La Specola - Florences Wax Wonderland

When I first found out about the Specola Museum in Florence it was a great revelation, and felt like a missing puzzle piece had finally been found. Some years ago I purchased the Taschen book ‘Encyclopedia Anatomica’, a beautiful publication filled with amazing images of anatomical, medical waxworks. I bought the book after visiting the Montpellier Museum of Anatomy in 2018 and struggling hugely with the fact that photography was forbidden within the great hall. These images were eventually to be my memento to a place I had waited years to visit and would probably never see again.

 
Fast forward a number of years and I’m informed about the Specola and it’s incredible collection of anatomical waxworks, Immediately I thought of Montpellier and my book. I rushed to look at it for reference, and to my utter surprise the vast majority of the images within its pages were actually taken at the Specola! I had never realised this amazing fact, but as soon as I did I knew I must visit the Specola.

 
Sadly it turned out the Specola was closed and had been for a number of years, and nobody seemed to know if it would ever reopen at all. Patience was all I had. Fortunately in spring 2024, the moment I thought would never come did! And the Specola Museum reopened to the public after much refurbishment, and of course Covid. 

I took the opportunity during my very next trip to Florence to visit the Specola, in particular their anatomical waxworks. 

 
Accessible by private tour only, the rooms of the collection are not open as part of general access to the museum, so if you’re hoping to visit then plan ahead. Booking isn’t possible and only a limited number of tours and spaces are up for grabs each day so don’t leave it to chance! I went to the museum at opening time to book on a tour later that day, and during our tour people were being turned away who hadn't taken the same precaution, so its definitely a good piece of advice.

Arriving early to take in some of the other sights of the museum before the last tour of the day, there is an incredible wealth of delights on display. A huge collection of minerals and gems from all over the world, an amazing taxidermy collection with some truly fascinating specimens on display and an incredibly unique display of wax dioramas, ranging from the cellular structures of plants to moral scenes of death, decay and sin. But each of these captivating sections of the Specola deserve their very own blog. But this blog is devoted to that macabre wonder of the anatomical waxworks ...

La Specola is the oldest scientific museum in the world. And when it comes to the wax works this museum is so rightly famed for, science is the name of the game. The anatomical diorama on display were commissioned as aids for teaching medicine in the 18th and 19th century. The detail in these models is absolutely unparalleled, with every vein, muscle and tendon crafted with loving accuracy. The grizzly reality of achieving this is that hundreds of bodies had to be dissected and observed to create just one model. And some models were even built up around bones to ensure accuracy.

The techniques used to create these intricate wax models are all but lost today. A skill so specific, but also groundbreaking, that it was seemingly developed and extinguished in the blink of an eye. This unfortunately means that conservation on the models is difficult, if nigh on impossible.  

The goal of the groundbreaking Florentine school of wax was to end the necessity for cadaver use and dissection when teaching anatomy to medical students. To essentially replace corpses with these wax teaching aids, as many of them as could be created. The visionary whose brainchild this was, Felice Fontana, had the patronage and support of the Grand Duke in his mission. Before long the specimens created could be found across Europe, and indeed the vast collection at the Montpellier Conservatory of Anatomy were actually created at the Specola (my Italian is by no means good, but good enough to understand when the guide told us this and I thought 'Of course they were!')

Today we are left a legacy of carefully crafted creations which could never fail to provoke response in those fortunate enough to visit. At times harrowing, shocking, distressing, but also thought provoking. Morality (and the future of ones soul) and Memento Mori were great themes and obsession of the 18th century across Europe. And whether intentional or not, these wax models are imbued with that in every fibre of their creation. To stare at tangles of tissue, bundles of nerves and networks of veins strewn across bone and muscle, the contemplation of ones own physical presence and fragile physiology cant help but surface in the mind. 

La Specola is a fascinating place where you'd be forgiven for thinking time had stood still. The entire aesthetic is a snapshot of the time which caused the creation of these models. When precision, craftsmanship and excellence were valued above all. Hauntingly beautiful models are housed in fine traditional wooden and glass cabinets, where the ageing glass hints at the years these displays have seen. And occasional white curled wigs starkly remind us the dead faces we observe through the mists of time were Georgian folk, condemned to the immortal legacy of being a waxwork. While a noble intent, but all the same a less than noble end for the soul we see before us.
The detailed drawings filling the walls made me wish I could afford the luxury of time in this incredible place. As an artist the possibilities are endless, as Felice Fontana truly intended.

