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  • 1 August, 2008. New York, NY. Baruch November, 31, enters one of the Westmont building multi-purpose rooms (for meetings, parties, movies, etc.) available for the residents. Baruch November is a Orthodox man from Pittsburgh who moved, like many other young jewish men and women, to the Upper West Side in New York with marriage in his mind.  The Westmont building has become one of the favored residences for the young Orthodox. In the last decades the Upper West Side, which has emerged as the "Orthodox Courting Central", has driven young Orthodox jews from the US and other nations.<br />
 ©2008 Gianni Cipriano for The New York Times<br />
cell. +1 646 465 2168 (USA)<br />
cell. +1 328 567 7923 (Italy)<br />
gianni@giannicipriano.com<br />
www.giannicipriano.com
    orthodox006.jpg
  • 1 August, 2008. New York, NY. Baruch November, 31, is here in front of the entrance of the Westmont building, in the Upper West Side. Baruch November is a Orthodox man from Pittsburgh who moved, like many other young jewish men and women, to the Upper West Side in New York with marriage in his mind.  The Westmont building has become one of the favored residences for the young Orthodox. In the last decades the Upper West Side, which has emerged as the "Orthodox Courting Central", has driven young Orthodox jews from the US and other nations.<br />
 ©2008 Gianni Cipriano for The New York Times<br />
cell. +1 646 465 2168 (USA)<br />
cell. +1 328 567 7923 (Italy)<br />
gianni@giannicipriano.com<br />
www.giannicipriano.com
    orthodox026.jpg
  • 1 August, 2008. New York, NY. Baruch November, 31, is a Orthodox man from Pittsburgh who moved, like many other young jewish men and women, to the Upper West Side in New York with marriage in his mind.  The Westmont building has become one of the favored residences for the young Orthodox. In the last decades the Upper West Side, which has emerged as the "Orthodox Courting Central", has driven young Orthodox jews from the US and other nations.<br />
 ©2008 Gianni Cipriano for The New York Times<br />
cell. +1 646 465 2168 (USA)<br />
cell. +1 328 567 7923 (Italy)<br />
gianni@giannicipriano.com<br />
www.giannicipriano.com
    orthodox022.jpg
  • 1 August, 2008. New York, NY. Baruch November, 31, is a Orthodox man from Pittsburgh who moved, like many other young jewish men and women, to the Upper West Side in New York with marriage in his mind.  The Westmont building has become one of the favored residences for the young Orthodox. In the last decades the Upper West Side, which has emerged as the "Orthodox Courting Central", has driven young Orthodox jews from the US and other nations.<br />
 ©2008 Gianni Cipriano for The New York Times<br />
cell. +1 646 465 2168 (USA)<br />
cell. +1 328 567 7923 (Italy)<br />
gianni@giannicipriano.com<br />
www.giannicipriano.com
    orthodox021.jpg
  • 1 August, 2008. New York, NY. Baruch November, 31, is a Orthodox man from Pittsburgh who moved, like many other young jewish men and women, to the Upper West Side in New York with marriage in his mind.  The Westmont building has become one of the favored residences for the young Orthodox. In the last decades the Upper West Side, which has emerged as the "Orthodox Courting Central", has driven young Orthodox jews from the US and other nations.<br />
 ©2008 Gianni Cipriano for The New York Times<br />
cell. +1 646 465 2168 (USA)<br />
cell. +1 328 567 7923 (Italy)<br />
gianni@giannicipriano.com<br />
www.giannicipriano.com
    orthodox019.jpg
  • 1 August, 2008. New York, NY. Baruch November, 31, is here in the living room of his Westmont building apartment, in the Upper West Side. Baruch November is a Orthodox man from Pittsburgh who moved, like many other young jewish men and women, to the Upper West Side in New York with marriage in his mind.  The Westmont building has become one of the favored residences for the young Orthodox. In the last decades the Upper West Side, which has emerged as the "Orthodox Courting Central", has driven young Orthodox jews from the US and other nations.<br />
 ©2008 Gianni Cipriano for The New York Times<br />
cell. +1 646 465 2168 (USA)<br />
cell. +1 328 567 7923 (Italy)<br />
gianni@giannicipriano.com<br />
www.giannicipriano.com
    orthodox018.jpg
  • 1 August, 2008. New York, NY. Baruch November, 31, is a Orthodox man from Pittsburgh who moved, like many other young jewish men and women, to the Upper West Side in New York with marriage in his mind.  The Westmont building has become one of the favored residences for the young Orthodox. In the last decades the Upper West Side, which has emerged as the "Orthodox Courting Central", has driven young Orthodox jews from the US and other nations.<br />
 ©2008 Gianni Cipriano for The New York Times<br />
cell. +1 646 465 2168 (USA)<br />
cell. +1 328 567 7923 (Italy)<br />
gianni@giannicipriano.com<br />
www.giannicipriano.com
    orthodox016.jpg
  • 1 August, 2008. New York, NY. Baruch November, 31, is a Orthodox man from Pittsburgh who moved, like many other young jewish men and women, to the Upper West Side in New York with marriage in his mind.  The Westmont building has become one of the favored residences for the young Orthodox. In the last decades the Upper West Side, which has emerged as the "Orthodox Courting Central", has driven young Orthodox jews from the US and other nations.<br />
 ©2008 Gianni Cipriano for The New York Times<br />
cell. +1 646 465 2168 (USA)<br />
cell. +1 328 567 7923 (Italy)<br />
gianni@giannicipriano.com<br />
www.giannicipriano.com
    orthodox013.jpg
  • 1 August, 2008. New York, NY. Baruch November, 31, is a Orthodox man from Pittsburgh who moved, like many other young jewish men and women, to the Upper West Side in New York with marriage in his mind.  The Westmont building has become one of the favored residences for the young Orthodox. In the last decades the Upper West Side, which has emerged as the "Orthodox Courting Central", has driven young Orthodox jews from the US and other nations.<br />
 ©2008 Gianni Cipriano for The New York Times<br />
cell. +1 646 465 2168 (USA)<br />
cell. +1 328 567 7923 (Italy)<br />
gianni@giannicipriano.com<br />
www.giannicipriano.com
    orthodox009.jpg
  • 1 August, 2008. New York, NY. Baruch November, 31, is a Orthodox man from Pittsburgh who moved, like many other young jewish men and women, to the Upper West Side in New York with marriage in his mind.  The Westmont building has become one of the favored residences for the young Orthodox. In the last decades the Upper West Side, which has emerged as the "Orthodox Courting Central", has driven young Orthodox jews from the US and other nations.<br />
 ©2008 Gianni Cipriano for The New York Times<br />
cell. +1 646 465 2168 (USA)<br />
cell. +1 328 567 7923 (Italy)<br />
gianni@giannicipriano.com<br />
www.giannicipriano.com
    orthodox005.jpg
  • 1 August, 2008. New York, NY. Baruch November, 31, is here in one of the Westmont building multi-purpose rooms (for meetings, parties, movies, etc.) available for the residents. Baruch November is a Orthodox man from Pittsburgh who moved, like many other young jewish men and women, to the Upper West Side in New York with marriage in his mind.  The Westmont building has become one of the favored residences for the young Orthodox. In the last decades the Upper West Side, which has emerged as the "Orthodox Courting Central", has driven young Orthodox jews from the US and other nations.<br />
 ©2008 Gianni Cipriano for The New York Times<br />
cell. +1 646 465 2168 (USA)<br />
cell. +1 328 567 7923 (Italy)<br />
gianni@giannicipriano.com<br />
www.giannicipriano.com
    orthodox004.jpg
  • 1 August, 2008. New York, NY. Baruch November, 31, is here in one of the Westmont building multi-purpose rooms (for meetings, parties, movies, etc.) available for the residents. Baruch November is a Orthodox man from Pittsburgh who moved, like many other young jewish men and women, to the Upper West Side in New York with marriage in his mind.  The Westmont building has become one of the favored residences for the young Orthodox. In the last decades the Upper West Side, which has emerged as the "Orthodox Courting Central", has driven young Orthodox jews from the US and other nations.<br />
 ©2008 Gianni Cipriano for The New York Times<br />
cell. +1 646 465 2168 (USA)<br />
cell. +1 328 567 7923 (Italy)<br />
gianni@giannicipriano.com<br />
www.giannicipriano.com
    orthodox003.jpg
  • 1 August, 2008. New York, NY. Exterior of the Westmont building, on the Upper West Side. Baruch November, 31, is a Orthodox man from Pittsburgh who moved, like many other young jewish men and women, to the Upper West Side in New York with marriage in his mind.  The Westmont building has become one of the favored residences for the young Orthodox. In the last decades the Upper West Side, which has emerged as the "Orthodox Courting Central", has driven young Orthodox jews from the US and other nations.<br />
 ©2008 Gianni Cipriano for The New York Times<br />
cell. +1 646 465 2168 (USA)<br />
cell. +1 328 567 7923 (Italy)<br />
gianni@giannicipriano.com<br />
www.giannicipriano.com
    orthodox001.jpg
  • 1 August, 2008. New York, NY. Young orthodox men and women gather in front of the Ohab Zedek Synagogue on a Friday evening, at the end of the Shabbat service. The Ohab Zedek is one of the main loci of young Orthodox singles. <br />
 ©2008 Gianni Cipriano for The New York Times<br />
cell. +1 646 465 2168 (USA)<br />
cell. +1 328 567 7923 (Italy)<br />
gianni@giannicipriano.com<br />
www.giannicipriano.com
    Orthodox033.jpg
  • 1 August, 2008. New York, NY. Young orthodox men and women enter the Ohab Zedek Synagogue on a Friday evening for the Shabbat service. The Ohab Zedek is one of the main loci of young Orthodox singles. <br />
 ©2008 Gianni Cipriano for The New York Times<br />
cell. +1 646 465 2168 (USA)<br />
cell. +1 328 567 7923 (Italy)<br />
gianni@giannicipriano.com<br />
www.giannicipriano.com
    Orthodox030.jpg
  • 1 August, 2008. New York, NY. Young orthodox men and women gather in front of the Ohab Zedek Synagogue on a Friday evening, before the beginning of the Shabbat service. The Ohab Zedek is one of the main loci of young Orthodox singles. <br />
 ©2008 Gianni Cipriano for The New York Times<br />
cell. +1 646 465 2168 (USA)<br />
cell. +1 328 567 7923 (Italy)<br />
gianni@giannicipriano.com<br />
www.giannicipriano.com
    Orthodox029.jpg
  • 1 August, 2008. New York, NY. Baruch November, 31, is here in front of the entrance of the Westmont building, in the Upper West Side. Baruch November is a Orthodox man from Pittsburgh who moved, like many other young jewish men and women, to the Upper West Side in New York with marriage in his mind.  The Westmont building has become one of the favored residences for the young Orthodox. In the last decades the Upper West Side, which has emerged as the "Orthodox Courting Central", has driven young Orthodox jews from the US and other nations.<br />
 ©2008 Gianni Cipriano for The New York Times<br />
cell. +1 646 465 2168 (USA)<br />
cell. +1 328 567 7923 (Italy)<br />
gianni@giannicipriano.com<br />
www.giannicipriano.com
    orthodox025.jpg
  • 1 August, 2008. New York, NY. Baruch November, 31, is here at the entrance of his Westmont building apartment, in the Upper West Side. Baruch November is a Orthodox man from Pittsburgh who moved, like many other young jewish men and women, to the Upper West Side in New York with marriage in his mind.  The Westmont building has become one of the favored residences for the young Orthodox. In the last decades the Upper West Side, which has emerged as the "Orthodox Courting Central", has driven young Orthodox jews from the US and other nations.<br />
 ©2008 Gianni Cipriano for The New York Times<br />
cell. +1 646 465 2168 (USA)<br />
cell. +1 328 567 7923 (Italy)<br />
gianni@giannicipriano.com<br />
www.giannicipriano.com
    orthodox024.jpg
  • 1 August, 2008. New York, NY. Baruch November, 31, is here at the entrance of his Westmont building apartment, in the Upper West Side. Baruch November is a Orthodox man from Pittsburgh who moved, like many other young jewish men and women, to the Upper West Side in New York with marriage in his mind.  The Westmont building has become one of the favored residences for the young Orthodox. In the last decades the Upper West Side, which has emerged as the "Orthodox Courting Central", has driven young Orthodox jews from the US and other nations.<br />
 ©2008 Gianni Cipriano for The New York Times<br />
cell. +1 646 465 2168 (USA)<br />
cell. +1 328 567 7923 (Italy)<br />
gianni@giannicipriano.com<br />
www.giannicipriano.com
    orthodox023.jpg
  • 1 August, 2008. New York, NY. Baruch November, 31, is a Orthodox man from Pittsburgh who moved, like many other young jewish men and women, to the Upper West Side in New York with marriage in his mind.  The Westmont building has become one of the favored residences for the young Orthodox. In the last decades the Upper West Side, which has emerged as the "Orthodox Courting Central", has driven young Orthodox jews from the US and other nations.<br />
 ©2008 Gianni Cipriano for The New York Times<br />
cell. +1 646 465 2168 (USA)<br />
cell. +1 328 567 7923 (Italy)<br />
gianni@giannicipriano.com<br />
www.giannicipriano.com
    orthodox020.jpg
  • 1 August, 2008. New York, NY. Baruch November, 31, is here in here in the hallway of his apartment floor. Baruch November is a Orthodox man from Pittsburgh who moved, like many other young jewish men and women, to the Upper West Side in New York with marriage in his mind.  The Westmont building has become one of the favored residences for the young Orthodox. In the last decades the Upper West Side, which has emerged as the "Orthodox Courting Central", has driven young Orthodox jews from the US and other nations.<br />
 ©2008 Gianni Cipriano for The New York Times<br />
cell. +1 646 465 2168 (USA)<br />
cell. +1 328 567 7923 (Italy)<br />
gianni@giannicipriano.com<br />
www.giannicipriano.com
    orthodox017.jpg
  • 1 August, 2008. New York, NY. Baruch November, 31, is a Orthodox man from Pittsburgh who moved, like many other young jewish men and women, to the Upper West Side in New York with marriage in his mind.  The Westmont building has become one of the favored residences for the young Orthodox. In the last decades the Upper West Side, which has emerged as the "Orthodox Courting Central", has driven young Orthodox jews from the US and other nations.<br />
