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Venice, starring me
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The makeup artist's bag contained the day's call sheet, which listed everything in the world.
Every person who has come here in the last hundred years — and there have been a lot — has almost certainly said that the city looks like a stage set. This realization comes immediately after noticing there are canals instead of streets.
And if they haven’t said it, they’ve thought it.
Attention: You are now entering the film sector, in which you can't or must do everything as per the list: Entrance forbidden to unauthorized people; Danger: 380 volts; Danger; Forbidden to smoke or use open flame; Danger of falling; Material falling from above (as opposed to from below); High-tension electric cables; Machinery in movement. Don’t say you haven’t been warned.
Venice makes the most of its stage-setness by offering itself as the location for at least a few segments of plenty of movies. Since I’ve been here I’ve come across bits underway of “The Italian Job,” “Casino Royale,” “The Merchant of Venice,” “Casanova,” “The Tourist,” “The Talented Mr. Ripley,” and a French feature named “Les Enfants du Siecle.” There may have been more. This is yet another way in which Venice resembles New York, including the fact that Venetians acknowledge all the fuss only in relation to how much inconvenience it causes them personally.
Evidently there are enough incentives to induce film companies to work here to offset the logistic challenges imposed by canals, tiny streets, lots of bridges, and skillions of people. I myself would hate to have to organize a film shoot — it’s hard enough organizing an ordinary day.
The latest movie to have cluttered the streets and canals with equipment and crew is called “Effie,” a biopic about the life of Effie Ruskin. It stars Dakota Fanning, a large number of non-Hollywood luminaries such as Emma Thompson and Derek Jacobi, and an Italian god in human form named Riccardo Scamarcio.
We were there as part of a group of members of Arzana‘, an association (of which Lino is a founding member) dedicated to the conservation of old Venetian boats of every sort. Whenever a film needs boats, the boats also need rowers, so anybody who applied and was chosen by the film company got a chance to participate in film-making for at least a day.
Lino and I went to the office, filled out the forms, got our portraits snapped, and waited to be called. He went three times, and I went twice.
So I urge you to see this film (it will be out in June 2012), because if nothing else interests you, you could peer in the darkness at the screen trying to discern a feminine figure in fusty nineteenth-century garb rowing a boat who could be me. I’m merely a human in human form, but I had a fantastic time as an extra.
Good thing I’m relegated to the background, though, because while the long skirts made me feel swell, the bonnet and slicked-back hair, all perfectly accurate, made me look like a Victorian cross between the Witch of Endor and Baba Yaga. If I’d been born in Effie’s time they’d have killed me in my cradle.
Lino didn’t come out much better. What with him and his cloth cap, high collar and muttonchop whiskers, and me with my shawl and apron and hat, we looked like a pair of Dickensian hobbits.
This is a view of the confusion on land.
And a view of the confusion on the water on an ordinary working morning. The outliers stopped traffic at the crucial moments, otherwise the canal went back to being everybody's waterway. Four regular gondolas, one member of the Querini rowing club out for a spin, somebody in a motorboat. The boat with the camera crew is hugging the left wall; the actors in the gondola are hugging the right.
I had two days on duty. Most of the first day was spent watching the six hours or so of activity involved in shooting two minutes of film. We stood in the sun and ate loads of the free sandwiches the help was carrying around and watched an amazing amount of activity which seemed to happen without anyone telling anyone else what to do. Then we went inside and ate lunch.
At 3:00 Lino and I went to be dressed and titivated. When that was done, we climbed into a small mascareta and took up our positions on a stretch of small canal. By now it was 6:00 PM and getting dark, but lights were blazing everywhere.
There was a camera on a crane, a camera on a boat, and this one, braced atop a bridge.
Our task, once the cameras started rolling, was to row very slowly along a snippet of canal only about 200 feet long (67 meters), which we accomplished in about a minute and a half. Also being rowed along the canal, in one or the other direction, was a battella and two gondolas, both replicas of the 17th-century version. One of the gondolas carried Effie and her husband, John Ruskin. By the look of things they were not happy. ”There was,” as Dorothy Parker once wrote, “a silence with things going on in it.”
We repeated this slow row many times. I felt fine, except for my feet, which aren’t used to wearing shoes with heels (my costume included thin-soled mid-heel boots they’d given me to wear, even though nobody, not even me, ever saw my feet). The air wasn’t especially cold — thankfully, there was no wind — and God knows I wasn’t hungry.
At 10:00 PM it was quitting time. We changed our clothes in record time (the costume crew standing by to help), the makeup girl took off my hat and ripped out the 3,491 bobby pins which she had rammed into my skull to anchor my hairpiece, and we ran downstairs to the boats. Now we had to really row, to get them all back to the boathouse and tied up for the night.
