Our visit to Argentina’s wine countries started in Mendoza, home to more than 800 wineries. The region around Greater Mendoza is the largest wine-producing area in South America.  As such, Mendoza is one of the eleven Great Wine Capitals. For the first time we had a connecting flight. When the bad weather delayed our flight, we were concerned about the connection in Cordoba. It turns out our same plane was flying to Mendoza, so no worries, phew. We landed in Mendoza airport late in the evening after a long day of delays and were picked up by Max. While driving Max explained a bit about Mendoza, the capital city of the province. With a population of over a million, it is the fourth largest city in Argentina. Before the 1560s the area was populated by tribes known as the Huarpes and Puelches.  The Huarpes devised a system of irrigation that was later developed by the Spanish. This allowed for an increase in population that might not have otherwise occurred. There are less than 8 inches of rain a year. The water to the city comes via the Mendoza River from the snow melt in the Andes. The system is still evident today in the wide acequias (trenches), which run along all city streets, watering the approximately 100,000 trees that line every street in Mendoza. This system had been used for irrigation for vineyards and other agriculture produce in the area until recently; a new automated drip irrigation system is currently in use for agriculture. After about a 20 minute drive from the airport which bypassed the city proper, we arrived at our new home-away: Verde Oliva.

There they took pity on our late arrival and offered to bring us dinner on our own little terrace, what luxury.

In the morning, after a delicious breakfast, Max, our driver, plus our guide Francisco picked us up and explained that not only did we arrive in the middle of harvest, but today was the first day of the harvest festival (as well as being International Women’s Day). To celebrate the harvest even McDonald’s offered a meal that came complete with a glass of wine. We headed for our first winery, Bodega Benegas in the Luján de Cuyo region of Mendoza. The Luján de Cuyo region is known as The Cradle of Malbec. Surrounded by gentle hills and overlooked By America’s highest mountains, Lujan de Cuyo is known for its country houses, tree lined streets, fine restaurants, Malbec vineyards, olives and world renowned wineries. Francisco pointed out the adobe structure, common to the area.

The winery guided tour started in the courtyard.

The building is an historical landmark of Mendoza, built in 1901 by Agustin Álvarez, former Governor of Mendoza. Much of it was destroyed during a 1985 earthquake along with about 70% of the homes at the time. Federico Benegas Lynch bought it in 1999, and made a 5 year restoration, keeping its original design, including the adobe walls and concrete wine vats, but adding state-of-the-art technology. She explained that the family continues to use the buildings as a home. We entered their patrician style living and dining rooms.

The dining table was made from a single very tall tree imported from Brazil.

Federico Benegas Lynch also has a passion for ponchos, each made by hand in traditional colors. which he collects and displays. Beneath are family photos.

In keeping the winery part of the family, each wine is named for one of his children.

Federico Benegas Lynch, fourth generation of winemakers, grew up accompanying his father in the production of wines in El Trapiche. After the dissolution of the company during the economic crisis of the 70s, he went to live in Buenos Aires. He subsequently studied viticulture in France and discovered a family connection with the Lynches there. His passion for Mendoza and for wine made him return in search of recovering the family legacy. That is how in 1999 he had the opportunity to buy Finca Libertad, an old vineyard planted by his great-grandfather Don Tiburcio, who had been one of the founders of wine production in Mendoza in 1883. The first harvest of this new winery, Bendegas, was in 2001. On display here is his grandfather’s diary.

We then entered the winery itself. This is harvest season and grapes are coming into the facility. The first process is the sorting of the grapes, which is done by hand. Only the best 20% are chosen, the remaining 80% are exported, to maintain the status of boutique winery. The chosen ones then go to a de-stemmer.

The grapes are then placed into a crusher, which works by inflating a balloon. As mentioned above, during the restoration, the original concrete tanks were maintained for fermentation. The one shown below in the far right even has the original wooden door. The hoses are pumps for mixing during the maceration process.

With over 800 wineries to choose from, there is competition for tourists. Bendegas prides itself in its history. They have a little museum containing everything from the original de-stemmer,

to the crusher,

to the original pump, which had to be cranked by hand,

and the original delivery wagon. In years past the average Mendozan consumed much more wine than today, even the children. The wine would get delivered from this large barrel with the customers providing their own 5 liter jug for filling.

