Category Archives: Exploring

September 26: Rome–Fiumicino International Airport.  Destination: home.

 “Exploring” came true.

And it was good.

By the numbers, this segment of the Judith Quest –

• took 17 days – with some days of relaxation in-between
• crossed three countries
• visited 23 museums and 11 sacred spaces
• viewed 52 Judiths
• photographed 51 Judiths
• had 13 unavoidable disappointments
• experienced 11 Unexpected Disappointments
• suffered 4 COLOSSAL FAILURES
• enjoyed 5 SURPRISES!!

Thus the ratio of successful Judith sightings versus disappointments is two to one – not a bad ratio for an amateur.

But this trip was so much more than numbers. I did not show you the vistas, the vineyards, the streets, the restaurants, the people. Not the contemporary conveniences for travelers, not the historical sites of Estrucans and ancient Romans. Not the magnificent interiors and artwork I passed on the way to seek Judith.

And that is really the point of the Judith Quest. While Judith is the destination, she gives a reason to visit places that are out-of-the-way and to sample art and culture that might have been missed if I was only looking for what casual tourists see. It is a reason to learn about artists and art history, to be autodidactic. The journey that matters as much as the destination.

There is so much more to the Judith Quest. And I am excited to make it to come true.

September 23-24: southwest Italy, Campania. Destination: Naples.

Is it the end?

Our last days in Italy ended in Naples. After a few days without Judith in Sorrento, Amalfi and Pompei, the city of Naples provided a few more chances to continue the Quest.

Conveniently around the corner from our hotel, I found the Gallery of Palazzo Zevallos Stigliano. Like many museums in Italy, the gallery originated as a Baroque palace. Some confusion was cleared up when I learned the palace was acquired by the Banca Commerciale Italiana and is also known as Gallerie d’Italia Napoli.

The museum is very well organized and dramatically lighted. It is not overly large yet the collection spans Attic and Magno-Greek ceramics,17th to 20th century Neapolitan art, and 20th-century works.

The first artwork I encountered was a SURPRISE! This Judith is busy!! She has the same determination and grip on Holofernes’ hair as the Judiths by Gentileschi and Caravaggio. Just less blood.

Moving to the Sala degli Amorini, I found the painting I expected: “Judith With The Head Of Holofernes” by Louis Finson. This painting has been attributed to Caravaggio, and is quite similar to the positioning of Caravaggio’s famous Judith in Rome. A replica – or maybe the original – was found in an attic in Toulouse in 2016. We may never know since it was purchased by a mystery buyer.

I did spend quite a while with these painting in a quiet, uncrowded atmosphere. But I began to think the guards were eyeing me curiously. My fascination with decapitation seemed to arouse their suspicion.

The next stop was an unavoidable disappointment – a situation in which one source indicated a Judith was in residence but no confirming information could be found. Consequently, I left Scott for a nap and I wandered the Palozzo Reale di Napoli (Royal Palace of Naples). The palace was lovely but my search for “Judith and Holofernes” by Monrealese (Giovanni Pietro Novelli) was a bust. oh well, better to confirm it is not there than to wonder.

The next stop required a cab to a beautiful overlook of the city and the bay. Certosa di San Martino is built on that overlook, and I had no doubt that Judith was there, too. Adorning the ceiling of the Chapel of the Treasury is Luca Giordano’s fresco “Triumph of Judith.” Even after seeing photos of this fresco, the beauty and passion of it literally takes my breath away.

There is SO MUCH going on in this fresco. The scene is a cataclysmic chaos of soldiers falling in horror at the decapitated head of their general. Avenging angels chasing them. And God in the lofty heaven giving his congratulations. It almost makes me dizzy.

Back in the cab for one last stop at Museo di Capodimonte, a grand pink Bourbon palazzo. Scott chose a spot in the cafe overlooking the park while I wandered the numerous galleries on three floors.

