May Day in Venice: What we did

We ran away.   We ran far, far away, out into the lagoon in a little three-oar sandolo called “Granchio” (crab) with our best friend Anzhelika.  

By “running,” I mean rowing, naturally.   We left the Lido about 8:00 and rowed all the way to Quarto d’Altino, on the mainland shore out beyond the airport.   We got back around 6:00; it’s about 45 miles roundtrip, and we were going against the tide.   Both ways.   And there were also waves, in the sense that after a typhoon you might say there had been wind.   I woke up the next morning feeling as if a battalion of small people with big hammers had been pounding me all night.

We’ve done this before, with various people on various types of boat, and it’s always wonderful.   The reason is simply because we go out into a distant, seemingly wild part of the lagoon which is so different from the area we’re used to, near the city.   We wend our way through the barene, or marshy islets, and along reed-lined channels that seem luxuriously remote (if you can ignore the sound of airplanes taking off from Marco Polo airport just a mile or two away).  

This is something like what the lagoon looked like, in a broad sense, to the earliest Venetians who took refuge here from the passage of Attila and his Huns. (I say “broad sense” because most of the barene that formed much of the lagoon landscape even 50 years ago have been washed away by the motondoso, or waves from motorboats.)   We had to face our share of motorboats, but what mattered was the haunting loveliness of the waterways.

As we rowed easily along (in the stretches without motorboats), listening to the musical soft sound of our oars and the answering music of the water sliding under the boat, we could also hear the crooning of turtledoves, and a few nightingales, and a distant cuckoo, which sings only in May.   There were gleaming white egrets, and one stately heron that flew heavily away.   The hawthorn trees were lush with clusters of creamy blossoms, and I could see some tangly bushes of pink wild roses.   The surface of the water was streaked with the faint but clear wake of scattering fish, usually grey mullet, and once or twice one sprang into the air, attempting something resembling the long jump.   When the breeze shifted, or the clouds let more sunshine through, the wetlands would give  off a faint muddy smell which seemed oddly clean.   There was a hawk wandering around overhead.   And a pair of swans, not far from the fish-farms.  

All of this, and much more which I haven’t yet seen, or didn’t know when I saw it, is — of course — under phenomenal pressure from all sorts of human activities.   The most dangerous and, for us, the most maddening, and even painful, were the motorboats.   Big honking mothers full of trippers from somewhere back in the countryside, or smaller boats roaring past with teenage boys, or even cruddy little old boats with cruddy motors carrying some sort of decrepit men with old fishing tackle.

We stopped for half an hour at the trattoria “Ai Cacciatori” at Mazzorbo, just before Burano, for the usual sopressa sandwich and plenty of water.   Lino, naturally, had an ombra, a glass of white wine.   Venetians call this morning refresher (or afternoon, or evening…) a “shadow.”   The story goes that back in the very olden days, when the Piazza San Marco was something between a Levantine souk and the Roman Forum, there was a man who sold wine from a small stand in the shadow of the belltower.   As the sun moved, he would shift with it to stay in the shadow, and so people went from saying “Let’s go have some wine in the shadow” to just suggesting, “Let’s go have a shadow.”   That’s the story, which I have no plans to research further.

We got to Altino past noon, and somewhat past the time when I had begun to wish we were already there.   For all the breeze, you could still feel the sun, beginning to shine back up from the water onto your face, and it was hot.  

We  tied up the boat in the reedy little canal that ends at the very old pumping station; there are still fields stretching out here that need to be irrigated, or drained.    Altino was an important Roman town on the main road heading northeast, and farmers still turn up assorted Roman relics of metal or marble.   We had lunch at the trattoria “Antica Altino”and started the row home around 3:00.  

It was about the time we were passing Sant’ Erasmo that I began to feel really tired.   Being tired doesn’t impress me, but I wasn’t happy because I knew what was coming up, and it would have been so much better if I hadn’t been tired: Traversing the lagoon between the island of the Certosa and the vaporetto stop on the Lido at Santa Maria Elisabetta.     If I were to say “Recreating Lawrence of Arabia’s life-threatening trek across the Sun’s Anvil,” or “Sailing around Cape Horn with only a torn jib and a busted rudder,” I’d be saying about the same thing.

