Tag Archives: Medici

An Ode to Florence: The Ponte Vecchio

In my An Ode to Florence series I’ll be posting pictures and information about my favorite places in Florence, including those that figure into The Most Beautiful Woman in Florence.

The Ponte Vecchio (literally “Old Bridge” in English) doesn’t figure too much into The Most Beautiful Woman in Florence (Simonetta sees it and mentions it in passing once or twice), but as it’s one of the most famous landmarks of Florence, I had to include it in my blog series!

The Ponte Vecchio spans the Arno River, and is lined with shops on both sides. Starting in the 13th century, the shops on the bridge were of all sorts: butchers, fishmongers, tanners, etc. Many years later, however, it was decreed that only goldsmiths and jewelers could have shops on the bridge, to both show off the wealth and fine goods of the city and also eliminate the foul odors and waste that the butchers and tanners and such generated from such a well-traveled walkway. To this day, the shops on the bridge consist of fine jewelry stores and it is always a fairly crowded tourist attraction.

Running above all the shops is the Vasari Corridor. Built in 1565, this “secret” passage that connects the Pitti Palace – home of the Medici grand dukes – with the Palazzo Vecchio, Florence’s city hall. This way the Medici could get to their offices without having to walk among the common people.

The Ponte Vecchio is the only bridge in Florence that was not destroyed by the Nazis as they retreated from the city in August of 1944. The rest of the city’s bridges were blown up and later rebuilt in their original spots after the war.

The Ponte Vecchio at night, viewed from one of the nearby bridges, makes an excellent sight as you’re enjoying a post-dinner gelato 🙂


An Ode to Florence: The Medici Palace

In my An Ode to Florence series I’ll be posting pictures and information about my favorite places in Florence, including those that figure into The Most Beautiful Woman in Florence.

Properly known as the Palazzo Medici-Riccardi (after the family that built it and the family that owned it later and added to it, respectively) this is the palace where Simonetta attends parties and dinners given by the Medici family throughout the novel. It is where she first meets Lorenzo, Clarice, and of course, Sandro Botticelli, and is also where her marriage takes place.

The first Renaissance building in Florence, construction on the palace began in 1444 by Cosimo de’ Medici (Lorenzo the Magnificent’s grandfather) and was completed in 1460. It’s located just down the street from the Duomo on the Via Cavour, though at the time the street was called the Via Larga. The intention of the building was likely to convey power, wealth, and strength, and no doubt the facade communicates that message very well.

 

Above is the courtyard, where Donatello’s statue of David originally stood. It is one of the first things Simonetta sees in the novel upon entering, and it is her first glimpse of the beautiful artwork that the Medici family surround themselves with. Lorenzo’s office also originally stood off to the right of this courtyard.

This is the garden of the palace, just past the courtyard. This is where Donatello’s statue of Judith originally stood, which Simonetta also views in the novel. And this garden is the setting for the first dinner Simonetta attends at the palace, and where she meets the rest of the novel’s major players.

This room (which was undergoing some renovations while I was there) is from Lorenzo’s time (some of the rooms that are open to the public were added later). This is the room where I pictured the unveiling of Simonetta’s portrait taking place.

Above are some images of the (tiny) palace chapel, where Simonetta’s wedding service to Marco Vespucci takes place in the book. It’s a very small space on the second floor of the palace, but the frescoes are amazing.

I was initially a bit disappointed when I visited that many of the rooms from Lorenzo’s time weren’t open to the public (parts of the building are in use as a municipal building) but I was able to take what I saw and make it work for the novel. It’s a very cool building, and if you are ever in Florence I would encourage you not to miss it!


Story and Song: Visual Art Edition, Part 1

Welcome to my new edition of Story and Song! As some of you may recall, I did something similar for The Violinist of Venice, where I put a song from my playlist for the novel next to one of Vivaldi’s pieces that appeared in the book. For The Most Beautiful Woman in Florence, I thought I’d do the same thing with one difference: since we have no classical music in this novel, each post will pair a song from the book’s playlist with one of the works of art described in the novel. I hope you enjoy!

 

Anette Olzon – “Shine”

This song fits perfectly with what is perhaps the first “big” scene in The Most Beautiful Woman in Florence: when Simonetta, having come to Florence to marry Marco Vespucci, goes with him to dinner at the Medici palace in chapter 7. There she meets the rest of the novel’s major players: the Medici brothers, Lorenzo and Giuliano; Lorenzo’s wife, Clarice, and his mother, Lucrezia; and, of course, Sandro Botticelli. This sets the stage for how the relationships between Simonetta and all these characters will progress for the rest of the novel. Before the event, she is quite nervous, knowing that she’s going to meet a lot of important people, both in her soon-to-be-husband’s life and in Florence as a whole. So this song felt perfect because it seems to me to be the little voice in Simonetta’s head telling her “Shine, and lift your head high”.