To find out more info and plan your visit to La Specola click here!

The Old Operating Theatre Museum

For quite some time I have wanted to visit the Old Operating Theatre Museum since a good friend of mine paid it a visit and couldn't recommend it highly enough. Finally a trip to London for some gigs meant I had the opportunity to pay this unique place a visit at last. I wasn't entirely sure what to expect from the Old Operating Theatre, but I certainly experienced far more than my greatest expectations!

Immediately upon arrival at the museum it feels quite hidden away and secretive. Surrounded by landmarks such as The Shard and London Bridge the hustle and bustle of everyday life in the capital seems to pass this slice of history by. Its unusual entrance is secreted through a small door and up a steep spiral staircase winding on and on. At the top you find yourself in the gift shop and entrance, full of all sorts of interesting books and knickknacks to do with anatomy, medical history and a firm favorite; the human skull.

After excitedly paying my entrance fee, I was let loose into the museum. An array of glass jars and bottles, taxidermy and medical equipment awaited me. Only a few people walked around the museum besides myself, however it felt quite busy as it is rather small and consisting of only a handful of rooms. Being quite a fan of my own space in museums (and in general really) I viewed the exhibits in order of least busy. Hopping from place to place to according to where was devoid of anyone else, which gave the visit quite an exciting, energetic feel strangely.

There were countless fantastic photo opportunities throughout the museum, interesting artefacts and instruments behind glass, dioramas, all sorts of jars and bottles arranged interestingly (the ones in the window catching the light were very charming in particular), the old operating theatre itself of course and the Herb Garret with its scales, baskets and a whole manner of different sights and smells.

The sensation of visiting the operating theatre was a curious one indeed. To stand lofty in this (very literally) theatre like space and imagine the kind of things that would have gone on to some poor soul on the table below. Without the mercy of modern medicine and the benefit of the scientific know how we enjoy today. A very unique, strange feeling indeed. What these walls must have seen during their history, operations without the aid of anesthetic and many other modern tools and treatments we take for granted. The horrors and the marvels people have endured while onlookers gawp down in delight. How bizarre.

As I drifted around the main room; The Herb Garret, something absolutely captivated me which I can't properly express in any blog or photograph; the scent. It was utterly enchanting. Baskets and sacks filled with all sorts of herbs and ingredients with important medical ties were dotted around the room. Myrrh, rose petals, lavender, pomegranate, frankincense and countless others, all arranged in amongst pestle and mortar, scales, boiling flasks, plague doctors masks, jars, recipes and all sorts of intriguing elements required to recreate what the Herb Garret may have once looked, and smelled like.

This in particular was my favourite, and honestly the most unexpected part of my visit. Its not very often you come away from a museum raving about how utterly glorious it smelt, and its not the sense you expect to really be heavily engaged in any museum. The Old Operating Theatre Museum is the first museum I can honestly say has engaged almost all of my sense during a visit, as for taste, there wasn't much in those old jars of arsenic and the like I much fancied sampling funnily enough!

If you get the chance to visit The Old Operating Theatre Museum I can't urge you enough to do so. This unique, historically important and fascinating place is a truly fantastic experience. By visiting you are supporting this wonderful charity and keeping alive this slice of our medical history, ensuring the oldest operating theatre in Europe is safeguarded for future generations.

To plan your visit or for more information, visit: http://oldoperatingtheatre.com/

Musée Cinéma et Miniature - Lyon

When looking for things to do in Lyon on our whistlestop tour of France I didn't have to look far for the number one, unmissable attraction; The Musée Cinéma et Miniature.