Of course I knew there’d be waves, but  they were worse than I had anticipated, caused by the ferries, and the big motonave to and from Punta Sabbioni, and tourist launches, and taxis, and vaporettos, and all sorts of private motorboats.   As far as the quantity of boats is concerned, this was one-quarter or less  of what it will be on a Sunday afternoon in July.   But it was enough for me.   Big, heaving, confused waves came from all directions; small, invisible waves tried to suck the boat back out from under our feet; tall, curling waves surged toward the bow, threatening to send sheets of water into the boat; clustering waves just pounded the boat from all sides, with no design, no rhythm, no pauses.   And did I mention we were also rowing against the tide?   I believe I did.   By the time we reached the tranquil home stretch of water, halfway along the Lido, my left knee was stabbing, my right shoulder felt like a hot anvil had been dropped on it, each palm had a stinging red blister, and I was pretty much at the blind staggers stage.  

Of course we swore we’d never do this again.   We may have sworn this last year as well.   If we do this next year, I will undoubtedly swear it was for the last time.   Does that mean it wasn’t punishing?   Of course not.   Next year it will be even worse.   But by the next morning — about the time I became conscious of having been bludgeoned with crowbars — the black, fermenting rage that darkened the return had already faded to pale grey in my mind, and now all I really remember are the birds calling and the boatsong, and the scent of the watery land, and what a great thing it was that the old Venetians had diverted a couple of rivers, because otherwise by now we’d only have had fields and parking lots to row across.

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May Day in Venice: What they do

There’s so much to say about tourism in Venice I’ll have to go in easy stages,  filling many pages and posts.   Let’s start with last weekend, which demonstrated the rough outlines of what the term “tourism” can mean here.

The first of May is a holiday in much of Europe, its version of Labor Day in which we celebrate workers and excoriate  employers.

Piazza San Marco.  People having a good time.  I think.
Piazza San Marco. People having a good time. I think.

Nothing quite so simple anymore as sending armies and tanks marching across Red Square; this year saw  mass demonstrations of angry workers (and ex-workers) in  Greece, France, Turkey, Spain, and Germany, and even Russia,  which once reveled more in its military parades  than rallies of irate trade unions.  

Here in Venice, it was just another day in the march of money, and in fact  there are plenty of days you could label “mayday mayday,” when  holidaying legions of tourists from all over Europe  march across the city.   So far this year the Horde-Meter has registered Carnival, followed by Easter weekend, then by April 25 (which fell on a weekend this year), and finally  May 1.    

There were roughly 60,000 tourists per  day, instantly doubling the city’s population, shuffling along the narrow streets, overwhelming the Piazza San Marco, and turning the vaporettos (when and if you finally managed to get on one) into something from the Pushkar Camel Fair.   Hundreds of tourist coaches unleashed their day-tripping multitudes onto a city whose only public space, the Piazza San Marco, is 320 times smaller than  Red Square.   Let’s put it another way: The Piazza covers 255 square meters, and crowd-density experts estimate that one square meter can reasonably (we’ll leave some latitude for what that means) hold 3-4 people.   That means that ideally there would be no more than 1,000 people in the Piazza at any given time.   Let’s say that the crowds peak at noon, and let’s say that that amounts to 40,000 people.   Or even 30,000, half the daily total.   Or even 20,000, one-third the daily total.   Numbers aren’t my strongest point but I think I could already have guessed that there might be as much as 20 times more people in the Piazza than would be pleasant.

The ACTV added three runs per hour  to its already heavy Grand Canal vaporetto schedule (reaching a total of 37 extra runs), as well as nine extra runs to Murano and Burano and 13 extra back to Venice.   But it’s never enough, in the sense that “enough” would mean no waiting, no crushing, no delays.   img_1160-may-day-compressedIt would be an impressive spiritual exercise for anyone wanting to determine how much compassion they can feel toward their fellow humans to board the #1 local vaporetto line at Piazzale Roma on any Mayday (which amounts to virtually any day from May 1 to September 1) with their soul full of love for humankind, and then measure what’s left  by the time they reach San Marco.  

