Uw Venicebook 11

7/31/2019 Uw Venicebook 11

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Warwick writing

A VenetianMiscellany


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ConTenTs

04 nigl Thrift: Foreword

09 sua Batt FRsL: A Very Venetian Aair

15 Lui Burdua: Lunch on Expenses: Travelling Friars in the 14th Century Veneto

21 Humfry Buttr FRHs: Florence and Venice: A Tale of Two Cities

27 A Hallamr Caar:Americans Writing Venice:Edith Wharton and Henry James

33 Lady Frac Clark CBe: Venice in Peril

39 Jatha Davi FRHs: Goliardia Popular Graduation Festivities in Venice

43 Michal Hul:Writers Venice

47 sir Richard Lambrt: The Numbers Sound Terrible

51 Mari-Lui Lillywhit: Working Miracles: the Statue of the Madonna dellOrto

55 Paul Mar: We Felt the Spirit of the R enai ssance

59 Critia Maritti: Andemo bever unombra: the Venetian Dialect

63 Richard Parkr:Making Music in Venice

67 Lrdaa Plzzi:Sixteen Cats on One Tree

71 Carl Ruttr: Shakespeares Venice

77 sarah shalgky: The Venice Biennale

83 Margart shwrig ad Ri Mulry:A Venetian Evening at the Palazzo

89 nicla Whybrw: Performing Venice

95 A Venetian Feast

98 References


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A cba ma acs Vcb Uvs Wawck

A Venetian

Miscellany

Warwick in Venice


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aua Uvs a a mmb u Vc Avs Ba.W a wcm Cafsca sus u cus a

paa. W w u, dcmb 2010, b awa Vcp Cuua Cmmuca. Abv a, w av ma a macbu scas rassac a s, s,cuua sus, ama,au. Wawck w asa aa ua cc rassacSus a s ackwas s aa s u,

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cc w rassac.ts bk ssas cbas Wawck Vc. W ask a w

a Wawck acamcs, amsas, sus as as a sus s w abu Vc, w asa c w acamc ss, m samuss u c s. t su s s Venetian Misellany. i uw j a .

5

profeSSor nigel thrift

foreWord

A Venetian Misellan y

...a prgramme nwrmly embedded in the Warwikrrilm and taght in rpermanent base in Venie, thePalazz Pesar Papafava.

Palazzo Pesaro Papafava; photo by Tim Ball

Students at work in the Palazzo Pesaro Papafava; photoby Tim Ball


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paas cs(John rUSKin, diAry entry for 8 MAy 1841)

Photo by Tim Ball


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profeSSor SUSAn BASSnett frSl

A Very VenetiAn AffAir


The city is not only a setting for the doomed love story of the

two protagonists ... it also assumes the role of a character,

and as the mood of Venice changes with the end of summer

and the onset of winter, so DAnnunzios extravagantly sensualdescriptions mirror the stages of the break-up of

the relationship.

Susan Bassnett FRSL has just retired from Warwick where she was

Professor of Comparative Literature and a former Pro-Vice-Chancellor.

She began her academic career in Italy, moving via the United States to

the University of Warwick. She is one of the leading gures and founding

scholars in the discipline of Translation Studies. She is author of over 20

books, a Fellow of the Royal Society of Literature and a council memberof the Academia Europaea. Her translation of DAnnunzios The Flame

appeared in 1991.

CoMMent


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it was still v, m a scb s bks astas u, bcaus v sm b am w s w c w, k a as ak bs, ams u sk a

a ak m . t caa m Sau, s bBaassa la m dam pus, s u u s w assc, w s m, s scs, s saus, s cums, s bausas,as c a sa as nus bus w s uus sa-sas,s w m--a. Sa a am a sa v , asm av sm s, sv a jw-k ws ss a av vau mss sss a b.

ts assa m as gab dAus v, Il

f(Fire) sabss Vc as ca wa w w. t cs a s m v s w ass, Sea, a s u w a s msss, a acss la fscaa, as assums a caac, a as m Vc cas w summ a s w, s dAus avaassua scs m sas bak-u as.

Il f s aa 1900 a caus a scaa mma, w cc as ms sws v v w. dAu sa c Saa Ba, w u ua. f v

was bas acua as bw dAu a ea dus, as acsss a, a was av aubaca,s dAus ubc as. t bm was w vac dAus cas accu s v aa w dus, a asa a bu Vc 1894, bu w wa wc v sma scs a dus a c m abu a a ms. Mv, dAu a cv asa u a a




A V Va AaBy SUSAn BASSnett frSl


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c bw ms a dus ( was 31, s was 35) a awa, c S as sca sm a la fscaa asa a auuma u, jaus a ssssv, a awa abau. t Vc Smb w wc v sus c s nvmb; b , vs sv as a s amss ak caa, sa u ba vks sa Sa Mc, bus as back acabs u bs ca was. t uma aa a a acss su uu v ua duss

s a sus.gab dAu was a aa caac, v a a

ambac a --sc css. B a m-cass am pscaa 1863, sabs a ua ms v a as a, mv vs a as. h ma w, bu was sauau s w a ma vs, a s ass s-amasasms av wk as a asac, s s sca scms.S, ba a a m asm, vss was ab camwm a casss sc s b, cu a dus. isaa

duca mak a s dAus w ba a musav b sm k c ev w s a vc s paas.

dus, ca, ua va cs, bu sms av b aw dAu b sua aac bu b asa ass a. dAu w a a 1895, La itt mrta(s, s a s sam as a S ea sw la fscaa) bu ca s m a av ava, Saa Ba sa. ds s baa us, dus m

sva s as, ua s m bcaus s amacuu was a succss. ica, a w a was a , Laglia di Iri, sa a acss, ima gammaca, bcaus dus was a wu s .

dAus vs a as sck bcaus cmba sa vc. hs ma caacs a a, u, v ma, k,smmb, aba, a Il f S aasss abu la fscaab ssss b m. Il f was m sck bcaus was sbvus a rman lef, a bcaus s s muc abu duss va

. S a ubca, wv, us a su wasss ma a ca a a wk iaa a, as s u a a. B s a dAu w assa aass,a ca sac a dAu mbac Musss ascsm, samba v-- c aa m m. f am a ca a iaa aa a, bu ams bak-u 1904 a ssb, a a cas, dAus





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Gabriele DAnnunzio Mary Evans Picture Library Eleonora Duse Mary Evans Picture Library




aca ac a uab cu b . dus, c av ms, a a s ss aca maama a bu u au eca as a s a, s au

s a vs a dAus as, s kw w aw . S back s s u c, Franesa da Rimini 1901, bu bmsbw m Aa rs, a am iaa a mak a b wu b sus w a vv.

t dus-dAu aa a bu Vc, s us c as s aa bw S ea a la fscaa b ca a sv a acua us. f c cas aca as sasa cas, a m b ma ws aass. As mv was a a, suss sua

s m a:t s a w wa, vk wa. t a was s cam

a s ssc a sa cus a ss c sm ak a a qua, as u ma b a.

A cvsa, w la fscaa ass a ca vbu a , sass s c u a sc a:


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t a a a akss w swaw a sas acus. A a u a m ss w ws ss,k a css mks a a ass. i sac, Vc wassmk k mas a vas a.

t aua Il f s as cssv as , bu scs Vc a bs a s uaab bk bcaus a sbauu wu a s csab. dAu was, a mas a




Photo by Tim Ball


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t a a a akss wswaw a sas a cus.

(gABriele dAnnUnzio, IL Fuoco)

, u s s a ama a a a ams absu b. A au uub cmm a cu ac baa wma cam b v w a m, assas wla fscaa aks abu a as as a c acss, ms ab aaac Aa a Va a Ju, v us sm s ws v va a ea dus.


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dr loUiSe BoUrdUA

lUnCh on expenSeS


The mendicant friars were some of the greatest travellers of

the later Middle Ages. The purposes of their journeys ranged

from the spiritual to the relatively mundane such as acting as

testamentary executors to full the posthumous wishes of thedeceased. This article explores the journeys in the Veneto of two

fourteenth century friars, Pace da Lugo and Tomaso da Camerino,

as the executors of the will of a Venetian nobleman accused of

trying (and failing) to poison Pope John XXII.

Dr Louise Bourdua is Reader in the Department of History of Art and

regularly teaches on the Venice Term. Her research has focused on the

artistic patronage and iconography of mendicant orders in late medieval/

early Renaissance Italy. She is currently exploring the production ofart in Padua over the hundred years on either side of the Black Death.

Louises book The Franciscans and Art Patronage in Late Medieval Italy

(Cambridge, 2004) contains more information about Brother Pace da

Lugo and his artistic commission.

CoMMent

Opposite: Death and the Mendicant Friar by Hans Holbein


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the mendicant friars, mmbs aa us s

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as j (Auusa su as o w aca summ cvs w uvs was cs), ba s ak( a).

Ams a s acvs, w a abu muaav assca w us as as sama cus,u sumus wss cas, cu su a - as. A a suvva s a as uubs s s

luc ess:tav fas

14 Cu VBy loUiSe BoUrdUA

dr loUiSe BoUrdUA

lUnCh on expenSeS



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dr loUiSe BoUrdUA

lUnCh on expenSeS


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n a ascs av w s jab: sa as,


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dr loUiSe BoUrdUA

lUnCh on expenSeS


uss sa (wc ma v pac cma ausa), a ucab cs bu abu b s,sw a, w a a aa. t w as bas a wamas c w, s as m ca a a sck, bssu a a, w a sums m w b ca au,was av a sc. i a avs m cs b accmab a a-ca bua (a brhiell) a u m. osucs sw a pac a am sc. pmss av a b ac m ca , bu a sa-cuc awas uaa

ub- jus. t c-sas V w csa a waw ac u muc M As a m c w mmu ca s. i, pac a lus s s bsw s ua as Vc. fua, suc bua was u m m ca u s us a k sa as uc as s as was as.


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dr hUMfrey BUtterS frhS

florenCe And VeniCe: A tAle of tWo CitieS


One signal feature of northern and central Italy in the period

1100 to 1600 was the revival of the city state. A second

unusual characteristic of that part of Italy was the scale and

sophistication of the economic undertakings of its principalcities which marked an early stage in the development of

commercial capitalism. Of this interesting class Florence and

Venice were exceptional members.

