You think Venice is just museums and restaurants? This particular moment will show that you can be in Venice without doing any of the things you typically expected to do, at least in the heart of darkest Castello. Sumer is definitely icumen in.
Potluck dinner tonight in Seco Marina.
This announces the Seventh (!) “Dinner of Seco.” Seco Marina is the official name of the long major street stretching parallel to the canal at the bottom of Via Garibaldi. (See map). Neighborhood gatherings of this sort are not common, but as you see, Seco is forging its own destiny. (Smaller alfresco feasts are common on the evening of the Redentore, but they are usually organized among friends and/or family.) Extremely loose and colloquial translation: “Friday June 21 at 19:00 hours (7:00 PM) let’s get together again this year to celebrate the arrival of summer. Everybody bring whatever they can, tables and chairs included. Everybody bring their desire to hang out. Let’s live our splendid city together.” And then, in a truly lovely touch that embodies the “let’s hang out” spirit, is the final phrase in Venetian: “Even foreigners are welcome.” Conclusion: “Let’s all make a huge crowd. Long live Seco!”
Not being sarcastic, I think that is absolutely adorable, because extending the invitation to foreigners (just for starters) especially in the local language, is the essence of welcome. Also not being sarcastic, maybe it’s a cleverly calculated risk, because I’m not sure how many foreigners speak Venetian.
A Venetian I know, working on the assumption that some foreigners would understand this invitation anyhow, also assumes that said foreigners would bring next to nothing to the table but a large desire to eat free food. I’m not going to be there to confirm or deny this, but the notion that at least one foreigner might interpret the invitation in this way does give an regrettable indication of how some foreigners have led at least one Venetian to imagine something so unpleasant. This foreigner (me) unhappily believes that the aforementioned Venetian may well not be wrong.
The yellow line traces Seco Marina. Just trust me, because there is no street sign. You may well have walked along it many times without even knowing its name.
While we’re on the subject of Friday evening, you could wander over to the Campo San Lorenzo and enjoy an evening organized by “Art Night Venice.” (Please note the Comune’s commitment to serving its tourists by organizing or sponsoring all these events on June 22 by promoting it on their website whose English-language option does not translate into English. You might chance your arm by using Google Translate, if you care.) There are scores — they say “hundreds” — of free events that night. Here’s an English-language rundown.
San Lorenzo is a bit out of my circuit even though it’s not far. You could be there in ten minutes or even fewer from via Garibaldi.
The decommissioned church of San Lorenzo (that once held the tomb of Marco Polo) is now used by various exhibitors of the Biennale. Art Night is a vivacious addition to the area.On Friday, June 21 a free painting laboratory will be set up in Campo San Lorenzo “for little kids and youngsters.” I make no assumption as to the true age limit — perhaps you can tell them how young you feel and get a tube and brush or whatever they’re using to make instant art. If you prefer your paintings by Tintoretto and not unknown small people (bearing in mind that Tintoretto too started out as a kid), just wait till 20:00 hours (8:00 PM) when “Milonga in Campo” will start up; I interpret this as “music and dancing” because of the name of the organizers: Associazione Vividotango. As for who will be dancing, it may or may not be you, depending on how many beverages you might have imbibed. Wikipedia explains that “Milonga is a musical genre that originated in the Río de la Plata areas of Argentina, Uruguay, and the Brazilian state of Rio Grande do Sul. It is considered a precursor of the tango. ‘Milonga is an excited habanera.'”
Then there is the annual five-day festa of San Piero di Casteo June 26-30. Every year thousands of revelers come to revel till midnight or so to live music and equally live mosquitoes (bring your strongest repellent). When the music ends and the food stands close, everybody all reveled out wanders homeward along the street outside our bedroom window. We are at street level. The windows are open because we are sweltering. So we get to hear everybody’s chaotic closing remarks till 1:00 AM or so.
And let us not forget that the Biennale is still in full swing. Last Wednesday morning about 4,936 kids (by my estimate) from Campalto, a village up on the way to the airport, were coming to see it. They were excited, which is nice. But 4,936 excited kids on the 5.1 vaporetto from the Zattere was not at all nice. I closed my eyes all the way back, trying not to imagine those doomed ferries in southeast Asia that go down because they are so groaningly overloaded. I asked Lino if we were going to start seeing people riding atop the vaporettos, like trains in India. He didn’t reply. I did not take that as a “no.”