The Museum houses an incredibly impressive collection of props, prosthetics, models and minatures from a huge array of films including; Star Wars, Batman, Terminator, Flash Gordon, Back to the Future, Indiana Jones, Harry Potter, Beetlejuice, Planet of the Apes, Pirates of the Caribbean, V for Vendetta, Robocop, Nightmare on Elm Street, Chucky, Gremlins, Fifth Element, Mars Attacks, various Marvel and DC films and of course, the main reason we were there; the Alien franchise.

Last thing I had heard the Alien Queen from Aliens was somewhere in America, and I know a lot of props Alien vanished after filming. Bulldozed (like the sets), taken home by crew, but not where they rightfully belong, in a museum for fans to enjoy. So as you might imagine finding out several pieces of Alien history were right here in Lyon waiting for me was a dream come true and a must see stop off. The greatest surprise was the Alien Queen who was in a darkened room with working animatronics and sound effects. The Queen needs restoring back to her former glory, but when she is she will have hundreds of movements to terrorize visitors, something I'm more than happy for my ticket money to help towards!

Having never been to a museum like this before I was very impressed with the content, atmosphere and lay out. Everyone seemed genuinely interested in the pieces of cinema history around them and the sense of nostalgia for many there seemed great (perhaps less so for children visiting as many of the films featured would be well before their time). There was excitement around every corner as you spotted another well loved character, reminisced on some of your favourite films or marveled at the technical work and time invested in the smallest of things.

One of the most impressive features within the museum were the fully reconstructed sets for the movie 'Perfume: the story of a murderer'. The complexity and intricate details were just incredible, and seeing these complete scenes laid out before you was just wonderful. I have seen the film a number of times and while quite harrowing and often hard to stomach, the film is none the less brilliant.

Everything about the museum screamed perfection, precision and detail. I imagine the founder or team who put together this incredible collection to be so dedicated and utter film fanatics! The museum is a must visit for any film fan in Lyon or nearby. I only hope that with continuing support this amazing museum continues to grow and amass an even larger collection of silver screen memorabilia for future generations to treasure. 

For more information and to plan a visit to the Museum visit: https://www.museeminiatureetcinema.fr/en/

Hommage an HR Giger - Fabrik der Künste - Hamburg

Early in 2016 I heard that there was going to be a HR Giger exhibition held in Hamburg at the Fabrik der Künste (which hosted a previous Giger exhibition in 2012). I began doing some research and looking for details, but the exhibition hadn't even been officially announced yet, so I held fire, not wanting to get excited over the first exhibition since Gigers death if it wasn't actually taking place. After a couple of days, the official news appeared, and I permitted myself to get excited and hopeful of attending. Due a weekend away, me and my partner decided it was the perfect excuse for another Giger Pilgrimage and booked flights to Hamburg.

Having been to Germany a number of times, but never to Hamburg, I had no idea what to expect from the city itself. Apart from, I suspected; cold. Having been to Berlin in winter before and having to wear 2 coats and still being chilled to the bone, I packed accordingly for a North Eastern German winter. As we made our descent towards Hamburg, one glimpse of the snow covered fields and I knew Id made the right decision.

As usual I had planned the trip with military precision, with maps, museums and opening times in abundance. Unfortunately a few of those got left behind in England, so there was some confusion over the opening times of the Exhibition. After arriving 3 hours early, and cursing myself profusely,  we returned after a few beers and a late breakfast and all was resolved.

The Fabrik der Künste was quiet and peaceful, with only a few other people visiting the Exhibition during our time there, giving me the chance to study and absorb all of the pieces on display in silent reflection. I'd made it to the second floor before discovering that photography was permitted within the Exhibition (I'm so used to visiting museums where photography's not allowed I hadn't even asked). So I seized the chance to capture the pieces on display and preserve my memory if the exhibition.

The exhibition had a good variety of Giger's work on display, from early sketches and paintings, to pieces increasing in size and complexity, pieces from key series such as Passagen and New York City, as well as sculptures, furniture and prints. The exhibition is a must see for any Giger fanatic, but is also accessible to those with limited knowledge of his work, with timelines outlining his career and screenings of 'Dark Star' providing visitors with a glimpse into Giger's world.

