The Synagogue

“Throughout the centuries the development of Jewish art was always closely linked to the events and wanderings of its people on the one hand, and to tradition and the religion itself on the other. These two factors have always influenced artistic expression … even though the synagogue was the only architectural manifestation for the Jewish people was
the synagogue” (U. Fortis, Jews and Synagogues). Synagogues are totally different from the houses of worship used by other religions around the world. The synagogue is not only a place for prayer, it is also a community centre and plays an important role in keeping the community united, especially for the Jews of the Diaspora, those who do not live in Israel.

The synagogues of the Ghetto were truly the focal point of the community’s life. They were not readily identifiable from the outside; they were small and often located on upper stories as opposed to street level. However, as if to compensate for their exterior anonymity, the interiors were lavishly decorated thanks to the generosity of the wealthier families who, in this way, linked their names to the building. Since Jewish law (the Torah) prohibits the use of human or animal images, the decorations comprised geometric and plant motifs along with Hebrew quotations from the Bible. Specific organizations within the communities worked to assist the members. In Florence, the most important association was ‘Mattir Assurim’ that worked to obtain the release of Jews in the grand duchy’s debtors’ prisons. Although each synagogue is independent and architecturally distinct from all others there are a few features that are common to all:

• Aron Hakodesh (Ehal or the Sacred Arc) located on the east side of the synagogue and contains the sacred scrolls of the Torah (the Pentateuch)
• Bimah (Tevah) – a raised platform on which the Rabbi and the Cantor stand and from which they read, recite and sing the public prayer.
• separate areas for men and women.

After the emancipation of the Jews and the abolition of the ghetto, the synagogues no longer played a role as community centres and places for study. They became solely places of worship and were called temples. The newfound freedom also made it possible to erect dedicated buildings. Though partially inspired by Christian churches, the architecture of the new temples had its own distinct features that reflected the development of the new Jewish identity.

The Synagogue of Florence

The synagogue of Florence was inaugurated in 1882, no longer after the emancipation of the Italian Jews which was proclaimed in 1861 when the Kingdom of Italy was established. The Florence synagogue is one of Europe’s finest examples of a blend of the exotic Moorish style with Arabic and Byzantine elements that characterize the white travertine and pink limestone façade, the copper-cladding on the central and lateral domes (originally they were gilded), and the massive walnut doors. The style is also reflected in the interior decorations and furnishings. The community had been debating about a new synagogue since 1847, but the lack of funds made it impossible to take any concrete steps. Then, in 1868, Cavalier David Levi bequeathed the money for the construction of a “Monumental Temple worthy of Florence”. Two years later, in 1870, three architects, Mariano Falcini, Marco Treves and Vincenco Micheli, were appointed to design the temple. The location was finally selected after lengthy discussions between the factions that wanted it in the city centre
and the group that preferred a site outside. The latter prevailed, and the choice fell on the “Mattonaia” district which, though still within the city walls, was not completely developed, indeed there were still many parks and gardens. The new Temple was opened on 24 October 1882. Two seemingly opposite, but actually related approaches influenced the design. On the one hand there was the influence of Christian churches and the Old Spanish synagogues, and on the other was desire to express Jewish identity through a distinctive architectural style. The final result, the “child” of nineteenth
century Eclecticism, was something new that combined Moorish, Byzantine and Romanesque elements.

The exterior, divided into three parts in both length and width is clad in white and pink stone. The three main doors are surmounted by Moresque arches. The prayer hall, or sanctuary, is square with two lateral naves and an apse at the back, where the Aron Hakodesh, decorated with Venetian style mosaics, is located. The walls are decorated with Moorish arabesques highlighted with gold, and geometric patterns, by the painter Giovanni Panti. The central dome (47 metres on the outside and 34 on the inside), is situated directly above the intersection of the two wings. The dome is divided into
sections; wooden grilles protect the windows and the central opening that lets light into the room. The pews, , the podium, the pulpit and the bronze lamps were all designed together and were made by leading Florentine craftsmen.
On the whole, the synagogue is considered one of the most beautiful buildings erected in nineteenth century Italy. The decorations and the architecture itself were inspired by Italian and foreign models, so that the Florence synagogue, in addition to being an extraordinary living testimony to the history of the Jews of Florence, is also a perfect example of European innovations in art and architecture of the period.

Some practical information

Location: Both the synagogue and the Jewish museum are located on Via Farini 6, 50121, Florence.
How to get there:
On foot: 1 minute from Piazza d’Azeglio. 5 minutes from Piazza Beccaria. 15 minutes from the central train station (Stazione FS SMN).
By bus: Bus lines: 6, 14, 23, 31; Bus stop: Colonna 01

Opening Hours:
April – September:
Sundays to Thursdays from 10:00 a.m. to 6:00 p.m.
October- March:
Sundays to Thursdays from 10:00 a.m. to 3:00 p.m.
Fridays from 10:00 a.m. to 2:00 p.m.
Closed on Saturdays and Jewish holidays
Last entry: 30 minutes before closing time
You can make arrangements to see the synagogue and museum at other times
Tickets: € 5.00 adults; € 4.00 Groups (minimum 15 visitors); € 3.00 Students and
Student Groups.
(proceeds from ticket sales are used for the upkeep of the cemetery)
For security reasons, cameras, mobile phones and video cameras not allowed inside
the synagogue. There are secure lockers in the vestibule.
Tours
Guided tours in Italian or English are included in the admission fee
Special tours for children, accompanied by adults, the last Sunday of the month.
(Reservations required)
Special tours for schools and teacher seminars can be arranged by appointment
Access
The synagogue and the first floor of the Jewish Museum are accessible to all visitors.
For more information please contact 055 2346654
Facilities

