Like Murakami, Vittorio too has an old leather suitcase filled with photos. Family photos and photos of family friends and people he has no idea who they are. We sometimes have fun browsing through these wonderful images and I have decided to share some with you.

I am not going to trace any particular story, I can only imagine them... But what I see is a Venice, an Italy of the past. Some of the subjects were wealthier, but mostly... seem to be from the working class. Families with little money but great smiles and happiness.

What I see is a simpler life, no posing, no selfie-style behavior... Just friends having fun, making memories and truly enjoying the moment.

A representation of the 20th century, when Sundays were an occasion to dress up, wear your good clothes. When everyone was stylish in a unique way, when there was a true sense of community. An Italy where families were close but distant, because many had to emigrate to find a job elsewhere.

A Venice from the past that despite the many changes still lives in the hearts of locals and of those who come here filled with love and respect for the city. The absence of cars and the unique architectural features of this city that make certain changes impossible, have preserved a slowness and human interaction that has disappeared elsewhere.

We still know our neighbors, kids still play in the calli and campi, and the rich and the poor all walk the same stones...

What I wish to take from these images is the sense of lightness and hope in the future. They remind me of the Italian movie ‘Poveri ma belli’ (literally, Poor but beautiful), in which the protagonists may be broke but are full of enthusiasm for life. A world where money was not the goal, but a tool. A world where each day was lived fully in the present, no screens distracting human interaction. Just people dealing with people. Life. Just life, in its fullest.

Just to introduce him, he is called Vittorio Marchiori and was born and raised in Venice. He had a bookshop called Patagonia from 1988 to 2002, which was a sort of cultural and social reference in the city. Since 2002, he has been working in different events and initiatives, such as Homo Faber, movie productions, and with numerous local businesses in the food, entertainment and educational sectors.

To me… he is simply Vito, an easy-going man who loves soccer (he’s a huge Inter supporter), good books, good wine and good food. And of course… with an incredible taste for women ;) Here below our conversation.

Favorite sestiere?

I should say Dorsoduro, because I was born there. Not in the high-end and rich side of Dorsoduro, the one where the British established their activities and currently known as the triangle of the arts, but in working class Santa Marta. My father was a traffic policeman (and if you are asking yourself, what does a traffic policeman do in Venice … he worked mainly in P.le Roma), and my mother was a seamstress. I was the first of three sons, the fruit of a sin… born before their wedding. I grew up in a tall apartment building and used to share my bedroom with my grandmother, and although I now realize we had nothing, I must say I had the happiest childhood one could hope for.

Anyway, now my favorite sestiere is Castello, less impacted by mass tourism.

Favorite breakfast?

It depends at what time I get up… if early, I prefer a sweet breakfast and the best croissants are definitely Pitteri’s (cream for me), although I also like Bonifacio’s small sourdough focaccine.

If I can sleep late, then I opt for a savory start and my go-tos are Rivetta (the one in calle Sechera), where I like a slice of salami and the hard boiled eggs, accompanied by a small glass of house wine, and Osteria all’Arco in Rialto, where I let Matteo prepare anything he wants, because I know I’ll land on my feet.

Best place for a cocktail

For me… Café Florian, at the counter. Always a Negroni.
My other favorite is Ombra del Leone, where I love to sit outside and enjoy the view of Bacino San Marco.

Place to quiet the mind:

Sant’Elena, because the trees, the shade, the breeze and the singing of the birds relax me. The view from there is magnificent.

Then Campo San Giacomo dell’Orio, very different because it’s a closed space… but it still has trees and there’s a tiny vegetable garden grown by local children, which returns me a sense of normality.

An artwork you are attached to.

Titian’s Assumption inside the Frari’s Church. It was the first painting that really impressed me as a child and over the years the many things I read and discovered intrigued me deeply. When my daughter was small, I would often take her there and I still have the drawing of her interpretation of the artwork. Although I was highly politicized when younger and not really a church person, Frari is a place I went to a lot and where I met amazing human beings.

Favorite place for tramezzini.

Filovia in P.le Roma and Rosa Salva (asparagus and egg in particular).

Favorite bookshop.

I don’t have a favorite bookshop, but I go to different bookshops for different types of books. Mainly Ubik, for more mainstream, general books, and Marco Polo for small publisher and more selected editions. But the one I feel most attached to is the second hand bookshop Bertoni, where I used to go also as a child and in a way represents the city’s resilience.

Dawn and dusk. Where?

Dusk… San Giorgio, because the light is spectacular. Otherwise, Zattere.
As for dawn, San Marco and F.ta Nove.

Do you have a favorite artisan/designer?

Carlo Setti, his shop is called La Pietra Filosofale. Not only because Carlo is an old friend of mine, but also because there’s a strong coherence between him and his works. No sense of marketing… he does what he does out of passion. He’s a mask maker, he has been working with thetares for many many years, and his creations are unique.

Is there a book on Venice you’d recommend?

The Comfort of Strangers by Ian McEwan, because although set in Venice, the city is never mentioned. Or hardly ever. The city does not prevail on the plot, a strong choice that I highly appreciate.

If you were in Venice only for a day, what experience would you like to have?

Living a day as a flaneur… wandering with no specific project, no pre-designed plan, just observing the urban landscape, with an open mind and an open heart, ready to receive the surprising reality Venice will inevitably show me.

As a teenager I used to hate the slowness of the lagoon, whereas now it’s exactly what keeps me hooked. So much so that I avoid the crowds and over touristy spots as much as possible and secretly hope to move back to my native island. Fortunately there are many corners that still offer silence and peace and although they may not look as glamorous as San Marco, I find them truly beautiful.

Venice is small in size, yet it is a never ending source of discoveries. So many times I lift my gaze and notice new details. There is no right or wrong way to experience the city, it is perfect whether you are looking for relaxation or noise, art or food, wine or specialty coffee. The only suggestion I have is to approach it with an open mind, as it differs from all other places in almost everything, and mostly with respect. An unseen gentleness characterizes this agglomeration of islands, where the contemporary must always consider the “old” and where the force of nature makes herself evident every season, be it through the high tide or strong winds.

In this post, I’ll share some of my favorite spots. Not a list of best or must-see, simply the ones I like :) a totally personal point of view.

Favorite Neighborhood:

Dorsoduro. Until a couple of years ago, I had another favorite.. but I recently changed my mind. Dorsoduro has become my number one because it doesn’t tend to get as overwhelmingly crowded as other areas, especially around the Basilica della Salute, where I love to take all sorts of photos, from portraits to fashion, as well as views of the city. I also love to walk along the Zattere and stop for a drink at the Chioschetto, which overlooks the Canale della Giudecca and is definitely the place to be at sunset.

Another relaxing walk is in the area of Angelo Raffaele and Santa Marta, where I suggest stopping for a coffee or a nice lunch at Caco Nero and visiting the small jewel that is the church of San Nicolò dei Mendicoli.

Favorite Eats:

Osteria Giorgione da Masa
Masahiro is originally from Japan, although he has definitely achieved the status of Venetian now! His cuisine has become highly considered and I understand why. A unique fusion of traditional Japanese and Venetian cooking techniques, with many personal and innovative touches, ingredients of the highest quality and natural wine and sake. For anyone looking for explosive flavors!

Coffee at Combo
A former convent, this cafeteria is simply beautiful! Go there for a snack like a salad or a sandwich or simply for a coffee. You might be lucky enough to find a flee market or some other creative event going on.

Venice Venice
For drinks or for a fun and easy lunch. This hotel offers an incredible view over the Grand Canal and Rialto. At lunch the food is tasty and playful, and I would recommend trying their interpretation of cicheti!

Altanella
On Giudecca, I like to sit outside in the terrace and enjoy a traditional Venetian lunch overlooking the Canale della Giudecca. A family-run restaurant that has a long history and that I like for its food, the ambience and the peace it offers.

Favorite Escapes:

Lido. My native island. I go there whenever I have some spare hours, to walk along the beach shore and up to the lighthouse. On Fridays I love the farmers market and shop at the Vignole stall. The only season I don’t go as often is summer… in fact I joke that when the beaches (where people rent a capanna -a hut- for the season) I can finally start going ;) Let’s say that I don’t stay in the sun much and prefer autumn, winter and spring!

Every year, the week of the Film Festival, I wake up early and hop on a vaporetto to go to Lido and enjoy the most gorgeous light and the perfume of the saltiness of the sea. With the breeze kissing my cheeks. Marvelous.

Favorite Spots for photos:

• San Francesco della Vigna
  The two cloisters of this Franciscan church are places I go to also to find peace, read and relax. Sometimes I go there with my husband just to read the papers and chit chat. A place of the heart.

• Bell Tower of San Giorgio Maggiore
  From here… you get the best view of the city! I just love it!

• The vegetable garden of the Redentore Church
  A private space renovated by the Venice Garden Foundation, absolutely stunning and worth visiting! All year round. Open only from Wednesday to Saturday, 10 am-6 pm.

Favorite shopping (clothes & jewelry)

• Materialmente

Maddalena and Alessandro are a creative duo with a workshop in Giudecca and a small shop in the San Marco district. Sculptors, designers, artists. Their creations are light and poetic, transforming iron and other metals with a mastery that never forgets about the environment. Decorative panels, small and medium size sculptures and one-of-a-kind jewelry.

• AB Andreina Brengola Jewelry

Andreina’s style is minimalist and geometric. Her creations are lightweight and based on stretchy metallic rings, so comfortable they feel like a second skin. She does not have a shop, but welcomes visitors in her private atelier, which is an experience in itself, as the place is a former yoga and meditation studio with a very big garden, filled with flowers and from where you can see part of the entrance of the Tolentini church.
I strongly suggest to send her a message and arrange an appointment!

• Monica Style Shoes - Rialto

The place to go for top quality wool in winter. Handmade hats, scarves and more. During the other seasons, several are the fabrics she turns into gorgeous bags, shoes, accessories. Durable, beautiful, handmade and of the highest quality… a real gem!

As you know, my job as a food photographer is a tough one and often requires me to fulfil the physical task of tasting my subjects 🤪... I know, I know. It’s hard work, but after all someone has to do it. As for everything, mastering the art requires training and I have been implementing exercises for quite a good amount of time now and so I can proudly say that my palate muscles have become very efficient!