The loads of grapes once harvested were so heavy, they had to be pulled by oxen rather than horses.

The wine cellar is 60 feet underground with walls of 6 feet thick to maintain the constant temperature of 63 degrees F. The French oak barrels are used only four times.

The wine is sent down to them via a hole into the room with the concrete tanks above.

Once bottled, the wines are stored in the cellars in rooms that were originally tanks themselves.

as evident by the hole above

and the outlet below

And now it was time for our tasting. Although we have visited many wineries in our days together, we always manage to pick up some new tidbit of info each time. Here we learned that the depth of the indentation at the bottom of the bottle as well as the thickness of the glass are indicators of how long the wine is expected to age in the bottle; the former to allow sedimentation, the latter for preservation.

The wines in Mendoza use French varieties and do not require grafting onto American roots because due to the low humidity in the valley, they are not susceptible to phylloxera. Malbec is the star of the Mendoza region. The valley’s hot days and cold nights make for very thick-skinned grapes giving the Malbec wine its deep rich color. The soil is rocky, requiring deep roots, which gives the wine its mineral taste. But the star of the Benegas winery is the cabernet franc produced from the wineries oldest vines aged 120 years. The Benegas Lynch, of which only 5,000 bottles are produced a year, can last 20-40 years.

Along the way to the next winery, Francisco told us that the region’s agriculture is not only wine but also corn, garlic, peaches, plums, pistachios, and of course, olive oil. Many of the wineries also produce their own olive oil. Also, although rain is infrequent, there can be severe hail storms as well as dust storms brought in by the sonda winds. A storm lasting only a few minutes can wipe out an entire season’s harvest. Many of the plants are protected by netting which could be observed in many of the groves we passed.

When we reached our next winery, we were greeted first by a 100 year-old olive tree.

Winery number two for us was Tempus Alba in the neighboring Maipú region of Mendoza. Maipu is the first viticultural area in Argentina, chosen by the first European immigrants to continue their most beloved family tradition: wine making.

While we waited a few minutes for our tour to begin, Francisco (left) and Max (right) posed for my blog so I could make them famous, little do they know how tiny my readership is, lol.

Tempus Alba winery was founded by two Italian families that wanted to create the “true” Argentinian Malbec. In 2007 they studied 364 genetic varieties and chose three plants as their “mother” plants. They use a micropropagation system with the buds in jars of agar. The buds are then adapted to their environment for planting. One bud may produce 5-10 plants. A three year-old vine will produce grapes, but they are not used for wine making until the plant is five.

They have planted only about 0.5 square miles of grape vines surrounded by their 100 year-old olive trees. Seventy-five percent of their grapes are exported.

The vines are wrapped in netting to protect them from hail.

The grapes are harvested by hand and collected in a basket.

Once selected, de-stemmed, for the red wines, the crushed grapes are left in contact with the skins and seeds for 25-30 days, a process called maceration, then filtered. The solid waste is use later for fertilizer. (For white wines, the skin and seeds are discarded immediately. For rosé, they are left for a much shorter period of time.) During maceration cold water is run through a jacket in the outer wall of the tank to minimize fermentation, which would mean malic acid transforming into lactic acid.

Maceration usually takes place in a steel tank, but sometimes an egg is used. Because of the shape, the egg does not require a pump to allow the mixing of the contents.

Also, the egg is coated on the inside with an epoxy paint which prevents the wine from picking up flavors from the vessel. Interestingly, at Benegas earlier they had praised the benefit of their concrete tanks because they do add mineral flavors to the wine. Each wine maker has his/her preferences.

After filtration, the wines are then rested 6-10 months to allow the sediments to settle before transferring them to barrels for fermentation. Tempus Alba also only use their oak barrels four times, but they use both French and American oak depending on the desired result. The former are more closed-pore than the latter. The more open the pores, the more surface exposed, the the bigger and bolder the flavors.

Once discarded, used barrels are repurposed as furniture.

We went onto the deck for our tasting. Here we learned that the closer the “legs” of the wine on the glass as it is swirled, the higher the alcohol content.

Also paying tribute to their children and grandchildren, the winemakers include the children’s fingerprints on their labels. The winemakers find that today wines using blends of varieties have become more popular that the traditional single varietal wines. The Vero (True) wine is their signature wine produced from their propagated plants. We tried all three. below.