Dr Humfrey Butters FRHS is a Reader in Warwicks Department of History

and co-ordinator of the Venice Programme for third year history students.

His research interests lie in the political history of Florence during its

last 50 years as a republic (1480-1530); the writings of Machiavelli,

and public law and the state in Italy, 1100-1300. He was one of aninternational group of scholars working to produce a complete edition,

with historical commentary, of the correspondence of Lorenzo de Medici.

CoMMent

Opposite: The lions of Florence (left) and Venice (right)


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i The civilizatin f the Renaissane in Italy (1860), ms ba accu

s subjc v w, Jacb Bucka s u a w was ia,a a a a eu, a av b rassac.n a asws a av a qus av s s m, bu a cc w sua ia 1100-1600, scua a sca caacscs, a sm w s b rassac, as b a ab au sca su. o saau a ca ia a was a was m avva c sa. ts sc-ca ma, sus m a

sm c b ca aum a j ab s ssss b s was, a a a cuca ac w. A sc uusua caacsc a a ia was sca a ssca cmc uaks s ca cswc mak a a sa vm cmmca caasm.ts cs, , s a aa b casa cc ms, w cau ws p Js.




fc a Vc:A ta tw Cs

By hUMfrey BUtterS frhS


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fm a cmc vw mak a csv bak w w gc a rm, wc a b ma b awsa a mcas, w, as vua va; a m asc-ca vw csu a vva a ws mscaacsc m.

o s s cass fc a Vc w ca mmbs.ecmca Vcs s mc ccu b a fc, sc as a cus sas -as cas ia s wasc ac assum s a m v cu

sv, a ca cmmca ma bw eas aWs. fc j suc aca avaa, s a was cu a cm ba w vus. B a cu, wv, s a w a ac s ak euaws, cmmc, us a aa bak, as s s bcam m. Vc v was a c aabak, a u cu maj us wassbu, au Asa was b a as usa cm mva eu. i cus cu, wv, s

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t w cs w as sus b ca . i aM As b sv ubca csus, a a m wms iaa c sas a bcm subjc u ma, Signre. fc a cas b a ubc a 1530, w Mcam sabs a uc a as cu; Vc,

b cas, ma a ubc u 1797, w s was cqu bna. Usus, s bcam a bw eu casab a vus ascac ubcasm, sc cab was c a cs a a b, mmbs ga Cuc. t s a Va vm b d, Sa a ga Cuc ma Vc aa b c m am csu, a m avu b pa a As.

Bu cmc succss a ca sab w sm us acu uc, ca a sa cmms b a

mcas. fs, bcaus u cass fc a Vc, v m as as, was cms sm mcas bu landwningmerhants, ws s as m a a a sca .Sc, bcaus vms b cs w awas a ma c usu bjcvs. B cu b cs w mass subsaa iaa asas, wc cas fc cms ms tusca.





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Brunelleschi's cupola for Florence cathedral, Santa Maria del Fiore; photo by Jebulon


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The Church of the Rendentore by Palladio; photo by Norbert Nagel


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It is the novel, above all the nineteenth and early twentieth

century novel, that communicates a sense of place more

powerfully than any other written medium. But why do writers

choose one place in preference to another? In other novels byWharton and James we nd ourselves in London, New York,

Boston, Rome, Paris. What leads to the choice of Venice? What

are the particular associations of a location that contribute to

the narrative as a whole? How is late-nineteenth century Venice

a city of decline and decay deployed in their writing?

Ann Hallamore Caesar is the Universitys Pro-Vice-Chancellor for

Teaching and Student Experience. She is also a professor in the

Department of Italian. Her research interests centre on the literary andcultural history of the novel in Italy. In particular, she is interested in

the rise of a female reading public and the development of the domestic

novel in Italy in the period immediately after unication. Professor Caesar

is also exploring the emergence of an Italian novel of entertainment in

eighteenth century Venice.

CoMMent

profeSSor Ann CAeSAr

AMeriCAnS Writing VeniCe: edith WhArton And henry JAMeS


Opposite: American novelists Edith Wharton and Henry James Mary Evans Picture Library


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in a fine ccasu ca Vc au, t ta u a was ms a cs av ws pas asBaac, l dcks, dub Jc, a ts Svv Vc s. h abus s ac a s m v cam a v m w Vc was c. hwv, umbs wsw av aw sa m a w abu Vc a ma, mpus a tmas Ma u m cm ws suc as Mcadb a da l.

h, i wa cs w Amca ws, e Wa (1862-1937)a h Jams (1843-1916) s, euas Amcas w a v a kw ia, w b v eu a auVc vs. Jams ma s s vs Vc 1869 w was u uc rusk. e Wa, a av,v ma fac m 1907 u a. h -c bk,Italian Bakgrnds, s a mac Vc w maqus




Amcas W Vc:

e Waa h Jams

By Ann hAllAMore CAeSAr


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a c Mus C ss cu csum,sac m s a asus cu Vc bda bu b na.

y s v, abv a a a w cuv, a cmmucas a ss ac m wu a a w mum. Bu w ws cs ac c a? i vs b Wa a Jams w usvs l,nw yk, Bs, rm, pas. Wa as cc Vc? Wa a acua asscas a ca a cbu aav as a

w? hw s a- cu Vc a c c a ca w?

e Was was us Vc a sawa cmas h Jams. i vs, s us Vc a ca w bcms a ca a s ma ca ccs. i The Glimpses fthe Mn (1922), w aacv u , Sus Bac a nck las,as- c aa s, a ma a v a a s uss ma b s a w ss. tmv, uca, a aa Vc. t bu s ssv s

mss, a s bcms ca, as Sus s bcms cascmms, a Vc ss cu: a aa s ca cv u s auus aa. Sus, nck a s s Vc sm as a c us ba aau a a sm uqu a ab. Vc s la fas; Wa aws av cu ma, qu cs wa a c as.

i The children (1927), w s v , uccuas a sma. t sam aa s

auc a w mm, w Vc a cu msac a, a w sw b b m as w wc vcs m USA. t as a ja Vc, sa a ga Caa, a cus mas m l. Vcs s as cus ac, m a asss. t c qus av v m ca bu bu bcaus as avvc a ma s , vs a v a sa cmcus a c.

Uk e Wa, h Jams acua v Vc. h s

c a s b, Wam, a 25 Smb1869 u s s vs ma s m-ws. A m wa sa, s sus a v w abu Vc aa: ta, i mmb,smw saks Vc a o w ms cusqu cs eu. i sa o. Was s ca kwo m w, w awas k a Vc m wu a sv cscus s us saus as a Amca: i m a m





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Fashionable Venice in the 1920s the setting for Edith Whartons novel, The Children Mary Evans Picture Library


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m ab yak. f Jams, Vc was av a acuawu assca w a a a v cs , Csacfm Ws, k s b w s m ww aaa ss bw.

hwv, a ss usss, ss Vc, sa abs w Jams cms a Vc as a ca sss. pcs cas c ca b . t cuva ms: 1899, scbs vs a aa ws bauub ms a v cu b ma ws a am

a a us ... absc bks, sc u. Vc s ua c: Jamss a s cs.

i The Aspern Papers (1888), Jams maks a ca cc bwVc, s acqusv abs, a ss. t u vs a va sbas au k ac fc, w Bs msss a Ssss--aw, Ca Cam, v a scus. A Amcabsss w S as m a kw w ssss; a s , w -a a-c w m a ma , s wu v m as. Jams mv

s Vc ssb us cac, bu a sam m a Vc s suc a a. i The Aspern Papers a Amcaw w wss a -cas Amca , J As, asa a a msss s s s v a as sm s va s.Us s a c, bcms a us a aasms w wma a c. t wma s a c s maa ca as. t w us , a wa Vc, us m acc a a s as s as.

t scm, bk, aaca as s as aa sa a s a ss s u m. t s asu Vc. i a ss c s s ba cv as. Vc s s m a w s aa, s ws as a a ac ss s qusa sau b Vcc a mca BamC as s u b s a m, cus, ama.

Ms s aks ac s a. t amvs Mss Bau acs a u a w m ms.

t bu s ams m. t ms a ua. ts s a Vc, bu as a-u a as u-Va as ca ma. S: wVc? t asw s ss bw a Vc a a As as b a abu u. t s- s muc w Vc na ca a c uc va ca, w v a a c, a w maa a macac accma ac .





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h Jams s a w s a wa masss abu Vcs cu bw a u. t s as a ua aw w ca w cw s a vcssu as u a cm m s w waks as usk uu, w ss v wa u. t ac as caac a mms ccv aam, wc paa Sa Mac s msam c ... As u s u a was a caas caas assum mac a sa, m a sam a, a Va us, mv a ... sk u

as mmbs a ss amac u.h Jams cmm av s ssa abu h Baac

a w sm as s c s as ma as vs s awas a ca bw s a ac. i was a c, b e Wa a h JamsVc was jus a eua c, a back a s. isa saccu, wawas a v qua bcm vc as quss abu a a, ma a s, a, ba mw w w, ca, va a ma.


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lAdy frAnCeS ClArKe CBe

VeniCe in peril


Since the early 1970s VIP [Venice in Peril] has undertaken

a programme to adopt projects on the waiting list of the

Superintendencies, whether these involved buildings, sculptures

or paintings of high aesthetic value, or work considered worthyof scholarly or scientic investigation all located in Venice and

on the islands of the Lagoon.

Lady Frances Clarke CBE is Co-President of Venice in Peril, which she

founded with her late husband, Sir Ashley Clarke. She was awarded the

CBE in 2000, in recognition of her work for Venetian culture. In 2010

she was named Ambassador for the culture of the Veneto region, and

was made a member of the Istituto Veneto. In 2007 she was proclaimed

Venetian of the Year by the Settemari Association. Lady Clarke has anhonorary DLitt from the University of Warwick, and is a member of

Warwicks Venice Advisory Board.