 ©2008 Gianni Cipriano for The New York Times<br />
cell. +1 646 465 2168 (USA)<br />
cell. +1 328 567 7923 (Italy)<br />
gianni@giannicipriano.com<br />
www.giannicipriano.com
    orthodox015.jpg
  • 1 August, 2008. New York, NY. Baruch November, 31, is here in here in the hallway of the last floor of the Westmont building. Baruch November is a Orthodox man from Pittsburgh who moved, like many other young jewish men and women, to the Upper West Side in New York with marriage in his mind.  The Westmont building has become one of the favored residences for the young Orthodox. In the last decades the Upper West Side, which has emerged as the "Orthodox Courting Central", has driven young Orthodox jews from the US and other nations.<br />
 ©2008 Gianni Cipriano for The New York Times<br />
cell. +1 646 465 2168 (USA)<br />
cell. +1 328 567 7923 (Italy)<br />
gianni@giannicipriano.com<br />
www.giannicipriano.com
    orthodox014.jpg
  • 1 August, 2008. New York, NY. Baruch November, 31, is here in here in the hallway of the last floor of the Westmont building. Baruch November is a Orthodox man from Pittsburgh who moved, like many other young jewish men and women, to the Upper West Side in New York with marriage in his mind.  The Westmont building has become one of the favored residences for the young Orthodox. In the last decades the Upper West Side, which has emerged as the "Orthodox Courting Central", has driven young Orthodox jews from the US and other nations.<br />
 ©2008 Gianni Cipriano for The New York Times<br />
cell. +1 646 465 2168 (USA)<br />
cell. +1 328 567 7923 (Italy)<br />
gianni@giannicipriano.com<br />
www.giannicipriano.com
    orthodox012.jpg
  • 1 August, 2008. New York, NY. Baruch November, 31, is a Orthodox man from Pittsburgh who moved, like many other young jewish men and women, to the Upper West Side in New York with marriage in his mind.  The Westmont building has become one of the favored residences for the young Orthodox. In the last decades the Upper West Side, which has emerged as the "Orthodox Courting Central", has driven young Orthodox jews from the US and other nations.<br />
 ©2008 Gianni Cipriano for The New York Times<br />
cell. +1 646 465 2168 (USA)<br />
cell. +1 328 567 7923 (Italy)<br />
gianni@giannicipriano.com<br />
www.giannicipriano.com
    orthodox011.jpg
  • 1 August, 2008. New York, NY. Baruch November, 31, is a Orthodox man from Pittsburgh who moved, like many other young jewish men and women, to the Upper West Side in New York with marriage in his mind.  The Westmont building has become one of the favored residences for the young Orthodox. In the last decades the Upper West Side, which has emerged as the "Orthodox Courting Central", has driven young Orthodox jews from the US and other nations.<br />
 ©2008 Gianni Cipriano for The New York Times<br />
cell. +1 646 465 2168 (USA)<br />
cell. +1 328 567 7923 (Italy)<br />
gianni@giannicipriano.com<br />
www.giannicipriano.com
    orthodox010.jpg
  • 1 August, 2008. New York, NY. Baruch November, 31, is here in one of the Westmont building multi-purpose rooms (for meetings, parties, movies, etc.) available for the residents. Baruch November is a Orthodox man from Pittsburgh who moved, like many other young jewish men and women, to the Upper West Side in New York with marriage in his mind.  The Westmont building has become one of the favored residences for the young Orthodox. In the last decades the Upper West Side, which has emerged as the "Orthodox Courting Central", has driven young Orthodox jews from the US and other nations.<br />
 ©2008 Gianni Cipriano for The New York Times<br />
cell. +1 646 465 2168 (USA)<br />
cell. +1 328 567 7923 (Italy)<br />
gianni@giannicipriano.com<br />
www.giannicipriano.com
    orthodox008.jpg
  • 1 August, 2008. New York, NY. Baruch November, 31, is here in one of the Westmont building multi-purpose rooms (for meetings, parties, movies, etc.) available for the residents. Baruch November is a Orthodox man from Pittsburgh who moved, like many other young jewish men and women, to the Upper West Side in New York with marriage in his mind.  The Westmont building has become one of the favored residences for the young Orthodox. In the last decades the Upper West Side, which has emerged as the "Orthodox Courting Central", has driven young Orthodox jews from the US and other nations.<br />
 ©2008 Gianni Cipriano for The New York Times<br />
cell. +1 646 465 2168 (USA)<br />
cell. +1 328 567 7923 (Italy)<br />
gianni@giannicipriano.com<br />
www.giannicipriano.com
    orthodox007.jpg
  • 1 August, 2008. New York, NY. Baruch November, 31, is here in one of the Westmont building multi-purpose rooms (for meetings, parties, movies, etc.) available for the residents. Baruch November is a Orthodox man from Pittsburgh who moved, like many other young jewish men and women, to the Upper West Side in New York with marriage in his mind.  The Westmont building has become one of the favored residences for the young Orthodox. In the last decades the Upper West Side, which has emerged as the "Orthodox Courting Central", has driven young Orthodox jews from the US and other nations.<br />
 ©2008 Gianni Cipriano for The New York Times<br />
cell. +1 646 465 2168 (USA)<br />
cell. +1 328 567 7923 (Italy)<br />
gianni@giannicipriano.com<br />
www.giannicipriano.com
    orthodox002.jpg
  • 1 August, 2008. New York, NY. Young orthodox men and women gather in front of the Ohab Zedek Synagogue on a Friday evening, at the end of the Shabbat service. The Ohab Zedek is one of the main loci of young Orthodox singles. <br />
 ©2008 Gianni Cipriano for The New York Times<br />
cell. +1 646 465 2168 (USA)<br />
cell. +1 328 567 7923 (Italy)<br />
gianni@giannicipriano.com<br />
www.giannicipriano.com
    Orthodox032.jpg
  • 1 August, 2008. New York, NY. Young orthodox men and women gather in front of the Ohab Zedek Synagogue on a Friday evening, at the end of the Shabbat service. The Ohab Zedek is one of the main loci of young Orthodox singles. <br />
 ©2008 Gianni Cipriano for The New York Times<br />
cell. +1 646 465 2168 (USA)<br />
cell. +1 328 567 7923 (Italy)<br />
gianni@giannicipriano.com<br />
www.giannicipriano.com
    Orthodox031.jpg
  • 1 August, 2008. New York, NY. Young orthodox men and women gather in front of the Ohab Zedek Synagogue on a Friday evening, before the beginning of the Shabbat service. The Ohab Zedek is one of the main loci of young Orthodox singles. <br />
 ©2008 Gianni Cipriano for The New York Times<br />
cell. +1 646 465 2168 (USA)<br />
cell. +1 328 567 7923 (Italy)<br />
gianni@giannicipriano.com<br />
www.giannicipriano.com
    Orthodox028.jpg
  • 1 August, 2008. New York, NY. Exterior of the Ohab Zedek Synagogue, in the Upper West Side. The Ohab Zedek is one of the main loci of young Orthodox singles. <br />
 ©2008 Gianni Cipriano for The New York Times<br />
cell. +1 646 465 2168 (USA)<br />
cell. +1 328 567 7923 (Italy)<br />
gianni@giannicipriano.com<br />
www.giannicipriano.com
    Orthodox027.jpg
  • FLORENCE, ITALY - 26 OCTOBER 2018: Rolls of Broccatello silk fabrics are displayed here in the showroom of the Antico Setificio Fiorentino, an ancient silk mill in central Florence, Italy, on October 26th 2018.<br />
<br />
Composed of linen and golden chenille, the Broccatello fabric is still made today with handlooms dating back to the Eighteenth century. Geometric designs are revealed in the Broccatelli collection, brocades which evoke three-dimensional shapes.<br />
<br />
The showroom of the Antico Setificio Fiorentino displays  many of the 100 different kinds of fabric the mill can produce, with vignettes of them turned into pillows, sofas and curtains.<br />
<br />
Fabrics are priced accordingly, starting at about 200 euros a meter and going as high as 2000 euros a meter for lampasso, a special kind of damask so labor intensive to produce only 20 centimeters can be made a day. There are brocades, jacquards, damasks, shantung, satin, moire, rustic filaticcio and stiff, shimmering ermisino. The palette extends from pure “panna”, or cream, to delicate pastels and rich jewel tones, often shot with threads of gold or silver.<br />
<br />
The Antico Setificio Fiorentino is a silk mill, located in central Florence within view of the old city walls in the San Frediano neighborhood, that produces the kind of fabrics destined for city palaces and country estates. The mill was bought in 2010 by Stefano Ricci from the Pucci, with an eye to using it to produce fabrics for the launch of a new home collection<br />
<br />
Lined up in rows are the dozen looms that take the slender threads, by now dyed emerald and ruby and sapphire, and weave them into the textiles that form a part of the fabric of Florentine life.<br />
<br />
Silk was made in the city as far back as the 1300s, a commodity to trade for precious materials. In more recent times, the fabric in the gowns in “Il Gattopardo” and “Death in Venice” came from the mill, as did much of Maris Callas’ wardrobe, robes for Popes, suits for Andre Bocelli, and Nelson Mandela’s si
    CIPG_20181026_NYT_Silk_M3_3868.jpg
  • FLORENCE, ITALY - 26 OCTOBER 2018: Daniela Fallani, a weaver, is seen here working on a handloom dating back to the 1700s that can produce a mere 40 centimeters of fabric a day, here at the Antico Setificio Fiorentino, an ancient silk mill in central Florence, Italy, on October 26th 2018.<br />
<br />
The Antico Setificio Fiorentino is a silk mill, located in central Florence within view of the old city walls in the San Frediano neighborhood, that produces the kind of fabrics destined for city palaces and country estates. The mill was bought in 2010 by Stefano Ricci from the Pucci, with an eye to using it to produce fabrics for the launch of a new home collection<br />
<br />
Lined up in rows are the dozen looms that take the slender threads, by now dyed emerald and ruby and sapphire, and weave them into the textiles that form a part of the fabric of Florentine life.<br />
<br />
Silk was made in the city as far back as the 1300s, a commodity to trade for precious materials. In more recent times, the fabric in the gowns in “Il Gattopardo” and “Death in Venice” came from the mill, as did much of Maris Callas’ wardrobe, robes for Popes, suits for Andre Bocelli, and Nelson Mandela’s silk shirts (when he wore one for his audience with Queen Elizabeth II she reportedly remarked, “that’s a beautiful shirt.”) The carmine red curtains at the Villa Medici and the Tribune of the Uffizi were made here. The Presidential Suite at the city’s Four Seasons Hotel is decked out in the mill’s output, as are the walls of the room of the Czars at the Kremlin, and more than 100 red velvet chairs emblazoned with the Kremlin’s golden crest.<br />
<br />
Back hundreds of years ago, in the Renaissance, most noble families had their own looms. But in 1786 the Grand Duke Pietro Leopoldo of Tuscany took all the looms of the private aristocratic families and put them in one place. They ended up at the Antico Setificio Fiorentino: six of them from the 1700s, hand looms that produce a mere 40 centimeters of fabric a day;
    CIPG_20181026_NYT_Silk_M3_3232.jpg
  • FLORENCE, ITALY - 29 JUNE 2016: The new director of the Uffizi Gallery Eike Schmidt poses for a portait in the "Michelangelo and the Florentines" room at the Uffizi Gallery in Florence, Italy, on June 29th 2016.<br />
<br />
Art historian Eike Schmidt, former curator and head of the Department of Sculpture, Applied Art and Textiles at the Minneapolis Institute of Arts, became the first non-Italian director of the Uffizi in August 2015, replacing Antonio Natali who directed the gallery for 9 years. One of the main goals of the new director is to open the Vasari Corridor to the general public. Currently the corridor can only be visited with group reservations made by external tour and travel agencies throughout the year.<br />
<br />
The Vasari Corridor is is a 1-kilometer-long (more than half mile) elevated enclosed passageway which connects the Palazzo Vecchio with the Palazzo Pitti, passing through the Uffizi Gallery and crossing the Ponte Vecchio above the Arno River, in Florence. The passageway was designed and built in 1564 by Giorgio Vasari in only 6 months to allow Cosimo de’ Medici and other Florentine elite to walk safely through the city, from the seat of power in Palazzo Vecchio to their private residence, Palazzo Pitti. The passageway contains over 1000 paintings, dating from the 17th and 18th centuries, including the largest and very important collection of self-portraits by some of the most famous masters of painting from the 16th to the 20th century, including Filippo Lippi, Rembrandt, Velazquez, Delacroix and Ensor.
    CIPG_20160725_NYT-Uffizi_5M3_9735.jpg
  • FLORENCE, ITALY - 29 JUNE 2016: The new director of the Uffizi Gallery Eike Schmidt is here in the Vasari Corridor by the Uffizi Gallery in Florence, Italy, on June 29th 2016.<br />
<br />
Art historian Eike Schmidt, former curator and head of the Department of Sculpture, Applied Art and Textiles at the Minneapolis Institute of Arts, became the first non-Italian director of the Uffizi in August 2015, replacing Antonio Natali who directed the gallery for 9 years. One of the main goals of the new director is to open the Vasari Corridor to the general public. Currently the corridor can only be visited with group reservations made by external tour and travel agencies throughout the year.<br />
<br />
The Vasari Corridor is is a 1-kilometer-long (more than half mile) elevated enclosed passageway which connects the Palazzo Vecchio with the Palazzo Pitti, passing through the Uffizi Gallery and crossing the Ponte Vecchio above the Arno River, in Florence. The passageway was designed and built in 1564 by Giorgio Vasari in only 6 months to allow Cosimo de’ Medici and other Florentine elite to walk safely through the city, from the seat of power in Palazzo Vecchio to their private residence, Palazzo Pitti. The passageway contains over 1000 paintings, dating from the 17th and 18th centuries, including the largest and very important collection of self-portraits by some of the most famous masters of painting from the 16th to the 20th century, including Filippo Lippi, Rembrandt, Velazquez, Delacroix and Ensor.