Rowing at night is bewitching. There is almost no traffic, so you can actually hear the water murmuring under your boat; the distances and proportions are mysteriously transformed, and the combined effect is impossible to resist. There we were, sliding along the black glistening water flanked by prodigious palaces, virtually alone (I ignored the lone vaporetto), in a universe created by giants. And it belonged only to us. I’m not going to pretend these things don’t affect me, even after all this time. “My God,” I thought, “I’m rowing up the Grand Canal.”
Lino isn’t impervious to this allure, either; he said practically the same thing, and he’s been doing this all his life. Because there is no way to resist the sorcery of this city at night.
During the day, the city just lies there and dispenses, in a bored sort of way, a steady supply of small doses of beauty and splendor, just enough to make people want to take lots of pictures. But at night, she hurls caution and hauteur aside and utterly swamps you in a deluge of grandeur and seduction.
It was getting on toward midnight, but we didn’t want it ever to end.
Two days later, we were out in force on the Grand Canal doing a modified isn’t-the-city-busy sort of rowing around. It was sunny and warm, which is pleasant but sort of inane, and we got almost no food. You see how demanding I’m getting to be? And we didn’t row all that much, either.
We finished before sundown and the boats were back in their stalls before dark. No magic this time. But just as they say you can get so accustomed to chocolate that it just doesn’t do anything for you anymore, the same must be true of rowing at night. If we did it all the time, I suppose it would become boring.
I’m ready for the next film, whatever it might be. They can call me anytime — and I don’t care if they make me look like a mutant psychopathic canal-dredger.
A view of the stage, so to speak: that strip of canal heading down toward San Marco. The actors are in a gondola near the next bridge, where the motorboat with the camera is idling, transmitting images to the screen on the shore.
This is how the scene appears in Movie World.
Dakota Fanning and the rest of the actors got a break to come in and warm up.
Riccardo Scamarcio gets a touch-up, which I'd never have guessed he needed anywhere.
This is the scene that required a hundred takes, I don't know why: Dakota Fanning as Effie Ruskin decides on a carefree impulse to try rowing herself.
And for some reason Scamarcio makes the same attempt.
The Grand Canal shortly after dawn, as we row our old boats to the day's shoot. Perhaps not quite as dramatic as at midnight, the canal still looks amazing. I'm giving you this view because you'd probably never see the Grand Canal so empty (it was a holiday). I wouldn't have either, if I hadn't had to get up and go to work.
The unexpected is always expected
Posted by: | CommentsEach day in each week in the so-called most beautiful city in the world often feels like a loaded coal cart which I am pulling along a rusty track. Instead of coal, however, which hasn’t been burned here for quite a few decades, my daily cart, so to speak, is loaded with the same detritus of which life is composed pretty much everywhere: appointments, shopping, cleaning, public transportation challenges, all enlivened by the occasional strike which makes the usual inconveniences even more complex and invigorating.
Still, I’d rather be here than in Fargo or Yazoo City.
While I’m hauling the daily freight, though, there is a steady supply of tiny events throughout the day, running on a sort of parallel track, which form their own little train of entertainment. I’ve finished with this metaphor now.
For example: Last Sunday morning I was walking across a nearby small campo which I was surprised to see embellished by an unusual arrangement of objects. It wasn’t a relic of the recently-closed Biennale (though it made a lot more sense than many of the putative works of art I’d seen). It was a token of the vox populi, or rather, the vox of one person, crying in the wilderness, a person who had suddenly snapped.
Little blue plastic bags and a strip of white paper. If you recognize the bags, you can guess what the paper's for. Spontaneous denunciations show up on walls and doors, decrying some behavior which has become intolerable. But this is the first time I've seen a sign on the ground.
The bags -- by now a neighborhood staple, though they're not always blue -- contain dog poop. If you think this is gross, you should know there are still plenty of people who deny that their dog ever eliminates. But this person has had enough: "Disgusting pigs," the writer begins: "Pick up your dogs' poop. Uncouth pigs."
Another voice recently made itself heard on the neighborhood notice-board at the Giardini vaporetto stop. This board, like all of them, is entirely improvised, a sort of stationary town crier which serves an obviously useful purpose, despite the fact that it is pretty much illegal.
Augusto Salvadori, the previous sub-mayor for tourism, as well as the self-appointed arbiter of decorum, civic uplift and general improvement of tone, made a stab at abolishing these little outposts by threatening to fine anybody who dared to tape or glue their humble advertisement on any public surface. Seeing that these notices always carry a phone number, this threat could have been scary, except that the snarling tiger had no fangs or claws, otherwise known as the power of enforcement. So the notices continue to bloom and, in my view, continue to serve a useful purpose. I happened to find a good, inexpensive seamstress this way, and I’ve also got the number of a computer geek stashed somewhere, which I took down off a strip of paper near the San Pietro vaporetto stop. So I’m glad they’re still there, even if they are ugly.