Judith and Holofernes – Donatello

This statue, of the biblical hero Judith slaying Holofernes, is sculpted in bronze by Donatello. It was commissioned by Cosimo de’ Medici for the courtyard of the Medici palace in Florence, and this is where Simonetta encounters it in the novel, when Cosimo’s grandson, Lorenzo, shows it to her. This scene occurs in the same chapter noted above, chapter 7. It is the first conversation that Simonetta has with Lorenzo about art, something that continues throughout the novel. Simonetta is very struck by the power and beauty of the statue, and it is indeed striking. The above picture is one I took myself of the statue when I saw it in its current location: the museum of the Palazzo Vecchio in Florence. The statue didn’t make an appearance in the first draft of the novel; I was inspired to include it after having been to Florence doing research and seeing it myself.


The Inspiration Behind The Most Beautiful Woman in Florence

Perhaps the question that authors get asked the most is, “How did you come up with the idea for this book?” Inspiration comes in all kinds of ways – for instance, the idea for The Violinist of Venice came to me in a dream, out of the blue. With The Most Beautiful Woman in Florence, though, the process was rather different and more gradual.

I can’t remember for certain, but I believe it was when I went to Italy the first time – when I was researching The Violinist of Venice – that I first heard of Simonetta Vespucci, as I also went to Florence on that same trip as well. All I had, initially, were scraps of information (and as I would find when researching the novel, there wasn’t much more than scraps to be had): that she was supposed to be the woman in Botticelli’s painting The Birth of Venus, and that she had also supposedly been the mistress of Giuliano de’ Medici. I filed this away as a potential novel idea – something about her relationship with both Botticelli and Giuliano. When I got back from Italy, I found the idea had stuck with me, and so I poked around online and in the library to try to find out more about her.

One of the first things I found in my preliminary Google searching was that Botticelli had been so in love with Simonetta that he had asked to be buried at her feet when he died – AND HE ACTUALLY WAS. This COMPLETELY changed the novel idea that I thought I had. I no longer really cared about exploring whatever relationship Simonetta may have had with Giuliano (and the historical record is not certain on that score) and was instead interested in exploring the possible relationship that may have existed between her and Botticelli. Did not the fact that he was buried at her feet suggest more than a simple-artist muse relationship?

I certainly thought so, and still do think so, though we will never know the truth of their relationship for sure. What I did know was that this would make a stellar story, and was the perfect premise for a historical novel that I wanted to write. Yet with all that said, at this time I was working on my final revision for The Violinist of Venice before I was ready to start querying, and so I was in no position to start a new novel just yet. Even after Violinist was being queried and was later on submission with publishing houses I didn’t start writing my Renaissance Florence story, though I was playing around with some other ideas. For whatever reason, it just didn’t feel like the time was right. I also knew that I would want to go back to Florence to do some further research for it, so the timing would need to be right for that too, both personally and financially.

What I did do almost immediately, though, was write the last two lines of the book. I typed them out in a note on my phone, which I still have. They’re maybe my favorite lines in the book, and they have not changed through all the rounds of revisions since. I would share them here with you, but that would give away the ending 🙂 So you’ll just have to read the book when it comes out to see them!

Then Violinist sold, and not only that, but I was offered a two-book deal with St. Martin’s, which I obviously accepted. As I talked about at the time in my post on second-book syndrome, this sent me into a bit of a panic. What to write next? What could I write next that my publisher would love as much as Violinist? And hey, what about the fact that I had been (partially) paid for a book I hadn’t written yet?

At first, I had no idea what I wanted to do for my second book. None of the ideas I’d been playing around with while Violinist were on submission were really grabbing me; they just didn’t feel developed enough yet to be my next published book. So I dug out my idea about Simonetta and Sandro and thought, hmmm, maybe this is the time for this idea. I wrote some initial pages that seemed to go well and shared them with my agent, who liked what I had done. I had a phone call with my editor, where I described a basic outline of the idea, and she gave her blessing.

There was lots of struggle in writing The Most Beautiful Woman in Florence, which you can read about here and here and also here. But I pushed through it, and as a result have a book that I’m perhaps even more proud of. As I mentioned above, researching the book was rather frustrating at times because we have only the barest facts about Simonetta’s life, and even a few of those are in dispute or uncertain. Yet this also gave me a lot of freedom as a fiction writer: I took those few facts and built a framework on which I could speculate and write scenes of my own invention. And I did get to go back to Florence for research, and saw a lot of the locations where the story takes place, and also the artwork that figures into it (I actually added even MORE artwork into it after visiting Florence again).

Aside from all the second-book syndrome stuff, in hindsight, what I now realize is that when I initially started drafting The Most Beautiful Woman in Florence, I had a good story, but I wasn’t hearing Simonetta’s voice yet. I realized the exact moment when her voice finally broke through, when I finally began to hear it and felt like I really knew her as a character, and then it became much easier.