Latest news with #Michelangelo
Vogue
9 hours ago
- Health
- Vogue
Palazzo Fiuggi Spa
Welcome to the second iteration of Vogue's global spa guide, an index of the 100 best spas in the world built from the expertise of our global editors and trusted contributors. There is a lot to choose from in the world of wellness, and no matter how far you're planning to travel—from a subway ride to a transatlantic flight—we want to make sure it's worth the journey. Whatever your path, let us be your guide. Why go here? The fabled hills of Fiuggi, Italy, can trace their wellness roots way back to the 14th century. Hydration seekers have flocked to the commune in search of acqua di Fiuggi—the town's famous mineral water that flows from its natural springs and mountains—ever since Michelangelo proclaimed it 'the water that breaks the stone.' (He credited it as curing his kidney stones.) Six hundred years later, Palazzo Fiuggi continues the region's wellness legacy, pairing it with ingenious innovation and classic Italian hospitality as the country's premier medical spa. What's the vibe? Set within a former palatial hotel, Palazzo Fiuggi is like a sanctuary straight out of a Fellini film, if Fellini swapped out cinematic spectacle for cryotherapy and Kobido facials. The 6,000-square-meter medispa is a high-tech haven for those serious about wellness: Blood screenings, hydrotherapy, and thermal mud baths all come as standard, with a personal program tailored to your wants and needs. Yes, science is king here, but still it's no sterile clinic; its €30 million renovation made sure to preserve and restore the original frescoed walls and marble staircases from the palazzo's 20th-century grandeur. Photo: Courtesy of Palazzo Fiuggi The history? Beloved by the likes of Pablo Picasso and Sophia Loren, the old palazzo was a firm favorite of European aristos, artists, and socialites in its heyday. Not only was it a place to see and be seen, but it also garnered heritage-site status due to its unlikely (and brief) use as headquarters of the Allied Forces during the Second World War. Now, since its reopening courtesy of Sardinian wellness aficionados Forte Village, the hotel has brought together world-leading medical minds—from endocrinologists to sleep specialists—to design programs rooted in both cutting-edge science and centuries-old wisdom. What should you try? If you're after a full mental and physical reboot, go for the new Hiking for Longevity retreat: three or six days of full outdoor immersion in the nearby Italian wilderness (with personalized routes assessed on preference and ability); a Mediterranean menu headed up by chef Heinz Beck, of three-Michelin-starred La Pergola fame; and tailored medical treatments along the way too. 'What makes the Fiuggi region truly exceptional is the purity of its natural environment,' say Stefano Maldifassi and Luca Temperini, the program leaders. 'The absence of industrial development means very low pollution levels, contributing to a remarkably clean and untouched landscape. Also, the area is rich in cultural heritage. Guests may encounter ancient monasteries hidden among the hills, some of the oldest in Italy!' Photo: Courtesy of Palazzo Fiuggi How environmentally friendly is it? Sustainability is all part of the experience at Palazzo Fiuggi. All products in the kitchens, bathrooms, spas, and suites are organic or eco-certified, and a new recycling system means that all food waste is composted and actively improving the soil, not to mention the restaurant uses locally sourced and organic ingredients. What else do we need to know? This isn't your typical spa getaway; it's a full-body reboot. From gene sequencing to stress management, the programs here are designed to deliver measurable improvements to longevity, vitality, and mental clarity. After all, the palazzo's motto is 'for a better life, better lived.' You'll leave with a stack of personalized data, a new yoga routine, and probably a new appreciation for a scientific approach to gastronomy. But there's also room for indulgence: The Art Deco interiors, painted lounges, and rolling countryside views make sure of that. And don't forget, day trips to Rome are encouraged and can be organized by the hotel; it's less than an hour away! Photo: Courtesy of Palazzo Fiuggi Who can go? Palazzo Fiuggi is open to anyone booking a wellness retreat, with stays typically ranging from three nights to two weeks. Unfortunately, no children under 14 are allowed, nor are canine companions. While it attracts a jet-set crowd of health-optimizing celebrities—Oprah called it 'the best wellness retreat of her life'—it's welcoming to solo travelers and wellness newbies alike. Just don't be surprised if you leave with a new biomarker obsession and a WhatsApp thread with your nutritionist. Booking details for Palazzo Fiuggi Spa Address: Via dei Villini, 34, 03014 Fiuggi FR, Italy Read more from Vogue's Global Spa Guide.