But the other day I came across a notice advertising a room for rent. This in itself isn’t noteworthy; since the city is awash in budget-restricted residents of every sort, from students to Eastern European women working as caretakers, accommodations are always eagerly sought — more eagerly sought than offered, may I say.
But this particular notice, on second reading, carried an unpleasantly different connotation.
It said: ”Fifty-year-old will share with a girl or working woman an apartment which is sunny, near the Santa Marta vaporetto stop, a single bed in a small room available. The house is composed of an eat-in kitchen, small living room and two rooms of which one is occupied. Contact Francesco (followed by his cell phone number).”
I spent a lively five minutes telling Lino what I thought of a man offering his extra room explicitly to a female, and no nitpicking about age. My reaction could be summed up in one word: ”Swine.”
Today, to my surprise, I came across the same skeezy announcement taped up at the vaporetto stop by the hospital. Why was I surprised? He must have put these up all over town. What struck me was that someone had written on it my very own thought: “Porco.” Pig. It made me feel a bond with someone I’ll never know. Maybe there are people all over the city who have thought, or written, this opinion. We should form a club.
But all the surprises aren’t so rank. There was a beautiful little bonus on the other side of the bridge as we left early this morning: A boat piled with fish.
Maybe you don’t care about fish, but any sign that somebody has gone out in the lagoon and come back with something finny is a great thing. It used to be as normal as learning how to swim by hanging onto your mother’s washboard in the canal (not made up). Now people go buy salmon and lobster at the fishmarket. You’ve heard this rant before.
They were grey mullet, which I’ve caught myself; sometimes an especially exuberant one jumps into the boat. But this was quite a haul, and there must have been at least 50 of these creatures all tangled up in a heap of net, against which most of them were still fighting, except for their brothers who had long since suffocated underneath everything.
- Even the trash collector stopped to inspect the catch and discuss its finer points with Lino.
The few people who were out at 7:00 stopped, or at least slowed, to have a look. As a sign of the continuing deterioration of culture here, one woman asked if they were sea bass – this, in a neighborhood where people once knew their fish better than the multiplication table.
Another young woman’s sole remark was, “I wouldn’t take them if you gave them to me.” This is guaranteed to hit one of Lino’s most exposed nerves. “She grew up eating LOBSTER,’ he hissed sarcastically to me. People used to thank God on their knees for food, not to mention fresh fish; the idea that you could reject such bounty really fries his ganglia.
A little girl walked by on her way to school, with her little brother. She paused to look at this mound of goodness, then stretched out her closed umbrella and pushed the tip gently against the cheek of one fish. Then she turned to walk away. Her little brother thought it was funny. “What if the fish ate your umbrella?” he asked her, laughing. Maybe he had imagined the fish suddenly rearing up, like Jaws, swallowing her and her umbrella whole, never to be seen again. She didn’t reply.
If you pay attention, you will always see something beautiful. Perhaps you don’t think that beauty could qualify as unexpected here, but there are so many different kinds, at so many different moments, that some of them are bound to surprise you. Like the mountains at sunrise.
No more need be said.
Racing Saint Barbara
Posted by: | CommentsLast Saturday I went to watch one of my favorite Venetian rowing races: The regata of Santa Barbara, an annual contest on six-oar caorlinas organized by the discharged sailors’ association in honor of Saint Barbara, patron saint of seamen and, by extension, of the Navy.
The only hint at 10:00 AM that something unusual might be imminent was the lone red buoy, fixed in front of the Arsenal to mark the finish line.
For every Regata Storica, there must be ten races held every month here (I’m making this number up — maybe it’s more), winter or summer, by rowing clubs, gondoliers, and assorted groups of every sort. And don’t think that just because there isn’t any prize money that these races aren’t fought to the finish.
Technically, Saint Barbara’s day is December 4, but Saturday was more convenient for everybody and no doubt the good saint took it in stride. After all, her bones supposedly lay in a cupboard somewhere on Murano for about 400 years, so she’s fully aware of the prevailing attitude toward time here.
The crew of each boat was composed of four gondoliers who had done their (formerly compulsive) military service in the Navy, plus one boy from the Scuola Navale Militare F. Morosini, where Lino teaches rowing. For the first time in 15 years, there was also one fireman.
A statue of Saint Barbara is often found at the entrance to mines -- here in a lead mine at Pian dei Resinelli in Lombardy.