    CIPG_20160629_NYT-Uffizi_5M3_4485.jpg
  • FLORENCE, ITALY - 29 JUNE 2016: A view of the Uffizi Courtyard in Florence, Italy, on June 29th 2016.<br />
<br />
Art historian Eike Schmidt, former curator and head of the Department of Sculpture, Applied Art and Textiles at the Minneapolis Institute of Arts, became the first non-Italian director of the Uffizi in August 2015, replacing Antonio Natali who directed the gallery for 9 years. One of the main goals of the new director is to open the Vasari Corridor to the general public. Currently the corridor can only be visited with group reservations made by external tour and travel agencies throughout the year.<br />
<br />
The Vasari Corridor is is a 1-kilometer-long (more than half mile) elevated enclosed passageway which connects the Palazzo Vecchio with the Palazzo Pitti, passing through the Uffizi Gallery and crossing the Ponte Vecchio above the Arno River, in Florence. The passageway was designed and built in 1564 by Giorgio Vasari in only 6 months to allow Cosimo de’ Medici and other Florentine elite to walk safely through the city, from the seat of power in Palazzo Vecchio to their private residence, Palazzo Pitti. The passageway contains over 1000 paintings, dating from the 17th and 18th centuries, including the largest and very important collection of self-portraits by some of the most famous masters of painting from the 16th to the 20th century, including Filippo Lippi, Rembrandt, Velazquez, Delacroix and Ensor.
    CIPG_20160628_NYT-Uffizi_5M3_4371.jpg
  • TORRE DEL GRECO, ITALY - 13 JULY 2016: A cameo representing Queen Elizabeth II is shown here in the RFMAS workshop, the design studio of Amedeo Scognamiglio and Roberto Faraone Mennella in Torre del Greco, Italy, on July 13th 2016.<br />
<br />
Amedeo Scognamiglio learned the art of carving of cameos at the age of 16 years old in his father’s company (M+M Scognamiglio), continuing an artistic manufacturing tradition of a six generations family of coral and cameo manufacturers dating back to the early 1800s in Torre del Greco, a town at the foot of Mount Vesuvius, Italy. Amedeo’s design philosophy aims at a contemporary approach to the ancient art of cameo making, through alternative materials, unexpected ideas and smile-triggering designs. In 2001, Amedeo Scognamiglio partnered with his long-time childhood friend Roberto Faraone Mennella to create a fine jewelry line called Faraone Mennella by R.F.M.A.S. Group.The designer duo created a line that brings together the quality and craftsmanship of fine Italian jewelry to the world of fashion accessories. In 2006, the opening of AMEDEO, a Boutique on the chic Upper East Side in NYC, dedicated to the Designer’s vision of Cameos, and followed shortly after by another opening in Capri, Italy.
    CIPG_20160713_INYT-Camei_5M3_7907.jpg
  • TORRE DEL GRECO, ITALY - 13 JULY 2016: Amedeo Scognamiglio, master-carver and founder of Amedeo, a collection of modern-day Cameos and avant-garde artisan jewels, poses for a portrait in the RFMAS workshop, the design studio of Amedeo Scognamiglio and Roberto Faraone Mennella in Torre del Greco, Italy, on July 13th 2016.<br />
<br />
Amedeo Scognamiglio learned the art of carving of cameos at the age of 16 years old in his father’s company (M+M Scognamiglio), continuing an artistic manufacturing tradition of a six generations family of coral and cameo manufacturers dating back to the early 1800s in Torre del Greco, a town at the foot of Mount Vesuvius, Italy. Amedeo’s design philosophy aims at a contemporary approach to the ancient art of cameo making, through alternative materials, unexpected ideas and smile-triggering designs. In 2001, Amedeo Scognamiglio partnered with his long-time childhood friend Roberto Faraone Mennella to create a fine jewelry line called Faraone Mennella by R.F.M.A.S. Group.The designer duo created a line that brings together the quality and craftsmanship of fine Italian jewelry to the world of fashion accessories. In 2006, the opening of AMEDEO, a Boutique on the chic Upper East Side in NYC, dedicated to the Designer’s vision of Cameos, and followed shortly after by another opening in Capri, Italy.
    CIPG_20160713_INYT-Camei_5M3_7792.jpg
  • TORRE DEL GRECO, ITALY - 13 JULY 2016: Workstations are seen here in the laboratory of the "Francesco Degni" Artistic High School, founded in 1878 and historically known as the "Scuola del Corallo" (Coral School), in Torre del Greco, Italy, on July 13th 2016. Since 2009, the Artistic High School hosts the Museo del Corallo (Coral Museum).<br />
<br />
Amedeo Scognamiglio learned the art of carving of cameos at the age of 16 years old in his father’s company (M+M Scognamiglio), continuing an artistic manufacturing tradition of a six generations family of coral and cameo manufacturers dating back to the early 1800s in Torre del Greco, a town at the foot of Mount Vesuvius, Italy. Amedeo’s design philosophy aims at a contemporary approach to the ancient art of cameo making, through alternative materials, unexpected ideas and smile-triggering designs. In 2001, Amedeo Scognamiglio partnered with his long-time childhood friend Roberto Faraone Mennella to create a fine jewelry line called Faraone Mennella by R.F.M.A.S. Group.The designer duo created a line that brings together the quality and craftsmanship of fine Italian jewelry to the world of fashion accessories. In 2006, the opening of AMEDEO, a Boutique on the chic Upper East Side in NYC, dedicated to the Designer’s vision of Cameos, and followed shortly after by another opening in Capri, Italy.
    CIPG_20160713_INYT-Camei_5M3_7597.jpg
  • TORRE DEL GRECO, ITALY - 13 JULY 2016: Lost-wax casts models of jewels hang on the wall inside the in the RFMAS workshop, the design studio of Amedeo Scognamiglio and Roberto Faraone Mennella in Torre del Greco, Italy, on July 13th 2016.<br />
<br />
Amedeo Scognamiglio learned the art of carving of cameos at the age of 16 years old in his father’s company (M+M Scognamiglio), continuing an artistic manufacturing tradition of a six generations family of coral and cameo manufacturers dating back to the early 1800s in Torre del Greco, a town at the foot of Mount Vesuvius, Italy. Amedeo’s design philosophy aims at a contemporary approach to the ancient art of cameo making, through alternative materials, unexpected ideas and smile-triggering designs. In 2001, Amedeo Scognamiglio partnered with his long-time childhood friend Roberto Faraone Mennella to create a fine jewelry line called Faraone Mennella by R.F.M.A.S. Group.The designer duo created a line that brings together the quality and craftsmanship of fine Italian jewelry to the world of fashion accessories. In 2006, the opening of AMEDEO, a Boutique on the chic Upper East Side in NYC, dedicated to the Designer’s vision of Cameos, and followed shortly after by another opening in Capri, Italy.
    CIPG_20160713_INYT-Camei_5M3_6767.jpg
  • Herculaneum, Italy - 2 August, 2012:  Tourists in one of the uncovered houses of the archeological site of Herculaneum, Italy, on 2 August, 2012. <br />
<br />
The Herculaneum Conservation Project (HCP) is a public/private initiative launched in 2001 for the conservation and enhancement of the archaeological site of Herculaneum. This ancient Roman city in Italy was destroyed and buried along with Pompeii by the volcanic eruption of Mount Vesuvius in AD 79. It has a history of excavation dating back to the early eighteenth century.<br />
The project was set up by David W. Packard of the Packard Humanities Institute, together with Pietro Giovanni Guzzo of the Soprintendenza Archeologica di Pompei, to take the measures necessary to provide a response to the serious condition of the site after decades of neglect.
    Herculaneum_45.jpg
  • Herculaneum, Italy - 2 August, 2012: The mosaic of Neptune and Amphitrite in House Number 22 in the archeological site of Herculaneum, Italy, on 2 August, 2012. <br />
<br />
The Herculaneum Conservation Project (HCP) is a public/private initiative launched in 2001 for the conservation and enhancement of the archaeological site of Herculaneum. This ancient Roman city in Italy was destroyed and buried along with Pompeii by the volcanic eruption of Mount Vesuvius in AD 79. It has a history of excavation dating back to the early eighteenth century.<br />
The project was set up by David W. Packard of the Packard Humanities Institute, together with Pietro Giovanni Guzzo of the Soprintendenza Archeologica di Pompei, to take the measures necessary to provide a response to the serious condition of the site after decades of neglect.
    Herculaneum_35.jpg
  • Herculaneum, Italy - 2 August, 2012:  A family of toursists rest in the archeological site of Herculaneum, Italy, on 2 August, 2012. <br />
<br />
The Herculaneum Conservation Project (HCP) is a public/private initiative launched in 2001 for the conservation and enhancement of the archaeological site of Herculaneum. This ancient Roman city in Italy was destroyed and buried along with Pompeii by the volcanic eruption of Mount Vesuvius in AD 79. It has a history of excavation dating back to the early eighteenth century.<br />
The project was set up by David W. Packard of the Packard Humanities Institute, together with Pietro Giovanni Guzzo of the Soprintendenza Archeologica di Pompei, to take the measures necessary to provide a response to the serious condition of the site after decades of neglect.
    Herculaneum_30.jpg
  • Herculaneum, Italy - 2 August, 2012:  Marco Biglietto, 37, collaborator restorer of the Herculaneum Conservatoin Project, works on the restoration of the House of Argus in the archeological site of Herculaneum, Italy, on 2 August, 2012. <br />
<br />
The Herculaneum Conservation Project (HCP) is a public/private initiative launched in 2001 for the conservation and enhancement of the archaeological site of Herculaneum. This ancient Roman city in Italy was destroyed and buried along with Pompeii by the volcanic eruption of Mount Vesuvius in AD 79. It has a history of excavation dating back to the early eighteenth century.<br />
The project was set up by David W. Packard of the Packard Humanities Institute, together with Pietro Giovanni Guzzo of the Soprintendenza Archeologica di Pompei, to take the measures necessary to provide a response to the serious condition of the site after decades of neglect.
    Herculaneum_25.jpg
  • Herculaneum, Italy - 2 August, 2012:  Marco Biglietto, 37, collaborator restorer of the Herculaneum Conservatoin Project, works on the restoration of the House of Argus in the archeological site of Herculaneum, Italy, on 2 August, 2012. <br />
<br />
The Herculaneum Conservation Project (HCP) is a public/private initiative launched in 2001 for the conservation and enhancement of the archaeological site of Herculaneum. This ancient Roman city in Italy was destroyed and buried along with Pompeii by the volcanic eruption of Mount Vesuvius in AD 79. It has a history of excavation dating back to the early eighteenth century.<br />
The project was set up by David W. Packard of the Packard Humanities Institute, together with Pietro Giovanni Guzzo of the Soprintendenza Archeologica di Pompei, to take the measures necessary to provide a response to the serious condition of the site after decades of neglect.
    Herculaneum_23.jpg
  • Herculaneum, Italy - 2 August, 2012:  Skeletons are here in one of the six boat chamber of the ancient seafront of Herculaneum, Italy, on 2 August, 2012. Excavations in the port area of Herculaneum initially turned up more than 55 skeletons. The skeletons were found on the seafront, where it is believed they had fled in an attempt to escape the volcanic eruption. About 300 skeletons were founds in the ancient town of Herculaneum.<br />
<br />
The Herculaneum Conservation Project (HCP) is a public/private initiative launched in 2001 for the conservation and enhancement of the archaeological site of Herculaneum. This ancient Roman city in Italy was destroyed and buried along with Pompeii by the volcanic eruption of Mount Vesuvius in AD 79. It has a history of excavation dating back to the early eighteenth century.<br />
The project was set up by David W. Packard of the Packard Humanities Institute, together with Pietro Giovanni Guzzo of the Soprintendenza Archeologica di Pompei, to take the measures necessary to provide a response to the serious condition of the site after decades of neglect.
    Herculaneum_21.jpg
  • Herculaneum, Italy - 2 August, 2012:  A skeleton are here in one of the six boat chamber of the ancient seafront of Herculaneum, Italy, on 2 August, 2012. Excavations in the port area of Herculaneum initially turned up more than 55 skeletons. The skeletons were found on the seafront, where it is believed they had fled in an attempt to escape the volcanic eruption. About 300 skeletons were founds in the ancient town of Herculaneum.<br />
<br />
The Herculaneum Conservation Project (HCP) is a public/private initiative launched in 2001 for the conservation and enhancement of the archaeological site of Herculaneum. This ancient Roman city in Italy was destroyed and buried along with Pompeii by the volcanic eruption of Mount Vesuvius in AD 79. It has a history of excavation dating back to the early eighteenth century.<br />
The project was set up by David W. Packard of the Packard Humanities Institute, together with Pietro Giovanni Guzzo of the Soprintendenza Archeologica di Pompei, to take the measures necessary to provide a response to the serious condition of the site after decades of neglect.
    Herculaneum_15.jpg
  • ROME, ITALY - 14 JULY 2022: A statue is seen here by the Baths of Diocletian in the Rome National Museum, which hosts the Museo dell'Arte Salvata - or Museum of Rescued Art - in Rome, Italy, on July 14th 2022.<br />
<br />
The first exhibit of the Museo dell’Arte Salvata, or Museum of Rescued Art, pays tribute to Italy’s crack art theft squad – the Carabinieri Command for the Protection of Cultural Heritage – for having returned to Italy thousands of art pieces, effectively thwarting “the black market in archeological artifacts,”<br />
<br />
About 100 pieces – Greco-Roman vases and sculptures and even coins dating from the 7th century B.C.E. to the A.D. 3rd century - are on view at museum, which has been installed in a cavernous hall once part of the Baths of Diocletian and now annexed to the National Roman Museum. They had been seized by the Manhattan district attorney’s office from museums, auction houses and private collectors in the United States on suspicion they had been looted. Last December,  200 pieces were turned over to Italian officials last December, a  handover described as the largest single repatriation of relics from America to Italy.<br />
<br />
Rescued art is a broad term, it turns out, showcasing a myriad of ways in which artworks can be salvaged, from recovering artworks from the rubble of earthquakes and other national disasters, fishing for ancient shipwrecks in the Mediterranean, or restoring fragile masterpieces at the hands of Italy’s expert restorers.