Yesterday I had to go to one of my favourite clients, Osteria al Ponte del Diavolo... And so I seized the occasion to wander around beautiful Torcello before completing my task. In the hotter months Venice can get quite crowded and so escaping to the islands of the lagoon is always a blessing!

Torcello may be small, but it is a concentrate of history. One could spend an entire day just between the Basilica of Santa Maria Assunta, with its stunning mosaics, and the archaeological museum... But I just wanted to breathe in some wilderness. Nature in its purest form, with only the sound of the breeze moving the tall grass, the water flowing and the singing of the birds.

As usual, I reached the bridge Ponte del Diavolo and crossed it to go to the fields. I really like it there... There is an ancient well from which you can enjoy a unique view of the three layers of the lagoon. I also love the walk along the canal, which leads towards the old centre.

I quickly passed through the monuments and went to sit on the red bench facing a larger canal, and read my book for a short while. How beautiful...

Then I got up and went to the restaurant for the summer photoshoot. After which I got to taste all the dishes and can give you my word that everything was truly amazing.

Gazpacho with its brunoise sauce and prawns, beer muffins with salami and gorgonzola with pepper foam, caramelized onion and olive powder, seabrea carpaccio with tapioca a Campari gel and a special dressing, Gragnano linguine with cuttlefish ink, raw and cooked lagoon cuttlefish and candied lemon, homemade saffron tortelli with a prawn and zucchini and mint pesto filling.Then… fried squid with a salad of early vegetables, fruit, citrus fruits and lime mayonnaise, rack of lamb with artichokes and new potatoes…

And the desserts, among which the new entries were the "Wrong" Paris Brest with fresh fruit, a mille-feuille with Chantilly cream, apricot and lavender and the Breton tartlet with apple and macadamia crumble.

This year there’s a woman in the kitchen and the female touch can be seen! Everything was delightful and inspiring...

If I had to choose, I would probably say that my overall favourite was the gazpacho with gamberi... So flavorful I will try to replicate it today!

So... If you visit Venice this year, I do suggest considering going to Torcello for a day. Your soul will be grateful, and also your tastebuds :) In the meanwhile, I hope these dishes have provided you with some inspiration and enticed you to cook something different :)

Talk soon.

With love,

Nicoletta

I went twice, the first time on my own and the second one with Vito, who experienced it as a sort of therapy! Anyways, after the visit… we did something that is a sort of summertime ritual for us locals, and it was… eating a Gianduiotto da Nico along the Zattere!

Together with the Fine Art Academy… we can say that this place is also a real Venetian institution 😆 . It was created back in the 1920s by a man called Giovanni Causin, known as “Nico” (hence the name). In case you don’t know it, it is a rectangular block of chocolate-hazelnut gelato literally drowned in a generous cloud of freshly whipped cream. The portion so generous it could easily work as a good meal replacement :)

The gelateria in Venice was opened in 1937, after Giovanni Causin and his wife had moved from a town in the Treviso province called Musestre. Their ‘innovative’ idea was to replace the usual scoop of ice-cream with a big chunk of frozen gianduia gelato. You can have it with or without whipped cream… but honestly… why give up the white cloud of pleasure? The combination of textures and flavors is just perfect.

The dessert spawned a legendary Venetian tradition. You can have it “to go” (in a paper cup) or enjoy it at a table of their terrace overlooking the Canale della Giudecca. Whichever way, it is a signature experience.

We usually have it to go, and eat it seated on a stone bench along the Zattere, in which case it is followed by a ‘birretta’ at the kiosk, or along the low walls siding the canal in front of the squero, and in that case it is followed by an ‘ombretta’ at Cantina Schiavi.

So… for now I will say goodbye with an invite to experience for the first time or yet again this delightful summer treat and with the promise to be back soon with some news from Venezia.

Thank you for your patience and for reading me! Have the most wonderful week!

XXX
Nicoletta

this time I am writing with some news and images from Dublin. I took advantage of the long weekend to visit my mother and brother and celebrate mum’s birthday.

I know I have already shared quite a few posts about Dublin in the past, but I must admit that every time I fall in love with the city more. The light was perfect, luckily it rained only for a couple of minutes one evening... As for the rest, it was the usual mix sunshine and clouds.

The old town was as lively as ever, with lots of visitors who had come for pleasure and also for the rugby match (Ireland -France). TBH with you, we went to town only on the first day to do a little bit of shopping, stroll around Trinity’s greens and to visit the incredible temporary exhibition dedicated to William Blake hosted at the National Gallery. Allow me say it was greatly curated and we thoroughly enjoyed it.

The lighting allowed an attentive look at the different artworks, which ranged from sketches, to watercolors and paintings. Blake’s works were sided by works of other romantic artists, thus widening the understanding of their literary and artistic references as well as their purpose. What I found magical was the refined way positive messages of hope were conveyed through dark episodes and scenes, as well as Blake’s refusal to adopt oil painting and the vibrant result of the effect of his fresco technique combined with the use of gold leaves.

After the exhibition we had a casual lunch at the Silk Road Cafe, the cafeteria of the Chester Beatty Library, one of my all-time favorites. The bright and relaxed atmosphere combined with the flavorful ethnic dishes are a small treat I allow myself every time I visit! My mum had tried their afternoon tea with a twist about a month ago - with sweet and savory nibbles from the countries of the manuscripts of the museum’s collection - and she loved it!

Anyways, we spent most of the time in the Docklands, the area I prefer. With very few tourists, the financial borough is modern and at the same time elegant and buzzing. Lots of pubs, eateries and restaurants overlooking the water. Artisan bakeries with the most spectacular sourdough breads and baked goods. Bicycles, joggers, and dog walkers everywhere.

On the Saturday we had lunch at Charlotte Quay followed by a long walk that took us to the small village of Ringsend. In the evening we walked more along the river until mum and Matteo, my brother, went to a concert she had booked months ago.

On the Sunday we relaxed in the Arena 3 area, as we had decided to go to the cinema to see The Devil Wears Prada 2 (I loved it!!!) in the early afternoon, so we opted for a quick lunch at the rooftop cafe of the Gibson hotel. Simple, honest food at very good prices. Spacious and airy, with a view over the harbor and an internal Japanese style garden.

As already mentioned, mine was family time, with cozy evening home meals and lots of walks and catching up. But in case you visit Dublin, I suggest having a look at my older post for easy-going food and activity recommendations.
(-Link 1: https://www.naturallyepicurean.org/post/2019/04/24/five-days-in-dublin
- Link 2: https://www.naturallyepicurean.org/post/2018/10/06/four-autumnal-days-in-dublin-city)
As for more gourmet food experiences… some other of our choices are:
Sole for great fish
Glas for amazing vegetarian and vegan food
Dion rooftop for a great city view

Activity-wise, you may consider visiting the Epic Museum, or hopping on the Jeanie Johnson Famine Ship, as well as all the sailing and rowing sports offered along the river.

Personally I believe that Dublin is a lovely city to visit and if I could I would prolong the vacation and travel also to other counties. I hope these images have been enticing enough to make you curious and...

Talk soon with news from Venezia.
As always, thank you for reading!

Nicoletta

Just to be clear, this post is not going to be a short art history lesson… you can find a lot of information regarding the artist online and in books, but just in case you didn’t know her, she’s a living British artist whose work mainly revolves around the body, especially the female body and the one of infants.

Her artistic vocation found a clear direction when she was in a museum and, while admiring all the female portraits and representations of the past, she did not feel represented. All she could see where women seen through the male gaze, women put on display to be looked at by men. Maternity too, in the sacred depictions of the Virgin with the child, was sort of put on a pedestal, and missed all those nuances of the flesh of babies and children when they move, of the ongoing changes of their bodies and -in general- of the richness of real life.

So many realities left unspoken, unrepresented. So much flesh to give voice to. Because I believe that our body is not only a mere container, but it is US. We are our body, we live in it and through it we experience the world, it makes everything tangible.

The brush strokes on the canvas are so textured that they seem fresh. The paintings are alive, with their overlapping of nuances and intertwining of words and images, not to mention the juxtaposition of figures. But why does her work resonate with me so much? I feel I know and to be honest with you I feel vulnerable in sharing it.

I have been wanting to talk about the body for a long time, but every time I failed. The thoughts in my head looked so banal when put down on paper, and besides this, speaking my mind would mean opening up, telling you how difficult the relationship with my body has been throughout my life. But I know I am not alone, I know that this is true for so many of us and I am also aware that we are now in a period in which this theme is finally being dealt with.

I have been reading so many essays on the body lately. Some by fat activists who discuss the bias they face everyday, some by women who went through severe medical problems and experienced painful changes to which they had to adapt, some other by homosexuals and a few essays written by transgenders. It’s incredible how we all sometimes feel as if our body was a cage, it’s incredible the suffering we go through because of it, be it for an aspect of its appearance or for the pain caused by an illness.

Personally, I sometimes think that the body positivity movement will never really succeed because it relies on one’s own sense of acceptance, on self-love. Beautiful concepts that I embrace, but that do not consider that it is our nature to want to be liked and appreciated, that we are part of our society and yes, even though it is true that if we want to see society change we must be the change… it is also true that we are all humans and we all have our fragilities. And it feels good when others admire you.

The world is a magical place. Full of beauty, but also full of harshness and hatred and wickedness. It’s a Tao symbol, a duality of good and bad, it is the way of Nature. But if only we gave more space for the representation of all individuals, we would all benefit from it, as it is the uniqueness of each one of us that enriches the world. Perhaps the trend seems to be leaning towards an homogenization, but we can do so much to change the direction…

We could start by questioning the standards, be them about beauty or behavior. We could start by embracing bodily changes as an inevitable part of life, maybe even grow through them. We could start by questioning our prejudices, which protect us and tell us so much about ourselves. We could start by listening to others, and I mean really listening. I don’t know about you, but I am guilty of selfishness at times, I am not always present and too often feel blue for reasons that if I really think about it are at the same time superficial and common.