As we left, I had to take a picture of the entrance door handle, which I loved.

At our third and final stop of the day, Restaurante Santa Julia (serving wines of Zuccardi), a tour was not included; lunch was the focus. Our first course was served outside,

their white from the Argentinian torrontés grapes,

with homemade empanadas.

Back inside the restaurant we enjoyed a course of breads and their own olive oils

and a red

served with fresh tomatoes, mustard greens with fried sweet potato chips accompanying asado. Asado is an Argentinian tradition of slow grilling over a fire several meats together, often goat, lamb, and sausage, as served here.

The next course included another red

served with filet mignon, smoked eggplant covered in palenta, and a green salad with pistachio clusters.

At this point we were so stuffed we needed a walk before dessert. We strolled out under the Malbec vines covered in a different hail protection netting.

We noted the elevated drip irrigation system.

We also noted these, which we were to find out later are metal barrels with wood beneath for a fire for warmth should the temperature drop to a cold level that would endanger the plants.

The bougainvillea was in full bloom. What a beautiful day.

Finally we returned for our dessert wine served with choices of cheeses from cows and sheep, several fruit jams, and flan with dulce de latte (cream caramel). No wonder Argentinians go for a siesta after lunch! We were done for the day.

The next day was Sunday, and we enjoyed the respite. We debated going into Mendoza City for a look around, but decided to enjoy the day relaxing by the pool and enjoying our resort instead.

Eric sent his drone up for some pictures of the property.

In the morning we were back to wine tasting. We set out for Valle de Uco, known for its high-altitude vines and microclimate ideal for viticulture, as well as its stunning backdrop of the high Andes. This region features some of Argentina’s most acclaimed wineries producing Malbec, Merlot, Pinot Noir and Semillon. Uco Valley is too cold for olive trees, but it is the capital of walnut trees in the country. Our first stop was Masi Winery, an organic winery.

Masi can be found at the foot of the Tupungato volcano in mineral rich soil. It is owned and operated by a 7th generation family of Italian winemakers who have been reproducing their family’s techniques in the Uco Valley for 26 years. They have about 270 acres in production, a mid-sized operation. Most of the wine produce, as much as 90%, is exported to Canada.

First we were shown some of the herbs grown like penca.

The leaf of the jarilla plant is very good for a sick stomach.

The emblematic grapes of the Venetian regions, Corvina and Pinot Grigio, co-exist happily at Masi Tupungato with the traditional Argentinian grapes, Malbec (from France) and Torrontés (uniquely Argentinian), in a unique and extraordinary natural paradise.

They were in the process of harvesting while we were visiting, all picked by hand. What is unique to Masi in Argentina is they have brought their Italian method of drying grapes: appassimento. Red grapes only are left to dry for 2 weeks here in Argentina (2 months in humid Northern Italy). During the appassimento process, the grapes will dry and concentrate, reducing water by 20%, while also reducing acidity.

The cane used, from the stalks of sugar cane plants, is similar to bamboo from Brazil.

Only once the grapes have dried are the stems then removed and the grapes pressed.

For maceration Masi uses 60 steel tanks from Italy, which are all automatic and do not require pumping for mixing.

The jacket within for temperature control can be seen.

Another winemaking practice imported from the Valpolicella region of Italy is use of the 600-litre (about 160 gallons) French oak barrel for aging, for 2-18 months, depending on the grape.

The wine ages in the steel tank for 2 years after first aging in the French oak barrels. The largest tank is 100,000 liters (about 26,500 gallons)!

We got to taste the wine straight from a tank.

The wines produced are mostly mixtures like the Paso blanco, which is 60% pinot and 40% torrontes, 12% alcohol.

and the Corbec, which is the star of Masi and aged 18 months in the oak barrels, is 70% Corvina and 30% Malbec, 15% alcohol.

We got a peak at the mixing lab on our way out.

Our next winery in the Uco Valley, at an elevation of 4265 feet, was Andeluna, named for the mountains from which they get their water and the moon above.

The vines were first planted in 1997, but the winery was founded in 2003 by Ward Lay (of Pepsico/Lays). In 2013 it was taken over by a Brazilian oil family.

Here too the Topungato Volcano stands above the vineyards. At nearly 200 acres of planted grapes, it is a midsized winery.