The firemen weren’t there to quell any spontaneous combustion; Saint Barbara is their patron saint too. Generally speaking, she is assigned to watch over anyone who is dealing — intentionally or not — with things that go “boom.” If there are explosives, fire, or lightning involved, or the threat of sudden, violent, incendiary death, she is your go-to saint, and specifically protects sailors, firemen, artillerymen, miners, sappers, road-builders, geologists, mountaineers, petroleum workers, and the U.S. Navy and Marine Corps Aviation ordnancemen. Also bell-ringers and architects — maybe there’s a link to high towers with no lightning rod. This list is not exhaustive, by the way, I just decided to stop.
Trivia alert: A powder-magazine or other storage area containing explosives is often referred to as the “santabarbara.”
It rained and fogged. This is typical. There have been times in the past 15 years when the sun beamed down on victors and vanquished alike but usually there’s water. Perhaps this is a helpful gesture from the saint, who abhors fire.
Getting the boats --not to mention the rowers -- ready, in the canal that leads to the Arsenal.
There were all the usual components: Competitors who have known each other since before they were born, the benediction of the boats, the traditional pennants for the first four boats to cross the finish line, and other prizes offered by sponsors (Pasta Zara sent everyone home with a neat box containing two kilos of pasta), bottles of wine, even small trophies of Murano glass, presumably not in memory of Saint Barbara’s sojourn on the island.
There were assorted dignitaries, including an admiral, some of whom gave impromptu speeches into a microphone which could have used a dash of nitroglycerine to wake it up. Nobody listens anyway. The speeches were, also according to tradition, too long, too rambling, and often more than a little bit too self-congratulatory. I will not name names but I know who they were.
The prizes were given, the photos were snapped, then everybody headed for the buffet. As I have often mentioned, “Every psalm ends with the Gloria,” as they say here, and every event ends with food and drink.
And tradition requires — or maybe Saint Barbara requires, she being an extremely practical saint, it seems to me — that there should be pasta e fagioli. Not only at this race, but at 98 percent of amateur races here. Pasta and beans are hot, filling, delicious, hugely good for you and can be made in massive batches reasonably far in advance. Trivia alert: Beans such as the borlotti used around here contain more protein than red meat, though I don’t think anybody cares.
So carry your bottle of Beano and dig in. Or plan to spend the rest of the day outdoors, in the fresh air. For a gondolier, that’s obviously no problem. They often go back for seconds.
The boats head out onto the playing field, so to speak. These guys look like the ones to beat. Too bad they finished 8th -- next to last.
The boats line up to be blessed by Padre Manuel Paganuzzi, the chaplain at the Scuola Navale, and the rowers respond with the traditional salute, or "alzaremi." The man in the bow of the pink boat is cheating by not reversing his oar. Saint Barbara punished him: they finished dead last.
- And they’re off! The starting line was down toward the Lido, even with the Giardini (Biennale) vaporetto stop, and they race to the Bacino of San Marco, go around one of the permanent buoys for ships and race down toward the Arsenal. Not very long, but there’s enough distance for strategy and maneuvering.
- There are people ashore, like Lino, who can distinguish all the boat colors even in the fog. Then there are those like me.
- Rounding the buoy — two of them, actually. On the left is the permanent black-and-grey float, plus an orange one as well, to prevent the rowers to cut cross-lots on the return and possibly run into boats that hadn’t yet rounded the buoy.
- Thundering toward home. We can finally distinguish the outcome: Yellow, blue, white, and red will get the appropriate pennants. The rest are battling it out anyway. Never give up the ship.
Crossing the finish line, each crew is expected to repeat the "alzaremi." As you can see, this tradition appears to be degenerating toward the "optional" category.
The judges take a minute to make sure they got the order of finish right.
Everybody immediately starts to remove all their stuff -- only the shell of the boat will go back to the city boathouse.
This young man – I’m assuming he practices yoga when he’s not rowing --is removing the platform on which he was standing. Each rower has one, but they belong to the boat. He's probably going to remove the wooden strips he had nailed to its underside.
The boats are stripped and all the speeches are finally over . On to the prize-giving, the perfect moment for the rain to start.
Third-year cadet Luca Merola displays his first-place red pennant, the perfect gift for today, his 18th birthday.
We eat! There’s enough pasta e fagioli to feed three battleships. The plastic bowls are also part of the tradition; weakened by the scalding heat of the contents and the weight of the jumbo portion, they sag dangerously and you burn your hands trying to hold them. It would depress me if this, for some reason, were not to happen.