Focusing on the positive, I will start with a SURPRISE! Judith by Bernardo Cavallino that I have never seen before. This depiction is entrancing the way that light spills on Judith with the rest in shadow. Yes, she resembles Guido Reni’s Judith (who has been infinitely copied) but the background gives more context to holding the head aloft and accentuates the solitude of her deed.

An unavoidable disappointment was the sketch of Judith by Rembrandt. I know next-to-nothing about the preservation and storage of sketches, but I was not surprised that this work was not displayed.

But the last, the very last item on the Judith Quest was a COLOSSAL FAILURE. An ironic COLOSSAL FAILURE. Because as I asked for the location of the iconic “Judith Slaying Holofernes” by Artemesia Gentileshi, I was told “It is not here. It is in an exhibit in Texas.”

• Texas.

• At the Kimbell Art Museum in Fort Worth. With Kehinde Wiley’s “Judith” in an exhibit called SLAY.

• That I was planning to visit with my friend who lives there – but it ends before we return from Italy.

Footnote: the original plan for this trip was outlined in Judith goes exploring (xv) March 24, 2012.

September 19: central Italy, Lazio. Destination: Rome.

There is only so much time, but a leisurely stroll through the Borghese Gardens is a perfect start.

At the southeast corner of the Gardens, the Galleria Borghese is a 17th entry palace described by a contemporary as “an Elysium of delight.” Today, it serves an an art museum of the collection of Cardinal Scipione Borghese, which includes works of Bernini, Raphael, Caravaggio, Titian, and Rubens.

Cardinal Borghese not only collected works but also commissioned them. This Judithwas painted by Giovanni Baglione as a commission for him. She is in Room 8, Silenus.

Now wait a minute … I didn’t know this Judith was here. In fact, I have seen this Judith before – in The Ringling Museum in Sarasota. Nice surprise!!

But Unexpected Disappointment: “Judith in Prayer” by Jacques Stellaand “Judith”by Giovanni Antonio de’ Sacchis (il Pordenone) are in rooms that were not open to the public.

I do not have time or bandwidth to dwell on the missed opportunity or even count how often this happens.

The next and last stop is another palace. Scott declined and found a comfortable spot with cocktails.

Palazzo Doria Pamphilj is in a palace privately owned by the princely Doria Pamphili family. The bulk of the collection is displayed in a series of four gilded and painted galleries that surround a courtyard.The result is a visual feast of art from the 16th century. (I refer you to Guide to the Doria Pamphilj for an excellent overview.)

Within that feast, it is sometimes difficult to locate what you are searching for because the numbering in the guide is not consecutive. Thus, two trips around the galleries finally produced Judith by Andrea del Brescianino – at the very top row under the glare of lights in the third gallery. I did not have a ladder, so this is the best image I can provide.

Andrea del Brescianino (del Piccinelli), “Judith with the Head of Holofernes,” Oil on panel, 79.3 x 60 cm, Doria Pamphili, Rome, Italy

The wandering to find this Judith was not without benefits because it allowed me to view masterpieces by Velázquez, Caravaggio and Titian. Although <sigh> the Titian is a luminous portrait of Salome (which in the past was thought to be Judith).

But then SURPRISE!! I chanced upon two Judiths here I have never seen!! And they are even more remarkable than the Judith I was seeking. The first is by Giovan Giacomo Sementi (1583-11640) and the second by Mariotto di Bindo di Biagio Albertinelli (1474-1515). More research for me when I return home.

One more unavoidable disappointment: L’Accademia Nazionale di San Luca – where the third and my second-favorite Judith by Piazzetta is displayed – was “temporaneamente chiusa al pubblico per riordino” during our visit.

What more is there to say? We threw a coin in the Trevi fountain, so there is always hope that we will be back to fulfill the Judith Quest.

Footnote: the original plan for this trip was outlined in Judith goes exploring (xiv) March 15, 2012.

September 18: central Italy, Lazio. Destination: Rome.