But the true drama underway in the neighborhood — speaking of entertainment, which I guess we were — is the gobsmackingly ponderous Coldiretti Villaggio that has been under construction for a week and will continue to be under construction till it opens on June 28 for three gobsmacking days. I couldn’t find anything in English about this phenomenon but click on the link to see a brief video from the same undertaking a few months ago at Naples.
Stands where producers and cookers of food will be in full tilt, as well as areas presenting live farm animals of all sorts and sizes, are being set up along the Riva dei Sette Martiri as well as in the Giardini. Sorry, Biennale visitors, you’re going to have to take the scenic route to get to the pavilions.I suppose one could look at this acreage and say it doesn’t look like so much space. Perhaps it isn’t, if you don’t want anybody to be able to move. You should know that even though entry is free, they have installed fences. (See: livestock.) The area is completely fenced in. I don’t know why that makes it all seem so much more claustrophobic, but it does. Safer? Okay. But I’ll be watching to see if there are any “exit” signs.
You may recognize this area as via Garibaldi looking toward the statue of himself. If you are asking yourself who could have thought of this area — or any part of the historic center — as being ideal for an event predicted to draw literal thousands of visitors, you will not be alone. Every single person in the neighborhood is asking the same question, and not of themselves, and not quietly or pensively. They’re asking it of anybody who had any authority to sign off on any part of it.
This event is of dimensions so extreme and gnarly that it needs its own post. Meanwhile, as I struggle to write it, may I suggest that you pause to evaluate the theoretical value/importance/necessity/desirability of awakening Venetians (I think the three days are intended to awaken people) to the problems of farmers and raisers of livestock by bringing the farmers and livestock straight into the heart of a desperately fragile World Heritage Site that is already known to be staggering under the weight of human hordes.
And on that note (I think it’s a G-flat), let the summer begin.
Jacopo Dei’ Barbari published this phenomenal map in 1500 after three years of hard labor. It remains the gold standard for maps of 16th-century Venice; he has managed to include every single building and canal then in existence. The only drawback is the lack of extensive labels, That, and the reluctance, for whatever reason, to include the entire island of Sant’ Elena.
Reader Christopher has written the following Comment: I am perplexed and maybe you can help me. The Chiesa di Sant’Elena was built in as early as 1060 by some accounts. Saint Helen was brought to the lagoon and interred in her eponymous church in 1211. It’s curious that the church is not shown on the earlier maps. Any idea why this might be? ….
If I understand your question to be why isn’t the church dedicated to Sant’ Elena shown on maps prior to the arrival of her remains, I can only reply that I think there could be several reasons.
One reason is that there aren’t many maps of Venice prior to 1211, and those that do exist are not very detailed. Even 17th-century maps don’t show everything. Also, Venice has plenty of churches named for saints whose remains are not in residence. There’s no reason why a mapmaker with limited space would choose to show a church if it didn’t contain its tutelary saint. Which raises the interesting question, which I had never considered till now, as to who decides what to include in a map and what to leave out.
As to the dates you mention, “…the first chapel dedicated to St. Helen was built in 1028 and entrusted to the Augustinian order, which constructed also a convent. In 1211 the Augustinian monk Aicardo brought to Venice from Constantinople the presumed body of the empress. Following which the Augustinians enclosed the chapel within a larger church.” More confusion arises from the statement that there was a “hospital” dedicated to her, built in 1175 — 36 years before the saint arrived — maintained by the Augustinian order, for the care of the poor.
In the 15th century the convent and the church passed to the Benedictine monks, who rebuilt it in 1439. A century later, in 1515, the church was consecrated by the bishop of Aleppo and became an important religious center, with vast property and notable works of art. So evidently three centuries, all told, had to pass before her church (or let’s just say “she”) became sufficiently important to warrant identified inclusion on a map.
These sources don’t identify where the church was located, but I’m going to suppose it was on the island of Sant’ Elena.
Some maps, from the 1400’s onward, show at least part of an island floating off the eastern shore of Castello, just below Olivolo, where the church of San Pietro di Castello stands. So something was there, even if it isn’t identified. Yet if her eponymous original church was there, it does seem strange that so many cartographers didn’t show it, or if they did, why they didn’t always label it.
Benedetto Bordone made this map in 1539. Granted, Dei’ Barbari had carried off the palm in Venetian map-making. You have to admire anybody who’d try to come onstage after him. My point is that this map was less detailed than its predecessor, which kind of goes against the notion of map evolution, However, he gets points for clearly outlining the island of S. Helena, something Dei’ Barbari hadn’t done.