    CIPG_20220714_NYT-Repatriation_A7IV-...jpg
  • ROME, ITALY - 14 JULY 2022: A museum sign is seen here by the Baths of Diocletian in the Rome National Museum, which hosts the Museo dell'Arte Salvata- or Museum of Rescued Art - in Rome, Italy, on July 14th 2022.<br />
<br />
The first exhibit of the Museo dell’Arte Salvata, or Museum of Rescued Art, pays tribute to Italy’s crack art theft squad – the Carabinieri Command for the Protection of Cultural Heritage – for having returned to Italy thousands of art pieces, effectively thwarting “the black market in archeological artifacts,”<br />
<br />
About 100 pieces – Greco-Roman vases and sculptures and even coins dating from the 7th century B.C.E. to the A.D. 3rd century - are on view at museum, which has been installed in a cavernous hall once part of the Baths of Diocletian and now annexed to the National Roman Museum. They had been seized by the Manhattan district attorney’s office from museums, auction houses and private collectors in the United States on suspicion they had been looted. Last December,  200 pieces were turned over to Italian officials last December, a  handover described as the largest single repatriation of relics from America to Italy.<br />
<br />
Rescued art is a broad term, it turns out, showcasing a myriad of ways in which artworks can be salvaged, from recovering artworks from the rubble of earthquakes and other national disasters, fishing for ancient shipwrecks in the Mediterranean, or restoring fragile masterpieces at the hands of Italy’s expert restorers.
    CIPG_20220714_NYT-Repatriation_A7IV-...jpg
  • ROME, ITALY - 14 JULY 2022: A view of the Baths of Diocletian in the Rome National Museum, which hosts the Museo dell'Arte Salvata - or Museum of Rescued Art - is seen here at the Rome National Museum, in Rome, Italy, on July 14th 2022.<br />
<br />
The first exhibit of the Museo dell’Arte Salvata, or Museum of Rescued Art, pays tribute to Italy’s crack art theft squad – the Carabinieri Command for the Protection of Cultural Heritage – for having returned to Italy thousands of art pieces, effectively thwarting “the black market in archeological artifacts,”<br />
<br />
About 100 pieces – Greco-Roman vases and sculptures and even coins dating from the 7th century B.C.E. to the A.D. 3rd century - are on view at museum, which has been installed in a cavernous hall once part of the Baths of Diocletian and now annexed to the National Roman Museum. They had been seized by the Manhattan district attorney’s office from museums, auction houses and private collectors in the United States on suspicion they had been looted. Last December,  200 pieces were turned over to Italian officials last December, a  handover described as the largest single repatriation of relics from America to Italy.<br />
<br />
Rescued art is a broad term, it turns out, showcasing a myriad of ways in which artworks can be salvaged, from recovering artworks from the rubble of earthquakes and other national disasters, fishing for ancient shipwrecks in the Mediterranean, or restoring fragile masterpieces at the hands of Italy’s expert restorers.
    CIPG_20220714_NYT-Repatriation_A7IV-...jpg
  • ROME, ITALY - 14 JULY 2022: The cloister of the Rome National Museum, which hosts the Museo dell'Arte Salvata - or Museum of Rescued Art - is seen here at the Rome National Museum, in Rome, Italy, on July 14th 2022.<br />
<br />
The first exhibit of the Museo dell’Arte Salvata, or Museum of Rescued Art, pays tribute to Italy’s crack art theft squad – the Carabinieri Command for the Protection of Cultural Heritage – for having returned to Italy thousands of art pieces, effectively thwarting “the black market in archeological artifacts,”<br />
<br />
About 100 pieces – Greco-Roman vases and sculptures and even coins dating from the 7th century B.C.E. to the A.D. 3rd century - are on view at museum, which has been installed in a cavernous hall once part of the Baths of Diocletian and now annexed to the National Roman Museum. They had been seized by the Manhattan district attorney’s office from museums, auction houses and private collectors in the United States on suspicion they had been looted. Last December,  200 pieces were turned over to Italian officials last December, a  handover described as the largest single repatriation of relics from America to Italy.<br />
<br />
Rescued art is a broad term, it turns out, showcasing a myriad of ways in which artworks can be salvaged, from recovering artworks from the rubble of earthquakes and other national disasters, fishing for ancient shipwrecks in the Mediterranean, or restoring fragile masterpieces at the hands of Italy’s expert restorers.
    CIPG_20220714_NYT-Repatriation_A7IV-...jpg
  • ROME, ITALY - 14 JULY 2022: A sign fo the Museo dell’Arte Salvata, or Museum of Rescued Art, is seen here in Rome, Italy, on July 14th 2022.<br />
<br />
The museum’s first exhibit pays tribute to Italy’s crack art theft squad – the Carabinieri Command for the Protection of Cultural Heritage – for having returned to Italy thousands of art pieces, effectively thwarting “the black market in archeological artifacts,”<br />
<br />
About 100 pieces – Greco-Roman vases and sculptures and even coins dating from the 7th century B.C.E. to the A.D. 3rd century - are on view at museum, which has been installed in a cavernous hall once part of the Baths of Diocletian and now annexed to the National Roman Museum. They had been seized by the Manhattan district attorney’s office from museums, auction houses and private collectors in the United States on suspicion they had been looted. Last December,  200 pieces were turned over to Italian officials last December, a  handover described as the largest single repatriation of relics from America to Italy.<br />
<br />
Rescued art is a broad term, it turns out, showcasing a myriad of ways in which artworks can be salvaged, from recovering artworks from the rubble of earthquakes and other national disasters, fishing for ancient shipwrecks in the Mediterranean, or restoring fragile masterpieces at the hands of Italy’s expert restorers.
    CIPG_20220714_NYT-Repatriation_A7IV-...jpg
  • ROME, ITALY - 14 JULY 2022: Repatriated terracotta heads from the late classical and early Hellenistic periods (4th - 3rd century BC) are on display here at the Museo dell’Arte Salvata, or Museum of Rescued Art, in Rome, Italy, on July 14th 2022.<br />
<br />
The museum’s first exhibit pays tribute to Italy’s crack art theft squad – the Carabinieri Command for the Protection of Cultural Heritage – for having returned to Italy thousands of art pieces, effectively thwarting “the black market in archeological artifacts,”<br />
<br />
About 100 pieces – Greco-Roman vases and sculptures and even coins dating from the 7th century B.C.E. to the A.D. 3rd century - are on view at museum, which has been installed in a cavernous hall once part of the Baths of Diocletian and now annexed to the National Roman Museum. They had been seized by the Manhattan district attorney’s office from museums, auction houses and private collectors in the United States on suspicion they had been looted. Last December,  200 pieces were turned over to Italian officials last December, a  handover described as the largest single repatriation of relics from America to Italy.<br />
<br />
Rescued art is a broad term, it turns out, showcasing a myriad of ways in which artworks can be salvaged, from recovering artworks from the rubble of earthquakes and other national disasters, fishing for ancient shipwrecks in the Mediterranean, or restoring fragile masterpieces at the hands of Italy’s expert restorers.
    CIPG_20220714_NYT-Repatriation_A7IV-...jpg
  • ROME, ITALY - 14 JULY 2022: The exhibit at the Museo dell’Arte Salvata, or Museum of Rescued Art, in Rome, Italy, on July 14th 2022.<br />
<br />
The museum’s first exhibit pays tribute to Italy’s crack art theft squad – the Carabinieri Command for the Protection of Cultural Heritage – for having returned to Italy thousands of art pieces, effectively thwarting “the black market in archeological artifacts,”<br />
<br />
About 100 pieces – Greco-Roman vases and sculptures and even coins dating from the 7th century B.C.E. to the A.D. 3rd century - are on view at museum, which has been installed in a cavernous hall once part of the Baths of Diocletian and now annexed to the National Roman Museum. They had been seized by the Manhattan district attorney’s office from museums, auction houses and private collectors in the United States on suspicion they had been looted. Last December,  200 pieces were turned over to Italian officials last December, a  handover described as the largest single repatriation of relics from America to Italy.<br />
<br />
Rescued art is a broad term, it turns out, showcasing a myriad of ways in which artworks can be salvaged, from recovering artworks from the rubble of earthquakes and other national disasters, fishing for ancient shipwrecks in the Mediterranean, or restoring fragile masterpieces at the hands of Italy’s expert restorers.
    CIPG_20220714_NYT-Repatriation_A7IV-...jpg
  • ROME, ITALY - 14 JULY 2022: A display containing at its center the the lidded White on Red pithos decorated with the blinding of Polyphemos (a pithos, or large vessel, is an Etruscan work from the seventh century BCE recently recovered from the Getty Museum) is seen hereat the Museo dell’Arte Salvata, or Museum of Rescued Art, in Rome, Italy, on July 14th 2022.<br />
<br />
The museum’s first exhibit pays tribute to Italy’s crack art theft squad – the Carabinieri Command for the Protection of Cultural Heritage – for having returned to Italy thousands of art pieces, effectively thwarting “the black market in archeological artifacts,”<br />
<br />
About 100 pieces – Greco-Roman vases and sculptures and even coins dating from the 7th century B.C.E. to the A.D. 3rd century - are on view at museum, which has been installed in a cavernous hall once part of the Baths of Diocletian and now annexed to the National Roman Museum. They had been seized by the Manhattan district attorney’s office from museums, auction houses and private collectors in the United States on suspicion they had been looted. Last December,  200 pieces were turned over to Italian officials last December, a  handover described as the largest single repatriation of relics from America to Italy.<br />
<br />
Rescued art is a broad term, it turns out, showcasing a myriad of ways in which artworks can be salvaged, from recovering artworks from the rubble of earthquakes and other national disasters, fishing for ancient shipwrecks in the Mediterranean, or restoring fragile masterpieces at the hands of Italy’s expert restorers.
    CIPG_20220714_NYT-Repatriation_A7IV-...jpg
  • ROME, ITALY - 14 JULY 2022: A display containing at its center the the lidded White on Red pithos decorated with the blinding of Polyphemos (a pithos, or large vessel, is an Etruscan work from the seventh century BCE recently recovered from the Getty Museum) is seen hereat the Museo dell’Arte Salvata, or Museum of Rescued Art, in Rome, Italy, on July 14th 2022.<br />
<br />
The museum’s first exhibit pays tribute to Italy’s crack art theft squad – the Carabinieri Command for the Protection of Cultural Heritage – for having returned to Italy thousands of art pieces, effectively thwarting “the black market in archeological artifacts,”<br />
<br />
About 100 pieces – Greco-Roman vases and sculptures and even coins dating from the 7th century B.C.E. to the A.D. 3rd century - are on view at museum, which has been installed in a cavernous hall once part of the Baths of Diocletian and now annexed to the National Roman Museum. They had been seized by the Manhattan district attorney’s office from museums, auction houses and private collectors in the United States on suspicion they had been looted. Last December,  200 pieces were turned over to Italian officials last December, a  handover described as the largest single repatriation of relics from America to Italy.<br />
<br />
Rescued art is a broad term, it turns out, showcasing a myriad of ways in which artworks can be salvaged, from recovering artworks from the rubble of earthquakes and other national disasters, fishing for ancient shipwrecks in the Mediterranean, or restoring fragile masterpieces at the hands of Italy’s expert restorers.
    CIPG_20220714_NYT-Repatriation_A7IV-...jpg
  • TURIN, ITALY - 29 MAY 2019: A Fiat logo is seen here on a historical Fiat car in Heritage Hub, where more than 250 vehicles of FCA's heritage dating from 1908 to 2008 are displayed, in the old Officina 81 site of the Mirafiori mechanical manufacturing complex in Turin, Italy, on May 29th 2019.<br />
<br />
The French carmaker Renault said on Monday that it was considering a proposal by Fiat Chrysler to merge and form a global partnership aimed at improving their chances of surviving the coming perilous and costly shift to electric and self-driving cars.<br />
If the proposal goes forward, the new company would displace General Motors as the third-largest car company in the world, behind Volkswagen and Toyota, and significantly change the balance of power in the global auto industry.
    CIPG_20190529_NYT_Fiat-Renault_M3_42...jpg
  • TURIN, ITALY - 29 MAY 2019:  More than 250 vehicles of FCA's heritage dating from 1908 to 2008 are displayed here in Heritage Hub in the old Officina 81 site of the Mirafiori mechanical manufacturing complex in Turin, Italy, on May 29th 2019.<br />
<br />
The French carmaker Renault said on Monday that it was considering a proposal by Fiat Chrysler to merge and form a global partnership aimed at improving their chances of surviving the coming perilous and costly shift to electric and self-driving cars.<br />
If the proposal goes forward, the new company would displace General Motors as the third-largest car company in the world, behind Volkswagen and Toyota, and significantly change the balance of power in the global auto industry.
    CIPG_20190529_NYT_Fiat-Renault_M3_42...jpg
  • TURIN, ITALY - 29 MAY 2019:  More than 250 vehicles of FCA's heritage dating from 1908 to 2008 are displayed here in Heritage Hub in the old Officina 81 site of the Mirafiori mechanical manufacturing complex in Turin, Italy, on May 29th 2019.<br />
<br />
The French carmaker Renault said on Monday that it was considering a proposal by Fiat Chrysler to merge and form a global partnership aimed at improving their chances of surviving the coming perilous and costly shift to electric and self-driving cars.<br />
If the proposal goes forward, the new company would displace General Motors as the third-largest car company in the world, behind Volkswagen and Toyota, and significantly change the balance of power in the global auto industry.