It was another long day, so I had to start early. It’s a day filled with ecclesiastical spaces – some small and humble, and one the most grand and opulent in the world.

I’ll start with San Silvestro al Quirinale – because it was closed during our visit. It was an Expected Disappointment that I would not see the Judith in the Domenichino pendentives of the the Bandini Chapel.

An Unexpected disappointment was S. Salvatore in Onda, where we came twice during open hours and the church was closed both times. There is more homework for me because I was hoping to see “Judith Showing the Head of Holofernes to the Jewish People” by Cesare Mariani, an artwork about which I have not written.

Success at S. Maria in Monticelli where I was able to view “Six heroines of the Old Testament“ by Cesare Mariani. It feels nice to be included. I have not written about that one either?

The Judith Quest is not only about art. St Lucia Gonfalone was providing overnight lodging for homeless men, who we encountered upon arriving. It was good to be reminded of the essential work of the church – to worship and to serve.

Once again we saw the work of Cesare Mariani. This time, Judith appears above the right of the entrance near the vault.

For a moment, I was able to give my neck a rest in Sant’Ambrogio e Carlo al Corso (Basilica of SS. Ambrose and Charles on the Corso). While the vault has a magnificent fresco by Giacinto Brandi, I was in search of a statue of Judith by Pietro Pacilli.

Unfortunately, our visit coincided with a service so that I quietly checked out all the chapels I could easily access. Except for the chapels that you cannot see to the left and the right of the altar <sigh> because that is where the celebrant is standing. It is only by very carefully maneuvering along the aisle behind the organ pipes I can finally see … a head. Leaning, leaning, leaning ever so slowly around the pillar, this was the best photograph I could capture. I hope I don’t have to do pentence for that.

With the clock ticking, we arrived at the not-so-humble Church of St Ignazi. The soaring vault is adorned by a grandiose fresco painted by the Jesuit lay brother Andrea Pozzo. It stretches across the ceiling of the nave to celebrate the work of Saint Ignatius and the Society of Jesus. In the upper left pendentive of the trompe-d’oeil cupola, he was thoughtful enough to include Judith – with her feet and her bloody sword dangling above the nave.

(As I write this, I wonder: did I really see THAT MANY CHURCHES in one morning?)

The afternoon was reserved for the largest collection of art – the Vatican. The Vatican is an independent city-state, microstate and enclave within Rome that covers 109 acres. It consists of the Vatican Gardens and 13 buildings including St. Peter’s Basilica, the Apostolic Palace, and the Vatican Museums.

The sprawling Vatican Museums are composed of the Sistine Chapel, private papal apartments and dozens of art collections spanning ancient sculpture, Renaissance masters, and Modern and contemporary art. It is estimated to hold 70,000 works in the collection, with 20,000 works on display in 1,400 rooms, chapels and galleries. (We had the foresight to hire a guide.)

It helps to know where to look. So even though we were following a crowd, I had my camera ready for Room XIII. And there she was: Orazio Gentileschi’s “Judith and Her Maidservant with the Head of Holofernes.” The artistry did not disappoint. Though eclipsed by his daughter, Orazio beautifully depicted of the tension of the moment following the beheading.

In the Room of the Immaculate Conception, “Judith” can also be found in the gilded vault fresco by Francesco Podesti.

Of course, I would not miss Judith by Michelangelo in the Sistine Chapel, but pictures are forbidden. And I usually follow the rules in sacred spaces.

Speaking of sacred spaces, when you come to the end it should be in a blaze of glory.

St. Peter’s Basilica makes the word “immense” seem small. Finding the lunettes I was seeking was almost impossible – even with basic directions (because we used up all our time with the guide inside the Museum).

The one Judith I was able to locate is in the Presentation chapel, second chapel on the left. The mosaic lunettes were executed by Giuseppe Ottaviani and others.

And then they had to kick us out.