I think it’s evident that no map except Dei’ Barbari’s (1500) could claim to show everything. A good number of maps show only a smattering of churches, even though we know that there were many more. But he gives a only glimpse of the island, going so far as to cover half of it with a cloud-bedecked cherub. And yet the island, not to mention the mother of the Emperor Constantine, were hardly a secret.
If I ever find out why she was snubbed so often, I’ll let you know.
Dei’ Barbari modestly covered what was probably the island of Sant’ Elena with a cherub-bearing cloud. Why would he do that? I wish I could tell you.In 1559, this map shows not only one, but two islands below Olivolo. Map-makers clearly have plenty of leeway in deciding what goes in and what stays out.Dutch cartographer Joan Blaeu prepared this map in 1624. There is the island in the lower right corner, with a church and convent and vegetable patches, unlabeled and unsung just like so many other religious sites in the lagoon. Even San Giorgio Maggiore is without a name.
A few days ago this simple notice was stuck on the glass of the front door of the Trattoria alla Rampa del Piave. That’s the exactly joint three steps from the fruit and vegetable boat and, more to the point, is by the balustrade where Sandro Nardo would sell his fish.
“Sandro has been gone for a year,” it says; “Today he’s standing drinks to all his friends.” (Giorgio Nardo is his brother, Cristina is Giorgio’s wife.) I asked Fabio at the bar of the trattoria how many friends had showed up to drink to Sandro’s memory: “One hundred? Two hundred?” An amiable shrug meant “At the very least.” A free drink? He was my best friend! I apologize for the reflections on the image, but this is the best I could do.
He was no amateur just out making a little extra money — I don’t know that he had any other source of income. In any case, he was always out, night and/or day, depending on whatever conditions were most favorable for a reasonable haul.
And then he’d weigh and bag whatever he’d caught, and in the late morning he would come and pile the bags on the balustrade. He wasn’t there every day; it seemed kind of random. Monday was often a good day to find him, as the fish shop is closed on Mondays. And the balustrade was a prime spot, being at a sort of crossroads as well as a point where the street narrows dramatically. It slows people down enough to give them time to glance, at least, at what he had caught.
We didn’t often buy from him — his prices were no bargain — but we rarely resisted when he had seppie because it’s not easy to find them fresh.
The very useful balustrade at the bottom of via Garibaldi makes a fine temporary sales counter. The plaque is attached to the iron fence where it meets the marble.This extraordinary memorial appeared a few months after his demise, and is attached to the metal fence by the canal. “Here Nardo fisherman sold his fish and his history. Here we LAST Castellani will remember him with unaltered affection down to the very last one of us.” This likeness isn’t excessively accurate, but it does at least give him a lifelike aspect. My own few recollections of him at work focused on the toil involved in unsnagging the fish from the net. I speak from modest experience that a fish’s fins seem to have been created to get tangled up in filaments of nylon. As to “selling his history,” I have no idea what is meant by that, but considering how taciturn he was, anything verbal must have been really expensive.
We went to his funeral at the church of San Pietro di Castello. It’s a big place, but it was crammed; I’m sure the entire neighborhood must have been there. This was impressive, though not entirely surprising.
What truly surprised me was Nicola (probably not his real name, but the one he goes by). He’s a wiry, gristly bantamweight Romanian man who showed up in the neighborhood some years ago. At first he seemed to be just an anonymous mendicant who had installed himself between the fish shop and the vegetable boat. Tourists passing — there used to be lots, all aiming for the Biennale — would make their contributions.
Then gradually he wove himself into the neighborhood net, doing odd jobs, mopping boats, helping with the loading and unloading of the fruit/vegetable boat, and so on. By now everyone calls him by name, and he reciprocates.
But now we’re all at the funeral. The service is over, and the casket is being wheeled out to the canal where the hearse is waiting, rolling along a paved walkway lined with everybody from within the radius of a mile. Nicola is standing near us, all by himself, clutching his baseball cap, and he looks stricken. I have no idea what his interactions with Sandro ever were, but they must have been important because he is weeping. A lot of people are sad, but he seems to be the only person in tears.
Having nothing else, he wipes his eyes with his baseball cap.
You couldn’t make a memorial plaque big enough to match that.