I would be calling this the Ship of Fools if somebody else hadn't already come up with the phrase. In this minuscule motorboat we have: five of the six rowers of the red boat, who finished fourth (note rolled-up pennant), five oars, the paioli, or floorboards of the caorlina, a case of wine, and the corrugated fiberglass used to protect the boat from the rain. I'd say they're ready to head for the Bay of Biscay, if they don't encounter any waves. And if nobody breathes.
And the event ends as it began: fog, silence, and space. It's as if nothing had ever happened.
Happy Clamsgiving
Posted by: | CommentsThis is where we stopped, as Lino had already determined, passing here as we often do, that this terrain was going to be good.
While the rest of you were lolling amid the wreckage of flightless birds and tangled NFL teams last Thursday, we went for the mollusks. I suppose we could have gone fishing, but considering that the tide was going to be unusually low at a convenient time of day, plus the fact that a few calm, cool, golden days of St. Martin’s Summer had briefly wandered back to the lagoon, probably by mistake, it seemed to fly in the face of Providence not to take a boat and go clamming.
I refer to “we,” in the sense that an anesthetist might refer to “our” brain operation. Lino does the hunting and gathering of the submerged morsels, and I help him by rowing there and back and keeping quiet. I have dug clams in my life, so I know it’s possible. I also know that I do not have the (A) knack (B) patience (C) desire (D) interest in this endeavor. Perhaps if I were to actually find a clam occasionally, all of the above would increase, even if only a little.
But no.
He jams his finger into the sediment where there are NO SIGNS of bivalve habitation, and comes up with one after another. I jam my finger into the sediment where there are NUMEROUS signs, and come up with nothing or — worse — a little castanet full of mud where the clam used to be. This is the clam’s way of wreaking revenge, even though he wasn’t eaten by us but by some passing marine creature such as a sea snail. But if you can be fooled by the shut clamshell, you will happily claim it and throw it into the skillet with the others, where it will duly open up and distribute sandy mud all over its companions. Not a lot of sand. Just enough. So not wishing to risk being the agent of this unpleasant eventuality, I tend to sit in the boat and watch and breathe and listen. And take pictures, or read. Sometimes I even think, if there’s any time left over.
And he immediately gets to work. Summer clamming requires walking around in the water barefoot, but by November you need to switch to Plan B.
Rowing out in the lagoon when the weather is chilly (or cold, or very cold), but calm and sunny, is almost the best thing ever. The traffic has been slashed to the bone, the light is delicate yet rich, with shifting nuances that overlap in alluring combinations that set themselves on fire in celestial sunsets.
Watching the tide drop is also a beautiful and mysterious thing. Of course you can’t see it drop any more than you can see a leaf changing color, but you can notice it in phases and it’s a pleasant reminder of things that are bigger and even more important than you — I mean me.
Reverence for truth compels me to add, though, that the soundtrack isn’t nearly as seductive as the scene itself. I said there was less traffic — I didn’t say there was no traffic, because since the advent of the motor (or at least since the advent of me), I can tell you that there is no day or night, no season or location, in which you will find silence in the lagoon. There is always — I need to repeat that — always the sound of a motor coming from somewhere.
Whenever a boat goes by out in the channel, it thoughtfully leaves all sorts of waves behind.
Trying to imagine the lagoon without the sound of motors — and believe me, I do try to imagine it, on a regular basis — is like trying to imagine the Garden of Eden, or being Angelina Jolie, or even inventing some stupid little app that makes you five million dollars in six months. That is, your brain can’t do it. Because no matter how divine may be the velvety midnight sky, how nacreous the dawn, how resplendent the vault of heaven seared by the flaming rays of sunset, there will always be motor noise. Small, but steady and grinding, like a dentist’s drill, or deep and ponderous, or silly and busy and self-important. It’s the aural equivalent of the vandalage inflicted by The Society for Putting Broken Bedsteads into Ponds identified by Flanders and Swann. Only not so funny.
Back to clams. Lino was happy, I was happy, the clams — well, I try not to think about their mood. They were put in the lagoon to be consumed, not to write bi-lingual dictionaries or form a sacred harp choir. Apologies to any Catholic vegetarian readers, but I have to say that clams make a beautiful death. And broth.
The falling tide begins to reveal the world beneath. The lagoon, as one sees, is essentially a flooded alluvial plain.
- Two members of the Remiera Casteo club out for a spin, now heading home.
- Not much later, another pair from the same club heads out for some more serious training on a gondolino.
- As winter draws near, the lagoon begins more and more to resemble a sort of Zen garden. At least in parts.
The sun and water are both noticeably going down, but this does not deter our intrepid clammer.
Your diehard clammer wants "just one more" even more fervently than six paparazzi want photos.
- And the fruit of all his labor. I’m certainly thankful for this little harvest.