Business Insider
11 hours ago
- Entertainment
- Business Insider
Why spiritual shopping is the new wellness trend you didn't see coming
It's 2025, and wellness isn't just about green smoothies and fitness trackers anymore. Americans are reaching for something deeper—something that touches the soul. And in this quiet cultural shift, spiritual shopping is becoming the unexpected bridge between modern self-care and ancient tradition. The Quiet Rise of Sacred Objects For many, surrounding themselves with meaningful symbols like rosaries, saint medals, and devotional candles is no longer solely a matter of religion. It has become a way to express identity, to create a sense of grounding, and to live with greater intention. These objects offer a form of presence in spaces often dominated by screens and noise. As spiritual curiosity grows—particularly among Millennials and Gen Z—religious items are appearing in unexpected places. No longer limited to churches or family altars, they're now found on nightstands, tucked into bags, or featured in TikTok videos that explore faith and spirituality. A cross necklace might be worn as a symbol of protection, while a small statue of St. Joseph could take on new meaning as part of a personal ritual in a first apartment. These items are resonating in ways that go beyond aesthetic or trend. They speak directly to the human need for connection, stability, and purpose. The Vatican's Lasting Cultural Footprint At the heart of this movement is the enduring presence of the Vatican, which for centuries has shaped the aesthetic and devotional traditions of Catholicism worldwide. From the grandeur of Michelangelo's frescoes to the simplicity of a hand-carved crucifix, the Vatican has long influenced how faith is expressed visually and spiritually. But its influence isn't just historical—it's deeply relevant today, especially in a time when many are searching for meaning, rootedness, and continuity. The recent election of Pope Leo XIV, the first American pontiff in Church history, has further energized interest in Catholic identity across the United States. Charismatic, intellectually grounded, and pastorally engaged, his leadership has brought a renewed sense of global unity to the Church. For American Catholics, in particular, the connection feels more personal than ever—bridging continents and generations, and awakening a new wave of interest in the symbols, rituals, and heritage of the faith. From the stunning art of the Vatican Museums to the sacred rituals that continue to draw thousands to St. Peter's Square each week, the Holy See remains a central source of spiritual inspiration. Its influence reaches far beyond theology, extending into the realms of craftsmanship, culture, and everyday devotion. Religious artisans—many of whom work in small, family-run workshops in and around Vatican City—still create devotional objects using time-honored techniques passed down through generations, preserving a legacy that spans centuries. Many religious items available today—such as rosaries, crucifixes, saint medals, and icons—are made just steps away from the Vatican. But their significance goes beyond geography. These objects carry with them the legacy of centuries of faith and tradition. For many believers, they're not just keepsakes or souvenirs, they represent a real connection to the Church's spiritual and cultural heritage. In a time when much of life feels disposable or digital, these pieces offer something lasting: a sense of meaning, beauty, and belonging. Influencers Bringing Faith Into the Feed A major driver of this trend? Catholic content creators who are reimagining how faith is expressed online. Take Leah Darrow, a former fashion model who now shares her journey of spiritual transformation with hundreds of thousands of followers. Her blend of authenticity and devotion has inspired many to explore their own faith—starting with a single rosary or saint medal. Then there's Fr. Mike Schmitz, whose 'Bible in a Year' podcast has ranked #1 on Apple Podcasts, proving that deep faith content can thrive in digital spaces. Other figures like Emily Wilson and Jackie Francois Angel have turned platforms like YouTube and Instagram into communities where Catholicism meets everyday life—joyfully, honestly, and often with a devotional in hand. Where Meaning Meets Craft Retailers rooted in religious tradition are seeing renewed interest—not because they've changed, but because the world has. As modern life grows more chaotic and digital, people are seeking something tangible, timeless, and intentional. There's a desire to reconnect with slower values—heritage, faith, and craftsmanship—and this is where spiritual artisanship thrives. One example is Savelli Religious, a family-run company based in Vatican City since 1898 that offers handcrafted religious items deeply rooted in Catholic tradition. With over a century of experience, the company has become a trusted name for those seeking objects that