CoMMent

Opposite: The memorial to Sir Ashley Clarke in the Church of San Francesco della Vigna Venice in Peril


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the existence of Wawck Vc pamm s back

sc s fc a Vc 4 nvmb 1966 wcaumas b cs, bu was a w vs -mcs. t amac tV cumas b fac z c, v, vasa fc ubcs aa aaauc b iaa gvm u UneSCo, wc Bsvm s b ask s m ambassa rm, S AsCak, s u a Aa. ts was csu 5 nvmb 1966 as iaa A a Acvs rscu fu (iAArf). is cmm scca

cu s a csva m Bs lba, sc a majvcm A vw s baks was Sa Acvs. n iaa am, bu a vua aa am sus, sss acs, cu ma Bs, a aa , suc ac a a w as f aus w ab v aaks w s, a Amca asssac m CriA(Cmm rscu iaa A), a ss iAArfs .


VeniCe in peril


Vc pBy lAdy frAnCeS ClArKe CBe


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VeniCe in peril


A s Va Su Wks A, d.facsc Vacav, cam m us fc, mak a cas asma av b auc Vc, w was a aa , a u wa s w ju b cma ca.A csua w iAArf Cmm, was a ssv f a, as su us a w b uss, Vc p fu, csu 1971. Vc p (Vip) sa mmb Assca pva Cmms Saua Vca amwk UneSCo ra Buau Scc a

euca eu, sabs Vc 1976.t s maj jc uak b Vip, ws as a awas

ca u w ca savs Ms B Cuua,was a cuc Maa o. Sua Caa, w s scv cama mas fam nuv as va aacs m la, s cucwas a am b rusk. i 1966, wv, aa was b vss, s s b ts as cuc, c b sa as cac a m a s, w mu v

ac sacs. VipS cmmm csva scuc, awas caba w Sus Mums aWks A, as ccu w sa Baa a.t cuc s w a ccu cucs uu am b Cus oasa, w av aa a sma musum u b w c k w Vip.

fm Caa dsu, w Vip k u aa m Suc Mums ack bm cuc Sa nc Mc a wa was a m

ws aac c m la. nw aa s b mam Sa Bas, w s ua s gc, aa acs cas qu cus s mv swa gucca Caa.

t k a w Va mab Sa nc was ak u aam-, w sv w us su ss as a au cuc, a c a sw Sncas , w a s u as 1972 1977. Aa, aaa c a aqu, bu b a m sus c,

a b bu c a aca sc vs,v b vm m Cc c ac a va aa c acs Vc Uvs Accu.

Sc a 1970s Vip as uak a amm a jcs wa s Sucs, w s vvbus, scuus as asc vau, wk csw sca scc vsa a ca Vc a


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VeniCe in peril


Armstrong Mitchells crane for the Italian navy, built in 1866 Venice in Peril


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sas la.A maj jc was

tc, w aa cmms

j Vip cabaw Suca Cua paaca m a csa vas as msacs

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Muca, Caa ema as b us va cmas, sc s a cmaum sa. t s as ra evac, a sca aa ams b Aca, luaa Vasa cucs Vc, ca avs a mums umus sca us w v , b cac, Vc,c ma aas w s . ts buau, w s sc avs a vab css s, s cu subjc a jc am bw Muca a psa cmmus v s csva a maac a

ma bass.Cu Vip jcs, subjc u aca ssbs, cu

m c mum Cava cuc fa, su m a m s am wc as caus suac mab us a v bck am sca.Aass b Suc Mums, a b s m pauaa awa b a cs s ma cssa ac.


VeniCe in peril


Monument to Antonio Canova in the church of Santa MariaGloriosa dei Frari; photo by Matthew Clemente


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Bu cu u ma s sva uqu aucca bu iaa av 1886 b Ams Mc nwcas-u-t, a s ma bas Asa, u us. fm umbs wc w a v w bAmss, s suvv am a acua m. iscsva, wc qus a csab aca cmmm b Vip,wu b a wss c a a wc cas sc acvms Asa vus cus.

Vip s u b pss J ha, fu pss

hs a Wawck, a us ws acamc scasa Vas, csa b s acca as w as maav aac c bms Vc, was vauab. t fu, as w as Uvs Wawck, as b mmasuab m cmmm s succss, a pss Mca Ma, cu Wawckamm Vc. i s amm w a, vacca caba w Uvs Ca fsca u as s amc rc, pss Caa.

Sc as 1966 mc, Vc as ca mmasuab,

as bcaus us ua Ms wc s, cus, w s Vc Muca. t uvss b Cafsca a Uvs Accu a a va, v smmscvsa, sa as, wc i Wawck w a asca a.

Warwicks Founding Professor of History, Sir John Hale, originally intended

his undergraduate Italian programme to take place in Florence. However, the

oods, severely damaging libraries and archives, forced him to think again. Inthe aftermath of the oods, a campaign was launched in Venice to welcome

foreign students to the city. In the light of this potential support, and with the

offer of teaching space in the Palazzo Brandolini, Sir John changed his venue

and the rest, as they say, is history.


VeniCe in peril



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dr JonAthAn dAVieS frhS

goliArdiA


Visitors to Venice during the winter months are often bemused

by the many unruly degree festivities which are held in the area

around the university faculties, especially Calle Larga Foscari,

Campiello dei Squellini, and Campo Santa Margherita. Thesefestivities belong to a tradition dating back to the earliest

universities. To an extent, todays graduates are descendants

of the goliards, poor clerical students who rst appeared at

universities across Europe in the twelfth century.

Dr Jonathan Davies FRHS is a Senior Lecturer in the History Department

and regularly teaches on the Venice Programme. His research centres on

the history of the Italian states, especially Tuscany, between 1350 and

1600, focussing particularly on universities. Currently, he is concentratingon the study of violence in early modern Europe, again using students and

professors as a focus.

CoMMent

Sixteenth century Italian students Mary Evans Picture Library


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gaa puagaua fsvs

Vc


goliArdiA


ByJonAthAn dAVieS frhS

Visitors to Venice u w ms a bmus b ma uu svs wc a aa au uvs acus, sca Ca laa fsca, Cam Squ,a Cam Saa Maa. Suu b am a s, aua s usua ss uwa. t a c a manifest di larea papir, a a bsc m wcscbs , bavu, a ama mac. As a, aua mus k w ac a subm

aks s, w w s, u, , kcu, acum w, sav am. t aua k, bs qua wa smms as. A svs, saua us u ss a ba w a v m ac.As u, aua us u jss m s w sa bsc s b d, ... A svs, aua s ca u, us wa m a ab ua,


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a mas aua aas was acss c. lcass a awas as b svs, wc ca av ss a squas as.Bu a j b uss asw as b auas am as.

ts svs b a

a a back asuvss. t a , asauas a scas

as, cca sus ws aa a uvss acsseu w cu. ov usuvs, a m m, s sus u asus u. lv, k, a ams a subjcs umus msa ss w b as, wc ms amus a carmina

Brana, wc m Ca os caaa. t ms as cac ccsm mva cuc a as wu ak assasm Mass a aa m saca uss. t bavu wasus a Uvs pas cma k fac a

pss a cks... ac c ss as wm... swa ss. t a back u a aa s, w cbas sa Mass. t a c aa. t cs w sk smkm ss ss. t u a a uu cuc,wu a bus w sam. fa v abu w

a s as sabb caas a cas, a us au ws a bsas amus macs, w csus a w scuus a ucas ws.

Usus cuc s s s ca m wa 1289 a cks sa b jus, as bus.

Au a aa a , s s cu. ica b s a s wc w a au su uvss a mva a a m eu, w smawas c qu v s caus, ams,

w su a. A pava a w sus au s ava v s cs s a a a- ppillagine, wccms cua vas s m a ccasa as k. A b acamc a sus sac Sa w qu a a a a w s. t a a k w accma b jks, aks, a c bsc . Sus a Sa as aca a


goliArdiA


Two hats symbolising the Goliardia; photo byrinina25 and Twice 25


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serra. i was usua a b Cava mask sus wak u ss Sa cc m a svs.As w, c sa! sa! (su! su!). ts ac cusm su ss a w css u a b a sus. t serra 1565 v a maj bw sus a as cv Sa As. twm w k a ma s w ju. Subsqu sacs serra w aa bu w s uu. f am, 1584 sus ss u as cs a ask as Sa sam

uc. t serra 1590 cu a ca wc Mu Vuwas s. A Mu was a m a ca acam .

W aa was vv iaa sas cu was k w c mvm, rsm. psssa sus wu m cas cu fa

Vc. os as wsabs wc vvmacua as w as awa papir. tss w suss b fascss bu s a WWa tw. i A 1946 d Ca fsca cv a m Vc as

ac s a ma iaa uvss. A fa s asam wc mvm:

Gliardia is ltre and intelligene.

It is the lve f freedm and the nderstanding f nes sial respnsibilities withrespet t nes shl tday and nes prfessin tmrrw;

it is the veneratin f the spirit whih prdes a partilar way f nderstanding life in

the light f an abslte freedm t ritiise men and instittins, witht any prejdie;it is nally the veneratin f the very anient traditins whih will arry thrght thewrld the name f r free niversities.

ta a - ac s a iaa uvss,cu Vcs Sssmus gacus o pcs, Ms Sgac o p.


goliArdiA


Caff Florian; photo by Jeanne Boleyn


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MiChAel hUlSe

WriterS VeniCe


The Wings of the Dove, Death in Venice, Dont Look Now and other

modern treatments have perhaps conditioned us to expect the

Venice of writers to be doom-laden. The imperilled state of the

city has been familiar for a very long time indeed, and the useof Venice as an emblem of fragility, decay and death has surely

become a clich.

Michael Hulse is a poet and translator, and teaches in the Warwick

Writing Programme. He has won many awards for his poetry including

rst prize in the National Poetry Competition. At Warwick, he

co-founded the Hippocrates Prize for a poem on a medical subject

(www.hippocrates-poetry.org), and this is a continuing area of research.

Michaels most recent publications include The Secret History (poems,Arc, 2009), The Notebooks of Malte Laurids Brigge (translation of Rilkes

novel, Penguin Classics, 2009) and The Twentieth Century in Poetry,

an anthology co-edited with Simon Rae (Random House / Ebury Press,

2011). For further information, see www.contemporarywriters.com

CoMMent

Above: photo by Sophie KandaouroffOpposite: Photo by Jon and Tina Reid; www.nomadicvision.com


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MiChAel hUlSe

WriterS VeniCe


Ws VcBy MiChAel hUlSe

goethes father had bu back m s w ju ia am a a, wc ccasa aw s s a w. Vcwas iaa sas a g ms uu sa s, a w s a s a av, b ba w Ba, s ua su a : i was w, , ma Bk fa a a v a w- a Smb a 1786, i su s Vc s m.