There are three important ingredients that make the final aroma of the wine: the grape, the soil, and the wood used for the barrels. This vineyard sits at the base of the volcano and gets most of its fertile soil from there,

but it also has alluvial soils that were part of the sea bottom 100 million years ago. Four distinct layers of soil can be seen in the calicata below, all of which enhance the flavors of the wines.

Here we also learned how to distinguish the grape by its leaf:a caberntet savignon has 5 pointy segments; a cabernet franc has 5 rounded segments, and a Malbec has only three segments. The leaves below belong to a cabernet savignon. It takes 5-6 plants for 1 bottle of wine.

The high altitude makes for warm days and cool nights with as much as a 50-60 degree difference in temperature, which makes for thick skinned grapes, which enhances their flavor. The grapes here are harvested by machine. Unlike in the Maipú and Lujan de Cuyo regions, the plants here are grafted onto American roots.

Pods are used on grapevines to disrupt mating by Lobesia botrans, a common moth pest in vineyards. These pods release female pheromones, which confuse male moths, preventing them from finding and mating with females. A single moth could consume an entire plant.

Drip irrigation is used to maintain proper water levels.

The stainless steel tanks for maceration are sterile. The process takes two weeks.

The clarification process of removing the stems and seeds uses a decanter then animal enzymes are added for fermentation; for vegan wines carbon fillers are used. Andaluna uses a variety of barrels (all French oak) and eggs to ferment the wine depending on the grape and the desired effect. Interestingly, Argentina does not regulate what wines can be considered a reserve; it is up to the individual winemaker to determine.

After a tasting of the Andeluna wines, we headed to Gaia restaurant for lunch.

The view from our table was spectacular.

Again, the Tupungato Volcano was visible.

There we also had a view of Cerro El Plata, the highest peak of the Cordón del Plata, which is a subrange of the Andes. The mountain is located 37 miles west of Mendoza.

At Gaia we enjoyed another multi-coarse meal with accompanying wines starting with fresh tomatoes,

and smoked eggplant

followed by meat

and finally panacotta with sorbet.

Clearly the eating and drinking in Argentina are well worth the trip.

The minute we stepped off the plane in Curaçao we were greeted with the warm humid air that was to be our constant in the coming weeks. We jumped into our 2 door mini jeep

and headed to the Blue Bay Golf & Beach resort, our new home away. The resort has all kinds of accomodations from hotel style to homes. We were in villa 2 near the beach.

We had a spacious interior and a wrap around deck. The only drawback was no screens on the windows and no air conditioning in the main room (there was air conditioning in the bedrooms for sleeping, thank goodness), and around dusk the mosquitoes got a bit vicious every evening despite the mosquito trap, fans, and spray.

We headed right to the beach with its plentiful 4 restaurants from which to choose. We had dinner on the beach before we even headed to the grocery store, which was very nearby. We spent the majority of our time over the next few weeks enjoying our little beach at Blue Bay. There were plenty of chairs and lots of shade.

Our villa was not only a short walk to the beach, it also was near the golf course with its beautiful views. (Yes, those are flamingoes in the pond).

Near the clubhouse is an outdoor sculpture garden which we would enjoy as we walked around for some exercise on occasion.

And no resort is complete without the resident cat house. The cats are maintained and purposed with keeping the “little creatures” population at bay, a task at which they seemed successful.

We did head into town our first week to check out the local sights. Heading into town we passed the Cruise Ship Terminal. Big cruise ships are a daily sight this time of year. At sunset they can be seen heading out.

We headed to town and stopped in front of Town Hall.

Dushi means sweet. We never did figure out its significance in Curaçao, but we saw signs everywhere.

We were glad we got to town early in our stay, because the town was still decorated for Christmas.

After figuring out how to pay for parking, no small feat because only local coins, guilders, are accepted, we strolled around Willemstad. We made our way down the main street to the famous Queen Emma Bridge (affectionately known as the “Swinging Old Lady”), a pontoon bridge across the Sin Anna Bay. It connects the Punda and Otrabanda quarters of the capital city, Willemstad. 

We walked across to Otrabanda, which literally means “other side.” The local language is Papiamentu, which is curiously a mix of Portuguese and Creole. Otrabanda, fouded in 1707, is a UNESCO World Heritage Site. It was also still dressed for Christmas.