combine spiritual meaning with artistic craftsmanship. Their catalog ranges from classic rosaries and saint medals to intricate crucifixes and devotional gifts, each one reflecting the care of skilled Italian artisans and the spiritual heritage of its surroundings. What sets Savelli apart is not only its longevity, but its location—just steps from St. Peter's Basilica—where faith and history converge. For many who shop there, especially American Catholics discovering or rediscovering their roots, owning a rosary or sacred item crafted so close to the heart of the Church isn't simply a transaction. It becomes a way to stay connected to something timeless, to carry a piece of the Vatican's legacy into everyday life, and to find meaning in objects that are made to last. Finding Stillness in a Tangible Way You don't have to be particularly devout to feel a connection to symbols of peace, protection, or meaning. Increasingly, people of all backgrounds are incorporating items like crucifixes, saint pendants, and devotional candles into their homes—not necessarily as expressions of religious practice, but as quiet reminders of something greater than themselves. For some, it's about starting a personal ritual; for others, it's simply a way to bring intention or calm into their space. This trend reflects a broader cultural shift. As modern life becomes faster and more fragmented, there's a growing interest in objects and habits that offer a sense of permanence. Spiritual symbols—regardless of religious affiliation—can provide that. They represent continuity, identity, and values that transcend the present moment. In that sense, reaching for something timeless isn't about nostalgia or dogma; it's about finding balance in a world that rarely slows down.
BBC News
a day ago
- Entertainment
- BBC News
Five works that reveal the philosophy of Banksy
Banksy's new mural in Marseille is not the first image he has connected to the history of ideas. From Plato to Foucault, a Banksy expert reveals the philosophy behind these popular artworks. Which is the real you, the person you are now or the one you are capable of becoming? It's a heady question, to be sure, and not one you would expect to be confronted with while strolling down a street in Marseille in the waning days of May. Yet it's precisely the existential dilemma that Banksy, who once asserted "being yourself is overrated" – has surreptitiously installed in a cloistered stretch of the quiet Rue Félix Fregier, the site of a new work – the latest installment in the elusive artist's decades-long career as a provocative philosophical prankster. For more than 30 years, Banksy has spiked many of his most iconic works – from his girl reaching hopelessly for a heart-shaped balloon to his masked rioter hurling a bouquet of flowers – with barbed allusions to Old Masters, from Michelangelo to Monet, Vermeer to Van Gogh. But there's more. Beneath his stealthy stencils lies a deep and deliberate engagement with the history of ideas as well, from classical Stoicism to postmodern deconstructionism. On 29 May, Banksy posted on Instagram a photo of his first new piece in more than five months, piquing the internet's interest by withholding its precise location. Discovered shortly thereafter in the major port city in southern France, Marseille, the mural is, at first glance, deceptively simple: a tall silhouette of a lighthouse spray-painted on to a blank beige urban wall; a rusting street bollard positioned nearby; and a painted shadow stretching across the pavement, joining the real-world object to its augmented, if two-dimensional, echo. Stencilled across the black lighthouse are the words: "I want to be what you saw in me." Anyone keen to find a source for the ideas that inform Banksy's new work needs merely to flip open any history of philosophy to Plato's seminal allegory of the cave (from the Fourth-Century BC treatise The Republic), then flip the ancient metaphor on its head. In Plato's parable, prisoners chained inside a cave mistake shadows on the wall for reality, unaware of the truer forms that cast them outside. But here, Banksy, being Banksy, baits us by switching the set-up, reversing the relationship between essence and shadow. In Banksy's mural, the drab bollard casts not a diminished imitation of itself, but something far grander – a lighthouse, a symbol of illumination and guidance. Here, it's the silhouette, not reality, that's true. Banksy's inversion urges us to ask where reality really resides: in what is, or in what might be? His poignant phrase – "I want to be what you saw in me" – is alluringly elastic. Is this the bollard dreaming of being more than it appears? Or the shadow wishing to become light? Or is it all of us – Banksy included – struggling to live up to the better versions imagined by those who believe in us? The answer is surely yes to all of the above. And it's a yes too to the question: 'is this new work a lamp capable of shining light on further levels of