The Battle of Lepanto: our contribution

A detail from one of innumerable paintings of the battle, giving clear information on the geography.  To the right (east) the narrow entrance to what is here called the Golfo di Lepanto (now the Gulf of Corinth); to the west is a scattering of Ionian islands, primariy Kefalonia and Ithaki.
A detail from one of innumerable paintings of the battle; in contrast to the artistic hyperbole of many renditions, this gives clear information on the geography. To the right (east) is the narrow entrance to what is here called the Golfo di Lepanto (now the Gulf of Corinth); to the west is a scattering of Ionian islands, primarily Kefalonia and Ithaki.
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Nafpaktos on a modern map.

We’re back from our excellent adventure in Greece, and to tell the story in even its most rudimentary form will require a little time and a certain amount of context.   I’ll try to keep the pace brisk, but we’ve got a lot of ground to cover.   Stragglers will be shot.   Deserters also.  

Practically every town and village in Greece has its special annual event, but there aren’t many anywhere whose local festa commemorates an event crucial to the history of Europe and, I think one may say, the world.

In the gondolone outside the entrance to the harbor at Nafpaktos, your correspondent rowing on the stern.  Behind us, the entrance to the now-tiny fortified harbor, backed by the four-walled Venetian fortress.
In the gondolone outside the entrance to the harbor at Nafpaktos, your correspondent rowing on the stern. Behind us, the entrance to the now-tiny fortified harbor, backed by the four-walled Venetian fortress.

We went, eight of us with the faithful gondolone “San Marco,” to a town called Nafpaktos  (NAHF-pak-tos), just inland from Patras on the west coast of Greece, to participate  in the annual spectacle which commemorates the victory of the Battle of Lepanto.      The Venetians modified the town’s other name, Epaktos, into Lepanto (LEH-pan-to), and this is the name by which the epic naval battle of October 7, 1571 has gone into the annals.    Nafpaktos means “place where ships are built,” but judging by its history — eight battles over two millennia — it more likely means “place where ships are blasted to flinders and their crews killed and maimed.”

The territory of the Ottoman Empire at its maximum moment.
The territory of the Ottoman Empire at its maximum moment.

This clash was arguably the most important sea battle to be fought in the 900 years separating the one at Actium and Trafalgar.   Why do we say this?   Not only on the basis of the numbers involved, but because the battle put an end, once and for all, to the efforts of the Ottoman Turks to conquer the Adriatic and thus open the way for their further expansion into Europe.   If the coalition fleet, powerfully bolstered by the Venetian contingent, had lost, Europe would soon have had many more mosques than churches.   To put it tactfully.

Let me pause to say to any Turkish partisans out there  that I adore Turkey and admire large chunks of its history and culture and would willingly go there at any time for any reason.   But when an empire wants to grow — which is a given, considering that once you start an empire, it’s kind of hard to stop until somebody stops it for you– some hideous things can happen.   I believe we can all agree on that.

The walled harbor of Nafpaktos, clearly much smaller today than in 1571, though the Turkish fleet never completely fit inside.  The two massive fortresses which they built on each bank of the Gulf of Corinth made the region safe enough for them.
The walled harbor of Nafpaktos, clearly much smaller today than in 1571, though the Turkish fleet never completely fit inside. The two massive fortresses which the Ottomans built on each bank of the entrance to the Gulf of Corinth made the region safe enough for them.

The backstory:    Turks and Venetians had been fighting and making up for centuries by the time the fateful year of 1571 arrived.    But the situation had become increasingly desperate, as one after another the  Ottoman forces  conquered many of Venice’s prize possessions in the eastern Mediterranean and moved ever deeper into the Balkans.    Then came  the appalling siege of Famagosta in Cyprus, which  dragged on for ten months between 1570 and 1571, thanks to the bulldog resistance of commander  Marcantonio Bragadin who had absolutely no hope of reinforcements.   On July 31, 1571, not only was he was finally forced to capitulate, he  was then  flayed alive and his skin stuffed with straw to make a sort of effigy which was paraded through town on a donkey before being sent as a victory trophy to Sultan Selim II.   The humiliation, rage and grief of the Venetians  pushed them to the head of the line when the chance for revenge came just two months later at Lepanto.

That, and the fact that there had already been not one, but two, battles at Lepanto (1499 and 1500) with the same cast of characters and plot line, both of which Venice had lost.    If history is geography, Lepanto is clearly on one of those  strategic power points.

