History | Venice: I am not making this up

recycling the cinema, part 1

January 31, 2017 12 Comments

The former Teatro Italia, in all its glory, majestically surveying the Campiello de l’Anconeta on the Strada Nova.

A ridiculous amount of movies has been made in Venice over the last 100 years or so — Wikipedia lists 114, but that is a paltry and inaccurate number because the list omits many films, as well as the many films that have been made here in languages other than English.

For example, there is “Viaggi di Nozze” (“Honeymoons”) starring Carlo Verdone in which he plays an insufferable doctor who takes his bride to Venice on their honeymoon, but by the time they arrive in their suite at the Danieli Hotel he has become so unbearable that she throws herself out the window just to get the hell away from him. There is the fabulous “Vacanze Intelligenti” (“Intelligent Vacations”) with Alberto Sordi, in which he and his fruit-selling Roman wife end up at the Biennale in the summer heat and she, exhausted, collapses under a tree and is mistaken by the public for a work of art. There is also “Les Enfants du Siecle,” a French film about George Sand and Chopin in which Lino repeatedly rowed an old boat loaded with oranges past the facade of Palazzo Pisani-Moretta. These are just random examples, but you see that the list could go on and on into German and Spanish and probably Russian and, for all I know, Tongan.

But while we’re all accustomed to Venice being the star of innumerable movies, you may never have asked yourself if anybody ever went to the movies in Venice. They did. A lot. Back before cell phones roamed the earth and everything electronic took over people’s brains, going to the movies was just as much prime entertainment here as it was in Boring, Oregon and Sweet Lips, Tennessee. Perhaps you imagined the Venetians spending their free time floating around in boats, singing folk songs, but most people were sitting in the dark watching crazy things happen on a big square of silver-coated cloth. Venice was rife with movie theatres.

I managed to see a few movies in my early days in Venice (dubbed in Italian, as is almost always the case here), before the few remaining theatres gasped their last. A few small ones are hanging on, showings listed each day in the Gazzettino. “La-La Land” is here, with subtitles in Italian. Martin Scorsese’s “Silence” is also here (or was, a few days ago), in English.

All this has come to mind because of the renovation and reopening of the Teatro Italia, shown above. Ever since I’ve been here this splendid edifice has been closed, silent and empty. But there are plenty of Venetians who have vivid memories (especially of the back rows, I’m guessing) of the decades when it reigned as a movie theatre. Now people who go there will be having vivid memories of the mortadella and the rigatoni, because it has been revived as a supermarket belonging to the Dutch supermarket chain, De Spar. To its credit, the company has retained and refurbished the frescoes (did your hometown movie theatre have FRESCOES?), adding a touch of glamour to your search for scallopine and cheap wine.

A view of the interior when it was a movie theatre.

Let me give you a glimpse of this transformed emporium of fantasy and thrill, but I’m not going to stop there. As usual, I let myself get carried away, and so in the next episode I will be conducting a tour of the movie theatres that Lino remembers from the days of yore.

The sign at the entrance advises customers that there is video surveillance, it is forbidden to smoke, and furthermore forbidden to take pictures. The first two notices are normal, but the third gives one pause. Are they concerned that people will be snapping selfies by the salame?

If you thought the exterior was amazing, just take a look at the entrance. As you see, I snapped some pictures before the guard politely told me that he would permit me to do this, so technically I wasn’t breaking the law.

Do not omit to admire the frieze as you wander into the store.

The space where the screen loomed has now been frescoed over. Pay no attention to that man behind the fresco…

Make sure you’ve written down your shopping list, because you’re never going to remember everything you need in this dazzling environment.

Laurel wreaths, or bunches of grapevines, or whatever the roughage is, looks wonderful on somebody’s head. Above the soft drinks.

This, not so much. Sketchy for a theatre and even more so above Aisle 3.

The balcony AND the projection room. Extremely cool.

What is so fabulous isn’t that there’s a supermarket that looks like this (though of course that’s great) — it’s that there was a theatre that looked like this. I’d have gone and not even bothered to watch the movie.

History

September 8, 1943

September 8, 2016 3 Comments

This is a date which has sunk somewhere below the waterline of general knowledge, but in Italy it still carries serious significance. By which I don’t imply that people commemorate it or talk about it, but it remains one of those watershed dates in European/national/sometimes individual history.

I bring it up — today being September 8 — not to indulge in a monologue about politics and World War II, but because Lino’s father was briefly and importantly involved.