What about you? Have you ever honestly asked yourself how you see others? What is your reaction in front of a body that is particularly big, or small or diverse. What are your thoughts when you meet a person with a disability? What significance do you give to certain words? Have you ever judged someone without knowing them only based on their appearance? If so, how do your thoughts make you feel? Have you ever asked yourself what person you want to be? Have you ever asked yourself how much power our thoughts have in shaping our world?

Jenny Saville’s work makes me think about all these things and this is why I find it so touching. I see body types and human stories that are traditionally excluded, lives put on the margins finally shown and given their due importance. The significant size of the paintings, the vivacity of the colors and the deepness of the gaze of the subjects make it impossible not to stop and want to learn more about them, about all human beings. They make me want to create connections and I feel a sense of closeness with the subjects.

I will conclude repeating once more to visit this exhibition and I invite you -if you like- to share your thoughts.

Yours,
Nicoletta

A quick note to apologize for my silence… I can’t share all the details yet, but I am currently working on a book project of a famous author, which should be published in October. It’s been exiting and I really look forward to seeing the final result, although as a consequence I haven’t had as much time for my own blog… anyhow, I promise I will do my best to keep you up-to-date. As you know, next week in Venice many amazing exhibitions will open, then in May it will be the turn of Biennale and -in the meanwhile- I will be traveling to Paris, Dublin and Florence … and so, I will definitely get back on track with my writing and photography :)

In the meantime, to break this torturing silence, I will share an edited version of a very old post, featuring one of my husband’s recipes: baccalà alla Gastone.

The word baccalà is generally used to refer to cod or dried salted cod, the one from Portugal, while here in Venice and the Veneto we use it to refer to stockfish. Differently from baccalà, stockfish is made only with Norwegian cod of the gadus morhua species and, like the salted cod, when caught it bleeds on the fishing boat and is washed in flowing water. It’s from this moment that the processing of the two fish changes, in fact stockfish is dried in the open air, by the sun and the wind and between February and June, dedicated staff constantly controls the distance between the fish in order to let the air circulate and avoid the formation of moulds. The Portuguese salted cod, instead, is produced all year round and is generally left under salt for about three weeks.

The stockfish that arrives here comes directly from the Lofoten islands. The story goes that in 1431 Pietro Querini and his crew were sailing North and after a journey .which had started in Candia- that had seemed unfortunate from the beginning there was a shipwreck and the survivors found themselves in the Lofoten islands. They were rescued and taken care of, so they spent the colder months there and when the season allowed them to take sea again, they slowly returned to Venice and brought lots of dried stockfish, given to them because it was a durable food that would have lasted for the whole journey. The enthusiasm with which it was welcomed in Venice was due also to the fact that in that period in the different convents and monasteries in the region, people were eating too much meat and dried stockfish represented a perfect solution to reintroduce the habit of the venerdì di magro (light Friday).

Dried cod must be left soaking for at least 24/36 hours and the water should be changed every 8 hours. Until a couple of years ago there was a fish stall in Rialto that would do it for you, but now the minimum weight required is 2 kilos so we make it only in very special occasions. The three typical regional recipes with stockfish are: baccalà mantecato, baccalà alla vicentina and baccalà in umido.

The recipe I’m sharing today is inspired by baccalà alla vicentina, so important for Vicenza that in 1987 the town of Sandrigo founded the Confraternita del Baccalà alla Vicentina. This is my favourite recipe, rigorously made without tomato. The stockfish is floured and baked in a deep baking pan with onions, sardines, milk, olive oil, a little bit of parmesan and parsley at low heat for about four and a half hours and served warm. It is the most exquisite thing on earth, not exactly dietetic but, after all… YOLO!!!

My husband makes his father’s version –baccalà alla Gastone- and adds black olives and capers and uses a lower baking pan and grills it for the last half hour, so it has less liquid and a nice crunchy crust on the top. Delicious (find the recipe below).

I have sided the photos of the recipe with some photos of the Fondazione Querini Stampalia and also with the one of the map engraved on the church of Santa Maria del Giglio. Spring is being slow to start this year, the sun is shy and the temperature not so warm…. thus, a comfort food like baccalà is perfect! Hope you will like it too.

Thank you for reading :)
Talk soon!
XXX
Nicoletta

RECIPE: BACCALA’ ALLA GASTONE

INGREDIENTS (Serves 4)

½ kilo soaked stockfish
1 white onion
4 Cantabrian anchovies
8 black olives
capers
500/600 ml milk (it has to cover the fish)
200 ml olive oil
Parmesan
breadcrumbs
00 white flour
pepper

METHOD

1. Pre-heat oven at 180°

2. Rinse the stockfish without removing the skin under fresh water and cut in thick pieces. Dry gently with a paper towel.

3. Finely chop the white onion, pitch the olives, remove salt from capers, grate some parmesan and prepare the anchovies.

4. Heat a pan, pour some oil and cook the onion until it becomes lightly golden.

5. Flour the stockfish, grease a pan, add the fish, then the sautéed onion, olives, capers and anchovies, pour the milk first (it has to cover the fish), then the olive oil (do not stir). Top with grated parmesan, pepper and breadcrumbs.

6. Bake for about 2 and grill for the last 20 minutes.

Serve hot and enjoy!

Of course, winter is winter and the capital city of Italy is no California, but despite the cloudy sky and the few drops of rain… there are 10 degrees more than in Venice and they feel good! We arrived just after the end of the Jubilee and, even though our sins will not be forgiven, we have been blessed with a super quiet and peaceful Rome, with very few tourists. We took things easy, 2025 was a very intense year for both of us and we need rest, sleep and good food to nourish our bodies and souls.

As you already know, there are so many monuments, museums and artworks to see… but as always, we preferred not to rush it and take our time. In fact, the first afternoon we simply walked in our neighborhood, ate dinner and relaxed on the couch!

But day two we headed towards the fabulous Palazzo Barberini to refresh our eyes and spirit. Right in the city centre, at the top of Via Quattro Fontane (where my mother once upon a time used to live), the former residence of the Barberini family is now a state museum and its collection is incredibly rich! If you decide to go, you may want to consider taking 2 to 3 hours or selecting the specific artworks to focus on.

The ground floor hosts ancient artworks, from the primitives to the 1400s. We walked around and loved The Annunciation by Filippo Lippi, a tempera on panel painting that caught our sight mostly for the soft and kind face of the Angel and his dark wings, which reminded us of a peacock.

Our attention, though, was drawn to the first floor, which hosts artworks from the 15 to the 1700s. We already knew what we wanted to see, like the portrait of Erasmus from Rotterdam by Massys, the stunning Fornarina by Raffaello, two portraits by Giorgione, Artemisia’s Allegory of Painting, Lorenzo Lotto and a Guido Reni.

But mostly… I was dying to see the Narciso by Caravaggio. Needless to say…magnificent.

I may seem banal, but Caravaggio is one of the artists I love the most, his works are able to make me emotional and I feel them. I embrace his realism and honesty to life as it is, his appreciation and celebration of real people, his deep passion. This painting in particular is important for me, for reasons I may discuss one day if I’ll ever feel ready to.

Anyways… once we left Palazzo Barberini, we went to Piazza Navona for lunch. We opted for Cul de Sac, a traditional and easy going restaurant that has been open since 1977, where Vito has been going for many many years and which was one of the first places we ate together when we first came to Rome back in 2008. Simple and honest Roman cuisine, a ver very interesting selection of wine and really nice staff. The food is good, we opted for coda alla vaccinara and their roast beef, preceded by a chicken liver pate and sautéed broccoli, but there are lots of options also for vegetarians.

As we were in Piazza Navona, we walked into the church of Sant’Agnese in Agone… with The Incredulity of Saint Thomas by Caravaggio and a Madonna with Child by Rubens, hosted until February 8th. An opportunity not to be missed!

We then went to the nearby bookshops Altroquando and Otherwise, where we both bought something to read! At Otherwise you will find mainly English (and some French) books and lots of cool illustrations and small artisan gadgets.

With our tummies feeling happy, we then just went for a walk to the touristy spots such as Piazza di Spagna and the Trevi fountain, window licked the fancy boutiques in Via Condotti and got some more food to cook at our apartment.

The following day, our last, we went south to visit Palazzo Corsini, which -just like Palazzo Pitti in Florence- left me disappointed due to the setup. It is very difficult to appreciate them properly and the lighting terrible. Anyway, I managed to see the allegories of the four elements by Rosalba Carriera (these ones), which made my day.

Our visit was short, so we just wandered in Trastevere. It rained a little bit, but all in all, we have been super lucky!

One of Vittorio’s Roman friends used to live in Trastevere in Vicolo della Renella and we would often stay at his place, but he moved to another area some years ago due to it having become too noisy and overly touristy. Coming from Venice, we understand what he means and it is undeniable that a lot of places feel (perhaps I should say, are) fake, but with this said… Trastevere remains beautiful and definitely worth going to! When there, take some time to visit the church of Santa Maria in Trastevere, a little jewel where centuries of artistic techniques overlap!

Some old activities still remain and there are still lovely authentic bakeries (like Forno La Renella), cafeterias, bars (how can we not mention the bar San Calisto) and restaurants. For lunch we went to a cosy organic shop called Rumi Bottega Organica and we loved it. There is no table service, so it’s a great option if you love vegetables and want to enjoy some good food while remaining on a budget. The people are friendly, the produce from local farms and the dishes really flavorful. Honestly, I definitely recommend it!

Due to the cold… after lunch we just went for a walk around the Ghetto and then back home to cuddle up in front of the telly… maybe not exciting, but so needed!

This is it from our very short Roman break.
We are on a train back to Venice right now, so… talk soon with more news from the lagoon.

Thank you for reading.
XXX

Nicoletta

I hope you had a wonderful Xmas and that the New Year will bring you joy and many happy moments. I wish to apologize for my silence, a project I can’t reveal anything about just yet has been keeping me busy… but I promise I will do my best to keep my Substack active and -hopefully- interesting.

In this post, I am taking you to Florence, for a very short break. With so many train deals, it only takes a couple of hours to reach the city that is perhaps the most representative of the Renaissance. My suggestion is to always keep an eye on the exhibitions organized at Palazzo Strozzi. Vittorio and I had the fortune to visit the incredible ‘Beato Angelico’ exhibit, on until the 25th of January, and we are planning to return in March for the ‘Rothko in Florence’ exhibition (March 14- August 23, 2026).