Now that I have returned home, my research tells me the other Judith mosaic lunette is in the third chapel on the left, known as the Chapel of the Choir. More specifically, the lunettes are “outside the Chapel, we can admire the fine mosaic decoration of the elliptical cupola of the bay … The lunettes show the great canticles of praise and victory and of sorrow from the Old Testament.” I was actually in that chapel, but should have consulted St. Peter’s Basilica – A Virtual Tour for that level of detail. Unexpected Disappointment.

No regrets. Instead, I have nothing but gratitude for the numerous gifts of today.

Footnote: the original plan for this trip was outlined in Judith goes exploring (xiv) March 15, 2012.

September 17: central Italy, Lazio. Destination: Rome.

All roads lead to Rome. Certainly, the Judith Quest leads to Rome. Because according to Museumhack, there are at least 24 art museums in the city – not including the churches.

Tackling the Coliseum and the Forum in the Historic City Center in the morning, the logical place to start the afternoon is the Palazzo dei Conservatori of the Musei Capitolini on top of the Capitoline Hill. Although the museum is best known for the ancient Roman statuary, I am seeking a painting in Room VI. And it was found without a problem: the larger-than-life “Judith” by Carlo Maratta.

Once my Quest was fulfilled with this one artwork, I looked for the WC before leaving and SURPRISE!! Across from the entrance to the toilet was a Judith I have never seen!!! I have work to do when I get home!!

I can now walk with a spring in my step to the next location.

The tagline of the next destination, Galleria Nazionale d’Arte, is “One museum, two galleries.” What a bargain! The only problem: Galleria Corsini and Palazzo Barberini are not in proximity, so put on comfortable shoes for the 30 minute hike between them.

From the Capitoline Hill, Galleria Corsini is closer – located next to the Villa Farnese and east of the Tiber. The museum is a palace, sold to the Italian state by Prince Tommaso Corsini who then donated the collection of artworks it contained. I am in search of two Judiths from that collection, and the search was a success.

Judith was painted at least three times by Giovanni Battista Piazzetta – and two of his works are among my favorite portrayals. In Room I (Antechamber), this interpretation of Judith reveals a moment of contemplation before she raises the fauchion to Holofernes’ neck. The lighting casts her in a divine light, with just a fraction falling ominously on her intended victim. I love how it depicts her concentration and her conviction.

Moving to Room VII (the Green Room), I located the very dark “Judith with the Head of Holofernes” by Gerard Seghers. These ladies really could use some light to plan their escape.

At this point, you can probably guess what I’m going to say. <Sigh>. As usual, they detract from Judith’s heroism and virtue by displaying Salome in the same space – as if one severed head is the same as another. My apparent smile is ironic.

The second museum of the Galleria Nazionale d’Arte is the Galleria Nazionale d’Arte Antica-Palazzo Barberini. The 1500s and 1600s are the centuries best represented at the Barberini. This 16th century fellow with a familiar face is far from home – and I am now curious how he ended up here.

Back to my heroine, the first Judith in the Barberini is in Room XVII (Mannerist Painters) – a flirtatious Judith by Jan Massys. 

I feared the second Judith was in storage because I could not locate it online. So it was a welcome relief to find Francesco Furini’s “Judith and Holofernes” in Room 34.

While the previous two Judiths were lovely, the most thrilling moment of the day was standing before Caravaggio’s “Judith Beheading Holofernes.” In fact, this was one of the most thrilling moments of the entire Judith Quest. The detail of this painting and the realism of the figures are exquisite (although Judith’s posture remains problematic). And if you prefer the gory part of the Judith story, Caravaggio is only rivaled by Gentileschi for spurting blood as the fauchion slices into Holofernes’ neck.

It was my privilege to have unlimited time to experience this painting and appreciate its impact on subsequent art. At the end of a long day, I had much gratitude for time well-spent and the opportunity to be in the presence of such masterpieces. Life is good.

Footnote: the original plan for this trip was outlined in Judith goes exploring (xiv) March 15, 2012.