    CIPG_20190529_NYT_Fiat-Renault_M3_41...jpg
  • TURIN, ITALY - 29 MAY 2019:  A Fiat 500 is seen here in the FCA Heritage Hub, where more than 250 vehicles of FCA's heritage dating from 1908 to 2008 are displayed, in the old Officina 81 site of the Mirafiori mechanical manufacturing complex in Turin, Italy, on May 29th 2019.<br />
<br />
The French carmaker Renault said on Monday that it was considering a proposal by Fiat Chrysler to merge and form a global partnership aimed at improving their chances of surviving the coming perilous and costly shift to electric and self-driving cars.<br />
If the proposal goes forward, the new company would displace General Motors as the third-largest car company in the world, behind Volkswagen and Toyota, and significantly change the balance of power in the global auto industry.
    CIPG_20190529_NYT_Fiat-Renault_M3_41...jpg
  • TURIN, ITALY - 29 MAY 2019:  Fiat 500s are lined up here in the FCA Heritage Hub, where more than 250 vehicles of FCA's heritage dating from 1908 to 2008 are displayed, in the old Officina 81 site of the Mirafiori mechanical manufacturing complex in Turin, Italy, on May 29th 2019.<br />
<br />
The French carmaker Renault said on Monday that it was considering a proposal by Fiat Chrysler to merge and form a global partnership aimed at improving their chances of surviving the coming perilous and costly shift to electric and self-driving cars.<br />
If the proposal goes forward, the new company would displace General Motors as the third-largest car company in the world, behind Volkswagen and Toyota, and significantly change the balance of power in the global auto industry.
    CIPG_20190529_NYT_Fiat-Renault_M3_41...jpg
  • TURIN, ITALY - 29 MAY 2019:  More than 250 vehicles of FCA's heritage dating from 1908 to 2008 are displayed here in Heritage Hub in the old Officina 81 site of the Mirafiori mechanical manufacturing complex in Turin, Italy, on May 29th 2019.<br />
<br />
The French carmaker Renault said on Monday that it was considering a proposal by Fiat Chrysler to merge and form a global partnership aimed at improving their chances of surviving the coming perilous and costly shift to electric and self-driving cars.<br />
If the proposal goes forward, the new company would displace General Motors as the third-largest car company in the world, behind Volkswagen and Toyota, and significantly change the balance of power in the global auto industry.
    CIPG_20190529_NYT_Fiat-Renault_M3_40...jpg
  • TURIN, ITALY - 29 MAY 2019:  More than 250 vehicles of FCA's heritage dating from 1908 to 2008 are displayed here in Heritage Hub in the old Officina 81 site of the Mirafiori mechanical manufacturing complex in Turin, Italy, on May 29th 2019.<br />
<br />
The French carmaker Renault said on Monday that it was considering a proposal by Fiat Chrysler to merge and form a global partnership aimed at improving their chances of surviving the coming perilous and costly shift to electric and self-driving cars.<br />
If the proposal goes forward, the new company would displace General Motors as the third-largest car company in the world, behind Volkswagen and Toyota, and significantly change the balance of power in the global auto industry.
    CIPG_20190529_NYT_Fiat-Renault_M3_40...jpg
  • TURIN, ITALY - 29 MAY 2019:  More than 250 vehicles of FCA's heritage dating from 1908 to 2008 are displayed here in Heritage Hub in the old Officina 81 site of the Mirafiori mechanical manufacturing complex in Turin, Italy, on May 29th 2019.<br />
<br />
The French carmaker Renault said on Monday that it was considering a proposal by Fiat Chrysler to merge and form a global partnership aimed at improving their chances of surviving the coming perilous and costly shift to electric and self-driving cars.<br />
If the proposal goes forward, the new company would displace General Motors as the third-largest car company in the world, behind Volkswagen and Toyota, and significantly change the balance of power in the global auto industry.
    CIPG_20190529_NYT_Fiat-Renault_M3_40...jpg
  • TURIN, ITALY - 29 MAY 2019:  The Fiat S61, a two-seater race car developed specifically for the North-American market, is seen here in the FCA Heritage Hub, where more than 250 vehicles of FCA's heritage dating from 1908 to 2008 are displayed, in the old Officina 81 site of the Mirafiori mechanical manufacturing complex in Turin, Italy, on May 29th 2019.<br />
<br />
The French carmaker Renault said on Monday that it was considering a proposal by Fiat Chrysler to merge and form a global partnership aimed at improving their chances of surviving the coming perilous and costly shift to electric and self-driving cars.<br />
If the proposal goes forward, the new company would displace General Motors as the third-largest car company in the world, behind Volkswagen and Toyota, and significantly change the balance of power in the global auto industry.
    CIPG_20190529_NYT_Fiat-Renault_M3_40...jpg
  • TURIN, ITALY - 29 MAY 2019:  The Lancia Nea prototype car, presented at the Paris Motow Show in October 2000 and one of the the first cars in the world to experiment with autonomous driving, is seen here in the FCA Heritage Hub, where more than 250 vehicles of FCA's heritage dating from 1908 to 2008 are displayed, in the old Officina 81 site of the Mirafiori mechanical manufacturing complex in Turin, Italy, on May 29th 2019.<br />
<br />
The French carmaker Renault said on Monday that it was considering a proposal by Fiat Chrysler to merge and form a global partnership aimed at improving their chances of surviving the coming perilous and costly shift to electric and self-driving cars.<br />
If the proposal goes forward, the new company would displace General Motors as the third-largest car company in the world, behind Volkswagen and Toyota, and significantly change the balance of power in the global auto industry.
    CIPG_20190529_NYT_Fiat-Renault_M3_40...jpg
  • TURIN, ITALY - 29 MAY 2019: The Fiat X1/23 electric car prototype of 1973 is seen here in the FCA Heritage Hub, where more than 250 vehicles of FCA's heritage dating from 1908 to 2008 are displayed, in the old Officina 81 site of the Mirafiori mechanical manufacturing complex in Turin, Italy, on May 29th 2019.<br />
<br />
The French carmaker Renault said on Monday that it was considering a proposal by Fiat Chrysler to merge and form a global partnership aimed at improving their chances of surviving the coming perilous and costly shift to electric and self-driving cars.<br />
If the proposal goes forward, the new company would displace General Motors as the third-largest car company in the world, behind Volkswagen and Toyota, and significantly change the balance of power in the global auto industry.
    CIPG_20190529_NYT_Fiat-Renault_M3_40...jpg
  • TURIN, ITALY - 29 MAY 2019:  The D50 Formula 1 vehicle designed by Vittorio Jano in 1953 is seen here in the FCA Heritage Hub, where more than 250 vehicles of FCA's heritage dating from 1908 to 2008 are displayed, in the old Officina 81 site of the Mirafiori mechanical manufacturing complex in Turin, Italy, on May 29th 2019.<br />
<br />
The French carmaker Renault said on Monday that it was considering a proposal by Fiat Chrysler to merge and form a global partnership aimed at improving their chances of surviving the coming perilous and costly shift to electric and self-driving cars.<br />
If the proposal goes forward, the new company would displace General Motors as the third-largest car company in the world, behind Volkswagen and Toyota, and significantly change the balance of power in the global auto industry.
    CIPG_20190529_NYT_Fiat-Renault_M3_39...jpg
  • TURIN, ITALY - 29 MAY 2019:  More than 250 vehicles of FCA's heritage dating from 1908 to 2008 are displayed here in Heritage Hub in the old Officina 81 site of the Mirafiori mechanical manufacturing complex in Turin, Italy, on May 29th 2019.<br />
<br />
The French carmaker Renault said on Monday that it was considering a proposal by Fiat Chrysler to merge and form a global partnership aimed at improving their chances of surviving the coming perilous and costly shift to electric and self-driving cars.<br />
If the proposal goes forward, the new company would displace General Motors as the third-largest car company in the world, behind Volkswagen and Toyota, and significantly change the balance of power in the global auto industry.
    CIPG_20190529_NYT_Fiat-Renault_M3_39...jpg
  • FLORENCE, ITALY - 26 OCTOBER 2018: Luana Segreto, a weaver, is seen here working on a handloom dating back to the 1700s that can produce a mere 40 centimeters of fabric a day, here at the Antico Setificio Fiorentino, an ancient silk mill in central Florence, Italy, on October 26th 2018.<br />
<br />
The Antico Setificio Fiorentino is a silk mill, located in central Florence within view of the old city walls in the San Frediano neighborhood, that produces the kind of fabrics destined for city palaces and country estates. The mill was bought in 2010 by Stefano Ricci from the Pucci, with an eye to using it to produce fabrics for the launch of a new home collection<br />
<br />
Lined up in rows are the dozen looms that take the slender threads, by now dyed emerald and ruby and sapphire, and weave them into the textiles that form a part of the fabric of Florentine life.<br />
<br />
Silk was made in the city as far back as the 1300s, a commodity to trade for precious materials. In more recent times, the fabric in the gowns in “Il Gattopardo” and “Death in Venice” came from the mill, as did much of Maris Callas’ wardrobe, robes for Popes, suits for Andre Bocelli, and Nelson Mandela’s silk shirts (when he wore one for his audience with Queen Elizabeth II she reportedly remarked, “that’s a beautiful shirt.”) The carmine red curtains at the Villa Medici and the Tribune of the Uffizi were made here. The Presidential Suite at the city’s Four Seasons Hotel is decked out in the mill’s output, as are the walls of the room of the Czars at the Kremlin, and more than 100 red velvet chairs emblazoned with the Kremlin’s golden crest.<br />
<br />
Back hundreds of years ago, in the Renaissance, most noble families had their own looms. But in 1786 the Grand Duke Pietro Leopoldo of Tuscany took all the looms of the private aristocratic families and put them in one place. They ended up at the Antico Setificio Fiorentino: six of them from the 1700s, hand looms that produce a mere 40 centimeters of fabric a day; t
    SMAS_20181026_NYT_Silk_DSCF5323.jpg
  • FLORENCE, ITALY - 26 OCTOBER 2018: Luana Segreto, a weaver, is seen here working on a handloom dating back to the 1700s that can produce a mere 40 centimeters of fabric a day, here at the Antico Setificio Fiorentino, an ancient silk mill in central Florence, Italy, on October 26th 2018.<br />
<br />
The Antico Setificio Fiorentino is a silk mill, located in central Florence within view of the old city walls in the San Frediano neighborhood, that produces the kind of fabrics destined for city palaces and country estates. The mill was bought in 2010 by Stefano Ricci from the Pucci, with an eye to using it to produce fabrics for the launch of a new home collection<br />
<br />
Lined up in rows are the dozen looms that take the slender threads, by now dyed emerald and ruby and sapphire, and weave them into the textiles that form a part of the fabric of Florentine life.<br />
<br />
Silk was made in the city as far back as the 1300s, a commodity to trade for precious materials. In more recent times, the fabric in the gowns in “Il Gattopardo” and “Death in Venice” came from the mill, as did much of Maris Callas’ wardrobe, robes for Popes, suits for Andre Bocelli, and Nelson Mandela’s silk shirts (when he wore one for his audience with Queen Elizabeth II she reportedly remarked, “that’s a beautiful shirt.”) The carmine red curtains at the Villa Medici and the Tribune of the Uffizi were made here. The Presidential Suite at the city’s Four Seasons Hotel is decked out in the mill’s output, as are the walls of the room of the Czars at the Kremlin, and more than 100 red velvet chairs emblazoned with the Kremlin’s golden crest.<br />
<br />
Back hundreds of years ago, in the Renaissance, most noble families had their own looms. But in 1786 the Grand Duke Pietro Leopoldo of Tuscany took all the looms of the private aristocratic families and put them in one place. They ended up at the Antico Setificio Fiorentino: six of them from the 1700s, hand looms that produce a mere 40 centimeters of fabric a day; t
    SMAS_20181026_NYT_Silk_DSCF5306.jpg
  • FLORENCE, ITALY - 26 OCTOBER 2018: Weft<br />
yarn wounds on bobbins (pirns) are seen here on a handloom, dating back to the 1700s, that can produce a mere 40 centimeters of fabric a day, here at the Antico Setificio Fiorentino, an ancient silk mill in central Florence, Italy, on October 26th 2018.<br />
<br />
The Antico Setificio Fiorentino is a silk mill, located in central Florence within view of the old city walls in the San Frediano neighborhood, that produces the kind of fabrics destined for city palaces and country estates. The mill was bought in 2010 by Stefano Ricci from the Pucci, with an eye to using it to produce fabrics for the launch of a new home collection<br />
<br />
Lined up in rows are the dozen looms that take the slender threads, by now dyed emerald and ruby and sapphire, and weave them into the textiles that form a part of the fabric of Florentine life.<br />
<br />
Silk was made in the city as far back as the 1300s, a commodity to trade for precious materials. In more recent times, the fabric in the gowns in “Il Gattopardo” and “Death in Venice” came from the mill, as did much of Maris Callas’ wardrobe, robes for Popes, suits for Andre Bocelli, and Nelson Mandela’s silk shirts (when he wore one for his audience with Queen Elizabeth II she reportedly remarked, “that’s a beautiful shirt.”) The carmine red curtains at the Villa Medici and the Tribune of the Uffizi were made here. The Presidential Suite at the city’s Four Seasons Hotel is decked out in the mill’s output, as are the walls of the room of the Czars at the Kremlin, and more than 100 red velvet chairs emblazoned with the Kremlin’s golden crest.<br />
<br />
Back hundreds of years ago, in the Renaissance, most noble families had their own looms. But in 1786 the Grand Duke Pietro Leopoldo of Tuscany took all the looms of the private aristocratic families and put them in one place. They ended up at the Antico Setificio Fiorentino: six of them from the 1700s, hand looms that produce a mere 40 centimeters of fabric a
    SMAS_20181026_NYT_Silk_DSCF5213.jpg
  • FLORENCE, ITALY - 26 OCTOBER 2018: A weaver places weft<br />
yarn wound on a bobbin (pirn) into a wooden shuttle, as she works on a handloom dating back to the 1700s that can produce a mere 40 centimeters of fabric a day, here at the Antico Setificio Fiorentino, an ancient silk mill in central Florence, Italy, on October 26th 2018.<br />
<br />
The Antico Setificio Fiorentino is a silk mill, located in central Florence within view of the old city walls in the San Frediano neighborhood, that produces the kind of fabrics destined for city palaces and country estates. The mill was bought in 2010 by Stefano Ricci from the Pucci, with an eye to using it to produce fabrics for the launch of a new home collection<br />