Of course, the Uffizi Gallery, the churches, and the list goes on… so so many things to do! The last time, we opted for Palazzo Pitti and absolutely loved the collection, although we felt disappointed by the setup, which is still the one chosen by the Medici family and does not really allow a good vision of the artworks, nor does it follow any scientific or historical principle. I do understand the will to keep things as they were… but, but, but… do I agree with it? NO! I even wrote a complaint email but never received a response. With this said, the artworks on display are definitely more than worth the visit. I won’t list them all, what I will say is that I have personally fallen in love with an ‘Amorino dormiente’ by Caravaggio (this one here)… not to mention the many Raffaellos.

We slept in the lovely neighborhood of San Frediano, which is really close to the centre but has a lovely hipster vibe and lots of beautiful artisan shops and bars, cafeterias, bakeries and restaurants.

We didn’t stay long so here are some of the places where we ate that we loved!

LIBRERIA BRAC
First on the list, this gorgeous bookshop that offers coffee, teas and cakes from morning to afternoon. It has a connected side room with a vegetarian restaurant with both indoor and outdoor seating and food so good that even non-vegetarians will have their tastebuds buzzing. Portions are generous, ingredients sourced from local producers and a good choice of wine and spirits too. If I lived in Florence, I would definitely be a regular client… so this is number one in my list!

5 E CINQUE
Another vegetarian option right in the city centre. Located in Piazza della Passera, it has a lovely homey and warm feel and has been open for many many years. It is known especially for the focaccia con formaggio (focaccia with cheese), which we had the previous time but not this time.

CARDUCCIO IL SALOTTO BIO
A small and cosy cafeteria where you can buy organic vegetables and enjoy a nice lunch. It has vegetarian and vegan options, but also fish, eggs, meat. It’s a great choice if you are looking for an easy going place with smart bowls, salads, soups made with quality ingredients and at a very affordable price.

IL SANTINO
Now… this is THE wine-bar Vittorio and I would love to have below our house. The staff is super nice, friendly and knowledgeable, an interesting list of natural wines and lots of delicious food to accompany all the alcohol! Here we had a mouthwatering terrine, followed by meatballs in tomato sauce and and a small lasagna. Just next to it, you can find the restaurant called Santo Bevitore, where we are planning to go the next time.

S.Forno
Same owners of Santo Bevitore and Il Santino. S.Forno is a neighborhood bakery which we really enjoyed. We bought croissants every morning, but other times I was in Florence I also went there for a quick (and very affordable lunch). The choice of pastries and bread loaves is incredible! Highly recommend it!

That’s all for now… Will be in touch soon as this week we are headed to Rome :)
Again…
HAPPY 2026!!!

XXX
Nicoletta

I don’t know if I have already shared with you that one of my favorite movies is Smoke, with Harvey Keitel. In the movie he is the owner of a tobacco shop and a passionate amateur photographer. He takes the same picture, from the same viewpoint at the same hour everyday. In one scene, a friend of his, while looking at his work, tells him that the images are all the same. To this, Keitel replies pointing out the details, the way the change of weather affect the atmosphere, the different light, all the passers-by, each with their own story, so personal yet so universal. Until at one point, his friend recognizes in one of the photos his wife, who had died some time earlier, and -feeling emotional- understands. Every moment, every minute, every second of our life is different and worth noting. We all interpret the world in different ways and it is important to take the time to observe its details.

All this … to introduce you to Cristina and Ferruccio, founders of Saor Studio, two souls that explore the city of Venice almost as situationist artists. Two wanderers who map and narrate Venice’s architecture in an unconventional way, tracing new routes, mental and physical, all the while creating beautiful, playfully witty objects. Here below our brief conversation:

1) Cristina and Ferruccio, tell us a little something about yourselves.

(Cristina) I come from Bassano del Grappa, a small and charming town near Vicenza, and I studied architecture in Venice. I’ve always been passionate about art history, design, and fashion, and this study path was perfect to embrace my interests.
(Ferruccio) I lived in Mogliano Veneto but came to Venice very often because my grandpa used to live here. He was a painter and always inspired me. I too studied architecture in Venice.

2) Saor. How was the project born and why this name?

When we started thinking about a name for our project, we wanted something truly Venetian. We were brainstorming with a friend and many names came up, but Saor was definitely the one that caught our interest: the idea of a dish/preparation that takes time to become tastier sounded like something we could apply to our work.

3) What do you love the most about illustration and architecture?

We have always loved studying and drawing architecture, ever since our university days. This passion came from our background at school but also from our interest in maps, cartography, and the history of cities and urban design. Our minds work this way: what better method to understand how a place works than to draw it?

4) Your wanderings around lesser known islands and their translation into images. Can you share your favorite places and any curiosity?

Our illustration of the islands of the lagoon was our first project—everything started from there! Our idea at the beginning (and we’re still trying to keep it alive today) was to highlight the lesser-known places of Venice and its lagoon, avoiding the big “classics” (how many times have we seen an image of Piazza San Marco or the Rialto Bridge?). That’s why we decided to focus on the islands. We didn’t know much about this territory, and while illustrating them, what interested us most were their historical functions. Islands were often used in the past to isolate people, to keep them away from the city. Some were places of self-isolation (monasteries like San Lazzaro degli Armeni or San Francesco del Deserto), others of imposed isolation, such as mental health hospitals or leper colonies. It was striking to see how huge structures were built to host these institutions, like the buildings on San Clemente, which was a mental health hospital for women.

5) Paper models. How much fun do you have in creating them? Which is the most appreciated (the most sold?)

We started working on paper models just after we opened our shop in 2021. We felt the display was pretty “flat” (we sell posters, postcards, books, and notebooks) and thought we should start going more 3D. Our background in model making (thanks to the many nights we spent building maquettes for our university projects) made us immediately think about paper models! The creative process can be pretty complicated—we don’t use any digital previews but mostly work with 2D drawings and prototypes (you can see plenty of them displayed around the shop). It’s an experimental process, always correcting and testing new techniques to deliver a final product that we can share with a wider audience. The most appreciated one is the Vaporetto, both by kids and adults! It’s such an iconic symbol of the city that it makes the perfect souvenir to bring home.

6) Churches, bridges, campi, and facades on the Grand Canal. Your books prove your love and affection towards the city. What are your hopes for Venice? and how do you believe people (both foreigners and locals) should approach this unique environment?

Our love for this city is huge, and sometimes we feel a bit frustrated to see the direction it’s taking year after year. We’ve been loyal inhabitants for a long time and have seen life here change, becoming less and less “Venetian.” Our hope is for it to become a city where foreigners and locals can truly co-exist (we are adopted Venetians too!), a city where it’s possible to find a home, a job, and share its spaces with other people who love it the same way. The environment is unique, and it has its own rules too! That’s why we think the best way to respect and appreciate this city is to learn how it works—by studying its past and observing how it adapts to the future.

7) How can people learn more about your activity?

You can follow us online, and of course come by our bottega for a chat! Since we opened the shop, we’ve been enjoying face-to-face conversations with our customers, leaving our online presence a bit in the corner. We’ll get back to it too!

8) Do you offer any special experience or workshop?

We’re always happy to host workshops and activities. We’ve done a few in the past with Palazzo Grassi and with students from foreign architecture schools. We recently launched an experience on the Airbnb platform where we stroll around our neighborhood (between Cannaregio and Castello), observe its architectural details, and sketch them in real time.

I am grateful for the time Cristina and Ferruccio dedicated to me and I invite you to visit them when in Venice. In the meantime, you can see their work on their website and follow them on social media.

SAOR STUDIO
Address: Salizada S. Canzian, 5576/A, 30121 Venezia VE
Ig: https://www.instagram.com/studiosaor

Food tastes better when shared! A table full of colorful dishes and wine is the best view for the eyes and the soul, and the people’s chatter on the background combined with the noise of pouring liquids and cutlery… well, it’s simply the best music.

Luckily Vittorio, my husband, loves to cook and finds joy in making other people happy (and… also in receiving all the compliments 😂😂😂 !!!!). With few ingredients he is able to make the most fulfilling and mouthwatering food and when it comes to fish, he is my favorite chef.

I asked him if he was willing to share the recipes of last Sunday’s lunch and so… here they are! There were no leftovers, everything disappeared so quickly and I can’t wait for the next banquet :)

We hope you will enjoy them as much as we did. Let us know ;)

RECIPES

MONK FISH WITH TAGGIASCHE OLIVES AND TOMATOES

Ingredients:
3 small size monk fish fillets
400 gr date tomatoes
1 clove of garlic
2 Tbsp taggiasche olives
e.v.o. oil
basil

Method:
In a pan, heat some e.v.o.oil and a crushed clove of garlic. When the oil starts to fry slightly, remove the garlic and add the finely diced tomatoes. Let cook for 5/7 minutes and add the monk fish, lower the heat, cover and let simmer for another 7 minutes. Add the olives, cover again and let simmer for the final 7 minutes.
Once ready, let them sit in the covered pan.
Before serving, grind some black pepper and chop a handful of fresh basil leaves to sprinkle on top.

SAUTEED MUSSELS

Ingredients:
700 gr mussels
1 clove of garlic
1/2 fresh chili
300 gr dates tomatoes
parsley
e.v.o. oil

Method:
Chop half fresh chili and cut the tomatoes into small pieces. Heat a pan with e.v.o.oil, add the chili, a crushed clove of garlic, and when the oil starts popping add the tomatoes. Let cook for about 3/5 minutes and add the mussels (previously cleaned). When the mussel shells open, I turn off the heat and serve. If you like, add some roughly chopped parsley.

STUFFED CALAMARI

Ingredients:
5 small size calamari
left over risotto (risi e bisi)*
1/2 cup white wine
e.v.o. oil

*you can replace it with mashed potatoes or any mashed veg, or use stale bread.

Method:
I used some leftover Risi&Bisi (pea risotto).
Clean the calamari, separate them from the tentacles and stuff them. Heat a pan with some e.v.o.oil, add the crushed garlic and when it pops, remove the garlic and add the calamari and the tentacles. Cook for 2/3 minutes and add the wine. Cover the pan, give them another 5 minutes for each side (10 minutes overall). Remove the pot lid for the last two minutes and … serve!