The barest outline is this, with apologies to true experts and connoisseurs of all the fine points: Italy and Germany were allies at the outbreak of the war. The war was going very badly for Italy because it had begun to go badly for Hitler, so Hitler essentially abandoned his Italian so-called friends. Abandoned (as noted), the Italian government decided to forego large amounts of futile bloodshed, and asked the Allies (more particularly General Eisenhower) for an armistice. One of the conditions of this surrender was that the Americans would land on the Italian mainland. It was an excellent plan; the armistice, known as the Armistice of Cassabile, was duly signed on September 8, 1943. All this was kept as secret as possible for reasons which even I can grasp.

Except that secrets are tricky. The change of label from “enemy” to “friend” or vice versa worked fine on paper, but nobody told the army this was going to happen. Came the dawn on September 9, and the troops didn’t know who they were supposed to be fighting anymore. Even their generals, who were similarly blindsided, basically told their men “Do what you want, we have no idea what’s going on.” So the armed forces disbanded, just like that, every man for himself. Most just ran away somewhere (not to be confused with “running away”); many headed for home, a good number struck out for the mountains to hide and become guerrilla partisans. Not everybody made it, however.

The Germans saw the Italians as traitors, i.e. adversaries, and proceeded to occupy the peninsula, up to and including Venice. And here, as elsewhere in Italy, the Germans began to round up all the Italian soldiers they could find to cart them away to Germany as prisoners. Ships were engaged to hold the growing collection as the Germans went up and down the Adriatic coast seeking Italian deserters. Some of those ships were in Venice.

Therefore, one day in this turbulent and panicky period, a ship was moving along the Giudecca Canal, sailing away with its load of Italian troops, destination: Depths of Hell. Some of the prisoners decided to risk an escape, and jumped overboard. And that day Lino’s father was rowing back home from an interlude of fishing (there were ten mouths at home to feed), and was crossing the Giudecca Canal when he saw one man hit the water.

Lino’s father rowed over (I don’t know how far he had to go), pulled the man into his boat and threw a spare jacket on him as a makeshift disguise. He rowed the man home and hustled him upstairs. His name was Mario Dossi, and he was from Naples. Lino says they used to have a photo of him standing with Lino’s brother, Puccio, on the Ponte della Paglia near the Piazza San Marco.

But the apartment was small (Lino’s sister still lives there, and it’s perfectly fine for one person. But not for ten — or rather, eleven.) Some ladies down the street took Mario in, and there the story ends.

Except that it’s a happy ending, because some time after the war, one of Lino’s sister’s boyfriends was in Naples, and looked Mario up. So he was fine.

A substantial number of films, some of them famous classics, deal with the war and Italy after the fateful September 8. Their common theme is brutality, as you might expect. I’ve seen Spike Lee’s “Miracle at Sant’Anna” (one of many massacres committed as reprisals). “Captain Corelli’s Mandolin” follows the same thread of warfare between the Italians and Germans after September 8 in Greece. In my opinion, two films on this theme that belong in the pantheon of great cinema, however, are “Everybody Go Home” with Alberto Sordi (“Tutti a Casa”), and “The Two Marshals” with Vittorio de Sica and Toto’ (“I Due Marescialli”), if for nothing else than the divine scene of the German colonel and the unidentifiable fart.

If you can see those movies, you’ll be glad. Just remember that there wasn’t anything funny about September 8. But be glad for Mario Dossi.

Pomegranates begin to ripen here in September. I wonder if anybody noticed.

History

Crumbling and fading away, Part 2

April 21, 2016 4 Comments

As we were wandering around the Rialto area examining Fascist mottoes, we also discovered an astonishing assortment of signs, symbols, inscriptions, and other indications of life from the past that are just sitting out there in the rain and wind deteriorating with nary a squeak from themselves, much less anybody else.

Here are some of the things we found. (Well — “found” isn’t quite right. They were hardly lost. But they do seem to be in the process of becoming lost.) I’m not saying we’re the only people who have ever noticed these, so no prizes or props to us. But it seems clear that nobody at the Superintendency of Fine Arts or Beni Culturali or any other government agency tasked with paying attention to the city’s treasures, monuments, or general aesthetic or historical elements has given them any thought whatsoever. I’m all for restoring paintings by Titian, but I’m also for respecting and even defending these literal voices which have been silenced because they’re not famous.

text of caption here — Trust me, there is indeed an inscription on this column of flaking stone. I can only decipher a few letters, but can’t manage to construct any likely phrase from them. You see? This is what happens when you just leave everything to fend for itself. I’m no expert on plexiglas, but it occurs to me that a protective covering of some sort, applied at the right time, would have been a good idea. Certainly better than the Darwinian approach we see around.