If you look at tourism in Venice in strictly logistical terms, you can see that it’s a fascinating little problem, which so far has defeated solution.   There are approximations of functionality (more vaporettos), but essentially there is no way in which a city which covers only three square miles can prevent or neutralize the  stress caused by this particular kind of mass demonstration.   It can only be minimized, sort of.  

I  spent an hour in the Piazza and I came away with one unexpected insight: It’s entirely possible that the gondoliers at the two “stations” (stazi) there were not born crazy.   I’ve always wondered about that.   I believe it’s likely that they have been made to go crazy by too many days like this.   And don’t think all these tourists represent wallets on the hoof.   An inverse ratio between quantity and quality has been noticed by almost everyone, something I’ll go into on another occasion.  

Me, I have no idea how much money you would have to pay me — in cash, even  — to go to San Marco on a holiday weekend, at least any later than 7:00 AM.   I need to protect what little sanity I have left.

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I’m shocked, shocked to find that gambling is going on here: The case of the legs on the church

When you walk out of the train station in Venice, the Grand Canal is the first thing you see.   Or ought to see.   I remember that day 25 years ago; it was a bolt from the blue from which I have never recovered.  

But the Grand Canal hasn’t been the first   thing you see for quite a while now.   Your eye goes straight to the imposing baroque church on the other side of the water, and you’ll be staring at it not because it’s a church, or baroque, or  imposing.   It will be because of the imposing not-even-close-to-baroque billboard covering the facade.   I won’t describe it, I’ll just show it to you:

The idea of offering a sponsor a public space to promote its product in exchange for the money needed for restoration of art and architecture has become the greatest thing to hit Venice since the invention of the coffeehouse.   And it is absolutely true that the billboard preceding this one was much worse, as the lady promoting a line of handbags was even less clad.   This is the kind of hair-splitting you find yourself indulging in here, but  “It could always be worse” doesn’t get it done in a city that is an entire work of art.

Since the city never has any money to do anything it doesn’t feel like doing  (though there are weekly miracles in which funds appear for all sorts of unexpectedly necessary things, like installing turnstiles on the vaporetto docks), for some time now it has been offering vast spaces for private cash on monuments.    I am not the only person who finds this ad objectionable (nor am I the only person who is wondering why this church has been condemned to Restoration Purgatory; it’s been under scaffolding since the first time I saw it, in 1985).   Plenty of people have objected.  

I also find it objectionable that half of the Doge’s Palace is covered with publicity for Chopard (it started last September, with ads for Lancia),  and most of the Marciana Library is concealed by silliness by Swatch.  By the way, there is a national law which requires that the scaffolding covering  a public monument  under restoration must show a perfect replica of the concealed facade.    A mere detail, obviously.   But I’m getting ahead of myself.

 

 

 

 

 

 

And  I mustn’t let myself stop now to talk about how the  city had stamped all the waivers needed to allow a Maltese business to put five mothers-of-all-Jumbotrons in the Piazza San Marco, a UNESCO World Heritage Site, in exchange for millions of euros to restore the buildings they would be defacing.    This plan  seems to have been halted, at least for now.   One can never be sure if these shenanigans are really dead, or just in hibernation.

Don’t imagine that there are no rules for the safeguarding of Venice’s monuments.   There are metric tons of them.   But here is how the Doge’s Palace became, overnight, the most beautiful billboard in the world:  

The palace needed restoration; among other things, bits of marble were falling off it and barely missing passing tourists.   The work would cost 2 million euros, which the city doesn’t have.   So the Dottor Group,  a massive company specializing in architectural and historic restoration, got the job and put up the money, and so they get to rent  out the billboard space of the gods.   Then they installed the scaffolding (of course there are also laws limiting the square-footage allowed for publicity on public monuments, which these exceed) by driving iron hooks  between the 500-year-old blocks of Istrian stone, hooks which will be there for at least three years.

Suddenly the legs-on-the-church don’t look quite so bad?   That’s how you begin to lose your bearings here.   But never mind your taste in legs, or churches.   There are so many other  facets to the plight of San Simeon Piccolo that I can’t organize them for you; I’ll just give them as they come to me.  