LEMON SOLES

Ingredients:
3 medium sole fillets
1 lemon
1 clove of garlic
basil
capers
e.v.o.oil

Method:
Squeeze the juice of the lemon and add a little bit of water. Grate some lemon zests.
Heat a pan with some e.v.o.oil, add the crushed garlic and the lemon zests. When the oil starts popping, remove the garlic and add the soles on the side with the skin, cook for 2 minutes and then add the lemon and water juice. Cook them 5 minutes on each side and turn off the heat. Before serving, sprinkle with extra lemon zests and chopped basil or mint. You can add capers if you like.

Grazie Vito!!!

BUON APPETITO!

The store is called Materialmente and it was opened in 2007 by Maddalena Venier and Alessandro Salvadori, designers, makers and incredibly gentle souls. I wanted to learn more about their work, so I visited their atelier on the island of Giudecca (open to the public). Here below our brief conversation:

1) Maddalena and Alessandro, can you tell us a little sth about yourselves?

M: I was born in Germany where my parents had emigrated for work, but moved back to Italy when I was around 4 years old. We lived in the mainland, between Mestre and Mogliano, but I have always been going back and forth from Venice. I studied as a goldsmith and jewelry-maker, and eventually enrolled in Painting at the Fine Art Academy. It didn’t take long to understand that painting was not my preferred media and way to express myself, thus I decided to study sculpture too. After completing my studies I worked as an illustrator and waxer, developing further my narrative and sculpting skills. I then helped my partner open and run his shop until, with Alessandro, I decide to have an artistic space of my own, or better said, where I could produce what I wanted.

A: I was born in Venice but grew up in the mainland, in the countryside, where I would spend many hours outdoors in nature. My mother used to work as a seamstress and my father was a carpenter, so I can say that I have been working with my hands all my life, although it has never really felt like a job, but rather something natural. I went to art school, but I consider myself a self-taught designer or artisan if you prefer, in the sense that my creative path followed my inner feelings and personal and professional experience. in 1998 I opened a shop in the Frari area, but didn’t want to sell the classic souvenirs one expects to find in Venice, I didn’t want to conform myself to what ‘was expected’, so I started creating my own objects and give shape to my imagery. The idea was to offer objects that would add joy to others as well as to myself, to make interiors more beautiful. Then with Maddalena, we decided to open our own atelier and…the rest is history.

2) How did the project Materialmente start?

M: As mentioned, we had been friends for a lifetime and decided to combine our skills and share a creative space. As for the name Materialmente, it was well thought, not something immediate. I like to play with words as I believe that it is through them that we start creating and evoking images, thus we opted to combine the words MATERIA (matter) and MENTE (mind). We also give a name to all of our creations, and I love it when clients arrive and don’t just ask for a pair of earrings or necklace, but they ask for ‘Altalena’ (swing) or ‘Mare Aperto'(open sea).

3) Whales, birds and fish are the most recurring animals in your work. Do they have a special meaning for you?

A: They are creatures that swim and fly. We could say that fish flies in the water, like birds fly in the air. They evoke lightness and freedom, they are delicate, elegant and dreamy. Whales are mammals, in a way I relate them to our human nature. Besides, they sing and despite their important size, they are sinuous and graceful.
M: Also the environment we live in plays a role too! Sparrows, little egrets and robins are our neighbors and keep us company throughout the day, as for fish… it is not difficult to spy them simply when walking along a canal.

4) Organic shapes, nature-inspired pieces of art. It almost seems that you aim at bringing nature into the domestic space.

M: Well, I suppose it comes natural to us, it is not planned. We are both great lovers of the outdoors and we go for long walks in the mountains and woods, besides the environment of the lagoon offers so much inspiration. I really enjoyed a book by Emanuele Coccia called ‘La vita delle piante. La metafisica della mescolanza’ (The life of plants. A metaphysics of mixture) and the part where he writes that when we breathe, we breathe the Everything. Nature enters our lungs, it’s in us. Living means being part of a Whole.
A: Yes, I agree. We simply translate into objects what surrounds us, what inspires us. The end result is never planned ahead, it’s just the way we see the world.

5) Venice. How does it influence your work?
A: Venice is like us humans, it’s part nature and part culture. A unique city that with its peculiarities cannot become as fast-paced as the rest of the world, and we appreciate this type of slowness, the flowing of the water and its silence as much as its international vocation and artistic personality. Art is everywhere and people are sensitive to beauty, Venice is definitely a blessing for our eyes and soul and I imagine this reflects into our work.

6) Iron, copper and brass. Your metals of choice. Why?

M & A: Because they are extremely malleable. Iron is perfect for constructing/building shapes, copper has an incredible color, which is never the same and changes depending on the temperature with which you work it, whereas brass has a marvelous light and luminosity. In addition to all this, they can be oxidized. We are like little alchemists in our workshop! We like to experiment and try new thins, and these metals are ideal for our approach.

7) Is there a project/piece you feel particularly connected to?
A: Maybe for me it’s Luna&Stelle (Moon&Stars), because I had made it in my first atelier/workshops, thus it brings me back to where I began.
M: TBH…no, not really. All of them, because I see them as if they were my children, creations we gave birth to but need to let go of, let them have their own path. My fulfillment comes from the experimentation process. Besides, I see all of these works as OURS, not mine or his. Alessandro and I completely trust one another and it is common for me to start a creation and then for him to finish it, or viceversa. An ongoing exchange that gives me a sense of freedom, the freedom that we want to convey through our work. Free objects that are born in Venice but maybe end up in New York or another part of the world, and communicate, interact with people we will never be able to meet. Isn’t it amazing?

8) Do you have a dream you would like to share with us?
M & A: Our dream is to continue doing what we do. We are so lucky to be able to get to do what we like everyday and live the life we live that we can say that our dream has already come true

.Wow… what incredible people I have just met and how grateful I am for their time.
I cannot but invite you to visit their atelier in Venice and Giudecca when here, in the meanwhile you can start dreaming browsing through their website!

Materialmente
Website: https://www.materialmentevenezia.com/
Instagram: https://www.instagram.com/materialmente/?hl=en
Address 1: Mercería San Salvador, San Marco 4850, 30125 Venezia
Address 2: (open by appointment) Calle del forno 465c, Giudecca - Venezia
Email: materialmentevenezia@gmail.com

Today, in fact, I want to introduce you to Chiara Picardi, a soul so gentle and delicate who decided to grow a small private cut-flower garden called Orto degli Angeli, which takes its name from the nearby Chiesa degli Angeli.

I had read about her project but didn’t know her personally, so I sent her a message on Instagram asking if she would be so kind to spend some time with me and share some information about her cut-flower production. Here below, our brief conversation.

1) Chiara, can you tell us a little something about yourself?

I was born and raised on the island of Murano. I have intense memories of my childhood in the lagoon, in fact images of games in the campi, of me swimming in the canals, fishing adventures and trips to the bacan* still echo in my mind.
I studied at the Liceo Scientifico Benedetti in Venice and once finished, I started Modern Literature at Ca’ Foscari, but it didn’t take long to understand that was not the right path for me. So, I moved to London to improve my English and lived there for about a year, during which I also traveled to and worked in other countries, until I decided to return to Italy enrolled at the University of Trieste, where I graduated in 2004 with a thesis on the history of religions, becoming a sort of cultural mediator. I was so lucky to find a job at the Fondazione Cini in Venice, where I still work today and help in the activities regarding the promotion and research of extra European music.

*(the marshland between Sant’Erasmo and Lido, that emerges when the tide is low).

2) How did the adventure of Orto degli Angeli start?

When the pandemic started, my husband was already cultivating a small piece of private land. I started helping him with vegetable crops, then I began to study and learn more about farming and foraging and seized the opportunity to develop my passion for flowers. Through Instagram I was able to meet people who grow cut flowers in Italy and abroad. In 2023 we were told that the land we were working on was not going to be available anymore, so… with some effort, we decided to buy one of our own. I had never thought about buying a garden in Murano before… it’s been an incredible journey of discovery, I have learned so much about flowers but also about myself and acceptance.

3) What is it about flowers that you love so much? Is there a flower that you believe can represent you?

I like to decorate spaces and add beauty with the flowers I grow, in a way I can say that I like to cultivate the apparently ephemeral. Cultivating and decorating are interconnected activities, and this is why I opted for flowers rather than potatoes. With this said, I could easily spend days taking care of an unwanted weed. Botany passionates me in a broader sense. As for choosing a flower that could represent me… difficult question.

But I can say that sweet pea (lathyrus) can well represent my garden. It looks like its edible brother, but you can’t eat it. It is tenacious. It appears rustic, but then it gives the most beautiful purple and blue flowers, which have a delicate and incredible perfume. These flowers last only for a few days, making it clear that it is so important to appreciate the gifts of nature when they arrive and … well, let go when the time comes. And, last but not least, it is one of the few plants that even if pollinated, does not change color. It was the variety of pea used by Mendel for his studies.

4) The importance of following the seasons, not using pesticides and accepting unexpected changes. What have you learned with this activity?

I definitely understood why flowers are a luxury good. Especially when grown naturally. It is a hard job, involving many losses. I have learned to love the soil, always, in the good and in the bad, and to take care of it and its microorganisms.
On the occasion of some special events, I was asked to help with the flower decoration and, although honored, I understood that it is not the way I prefer to work.

In big events and also in many hotels or similar, the flowers come from all over the world and are grown artificially, given special colors and treated with particular sprays. This means they have to be transported from far away places, which again involves a lot of useless packaging and waste. Then… once the event is over… most times, these beautiful creatures are thrown away. Personally, I prefer a slower pace of life and a more sustainable and planet friendly approach. It is impossible not to be part of our times and, of course, I too produce a lot of waste and am far from being perfect, but at least with my cut-flowers I try follow a natural approach. They have taught me to be patient, to observe and take notes of the small changes and consider the infinite variables that can influence their growth.

5) Re-use, circular cultivation and (incredibly delicate) lagoon environment. Can you share with us some of the unique peculiarities of this territory and how it affects the flower world?