• Secure lockers for personal items
• Elevator to the first and second floor of the museum
• Giftshop
• Restrooms

Contact and Information
Sigma CSC
Tel. + 39 055 2346654
fax + 39 055 244145
itinerariebraici@cscsigma.it

From June 1st 2012 to book click here: prenotazioni.mef@pierrecicodess.it

The Jewish Museum

The idea of establishing a Jewish museum was the initiative of Rabbi Fernando Belgrado and it became possible in 1981 thanks to the donation of Marta del Mar Bigiavi. In the beginning the museum occupied the first floor at the back of the women’s gallery (Ezrat Nashim). The exhibits showed the history of the Jewish population in Florence and in addition included some examples of artefacts used for domestic worship as well as artefacts used for worship in the synagogue. The museum was designed by Architect Alberto Boraelvi, while the curator and researcher was Prof. Dora Liscia. The second part of the museum was inaugurated in 2007 and is located on the second floor. The architects were Renzo Funaro and Michele Tarroni and the curators were Prof. Dora Liscia and Laura Zaccagnini (who was responsible for the textile section). The museum’s collection was then divided into two sections: the first floor displays the ceremonial furniture used in the synagogue and on the second floor objects used for domestic worship are displayed. One room, assembled by Renzo Funaro and Liana Funaro was dedicated to the Shoah.
Several considerations were taken into account when choosing the location for the museum. Situating it within the Temple was the preferred choice due to its historical artistic importance and its monumentality. Another consideration was that since the Temple was already a place that tourists visit, they are naturally exposed to the content of the museum. The idea of using the cellars as exhibition space was quickly eliminated as it posed risk of a flooding (during the flood of 1966 the water level reached 2 meters. The ideal space, therefore, seemed to be the women’s gallery.
The museum is not very big but it is very captivating and allows also an extraordinary view of the main prayer hall as well as over the rooftops of Florence.

The Collection

The collection of the Jewish Museum of Florence occupies two stories and is located inside the Synagogue of Florence.
The first part of the exhibition documents the history of the Jews of Florence throughout the centuries and depicts the relationship between them and their city. Textile and silver artefacts from the XVI to the XIX centuries, which were used for ceremonies in the synagogue, are displayed.
On the second floor, with one room that holds a superb view over the prayer hall, artefacts for worship in the home are displayed. These objects help to demonstrate what the daily life of the Jews was like. They illustrate moments of festivity and special events throughout one’s life such as birth, marriage and Bar Mitzvah ceremonies. Many of these objects were donated by Jewish families who in this way wanted to show their devotion and dedication to the community. Among them was Cavalier David Levi who donated his property in order to build the synagogue and Rabbi Shmuel Zvi Margulies, Polish in origin, who founded and taught at the Italian Rabbinical College based in Florence.
A film is presented in the museum showing community life during the past two centuries. There is also a memorial room in which photographs and documents tell the story of Florentine Jews after the Emancipation, followed by the persecutions and then the period of the racial laws and later the deportation of Jews to the extermination camps, up until the rebirth and reconstruction after the Second World War.
There is also a computer room connected to all major Jewish museums throughout the world, thus linking the Florentine reality with that of the rest of the world.
The first part of the exhibition depicts the history of the Jewish community from the first settlement in Florence in 1437 and until the construction of the Ghetto in 1571. It then continues to the expansion of the Ghetto between 1704 and 1721 until its demolition in the last decade of the 19th Century. The exhibition contains layouts of the Ghetto as well as photographs of the destroyed Ghetto and of the old synagogues. The last part of the exhibition shows images of the construction of the Synagogue of Florence. Other Jewish places are also mentioned.
A large part of the collection is dedicated to the decorations of the Sefer Torah (the parchment scrolls, on which the Torah is written in Hebrew characters, rolled onto two wooden poles).
The second part of the collection, located on the second floor, comprises several objects that briefly tell the story of the origins of the Jewish community in Florence. While Cavalier David Levi is a symbol of Italian excellence (demonstrated by l’italianita’, a beautiful portrait of him painted by Antonio Ciseri in 1854), the core of the Florentine Jews was Sephardic, Jews originally from Spain and later North Africa and the Middle East.
The artefacts in the second floor are those used for domestic worship. These are objects that play a major role in illustrating the most important moments of the daily Jewish life and of religious festivities. The items are organized by their type or by their religious function. The family is of great importance in the Jewish religion. Therefore various artefacts related to family rituals can be seen in the collection. The majority of the Mitzvot (precepts) that each Jew is obliged to maintain are put into practice in day-to-day life. This too is depicted in the items in the collection.
A lot of the objects in the collection tell the story of one important Florentine family – the Ambron-Errera family.