Harvest home
Posted by: | CommentsShine on, shine on harvest moon, up above via Garibaldi.
Today, as every year, I indulge in a little orgy of nostalgia for the Thanksgiving traditions, customs, and eccentricities of my native heath. I miss all of it, even the tyranny of the turkey — I know they say we can eat anything we want, probably even tofu or tilapia, but rejecting turkey seems to me to be asking for trouble.
We usually saute a turkey breast and get on with the day. I long ago learned that you cannot duplicate foreign customs with any degree of satisfaction — in fact, trying only makes it worse — so I don’t try. But turkey breast is my propitiatory offering to whatever needs to be propitiated. It’s better than decapitating a live rooster buried in the wheatfield. I’ll get to that in a minute.
The town of Gemona del Friuli decorated City Hall with local products, including eggplant.
Just because Italy doesn’t have Pilgrim Fathers and Ben Franklin and the Gettysburg Address and so on doesn’t mean that the countryfolk here have no harvest traditions. Au contraire — the country is suffocating with them, as a brief little research has revealed. Venice doesn’t share any of these practices, having devoted all of its forces of gratitude to the Madonna della Salute. But I’m in the harvest mood, so I decided to range afield.
The primary divergence from American customs seem to be that grain, not the bird, has traditionally been the hero of the end-of-cultivation-season celebration, and the majority of these festivals take place toward the end of the summer. Schedule your harvest festival to coincide with the harvest itself? What an idea.
The symbolism, as explained by the author of the website “Luce di strega,” works this way:
The Spirit of the grain is rooted in the pagan traditions of the cycle of fertility, birth and rebirth; the myths of Demetra and Persephone, Ceres and Proserpina, vividly illustrate this reality. Vegetation dies at the end of the summer, returning to the earth from which it will be reborn the next spring. That is, if you perform the correct actions pleasing to the Spirit of the grain.
The dried corn is classic, but in Gemona they added a bunch of wild persimmons.
This Spirit was transposed to a sacrificial animal, to improve the chances of pleasing it; this animal was traditionally a bird (rooster, turkey, quail) which lives and hides in the fields, especially in the shocks of harvested grain. The last phase of the harvest would become a sort of race among the farmers to be the first to finish, nabbing a luckless bird, thereby obtaining an appropriate creature to kill as an offering to the Spirit of the grain. Note: The sacrifice has to be an animal because it contains blood, the crucial element in the magic of fertility rituals.
“In some parts of Germany, Hungary, Poland, and Picardy,” writes James George Frazer in “The Golden Bough,” “the harvesters put a live rooster in the grain which is to be harvested last, and they hunt and catch him and bury him up to his neck and decapitate him with the scythe or sickle.”
If this practice should seem extreme, consider that killing a fowl was seen to be better than killing the person who had scythed the last stalks of wheat, which was the original idea.
Have I just completely ruined your enjoyment of your turkey? Perhaps you could regard its position on your table as something a little less drastic — maybe as a sort of propitiation of the Spirit of Black Friday. In any case, there is a definite link, in mythological terms, between the annual ingathering and a cooked (anyway, killed) bird.
Our favorite farmers on Sant' Erasmo put this together before Halloween. The pomegranate is a nice touch, though eggplant seems to be non-negotiable.
Wandering around the web and YouTube reveals an impressive number of harvest festivals in the countryside and mountains of Italy, out where some connection with agriculture can still be found, though the festivals by now, however deeply felt they may be, seem to have shifted their focus to propitiating the Spirit of Tourism. Which, by the way, never dies, so it never has to be reborn. No blood, just offer money.
Here is a snippet of the famous harvest festival in Foglianise, a small town in the region of Campania about 50 km (30 miles) northeast of Naples. It is held on August 16, which not only coincides with the end of the harvest (at least in the olden days), but is the feast day of San Rocco, patron saint of plague victims. Seeing that he responded to the villagers’ pleas for deliverance from a disastrous pestilence in the 1600′s — yes, it was everywhere — the people of Foglianise have made a special point of honoring him on his day.
The traditional procession involves the predictable dancing, costumes, and music, but the most fantastic element is the series of all sorts of buildings and monuments made of twisted straw, drawn along on carts. The Corn Palace is essentially the same thing, except that it was built to attract settlers, not to invoke fertility. I think. And, of course, it doesn’t move. http://www.youtube.com/watch?v=Y1203SadCYs
I’m not going to go into the symbolism of the cornucopia, but it’s pretty complicated too. It doesn’t involve death, however.
Happy Thanksgiving, whatever you decide to do. Or eat.
The church at Gemona was decorated for their Day of Thanksgiving on November 13. Cornstalks are always an excellent touch.