meaning in Banksy?' What follows is a brief look back at some of the artist's best-known works and how they too are invigorated by, and often upend, many of the most important philosophical tenets – both social and intellectual – that underwrite who we are and who we might be. Girl with Balloon, 2002 Banksy's new mural in Marseille is not the first to be accompanied by an affecting caption connecting the piece to the history of ideas. Among his most famous murals, Girl with Balloon, which portrays a child reaching towards a heart-shaped balloon drifting away from her, first appeared in 2002 in various locations in London, including on the South Bank, alongside the consoling assertion, "there is always hope". That conviction, which fuels the ceaseless striving for an ideal that is seemingly unobtainable in the mural (there's no way that balloon is coming back) rhymes richly with aspects of 19th-Century German philosopher Arthur Schopenhauer's ideas concerning an unquenchable and irrational "Will" as a fundamental force that drives humanity. When, years later, Banksy mischievously concealed a remote-controlled shredder in the frame of a version of Girl with Balloon that came up for auction in 2018, and sensationally destroyed the work before the eyes of aghast auction-goers, he succeeded in upping the ante on Schopenhauer's belief in the futility of desire by boldly manifesting it himself. Where there's a will there's a fray. Flower Thrower (or Love is in the Air), 2003 Banksy's famous mural of a masked man frozen forever in the instant before he unleashes not a brick or a bomb but a bouquet of flowers may seem, at first blush, to exemplify a pacifist's commitment to peaceful disobedience. The work appears to echo the precepts of Mahatma Gandhi's Satyagraha – a philosophy of non-violence that the Indian ethicist coined in 1919. Banksy's fully flexed figure, incongruously armed with a fistful of beauty, appears to epitomise Gandhi's insistence on wielding moral, not physical, strength. Doesn't it? Or has Banksy slyly subverted the philosophical assertion of pacifistic force by portraying his hero as an enraged rioter? The figure's anger has not been tempered by an appeal to the higher ideals of beauty and truth. Instead, those ideals have been weaponised by Banksy. Here, beauty and truth are not disarming, they are devastatingly explosive. One Nation Under CCTV, 2007 Banksy's mural in Marseille employs a tried-and-true technique to ensure the work protrudes into the urban space in which we'll encounter it – elevating its philosophical potential from something flimsy and flat to something undeniably urgent. It's a tactic he used in a 2007 work that appeared near London's Oxford Street in which he depicts a boy atop a precariously high ladder, spray-painting the penetrating observation that we are "One Nation Under CCTV" in outlandishly outsized letters. Also portrayed within the mural is a uniformed officer and his obedient police dog who surveil the young vandal, while above them all an actual CCTV camera, presumably recording everything, juts out from the wall. The endless layers of surveillance-within-surveillance to which the work attests – as we watch the state watch an officer watch the boy – captures with uncanny precision the philosophical contours of the vast and all-encompassing prison machine in which the French poststructural philosopher Michel Foucault believed everyone in society was now irredeemably enmeshed. In Foucault's study Discipline and Punish: The Birth of the Prison, he resuscitates a blueprint for a prison proposed by the British utilitarian philosopher Jeremy Bentham at the end of the 18th Century, "The Panopticon" (meaning "all seeing"), and uses it as a menacing metaphor for how no one can escape the perniciously penetrating eye of the panoptical state. Mobile Lovers, 2014 Banksy's witty 2014 work Mobile Lovers shines a chilling light on the state of contemporary relationships. The mural depicts a couple whose almost affectionate embrace is interrupted by the deeper fondness they have for the warm glow of their smartphones. The French existentialist philosopher Simone de Beauvoir, who died in 1986, may not have lived long enough to witness the emergence of mobiles. Yet her profoundly influential 1947 book The Ethics of Ambiguity – published exactly 60 years before the iPhone was launched in 2007 – with its exploration of the devastation that detachment and disconnection can wreak on the realisation of our truest selves, is profoundly proleptic of our modern predicament. To be free, de Beauvoir insisted, requires a deep attentiveness to each other. She believed in the authenticity of human encounters, without which life is a futile performance, dimly lit by disposable devices, rather than something profound and meaningful. How Banksy Saved Art History by Kelly Grovier, published by Thames & Hudson, is out now. -- For more Culture stories from the BBC, follow us on Facebook, X and Instagram.