I only have a small garden, I cannot aim at a whole-sale market, I would definitely not be able to compete with the Dutch market, cost-wise. Besides, I have a full-time job and can only dedicate myself to this project part-time. It is challenging, but I do make an effort to offer fresh flowers to local clients for 8/9 months a year. In winter time I offer dried flowers, which I produce over the summer months. In Murano we have been producing vases, the containers, for centuries… I like the idea to provide the content.

I collaborate with some chefs, restaurant owner, artists and privates, also during some small private events. Differently from a florist, I can only provide what I have in my garden and cannot guarantee a specific type of flower, also because things can change from week to week, therefore clients need to trust me and have a sense of adaptability, in addition to some love for naturalness. I do not use sponges, glues nor dyes. Sometimes I can supply extremely resistant flowers like buttercups, tulips and sunflowers, but other times I have more delicate flowers which may cost more but last less. Then… I think about a bottle of champagne or a dish of spider crab. How long do they last? Flowers are a pleasure for the senses, exactly like food. They last what they last.

6) Do you have a dream? May I ask you to share it with us?

I would like one day to grow a small, partly shaded garden without worrying about production, but only for personal pleasure, with each plant becoming an important memory.

I am so grateful for the warm welcoming received from Chiara and also for being reminded how important it is to respect and appreciate what we have, because life -like a garden- needs to be treated with care. We must plant seeds and be patient to see the beauty of the blossoms.

You can follow Chiara Picardi on her Instagram page.
Meanwhile, thank you for reading!

Let’s start with Giudecca for now, with a visit to the garden of the Redentore Convent, restored in May 2021 by the Venice Garden Foundation. On their website you can find plenty of information regarding the history of the garden as well as on the botanical and architectural works carried out (here the link).

When I left the house the weather wasn’t really promising TBH, but… having Irish origins there was no way I was going to allow some rain to stop me. I had been to the garden the previous week with my husband, on a super sunny and hot Saturday, but unfortunately my camera’s memory card got corrupted and I lost all the material… and I have been thinking about it since, therefore… stubborn as I am, I hopped on a vaporetto and went on my mission.

When you enter, you are greeted by a very small olive grove, sided by a red stone brick path with some engravings depicting scenes from the Stations of the Cross, then a covered corridor leads you to a courtyard with a well and finally to the major gardens, where vegetables, flowers and herbs are grown, faithful to the tradition of the Hortus simplicium.

It is heavenly. The silence, the view, the colors… everything is so beautiful. Being there made my day, it literally turned a dull day into a quiet adventure. Intersecting paths, grapevine pergolas that offer shelter from rain or sun, the old buildings, once upon a time workshops, and the shy singing of the birds … well, they would cheer any soul.

A place where time stops and one can forget about the rest of the world.

I took my time and wandered around before reaching the far end, nosing among the various crops and flower beds and enjoying the view of the dome and bell tower of the Redentore Church.

I hope you won’t mind me sharing some images from my excursion…

I wish I could go there for my weekly vegetable supply!

The produce looked so juicy, imperfectly beautiful and free from any type of pesticide.

Heading towards the far end, the side facing the south lagoon, there are the renovated workshops and a lovely cafeteria, where you might want to consider stopping for a cup of coffee or a small lunch.

The perfect place to spend time with a special friend, where I have the feeling that both opening up your heart and listening will be made so much easier and meaningful.

Not to mention the soothing effect on mind and heart of the gorgeous view of the lagoon…

A must destination for gardens and flowers lovers.

Open only on Thursdays, Fridays and Saturdays from 10 am to 5 pm, so try squeeze it in while you visit Venice because I really believe it is worth it!

Venice Garden Foundation
Address: Giudecca, 194 – 30133 Venezia
Website: https://venicegardensfoundation.org/en

Daniela is more than a seamstress and designer, she is a researcher and an experimenter. The name of her brand mirrors her lifestyle and back in 2020 she decided to open a small atelier in Venice, not far from the centre but outside of the more beaten track.

Daniela designs and creates clothes with natural fabrics, a lot of which recovered from private attics and houses. She believes and promotes circular fashion, transforming already existing items into something new. Most of her collections are inspired by the lagoon and recently she has also started dyeing her shirts, trousers and dresses utilizing scraps of local herbs and vegetables. So, almost 5 years later, I wanted to catch up and ask her about the evolution of her professional journey. Here below our brief conversation.

1. Daniela, you opened this atelier in 2020. How has your profession evolved?
Well, at the beginning I didn’t have a precise plan, the only thing I really knew was that I wanted to mend and sew. I had participated in many markets, but it was only when I opened the shop that I was forced to learn how to organize practicalities, from the creative process to the mere shop management. My aim was and still is to offer an open space, a space that is alive, an atelier that is not only a shop but a place where people meet, exchange ideas and build meaningful connections. In fact, many aperitifs and social occasion have been organized, which have given myself and others the opportunity to widen our horizons and knowledge. I am happy that many of my clients are regulars, locals who believe and support my project and foreigners that return every year and never fail to pass by and say hello, and now I even have a girl who helps me run the shop.

2. Why circular fashion?
I have always believed in the no-waste practice. It isn’t always possible of course, but when it comes to fashion (and not only) I think there are already so many quality fabrics and materials that can be re-utilized and turned into new items. I have also found that many of the older clothes present better quality materials. In the past, things were made to last and it would be a real pity not to value and take advantage of them. Besides, scraps encourage us not only to be more sustainable, but also more creative, which is never a bad thing!

3. Where does the inspiration for your collections come from?
It comes from many sources, mainly nature. Most of the collections are inspired by the lagoon, my surrounding environment, so unique and delicate. One of my recent projects -the 2024 autumn/winter collection- is called OE! (word used by gondoliers to let other rowers/boats they are arriving at a canal crossway) and was inspired by Venetian boats, in fact it was presented on a sanpierota boat moored in front of the bookshop and teahouse sullaluna in Cannaregio.

When I started, the lagoon inspired me to create shapes and images, patterns and visual references. Currently, I am trying to incorporate it also physically into my items through natural dyes. In January I went to Chennai, in India, where I took part in a dyeing class, so when I returned home I wanted to put into practice my new skills, opting for natural/botanical dyes.

I use local plants and herbs, in particular:
- the leaves of the renown Sant’Erasmo purple artichoke, which give a nice yellow color,
- onion skins, which give an intense orange color. These are provided to me by the restaurant Osteria Anice Stellato. When they prepare the delicious saor they use about 10 kilos of onions and so they have huge amounts of skins and it would be such a waste not to make the most of them!
- and avocado seeds, which give a lovely peach pink color. In January and February Sicily and Calabria produce lots of avocados and my friends and I order boxes of them to enjoy, thus we are left with all the seeds!

4. Do you have a favorite color?
To be honest, the color is never the same. Many aspects affect the result, from the receiving fabric to the material of the pot for boiling, up to the weather and the drying process. Personally, I find all the colors so beautiful and it is fun to experiment. I have also used marigold, dried flowers and indigo extract (the only one I buy).

5. Where do you dye?
In Sant’Erasmo, in an outdoor kitchen. Every phase happens there, so this is why I presented this new collection on the occasion of the Sagra del Carciofo Violetto (the purple artichoke feast). I am now part of the association AgrisArte and enjoy all of our meetings. It is a beautiful reality, truly inspiring for me, and I must say I adore the color resulting from the nettle dye used by Cosetta Ruggero Citon.

6. What do you like and dislike the most about dyeing?
Difficult question, because the whole process makes me feel like a witch experimenting with pots and pans and it is just so much fun. I would probably say that the best moment is when you see the final result, when you see the final color. I don’t think there is anything I dislike, of course it is all an experiment and sometimes things may go wrong, so it can be frustrating to -pass me the term- fail, not achieve what you were hoping for. But… it’s part of the journey and, even in those situations, I am always learning something new.

7. Anything else you would like to mention?
Among the many projects, one that is keeping me busy is the creation of carpets with the longer and narrower fabric scraps. It is not easy to re-utilize these pieces of material: first a bundle is created, and then to make the carpets I use a thick crochet. It requires a lot of patience and dedication, but after all… they are a Made with Patience creation!

I am grateful for the time Daniela dedicated to me and invite you to visit her atelier when in Venice and support her project! In the meantime, you can follow her on Instagram.

Made with Patience
Address: Calle Lion 3385/H Castello, Venice, Italy 30122
www.madewithpatience.com
madewpatience@gmail.com

Nice things can be easy. Like the recipe for stuffed sardines I am sharing today :)

A dish packed with Omega 3 and seasonal goodness, cheap and incredibly versatile, a recipe that can be twisted in infinite ways.

For the filling I used some leftover risotto with spinach. It had dried a little bit out from the previous day, so I added a little bit of water to recover its creaminess.

Leftovers are always handy (and risotto and salads with grains are a great option for this recipe), but in case you don’t have any, other options are mashed vegetable combined with a second ingredient that adds texture (some ideas: mashed potatoes and sautéed spring onions, pea mash with feta cheese and mint, spicy mashed carrots with lentils and sun-dried tomatoes, etc.) or some stale bread worked with herbs and other greens of choice.

STUFFED SARDINES

Ingredients for 4 people:
1/2 kg of sardines, already deboned and opened
black olives
capers
1 organic lemon
breadcrumbs
herb of choice
e.v.o.oil

For the filling:
Leftover risotto (we had some spinach risotto leftovers, but any type will do)
Other alternatives:
- a vegetable mash (potatoes, pea, cauliflower, etc.) combined with a sautéed veg.
- stale bread. Cut it into squares, soak it into a little bit of water for a couple of minutes and combine it with chopped garlic and parsley or with whatever other veg/herb you like.

Method:
Buy the freshest sardines possible and ask your fishmonger to clean, debone and open them.
Rinse them under fresh water and keep them aside.
Prepare your filling. Pre-heat the oven at 180°, grease a sheet of parchment paper and place it on a baking tray.
Put one sardine with the skin on the side of the parchment paper, add the filling with the aid of two spoons, cover with a second sardine. Repeat with the rest of the fish.
Sprinkle some breadcrumbs, the capers and olives, your herb of choice, some lemon zests, more breadcrumbs, a few drops of lemon juice and e.v.o.oil. Bake for about 8 minutes, excellent served hot as well as cold.