An arrangement set before the high altar involves not only the usual squashy vegetables but flowers made from fresh wood shavings.
City Hall was festooned within an inch of its life. There are some cabbages up there, too -- along with the eggplant.
Health returns to Venice, on schedule
Posted by: | CommentsA satisfyingly dim view of the panorama as we headed to church. This is the very least the weather should be doing for this holiday.
Yesterday one of the most important days in the Venetian (hence in my) calendar came around again: the annual feast of La Madonna della Salute, Our Lady of Health.
Health is one of those things, like air or the ability to speak your mother tongue, that you don’t give much thought to till it’s been impaired. Or removed.
In a city that has the highest median age of any city in Italy, health is a subject that’s right up there on the short list of things to really worry about, several places ahead of acqua alta and even a close second to tourism. Considering that the city government is currently debating (or not — I can’t keep track) whether to close the hospital here and send everybody who needs help to the big hospital on the mainland (pause for screams of rage and disbelief), health is clearly a big issue.
The sign is put up every year: "It is dangerous to lean out when passing under the votive bridge." Those who don't speak Italian probably discover this fact on their own.
But let us return to the health at hand. This feast was established in 1630 in thanksgiving for the Madonna’s response to the desperate plea of the city of Venice for deliverance from arguably the worst plague in its history, though the pestilence of 1574 was also noticeably catastrophic.
If anyone (such as me) has ever tried to imagine what an epidemic of plague might entail, a few passages from “The Betrothed” by Alessandro Manzoni might help. They certainly provide a way to grasp the magnitude of this festa (not to mention the votive church, which took 50 years to build).
The votive bridge, made of a few bits of the big bridge that's installed for the feast of the Redentore (another plague situation). Highly useful for pedestrians but a large pain for transport, which is one of many reasons why it isn't permanent.
The plague of 1630 exterminated much of northern Italy, and drawing on contemporary documents, Manzoni describes the plague in Milan. I presume that it was much the same in Venice, where 80,000 Venetians died, including the doge, though here the carts obviously were replaced by boats.
…sickness and deaths began rapidly to multiply…with the unusual accompaniments of spasms, palpitation, lethargy, delirium, and those fatal symptoms, livid spots and sores; and these deaths were, for the most part, rapid, violent, and not unfrequently sudden, without any previous tokens of illness….
All the doorways into the streets were kept shut from either suspicion or alarm, except those which were left open because deserted or invaded; others nailed up and sealed outside, on account of the sick or dead who lay within; others marked with a cross drawn with coal, as an intimation to the monatti [men who removed the bodies] that there were dead to be carried away….
Everywhere were rags and corrupted bandages, infected straw, or clothes, or sheets, thrown from the windows; sometimes bodies, which had suddenly fallen dead in the streets, and were left there till a cart happened to pass by and pick them up, or shaken from off the carts themselves, or even thrown from the windows….
And while corpses, scattered here and there, or lying in heaps…made the city like one immense sepulchre, a still more appalling symptom, a more intense deformity, was their mutual animosity, their licentiousness, and their extravagant suspicion…not only did they mistrust a friend, a guest; but those names which are the bonds of human affection, husband and wife, father and son, brother and brother, were words of terror, and dreadful and infamous to tell! the domestic board, the nuptial bed, were dreaded as lurking-places, as receptacles of poison…
Men of the highest rank might be seen without cape or cloak, at that time a most essential part of any gentleman’s dress; priests without cassocks, friars without cowls; in short, all kinds of dress were dispensed with which could contract anything by fluttering about…And besides this carefulness to go about as trussed up and confined as possible, their persons were neglected and disorderly; the beards of such as were accustomed to wear them grown much longer, and suffered to grow by those who had formerly kept them shaven; their hair, too, long and undressed, not only from the neglect which usually attends long depression but because suspicion had been attached to barbers…
The greater number carried in one hand a stick, some even a pistol, as a threatening warning to anyone who should attempt to approach them stealthily; and in the other, perfumed pastils, or little balls of metal or wood, perforated and filled with sponges steeped in aromatic vinegar, which they applied from time to time, as they went along, to their noses, or held there continually.
Some carried a small vial hung around their neck, containing a little quick-silver, persuaded that this possessed the virtue of absorbing and arresting every pestilential effluvia; this they were very careful to renew from time to time…
Even friends, when they met in the streets alive, saluted each other at a distance, with silent and hasty signs. Every one, as he walked along, had enough to do to avoid the filthy and deadly stumbling-blocks with which the ground was strewn, and in some places even encumbered. Every one tried to keep the middle of the road, for fear of some other obstacle, some other more fatal weight, which might fall from the windows…
…the sick… were wandering about as if stupefied; and not a few were absolutely beside themselves: one would eagerly be relating his fancies to a miserable creature laboring under the malady; another would be actually raving; while a third appeared with a smiling countenance, as if assisting at some gay spectacle.