<br />
Lined up in rows are the dozen looms that take the slender threads, by now dyed emerald and ruby and sapphire, and weave them into the textiles that form a part of the fabric of Florentine life.<br />
<br />
Silk was made in the city as far back as the 1300s, a commodity to trade for precious materials. In more recent times, the fabric in the gowns in “Il Gattopardo” and “Death in Venice” came from the mill, as did much of Maris Callas’ wardrobe, robes for Popes, suits for Andre Bocelli, and Nelson Mandela’s silk shirts (when he wore one for his audience with Queen Elizabeth II she reportedly remarked, “that’s a beautiful shirt.”) The carmine red curtains at the Villa Medici and the Tribune of the Uffizi were made here. The Presidential Suite at the city’s Four Seasons Hotel is decked out in the mill’s output, as are the walls of the room of the Czars at the Kremlin, and more than 100 red velvet chairs emblazoned with the Kremlin’s golden crest.<br />
<br />
Back hundreds of years ago, in the Renaissance, most noble families had their own looms. But in 1786 the Grand Duke Pietro Leopoldo of Tuscany took all the looms of the private aristocratic families and put them in one place. They ended up at the Antico Setificio Fiorentino: six of them from the 1700s, hand looms that produce
    CIPG_20181026_NYT_Silk_M3_3227.jpg
  • FLORENCE, ITALY - 26 OCTOBER 2018: Rows of hand looms, dating back to the 1700s, that can produce a mere 40 centimeters of fabric a day, are seen here at the Antico Setificio Fiorentino, an ancient silk mill in central Florence, Italy, on October 26th 2018.<br />
<br />
The Antico Setificio Fiorentino is a silk mill, located in central Florence within view of the old city walls in the San Frediano neighborhood, that produces the kind of fabrics destined for city palaces and country estates. The mill was bought in 2010 by Stefano Ricci from the Pucci, with an eye to using it to produce fabrics for the launch of a new home collection<br />
<br />
Lined up in rows are the dozen looms that take the slender threads, by now dyed emerald and ruby and sapphire, and weave them into the textiles that form a part of the fabric of Florentine life.<br />
<br />
Silk was made in the city as far back as the 1300s, a commodity to trade for precious materials. In more recent times, the fabric in the gowns in “Il Gattopardo” and “Death in Venice” came from the mill, as did much of Maris Callas’ wardrobe, robes for Popes, suits for Andre Bocelli, and Nelson Mandela’s silk shirts (when he wore one for his audience with Queen Elizabeth II she reportedly remarked, “that’s a beautiful shirt.”) The carmine red curtains at the Villa Medici and the Tribune of the Uffizi were made here. The Presidential Suite at the city’s Four Seasons Hotel is decked out in the mill’s output, as are the walls of the room of the Czars at the Kremlin, and more than 100 red velvet chairs emblazoned with the Kremlin’s golden crest.<br />
<br />
Back hundreds of years ago, in the Renaissance, most noble families had their own looms. But in 1786 the Grand Duke Pietro Leopoldo of Tuscany took all the looms of the private aristocratic families and put them in one place. They ended up at the Antico Setificio Fiorentino: six of them from the 1700s, hand looms that produce a mere 40 centimeters of fabric a day; they are joined by six more “
    CIPG_20181026_NYT_Silk_M3_3150.jpg
  • FLORENCE, ITALY - 26 OCTOBER 2018:  A wooden shuttle with a weft<br />
yarn wound on a bobbin (pirn) is seen here on fabric processed by  a handloom dating back to the 1700s, here at the Antico Setificio Fiorentino, an ancient silk mill in central Florence, Italy, on October 26th 2018.<br />
<br />
The Antico Setificio Fiorentino is a silk mill, located in central Florence within view of the old city walls in the San Frediano neighborhood, that produces the kind of fabrics destined for city palaces and country estates. The mill was bought in 2010 by Stefano Ricci from the Pucci, with an eye to using it to produce fabrics for the launch of a new home collection<br />
<br />
Lined up in rows are the dozen looms that take the slender threads, by now dyed emerald and ruby and sapphire, and weave them into the textiles that form a part of the fabric of Florentine life.<br />
<br />
Silk was made in the city as far back as the 1300s, a commodity to trade for precious materials. In more recent times, the fabric in the gowns in “Il Gattopardo” and “Death in Venice” came from the mill, as did much of Maris Callas’ wardrobe, robes for Popes, suits for Andre Bocelli, and Nelson Mandela’s silk shirts (when he wore one for his audience with Queen Elizabeth II she reportedly remarked, “that’s a beautiful shirt.”) The carmine red curtains at the Villa Medici and the Tribune of the Uffizi were made here. The Presidential Suite at the city’s Four Seasons Hotel is decked out in the mill’s output, as are the walls of the room of the Czars at the Kremlin, and more than 100 red velvet chairs emblazoned with the Kremlin’s golden crest.<br />
<br />
Back hundreds of years ago, in the Renaissance, most noble families had their own looms. But in 1786 the Grand Duke Pietro Leopoldo of Tuscany took all the looms of the private aristocratic families and put them in one place. They ended up at the Antico Setificio Fiorentino: six of them from the 1700s, hand looms that produce a mere 40 centimeters of fabric a day; they are
    CIPG_20181026_NYT_Silk_M3_3091.jpg
  • FLORENCE, ITALY - 26 OCTOBER 2018: Daniela Fallani, a weaver, is seen here working on a handloom dating back to the 1700s that can produce a mere 40 centimeters of fabric a day, here at the Antico Setificio Fiorentino, an ancient silk mill in central Florence, Italy, on October 26th 2018.<br />
<br />
The Antico Setificio Fiorentino is a silk mill, located in central Florence within view of the old city walls in the San Frediano neighborhood, that produces the kind of fabrics destined for city palaces and country estates. The mill was bought in 2010 by Stefano Ricci from the Pucci, with an eye to using it to produce fabrics for the launch of a new home collection<br />
<br />
Lined up in rows are the dozen looms that take the slender threads, by now dyed emerald and ruby and sapphire, and weave them into the textiles that form a part of the fabric of Florentine life.<br />
<br />
Silk was made in the city as far back as the 1300s, a commodity to trade for precious materials. In more recent times, the fabric in the gowns in “Il Gattopardo” and “Death in Venice” came from the mill, as did much of Maris Callas’ wardrobe, robes for Popes, suits for Andre Bocelli, and Nelson Mandela’s silk shirts (when he wore one for his audience with Queen Elizabeth II she reportedly remarked, “that’s a beautiful shirt.”) The carmine red curtains at the Villa Medici and the Tribune of the Uffizi were made here. The Presidential Suite at the city’s Four Seasons Hotel is decked out in the mill’s output, as are the walls of the room of the Czars at the Kremlin, and more than 100 red velvet chairs emblazoned with the Kremlin’s golden crest.<br />
<br />
Back hundreds of years ago, in the Renaissance, most noble families had their own looms. But in 1786 the Grand Duke Pietro Leopoldo of Tuscany took all the looms of the private aristocratic families and put them in one place. They ended up at the Antico Setificio Fiorentino: six of them from the 1700s, hand looms that produce a mere 40 centimeters of fabric a day;
    CIPG_20181026_NYT_Silk_M3_3083.jpg
  • FLORENCE, ITALY - 26 OCTOBER 2018: Luana Segreto, a weaver, is seen here working on a handloom dating back to the 1700s that can produce a mere 40 centimeters of fabric a day, here at the Antico Setificio Fiorentino, an ancient silk mill in central Florence, Italy, on October 26th 2018.<br />
<br />
The Antico Setificio Fiorentino is a silk mill, located in central Florence within view of the old city walls in the San Frediano neighborhood, that produces the kind of fabrics destined for city palaces and country estates. The mill was bought in 2010 by Stefano Ricci from the Pucci, with an eye to using it to produce fabrics for the launch of a new home collection<br />
<br />
Lined up in rows are the dozen looms that take the slender threads, by now dyed emerald and ruby and sapphire, and weave them into the textiles that form a part of the fabric of Florentine life.<br />
<br />
Silk was made in the city as far back as the 1300s, a commodity to trade for precious materials. In more recent times, the fabric in the gowns in “Il Gattopardo” and “Death in Venice” came from the mill, as did much of Maris Callas’ wardrobe, robes for Popes, suits for Andre Bocelli, and Nelson Mandela’s silk shirts (when he wore one for his audience with Queen Elizabeth II she reportedly remarked, “that’s a beautiful shirt.”) The carmine red curtains at the Villa Medici and the Tribune of the Uffizi were made here. The Presidential Suite at the city’s Four Seasons Hotel is decked out in the mill’s output, as are the walls of the room of the Czars at the Kremlin, and more than 100 red velvet chairs emblazoned with the Kremlin’s golden crest.<br />
<br />
Back hundreds of years ago, in the Renaissance, most noble families had their own looms. But in 1786 the Grand Duke Pietro Leopoldo of Tuscany took all the looms of the private aristocratic families and put them in one place. They ended up at the Antico Setificio Fiorentino: six of them from the 1700s, hand looms that produce a mere 40 centimeters of fabric a day; t
    CIPG_20181026_NYT_Silk_M3_2710.jpg
  • FLORENCE, ITALY - 26 OCTOBER 2018: Luana Segreto, a weaver, is seen here working on a handloom dating back to the 1700s that can produce a mere 40 centimeters of fabric a day, here at the Antico Setificio Fiorentino, an ancient silk mill in central Florence, Italy, on October 26th 2018.<br />
<br />
The Antico Setificio Fiorentino is a silk mill, located in central Florence within view of the old city walls in the San Frediano neighborhood, that produces the kind of fabrics destined for city palaces and country estates. The mill was bought in 2010 by Stefano Ricci from the Pucci, with an eye to using it to produce fabrics for the launch of a new home collection<br />
<br />
Lined up in rows are the dozen looms that take the slender threads, by now dyed emerald and ruby and sapphire, and weave them into the textiles that form a part of the fabric of Florentine life.<br />
<br />
Silk was made in the city as far back as the 1300s, a commodity to trade for precious materials. In more recent times, the fabric in the gowns in “Il Gattopardo” and “Death in Venice” came from the mill, as did much of Maris Callas’ wardrobe, robes for Popes, suits for Andre Bocelli, and Nelson Mandela’s silk shirts (when he wore one for his audience with Queen Elizabeth II she reportedly remarked, “that’s a beautiful shirt.”) The carmine red curtains at the Villa Medici and the Tribune of the Uffizi were made here. The Presidential Suite at the city’s Four Seasons Hotel is decked out in the mill’s output, as are the walls of the room of the Czars at the Kremlin, and more than 100 red velvet chairs emblazoned with the Kremlin’s golden crest.<br />
<br />
Back hundreds of years ago, in the Renaissance, most noble families had their own looms. But in 1786 the Grand Duke Pietro Leopoldo of Tuscany took all the looms of the private aristocratic families and put them in one place. They ended up at the Antico Setificio Fiorentino: six of them from the 1700s, hand looms that produce a mere 40 centimeters of fabric a day; t
    CIPG_20181026_NYT_Silk_M3_2700.jpg
  • FLORENCE, ITALY - 26 OCTOBER 2018: Rows of hand looms, dating back to the 1700s, that can produce a mere 40 centimeters of fabric a day, are seen here at the Antico Setificio Fiorentino, an ancient silk mill in central Florence, Italy, on October 26th 2018.<br />
<br />
The Antico Setificio Fiorentino is a silk mill, located in central Florence within view of the old city walls in the San Frediano neighborhood, that produces the kind of fabrics destined for city palaces and country estates. The mill was bought in 2010 by Stefano Ricci from the Pucci, with an eye to using it to produce fabrics for the launch of a new home collection<br />
<br />
Lined up in rows are the dozen looms that take the slender threads, by now dyed emerald and ruby and sapphire, and weave them into the textiles that form a part of the fabric of Florentine life.<br />
<br />
Silk was made in the city as far back as the 1300s, a commodity to trade for precious materials. In more recent times, the fabric in the gowns in “Il Gattopardo” and “Death in Venice” came from the mill, as did much of Maris Callas’ wardrobe, robes for Popes, suits for Andre Bocelli, and Nelson Mandela’s silk shirts (when he wore one for his audience with Queen Elizabeth II she reportedly remarked, “that’s a beautiful shirt.”) The carmine red curtains at the Villa Medici and the Tribune of the Uffizi were made here. The Presidential Suite at the city’s Four Seasons Hotel is decked out in the mill’s output, as are the walls of the room of the Czars at the Kremlin, and more than 100 red velvet chairs emblazoned with the Kremlin’s golden crest.<br />
<br />
Back hundreds of years ago, in the Renaissance, most noble families had their own looms. But in 1786 the Grand Duke Pietro Leopoldo of Tuscany took all the looms of the private aristocratic families and put them in one place. They ended up at the Antico Setificio Fiorentino: six of them from the 1700s, hand looms that produce a mere 40 centimeters of fabric a day; they are joined by six more “
    CIPG_20181026_NYT_Silk_M3_2534.jpg
  • FLORENCE, ITALY - 29 JUNE 2016: The new director of the Uffizi Gallery Eike Schmidt poses for a portait in the "Michelangelo and the Florentines" room at the Uffizi Gallery in Florence, Italy, on June 29th 2016.<br />
<br />
Art historian Eike Schmidt, former curator and head of the Department of Sculpture, Applied Art and Textiles at the Minneapolis Institute of Arts, became the first non-Italian director of the Uffizi in August 2015, replacing Antonio Natali who directed the gallery for 9 years. One of the main goals of the new director is to open the Vasari Corridor to the general public. Currently the corridor can only be visited with group reservations made by external tour and travel agencies throughout the year.<br />
<br />
The Vasari Corridor is is a 1-kilometer-long (more than half mile) elevated enclosed passageway which connects the Palazzo Vecchio with the Palazzo Pitti, passing through the Uffizi Gallery and crossing the Ponte Vecchio above the Arno River, in Florence. The passageway was designed and built in 1564 by Giorgio Vasari in only 6 months to allow Cosimo de’ Medici and other Florentine elite to walk safely through the city, from the seat of power in Palazzo Vecchio to their private residence, Palazzo Pitti. The passageway contains over 1000 paintings, dating from the 17th and 18th centuries, including the largest and very important collection of self-portraits by some of the most famous masters of painting from the 16th to the 20th century, including Filippo Lippi, Rembrandt, Velazquez, Delacroix and Ensor.