  • Nobody knows how much money is needed for the restoration
  • Nobody can say how much money has been found so far for the restoration
  • Nobody knows how many hours a day that SACAIM, the restoration company, is working at the site,  or whether the contract is being honored
  • SACAIM won’t make any statement on whether or not the work has been stopped because it hasn’t been paid all the money it’s due  
  • Nobody knows what criteria are involved in deciding what  is considered acceptable publicity
  • The Curia (the church administration) has stated many times that seeking pelf through publicity is “squalid” (there goes most of Western civilization).   But this point is especially tricky because church buildings  aren’t technically the responsibility of the Church in Italy anymore, but are wards of the state and depend on federal money which is allocated by an assortment of Superintendencies (for architecture, archaeology, “cultural goods,” and so on).
  • The Municipal Police (as with the Superintendencies, there is a variety of forces of public order, with varying responsibilities) says that it has done its job as far as paperwork is concerned,  the array of  official  permissions required for work on public buildings, or on public spaces.   So technically it has no authority to remove the poster.

The Superintendency of Architectonic Treasures has already stated (as with the handbag-lady poster)  that the publicity has to come down.   The Curia is against it, but the Superintendency says that the Curia has the power of reviewing all publicity before it goes up.   But wait — in the controversy of the Jumbotrons, the Superintendent herself, Renata Codello, stated that every piece of publicity put up during restoration work is regularly approved or rejected by the Superintendency.   So who gave the permission for this poster to be put up in the first place?   Nobody knows.

So here we are:   Nobody decided to put it up, and now nobody can decide whether or how to get it down.   But this sudden flurry of discussion is making the Superintendent a little  testy.

Yesterday Monsignor Antonio Meneguolo pushed his advantage a little too far by stating that this whole thing is “monstrous and immoral.”   Superintendent Codello shot back that even though  she never gave permission for this poster (that ought to be an embarrassing thing for a superintendent to admit, but let’s keep going), the Curia hasn’t got much to be proud of either.   “We’re all for publicity,” she  told the Gazzettino, “it’s the only way which allows us to be able to restore buildings.   If the Curia were to put up some money, we’d take the publicity down.”  

Furthermore,  “It’s not as if we could have just left the church to fall to pieces,  abandoned by the Curia.   The patriarchate has never put up a single euro.”   So there.

But what about how hideous it is?   She’s ready: “The churches of the city are full of examples of really bad  interventions.”   Presumably not approved by the superintendent.   Though one doesn’t know why.

This bickering only shows that here in the Cradle of the Renaissance people still  defend themselves  by saying  “Yes, I did it, but he did worse.”   Which comes right after you say  “Well he started it.”

Let’s imagine that I understand most of what has been going on.   What I really don’t understand is why this horrible thing has become an issue right now.   It was out there for months and months and nobody said anything.   Now, all of a sudden, it’s a huge problem.  

In fact, the only thing that both the Superintendent and the Monsignor agree on is that they are  shocked, shocked  to find that there is a vulgar and immoral billboard on a church.

                                                     (I acknowledge the excellent reporting of Davide Scalzotto).

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April 25, Part One: Saint Mark’s Day

April 25 is the feast day of Venice’s patron saint, Mark.   (Not the official patron saint of tourists, though you might have thought so.   I haven’t been able to find one yet, though Gerasimos and Dymphna would be likely candidates, seeing that they’ve already  been assigned to watch over the mentally infirm. Travelers — as opposed to tourists — have the choice of Nicholas, Joseph, St. Anthony of Padua (he of the lost-objects fame) and/or the Archangel Raphael.   There is a definite difference between travelers and tourists, and it’s more often the latter who have need of divine aid.   Those are just my thoughts.)   Still, having one of the four Evangelists to watch over you ought to cover just about any eventuality, and clearly the early Venetians thought so too.  

        Venice was never without a patron saint, but for the first several centuries of its existence that task was assigned to a Greek soldier saint, Theodore of Amasea (“Todaro,” in Venetian).  

The original of this statue is safely out of the rain in a sheltered corner of the courtyard of the Doge's Palace.
The original of this statue is safely out of the rain in a sheltered corner of the courtyard of the Doge's Palace.

