旅行
账户
Brun066
Small, delightful, revealing museum.
霍恩博物馆的点评
点评：This museum can usefully be considered as belonging to a triad of important privately founded museums in Florence: the Bardini, the Stibbert and indeed the Horne.
The two museums owed to British patrons, the Stibbert and the Horne, are however very different in terms of the material collected: exclusively Italian art (indeed almost entirely Tuscan) at the Horne; art without geographical limits at the Stibbert (where among other things there is the richest collection of samurai armors in the world outside Japan).
The affinities between the Horne Museum and the Bardini Museum seem greater, in the sense that both museums were created by collectors of mainly Italian art. But the analogy ends here. Horne wasn't an art dealer like Bardini; he was simply an authoritative art critic and in love with Tuscan art. The rooms of his museum are a concentration of minor and major treasures, concentrated in an overall small space.
We had the pleasure of being assisted in our visit by a delightful and cultured caretaker (Caterina if I correctly remember), with a degree in art history, who pointed out to us, among the abundance of works of art, those considered to be of greatest artistic and historical value. This allowed us to isolate the items to which we should pay more attention, and therefore make the memory of what we saw more effective.
We thus learned - for example - that Mr. Horne, in an era in which these authors were not much appreciated in Italy, identified some painters from the pre-Romanesque era as valuable, including them in his collections; and also that, although Palazzo Horne (formerly Palazzo Corsi) seems to be a building that has come down to us intact from the 15th century, in reality it had been robbed of essential elements (for example the fireplaces), which Horne had to replace with pieces from the same period, but not originally from the mansion. We therefore evaluated how much even the works that seem most authentic have suffered, up until decades very close to us, very serious damage from unscrupulous antique dealers.
The museum doesn't have illustrative captions: these are contained in a paper catalogue, which can be borrowed for free at the entrance, or purchased for 1 euro. Furthermore, there is a detailed description of the museum, available on the web, in Italian and English, lasting 240 pages.
The two museums owed to British patrons, the Stibbert and the Horne, are however very different in terms of the material collected: exclusively Italian art (indeed almost entirely Tuscan) at the Horne; art without geographical limits at the Stibbert (where among other things there is the richest collection of samurai armors in the world outside Japan).
The affinities between the Horne Museum and the Bardini Museum seem greater, in the sense that both museums were created by collectors of mainly Italian art. But the analogy ends here. Horne wasn't an art dealer like Bardini; he was simply an authoritative art critic and in love with Tuscan art. The rooms of his museum are a concentration of minor and major treasures, concentrated in an overall small space.
We had the pleasure of being assisted in our visit by a delightful and cultured caretaker (Caterina if I correctly remember), with a degree in art history, who pointed out to us, among the abundance of works of art, those considered to be of greatest artistic and historical value. This allowed us to isolate the items to which we should pay more attention, and therefore make the memory of what we saw more effective.
We thus learned - for example - that Mr. Horne, in an era in which these authors were not much appreciated in Italy, identified some painters from the pre-Romanesque era as valuable, including them in his collections; and also that, although Palazzo Horne (formerly Palazzo Corsi) seems to be a building that has come down to us intact from the 15th century, in reality it had been robbed of essential elements (for example the fireplaces), which Horne had to replace with pieces from the same period, but not originally from the mansion. We therefore evaluated how much even the works that seem most authentic have suffered, up until decades very close to us, very serious damage from unscrupulous antique dealers.
The museum doesn't have illustrative captions: these are contained in a paper catalogue, which can be borrowed for free at the entrance, or purchased for 1 euro. Furthermore, there is a detailed description of the museum, available on the web, in Italian and English, lasting 240 pages.