Local Italy
5 days ago
- Entertainment
- Local Italy
Italy to mark Republic Day with free entry to state-owned museums
The Festa della Repubblica, celebrated every year on June 2nd, commemorates the birth of the Italian Republic as we know it today. It marks the date in 1946 when Italians voted in a referendum to abolish the unpopular, Fascist-aligned monarchy and establish a democratic republic. As the date falls on a Monday this year, people in Italy will be looking forward to a three-day weekend. And while a trip to the beach to take advantage of the expected sunny weather might sound enticing, if you're staying in the city, you'll be able to visit one of the country's many state-owned museums and archeological parks free of charge. These include some of Italy's best-known cultural attractions, which are featured in a list on the culture ministry's website. Those in Rome, for example, will have free access to the Colosseum, the Pantheon (which introduced an entry fee for non-residents in 2023), Castel Sant' Angelo, the Borghese Gallery, and the nearby archeological park of Ostia Antica. People in Florence will be able to visit the Uffizi Gallery and the Accademia Gallery, home to Michelangelo's David. Venice residents and visitors will have access to Palazzo Grimani and its Accademia Gallery, housing masterpieces by the likes of Tintoretto and Titian, free of charge. And Milan's Pinacoteca di Brera gallery and Cenacolo Vinciano museum, home to Leonardo da Vinci's The Last Supper, will also open their doors for free. The initiative is related to Italy's free museum Sundays scheme, through which state museums and parks open to the public for free on the first Sunday of every month. That means visitors will be able to access the same sites for free on Sunday, June 1st – though you could miss out on special events or unusual opening hours being offered on Monday in honour of Republic Day. For some of the more popular sites, the ministry notes that you may need to book your place in advance; check the website of the attraction you plan on visiting to see whether this applies.
The Guardian
26-05-2025
- Entertainment
- The Guardian
Pop Off, Michelangelo! review – the Renaissance retold with high-camp modernity
The Pope vapes, Michelangelo uses Zoom, and Leonardo da Vinci foretells the career of Marisa Tomei. This is not the Renaissance as the textbooks teach it. Dylan MarcAurele's musical comedy mashes up Medici Florence and high-camp modernity to trace two friends' journey from gay schoolmates (bit of a historical stretch, that) to the greatest artists of their age. It couldn't be trashier but in the spaces between art history and anachronism, flamboyant rudeness and lyrical wit, there's fun to be had. No point pretending Pop Off, Michelangelo! takes much interest in these Old Masters' art, nor in the era. But it's all over their queerness – atoning for which drives Michelangelo to dump his BFF and seek Sistine Chapel salvation. But can they swerve the attentions of religious firebrand Savonarola, in an age turning increasingly cynical thanks to pizza chef and aspiring philosopher Niccolo Machiavelli? It is, in short, a kitsch Renaissance cartoon; subtlety is not its selling point. 'You truly made marble your bitch,' Michelangelo's teacher tells him, while Leonardo's arrest for sodomy is apologised for as follows: 'I was so stupid. I thought Savonarola was a stripper.' But if Da Vinci-style depth of field is beyond it, Pop Off, Michelangelo! frolics enjoyably in the foreground. Careerist but concerned Max Eade and sly, soppy Aidan MacColl are an engaging Michelangelo and Leonardo, plotting their respective paths between safety and self-expression. Sashaying around in his golden cape, Michael Marouli's Pope makes for an amusingly unlikely gatekeeper of the hetero status quo. Laura Sillett gives good 'mwa ha ha' as the villainous friar, and Aoife Haakenson contributes an apropos-of-little showstopper in character as a certain movie star from the 21st century. The pop score is perfectly winning, even if Michelangelo's ballad about God and Jesus fits ill with the part of the story it's meant to tell. The show's freewheeling spirit, though, which twins twerking and 1400s Tuscany, and has a notorious puritan fanatic teased for dressing by Temu, is very easy to submit to. At Underbelly Boulevard, London, until 13 July.
