floating relic: venice by gondola

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Venice by sandolo

I was content to keep exploring Venice on foot. While the idea of a gondola ride had its intrigue–is there anything more uniquely Venetian?–in reality the excursions looked less than romantic. From where I stood–on bridges, mostly, peering down into the polished boats–I saw sullen gondoliers wordlessly transporting families of six who videotaped the entire experience. I watched young couples who flicked through their phones and barely regarded each other or Venice as they were swept through the city’s canals.

Any charm seemed in danger of suffocation by the fierce overhead glare of the sun and the thick crowds on the Rialto Bridge. People were jostling, posing, and dripping gelato on the steps as one boat after another passed through the main waterways, nearly bumping up against one another as if this were Disney’s It’s a Small World instead of a private, 80-euro experience.

As I walked, though, with Victor, wandering far from the densest masses of crowd, I fell for the empty gondolas. Bobbing gently in quiet corners of the canals, their onyx-black hulls glittered in the sun, modest quests for attention. Their distinctive color, I later learned, dates back to 16th-century law: an attempt to halt gaudy competition between gondoliers.

Still, each gondola I saw was unique. Their interiors were scarlet and gold, or occasionally, cobalt blue. They held bright rugs and gold vases filled with sunflowers and glossy wooden chairs with floral upholstery and red cushions with white lions. Gold mermaids and winged horses and angels leapt from the sides.

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The gondolas were perfect objects, indisputably beautiful. The gleaming wood and elegant curves brought to mind musical instruments: the grand, glossy elegance of a cello or bass.

Italy is known to prize the aesthetic, with its concept of bella figura, its reverence for beauty and grace. This Cadillac of a boat, I thought, was a good example: moving at 3 miles an hour, walking pace, the gondola is a relic in the 21st century, wholly unnecessary and fully lovely. ACS_1031

It takes about two months to construct a gondola and costs upwards of 20,000 euros to purchase one. Eight types of wood–cherry, elm, fir, larch, lime, mahogany, oak, and walnut–are joined together in an ingenious, flat-bottomed design that allows the boat to navigate in water just centimeters deep.

There seemed no better way to directly experience Venice’s aquatic history than by getting into a boat. We decided to go for it, in our last full day in the city, as long as we could find one a bit off the beaten path.

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Gondola rides are price-controlled, currently eighty euros for a standard daytime ride and one hundred at night. But shopping around is worth it, as the experience differs greatly depending upon the starting point and the personality of the gondolier.

Victor and I walked until we found the neighborhood we remembered from a previous stroll. I don’t know how we found it, really. The endless tiny streets–some of them dead-ending into the canal–confounded my navigation apps, not to mention my nascent sense of direction.

We were in the quiet Campo del Ghetto, the Jewish neighborhood dating back to the 16th century. The English word ghetto originates from Venetian dialect geto, meaning ‘foundry,’ and this was the area’s purpose before Jews were isolated and forced to live there. Campo del Ghetto was cut off from the city until 1797, when Napoleon conquered Venice and ended the neighborhood’s separation. Today, the Ghetto is a calm area with a Holocaust memorial and five synagogues.

We saw a boat coming in and waited by stone steps leading into the canal. The gondola was piloted by a woman– a sight rare enough to be striking, but I didn’t yet know how rare. Researching it, I learned there are so few women gondoliers that you can know them by name. Their names are Giorgia Boscolo and Chiara Curto: out of about 400 total gondoliers, there are two women.

Ms. Curto was the woman steering the boat up to the foot of the bridge, smiling and ruddy-cheeked. But she told us she was booked for the rest of the afternoon. It had been a day where we kept running into Closed signs; it seemed a fitting, disappointing end. But then she said she had availability for the sunset tour. She made a note and we hurried off into the maze of streets.  acs_0833

Freshly showered (and wearing distinctly clashing outfits), Victor and I returned a few hours later. The water and buildings shone soft pastel in the waning sun. Ms. Curto helped us into the boat, and then hopped up on the nearby bridge to take our picture. I didn’t have to fake my smile (and couldn’t have stopped it if I tried). If there’s ever a place to be a fool in love, it’s on a boat in Venice.

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Victor noticed the gondola didn’t have the distinctive iron ornament (the fèrro) that we’d spotted on the front of the other boats. That’s when we learned we weren’t in a gondola at all but a sandolo. Sandoli are wider and flatter than gondolas, used for rowing. They can access shallow spots in Venice most gondoliers wouldn’t go. They are also, Ms. Curto told us, even older and more traditional than the gondola.