Last Sunday was an unusually entertaining day. It wasn’t as entertaining as the last Sunday of June typically is, coming at the culmination of five days of festivizing at San Pietro di Castello in honor of the church’s namesake. But by the time the day was over there had been more diversion than I’d expected.
Let’s start with the festa for Saint Peter. This year — you know what’s coming — The Virus made it impossible to host the usual large and lively crowds, or execute the expected entertainment and the feeding of at least five thousand. (Yes, bread and fish are always on the menu, among other things.)
This is the way the festival always looks, give or take a colored spotlight or two. Five evenings straight, going full blast until midnight. We can hear the music from our house, and we’re not exactly next door. Depending on the direction of the wind, we can also get wafts of hot greasy things. This year, nothing.A lot of people always came from all around Venice, and maybe the mainland too. So technically you could call them “tourists,” though they generally seemed unforeign. I wish I’d paid more attention to the little boy in the center of the image, who I now see was attempting to climb the large trash-collection bin. I’d like to have known how that came out. I don’t recall any ambulances. Those were great years.
But nobody said we couldn’t have the festal mass, complete with the Patriarch of Venice on his annual visit. Chairs were set up outside in the campo, correctly distanced, and although the usual supporting players were few (a couple of selected Scouts instead of a whole troop, four trumpeters instead of the band from Sant’ Erasmo), or even non-existent (no Cavalieri di San Marco in their sweeping mantles — soooo hot but sooooo well worth it, I’m sure they believe), there was a fine gathering of the faithful.
And may I say that seeing each other without being separated by layers of tourists has been, and continues to be, a noticeably positive aspect of the quarantine and aftermath. More about that another time. But back to the service.
As the Patriarch pointed out in his sermon, the religious aspect is the one essential element of the occasion. He didn’t specifically say “Don’t feel mournful because there were no barbecued ribs and polenta and live music and horsing around for hours with your friends and the mosquitoes,” though I’m sure he knew that’s what people were missing. At least they came for him.
To review: This was the traditional festa:
It’s a bigger campo than most, but I wouldn’t have wanted to be the person responsible for enforcing social distancing on this mob.And this was the setup for mass, the only event of the entire festival. Down to the essentials, indeed.The temporary platform/altar arrangement was very efficient. The backdrop is the Patriarch’s coat of arms, worked by the tireless fingers of the group “Un Filo che Riunisce” (A Thread that Brings Together).Just a refresher: The crossed-key motif symbolizes Saint Peter.Except for a few places in the design that called for more complicated handiwork, the fundamental element appeared to be potholders. Sorry if that seems disrespectful.Last year’s festa was the first exhibition of the handiwork by “Un Filo che Riunisce” was this arrangement of — if not potholders, then squares to compose some titanic afghan. The components were sold for a few euros each to benefit the pediatric department of the Ospedale Civile, or city hospital, in Venice.They struck again last Christmas, with this creation in via Garibaldi. The group, a crocheting class, was formed in January of 2019 at the Salesian convent in calle San Domenico. The idea was to create something big out of many small pieces. I like the metaphor, and it certainly cheered up the December night.The arrival of the Patriarch aboard an elegant balotina is always a great moment (made beautiful as much by the balotina as the passenger, sorry). This year the Remiera Casteo launched the fleet — I’ve never seen that many boats from the club accompanying the guest of honor. The caorlina carried four trumpeters, the ones usually seen blasting from the bow of the bissona at the head of the corteo for the festa de la Sensa. I love the band from Sant’ Erasmo, but these were better, partly because ceremonial fanfares are fabulous in themselves, and because they came under oar-power. I can tell you from experience that following the motor-barge that carries the band means that you spend 45 minutes inhaling diesel exhaust, so it’s basically like rowing the Patriarch behind an 18-wheeler on the interstate. Not very poetic.Behold the brass section. They sounded as good as they look.Here the eye moves from the boat and its passengers to the dock onto which the passengers must alight (if one can use that word for a maneuver coming from so far below the objective). Hmmm….The job description for Patriarch of Venice ought to include “Boats, ability to climb into and out of.” His Eminence Francesco Moraglia has always shown remarkable aplomb in nautical moments that have every potential for disaster. Perhaps being born in Genoa and former bishop of La Spezia, site of an important naval base, has had some effect.Nothing easier. And he’s always quite conscientious about showing appreciation to the crew.A squirt of the semi-obligatory hand sanitizer, then on to greeting the notables, beginning with the woman representing the city government bedecked with the colors of the national flag. As you see, masks are not obligatory because we are all outside. But many people are still taking the safe route.