One of countless renderings of the battle as depicted by the victors.
One of countless renderings of the battle as depicted by the victors.

The combatants: The Ottoman fleet, obviously, on the one hand.   On the other was  the combined forces of The Holy League, organized by Pope Pius V and comprising ships from Spain, Genoa,  the  Order of St. Stephen (Pisa), assorted towns of Dalmatia, the Knights of Malta, the Papal States, a healthy assortment of Italian noble ruling families (de’ Medici, Gonzaga, Este, Farnese, della Rovere),    the dukes of Savoy and of Tuscany and, of course, Venice.   The commander in chief was Don John of Austria, who despite being only 25 years old  showed himself  to be a brilliant tactician.   The Venetians, who supplied a good half of all the ships involved,  were led by Sebastiano Venier.

The position of the two fleets at the beginning of the battle.  The Christian forces are to the left (west), with their largest, cannon-laden ships in the center.
The position of the two fleets at the beginning of the battle. The Christian forces are to the left (west), with their six huge, cannon-laden galleasses in the center. Armed with dramatically more accurate guns than the Turks -- weapons designed by an Armenian engineer, Antonio Surian, in the Venice Arsenal -- the Venetians quickly disabled or damaged many of the enemy vessels virtually at the outset.

The two fleets engaged at 10:30 AM on October 7, in the waters outside the entrance to what is now called the Gulf of Corinth.   The area was near a scattering of islets known as the Curzolari; for this reason the battle is also occasionally (pedantically) referred to as the Battle of the Curzolari.

The numbers involved vary so widely among the many accounts that I’ll just give them all and let you pick the ones you like best.

 The League had 284 ships (or 195, or 300) of varying types — half of which were supplied by Venice —  carrying  1,185 guns, 12,920 sailors, 43,000 rowers and 28,000 soldiers.    The Ottomans had 277 ships but carried only 750 guns and 25,000 soldiers, including 12-15,000 Greeks taken prisoner for this purpose and  2,500 janissaries, the only troops equal to the Spanish infantry.

A contingent from Spelonga joined in, with a replica of the Turkish  battle flag which one of their ancestors brought home from the battle.  The original doesn't travel.
A contingent from Spelonga joined in, with a replica of the Turkish battle flag which one of their ancestors brought home from the battle. The original doesn't travel.

Approximate casualties:   Whatever the true totals, the difference between the two sides is obvious.

The Holy League: 7,500 (or 9,000, 12,000, or 15,000) men, 12 (or 15)  ships sunk and one captured.  

 The Ottomans: 30,000 (or 20,000) men, 8,000 taken prisoner,  113 ships sunk and 117 captured, some of which were in good enough condition to be used by the victors.   The only prize the Turks snagged was one Venetian galley.

I’ll pause for a second to attempt to imagine what 45,000 casualties look like, especially when they all die in the space of five hours.   The attempt has failed.   Let’s go on.

The victory monument atop the entrance to the Arsenal in Venice.  The inscription reads VICTORIAE NAVALIS MONUMENTUM MDLXXI.  No further details needed.
The victory monument atop the entrance to the Arsenal in Venice. The inscription reads VICTORIAE NAVALIS MONUMENTUM MDLXXI. No further details needed.

Meanwhile, at Venice, the campanile of San Marco was being manned continually by lookouts awaiting some sign of the battle’s outcome.      The Venetians sent word by their fastest galley, the Angelo, which entered the lagoon ten days later, on October 18.   The instant that  the lookout could  make out that  the ship  was  draped with Turkish flags, he    cried “Victory!”  

Every bell in the city began to ring.   Total strangers kissed each other in the streets.   Shops closed in celebration, some owners slapping signs on the doors saying  “Closed due to the death of the Turks.”   The debtors’ prison was emptied.   Permission to wear masks was given.   And so on and on.   A triumphal arch was constructed over the entrance to the Arsenal,   and every year on October 7 (feast-day of Santa Giustina), from 1572 till the fall of the Republic in 1797, the Doge and the government  would go in procession to the church of Santa Giustina, where the captured Turkish standards were brought out for all to see.