The longer I stare at this, the more I feel like I"m taking some diabolical eye examination where they flip the lenses: "Better?" "Worse?" — The longer I stare at this, the more I feel like I”‘m taking some diabolical eye examination as they flip the lenses: “Better?” “Worse?” The letters have made some infernal pact with the cracks in the surface to create more weirdness than those 3-D placemats. I have distinguished a few letters but have given up trying to turn them into words. This makes me mad.

Ah, much better, though you'll discover that understanding all the words doesn't mean that you will inevitably understand the words' significance. — Ah, much better, though you’ll discover that understanding all the words doesn’t mean that you will inevitably understand their significance. Those crisp little triangles where punctuation isn’t needed are intriguing design touches. “L’inchiostri tropo neri/O tropo bianchi/Fa i nomi eterni/E fa le anime vive.” “The inks that are too black/Or too white/Make eternal names/And make living souls.” This is on the west wall of the small street named “Naranzaria” behind the church of San Giacometto at Rialto. The wall once enclosed the Fabriche Vecie. It must be some cult thing.

Until a few years ago, the ground-floor storerooms facing Campo San Giacomo and, on the other side, the Erbaria (the open area facing the Grand Canal) were occupied by wholesale fruit and vegetable merchants. Lino remembers rowing there in his boat to buy, say,potatoes, because the price was lower than in his neighborhood.. — Until a few years ago, the ground-floor storerooms facing Campo San Giacomo and, on the other side, the Erbaria (the open area facing the Grand Canal) were occupied by wholesale fruit and vegetable merchants. Now they’ve all been turned into cunning little bars and cafes, but in Lino’s day there were still vendors here selling their produce by the crate (or whatever dimension of container). He would row there in his boat to buy, say, large amounts of potatoes, because the price was lower than in his neighborhood. Further back in time, the storerooms would have been be closed by heavy gates or doors; almost all these pillars bear the marks of thick iron hinges (as the holes above testify), and the vendor’s area distinguished by some symbol or emblem.

The proclamation on this column reads as follows (translation below by me):

TARIFFA DELLE VTILITA DEL PESADOR DE FRUTTI FRESCHI STABILITA DAL MAGISTRATO ECC. DEGLI INQUISATORI ALLE TARIFFE APPROVATA DAL CONS. ECC. DI 40 AL CRIMINAL 1726 26 MARZO OLTRE DE QUALI NON POSSANO NE PRINCIPAL NE LI SOSTITUTI TVOR (prendere) NE MANDAR COSA ALCUNA SOTTO LE PENE DELLE LEGGI PER IL PESO DI CADAUN CESTO CORBA (illegible) CASSA O ALTRO COLLO DE ERVETTA HAVER DEBBA COME SEGVE SINO A LIRE 60 DI PESO SOLDI VNO — 1 SINO AL 200 SOLDI DVE — 2 PER QVALSIVOGLIA MAGGIOR SVMMA IL PESO SOLDI QVATTRO — 4 GIOBATTA LIPPAMANO INQ FRANCESCO BATTAGGIA INQ SIMON CONTARINI INQ NICOLO MARCH (?) SEC

THE TARIFF OF THE COMMODITIES OF THE WEIGHMASTER (I invented this word; the pesador was the official weigher) OF FRESH FRUITS ESTABLISHED BY THE MOST EXCELLENT MAGISTRACY OF THE INQUISITORS OF THE TARIFFS APPROVED BY THE MOST EXCELLENT COUNCIL OF 40 OF THE CRIMINAL (the “Quarantia,” or Council of 40, was the supreme government office concerned with financial planning and the Mint; it was divided into three sections, and the “Criminal” was responsible for capital crimes and, as needed, the death penalty) 1726 26 MARCH BEYOND WHICH NEITHER PRINCIPALS OR THEIR SUBSTITUTES MAY TAKE (“tor” or “tuor” is still the common Venetian word for “take”) OR SEND ANY SORT OF THING UNDER PAIN OF THE LAWS FOR THE WEIGHT OF EACH BASKET CORBA (a corba was a long, large basket made of wicker or woven chestnut twigs, usually with handles) CHEST OR OTHER LARGE CONTAINER OF GREEN LEAFY VEGETABLES HAVING TO PAY AS FOLLOWS UP TO 60 LIRE OF WEIGHT ONE SOLDO – UP TO 200 TWO SOLDI – FOR WHATEVER AMOUNT ABOVE THAT FOUR SOLDI GIOBATTA LIPPAMANO INQUISITOR FRANCESCO BATTAGGIA INQUISITOR SIMON CONTARINI INQUISITOR NICOLO MARCH(?) SECRETARY.