In that era Venice was still technically a colony of Byzantium, and a saint’s being Latin or Greek had as much political as religious significance.   By 828, though, Venice had begun to reach a level of importance, and independence, which convinced its rulers that they needed to upgrade their guardian.   A Latin saint now looked better than a Greek one, and why stop there?   They aimed for one of the four Evangelists, Saint Mark, whose body was known to repose in Alexandria, Egypt.

        And so they went and stole him.   Two intrepid sailors, known to history as “Buono” of Malamocco and “Rustico” from Torcello (unquestionably noms de guerre), spirited the body of the city’s erstwhile bishop out of the Muslim metropolis by hiding it on a  wagon covered in pig carcasses (and also cabbage leaves, which was the Venetian way of conserving meat, between alternating layers of lard and cabbage.    The Bible compares humans to grass, but Venetians are more realistic).

        This exploit highlights two of the most fundamental Venetian traits: shrewdness and audacity.   And in case “Good” and “Rustic” appear to have been improbably daring and clever, some scholars have made a good case for their having bribed the shrine’s guardian.   The point here, as in much of Venetian history, is that it worked.   For my money, the appropriate motto for the Old Ones wouldn’t be the legendary “Pax tibi, Marce, evangelista meus” [Peace to you, Mark, my evangelist]  which is inscribed on the book most of his symbolic winged lions are holding, but a straightforward “Get it done.”

        In the great days, Venice observed not one, but four celebrations of its saint:

  1. January 31, the “translation” (well, theft) of his remains, which was popularly called San Marco dei mezeni, because the body had been concealed between (in mezzo) the aforementioned pork and cabbage;
  2. April 25, his martyrdom.   This is the big day for us, and it is called the festa del bocolo, or feast of the long-stemmed rose;
  3. June 25, the finding of his relics (fancy word for corpse), which had inexplicably gone missing during or after the great fire in the basilica in 976.     Legend has it that a priest was led to the site of the concealed body by a powerful scent of roses, so not only did the liturgy involve a priest sprinkling the altar with rosewater, the day itself was referred to as San Marco dell’acqua rosata, or Saint Mark of the rosewater.   Roses again.   I have to look into that.
  4. October 8, the dedication of the basilica, which had been built specifically to honor and preserve his body.   Ordinary people called this simply San Marco de le zizoe, the Venetian word for  jujubes, a popular but transient little autumn fruit here which is like a date made of styrofoam.   I buy them at least once just so I can say the word: ZEE-zo-eh.   It makes me smile.   There is, in fact, more to say about them, but I’ll save that for another time.

All this wasn’t just because Mark deserved it.   Venice’s masters loved pomp not only for itself but because they knew how to exploit it.   They made a point of creating celebrations around an enormous number of events — saints’ days, deliverance from plagues (twice), military victories, even military defeats.   All that was necessary was that Venice had to have been the star.   It worked extremely well, because all of this festivizing kept civic pride bubbling away, ready for use at any moment.   You weren’t even to imagine that there could be anything better than being a Venetian, and ceremonial was a dependable way to keep that fact front and center in your average Venetian’s brain.

        Back to the body.   There is a body under the high altar, and it is labeled as being Mark’s.   Lino doesn’t believe it.   I don’t know if this counts as heresy, but being a good Venetian, he doesn’t care.   He makes a good case: For one thing, he says, it’s pretty suspicious that the body is never venerated, not even on April 25.   For another, he says that when Angelo Roncalli (patriarch of Venice from 1953-1958) became Pope John XXIII, he gave an important (unidentified) relic to the church in Alexandria.   Lino tells me this with that “What more do I need to say” look.

        What it all comes down to today is the long-stemmed red rose, the longer and redder the better.  

The custom is for a man to give one to the woman — or women — he loves.   Could be his wife, mother, sister, girlfriend, cousin.   No protocol on this, except for the wife or girlfriend, which are non-negotiable.   Anyway, as roses were costing at least five euros each this year, the typical man’s list has probably been cut back to the minimum.

     

 

 

        Lino is a traditionalist to the bone, or in this case, the rose.   He would go without lunch and possibly even without wine, if he had to, but he would never skip the rose.

 

 

 

 

 

 

 

 

        He even gives a rose to our club’s eight-oar gondola, or gondolone.   Of course she is named “San Marco.”

 

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