The statue of Miguel Cervantes within the fort was given by the Spanish government.  A wreath is usually placed at his feet, as well as at the memorial plaque on the nearby wall.
The statue of Miguel Cervantes within the harbor walls was given by the Spanish government. In addition to the wreaths tossed into the water, one is usually placed at his feet, as well as at the memorial plaque on the nearby wall.

Another trophy — if one can call it that — of the war was Miguel Cervantes’s left hand.   He fought at Lepanto aboard the ship Marquesa, and  when another writer later derided him as being “old and one-handed,” he replied: “What I cannot help taking amiss is that he charges me with being old and one-handed, as if it had been in my power to keep time from passing over me, or as if the loss of my hand had been brought about in some tavern, and not on the grandest occasion the past or present has seen, or the future can hope to see.   If my wounds have no beauty in the beholder’s eye, they are, at least, honourable in the estimation of those who know where they were received….”

So who were the real victors?   Morale soared  on the European side: It had finally been shown that the Ottomans could be defeated, something which after about 100 years had begun to appear unlikely.   On the other hand, Venice never got Cyprus back.   And although it was wonderful that they had destroyed the Turkish navy, it was back to its previous strength within a year.    

“I would have you know the difference between your loss and ours,” the Grand Vizier Sokullu Mehmet Pasha told the Venetian emissary.   “In wresting Cyprus from you, we deprived you of an arm; in defeating our fleet, you have only shaved our beard.   An arm when cut off cannot grow again, but a shorn beard will grow all the better for the razor.”

All true.   But the Ottomans never succeeded in conquering the Adriatic, which would have jammed the door open  to many unhappy events.   I consider that to be  the verdict on Lepanto, and so did most of the delirious victors.

Let’s  move up to last week.   For the third year in a row, we were invited to participate in an hour-long show broadcast live on Greek television commemorating this event.   Obviously nothing anyone can do today could match the event itself, so it came down to a kind of audio-visual  creation heavy on symbolism (I think that’s what it was) and mood.   And fireworks.   You can never go wrong there.

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The acrobat rehearsing, suspended over our boat.

Our assignment was to row around the tiny fortified  harbor, providing a Venetian/nautical tinge  while all sorts of things were happening around us: Strobe lights and projections on the stone walls  enclosing the port, acrobats climbing long strips of fabric and creating dramatic human shadows that moved sort of like combatants, a procession of costumed Venetians from C.E.R.S., flames shooting from the battlements, as well as from a Croatian  two-masted ship which also poured  white fireworks into the sea, and finally, an acrobat in a white bodysuit suspended over the water who danced to a melancholy song which even though it was in Italian, I couldn’t understand.    (Our material contribution was to carry the girl and her assistant to and from the point of performance.)  Coming at the end, her silent contortions gave an elegiac quality to the event, which was  almost immediately canceled out by the fireworks that followed.  

The icon, now considered miraculous, of the Madonna of Nafpaktos, to which the Greeks prayed before and during the battle.
The icon, now considered miraculous, of the Madonna of Nafpaktos, to which the Greeks prayed before and during the battle.

Entertaining as this was (and I have to say that the editions of 2008 and 2007 were much more elaborate and imaginative — evidently the economic crisis has bitten deep  into the budget here), for me  the much more important and moving ceremony occurred the following morning.

After a long commemorative Orthodox mass in the cathedral, a procession  formed to march to the harbor: An armed honor guard and military   band, a few bishops and other clergy and a large icon of the Madonna (who is credited, much more than Santa Giustina, for the victory), the mayor and city councilors, and representatives from most of the nations which contributed to the battle.

After a short speech by the mayor, and a series of prayers by the bishop, a moment of silence was called.   I know this because suddenly a silence fell on the harbor and everyone in it which was something exceptional.   This silence wasn’t just the absence  of noise, it was as if the world had literally stopped.    Whether you wanted to or not, your thoughts (mine, I mean) had to go straight to the battle and especially its victims, among whom I willingly  remember the Turks, who naturally did not send a representative even though their troops were just as dead as ours.

The representative of Venice offers the city's wreath.
The representative of Venice offers the city's wreath.

Then each  nation’s official took a laurel wreath — I counted  ten — and one by one, tossed it into the water.   Last year this segment was enriched by a cannon blast before each one and the playing of that country’s national anthem by the military band, which I found tremendously affecting.   This year, no cannon, and evidently not only money but even time was in short supply  because after this brisk sequence the ceremony closed with only one piece of music, the Greek national anthem.   We, as always, raised our oars in acknowledgment of the  prayers and the anthem.