    CIPG_20160725_NYT-Uffizi_5M3_9737.jpg
  • FLORENCE, ITALY - 29 JUNE 2016: The new director of the Uffizi Gallery Eike Schmidt is interviewed by students in "Michelangelo and the Florentines" room at the Uffizi Gallery in Florence, Italy, on June 29th 2016.<br />
<br />
Art historian Eike Schmidt, former curator and head of the Department of Sculpture, Applied Art and Textiles at the Minneapolis Institute of Arts, became the first non-Italian director of the Uffizi in August 2015, replacing Antonio Natali who directed the gallery for 9 years. One of the main goals of the new director is to open the Vasari Corridor to the general public. Currently the corridor can only be visited with group reservations made by external tour and travel agencies throughout the year.<br />
<br />
The Vasari Corridor is is a 1-kilometer-long (more than half mile) elevated enclosed passageway which connects the Palazzo Vecchio with the Palazzo Pitti, passing through the Uffizi Gallery and crossing the Ponte Vecchio above the Arno River, in Florence. The passageway was designed and built in 1564 by Giorgio Vasari in only 6 months to allow Cosimo de’ Medici and other Florentine elite to walk safely through the city, from the seat of power in Palazzo Vecchio to their private residence, Palazzo Pitti. The passageway contains over 1000 paintings, dating from the 17th and 18th centuries, including the largest and very important collection of self-portraits by some of the most famous masters of painting from the 16th to the 20th century, including Filippo Lippi, Rembrandt, Velazquez, Delacroix and Ensor.
    CIPG_20160725_NYT-Uffizi_5M3_9720.jpg
  • FLORENCE, ITALY - 29 JUNE 2016: The new director of the Uffizi Gallery Eike Schmidt poses for a portait in the portico of the Uffizi Gallery in Florence, Italy, on June 29th 2016.<br />
<br />
Art historian Eike Schmidt, former curator and head of the Department of Sculpture, Applied Art and Textiles at the Minneapolis Institute of Arts, became the first non-Italian director of the Uffizi in August 2015, replacing Antonio Natali who directed the gallery for 9 years. One of the main goals of the new director is to open the Vasari Corridor to the general public. Currently the corridor can only be visited with group reservations made by external tour and travel agencies throughout the year.<br />
<br />
The Vasari Corridor is is a 1-kilometer-long (more than half mile) elevated enclosed passageway which connects the Palazzo Vecchio with the Palazzo Pitti, passing through the Uffizi Gallery and crossing the Ponte Vecchio above the Arno River, in Florence. The passageway was designed and built in 1564 by Giorgio Vasari in only 6 months to allow Cosimo de’ Medici and other Florentine elite to walk safely through the city, from the seat of power in Palazzo Vecchio to their private residence, Palazzo Pitti. The passageway contains over 1000 paintings, dating from the 17th and 18th centuries, including the largest and very important collection of self-portraits by some of the most famous masters of painting from the 16th to the 20th century, including Filippo Lippi, Rembrandt, Velazquez, Delacroix and Ensor.
    CIPG_20160725_NYT-Uffizi_5M3_9683.jpg
  • FLORENCE, ITALY - 29 JUNE 2016: The new director of the Uffizi Gallery Eike Schmidt poses for a portait in the portico of the Uffizi Gallery in Florence, Italy, on June 29th 2016.<br />
<br />
Art historian Eike Schmidt, former curator and head of the Department of Sculpture, Applied Art and Textiles at the Minneapolis Institute of Arts, became the first non-Italian director of the Uffizi in August 2015, replacing Antonio Natali who directed the gallery for 9 years. One of the main goals of the new director is to open the Vasari Corridor to the general public. Currently the corridor can only be visited with group reservations made by external tour and travel agencies throughout the year.<br />
<br />
The Vasari Corridor is is a 1-kilometer-long (more than half mile) elevated enclosed passageway which connects the Palazzo Vecchio with the Palazzo Pitti, passing through the Uffizi Gallery and crossing the Ponte Vecchio above the Arno River, in Florence. The passageway was designed and built in 1564 by Giorgio Vasari in only 6 months to allow Cosimo de’ Medici and other Florentine elite to walk safely through the city, from the seat of power in Palazzo Vecchio to their private residence, Palazzo Pitti. The passageway contains over 1000 paintings, dating from the 17th and 18th centuries, including the largest and very important collection of self-portraits by some of the most famous masters of painting from the 16th to the 20th century, including Filippo Lippi, Rembrandt, Velazquez, Delacroix and Ensor.
    CIPG_20160725_NYT-Uffizi_5M3_9671.jpg
  • FLORENCE, ITALY - 29 JUNE 2016: The new director of the Uffizi Gallery Eike Schmidt poses for a portait in the courtyard of the Uffizi Gallery in Florence, Italy, on June 29th 2016.<br />
<br />
Art historian Eike Schmidt, former curator and head of the Department of Sculpture, Applied Art and Textiles at the Minneapolis Institute of Arts, became the first non-Italian director of the Uffizi in August 2015, replacing Antonio Natali who directed the gallery for 9 years. One of the main goals of the new director is to open the Vasari Corridor to the general public. Currently the corridor can only be visited with group reservations made by external tour and travel agencies throughout the year.<br />
<br />
The Vasari Corridor is is a 1-kilometer-long (more than half mile) elevated enclosed passageway which connects the Palazzo Vecchio with the Palazzo Pitti, passing through the Uffizi Gallery and crossing the Ponte Vecchio above the Arno River, in Florence. The passageway was designed and built in 1564 by Giorgio Vasari in only 6 months to allow Cosimo de’ Medici and other Florentine elite to walk safely through the city, from the seat of power in Palazzo Vecchio to their private residence, Palazzo Pitti. The passageway contains over 1000 paintings, dating from the 17th and 18th centuries, including the largest and very important collection of self-portraits by some of the most famous masters of painting from the 16th to the 20th century, including Filippo Lippi, Rembrandt, Velazquez, Delacroix and Ensor.
    CIPG_20160725_NYT-Uffizi_5M3_9584.jpg
  • FLORENCE, ITALY - 29 JUNE 2016: The new director of the Uffizi Gallery Eike Schmidt poses for a portait by the painting "Four Officers of the Soprintendenza", by  Mario Cini di Pianzano, in his office at the Uffizi Gallery in Florence, Italy, on June 29th 2016.<br />
<br />
Art historian Eike Schmidt, former curator and head of the Department of Sculpture, Applied Art and Textiles at the Minneapolis Institute of Arts, became the first non-Italian director of the Uffizi in August 2015, replacing Antonio Natali who directed the gallery for 9 years. One of the main goals of the new director is to open the Vasari Corridor to the general public. Currently the corridor can only be visited with group reservations made by external tour and travel agencies throughout the year.<br />
<br />
The Vasari Corridor is is a 1-kilometer-long (more than half mile) elevated enclosed passageway which connects the Palazzo Vecchio with the Palazzo Pitti, passing through the Uffizi Gallery and crossing the Ponte Vecchio above the Arno River, in Florence. The passageway was designed and built in 1564 by Giorgio Vasari in only 6 months to allow Cosimo de’ Medici and other Florentine elite to walk safely through the city, from the seat of power in Palazzo Vecchio to their private residence, Palazzo Pitti. The passageway contains over 1000 paintings, dating from the 17th and 18th centuries, including the largest and very important collection of self-portraits by some of the most famous masters of painting from the 16th to the 20th century, including Filippo Lippi, Rembrandt, Velazquez, Delacroix and Ensor.
    CIPG_20160725_NYT-Uffizi_5M3_9521.jpg
  • FLORENCE, ITALY - 29 JUNE 2016: The new director of the Uffizi Gallery Eike Schmidt studies a plan of the museum space here in his office at the Uffizi Gallery in Florence, Italy, on June 29th 2016.<br />
<br />
Art historian Eike Schmidt, former curator and head of the Department of Sculpture, Applied Art and Textiles at the Minneapolis Institute of Arts, became the first non-Italian director of the Uffizi in August 2015, replacing Antonio Natali who directed the gallery for 9 years. One of the main goals of the new director is to open the Vasari Corridor to the general public. Currently the corridor can only be visited with group reservations made by external tour and travel agencies throughout the year.<br />
<br />
The Vasari Corridor is is a 1-kilometer-long (more than half mile) elevated enclosed passageway which connects the Palazzo Vecchio with the Palazzo Pitti, passing through the Uffizi Gallery and crossing the Ponte Vecchio above the Arno River, in Florence. The passageway was designed and built in 1564 by Giorgio Vasari in only 6 months to allow Cosimo de’ Medici and other Florentine elite to walk safely through the city, from the seat of power in Palazzo Vecchio to their private residence, Palazzo Pitti. The passageway contains over 1000 paintings, dating from the 17th and 18th centuries, including the largest and very important collection of self-portraits by some of the most famous masters of painting from the 16th to the 20th century, including Filippo Lippi, Rembrandt, Velazquez, Delacroix and Ensor.
    CIPG_20160725_NYT-Uffizi_5M3_9493.jpg
  • FLORENCE, ITALY - 29 JUNE 2016: The new director of the Uffizi Gallery Eike Schmidt signs a contract for the acquisition of a sculpture and a painting, here by his office at the Uffizi Gallery in Florence, Italy, on June 29th 2016.<br />
<br />
Art historian Eike Schmidt, former curator and head of the Department of Sculpture, Applied Art and Textiles at the Minneapolis Institute of Arts, became the first non-Italian director of the Uffizi in August 2015, replacing Antonio Natali who directed the gallery for 9 years. One of the main goals of the new director is to open the Vasari Corridor to the general public. Currently the corridor can only be visited with group reservations made by external tour and travel agencies throughout the year.<br />
<br />
The Vasari Corridor is is a 1-kilometer-long (more than half mile) elevated enclosed passageway which connects the Palazzo Vecchio with the Palazzo Pitti, passing through the Uffizi Gallery and crossing the Ponte Vecchio above the Arno River, in Florence. The passageway was designed and built in 1564 by Giorgio Vasari in only 6 months to allow Cosimo de’ Medici and other Florentine elite to walk safely through the city, from the seat of power in Palazzo Vecchio to their private residence, Palazzo Pitti. The passageway contains over 1000 paintings, dating from the 17th and 18th centuries, including the largest and very important collection of self-portraits by some of the most famous masters of painting from the 16th to the 20th century, including Filippo Lippi, Rembrandt, Velazquez, Delacroix and Ensor.
    CIPG_20160725_NYT-Uffizi_5M3_9386.jpg
  • FLORENCE, ITALY - 29 JUNE 2016: A visitor photographs the "Bacchus" (1595) by Caravaggio at the Uffizi Gallery in Florence, Italy, on June 29th 2016.<br />
<br />
Art historian Eike Schmidt, former curator and head of the Department of Sculpture, Applied Art and Textiles at the Minneapolis Institute of Arts, became the first non-Italian director of the Uffizi in August 2015, replacing Antonio Natali who directed the gallery for 9 years. One of the main goals of the new director is to open the Vasari Corridor to the general public. Currently the corridor can only be visited with group reservations made by external tour and travel agencies throughout the year.<br />
<br />
The Vasari Corridor is is a 1-kilometer-long (more than half mile) elevated enclosed passageway which connects the Palazzo Vecchio with the Palazzo Pitti, passing through the Uffizi Gallery and crossing the Ponte Vecchio above the Arno River, in Florence. The passageway was designed and built in 1564 by Giorgio Vasari in only 6 months to allow Cosimo de’ Medici and other Florentine elite to walk safely through the city, from the seat of power in Palazzo Vecchio to their private residence, Palazzo Pitti. The passageway contains over 1000 paintings, dating from the 17th and 18th centuries, including the largest and very important collection of self-portraits by some of the most famous masters of painting from the 16th to the 20th century, including Filippo Lippi, Rembrandt, Velazquez, Delacroix and Ensor.
    CIPG_20160629_NYT-Uffizi_5M3_5379.jpg
  • FLORENCE, ITALY - 29 JUNE 2016: A vistor looks at a painting in the "Michelangelo and the Florentines" in the Uffizi Gallery in Florence, Italy, on June 29th 2016.<br />
<br />
Art historian Eike Schmidt, former curator and head of the Department of Sculpture, Applied Art and Textiles at the Minneapolis Institute of Arts, became the first non-Italian director of the Uffizi in August 2015, replacing Antonio Natali who directed the gallery for 9 years. One of the main goals of the new director is to open the Vasari Corridor to the general public. Currently the corridor can only be visited with group reservations made by external tour and travel agencies throughout the year.<br />
<br />
The Vasari Corridor is is a 1-kilometer-long (more than half mile) elevated enclosed passageway which connects the Palazzo Vecchio with the Palazzo Pitti, passing through the Uffizi Gallery and crossing the Ponte Vecchio above the Arno River, in Florence. The passageway was designed and built in 1564 by Giorgio Vasari in only 6 months to allow Cosimo de’ Medici and other Florentine elite to walk safely through the city, from the seat of power in Palazzo Vecchio to their private residence, Palazzo Pitti. The passageway contains over 1000 paintings, dating from the 17th and 18th centuries, including the largest and very important collection of self-portraits by some of the most famous masters of painting from the 16th to the 20th century, including Filippo Lippi, Rembrandt, Velazquez, Delacroix and Ensor.
