carrying any other cards.
Which brings typical cowbells of Sardinia.
You weigh between 20 and 40 kilos.
Once he puts them over his shoulder. and he's wearing a colorful mask.
These masks and the cut in this case the mask is one of the
constant that are the leaves that are a symbol of fertility.
And then the star or it's called also the flower of life.
The Boa is has always struck me.
Being a figure, let's say, powerful.
Nice with a mask, too.
Beautiful carved worked almost
almost before he walked.
He puts the mask in our hands. and in the face and in the face.
So let alone.
What.
What we hear.
That's what crude oil would be.
From the crude oil the mask is worn already perfect.
To make use of these masks which are the masks of the village
of Mamoiada.
We start with a log.
As you have seen well carved everything on this bench by hand.
The tools I use each one we tell them and a hoe but well sharpened this
I need it to sculpt the trunk externally.
No, I'm not.
Type when to round when to start the phase of digging the other that
tool that Sgarbi had like a hoe called however and curved and
I need this for digging.
Drink up.
Then I'll take the bulk of what's left of the bag away. that in the fresco with the spring.
Easy.
The last finishing bring it to this level that is then ready
to the Garlands afterwards, too.
You have to think that these tools are so sharp, that Garry
the title is thrown on the floor.
Thank God it never happened to me. because I'm just gonna do the line, and I'm gonna do the rest.
the line that I reflect with the line in this matter.
Handmade differences from a mask made by pantograph in
series The ones I do is that what I'm doing is a
different from the other once finished Fine.
At the minute Ones the color black.
The other figure we have because we have two masks there is a favor.
With him I had the beautiful mask but ugly and beautiful.
The.
Cinema.
Muto is composed primarily of the to your own mask.
Ricciardo.
It's called Bigelow.
After that, there is.
Bonet.
What an old hat.
And then there's the warmth that creates a handkerchief Madonna has then
taken from the tradition of the I'm a woman in Barbagia.
After that, we have Mama Luca. the skin is made of sheepskin
is treated and tanned.
In Pants.
Tiredness are the jacket so weary are.
Velvet boots must be made of be Sardinian and classic boots
Sardinian boots.
The shirt and the black shirt are not nothing else is needed.
Except for the bells that are out. what they need to reproduce
the sound.
More than the weight to bear the pain.
The straps.
To keep the charge in place. high but very, very strong narrow.
The belts are so tight. And then the heat of the emotion of the
Sheepskin in the parade is so big.
And then there's a sign of it.
Sometimes even lacerations.
For a week.
The smells are dressed with pants white a red bodice a shawl
that envelops life.
This is the mask plays.
The lasso that was practically used to get the cattle.