I’m not going to risk attempting to close with some profound summary.   All you have to do is consider even the barest outlines of the conflict and then, as Job admonished his    friends, “Be astonished, and lay your hand upon your mouth.”

This modest palazzo in Campo Santa Maria Formosa in Venice was the house of Sebastiano Venier, commander of the Venetian fleet.
This modest palazzo in Campo Santa Maria Formosa in Venice was the house of Sebastiano Venier, commander of the Venetian fleet. He was unanimously elected doge several years later, in 1577, at the age of 81.

 

The plaque reads: "Questa e' la casa di Sebastiano Venier Vincitore di Lepanto.  La Marina Militare Italiana nel IV Centenario della Battaglie 7 ottobre 1971 pose."  ("This is the house of Sebastiano Venier Victor of Lepanto.  The Italian Navy placed this on the 400th anniversary of the battle 7 october 1971.")
The plaque on the facade reads: "Questa e' la casa di Sebastiano Venier Vincitore di Lepanto. La Marina Militare Italiana nel IV Centenario della Battaglia 7 ottobre 1971 pose." ("This is the house of Sebastiano Venier Victor of Lepanto. The Italian Navy placed this on the 400th anniversary of the battle 7 october 1971.")
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Service Announcement: Off to Greece

I regret the recent interval of silence –now we’re on the road again.   For the third year in a row, we are going to Lepanto (Nafpaktos) Greece, to participate in a spectacle commemorating the victory of the Battle of Lepanto (October 7, 1571 — I remember it as if it were yesterday…).

I’ll be back in a week, full of anecdotes and photos, one hopes not too out of focus.   The anecdotes, I mean.

Let me wish myself bon voyage: kalo taxidi!

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Dalmatians do Trieste

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The green line shows the border of Dalmatia in the time of Diocletian; the line in fuchsia show the historical/cultural area of Dalmatia; the yellow line indicates its "physical/geographical" boundary.

As I understand it,  Dalmatia no longer exists as an entity under that name (though the dogs haven’t had to change their passports to read “Croatian”).   But there are still many Italian-speaking people in the world who refer to themselves as “Dalmati” (DAL-mah-tee.)   The reason for this is pretty complex, but I’ll give you the basic outline here.

Venice dominated most of the eastern coast of the Adriatic for about eight centuries.   After the fall of the Venetian Republic in 1797, Dalmatia was subject to a succession of landlords,  and  by December, 1944, all of what had been  termed Dalmatia ever since it was a Roman province was under the control of Tito.   The struggle between Tito’s Communist/Slavic partisans and the Italians living in an area carved out as the Governate of Dalmatia, combined with the actions of the Italian army in the region, led to a  program of reprisals by the Communists against the Dalmatian-Italians which  was indistinguishable from  ethnic cleansing.   Most of the Italians who survived, fled by any conceivable means — some 350,000 of them — many  to Italy, but  not only.

(Let me note that the Dalmatian  identity still exists for some  ethnic Croats as a way of distinguishing themselves from other Croats for several reasons,  and also because they have a distinct cultural identity that is the result of the Italian contact as opposed to the Austro-Hungarian contact in the northeast.)  

A545px-Blason_Dalmatie_svgnd so  a group was formed, the Association of the Dalmatians in the World, under the flag of Dalmatia, language, and unfathomable store of historic culture and personal memories.  (This is one of some 30 Dalmatian heritage/cultural/ political groups in Italy alone).      This group has a huge reunion every year, and this year it was held at Trieste  from September 14-20, AND, the faithful gondolone of  our  rowing club, the Canottieri Diadora, was invited to participate in the festivities.   So off we all went to Trieste for a beautiful weekend which involved listening to speeches, a concert (did you know that Franz von Suppe’ was Dalmatian?   Remember that the next time you hear “The Light Cavalry Overture”), eating, drinking, some walking around, and about a half-hour of rowing.   It was great.

Were we invited  because we — by which I mean mainly the “San Marco,” our 8-oar gondola — are so amazingly beautiful?   But naturally, mon capitaine.   But our beauty in the eyes of the Dalmati  consisted primarily in the fact that we were already linked with them in history and in name.  