I have only translated that bit about money and weight as literally as I can, but you clearly have to be in either the selling or the weighing business to be able to interpret what they mean. Please overlook this for now.

“Erbette,” literally “herbs,” refers to planty foods such as spinach, chicory, chard, etc. The indefatigable Tassini notes, in “Curiosita’ Veneziane,” that the Erbaria at Rialto was the place where such plants and fruits from the nearby islands and mainland were sold. I translate: “It existed in the 1300s, and in 1398 was paved with stone, while before it had been paved with wood. The business (“art”) of the vegetable-sellers was a ‘column’ of the Fruit-sellers guild, and in 1773 had 122 shops, 11 closed places (I am guessing those were the gated and locked storerooms), and 89 “sendings.” (Consignments?). He continues, “In 1581 this ‘art’ was allowed to have its altar in the church of SS. Filippo and Giacomo (church torn down by Napoleon) which had belonged first to the Bargemen, and also served for the use of the Linen-workers.”

The symbol of a specific vendor. — The symbol of a specific vendor, as are the following.

SAM_6129.JPG rialto inscriptions — No symbols or inscriptions here, just bits of what must have been industrial-strength gates.

History

Crumbling and fading away, Part 1

April 20, 2016 3 Comments

Shapeless -- only sort of. But hardly meaningless. — Somewhat shapeless. But hardly meaningless.

You get so accustomed to the buildings here being in various stages of decrepitude that you become rather lax in looking at them. You see, but you do not observe. The particular example that comes to mind concerns a seemingly amorphous glob of concrete or stone or something hard above the door of the building just across the street from us. I say “seemingly amorphous,” because Lino suddenly recognized its morph the other day.

“Oh look,” he said. “That was a house where a gerarch lived.” Unlike the usual formula, this was not a reference to someone from his past. But it was certainly from the past. Specifically, from the year beginning October 29, 1926 and ending October 28, 1927, otherwise known as “Anno V,” or Year 5, of the Fascist era.

One of many representations of the fasces and axe. The rods bound together represent strength in unity (easy to break separately, impossible to break when together), and the axe represents the power of life and death which the magistrate, preceded by a "lictor" bearing the fasces, held over the Roman citizens. This, after all, is an item which dates from TKTK and was adopted as part of the Fascist Party's desire to emulate the power and glory of Rome. — One of many representations of the fasces and axe. The birch rods bound together represent strength in unity (easy to break separately, impossible to break when together), and the axe represents the power of capital punishment which the Roman magistrate, preceded by a “lictor” bearing the fasces, held over the Roman citizens. The fasces and lictors date from the first kings of Rome (beginning in 753 BC) and may have been adopted from an Etruscan custom. In this and many other aspects the Fascist Party showed its desire to recover the power and glory of ancient Rome.

The clump of material, now that I look closer, retains the outlines of the fasces with the axe-blade which was the primary symbol of the National Fascist Party.

As for the gerarchs, there were 12 ranks ranging from the Secretary of the party to a humble “capo nucleo,” or head of a unit. I haven’t pursued the subject any further than this, though I’m guessing that it was not the Secretary of the party who lived out here on the fringe of civilization.

Over time, I’ve noticed (with Lino’s help, usually) a few other traces of the period between 1921 and 1943. Pictures follow with what bits of elucidation I can provide.

The faxces and axe as carved on the tomb of Marcus Calpurnius Rufus in Ephesus. — The fasces and axe as carved on the tomb of Marcus Calpurnius Rufus in Ephesus. He was the son of an important imperial priest during the reign of the emperor Tiberius and a high-ranking senator under the emperor Claudius.

The gymnasium of a former school in Dorsoduro; the central door is surmounted by an eagle that doesn't seem to consider itself just any ordinary eagle. — The gymnasium of a former school in Dorsoduro; the central door is surmounted by an eagle that seems to consider itself not just any ordinary eagle. The eagle was one of the most potent symbols of Rome, hence its importance to Mussolini.

Someone saw fit to remove the fasces which were once clutched in its talons. Lino regrets that. Making no political statements, he says simply that "That's part of our history too." — Someone saw fit to remove the fasces which were once clutched in its talons. Lino regrets that. Making no political statements, he says simply that “That’s part of our history too.”