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Chiara didn’t sing, but she was full of stories. In brief silences, the only sound was the oar moving through the water. We swept under bridges–Ms. Curto deftly ducking out of the way–and past churches, bars, and boats. We glided under laundry, the great equalizer, a cheerful reminder that behind these flung-open shutters and crumbling brick walls life churned on, messy and mundane. Whole duvets hung out to dry on the pulley systems spanning the canals.

As Chiara steered the boat back to the foot of the bridge, I stirred, dreamy-eyed, like I was waking from slumber. As in sleep, time had ticked by in secret, and the half-hour outing felt as if we should measure it in seconds.

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I wondered what would it be like to be any one of them. To work standing up in a boat, battling the cold and the sunburn. To bask in beginnings, to witness the unveiling of so many shining engagement rings. Might you be cynical, a poet, or some combination?

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Might you be proud: carrying on a centuries-old tradition that is in no way vital to the city’s operations…but surely vital to its heart.

snowglobe city: alone in italia, day seven

In my last full day on the Ligurian coast, I found myself far from the crowds, in a village one could reasonably conclude was populated only by renderings of the Madonna and electric green lizards like flashes of light.

Maybe it’s Cinque Terre, maybe it’s Italy, maybe it’s luck, but my time here has brought a lot of getting lost in the best way. There have been no blisters or tears or sleeping in train stations, but rather a lot of unexpected, unplanned beauty in a place that seems to hold no wrong turns, only choices. Left or right: pick your pleasure.

Once again I had woken to a day where nothing was expected of me and where I expected nothing. Bliss. After lazy bread and butter breakfast in the common room of the hostel, with my dear view of the church belltower in Biassa, I went downstairs to write. Tired of typing out blog posts on my iPhone while lying in a bunk bed, I had since migrated to the computer near the front entry. It was a distracting but fun place to work that led to several good conversations.

I wasn’t long into it before Damiano asked what I planned to do that day. To my cheerful “nothing,” he suggested I take the train in La Spezia past the Cinque Terre villages to Levanto, where I could rent a bike and ride along the coastline.

I had missed the morning shuttle, so Andrea again gave me a ride down to La Spezia, right to the train station.

In Levanto, the air felt purely tropical. I followed the signs into town and found a bike rental place without trouble. For five euros, a cheery purple bike with a basket was mine until 6 pm. To find the trail, I followed some tourists on bikes until I saw the signs for myself. Levanto to Bonassola to Framura.

The trail is a renovated railway tunnel, which means it is cavelike and agreeably flat. The long stretches of dark and chill would be suddenly broken by openings in the rock every two or three minutes of cycling. They left me blinking in the sunlight and relishing the 15 degree temperature jump. acs_0859I followed the trail to the end, which didn’t take long as it’s only about 5km. I parked my bike overlooking a small port and started walking. I was at the end of the line, in Framura, which I later learned is a town composed of five separate villages. I took some steep stairs for about ten minutes and found myself in one of the five.

It was so quiet I could hear the brush of lizards through leaves, laundry flapping on lines, my own footsteps. The loudest noise was a stream that seemed to originate far above me and end near the sea. Other than my presence, there were no signs of modernity. A village preserved in amber, emptied of inhabitants and immune to the passage of time. A snowglobe city. Madonna stared at me from fountains and above doorways, and besides her ancient gaze, I felt completely unobserved.  acs_0876I crossed a church that I found unspeakably lovely, more so for how it hid in these hills, something so pure and sad about that. Time had barely sullied its facade–marble striped white and lavender–though vines wound up its bell tower. The area smelled of moss. Had the heavy wooden doors been unlocked, I might well have entered Narnia.

Attached to its side was the cheerful anachronism of a basketball hoop, a suggestion of life and play despite the quiet. acs_0849

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acs_0875acs_0877 After a good twenty minutes of enjoying the silence (à la Depeche Mode), I cycled back to Bonnassola and Levanto, where signs of modernity were rather more abundant. I ate really good arancini and accidentally asked the boulanger in Italian: what are you doing. (A whole new language to make weird and startling errors in, and boy am I excited about that.)

I braved the Cinque Terre crowds one last time, bidding adieu to my favorite of the villages, Manarola, with a final souvenir. img_5732