The gate to the old city of Zara (Zadar) bears the winged lion of San Marco, relic of the Venetian domination of the city.
The gate to the old city of Zara (Zadar) bears the winged lion of San Marco, relic of the Venetian domination of the city.

Our club, the Circolo Canottieri Diadora, was founded in 1898 in Zara (now Zadar, Croatia),  and after the appalling events alluded to above the club essentially disappeared.   But a number of “exiles,” as they sometimes term themselves,  decided to re-establish the club in 1962 on the Lido in Venice.  (One of our more senior members was born in Fiume, now Rijeka, Croatia.)

Designer Ottavio Missoni (second from right), joins the crew for a group portrait.  He was born in Dubrovnik, then known by its Latin name of Ragusa.
Designer Ottavio Missoni (second from right, just under the "O"), joins the crew for a group portrait. He was born in Dubrovnik, then known by its Latin name of Ragusa.

Trivia du jour: One of our honorary members is fashion designer Ottavio Missoni, born in Dubrovnik.   True fact.    

So  at 11:30 on Sunday morning, we rowed in a stately way across the Bacino of San Giusto on the waterfront of  Trieste, heading toward the waterfront where a crowd had gathered and a band was playing  famous Triestine songs, such as “The Bell of San Giusto.”  

Seated in the bow of the gondolone was Franco Luxardo, president of the association and also “Mayor of Zara in Exile,” and Carlo Zohar, one of the men who re-established the Diadora in 1962.  

When we reached the embankment, we performed the traditional oar-raising salute, the alzaremi, and they went ashore.     Our two guests of honor were beside themselves; in fact,  many people were deeply moved.   We had been billed as the “gondolone from Zara,” but that was a bit of poetic license — actually,  it would have been excellent to have arrived by sea, rowing from Zara.   It wouldn’t have been that much of a big deal — it’s 205 kilometers, and we can make around 9 km/h, so that would be….22 hours.   I think we should have done it.  

(Left to right): Franco Luxardo, Carlo Zohar, Flavia Antonini, Matteo Paganini, Marco Monetti, Elisa Facciotti, Giovanni Annese, Roberto Buccianti, Erla Zwingle, Lino Farnea.  Evviva la Dalmazia!
(Left to right): Franco Luxardo (waving a small Dalmatian flag), Carlo Zohar, Flavia Antonini, Matteo Paganini, Marco Monetti, Elisa Facciotti, Giovanni Annese, Roberto Buccianti, Erla Zwingle, Lino Farnea. Evviva la Dalmazia! (Photo by Paola Vianello.)
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Regata Storica, my version

My earlier post about Race Day as a whole didn’t say anything about what  I was doing while the world was ending for some of the racers.  

I can tell you what I wasn’t doing: Screaming my lungs out for the Vignottini, which would have been ridiculous considering that they were already five car-lengths in the lead.   No danger of anything rear-ending them last Sunday if they’d come to a sudden stop.   I felt cheated, somehow.   I fully intended to be screaming.    Never mind.  Life will probably provide another opportunity for screamage.

What the Storica means for us at the club — and it’s more or less like this every year except this year it was even better than usual —  is the following:

Saturday morning: Whoever is free comes to titivate their boat.   There was a small chain gang working on the caorlina, and an even smaller one (including me) working on the gondolone.   We had to sandpaper and  polish all the brass, including the big ornamental ferri of the prow and the bow.   Lino and Lucio worked at nailing and screwing down  various bits that had gone adrift over the months, and then there was varnishing the whole thing.   She is now a dazzling vision of delight, and will remain so for, oh, maybe a month.   It depends on the weather how fast the brass will lose its luster.

Our caorlina heading toward Venice, off to the races.
Our caorlina heading toward Venice, off to the races.

At 2:00 we dressed in our club best — blue and white tank top and white skirt (women), white pants for the men.   Lino was dressed in his judge’s outfit, as he was on duty for two of the four races.  

We rowed across the lagoon with some breeze but not too much.   We crossed the Bacino of San Marco (waves, as always, but not as bad as usual because the traffic is limited this afternoon) and dropped Lino near San Marco, where he went to join the rest of his merry band of judges at the Tourism Office (regata division).

We rowed around the Bacino for a little while until it was time for the corteo, or boat procession, to form up.   There is no real Italian way to express the concept of “forming up,” as the concept doesn’t exist.   I’m not sure there is even anything close that you could compare it to, in order to explain to someone here what it might involve, or why it might matter.   They’d just give you that “Well you’re perfectly welcome to try it if you want to but don’t get me involved” look.