The Wings f the Dve, Death in Venie, Dnt Lk Nw a mams av as c us c Vc ws b m-a. t m sa c as b ama a v m , a us Vc as a mbm a, ca aa as su bcm a cc. g, awas s , a s m. h usu s v aa w accu paa; bsv d a aua sv cmmma Ba

... s, w/s aavs c k as k a w

s as w sw .


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la; w a, a a a (wc u b a), a k a as a scuu; a ma aams a amus s bam, w ca vss b tass aAs w ms. ts as as a acua ac, bcausw B was Vc, as a, u cusm av, as s us childe Harlds Pilgrimage. t sm sw vss c maks as wsss c abauu a.

Bs Vc s bs savu Bepp, s squb- ss-asa

c Dn Jan. t as a mss, wk b s a s w, s ma aus w bsk scbs as k a c ca a ca a, cus, B s a u, a, W ca mak u wa u sa . Bepp s a m cava, a ss , as, ac, k, masqu, / A swc ma b a ask. B cbas ac, a s, asa, a ba as w as mm, a ms cava, a jcs s sa-b c [...] a as s caa.

tw cus a g, Bs asu s ws

macab a msus was mas Pinhi in Venie, a uusua,ba saw b Amca vs rb Cv. Vc s a sabb bubjw a a c, a caacsc sc cas a

Sa g Ma, w s sa cks, cabucua m, a sc-ca cama a s a [...], ss av a ac k a u w a cus ssuus am. A maa u assuus cus s amak Cvs w, a s s s Buss

MiChAel hUlSe

WriterS VeniCe


Murano glass-blower; photo by Mex3


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sa vcabua (as a am Sama rus cas ). i cavs a css w Bsc, a C, a b a uw as w acs su b a acs bw s,uba asss Vc: M ucum! M ba! M s! M u a uus ucuus! fa s m ac! M sca, ,us, a a! M sk! M sua! gss.

Cvs bk avs Va s uu; cc as s a c vs s us-s Vc. Cmaw ca Vc as c w cu a v cuc,

a a aa as m s k, v awa as bw sm b umbss uss. hw a w a? BaMaamus fma bs aMua ass-bw a ass ca: gv bubb a mua bcam bak, w, vas,ama bua u, a mu , a s, bw cu bw. Wam

las Mabeth in Venie, a bk Va ms a s uusuacas ms w uama, bass s squc cuus ccumsac a Jamsi ( Vi) s a a vs

Mabeth d s a usa guw p.tw s w av w abu Vc av a sca ac m

acs. o , a nw zaa A Cuw, sus w

m Vc w w a a s ms scuss; a, sw m a J a avu saua za, ia savu as russa ss / a-sw u gucca as cam cs s u am macw.A, Ausaa rb ga, was m bs ma w Ka a ima Vc 2005. t m w us as a w bsb s ga Caa mas as a swas ck, a a bsvs aVc as su b s; s cuss scs mbs, aus w acs aa, s, w,

/ s a avs c k as k a w s asw sw ; a cas, Vc s a ass. i am b aa bu sass s bsva a mss s k a aua, rbs t Sc Vc sms m usa a ss c s a.

Fr a list f the wrks mentined r disssed here, please see page 98.

MiChAel hUlSe

WriterS VeniCe


A ship on the Giudecca; photo by Joan Sol


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46

Sir riChArd lAMBert

the nUMBerS SoUnd terriBle


Around 16.5 million tourists now visit Venice every year;

enormous cruise ships maritime skyscrapers dominate the

Giudecca canal; tacky mask shops abound. But you can still nd

the essence of the city if you stick to a few simple rules: avoidthe peak of the tourist season; dont plan on just a eeting visit;

dont feel you have to storm around to see all those beautiful

things that no-one can possibly afford to miss. Instead, pick

them off slowly one after the other, and revisit them when

necessary time and again. And on the way, you will nd wonders

that you have never heard of, and may not even rate a paragraph

in the guidebooks.

Sir Richard Lambert is Chancellor of the University of Warwick. Formerlyeditor of the Financial Times, he became Chairman of the Confederation

of British Industry the CBI in 2006. On his retirement from the CBI at

the end of 2010, he and his wife spent three months living in Venice and

just as Warwick students do during the Venice Term got to know the

city from an entirely different perspective.

CoMMent

Opposite: Tourists in the Piazza San Marco; photo by Rudolph A Furtado


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47

Sir riChArd lAMBert



t numbsSu tbBy Sir riChArd lAMBert

Back in the 1950s, a m a m uss a a wcm Vc: a ms c cu, u was 16.5 m as. o bus as u Cava, sac, a summ aa au S Maks ca u a vas uma ac jam,a ac s m k a ba saum a la Sssma.

M a m ms a b v v b a bakas, a va m aacs ga Caa a b cv s vu c accmma css. Bcaus s as

us a c jbs maa, umb ma ss sc c as b sk a a aam a, w m a ak v 170,000 1950s sm k 60,000 ss a.

ts vab as a a mac caac ac. evm u vs, sms, a avu c as cs w a bu a ack mask s. A s a a a s wu s caks a a w css As savu.


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Sir riChArd lAMBert



t a u cas cm s v a, a s s

wws a m k b u acka s a a kmus a sm a cam u v a m.

Ws a, as, a mus cus ss wc aa u bu k Basa gaacca, a w v wucucs gucca a sw w was l. o wa, s uss a umbs, w sm s mucm a ca b av a u b sju c.

ev ms acc bsvs w a sm a Sa sk ck auc a wu sac cus s a u

smk c s sa b Sa g Ma.Bu s a s, c smw a as caac a

as awas a cam a ca. S Maks Squa ma b sub a avs as, a mask ss ma av sa a u m c a v as a. Bu u av a scv a s mas ms bauu c w. Aa abu 10m, w a s av m a uss avmv , u s av v a as ac m ss us.

t mssa s w wa scv vs mac

ac s sm. Av ak us sas, w s ca v jamm a sck. A a jus a vs.

i u a jus a a w a kw u wa au vw, cacs a a u w s b s a w ams vs. tw wks a b a , a a m s b s. i u aa v uck, a ca maa sa ms, u jusabu bs v.

Go out of your way to nd that lovely cake shop; photo by Deror avi


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49

Sir riChArd lAMBert



A leisurely cappuccino in the Campo San Stefano; photo by Tina L. Vierra

t s ma cuc uv b vs suc cs: a as Vc, s aa mw, wk. d am a m b uv aka s w za, a a a su caucc Cam SaSa. A s, u u wa a v cak s uvb abu: aks a , bu s ss.

d u av sm au s a s bauu s a- ca ssb a mss. isa, ck m sw a , a vs m w cssa m a aa. A wa,

u w ws a u av v a , a ma v a aaaa ubks.

t Uvs Wawck as a a Vc m a as, a s a ma aw a b caus s ac a s u-m bas, paa psa paaava. dw a v mssv a a aac a as back cu; a ac a a ks k sm u a Vsc mv; u sas pian nbile a ba s su vw u v Caa a Msca as as s wa u a.

hs s a au u, a s jus mask ss a su a v wa awa: s , cus, s Cv. ts uasus w av s as bas auum m a scv Vc a s cs ms s vss. As a ac scas, scuss, jus sm s au, s qu sm a au s w.


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50

MArie-loUiSe lillyWhite

WorKing MirACleS: the StAtUe of the MAdonnA dellorto


The statue of the Madonna dellOrto was created by the

stonemason Giovanni de Santi, son of the masterful Andriolo

de Santi, for the prior of Santa Maria Formosa. When the prior

refused to pay for the sculpture, nding it crude and unsightly,the frustrated Giovanni abandoned it to suffer the elements in

the garden of his house in the parish of Santa Fosca. Giovannis

observant wife noticed strange noises coming from the statue

at night, followed by shafts of bright light emanating from the

Madonna's head. The work quickly became the subject of

intense veneration.

Marie-Louise Lillywhite achieved rst class honours in her BA in Art

History at Warwick and was awarded a distinction in her MA in Venetianart history and architecture. She has remained at Warwick to work on

her PhD, which investigates the effects of the Council of Trent and the

Counter-Reformation on the visual culture of Venice during the late

sixteenth century.

CoMMent

Opposite: The statue of Madonna dellOrto; photo by Valendur


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51

Wk Macs: Sau

Maa o




By MArie-loUiSe lillyWhite

one of the ms bauu a Vcs cucs a sua cs Wawcks c Vc, paa psa paaava, cuc Maa o s usua mmb s mssv aca a a-sca wks b Jac t. y sau V s ca Sa Mau s k usa am bu, Maa oca, bu as au mac-wk

mas u cu Vc.i bcam s cuc Maa o ws cm

a ssa m MA Va a s a accu w WawckUvs. du auum m wc s s v a acasss Vc, i c cca sau V Maa o wc i u b v c as a subjc, s saa mac as bjc c k am cuc.


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As a vs cuc w kw, Maa o s bv bam a a mac-wk ma Maa wc was u aab ca u cu. y sau was , as wu av , u a ca, bu was ac ca b smasgva Sa, s masu A Sa, Saa Maa fmsa. W us a scuu, cu a us, usa gva aba su ms a s us as Saa fsca. gvasbsva w c sa ss cm m sau a ,

w b sas b maa m Maa's a. twk quck bcam subjc s va a Bs Cas, au a a cu m v, av gva a umaum a cmmuca. h cu mv sau s s us,w wu b vsb ubc, cu cm a amw a cuc wc m b s ucas sau.

o ca ma gvas a sus w as ucav aca us wc m b a m sa sMaa. h v a a baa w bs huma o,

w ccu s s-a cuc, v cs gvasw us. i ca s scuu ma am u a ucas, a Mass sa s su v a ua s a a b bu a aa, scuu s ca. Ws as w a b m a w quss, av sucs a wk as aa Ca, Scua, Mcas, w a cb av b Cuc t a w ccu bu aj cuc. tus, Scua, wc gva was a mmb, cam b

cab k a scuu Maa 'o a huma sc Vc.