    CIPG_20160629_NYT-Uffizi_5M3_5277.jpg
  • FLORENCE, ITALY - 29 JUNE 2016: Visitors are here by a window overlooking the Vasari Corridor and the Arno river, at the Uffizi Gallery in Florence, Italy, on June 29th 2016.<br />
<br />
Art historian Eike Schmidt, former curator and head of the Department of Sculpture, Applied Art and Textiles at the Minneapolis Institute of Arts, became the first non-Italian director of the Uffizi in August 2015, replacing Antonio Natali who directed the gallery for 9 years. One of the main goals of the new director is to open the Vasari Corridor to the general public. Currently the corridor can only be visited with group reservations made by external tour and travel agencies throughout the year.<br />
<br />
The Vasari Corridor is is a 1-kilometer-long (more than half mile) elevated enclosed passageway which connects the Palazzo Vecchio with the Palazzo Pitti, passing through the Uffizi Gallery and crossing the Ponte Vecchio above the Arno River, in Florence. The passageway was designed and built in 1564 by Giorgio Vasari in only 6 months to allow Cosimo de’ Medici and other Florentine elite to walk safely through the city, from the seat of power in Palazzo Vecchio to their private residence, Palazzo Pitti. The passageway contains over 1000 paintings, dating from the 17th and 18th centuries, including the largest and very important collection of self-portraits by some of the most famous masters of painting from the 16th to the 20th century, including Filippo Lippi, Rembrandt, Velazquez, Delacroix and Ensor.
    CIPG_20160629_NYT-Uffizi_5M3_5228.jpg
  • FLORENCE, ITALY - 29 JUNE 2016: The new director of the Uffizi Gallery Eike Schmidt introduces and explains the photography exhibition “Karl Lagerfeld – Visions of Fashion”, hosted by Palazzo Pitti, to the museum guards in Florence, Italy, on June 29th 2016.<br />
<br />
Art historian Eike Schmidt, former curator and head of the Department of Sculpture, Applied Art and Textiles at the Minneapolis Institute of Arts, became the first non-Italian director of the Uffizi in August 2015, replacing Antonio Natali who directed the gallery for 9 years. One of the main goals of the new director is to open the Vasari Corridor to the general public. Currently the corridor can only be visited with group reservations made by external tour and travel agencies throughout the year.<br />
<br />
The Vasari Corridor is is a 1-kilometer-long (more than half mile) elevated enclosed passageway which connects the Palazzo Vecchio with the Palazzo Pitti, passing through the Uffizi Gallery and crossing the Ponte Vecchio above the Arno River, in Florence. The passageway was designed and built in 1564 by Giorgio Vasari in only 6 months to allow Cosimo de’ Medici and other Florentine elite to walk safely through the city, from the seat of power in Palazzo Vecchio to their private residence, Palazzo Pitti. The passageway contains over 1000 paintings, dating from the 17th and 18th centuries, including the largest and very important collection of self-portraits by some of the most famous masters of painting from the 16th to the 20th century, including Filippo Lippi, Rembrandt, Velazquez, Delacroix and Ensor.
    CIPG_20160629_NYT-Uffizi_5M3_5099.jpg
  • FLORENCE, ITALY - 29 JUNE 2016: The new director of the Uffizi Gallery Eike Schmidt introduces and explains the photography exhibition “Karl Lagerfeld – Visions of Fashion”, hosted by Palazzo Pitti, to the museum guards in Florence, Italy, on June 29th 2016.<br />
<br />
Art historian Eike Schmidt, former curator and head of the Department of Sculpture, Applied Art and Textiles at the Minneapolis Institute of Arts, became the first non-Italian director of the Uffizi in August 2015, replacing Antonio Natali who directed the gallery for 9 years. One of the main goals of the new director is to open the Vasari Corridor to the general public. Currently the corridor can only be visited with group reservations made by external tour and travel agencies throughout the year.<br />
<br />
The Vasari Corridor is is a 1-kilometer-long (more than half mile) elevated enclosed passageway which connects the Palazzo Vecchio with the Palazzo Pitti, passing through the Uffizi Gallery and crossing the Ponte Vecchio above the Arno River, in Florence. The passageway was designed and built in 1564 by Giorgio Vasari in only 6 months to allow Cosimo de’ Medici and other Florentine elite to walk safely through the city, from the seat of power in Palazzo Vecchio to their private residence, Palazzo Pitti. The passageway contains over 1000 paintings, dating from the 17th and 18th centuries, including the largest and very important collection of self-portraits by some of the most famous masters of painting from the 16th to the 20th century, including Filippo Lippi, Rembrandt, Velazquez, Delacroix and Ensor.
    CIPG_20160629_NYT-Uffizi_5M3_5077.jpg
  • FLORENCE, ITALY - 29 JUNE 2016: The new director of the Uffizi Gallery Eike Schmidt introduces and explains the photography exhibition “Karl Lagerfeld – Visions of Fashion”, hosted by Palazzo Pitti, to the museum guards in Florence, Italy, on June 29th 2016.<br />
<br />
Art historian Eike Schmidt, former curator and head of the Department of Sculpture, Applied Art and Textiles at the Minneapolis Institute of Arts, became the first non-Italian director of the Uffizi in August 2015, replacing Antonio Natali who directed the gallery for 9 years. One of the main goals of the new director is to open the Vasari Corridor to the general public. Currently the corridor can only be visited with group reservations made by external tour and travel agencies throughout the year.<br />
<br />
The Vasari Corridor is is a 1-kilometer-long (more than half mile) elevated enclosed passageway which connects the Palazzo Vecchio with the Palazzo Pitti, passing through the Uffizi Gallery and crossing the Ponte Vecchio above the Arno River, in Florence. The passageway was designed and built in 1564 by Giorgio Vasari in only 6 months to allow Cosimo de’ Medici and other Florentine elite to walk safely through the city, from the seat of power in Palazzo Vecchio to their private residence, Palazzo Pitti. The passageway contains over 1000 paintings, dating from the 17th and 18th centuries, including the largest and very important collection of self-portraits by some of the most famous masters of painting from the 16th to the 20th century, including Filippo Lippi, Rembrandt, Velazquez, Delacroix and Ensor.
    CIPG_20160629_NYT-Uffizi_5M3_5030.jpg
  • FLORENCE, ITALY - 29 JUNE 2016: The new director of the Uffizi Gallery Eike Schmidt introduces and explains the photography exhibition “Karl Lagerfeld – Visions of Fashion”, hosted by Palazzo Pitti, to the museum guards in Florence, Italy, on June 29th 2016.<br />
<br />
Art historian Eike Schmidt, former curator and head of the Department of Sculpture, Applied Art and Textiles at the Minneapolis Institute of Arts, became the first non-Italian director of the Uffizi in August 2015, replacing Antonio Natali who directed the gallery for 9 years. One of the main goals of the new director is to open the Vasari Corridor to the general public. Currently the corridor can only be visited with group reservations made by external tour and travel agencies throughout the year.<br />
<br />
The Vasari Corridor is is a 1-kilometer-long (more than half mile) elevated enclosed passageway which connects the Palazzo Vecchio with the Palazzo Pitti, passing through the Uffizi Gallery and crossing the Ponte Vecchio above the Arno River, in Florence. The passageway was designed and built in 1564 by Giorgio Vasari in only 6 months to allow Cosimo de’ Medici and other Florentine elite to walk safely through the city, from the seat of power in Palazzo Vecchio to their private residence, Palazzo Pitti. The passageway contains over 1000 paintings, dating from the 17th and 18th centuries, including the largest and very important collection of self-portraits by some of the most famous masters of painting from the 16th to the 20th century, including Filippo Lippi, Rembrandt, Velazquez, Delacroix and Ensor.
    CIPG_20160629_NYT-Uffizi_5M3_5019.jpg
  • FLORENCE, ITALY - 29 JUNE 2016: The new director of the Uffizi Gallery Eike Schmidt introduces and explains the photography exhibition “Karl Lagerfeld – Visions of Fashion”, hosted by Palazzo Pitti, to the museum guards in Florence, Italy, on June 29th 2016.<br />
<br />
Art historian Eike Schmidt, former curator and head of the Department of Sculpture, Applied Art and Textiles at the Minneapolis Institute of Arts, became the first non-Italian director of the Uffizi in August 2015, replacing Antonio Natali who directed the gallery for 9 years. One of the main goals of the new director is to open the Vasari Corridor to the general public. Currently the corridor can only be visited with group reservations made by external tour and travel agencies throughout the year.<br />
<br />
The Vasari Corridor is is a 1-kilometer-long (more than half mile) elevated enclosed passageway which connects the Palazzo Vecchio with the Palazzo Pitti, passing through the Uffizi Gallery and crossing the Ponte Vecchio above the Arno River, in Florence. The passageway was designed and built in 1564 by Giorgio Vasari in only 6 months to allow Cosimo de’ Medici and other Florentine elite to walk safely through the city, from the seat of power in Palazzo Vecchio to their private residence, Palazzo Pitti. The passageway contains over 1000 paintings, dating from the 17th and 18th centuries, including the largest and very important collection of self-portraits by some of the most famous masters of painting from the 16th to the 20th century, including Filippo Lippi, Rembrandt, Velazquez, Delacroix and Ensor.
    CIPG_20160629_NYT-Uffizi_5M3_4961.jpg
  • FLORENCE, ITALY - 29 JUNE 2016: A visitor walks through the “Karl Lagerfeld – Visions of Fashion” photography exhibition hosted by Palazzo Pitti in Florence, Italy, on June 29th 2016.<br />
<br />
Art historian Eike Schmidt, former curator and head of the Department of Sculpture, Applied Art and Textiles at the Minneapolis Institute of Arts, became the first non-Italian director of the Uffizi in August 2015, replacing Antonio Natali who directed the gallery for 9 years. One of the main goals of the new director is to open the Vasari Corridor to the general public. Currently the corridor can only be visited with group reservations made by external tour and travel agencies throughout the year.<br />
<br />
The Vasari Corridor is is a 1-kilometer-long (more than half mile) elevated enclosed passageway which connects the Palazzo Vecchio with the Palazzo Pitti, passing through the Uffizi Gallery and crossing the Ponte Vecchio above the Arno River, in Florence. The passageway was designed and built in 1564 by Giorgio Vasari in only 6 months to allow Cosimo de’ Medici and other Florentine elite to walk safely through the city, from the seat of power in Palazzo Vecchio to their private residence, Palazzo Pitti. The passageway contains over 1000 paintings, dating from the 17th and 18th centuries, including the largest and very important collection of self-portraits by some of the most famous masters of painting from the 16th to the 20th century, including Filippo Lippi, Rembrandt, Velazquez, Delacroix and Ensor.
    CIPG_20160629_NYT-Uffizi_5M3_4926.jpg
  • FLORENCE, ITALY - 29 JUNE 2016: Organised groups wait in line to visit the Uffizi Gallery in Florence, Italy, on June 29th 2016.<br />
<br />
Art historian Eike Schmidt, former curator and head of the Department of Sculpture, Applied Art and Textiles at the Minneapolis Institute of Arts, became the first non-Italian director of the Uffizi in August 2015, replacing Antonio Natali who directed the gallery for 9 years. One of the main goals of the new director is to open the Vasari Corridor to the general public. Currently the corridor can only be visited with group reservations made by external tour and travel agencies throughout the year.<br />
<br />
The Vasari Corridor is is a 1-kilometer-long (more than half mile) elevated enclosed passageway which connects the Palazzo Vecchio with the Palazzo Pitti, passing through the Uffizi Gallery and crossing the Ponte Vecchio above the Arno River, in Florence. The passageway was designed and built in 1564 by Giorgio Vasari in only 6 months to allow Cosimo de’ Medici and other Florentine elite to walk safely through the city, from the seat of power in Palazzo Vecchio to their private residence, Palazzo Pitti. The passageway contains over 1000 paintings, dating from the 17th and 18th centuries, including the largest and very important collection of self-portraits by some of the most famous masters of painting from the 16th to the 20th century, including Filippo Lippi, Rembrandt, Velazquez, Delacroix and Ensor.
    CIPG_20160629_NYT-Uffizi_5M3_4907.jpg
  • FLORENCE, ITALY - 29 JUNE 2016: Organised groups wait in line to visit the Uffizi Gallery in Florence, Italy, on June 29th 2016.<br />
<br />
Art historian Eike Schmidt, former curator and head of the Department of Sculpture, Applied Art and Textiles at the Minneapolis Institute of Arts, became the first non-Italian director of the Uffizi in August 2015, replacing Antonio Natali who directed the gallery for 9 years. One of the main goals of the new director is to open the Vasari Corridor to the general public. Currently the corridor can only be visited with group reservations made by external tour and travel agencies throughout the year.<br />
<br />
The Vasari Corridor is is a 1-kilometer-long (more than half mile) elevated enclosed passageway which connects the Palazzo Vecchio with the Palazzo Pitti, passing through the Uffizi Gallery and crossing the Ponte Vecchio above the Arno River, in Florence. The passageway was designed and built in 1564 by Giorgio Vasari in only 6 months to allow Cosimo de’ Medici and other Florentine elite to walk safely through the city, from the seat of power in Palazzo Vecchio to their private residence, Palazzo Pitti. The passageway contains over 1000 paintings, dating from the 17th and 18th centuries, including the largest and very important collection of self-portraits by some of the most famous masters of painting from the 16th to the 20th century, including Filippo Lippi, Rembrandt, Velazquez, Delacroix and Ensor.
    CIPG_20160629_NYT-Uffizi_5M3_4792.jpg
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