September 16: central Italy, Tuscany. Destination: Certosa of Galluzzo.

About 4 miles as the crow flies from the center of Florence is the Certosa del Galluzzo (Florence Charterhouse). The original structure was a monastery for the Order of Carthusians, built on Monte Acuto above a river valley. The feature of the monastery that has drawn me here is the large Renaissance cloister.

Good news: we were able to join one of the scheduled tours on a Friday afternoon. Bad news: all tours are in Italian.

More bad news: the tour guide was very old and very strict. My travel companion had a traumatic flashback to his days in parochial school under the instruction of Sister Juanita of the Wooden Paddle.

The main cloister, built between the end of the 15th and the beginning of the 16th century with round arches, houses sixty-six medallions by Giovanni della Robbia. Each of these medallions is a life-size bust of a character from the Old and New Testaments. The craftsmanship of these busts and their preservation is amazing.

But who would know? Because the most bad news: the tour guide required guests to stay in a 10 foot square of the cloister, we were not allowed to wander.

For a time, the restriction did not matter to me because (with great joy and excitement) I thought I had found Judith immediately above my head. I could not believe my good fortune!!

It was only when I examined the photos after the tour that I realized: that severed head has a rock in his gigantic forehead – and maybe that’s Goliath, not Holofernes – which means maybe that’s David, not Judith. It only required consulting my own blog to confirm that I had photographed the wrong subject.

Sigh. An unavoidable disappointment. The reality is I could not have photographed the correct subject because she was somewhere among the remaining sixty medallions we were not allowed to see. Even if I had recognized Goliath earlier, I still would not to have been able to locate Judith under the watchful eye of Sister Juanita of the Wooden Paddle.

Returning to the farmhouse, I received an Unexpected Surprise! An observant friend noticed a bottle of “Giuditta” on a decorative shelf in the kitchen (Thank you, Julie!). We learned that il nocino is a traditional Italian walnut liqueur. I suppose it makes sense that a liquor with my name would be a little nutty?.

Footnote: the original plan for this trip was outlined in Judith goes exploring (xiii) March 3, 2012.

September 15: central Italy, Tuscany. Destination: Florence.

Back to Florence.

Across from the Cathedral of Santa Maria del Fiore di Fiorenza (aka the Duomo) is the Battistero di San Giovanni (Baptistery of St. John). The east doors to the baptistery were designed and executed by Lorenzo Ghiberti, depicting ten episodes from the Old Testament in bronze. The beauty is such that Michelangelo called them “the Gates of Paradise” because they are worthy to stand at the entrance to heaven.

The original doors are in the Opera del Duomo Museum for preservation, so the doors on the building exterior are replicas. Amidst the intricate details of these biblical scenes, it would be easy to miss Judith – yet there she is in the border of the bottom left panel.

And here she is in the Opera del Duomo Museum. A little tarnished from wear, but not bad for being at least 570 years old.

Lorenzo Ghibertu , “Judith, Gates of Paradise,” 1425-1452, Gilt bronze relief panel, Opera del Duomo Museum, Florence, Italy

The second stop of the day was Palazzo Vecchio – the symbolic town hall of Florence, former fortress, former jail, former official seat of Grand Duke Cosimo I de’ Medici. Currently, a mostly a museum but also the office of the mayor and seat of City Council.

The Palazzo is massive. The first floor is comprised of three courtyards and the immense Salone dei Cinquecento (‘Hall of the Five Hundred’) with a length of 170 feet and width of 75 feet. The frescoed walls and ceilings are more ornate than is imaginable.

On the second floor are three apartments containing eighteen rooms. I cannot confirm that we walked through every one of those rooms, but it felt like it. They were all leading up to the grand finale in the seventeenth room, the Sala dei Gigli.

The room that has prominently displayed the statue “Judith and Holofernes” by Donatello – remarkable for being one of the first Renaissance sculptures in the round with four distinct sides – since 1988.