There were many pieces on display from private collections which I've never seen before in the flesh, and may never do so again. Studying their detail and layering was an incredible, moving experience. I already knew from my visit to Château St. Germain that no books or prints can prepare you for the reality of the layers, light and dark, shading and details within Giger's work. It was wonderful to once again have the opportunity to study my heroes work up close and appreciate its beauty and unique honesty.

As well as having the chance to see private pieces such as 'National Park' and 'The Magus', I also felt very fortunate to finally see some of Giger's large sculpture work, such as the San Gottardo Biomechanoids. I have long dreamed of seeing the Zodiac fountain at Giger's home in Zurich, but I'm doubtful I'll ever get the chance, so it was great to see some of the sculptures which are part of the fountain up close.

The pilgrimage was another incredibly rewarding trip to see the work of my hero and appreciate his genius. The exhibition was well curated, cohesive and so enjoyable we visited twice. I reveled in the chance to buy some books for my collection. I would have loved to have taken home the large 'Female Torso' in polished Aluminum, but alas my lottery numbers are as illusive as ever.

Giger, Forever.

 

HR Giger Museum: An Artistic Pilgrimage

For the past eight years I have been planning an artistic pilgrimage to the museum of my favourite artist, Hans Ruedi Giger. Giger has been an inspiration and hero to me virtually my entire life, and since the age of 16 I have been desperate to visit Château St. Germain in Gruyères, which houses some of Giger's most prolific pieces of artwork and sculpture.
After so many years of waiting, hoping and planning, the fact that the moment had arrived at last seemed utterly unbelievable.

We arrived in Gruyères early evening, after a long, tiresome drive from Southern France.
We were greeted by a tiny picturesque town, perched atop a rocky hill. Its cobbled streets and ancient buildings looked as though they were straight out of a movie set, and with little noise other than the gurgling of the public water troughs and the faint clinking of cow bells, the slower pace here was welcome after suffering the manic bustle of the Swiss Motorways.

On first exploration of the town we stumbled upon the Giger Museum and Bar almost immediately, as sculptures reared their heads suddenly through a large arch, we were there. I had made it. At last.
We enjoyed some much needed refreshment, in the form of a few beers in the Giger bar, as I marveled at the staggering reality and magnificence of the place, desperate to study every tiny detail, and attempting to absorb the fact that I was really in Gruyères.

The next morning after a breakfast consisting of mostly cheese and salami, it was up to the Museum to wait for the doors to open. With early pieces lining the staircase from reception to main museum, and another 'Baby Wall' similar to that on display in the bar, the museum eased you in gently, allowing excitement at what awaited to build. Once inside there was such a wealth of things to see it would have been easy to feel overwhelmed. Entire rooms dedicated to Giger's work on movies such as Alien and Species had everything from original sketches and conceptual ideas, to vast pieces of artwork, as well as film props, models, sculptures ... even a room to sit and watch the entire Alien film, surrounded by artwork.

The museum leads you through a labyrinth of rooms, mostly themed by subject matter or a particular series of paintings. The scale of some of the pieces is incomprehensible when viewing them in a book, in particular the 'Spell' series. These were in their own room and covered entire walls floor to ceiling they are so vast. 'The Spell IV' in particular was utterly breath-taking and left me speechless. I cant even begin to guess how long I stood staring at the piece and every minute detail. Giger's use of layers and depth is truly fascinating and unlike anything Ive ever seen before, something which can only truly be appreciated in the flesh.
As well as a wealth of Giger originals, the museum also houses Giger's personal art collection, which was an interesting insight into the art that Giger enjoyed and was inspired by. Many pieces are familiar from the books 'www HR Giger com', and the Taschen Icons book 'HR Giger', with some wonderful Ernst Fuchs pieces on display.

Artwork from every phase in Giger's life can be seen within the museum from early pen and ink works and oil paintings, to air brush works growing in complexity, sculptures, jewelry and furniture. For any Giger fan, or lover of surrealist art, the museum is a haven, where beauty and the beast are one and the same. The unabashed, unapologetic presentation of the grotesque, horrific, bizarre and erotic is refreshingly honest, I adored it. The museum was everything I ever dreamed it would be, and more. I certainly wont be waiting another eight years before I return to the incredible, beautiful museum of my hero, Hans Ruedi Giger.