M ccs v bau qua sau wu avb va b Scua a huma o w wuav b cscus bs a w a mac-wk macu bsw u m. f c m Scua was a cac msa s wa, s a . f Bs aswc wu b va v a aca mv a wu a as us bu wk b mas a cuc. tus,

was Scua w a scuu 3 Auus 1377, cs a as sv u cuc v ssb wa a c acqu sau. t, acqus sau Sa vs a s am w scu a us swk muua b b as.

fa, b cuc huma a Scua w aca Sa Cs, a usc ma a s





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ca Va ( acm S t S Mak as uasa c b ms sa am), a cawas v m a bcam kw as Maa o u sau a s suvvs a. Ca v va bau, cu cs maks a u w s avMaa av aa, s s sau msas a swas v ma Vas. W kw, am, a s was

ca w cus jws a ss s amasks a sks.Ws ws suc cu mas s aa cua, c a v uma s a ma aac v.gva Sas s Maa msas w suc wks cus v a u va w a cmmu a sau sa a am k mac-wk mas a wu bcmcas va w cus.

The church of Madonna dellOrto; photo by Nino Barbieri


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pAUl MAnSer

We felt the Spirit of the renAiSSAnCe


Paul Manser was one of the rst Warwick students to experience

what is still a unique feature of our undergraduate education

the Venice Term. At a time when regular and affordable

international travel was still in its infancy, the luxury of threemonths abroad was almost unimaginable. The gift of this course

was to transport us to live amongst the history, the art, the

culture of Venice which we were studying: the idea was both

inspired and inspirational.

Paul Manser studied history at Warwick from 1969 to 1972. He has had a

distinguished career in law and has continued to support the University:

he has served on Warwicks Arts Faculty Board and is currently a member

of the Venice Advisory Board. His wife, Lindy, is also a Warwick graduate,with a BA in French Studies (1969-72).

CoMMent

Opposite: Venice in 1970; photo by H Grobe


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55

W f S rassac

pAUl MAnSer



By pAUl MAnSer

i commenced my s sus a Wawck 1969, av b sucb s uqu s , a m Vc. A a m w ua aaab aa av was s s ac, uu ms aba was ams umaab. t s cus was as us v ams s, a, cuu Vcwc w w su: a was b s a saa. B

a w su a paa Ba vk ga Caa. B w w ss a wk ams, as a sma sacss c a l. i was bas Caa, a Ca o, a ca Va : a aw, ac, cumb, a cma was wu! t sa accmma, as cacc cma, wu av a b s. Sa daa, a s,ccc a svs, was u aa a m jm

a aw, ac, cumb,a c ma


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56

was a a am b us a w, s ack cas ac sss. W w uck cs a sca acks. tVc m ma Uvs a csa sa a w a sucs bks a acamc csss, bu as suab

s 30 us sus ac a. nwsa, Wawck, kSa daa, awas cam u ums.

o auab uss v Vc as a s su was c m a jus cua. o u waks v m paa Ba, w w suu b a accu, a, su a a au Vc. W s rassac. da, w css Accama B, avs squasa sau w as. W saw cumb bau a v vm smas a aa. W saw a Vc

aw m s was am as ga Caa. Wc js a m ca v, sa a a cba a as auc iaa ssss.

ou a cs cu bu sks, s, acqua aa a va. W w as uss. W k avaa cuua s b vs umus cucs, musums aas, cu Accama (w w saw mascs b B,

pAUl MAnSer



The Palazzo Brandolini: Warwicks rst teaching base in Venice


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g, t a ta) as w as m a cc p gum.W wak, w w ab j m as Vc jus va. W m w ms ac, ss a ca busssm,a a sam m s, cw caaa ba. W u sv usa scus cus, bu w aca

ca usa a , ukw, ava ssm.

W as su. ts was a as ab UK. t Vc m was a va uca ss a wa w aa a abu cus, w w saw, a c in sit a a. f ms, w w a abc Vc, aw a s-a m u u sss Mca Ma a Ma

lw (b w sa a) s asca s a s uqucas uu. W absb ams a w a bab usa sca, ca a asc as iaarassac, as c acua Vc, a su backm.

t ws acqua aa a b v as b u vs s w wa v cscus csa a abc Vc a as subsc. f w ma uu as cu Vc, asw saw , suvv? A s us w v muc m m w i

asa a am iaa w m Vc p,a asa w wc Wawck as awas b cs assca aas vus su. ts was bu mas b wc w w ab u aua sks, usa Vc a aca s mmscbu eua cvsa a ssb ma as vs.

t aua auum m Vc as w bcm v muca acamc a sca c. t Uvs asv, v as, cs caba w acamc a

cuua sus Vc as w as ubc sc aus. As asu, Uvs as cbu , a bcm a , cuvu Vc. W w u a w m bu w wu c b c. hw uck w w as acs w Vc amm. hw v b ab bm s Uvs a v acamc saw av su s cu succss.

pAUl MAnSer



Professor Michael MallettFRHS, receiving an honorarydegree at a ceremony in Venicein 2007; Professor Mallett diedin 2008.


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dr CriStinA MArinetti

AndeMo BeVer UnoMBrA: the VenetiAn diAleCt


For the boatman as for the shopkeeper, the librarian and the

civil servant, Venetian (often intermixed with Standard Italian)

is still the principal medium of communication throughout the

six historic districts (sestieri) of Venice and functions as a verypowerful marker of identity in everyday life that distinguishes

the natives (venessiani) from the non-Venetians (foresti, lit.

woodlanders).

Dr Cristina Marinetti is an Assistant Professor in Warwicks Centre for

Applied Linguistics and in the Department of English and Comparative

Literary Studies. She studied foreign languages at Ca Foscari the

University of Venice and also has a PhD in Translation Studies from

the University of Warwick. Cristinas research interests include Italianand British theatre history, with a specialisation in Goldoni and the

Commedia dellArte, and philosophical and cultural approaches to

translation.

CoMMent

Opposite: The origins of un ombra depicted in this painting by Canalettoof the Piazza San Marco; photo by Web Gallery of Art


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59

Am bv umba:

Va dac




By CriStinA MArinetti

When asked to asa Ca gs Le bare chizztte (tCa Baws) es sa, C Ba a gsck Va ac was uasaab, us a es wub mak w asas ak k k, a us a es acwu b k m as a hu. W bauu csa vab cmms vv s a mak accssb was usca a cuua , Bas cuum as s auama asc Va a cuu a s sm ak abu

us ia: Va ac.Uk Va a, a a accu, wc av a

aa cuc bcaus sca uc eu ab, aua Vc sm aus aa scusss cs s a cuua a. A , a sa tMum, Va mas av aua ms 63,000 s abas c, a ms sus ias acs.


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W aua sa a sus, as was cas w cu, Va s v w sk macs, b w a us am. f bama as sk, baa a cv sva, Va ( mw Saa iaa) s s ca mum cmmucauu s sc scs (sestieri) Vc a ucs as a vwu mak va a suss avs(venessiani) m -Vas (fresti, . was).

Au i am ma a iaa sak, w v a wk ms

es, i ms u m Vass w s aam w i back Vc, a k wam a umu a m a a m aas ks bu as as a wa msam b, mak ms u as a av. lk ss w a -s c a us ck va, Va saks bs abs a sauas a vs as w as b as ss a cas

s-ca press da Venessian (Va c), wc was a a aumaca a abs Va saks. i a c a as s sbucs a baks u mask ss a akawa a us a

s cmmu cs cv buqu s b vus us csum, Va ac vs avs a wa cam back a c b mak u sacs a a accssb mass usm.

Bu v as a us s mssb sca Va ac, wcs vw c, mb v a a uquasca a as ma vua uca us as. Swak au Vc, ma a, u us w a ava aalli (ss) a fndamente (mbakms), u a stprteg

(uass), acss a ampie ( squa) a s a a baar (ba) ambra de vin (ass w). A as, s s cuus u sk uccs bw aua, s a cuu, s w u a sri ter a mav a ac a ss w wak a sc a wcwas c a (sma caa) a was cam back ( ter) usus ms w cs ua was cas b usas.

t uc Va ac Va a s vasvbu as cca. Vcs asca a accu av a a uc aua wc s mas va cvsa. t cmm

ss andem bever nmbra (s a k) cms m a bak u m a wk b k a ass ww s sa (mbra) campanile S. Maks. lkws, saa Va a qus cs s n pnte e na ae (v b a w alle) wc s u m abu smwamsc c sac avs a cc ava scus a abu w ac u sa.





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t cc a Va sak s v uusua cma ia, w ac sak s saa avu a saa a, sca u as, s asscaw w uca a sca saus. Vcs uqu as a w

a s ma av sm wa s suc cc bu ss a ms k u us as Sssma rubc.i s cu, a rubcs cmc w ama m, Va was ms ua macauas eu a was sk acss eas Maa b mcas a as bu as b ascas a us, cuamus oma Sua. Sm v sus uss v susa a Vc va aas eua ws lau Camba bw 1508 a 1515, Va a a tusca wu av

bcm bass cma iaa.Au Vc s a a tusca w u as m

w aua, Va as ma a cb c a uaaua, sca sk m. t ms c a cmsvsca ca Va, su cas sac Vca acss Maa, s a cu s-cu Vaas a ba aua, asaa a bs, wc b us w cca a tusca ma b a cs a mu vcs a csma c a. A s s

aua a w Va rassac cm a a, cu, g, w caacs ac mu us,aa aua sm a ascas w ss tusca,Sas, mck-tuks a Ama. i Ba w w w, sa a w cu, ma av -k uasaab Va a s mu-a a bs aua g av sk aa w ms u csma c.

Un ponte e na cae (over the bridge and down the calle); photo by Dr Roberta Warman


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riChArd pArKer

MAKing MUSiC in VeniCe


62

On the Sunday evening wed arranged to sing Mass in Santo

Stefano. Often these arrangements are a bit ad hoc: we have

a pretty free hand what to perform, and we often dont meet

the priest until just before the service. What are you singing?he asked Richard. Weve got a Laudate Dominum by Monteverdi,

for bass and organ, and with the full choir well give you some

Gabrieli, if thats all right... Excellent, said the priest, and very

appropriate hes buried just over there.

Richard Parker came to work as a librarian in Warwick in 1980 and was

Head of the Arts Faculty liaison team and subject support specialist for

the Departments of German, History and History of Art. He sings with

ensemble 1685 a group of about 20 singers based in Coventry whoperform across the Midlands. Richard retired from Warwick in 2011.