The room with the statue that is currently covered by a tarp while it is being restored.

Another COLOSSAL FAILURE.

Even the tour guide gasped. She had just seen Judith in all her glory the previous week.

I give up. So we proceeded to the Galleria dell’Accademia to stare at Michelangelo’s David for awhile. How can one feel discouraged in the presence of this masterpiece?

Footnote: the original plan for this trip was outlined in Judith goes exploring (xiii) March 3, 2012.

September 14: central Italy, Tuscany. Destination: Siena.

This is an easy post to write. Because there is nothing to tell. Because it was a COLOSSAL FAILURE for the Judith Quest.

Which is what happens when you make a small change in your itinerary without checking the minute details.

First (not so) minute detail: Palazzo Chigi-Saracini, seat of the prestigious Accademia Musicale Chigiana, is no longer open to the public. Consequently, there was no opportunity to get a better look at the fresco “Judith and Holofernes” by Arcangelo Salimbeni.

Second minute detail: the Pinacoteca Nazionale di Siena indicates it is open daily from 9am to 7pm on weekdays – but the day we visited Siena, it opened at 2:30pm – and we were leaving at 2pm. Thus, “Judith” by Giovanni Antonio Bazzi (il Sodoma) remains on my list of unseen paintings.

What to do in Siena? Go to church and drink wine.

Okay – so the day itself was not a Colossal Failure.

Without a doubt and with some surprise, the Duomo di Siena is the most beautiful Cathedral we visited in Italy. Even Scott (“only a minute”) said so. I will let a few photos prove my point.

With no surprise, we next enjoyed a delightful wine-tasting at Podere La Marronaia – a gorgeous and congenial winery in nearby San Gimignano. There is nothing more delightful than sitting with friends in the Tuscan sun, tasting wine accompanied by local meats and cheese while petting the resident cani.

And yes, there was a visit to lovely San Gimignano. And The World’s Best GELATO!!!

Even after a Colossal Failure in the Judith Quest, life is good.

Footnote: the original plan for this trip was outlined in Judith goes exploring (xiii) March 3, 2012. It did not include gelato.

September 13: central Italy, Tuscany. Destination: Florence.

The pinnacle. The center of the journey. The destination I have dreamed of the longest. Florence.

Before immersing myself in the largest collection of Italian Renaissance art, I began the Judith Quest in a small museum: Museo Stefano Bardini. The most famous object in this museum is Pietro Tacca’s Il Porcellino – a symbol of the city.

There are two Judiths in the collection of Museo Stefan Bardini. The first is a glazed terracotta statuette of a triumphant Judith by Giovanni Della Robbia. Della Robbia must have produced numerous copies of this statuette because they have found their way across museums in Europe and the US – most with forearms, hands and even fauchions.

The second is a soft and subtle Judith by Cecco Bravo – which is not on display. Not. On. Display. Somehow I am not surprised, but this is an Unexpected Disappointment.

There is too much more to see, so I don’t have time to pout too long.

Because the next stop is one of most visited art museums in the western world. The epicenter of the largest collection of Italian Renaissance art in the entire world. The Uffizi.

I entered the museum with the hope of viewing five Judiths – along with other iconic works of Renaissance art. We were accompanied by the knowledgable and patient Chiara Certini, who made sense of the vast collection while adding details of interest. The first Judith we encountered was a pair by Botticelli – “The Discovery of the Murder of Holofernes” and “The Return of Judith to Bethulia.”

Encountering the second Botticelli is somewhat ironic because a similar “The Return of Judith to Bethulia” resides in my hometown museum of art.

I also have a history with the second Judith by Palma il Vecchio. In this case, I had unexpectedly encountered the painting when it was part of a visiting exhibit in Bergamo in 2016. However, I was not allowed to take a photograph in that instance. On this day, I was able to capture the intense yet soft coloring used to depict Judith’s gown and the light of her skin.