Boats milling around waiting for the corteo to start.
Boats milling around waiting for the corteo to start.

Each boat has a number on its bow which indicates its order in the lineup.   The number’s only discernible use is to help the speaker on the reviewing stand (the “Machina,” MAH-keen-ah) to identify the particular organization the boat belongs to as it drifts past.   That part actually works pretty well.

We had number 11 and were probably two-thirds of the way back when the thing got going.       You ask why we were so far back?   Because the corteo wranglers had given absolutely no signal of any kind to indicate the imminent departure of said corteo.   Evidently order isn’t foremost on their list of concerns either.

So we rowed in a slow and stately way up the Grand Canal (sometimes I surprise myself, at how normal doing something like that has come to be — then I suddenly snap to and think, Holy Crap!   This is incredible!).   The first regatas that might correspond somewhat to the current “regata storica” were arguably the series of races organized in January 1315  by doge Giovanni Soranzo.  (In the 19th century it was called  the “regata reale,” or royal regata).     The corteo was added to the program much, much  later, to evoke the arrival in Venice in 1489  of Caterina  Cornaro, a Venetian  noblewoman who was briefly also queen of Cyprus.     It’s as good an excuse as any  to add just that much more glamour — or glitter or marabou or whatever looks good — to the event.  

A homemade version of the alzaremi -- the crews are giving the traditional raised-oar salute in response to the blessing of their caorlinas before a race in December.
A homemade version of the alzaremi -- the crews are giving the traditional raised-oar salute in response to the blessing of their caorlinas before a race in December.

At certain points along the route we perform an alzaremi, or oar-raising, the classic Venetian waterborne ceremonial salute which looks thrilling.   Too bad it’s been done to death by now.   Lino thinks it should be limited to very few and very important moments, and I agree.   But on this occasion, there are clumps of people all along the way who yell “alzaremi” at every boat just so they can snap a picture.   It’s just one of the many, many ways in which a person here begins to be made to feel like a walk-on in somebody else’s entertainment.  

But the sun is shining, there is music playing over lots of loudspeakers, people are leaning out of palace windows everywhere taking it all in, and it’s all just too splendid for words.

Then we turn around — I remember when we used to go as far as the train station, but every year people tend to break ranks and turn around sooner.   There are some reasons for this, one of which, I think, has to do with resisting the idea of being compelled to perform for other people’s entertainment.   That’s my theory.   At least I resist that idea.  

So we find a good place to park, as close to the finish line near the San Toma’ vaporetto stop as we can manage (on the shady, not the sunny side), and we tie up the boat.   We pull out the vittles — cookies, tiny pizzas, peanuts, squares of homemade cake, fruit, etc. — and beverages, which are wine, water, and fruit juice.   Very important, beverages.   The heat can trick you and the one thing you don’t want to be in a boat is thirsty.

There’s another thing you don’t want to be in a boat, and we bring a small bucket for that. Nobody has ever had to use it.  

This event  used to have a dramatically different aspect.     For decades, Lino would  come early in the afternoon in his own little boat — as most people did — find a good place to tie up, and then eat and drink all afternoon, sharing with his neighbors, clambering over boats to go visit friends, and so on —  much like the Redentore, but with races instead of fireworks.

In those days, the corteo consisted only of the bissone, or fancy ceremonial barges, and a long procession of black gondolas carrying every authority figure within reach — mayor, councilors, presidents of things, even the President of Italy on occasion.   Then came the  year when the Italian Prime Minister, Amintore Fanfani, had the misfortune of being rowed up the Grand Canal to the jeering shouts of a doggerel rhyme that works very well in Venetian (Fanfani!   Fanfani!   Ti ga i morti cani!).   This is one of the absolutely worst insults in the Venetian universe and it basically means that your deceased relatives are dogs.   I don’t think you have to speak Venetian to understand that it’s not your day.

This happened about 1976, as Lino recalls.   Not long thereafter, the political party in power shifted to the Communist party and that sort of thing wasn’t tolerated at all.   To make sure it didn’t happen by mistake, they just stopped sending their authority figures.