CoMMent

Opposite: Copy of a portrait of Claudio Monteverdi by Bernardo Strozzi, hanging in theGalleria dell'Accademia in Venice (1640); photo by Celeron

vs smb 1685s wbs a: www.smb1685..uk


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Mak Musc Vc

By riChArd pArKer

As subject specialist u c s a a s aWawck lba, iv a cacs w u ac amm Vc. S w as avsa aum u wauc i mma svcs c i s w,ensemble 1685. ou s was v musc a

ca wc wu ak ac u u, bu ww as a a w musca accmam acuc vss. ensemble 1685, c b rca Jca, a am b-a b Bac a ha, ms a w a musc ma rassac a rmac, s rca was su smaa w cu m m u .

rca a v vs Vc b, s w u a aavs. hs was s ba a was ubc as u,s c wak m Mac p A c ( was a

). hs cmsa was s s v vw paa Sa Mac as su s; ck wak v s c b wasc a u ca us u sa a.

h ensemble 1685s vs m was a v vs SaMac. W ba a s ca w a mvm m u-auaccma mass b Mv, ak Basca s -a m Jbilate De b gva gab b cmss


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riChArd pArKer



Titians Assumption of the Virgin in the Santa Maria Gloriosa dei Frari; photo by The Yorck Project

W sa (gusAve Virg Santissima)ac tasAssmptin f the Virgin

fa as s .


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w c maestr di appella . o auc mmb a m wasa ms mv c; s a v b Sa Mac b,a was vwm b vsa ms c m.

A was a vs fa, w w accmaaks b Ja A a da C. fs w sa c, ssuus

Ave virg santissima b facsc gu (1525-99). ts was cs s a as s Maa ms, a w sa ac tasaa Assmptin f the Virgin as s . (o Wawck as cu was aa s mv s s s u aac

a a w sc w s ca s fa.) t aks w abu uca sac w cuc, a ww ab usa s b s m s, ac wcav a acusc ss bu: Mvs s-a cantateDmin bw c sas, a a v aw sacua pasas bauu Sit ervs vca s w k wabks a s .

o Saua Wawcks cm k ac paapsa paaava, w a s w awa pss Mca

Ma a la facs Cak. t s sum a k paa s a musc wu av b uaccma. B cm w sa sm (es) maas c Va, bu quw-kw a as cab as as ms. tJbilate De aa cm s us a suc sus a ms wk w as cssa musc. As css wu s sa wa u sas a a pian nbile, rca was k a cs sss v s su wu v av Vc-Cac wak as acs sc... taks a avaa (a cm

auc) rallentand v as w as w (a VC) jus ma .o Sua v w aa s mass Sa Sa.

o s aams a a b ad h: w av a a wa m, a w m s u jus b svc.

Wa a u s? ask rca. Wv a Ladate Dminmb Mv, bass a a, a w u c w v usm gab, as a ... ec, sa s, a vaa s bu jus v .

du aum amm w as u m s Saa Maa

Mac, macuus mab cuc a m Sa za, bu suc a sma s a caa a b u mak m ; a Scu Sa Mac a Sa rcc, a Sa facsc a Va Cas;a ucas S gs Aca cuc, w w sa a acuw mass b ha. Cmms w cv a m a subsquma ca jus w muc w a a jm v wa u. A wa a a c was us...

riChArd pArKer




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Like Italo Calvinos timeless invisible cities (all bearing the

imprint of Venice), the city evokes its old, even archaic self,

yet only through the lens of our contemporary sense of it. In

Calvinos words, it is a city of memory, a city of desire, a city ofsigns and of trade, a hidden and a continuous city, a citt sottile

thin, but also light and subtle and a city of visions.

Dr Loredana Polezzi is an Associate Professor in Warwicks Department

of Italian Studies. She studied Modern Languages at Venice and Siena

and has an MA in Italian Studies and a PhD in Translation Studies from

Warwick. Her research focuses on the history of travel writing and

the connection between geography and social mobility, as well as

theories and practices of translation. Loredana is Director of WarwicksVenice Centre.

CoMMent

dr loredAnA polezzi

Sixteen CAtS on one tree


Opposite: Paco, the Palazzo Pesaro Papafavas neighbourhood cat;photo by Dr Roberta Warman


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it may seem k s sa a c abu Vc b m s sca vas, bu s a s abu ga wc awas msm m m w Vc. i was w b pa C (a pms)a scbs mav a sck s cu w a c wa sm w was as awa m sa (pa C, Genvaper ni, 1974). i m Vc w i was , as i av m tusca

su a Vcs Ca fsca Uvs a a. i a w u cus. M ascas w ma ws a asv vas.M cv c was fc, w s ass a s uas asw v a cus u . Vc ma sa a wak wa, suu bu as c b . A ma, k Csga, sa cu w a ac s s a awas mv,

anhe di ntte v a .

S Cas o t

By loredAnA polezzi

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dr loredAnA polezzi




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dr loredAnA polezzi



Tiziano Scarpa likened Venice to a sh; image courtesy of NASA

M ma mas Vc a awas avas. B a s a.i v Vc as a su, bu w am s paua,av v a w cmmus, css b v a,s u Saa luca sa, a wak c. Wak Vc was a scc c sm us asab sas, vsas, mc ss a a as

wc iaa cs usua s u a u a mv m c s. Vc a s, aw saac; bck u wa w sus bauu bjcs a ams vu. is sa sm muc m ac, a s, k s taScaa, a cma Va w, as k . nava c ma a mas ua a a b ss c w s i a v a b. A v s s a m, qu u us a ac ss. (yasa, was a sa asu scv a v g Mas

ca c w Vcs ca as a sma sacs: bu as ma u u vs u, a u ask sm, jus waau, aa, as a b s, saua u jus bk u ab .)

Wak c a cmu c. ev w wks, aa m, i av as, s a cu us Basa, a av Vc a v m. ias anni di pimb,


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as sm abmbs, w a awa,a a sas w vss v a usua. Si wak c, wa s ba , a a c ak cma m a as su m

sma a a ass aa. i wakv um bs au stprteghi, k amp.Vc cu b susm, bu as u uc scs. twas cua i k

cm acss, w a waa s, a a,a a .ta cua was a a Va cas, a a sm k a . i wak as a cu: c was s cas . t w a, c sas, bu ac as aa bacs as a sa cvsa. t w a c c oa Vc.

A a a, i u ams w cas. W i back

Vc, i aac b sa, ava a. i -w m ma,a a cu wc c s a m s. A ak a a cc wak sm am us.Vc aa av sa s, s s. lk ia Cavsmss vsb cs (a ba m Vc), c vks s, v acac s, u s u cma ss . i Cavs ws, s a c mm, a c s, a c ss a a, a a a cuus c, a itt sttile , bu as asub a a c vss. W i w back, i k m w vsa

ma Vc: cua, a, a s cas a sma .i u cas sas tc, V, Sa easm a a w c s. t w awas c, a k. Bu i vsaw s ma a s ac aa. A Va u abu amus: ys, us b s cas au ....

Fr the wrks mentined here, please see page 98.

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dr loredAnA polezzi



I walked... under sotoporteghi looking for the light of thenext campo; photo by Dr Roberta Warman


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To the Elizabethans, Venice had both a grave and glamorous

reputation. It was at once Venice the Wise; Venice the

Just; Venice the Rich and the citt galante offering innite

superuities of all pleasure and delights. What did WilliamShakespeare, the country boy from Stratford-upon-Avon,

know of this dazzling Renaissance capital of culture,

commerce and sleaze?

Carol Rutter is Professor of Shakespeare and Performance Studies. She is a

historian of the early modern playhouse, who also studies contemporary

Shakespeare performance on both stage and screen. From 2006 to 2011

she was Director of the Universitys prestigious CAPITAL (Creativity and

Performance in Teaching and Learning) Centre a partnership with theRoyal Shakespeare Company which used theatre and performance skills

and experience to enhance student learning, and now forms the core of

Warwicks Institute for Advanced Teaching and Learning.

CoMMent

profeSSor CArol rUtter

ShAKeSpeAreS VeniCe


Two Venetian Ladies by Vittore Carpaccio, (also known as The Courtesans),in the Correr Museum, Venice


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for any Elizabethan k-a w- u a a euaga tu w-cc u scu a ass av, Vcwas a am sa.t c a b a av a amus ua. i was a ubc,

a s aw a es su bsv ca ssms au su a vm cm m s wc mac absu u a tu qu. i a a Vc Ws, a a s ca wsm s

s ca ac, sa la Sssmas sca as av. Bu was as kw as Vc Jus s ua amsa sv bu maa aws (v s a wcasss) a w sa b rubc s, v m cv (as, rma) aw. A was ca Vc rc scacua waamass as a su s ac s, wa sa accu a a as w as makacs a baaas.

Saksas VcBy CArol rUtter


ShAKeSpeAreS VeniCe



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ShAKeSpeAreS VeniCe


Vc was cmmca css-bw as a ws, a as c cw, ms cus mcas v c amus mcas lva ass u Vc. ts cmcw was a ma as,mak Vc a vsb csma cw, w a av, u a cuus s m m a as w, ac

ss s m, paa Sa Mac ra. t u wus gks, Saas, fs, tuks. Aesm: a a-cu a 1580s u es sus v ; 1593, w s ma es cs as, psas v Vc a pssu a ma cma (usa) d.

Ms ssaa, u, Vc a a ua as itt galante.S was bav ( ba). S was asu caa eu, (as es vs w) -am wcm sas a suus a asu a s. o s asuab s wass. i as b sma a 10% cs ua 1600 a as cusas meretrii de lghi pblii m s a wws;c ss Vc ac a m a sks; wa am ss ca hpines; a bac a ; acsa w w a-bas csmcs a s w cam;

bass ba. fasca, a mak u us k w cas wm aa, s sam as was w as b cs scab wm, s dsmas a Cas, w w k,c, csa ca, s b Va as a usbasw w us jaus.

Wa was ? W, cs amasm was suc a,u maa a a s sca a ca sus, awa s s b bu kw s bs wu b as, a c cvc ma bas m a w u. ta s, c was ab

c u amc a sc s vs c msccuu b a, v cua c ac w mc.tus, Vc s a aaca c am vaus. tcs ss-u ascs, u maa, wv m suc wvs a w vs ssasw cu a s. S: c css. lcs cusss.Wa a - es su aba!

