Florence Syndrome

Art has been a large part of society for several years now. The evolution in art styles over the years has been a fascinating field explored in length by archaeologists and other historians. Be it Michelangelo's ‘David’ or da Vinci’s ‘Mona Lisa’, they are pillars of cultures and specimens of art history that have taken society by storm. Now worth millions, these paintings depict the evolution of art and how culture has evolved over the course of time. To briefly understand the revolution of this craft, it is important to look at the pivotal art movements that have occurred previously. From post-impressionist work to cubism, art nouveau and the famous Renaissance period, art has depicted what it was to be a part of that day and age, and like all ‘good’ art, these styles have transported people to a different era. 

Often regarded as the cradle of the Renaissance, Florence is home to several iconic pieces, including ‘The David’ and ‘The Birth of Venus’. Tourists are sometimes overwhelmed by the beauty of the engaging culture and experience what is known as Florence Syndrome. 

The Florence syndrome, also known as the Stendhal syndrome, was first coined in the 20th century by Italian psychiatrist Graziella Magherini, after observing many tourists visiting the city. The first account of this phenomenon was by the French author Stendhal, when he visited Florence in the late 19th century. He recounted feelings of ecstasy and palpitations when admiring the beauty that he was surrounded by, particularly the Florence Cathedral, Basilica. 

It is a psychosomatic condition that can be characterised in 3 broad facets: physical, cognitive and emotional. Physical symptoms include rapid heartbeats, hallucinations and fainting, and these are often aggravated by stress. Cognitively, symptoms may include altered perceptions, auditory and visual hallucinations, and feelings of disorientation.  Emotional symptoms include anxiety, delusions and confusion and one may even oscillate between states of euphoria and apprehension.  

Research suggests that individuals who have pre-existing psychological disorders, particularly mood disorders, are more susceptible to this condition. They are confronted with heightened emotions when experiencing different dimensions of art, more often those they personally resonate with.  Artwork like ‘The David’ and many more have shaped Western culture and are fondly admired by tourists. The anticipation of high expectations tends to amplify emotional responses that lead to the Florence syndrome. Interestingly enough, however, there is no particular demographic that is more susceptible to this syndrome. The condition is most commonly seen in young, single tourists who have been struggling with physical or psychological imbalances like jet lag or any mental health condition. This is because such people are more vulnerable to the emotional intensity that comes with the Florence syndrome. 

Florence syndrome, while not recognised by the DSM-5 yet, can be cured at least temporarily, using symptom-focused management techniques. These may include breathing or relaxation or in extreme cases, medication for anxiety or panic attacks. 

The Florence syndrome is a unique and interesting example of how the human psyche is so deep-rooted to art and culture and how that can affect one’s emotions and physiology. The overwhelming responses, while remaining unsettling to those who experience it, continue to be a part of the experience, enhancing the beauty of the journey of art. Understanding and discovering the Florence syndrome helps us realise the impact of art and beauty, emphasising the importance of awareness, specifically mental health awareness in culturally rich areas. Recognising and acknowledging the intense emotions that accompany the cultural vastness of ‘Florence’ (interchangeable for any place rich in culture)  helps people navigate powerful emotions while appreciating the art for all its awe and wonder. 

-Aanya Mehta