Assorted greetings follow, in this case to a divisional general of the Guardia di Finanza, as he walks toward the church, where he will add some garb and prepare for the mass.
Four priests administered communion from various positions around the area; they were easy to find by a white umbrella held aloft by a Scout.
And then it was time to take everything down.
Some of these ladies may have cataracts and any other sort of visual problem, but there is at least one who still manages to miss nothing. What is she looking at? She, and nobody else?A batch of balloons has broken free. Up and away… Of course I have no idea where they’re going, but as for me, I’m off to the races this afternoon.
Sunday afternoon it was time to segue from the sublime to the secular. Every year, on the last Sunday in June, the city of Venice organizes two races in honor of Saints Giovanni and Paolo. The reason it isn’t called the race of Saint Peter is because it is held in the water between Murano and the Fondamente Nove, and the finish line is in front of the hospital, which is on the campo SS. Giovanni e Paolo.
The first race involves pairs of men on a boat called a pupparino; the second race is for young men up to age 25, rowing solo on gondolas. Sound simple? Of course it is, as long as everything goes well.
But sometimes it doesn’t…..
For both races, the starting line is in front of Murano; the race then follows the path indicated here, and the finish line is in front of the hospital. Until this year, the gondolas lined up in the canal in front of the campo SS. Giovanni e Paolo for a blessing. Hence the name of the regata is the two saints, and not “race of the City Hospital.” That would always sound sketchy, but these days it would be inconceivable.
The men on pupparinos go first, and go they certainly did. I’m usually watching from the shore, but this time I was able to follow the race on a friend’s motorboat.
The men on pupparinos are off to a fast start, leaving Murano behind to the left and heading west past the cemetery toward Sant’ Alvise and the first turn. All the boats, regardless of type, are painted these colors and yes, the two boats in the lead (orange and green) have made an impressive start. They will pretty much run their own race and finish first and second respectively. The real race is what transpired in the scrum following them.This is what we like to see — the boats strung out in an orderly line. Except there are a few issues lurking in the lineup. Green has left the group and gone left, hoping to find some advantage in the tide (problem: it will soon have to rejoin the group at the first turn). And there is the pink boat, side by side with white. I foresee problems because boats arriving at the turn side by side — especially the boat on the inside — are inevitably going to be facing consequences.The plot is rapidly thickening here as the boats try to get into the best position (as defined by each one) for rounding the first turn, anticlockwise around a piling.It’s enough just to look at the race judge with the loudspeaker to realize that things are not going well. Orange has turned and is clean away; blue has just completed its turn, and green has rejoined the pack in third position. But blue made its turn very close to the piling in order to prevent green from having space to turn (a maneuver that is forbidden for reasons which are already obvious. The judge would have been justified in disqualifying blue right there, but events have gotten out of control). So green is now destined to run into the blue boat — destined also by the decision of its stern rower not to swing wide at the last second, which he could have done. Meanwhile….Why is blue still here? It should already be gone, but its calculations went a little screwy and instead it is now stuck, grappling with green, and white and pink are both coming up at high speed to make the turn with two boats essentially standing still in front of them. Pink was gambling on having room to turn from the inside, even though the rules prohibit putting yourself between the piling and another boat, for reasons which are already obvious. White could have swung wide here, but for some reason decided not to (probably it doesn’t want to lose time), and right about now they both realize that they have no room at all to avoid the pile-up. An expert later explained that blue had probably deliberately made the turn closer to the piling than is permitted in the hope of preventing the following boat to sneak past on the inside (also forbidden). Everybody’s supposed to leave room for at least minimal functioning, but blue decided otherwise. And so, as the expression now goes, here we are.Purple and yellow have cut their losses by swinging wide; they lose some seconds of time but at least they can maneuver. White and pink are still stuck inside, trapped by green and white, and now we have brown coming up on the inside, stuck between the piling and yellow. Blue has managed to disengage itself and accelerated, speeding away and leaving everybody to deal with the effects of its little duel with green. Looking good? There’s still plenty of race to go….Yellow and purple are fleeing, while brown is trying to stop the boat to avoid running into pink; pink is sitting there because white and green can’t move. Everyone’s so close there’s no room to work their oars.The stern rower on pink has actually reached down and is grabbing the metal point on brown’s bow to keep it from colliding. You can understand the instinct, but it is totally forbidden to touch your adversary’s boat. So pink could have been disqualified here, but too much is going on. Blue, bless its heart, probably thinks the day is won and is already envisioning that beautiful white pennant for second place. But the race is far from over.Things are starting to look a little better for everybody except for red, who is now hurtling into the mix. But red manages to make it around without incident, and so everybody’s back on track. Yellow and purple, out of the frame at the moment, are turning around to get back into contention. Orange is so far in the lead by now he must be wondering where everybody went.Well, that was exciting. Now back to normal, here in the back half of the race.Now what? For some reason the blue boat (remember those few seconds when it seemed like it was zooming away? The other boats have caught up) has swerved off its trajectory right into white’s path. The usual term is either “losing” the boat or the boat has “fallen.” You might do it on purpose and pretend it was an accident if you’re willing to sacrifice yourself for the sake of eliminating your rival, but it’s a risk and I’m not saying that happened here because blue had plenty of space to race. It could be that white got too close to blue and ran over blue’s oar (forbidden!!), a contact that renders the victim helpless, as you see here.