Nuremberg and Venetian Womenby Drer. The Venetian woman iswearing chopines which is why shelooks taller.


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ShAKeSpeAreS VeniCe


p S, , cu, a eaba b, vsVc, a 18, 1572. t u b s av cmawu muc a b sa as ambassa m Cu K

Jams (1604). S c s cu; h W, scs s a sacs, cu sw bsva abu saca ss, a rubc was a as a-paa as waspsa ea: ua Sa, w, a a (as sm) ams s a ua . fs Mscum s ju Vc 1593; a tmas Ca, s crdities

(1611). i 1599 lws lwk ubs aasa gasa Cas 1543 De

Magistratibs et Repblia Venetrm, w asum us, a a m

ru gu c a s ss. Jfs es/iaa ca, A Wrldf Wrds, cam u 1598. ta sam a, aw aa Csa VcsDe gli habiti antihi et mderni di diverse parti del

mnd usa w s wcus cma Va sca s c sas, aws, cs, asab w a k-ak, cusa w, ac a, a scacmma ac . S, us,a s ru gu a --s cvc cus.

Muc, , was kw ea Vc, m m -wss

accu a-ac sa. Wa Wam Saksa, cu b m Sa-u-Av, kw s arassac caa cuu, cmmc, a sa? d v vsVc? pbab . fs Ms sma a 50-60 su cv aas avs a va ma; S, mak muc m a ubc sas, s ms a muc. W wu a wkma cm u w suc a bak? Aua was s a mcs,sws a vs, mmb, w b eaba sau a 5 aum. A aw was a 6 sc.

Ms bab, Saksa a a ubs accus mMs Ca a m: ga Cs Va a -acamaa a a w-mu wc a aa es. As aa was acv a av, a w acss aus a cs,absb a css s a, a u s w. hsw a as s rubc, The Merhant f Venie a othell: The Mrf Venie, a sca w as v suca ca cu: ws

Sir Henry Wotton (1568-1639),King Jamess ambassador to Venice


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ShAKeSpeAreS VeniCe


ca u ra; a a ucas; a cw ca gbb (a ucback gbb ra mak); a m cuc b akav cmm , a .

M sca, wv, ac s as Vaa ma: k abu c a cmmca ss c a a v a bak; k abu am,aac, ws as a av c cvc su;k abu ws uss a w a ca a a a. A back c ias maa uac cus s sms kw, wa vb kws abu Va wm: i kw

The Rialto Bridge, completed in 1591; photo by Nino Barbieri


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ShAKeSpeAreS VeniCe


u cu ss w. / i Vc g s aks/ t a sw usbas. A aus c Scksa was s as? i am a Jw. ha a Jw s? a

quss abu w a m Vc Jus s.i Lves Labrs Lst Saksa as a hs (as a

a s w a) s, Va, Va: C v, a:W ss Vc ca sm . J f sus vb: Ma c v, b csa: Bu a ss , as w . i Merhant a othell Saksa s us s Vc, a cus cs wa w s.


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SArAh ShAlgoSKy

the VeniCe BiennAle


Beyond the pavilions in the cool gardens, and the wide spaces

of the Arsenale, there are exhibitions in domestic, institutional

and industrial buildings and open places throughout the whole

city and region.

Sarah Shalgosky is Curator of the Universitys Mead Gallery,

situated in Warwick Arts Centre. Under Sarahs direction, the Mead

shows a programme of contemporary and modern art which is of

national signicance, and is particularly known for its commissioning

of new work.

CoMMent

Opposite: An exhibit at the Venice Biennale, 2009; photo by Dr Roberta Warman

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SArAh ShAlgoSKy

the VeniCe BiennAle


t Vc BaBy SArAh ShAlgoSKy

i first went Vc 1986 as ms ju mmb AsCuc ga Ba a Ba. tw-v as a, scac Ba was mms. W , cas a ba a sc, us suv aacma a w Vc Ba, S pau Ba a ququa dcuma Kass.

S pau a dcuma a s-wa vas bu Vc

Ba a b u 1895, a as a vc a as.ia, was v muc k ga ebs a swcas aavas s a sa acss eu sc a cu. hwv, a as w cu Vc Ba v a cus a. gaua, m a mcus sa aca a bu w avs -avus ga asms su-ac wa.

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M mms a s a s v sc. t Bs avwas w a a u a was w wk fak Aubac vus as m wc as m uaa ac a. t avs sm av b buacc ca a m. o Bsav s fc av wc 1986 was w a sas da Bu a aams a a sac. tgma av, Bs av, ma cs u vw wk a b was va a b

Ba ubc. Sma pk a a was wms a mas ca a mus absac a a ca sks v Vc w ass sv, ac, a uqus.

i s as, was ssb s Ba w as.B avs ga was cua A (ous)b. i 1980, as Vc Asa a b akv b Ba uc wk u ass m acss w sva. ts was m c wk i mmb s asb lsa M a J Mu s m a w s

ass a i s Ma ga 1993. Abv a, i mmb scusss. i sus was k b a a a, ma cc. Cc sma c v a a a a k aa ass,ccs a cuas a v s k scuss wk.

Sc 1986, s Bas a tas av b sabsacss w. i Ba s ta ta, fksta a lv Ba. Bas a S, Saja,isabu, B, Kwaju, havaa, gasw, Mscw, As. nw s acsa b v b a vm us

cs. t av cbu a ba a cma a. AVc s as b .

t Ma was a s as w 2001, m Asssa Cua,w was Ws, a Was qu s w sc a Ba.S sua Art Newspaper v us ca as Vcssu a w cmmss as C W evas ca s wks s sa. W Ws, aua, a vcasks ub s, s a s ca a a acss a asmb w aws A Abs.

Sc 2003, Was as a s w av, as as Sca a nia a ... ASwa a as su cm m va Swa nw fs! t umb b as, ass, jcs avs s v-a. M Ks a a jc as m. B avs c as a w sacs Asa a bs msc, sua a usa bus a acs uu w c a . is mssb s

SArAh ShAlgoSKy

the VeniCe BiennAle



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SArAh ShAlgoSKy

the VeniCe BiennAle


Above and following page: Mike Nelson: I, IMPOSTOR (2011) Installation, British Pavilion;Venice Biennale 2011; photos by Cristiano Corte


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SArAh ShAlgoSKy

the VeniCe BiennAle



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SArAh ShAlgoSKy

the VeniCe BiennAle


v as, a a wk. nw, b u , u sac a s s. W u a Ba va s, Wa av u s? Ca i a mss ?

t a ca , s sam uc cuas Vc Ba a w ca a abu aa a accm , b maj a as a b s

cma a as acss UK. Bu Vc s w asswcas bs. Ass a v a maj u casm aa a a abu s qu sam.

ts a, Mk ns w ma hawa ga l k as a w ama a caw s wa u a ewaasu cs as Bs av a s ams b maawa m w *. hwv, i w b s a. isa, mcau, l d, w b mak s Ba. S sa a sac a s s u iaa. S as succssu a

ams mssb asks a m a Ba m Vc a acca a vw as. Ms usu a, s ua us ju bw Cv sa a Uvs cm wk a s sum w qu ssva u a bs as!

*Sarah wrte this in April 2011, befre the pening f the 2011 Biennale.

9th International Venice Architecture Biennale Exhibition Design; photo by Christian Richters,courtesy of Asymptote Architecture


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dr MArgAret SheWring And profeSSor ronnie MUlryne

A VenetiAn eVening At the pAlAzzo


Warwicks base in Venice the envy of universities across the UK

has unquestionably inspired Warwick research in Renaissance

Studies and stimulated its international scope. The long

association of History and History of Art with Venice, and latterlythe Renaissance Centres association, have been to an extent

responsible for Warwicks leading reputation among British

universities as a hub of Renaissance Studies.

Dr Margaret Shewring is a Reader in the School of Theatre, Performance

and Cultural Policy Studies. She specialises in the theatre of the

Renaissance and Restoration periods, Modernism in Europe and

Shakespeare on the contemporary stage. Ronnie Mulryne is Emeritus

Professor in the Department of English and Comparative LiteraryStudies. His research focuses on Shakespeare and Renaissance drama,

especially drama in performance. Both have had a long connection with

Warwicks Centre for the Study of the Renaissance. In March 2010 they

organised the conference on Waterborne Pageants and Festivities of the

Renaissance at the Palazzo Pesaro Papafava.

CoMMent

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A Va eva paa:

Musca eama fsva

By MArgAret SheWring And ronnie MUlryne




those who were s w a v 19 Mac2010 a paa psa paaava. guss v ss, a sm cava masks, av b mtsaf s a c a ma cassv c. fm ca- a ac ma wa paas ma c a a j a am ac a cas musca cc, ams a scac. t ms w mmbs a rassac Musc esmb

kw as Masherata, cms Ca gm (cs, vc, a),Aa hsw (vc, um, a) a rca Mack (u).t s a amm s, a a sumamusc suc as h iii m av a u s cba ascacua vs Vc 1574, b w a au um-bacssa ac a cmma a a av c s cm.

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Mascherata: Catherine Groom, Adrian Horsewood and Richard Mackenzie


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guss ccas cu Acc c ssb w rSC auum Sa (ss S p), a ata ds Csua, a m C ecuv Saksas gb,a Mas p a pubs, a a dv, a succssufaca Csua, a paw a m S oc AsCuc, am s a avs a a cuc ob a sss, s acamcs a aua sus m Wawck a acsseu. f ma c v was paa s, svcav sua a Va caa a . ts

w cm as sus Wawck caus w av ak avaa Uvss ccua s sc bu. n w bsus a a a v c uss w j asub Va baqu a a avu ab saua.