翻译：该博物馆可以被视为佛罗伦萨重要的私人博物馆三巨头的一部分：巴迪尼博物馆、斯蒂伯特博物馆和霍恩博物馆。
然而，斯蒂伯特博物馆和霍恩博物馆这两个属于英国赞助人的博物馆在收藏的材料方面却截然不同：霍恩博物馆专门收藏意大利艺术品（实际上几乎全部是托斯卡纳艺术品）；斯蒂伯特博物馆的艺术不受地域限制（这里拥有日本以外世界上最丰富的武士盔甲收藏）。
霍恩博物馆和巴迪尼博物馆之间的密切关系似乎更大，因为这两个博物馆都是由主要是意大利艺术品的收藏家创建的。但类比到此结束。霍恩不像巴迪尼那样是一位艺术品经销商；他是一位艺术商人。他只是一位权威的艺术评论家，热爱托斯卡纳艺术。他的博物馆的各个房间都集中在一个很小的空间里，集中了一些次要和主要的宝藏。
我们很高兴在访问期间得到一位令人愉快且有教养的管理员（卡特琳娜，如果我没记错的话）的协助，她拥有艺术史学位，她向我们指出，在大量的艺术品中，那些被认为是最大的艺术和历史价值。这使我们能够隔离出我们应该更加注意的项目，从而使我们所看到的记忆更加有效。
例如，我们因此了解到，霍恩先生在这些作家在意大利并没有受到太多赞赏的时代，认为前罗马时代的一些画家是有价值的，并将他们纳入他的收藏中；而且，虽然霍恩宫（前科西宫）似乎是一座从 15 世纪起就完好无损地流传到我们手中的建筑，但实际上它的基本元素（例如壁炉）已被剥夺，霍恩必须将其替换掉与同一时期的作品，但不是原来的豪宅。因此，我们评估了即使是看似最真实的作品，在距离我们很近的几十年里，也遭受了无良古董商的严重损害。
博物馆没有说明文字：这些内容包含在纸质目录中，可以在入口处免费借用，也可以花 1 欧元购买。此外，网上还有关于博物馆的详细描述，有意大利语和英语版本，长达 240 页。
然而，斯蒂伯特博物馆和霍恩博物馆这两个属于英国赞助人的博物馆在收藏的材料方面却截然不同：霍恩博物馆专门收藏意大利艺术品（实际上几乎全部是托斯卡纳艺术品）；斯蒂伯特博物馆的艺术不受地域限制（这里拥有日本以外世界上最丰富的武士盔甲收藏）。
霍恩博物馆和巴迪尼博物馆之间的密切关系似乎更大，因为这两个博物馆都是由主要是意大利艺术品的收藏家创建的。但类比到此结束。霍恩不像巴迪尼那样是一位艺术品经销商；他是一位艺术商人。他只是一位权威的艺术评论家，热爱托斯卡纳艺术。他的博物馆的各个房间都集中在一个很小的空间里，集中了一些次要和主要的宝藏。
我们很高兴在访问期间得到一位令人愉快且有教养的管理员（卡特琳娜，如果我没记错的话）的协助，她拥有艺术史学位，她向我们指出，在大量的艺术品中，那些被认为是最大的艺术和历史价值。这使我们能够隔离出我们应该更加注意的项目，从而使我们所看到的记忆更加有效。
例如，我们因此了解到，霍恩先生在这些作家在意大利并没有受到太多赞赏的时代，认为前罗马时代的一些画家是有价值的，并将他们纳入他的收藏中；而且，虽然霍恩宫（前科西宫）似乎是一座从 15 世纪起就完好无损地流传到我们手中的建筑，但实际上它的基本元素（例如壁炉）已被剥夺，霍恩必须将其替换掉与同一时期的作品，但不是原来的豪宅。因此，我们评估了即使是看似最真实的作品，在距离我们很近的几十年里，也遭受了无良古董商的严重损害。
博物馆没有说明文字：这些内容包含在纸质目录中，可以在入口处免费借用，也可以花 1 欧元购买。此外，网上还有关于博物馆的详细描述，有意大利语和英语版本，长达 240 页。
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