Aside, consider preparing a little emulsion with e.v.o.oil, lemon juice and a finely chopped herb to use as extra dressing.

Here below, our brief conversation:

1) Dear Gea, from Rome to Venice. Tell us a little something about yourself and what brought you to the lagoon.

The profession of restorer itself implies a little bit of nomadism. Although there are many resident restorers, I have always traveled for work, moving for short and long periods to the places where I was called. Already during my university years at the Istituto Centrale per il Restauro (ICR) the summer months were spent in Assisi, where I worked on the wall paintings by Cimaue and Giotto of the Basilica Superiore of San Francesco. In addition to Venice, I also operated in Pompei, Vicenza, Orvieto, Padua, Salerno, Positano, Ravello, L’Aquila and Crotone, just to name a few. It wasn’t always easy to organize everything, consider that I have three kids, but it has definitely been wonderful. In 1983 the Venice Superintendence of Architecture was programming the restoration of the entrance of Arsenale and its enclosing, crowned by sculptures and four lions located in the campo, a war loot from the times of Francesco Morosini, and I was invited to work on this project, which included also the restoration of the internal door of the Artillery and the Gate of the Weapon Room. The same year, the Superintendence of Historical and Artistic Goods of the Veneto proposed the restoration of the wall paintings located in one of the courtyards of Villa Pisani in Strà. Thus, it was thanks to these two projects that I arrived in Venice. At their conclusion, I spent some years in Vicenza working on the restoration of the main works of the picture gallery of Palazzo Chiericati, which was being re-fitted, among the many paintings I must name the ones by Bartolomeo Montagna, Carpaccio, Cima da Conegliano, Memling, Van Dyck, as well as the frescoes by Tiepolo in Villa Cordellina-Lombardi and the Olympic Theatre, a Palladio masterpiece.

In 1989 the request for tender of the Venice Municipality for the restoration of the BallRoom of the Correr Museum, which had been closed to the public for many years after a fire, led to a professional journey that in different steps brought to the restoration and the re-discovery of the forgotten Royal Palace in Piazza San Marco. During the first step, in the years 1989-1992, the Napoleonic Wing was restored. From 2000 to 2021, in different moments, the other rooms of the Royal apartments were renovated. The Palace was born in 1807 at the beginning of the Napoleon era, from a troubled project that had encountered the opposition of Venetians, and was inhabited first by the Viceroy Eugène de Beauharnais, then from 1814 by the Habsburgs and finally from 1866 by the Savoia; its many rooms were modified, renovated, enlarged and made more beautiful over the years, at least until the 3rd of October 1919, when Vittorio Emanuele III donated a significant part of the Palace to the Italian State. From that moment on, the Royal Palace was forgotten as a historical and architectural monument, fortunately without being physically destroyed. Its transformation into forgotten and denaturalised residence took place with its splitting up: some rooms were given to the Correr Museum, others to the Archaeological Museums, others to the Marciana Library, and the other twenty rooms became offices of the Superintendence, of Amici dei Musei, of the authority of the Veneto Villas, the District State Attorney and of Unesco. Doors were closed, sometimes walls were used to separate one room from the other. Halls, dining rooms, bedrooms, toilettes, noble sitting rooms turned into offices, with the furniture spread with very little care and disregard in dusty depots. The memory of a Royal palace was quickly obscured: shelves on the walls, desks full of folders, papers, pens, photocopiers, chairs, computers and stamps replaced the old furniture. Radiators and dozens of electrical plugs, meters and meters of telephone wires, faxes, junction boxes and more, holes and nails destroyed the polychrome Venetian plasters, already damaged by the dark and heavy recolourings. Due to years of dripping from the radiators, the parquet floors got lifted. Silk tapestries were ruined. It was necessary to wait some ten years for the rebirth of the Palace. I like to describe the long recovery journey, which lasted about 30 years, as a journey through rooms of different historical periods, decorative expressions, and techniques, years of conservative problems, doubts and choices to be made. Room after room. A mending of a completely exhausted fabric, the physical recovery of places, their reconnection, in order to return them their capacity of evoking a forgotten era. Venetians preferred to forget about it and remain faithful heirs of the glorious Serenissima Republic, the only one recognized and symbolically represented by the Doges Palace. The distinct historical moments and properties of the Palace have determined stratifications of different decorative levels, which we can read on the walls and ceilings.

History cannot be deleted. Any attempt to do so is destined to fail. Men need history. Memory is an absolute necessity. Returning a place to the artists and craftsmen who, during years hidden to the public memory, have added their contributions in the making of a Palace that with dignity represented the inevitable changes of history. My story intertwines with the one of this long restoration , about which I could write an entire book. The many steps of the works, in charge of Stefano Proviciali and myself as restorers and technical directors of Corest, saw the succession of Ministers of the Cultural Heritage, officers of the Superintendence, Directors of the Musei Civici Veneziani (today MUVE), Directors of Works, and also different commissioners. The most consistent interventions for the recovery of the Palace were carried out thanks to the dedication, diligence, perseverance and will of reaching the final goal, thanks to the important financial support of generous sponsors, promoted by Jérôme-François Zieseniss, president of the Comitè François pour la Sauvegarde de Venise.

During the long phases of the conservative restoration of the huge historical and artistic heritage that the Royal palace of Venice is, in the evaluation of each choice, Stefano and I have been led by a thread, like Ariadne and her maze, that brought us to reconnect in time and space all the rooms of the apartments, never forgetting the overall balance, to be reached with humility, strength of the doubt, and awareness of measure. Venice has seen us work also on other great masterpieces, among which the sculptures by Canova in the Correr Museum and the Fine Art Academy, the door and sacristy of the Santi Giovanni e Paolo Basilica, the monument dedicated to Mocenigo in San Lazzaro dei Mendicanti, Ca d’Oro’s ground floor portico overlooking the water, part of the facade of the Procuratie Nove, the frescoes by Castagno in San Zaccaria, artworks inside the Fortuny Museum and many more.

2) When was your love for restoration born and how did it develop?

Art has fascinated me since I was a child. I would cut from papers and magazines all the images of art works and keep them in folders and boxes. Then a catastrophic, and at the same time uncommon, event occurred: the flooding of the Arno river that in 1966 caused enormous damage to the cities of Venice and Florence. The images of the huge damages to the historical and artistic heritage left a deep impression in me. The ‘angels of the mud’ who in Florence worked to save the volumes of the libraries from the slime, the transportation of the Crucifix of Santa Croce by Cimaue, severely damaged, the run against time to save as many works as possible and many more dramatic images, I think this was the first seed that remained ‘asleep’ in me for years, without me being aware of it. After high school, I would have liked to study architecture, my other big passion, but for a series of personal and family reasons I was not able to follow this path. I chose History of Art and it was in those years that I started to understand I wanted to become a restorer. I learned about the Central Institute for Restoration (ICR), a multidisciplinary public structure designed as a place of research, elaboration of methodologies, specific material technologies, and their testing and experimentation, as well as an educational centre. I studied hard to pass the admission exams for the courses with a closed number and it was tough because there were only 13 places for Italian students and 5 for foreign students and the applications were hundreds, which meant rather complex theoretical and practical exams. For me, who had studied humanities in high school, a new world opened.

Cesare Brandi, one of my professors at university, had founded the ICR in 1939. We owe to Brandi the new methodological and philosophical definition of ‘modern’ restoration of historical and artistic manufacts as complex discipline based on theoretical foundations. Brandi’s was a real revolution: in addition to the definition of a discipline, transitioning from the artistic sphere to the mere world of crafts to the rigorous one of science, qualifying it as a critical act towards the work of art, he established that theory and practice would not be separated in the courses of the ICR. For the first time a multidisciplinary course was finalized to the education of operators with strong theoretical foundations, practical competences and experience; a unique masters degree in those years, at an international level. I passed the admission exam and attended the painting restoration course: paintings on canvas, wooden panels and frescoes. As a masters degree I chose restoration of stone materials, to amplify my education and include sculpture. The ICR gave to their new graduate students who founded a cooperative or a union, the opportunity of a first contract for the restoration of the Basilica Superiore of San Francesco d’Assisi, where we had already operated during our studies. So it was that in 1980, at the conclusion of my studies, I founded COREST (Consorzio Restauratori) with four of my fellow students, three of which undertook different paths after some years, whereas the fourth one, Stefano Provinciali, also became my partner in life. Anyhow, my first contract was for the restoration of the Cimabue frescoes in the left transept of the Basilica Superiore di San Francesco in Assisi.

3) Tintoretto: curiosities about the canvases, colours, and preparatory drawings.

A painting, independently from its technique, thus even a wall painting, is a system of overlapping layers. In general, Tintoretto used canvases for his paintings, only on a few occasions he used wooden panels. In his paintings, the support is composed of a main canvas with eventual additions of cloths or patches of irregular shape, different weaves, size, sometimes even quite small, masterly sewn, until he obtained the size needed for the painting. This tells us how relatively important it was for him to have a uniform canvas and how important it was not to waste fabric. The preparatory layers applied over the canvas to make it apt to receive the color have a very thin thickness, which lets the weave of the canvas emerge, allowing, at close vision, to appreciate the differences. Nothing to do with the precision of the preparatory layers of a painting on a wooden panel of the 1300s, for example. When we read about Tintoretto’s works, one of the peculiarities that is underlined is the speed with which he would work, which takes nothing away from the excellent results. The traces of the preparatory drawing that I observed were done in black coal on some skin tones, as for example in the figure of Cyclops that gives his back to us in the Forge of Vulcan, to define elements of the entire figure. The rough drafts, with a white pigment, were used not only for the human figures but also for the architectures. About the pigments I will only say that the light blue in many paintings look faded due to the use of smaltino, which changes over time losing shine, as in the case of the sky of Santa Giustina with the three chamberlains and the three secretaries.