At the same time, after the first Vogalonga in 1975, there was a  boom in new boat clubs, so the corteo began to be generally populated by boats like ours. civilians from rowing clubs who may also be tempted to shout rude things at each other, but it doesn’t make any difference when they do it.   Since I’ve been here I’ve never seen a gondola with an official or notable  aboard — just tourists, or paid costumed walk-ons.

Furthermore, for most of the “Storica”‘s history there was only one race: The gondolini.   The races for women, boys, and men on the caorlinas were added gradually over the same mid-Seventies period.   If you had to do triage and get rid of any races, I can tell you the only one they’d try to save would be the gondolini.   Although the other ones are very nice.

The boys on a boat called a pupparino are nearing the line.
The boys on a boat called a pupparino are nearing the line.

 

 

 

 

 

 

 

 

 

 

 

The red caorlina in the home stretch, ready for the red pennant for first place.  The man rowing astern piloted me and three others on a small sandolo in my first Venetian race.  We also won.
The red caorlina in the home stretch, ready for the red pennant for first place. The man rowing astern piloted me and three others on a small sandolo in my first Venetian race. We also won.

The most serious change in the past 20, or even 15, years is the steady decline in spectator boats.   As I mentioned, Lino could climb over boats from hither to farther than yon all afternoon, but each year fewer Venetians come in boats to witness   what was once one of their central events of the year.    Even I have noticed the diminution of number of boats watching.   There are many reasons for this but one of the primary ones is that the regata, on the whole, has been reshaped for tourists, either on land or watching TV, and therefore (for reasons I’ll spare you) it’s less interesting to be a participant.   And the increase in motorboats has fatally  weakened what was once a common language and connection with boats that are rowed.  

This is one view of how the Grand Canal used to look when there was a regata, seen in an undated archival photograph.
This is one view of how the Grand Canal used to look when there was a regata, seen in an undated archival photograph.

From being a crucial element of daily life for everyone, rowing has become a sort of boutique activity whose appeal is probably stronger as a picturesque curiosity to non-Venetians than to most locals, especially the younger ones.  

Back to us.   So we spend the afternoon hanging around watching the races and screaming if we should feel the need to for whoever our favorite racer(s) might be — and there have been times I have screamed so hard that I probably blew out some synapses, mine as well as the people nearest to me.   I know the racers can’t hear me, but I also know they would notice if my voice weren’t in there somewhere.   I know this.   It’s a mystic racing thing.

As soon as the gondolini have crossed the finish line, everybody starts to leave.   Instantly.  Imagine everybody after the game trying to get out of the stadium parking lot at the same time.   Lots of motors (not everybody who comes  rows here  anymore, unfortunately), and lots of motor-revving and choking  exhaust fumes from these lovers of the oar.

Our trusty caorlina pulls over for some refreshments.
Our trusty caorlina pulls over for some refreshments.

Now comes almost the best part of all, which is the row back to the club.   This takes about an hour because we’re not in a hurry; the sun is setting — it’s after 7:00 PM now — and the lagoon is calm and everyone is feeling happy and relaxed and it’s just one of the loveliest rowing interludes in the entire year.  

We always stop, not far from the club, to open a bottle of wine (okay, two) and just sit and savor the moment out in the water all by ourselves.   This year it was even sweeter than usual.   The caorlina was  not far behind us, and so we waited and then we tied the two boats together and just let the day and the moment and the sunset and the calm seep all the way through us.  

Flavia and Roberto absorbing the sunset.
Flavia and Roberto absorbing the sunset.

 

 

 

 

 

 

 

 

 

 

 

Lucio, Renato and Marco.  Happy.
Lucio, Renato and Marco. Happy.

 

 

 

 

 

 

 

 

 

 

The moon, enormous and shining and orange, rose slowly above the treetops on the Lido.   It was so beautiful it verged on the preposterous; Italians say that something like this, the final perfect  touch, is the “cherry on the cake.”    It was actually the moon on the cake.   I’m sticking with that, at least I know what I mean.  

The corteo is very nice, of course.   But it’s something thousands of people (80,000 this year, by police estimates) can see,  and anything that imitates something that once was genuine can hardly compare with something that is completely genuine right now.   The corteo was a sort of imitation, but this was really ours.  There were very, very few people who saw the lagoon as we did in the twilight with evening breath drifting around us and the moon’s radiance blooming out of the sky.    

It all belonged to us  and it needed no spectators or commentators.   What a beautiful thing that is in this world, and how rare.

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