Blue is now trying to get moving again as white speeds away. Blue’s race seems to not be following whatever wonderful plan was implied at the fateful turn. So blue decides to chance its arm by abandoning this flight path, to so speak, and heads across the channel to the right to seek some better current (or fewer adversaries).As you see, blue has disappeared, and now we have a delightfully orderly line of boats. This is refreshing, we haven’t seen this for quite a while. Think I’ll look back at what’s happening with the last boats.Excuse me? Yellow has completely stopped because his partner in the bow has collapsed.And he’s staying collapsed, too. Meanwhile, the show — I mean race — must go on. I would never presume to know what goes through racers’ minds, but I’d be willing to bet that after “Holy yikes!” some version of “One less boat!” has flitted through their brains. No real worries, because the judges’ boat is right there.There is always an ambulance nearby — the race can’t be held without one. So help is at hand (and the man was resuscitated, though they didn’t finish the race).So that’s taken care of. How are things going with the race up ahead? The last three boats have peeled off to the right, seeking some advantage with the tide that will put them ahead of the rest of the boats along the line of pilings to the left. I see blue in the lead, followed by purple and red.But wait! Why is purple suddenly heading toward the embankment — or more precisely, toward the red boat?Purple has lost control, has run into red, and they’re both heading straight toward the ponderous white vaporetto moored at the dock. (Ignore the blue motorboat — it’s not dangerously close.)It’s every man for himself. Red swerved right to avoid hitting the white vaporetto, purple managed somehow to swerve left (hidden by the vaporetto), and blue continued on its merry way.But never say die, they’re still in the race.We didn’t follow the race beyond this point, but waited near the finish line. The judge’s dock, with the blue awning and gonfalone of San Marco, is moored to the fondamenta on the right.The anarchy of the after-race half-hour is almost as entertaining as the anarchy of everything else. The mix of boats, people, relatives, and racers in various states of anger or joy is pretty entertaining. Center stage here is a pupparino from the rowing club of the DLF, or Dopolavoro Ferroviario, the after-work sports club of railway workers. Coming to see a race is just as good an excuse for amateur rowers to come out on a sunny Sunday afternoon as it is for the families in motorboats.Speaking of families (or people, anyway) in motorboats, you get used to the fact that everybody in a motorboat is a fan of rowing. I know. Crazy.The rule — not always observed — is that motorboats aren’t allowed to get out ahead of the race and create waves that would disturb the first boats in the race. The second through ninth boats have to deal with whatever waves come their way. Yes, I freely recognize that I too am in a motorboat.If it floats and has a motor, you’ll probably find it at the races. Here we have a better-than-usual assortment of spectator boats.This is the quintessential summer-Sunday-in-lagoon boat: A classic wooden sampierota (could be rowed, or even sailed with the right rigging), with a tiny motor and lightly toasted family and friends of various shapes and ages. There’s a cooler (extra points) but no baby or dog (points subtracted). You could easily see all this on a shiny plastic motorboat, but it wouldn’t be this beautiful.
If anyone is interested, here are the results of the race of the men on pupparinos, from first to last: Orange, green, pink, white, brown, blue, purple, red. (Yellow withdrew, obviously.)
As for the race of the young men on gondolas, I have no strength left to report on it or anything else. Happily, there is nothing noteworthy to report. It seems that the day’s double-ration of drama was expended completely on the first race.