And then … we arrive at one of the most celebrated and graphic depictions of the beheading of Holofernes.

If you are keeping count, you may realize we are coming to artwork #5. Unfortunately the pen-and-ink sketch “Judith with the head of Holofernes“ by Andrea Mantegna was not found in the Department of Prints and Drawings. A slight disappointment.

BUT in the same room is a bonus! A delightful surprise! I had information indicating this Judith by Peter Paul Rubens was in the collection of the Uffuzi; however, I could not confirm its location on the museum’s website – usually suggesting it is in storage. And yet – here it is. And a much better viewing than the illusive pen-and-ink sketch.

We lost track of time in the gallery but refreshed ourselves before relocating to the Palazzo Pitti (Pitti Palace), the largest museum complex in Florence. The Palace houses seven collections, and we are focused on the Galleria Palatina (Palatine Gallery) in search of two Judiths. In the Jupiter Room, it is hard to miss Cristofano Allori‘s bold “Judith with the head of Holofernes.”

Moving into the Room of Iliad, I was relieved to find a painting I could not confirm was in the Pitti Palace. YAY!!! Artemisia Gentileschi’s “Judith and Her Maidservant” is actually here!!

What an amazing day!! And I have pictures to remind me I was actually in the presence of greatness.

Also thanks to my travel companions who cheer me on as we searched for Judiths. They add immeasurable to the joy of travel. “We live for each other!”

Footnote: the original plan for this trip was outlined in Judith goes exploring (xiii) March 3, 2012.

September 9: central Italy, Tuscany. Destination: Pisa.

A few days in Cinque Terre helped my travel companion to recover from the Judith Quest in Venice and Bologna. We picked up the pace again on our way to Florence by way of Pisa.

(That is, we picked up the pace after spending an extra day an Monterosso al Mare due to a train strike. It could be worse. It could be raining.)

Yes everyone thinks of the Leaning Tower when they think of Pisa, but there is more to the Piazza dei Miracoli (the Square of Miracles). The Tower is one of four buildings that comprise the sacred campus: Baptistery, Leaning Tower, Cathedral and Camposanto Monumentale. My ultimate destination in search of Judith was the Cathedral and the Camposanto.

Compared to the relative smallness of the Tower, the Cathedral (or Duomo) is immense. The exterior is about 330 feet long and 116 feet wide with a height of 177 feet. The interior is soaring, with a long line of granite colonnades topped by Corinthian capitals. The women’s gallery with little loggias is located above the nave, drawing the eyes to the coffered ceiling of sunken panels.

I know that somewhere in this huge space is a Judith by Ottavio Vannini and I know what she looks like – but that is all. It only took me three trips around the entire interior (almost giving up) before I found her. In the north side of the apse, in the the third row of images, to the left of the stained glass window.  Since the altar is not open to the public, I had to slide around the south side and climb onto a plywood platform (for the choir?) in order to lean around a pillar – hoping that no one decided my position was prohibited before I could take a photograph. Even then, the photo was taken from at least 50 feet away at an angle so that it is not a flattering image. But I am still excited to have found Judith in her place of honor in the Cathedral.

But there is more! The Camposanto (“holy field”) was originally designed in 1277 as a place to house Roman sarcophagi that were scattered randomly around the Duomo. Overshadowed by the Leaning Tower, it is a huge rectangular cloister of of 43 archways – 425 feet long and 145 feet wide with 8,530 feet of walls that were once covered in frescos. The frescos were badly damaged by time and a fire from Allied bombing, and restoration of The Triumph of Death by Buonomico Buffalmacco has been successful.

Less attention has been given to the fresco on the East wall. Frankly, having spent hours trying to confirm the artist(s), I am still not sure. I am also still not sure there is a Judith in the crowd. I am not even sure WHY I think there is a Judith in the crowd.

I will continue on the trail of the artist, so watch this space.

Footnote: the original plan for this trip was outlined in Judith goes exploring (xiii) March 3, 2012.