On the contrary, the clothes of the paintings of the Allegories in the Doges Palace are intense and bright, for which ultramarine blue lapis lazuli and azurite were used, also mixed together. I have been asked many times which novelties emerged during the course of the investigations, which the discoveries highlighted by the restorations. I have always replied that since the first days, what has always been clear to me is that my discovery consists in the recognition of the expressive strength of the paintings on which I operate. An expressive strength that remains firm and strong despite the damage of the paint, which I noticed from the first investigations. Conditions that are very different from the ones of the more reassuring distant overall view. The signs of the passing of time, a little less than 500 years, the agonizing conservative vicissitudes, the dirthying of the support, the abrasions, the damages due to the unfavorable micro-climatic conditions, have not impeded to appreciate the beauty and genius, still able to amaze. Masterpieces that continue to generate interests and emotions.

4) Among the many works you have restored inside the Doges Palace, is there one you are particularly attached to and, if so, why?

Among the many paintings by Tintoretto which I have had the privilege to get to know closely thanks to our prolonged contact during the restoration works, I have definitely loved the four Allegories painted in 1578, currently in the Sala dell’Anticollegio, which celebrate the good government. It is difficult for me to identify one favorite, because all of them possess outstanding elements, although I can say to have enjoyed a particular relationship with the one depicting the Wedding between Baccus and Ariadne in front of Venus.

The composition is so modern, the partial view of the figure of Venus and the light of her skin, barely covered by a veil that escapes from her body as if flying. Baccus is so human, almost shy, his head bent, offering the ring, and Venus so regal in her simplicity and beauty. There is a silent dialogue among the characters. There is also a reason linked to the restoration work itself, because with the cleaning of the painting I have been able to return to light some details of the composition that had been altered during the retouches dating 1977, which altered the reading of the iconography. Ariadne is represented on the sea shore where she had been abandoned by Theseus. A substantial dark coat had transformed the waters of the sea in which Baccus had immersed his legs, into land. This had completely hidden the slim remains of the light blue pigment of the veils, which represented the surface of the water; another dark coat of paint was hiding the corner of the step on which the draperies and the foot of Ariadne lay, and we recovered some creases of the light blue drapery.

5) Can Tintoretto teach us something about contemporary Venice?

It is difficult for me to think of Venice as something separate from current times. We live in a globalized world and despite the peculiarities of the city, we know that, with regard to the difficult problems, its uniqueness does not help: over-tourism, climate change, near and far wars, deviations of violence, fascisms, individuality and the pressing over-national control of the web. Nevertheless, thinking about the modernity of the myth, I go back to the four Allegories. The goal was to celebrate the good government: the decorative program was surely not decided by the painter, but the way in which it was realized was entirely decided by him, a master of communication, able to apply his artistic and technical skills and create potent and direct images.

In one of the four canvases, Minerva protects Peace and Abundance and moves away Mars, god of the war. In the goddess’ gesture, I can read a firmness that without violence, actually, almost with sweetness, but determination, shields Peace and Abundance and with the other hand keeps the god of war away, an ever present threat among humans. Never like today we need gestures like these, to remind us and show us the route to follow.

At that point, the project of the Abbey of San Giorgio Maggiore was assigned to Andrea Palladio, whose innovative style positively impressed locals and foreigners alike, so much that he was going to become the architect of Giudecca. The architect worked on this project until his death (1580), the façade was eventually finished in the early 1600s, respecting his plans.

The church is part of the former Benedictine abbey that used to occupy the whole island. Before the year 1000, in fact, the Venetian Republic gave in concession the islands located at the extremities of the city to Benedictine friars, so they could improve the land with reclamation works and, most importantly, carry out the function of “sentinels” and guard the city from possible attacks (ref. "Itinerari tra le chiese veneziane alla scoperta di Tintoretto” by Floriano Boaga).

Today, the Church still belongs to the Benedictine community, while the rest of the island is of the Fondazione Giorgio Cini. The little white tower you see in the picture below, now managed by the Compagnia della Vela, represents the –failed- attempt to establish in the Venetian lagoon at the beginning of the XIX century a free port.

The current bell tower was designed by architect Benedetto Buratti in 1791, as the earlier one built in 1467 had collapsed in 1774. It is 75 meters high and -in my opinion- it offers the best view of Venice! On clear days you can see the mountains of the Veneto in the background of the north lagoon, while when you look south you see lots of little islands. In front of you, the Piazza, and at your back, the stunning maze of the San Giorgio Abbey. An experience not to be missed… really!

Inside the church, there are many incredible artworks, among which three paintings by Tintoretto: a “Deposition” (1592-94) in the Chapel of the Dead and, in the presbytery, The “Manna from Heaven” and “The Last Supper". This post is not going to be a detailed art history lesson, I do not have the tools and knowledge to offer you a lecture… but I want to share with you a little curiosity that has always intrigued me, and it regards his Last Supper, usually compared to Leonardo’s Last Supper (1495-98, Santa Maria delle Grazie, Milan) to show the passage from Renaissance to Mannerism.

While Leonardo’s painting is represented frontally with the vanishing point placed perfectly in the centre, in Tintoretto’s Last Supper the scene is moving. The table is represented diagonally, the vanishing point has become dynamic and is moved to the right, women enter the scene for the first time and the subject becomes the light itself. In front of us on the right there is a woman offering some confetti (clearly in dialogue with the "Manna from Heaven" on the other side) to a man who kindly refuses them pointing to the bowls of fruit on the small service table, while on the left of the canvas the last supper is taking place. There are two sources of light: one is the lantern, while the other is the inner light of Jesus.

On the table the typical foods eaten on such occasion: bread, wine, bitter herbs, a sweet paste called charoset and… two mysterious cakes with candles! So, the question is: what cake is it? Many researchers studied this case and one possibility is that it could be a sweet Jewish focaccia (in Italy called pizza di Beridde and very popular in the Roman ghetto) traditionally eaten for Pesach. Others suggest it could be an almond cake, perhaps because holy figures are often surrounded by an almond-shaped aureola of light.

Tintoretto’s isn’t the only Last Supper where this cake with candles appear, another example is the one by Pomponio Amalteo at the Palazzo della Ragione in Udine, which I haven’t yet had the possibility to admire.

The food on those tables is rich in religious meaning and significance, and so I wanted to share with you this little anecdote and remind you to go to San Giorgio the next time you are here, and to have a look at those puzzling desserts!

With this said, let me wish you a Buona Domenica!
Until the next time…

XXX
Nicoletta

Despite the fact that I should be the local Venetian giving advice, it is thanks to an American friend who has moved to Venice - Gillian Longworth McGuire (who, btw, writes a great newsletter here on Substack: Gillian Knows Best) that I discovered a really nice cocktail bar in Piazza San Marco.

It’s called Ai Do Leoni, the owner and the staff are so so nice and it was such a pleasant surprise for me that I have been going there with my husband weekly!

Small, with a warm atmosphere, lights that change color passing from pink to orange and blue, a well-selected list of natural wines, an inviting offer of nibbles and fine cocktails made with quality spirits and homemade essences, it is the perfect place for the more sophisticated palates who also appreciate conviviality. Right in the heart of Venice!

Here below, my brief chat with Gialuigi Wahba, the owner.

1. Gianluigi, tell us a little something about yourself.
   I was born in Mirano and grew up in the Veneto region. Both my father and my mother are Egyptians, they moved here many years ago and my father used to work in the food industry, initially as a waiter and eventually as a restaurateur. When I finished high school, I traveled and graduated in Fashion and Design at the IUAV University in Treviso and started working in the event world as a PR. I have always lived during the night, organizing all sorts of events and cultivating my passion for public relations, as well as my love of travel.
   
   I had moved to London but due to the 2005 bombings, well…I returned to Italy. So, I picked up where I had left off but wanted to do something better, so I started organizing events that intertwined music and drinks with art. I took over Ai Do Leoni only two years ago. Before this, it was managed by my brother and was very different. He was tired and wanted to sell, but I thought it was a pity because having a place in the most beautiful Piazza in the world is a great honor, so I told him that I would have continued the activity but on my conditions. So, the bar underwent renovation works and one of the first things I did was to remove coffee from our offer. I wanted to focus on natural wine and cocktails and create a new and different place with a unique personality.

   

   

   I have a great team. Each one of us comes from a different city and brings our own touch to our offer. In fact the cicheti are based on seasonal ingredients and often change. Most ingredients are local, but we also like to use specialties from other cities and countries, especially considering that we are in Venice, a city that made her fortune trading goods from all over the world.
   
   I believe that learning, exchanging and sharing is essential and I am so happy to work with amazing people that share my values.

   

2. Ai Do Leoni’s most famous cocktail is called EGIZIANO. Tell us about it.
   Well, to be honest it is not a new cocktail, my brother used to prepare thousands of them. But we gave it an identity! It is what was called Americano with foam, but I am half Venetian and half Egyptian… so why should I call it Americano???
   No, no. Egiziano is the name!
   

3. Three things you love about working in Piazza San Marco
   First of all, the world comes here. You can meet people from all over and this is always enriching. Then, well… it is the most beautiful Piazza in the world, so I feel honored to be a part of it. When I say that I have a bar here, it feels like an added value and it also makes me want to do better. Here one can really breathe history.
   Last but not least, because living in Venice is difficult, those who have decided to stay or move here have made a choice and are mostly interesting people, creatives, full of energy, projects and enthusiasm. So, I get to meet really nice human beings.

   

   

4. Three things you don’t like about Piazza San Marco.
   It hurts me that a lot that people associate the Piazza with tourism and thus tourist traps. Unfortunately, I can understand them… and this is why we want to prove them wrong and have an offer that pays justice to the location! People are surprised to discover quality nibbles and drinks, but I think all places should do this! In fact, initially not many locals came here… but now ,we have become a reference point, also because we are one of the few places open until 1:30 am.
   
   Another thing I don’t like is seeing how certain people disrespect Piazza San Marco and Venice in general, because traveling should involve a completely different spirit, of open-mindedness and curiosity.

   

5. What would you suggest to a person visiting Venice?
   To take their time and stay as long as possible or return in different seasons. It may be a small city, but it has so much to offer that one can’t really understand it in only a few days… I would say minimum two weeks and, if it is not possible, to make the commitment to return. It’s better to do less and feel Venice, rather than rushing around and going from island to island… the type of experience is so different and I am not sure that people can actually imagine how the city works and how its people live. Venice is unique and fascinating, it has a warmth of its own and requires an open mind and heart.

AI DO LEONI
Address: Piazza San Marco 355, 30124 Venezia - Italia
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