It would have looked something like this.

The covered walkway bordering the open space at Rialto called the "Naranzaria" is a trove of stenciled Fascist graffiti. One of the more legible ones reads "W Roma Intangibile" (Evviva, or long live, intangible Rome). This phrase was first used by TK, the first King of Italy in Date TK, and for a long time carried a strong populist significance. The important thing to grasp here are the repeated references to Rome, the Fascist Party's lodestone, pole star, and general fixation. — The covered walkways of the “Fabbriche Vecchie” and “Fabbriche Nuove” at Rialto bordering Campo San Giacomo de Rialto (the open space facing the Grand Canal) is a trove of stenciled and fading Fascist graffiti. One of the more legible ones reads “W Roma Intangibile” (Evviva, or long live, intangible Rome). This phrase was first used by the King of Italy, Umberto I, on Sept. 20, 1886 (more about this after the photographs). The important thing to grasp here are the repeated references to Rome, the Fascist Party’s lodestone, pole star, and general fixation. Benito Mussolini saw himself as the founder of a “New Rome.”

I can make out the "W Roma" but am only guessing at "Intangibile" beneath it. — I can make out the “W Roma” but am only guessing at “Intangibile” beneath it.

At the top I can make out the by-now usual "Roma Intangibile," but beneath the white oval there is "Roma ... resteremo" — At the top I can make out the by-now usual “Roma Intangibile,” and beneath the white oval there is “A Roma ci siamo e ci resteremo” (We are in Rome and there we will remain).

Clinging desperately to the plaster is the unconquerable "W Roma Intangibile." — Clinging desperately to the plaster is the unconquerable “W Roma Intangibile.”

I have stared my eyes out on this one and cannot deny or explain that it says "W Nicola Contarini." — I have stared my eyes out on this one and cannot deny or explain that it says “W Nicolo Contarini.” (Long live Nicolo Contarini.)

Nicolo Contarini was the doge of Venice during the hideous plague of 1630. But I don't think that has anything to do with this graffito. According to Wikipedia (translated by me), he was "universally considered a man who was upright and just...distinguished for his capacity to manage the public administration with extreme ability and honesty..During the clashes under his predecessory, even though disapproving the doge (Corner), he .never showed himself to be an extremist, and this made him win the affection even of his adversaries." — Nicolo Contarini was the doge of Venice during the hideous plague of 1630. But I don’t think that has anything to do with this graffito. According to Wikipedia (translated by me), he was “universally considered a man who was upright and just…distinguished for his capacity to manage the public administration with extreme ability and honesty. During the clashes under his predecessor, even though disapproving the doge (Corner), he never showed himself to be an extremist, and this made him win the affection even of his adversaries.” If for some reason I’ve read this fading inscription incorrectly, I’m still glad to have had an excuse to discover a man who deserves to be remembered.

Here is what I have managed to learn about “Roma intangibile.” The expression seems to have resulted from a mashup of events and remarks. We begin with the “Capture of Rome” (“Breccia di Porta Pia“), on September 20, 1870. It was the final event of the Risorgimento; the Papal States were defeated, and the way was open to the unification of Italy under its first king, Vittorio Emmanuele II.

In 1875, Umberto I (King of Italy from 1878-1900) referred to Rome as the “unbreakable seal of Italian unity.” In 1886, he used the term “Rome, an intangible conquest.” (This deserves much explanation and exegesis, which is beyond me. Just stay with me here.) It is at that point that the principle of “Intangible Rome” entered history.

The phrase caught on; in fact, it became so popular that in 1895 a certain Carlo Bartezaghi, an enterprising industrialist from Milan, created a bronze medal showing the she-wolf (symbol of Rome) and the motto “Roma Intangibile.” He led people to believe that it was an ancient object and managed to fool a number of numismatic experts for a while, but that’s beside our point. The term became part of the popular lexicon.

In 1900, Vittorio Emmanuele III, in his first proclamation to the Italian people, recalled “…the unity of the Fatherland that is epitomized in the name of Roma intangibile, symbol of greatness and pledge of integrity for Italy.”

Fading monuments have such a melancholy aspect, not so much because they’re fading but because they used to matter, sometimes a lot, and now they’re fading.

I'm fresh out of pictures of Rome, tangible or otherwise, so I'll have to stay in intangible Venice. — I’m fresh out of pictures of Rome, tangible or otherwise, so I’ll have to stay in intangible Venice.

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