…two horses, which, stretching their necks and pawing with their hooves, could with difficulty make their way; and drawn by these a cart full of dead bodies, and after that another, and another, and another; and on each hand monatti walking by the side of the horses hastening them on with whips, blows, and curses. These corpses were for the most part naked, while some were miserably enveloped in tattered sheets, and were heaped up and twined together, almost like a nest of snakes unfolding themselves….at every trifling obstacle, at every jolt, these fatal groups were seen quivering and falling into horrible confusion, heads dangling down, women’s long tresses disheveled…
The entire story contained in one extravagant altarpiece by Giusto Le Court: On the left, the city of Venice (as usual, represented as a beautiful and wealthy woman) kneels to implore mercy and deliverance from the plague. In the center, the Virgin Mary, holding Jesus, makes a gracious gesture of assent. On the right, a cherub uses a torch to drive away the Plague, shown as a hideous hag, fleeing. Below is an icon of the Mesopanditissa, or Madonna of Health, or , brought from Crete by Francesco Morosini in 1670.
A few stalls are set up for selling candles; it's inconceivable to me that someone could come and not offer a candle, though I suppose there's no rule against it. The cheapest candle costs 2 euros (($2.69). The ones with the red base are often taken home, to be lighted in times of peril (usually storms). Burning a few leaves of the olive branch you brought home from Palm Sunday was (is still?) believed to ward off the danger.
Not wishing to spoil the party, I think it’s not a bad idea to acknowledge at least briefly that the day was fixed to express gratitude (or desire) for heavenly intervention in matters of life and death, and not primarily so we could buy balloons of Nemo and Spiderman and eat cotton candy and slabs of deep-fried dough slathered with chocolate.
The weather was perfect, by which I mean cold, raw, damp, foggy, and breezy. I’ve been to the basilica of the Salute to offer my candle on days when it was sunny and the temperature in the sixties, and I can tell you that it just feels wrong. This isn’t a happy holiday, it’s a solemn, penitential, I-really-mean-this kind of day, even though there are plenty of balloons and highly sugared and fat-laden treats being sold from stalls behind the church. It’s probably years before Venetian kids grasp the fact that the day isn’t dedicated to Our Lady of Fat and Sugar. Amazing, now that I think of it, that she should be honored as the guardian of health with this payload of calories. They ought to depict her — no disrespect intended — holding an insulin syringe.
Back to the weather: The worse it is, the happier are the Ladies who Mink. I’ve remarked before that this city is an unrepentant recidivist on the animal-skin subject. (I don’t count shearling in this category.) One winter evening I counted 11 mink coats on the vaporetto going home. Someone I know told me about a little old lady on the Lido who was packing her steamer trunks for a holiday in the Dolomites with four peltish coats. This was the minimum a woman could rationally consider bringing; no telling what your friends would think if they should see you in the same old fur, day after day.
Therefore Lino refers to this legendary day as the feast of Our Lady of the Fur Coat. And laughs on the rare days when it turns out to be, as I mentioned, sunny and warm, because wearing their fur coat to the basilica is more important to these ladies than offering a candle for their husband, or maybe even for themselves. We enjoy imagining them hanging tough in the heat, wrapped in mink, wearing terrycloth headbands, like sweating tennis players.
Yesterday, though, I only saw one fur-like garment, and I am dead certain it was fake. This does not bode well, but I’m not sure for what.
You bring your candle into the basilica and eventually decide to join the crowd that clusters near the few points where volunteers are feverishly lighting and installing them in the racks.
It's rare to see someone with this many candles, this big. I can only hope she was offering them in thanksgiving, and not with pleas for intervention.
Sometimes the children get to hold the candles.
It's hard work to take people's candles, light them and install them. Because you also have to remove somebody else's flaming candle first. These young men spend the day covered with wax drippings.
A few of the classic thank-offerings for answered prayers are displayed on the wall near the high altar. When I came to Venice, the walls were covered with these tokens of gratitude, representing true healings, something much bigger than even a very big candle. I wonder where they went, and why.
The street behind the church is just as crowded, but a lot more cheerful. Finally the kids get to gorge.
This is just one small part of the panoply. Lino remembers when only Venetian frittelle were sold, at stalls in front of the church. Now, with a minor exception, it's all sweets from Sicily.
The balloons have all gone Hollywood and evidently Geppetto is moonlighting.
Kids with candles, grown-ups with cotton candy. It's great.