Masheratas cc musc aa vs h iii, uuk fac a a k pa, v a w . h ,s a as w kw, vs paa psa paaava, bu s acvs umbac cava s. h s ms s sv as Va maa a Ca ga fsca, w ws

The arrival of the Dogaressa Morosina Morosini Grimani in the Bucintoro for her coronation, 4 May1597. Engraving and etching. Print by Giacomo Franco, 1597 The Trustees of the British Museum


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Uvs Vc, wac ss ss ams, aa , ga Caa. h a ubvab avs baqus ds paac, a ac a a Mass a cs acucs. t w ss ma mms . A sca mac wasmu h a cua Va am, babw nc a Casa, wc cm acs ss ac m a b muk was a ca caa.t amus Cmma A cma, cmii Gelsi, u aas a cam acm k. i was as umu

a h, a asm w, j Va aacs am ca cusas wv sca m s ca s Mua. A, cus, w v a wa aas vv amus Bintr. As cma w u : Jus as ca a m bauu s ... s majs qua a s mv s, s w s muc a am. Mab, ucc auc ma av mus, Saksa a s sc wma sus Va s The Merhant f Venie.

A s asscas, a m, cm s us Vc, a

c, acc a cma cmma hs vs, a cab as m s w av s . t w sca m, b cas, ma s Masherata, sc s mmabv m a a cc w Wab paas afsvs rassac, mu paa u auscs a sac u a as bcm, a as a su cc, Sc eua fsvas rsac. Cu bas a Wawck, Sc as aa bu a aa a mu-scau scas, cu acamcs a musum a a cuas,

as auc a ubcas amm (w Asa pubss), ass a cc a wks (a Wawck a Wabu isu l), s a a cc Bam, a as v a csassca w a-a accu-bas eua Scc fuajc pAlAtiUM. t Sc s a a maj cc asscaw pAlAtiUM 2013, wc w k , v wks u, a(w s?) paa psa paaava Vc.

t backu a s as a a vs s, cus, ubs sac, a a b Wawck caus, sva m

bas Wawcks C Su rassac (a cabavvu b es, fc, iaa, hs, hs A a taSus) a AhrB/C-u C Su rassaces a Cu Cuus. f a umb as rassac C,u eU easmus a Scas scms, was ab b sus Wawck m Uvs Vc, a s u aua sus u Vc. Wawcks bas Vc v uvss acss





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UK as uqusab s Wawck sac a smuas aa sc. t assca hs a hs

A w Vc, a a rassac Cs assca, avb a ssb Wawcks a ua amBs uvss as a ub rassac Sus. t Uvsssc Vc a paa psa paaava s muc m a ama smbsm. W u av u mu a accs, mak acamc cacs a j musc, a ac w sma asscas a suc smua acs, u a v am u acamc caus.

The battle between the Castellani and the Nicoloti at the Carmine Bridge, in the presence of Henri III.Etching by Luca Carlevaris, 1703 The Trustees of the British Museum


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Venices inescapable casting as tourist ville-ain points ...

also to the importance of recognising that, like it or not, the

amorphous tourist presence uniquely constitutes the populace of

the city. In that sense, to attempt to talk of a residents-versus-tourists dichotomy is misleading, since the latter represents a

form of itinerant population upon which the former is hugely

dependent ... With those kinds of tension in mind, a group of

24 nal year undergraduate students from Warwicks School of

Theatre and Performance Studies recently undertook under

my direction to spend a long weekend engaging with the city

of Venice with the ultimate aim of producing a studio-based

performative cartography of their experience of the city back at

the University.

Dr Nicolas Whybrow is a Reader in Warwicks School of Theatre and

Performance Studies. His research revolves round site-specic practices,

particularly performances relationship with the city. In 2009, Warwicks

Reinvention Centre for Undergraduate Research awarded Nicolas an

academic fellowship to carry out a research project with third year

students from his department. This involved them embarking on a eld

trip to Venice to create a psychogeographical mapping of the city. In

2010, he won a Warwick Award for Teaching Excellence, made on therecommendation of both staff and students.

CoMMent

Opposite: Tango in St. Marks Square

dr niColAS WhyBroW

perforMing VeniCe, toUriSt Ville-Ain


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dr niColAS WhyBroW



av w Ma McCa amus w m-w cu bsv s b cas v a v vw s: ca b sa (cu s sam) a as b sa b. f s us a us Vc s a Vc, wc, smaas, is ssb w cs [m mass]. Vcs scaabcas as us v-a s, , a m -sa,ma vab vss c c a aav cu s s a c u as a s aa, s, b mca b bu as mac cs a, k

, amus us sc uqu nstittes uac c. i a ss, am ak a ss-vsus-uss cms msa, sc a ss a m a ua uwc m s u . t wa s a a av b a w wu cu s wu .

W s ks s m, a u 24 a auaua sus m Wawcks Sc ta a pmacSus c uk u m c s a wka w c Vc w uma am uc a

su-bas mav caa c c backa Uvs. t Uvss bas paa psa paaavacv sv as a c m: a vc-a, back asck-ak a cuma ac a. f maj m, u, sus wk s ams u ss (a caas) c, s u vsa ssbs us mac-bas sas cu a cum a

ukw bu m uba sua. eac u a vsa acua s

quss aacca ms a avac vs, vv,ams aus, makus aua avsua c

cs,mb s,cuc su ssa, v, css- suss. i aa b Performing Venice project installation detail


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dr niColAS WhyBroW



was sawa: ca u -a css m m insit cssa, accac w sss cv b s aa back Wawck, vaua w a wa -s quss a b

asw, a, va mas mac, m, saa, b,cav w a cu-msa tell the stry Vcc as a cm a ccv-cua, m vm.

Cus a pajackwskas bsva sv as cu am sus -wk: wu b ssb usu cussa ss wu aumaca bcm subjc -m

aavs c? t ca sac us s msvs,, was ms a ss ak c a s m a, v, as vab s Vc a mva Mac p sms s ia Cavs Invisible cities, cs scc as c, sc ac . Mac p suss Ma m Kuba Ka: yu ak a cs sv sv ws, bu asw vs a qus us. t wcs cu s: o qus asks u.

t sus m accs va mak m u u,

bu c sm b cmm: m a sk u nversatins. i cities: Re-imagining the urban, Am a t c as a c- asss, s acua m ac bcu m Sa, wm c bs ca su awass u w ss, js a as. t aus talkas a k caacsc a u suc uba ss. fm c s a csa cac ak. Bu ak as b s a acua wa, am as a k uacs wc a s [...] Cs, , um w ak wc s bas sa

cvsaa cs wc cas a s a csaacua: ca usas wc v a ssbs a ak. f, h Jams (aa) a aa a- cu Vc as maca c cvsa; ak a v ac.

f sus c Vc s sa au,acv cus a m mms as. As vss c am was acv make smethinghappen. i a ss wa w am su, , was

usc c w as w as a s as aamac: a m usm a ca b sa b ms u s wa sub suas senes. raa macacs u s qus c Vc a s ua,b s a a bu s mv s wk

umask s s scc as s , , absb svaus ss bu m a m ma b. i s,


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Bruce Nauman, Heads and Hands series, US Pavilion, Venice Biennale, 2009; photo Nicolas Whybrow

dr niColAS WhyBroW



vk v mms au us ca a ma av mma csqucs, bu a ma a v as csu a

c a, s u---ass a s ma a m am, maks sm k mmab mak. i a s ma a aas ms wa sus , i a mw ubcas s a 98. ts v a aasa wk ms ss as cav sac.

Fr the wrks mentined here, please see page 98.

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dr niColAS WhyBroW



93

Vc s maca c cvsa.

(henry JAMeS, Italian Hrs)


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Feast in the House of Levi by Paolo Veronese; photo by Web Gallery of Art

A VenetiAn feASt


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A VenetiAn feASt


A Va fas

95

Antipasti

Shie n plenta (tiny shrimps frm the Lagn with sft plenta)

Baal manteat (reamy pt made f dried d)

Sarde in sar (sardines in a sweet/sr sae)

Primi piatti

Spaghetti n le vngle (spaghetti with lams)

Bigli in salsa (pasta frm the Venet regin in a sae f ninsand anhvies)

Ristt di g (traditinal ristt made with lal sh)

Secondi

Frittra mista (a plate f mixed fried sh, sh as shrimps, babytps, sle, sqid, served with lemn)

Fegat alla veneziana (thinly slied liver ked with nins, servedwith slied plenta)

Dolci

Tiramis (ld dessert made with ee, spnge ake andmasarpne heese)

Essi Branelli n fraglin (traditinal S shaped bisits frmBran, dipped in a sweet lal wine)


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96

t cava ss w uba ua...

bs ava, asssus, uvs su us w

(tiziAno SCArpA, Venie is a Fish)


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Photo by David Pin; www.ddpn.net

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98

The University of Warwick 2011

ISBN 978-0-9570404-0-3

Edited and produced by Dr Roberta Warman,Communications Ofce,The University of Warwick

Design by Mustard: www.mustardhot.comOpposite and cover images by Tim Ball

References

Pages 43 -45: t wks m scuss s ac a: B,Bepp a childe Harlds Pilgrimage; rb Cv, Pinhi in Venie; ACuw, M Assassa, Early Days Yet. New and clleted Pems 1941-1997;da u Mau, Dnt Lk Nw and other Stries; g, Italian Jrneyasa b W. h. Au a eab Ma; rb ga, t Sc Vc, Nameless Earth; h Jams, The Wings f the Dve; Wam la,Mabeth in Venie; Ba Maamu, Pitres f Fidelman; tmas Ma, Deathin Veni.

Page 68: ta Scaa, Venie is a Fish, as. Sau Ws (nw yk:gam Bks, 2008)

Page 69: ia Cav, Invisible cities, as. W. Wav (l: Va,1997)

Page 89: Ba Cus a Ca pajackwska, Vc: Mask ra, The Hierglyphis f Spae: Reading and Experiening the Mdern Metrplis, . n.lac (l a nw yk: ru, 2002), 152-63; h Jams, Italian

Hrs, . J. Auca (psvaa: psvaa Sa Uvs pss,1992)

Page 90: Ma McCa, Venie observed (l: hma, 1961), 7,12

Page 91: ia Cav, Invisible cities, as. W. Wav (l: Va,1997), 44; As Am a n t (2002) cities: Re-imagining the urban(Camb: p pss, 2002), 84-87

Page 92: ncas Wbw, Sua Vc: twas a pmave-aa a C, Researh in Drama Edatin, 16.2 (Ma 2011), 277-95;ncas Wbw,ls Vc: Cvsas a Sk C, Perfrmane and the Glbal city, . K. Sa a d. J. hks (Bassk:paav Macma, cm)


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AVenetian Miscellany

The University of Warwick

Uw Venicebook 11

Documents

Transcript of Uw Venicebook 11