The flagpole in the center of the above picture is part of a monument commemorating the history of Curaçao. From there we learned that Curaçao’s history begins with the Arawak and Caquetio Amerindians; the island becoming a Spanish colony after a 1499 expedition. Though labelled “the useless island” due to its poor agricultural yield and lack of precious metals, it later became a strategic cattle ranching area. When the Dutch colonized the island in 1634, they shifted the island’s focus to trade and shipping and later made it a hub of the Atlantic slave trade.  Members of the Jewish community, fleeing persecution in Europe, settled here and significantly influenced the economy and culture.

The island now is a constituent island country within the Kingdom of Netherlands. The official language is Dutch, but the locals prefer Papiamentu and also speak English and Spanish. By 1515 all of the indigenous peoples had been sold from the island as slaves.

From there we got our first view of the Punda (City) side of the Willemstad waterfront.

We walked back to the Punda side and stopped to take pics of the heart locks.

From the Queen Emma Bridge we also took a picture of the Queen Julianna Bridge which we had crossed by car coming into town. The Queen Julianna Bridge opened in 1974; at its apex it is 185 feet above the water.

We continued to meander through the streets on the Punda side of Willemstad. We found cute shops

decorative alleys

an open air market

and lots of murals.

There is even a mural on the restrooms.

There are also an abundance of statues both whimsical

and classic.

But most striking are the large women statues scattered throughout the town.

Chichi is a hand-painted Caribbean figure that represents the strength, beauty, and spirit of Caribbean women. The word “Chichi” is Papiamentu for “big sister”.  Chichi is a much appreciated female role model in the Caribbean community. She represents the eldest daughter of the family, who binds the family together in a loving and caring way. The handmade sculpture shows both the vibrancy and the power the older sister has on the family. At the same time, it shows the openness and warm-heartedness of an older sister. She’s the person that supports the mom, takes care of the little siblings, and takes on a lot of responsibilities aside from the parents. Chichi sculptures are made at Serena’s Art Factory in Curaçao. They were started as a crowdfunding source during the pandemic lockdown in 2020. Over 60 local women hand-paint the sculptures in their own colorful styles. 

There is one in front of a mural outside a shop, such an artistically creative place.

We also found the Mikvé Irael-Emanuel Synagogue. Established in 1651, it is the oldest synagogue in the Americas that is still in use.

There is so much to see and do, we did not have a chance to do it all. The Maritime Museum, near the open market, seemed never to be open when we passed.

But we were impressed with the engineering of the bridge to get to it.

On a subsequent trip to town, while enjoying lunch along the waterfront, we had the good fortune of seeing the Queen Emma Bridge open for a passing boat.

It swings open even when there are people on it!

When not on the beach or in town, we spent some time sightseeing. Just about 3/4 of a mile from our Blue Bay resort is a Flamingo Habitat on the side of the road.

One day we drove all the way to the western most tip of the island, aptly named Westpunt (Westpoint). We signed up for an afternoon boat dive the following week. We had passed a couple of national parks along the way, so when we returned for the dive, we left early enough to explore one of the parks on the way. The Shete Boka National Park is almost 6 miles of the rocky wave-exposed north coast of the island. The park has approximately 10 pocket bays where 3 species of sea turtles are known to lay eggs.

Alas, we had to cut our shore hike short because we had booked a boat dive with Go West Divers, located at Playa Kalki in Westpunt.

There I saw a sign on a tree I had never seen before. It not only warned against eating the fruit, it warned against standing under the tree during rain because of the toxins.

The dive was good, and by then we had worked up a serious appetite. We stopped for fresh fish at a delicious open air restaurant at Playa Forti.

The sign there warned against cliff diving, as if…!

I have not said much on the subject of the beaches. Curaçao has 37 beaches. In our first days of exploration we visited a few including those by Jan Thiel on the south side of the island. What we found is that most beaches charge a fee, at the least for the chairs. And most are somewhat small. Since our beach at Blue Bay was free for our use and had plenty of shade, we found little reason to continue to seek out others.

As I have mentioned, the was a bar which featured live entertainment every Friday night.

We had some aggressive iguanas, think food and pigeons.

We even had our own Chi Chi statue.

Sunsets were particularly gogeous.

And did I mention there were 4 restaurants on the beach? One was pizza, one a bar, one a typical restaurant. But one, the Brass Boer, was particularly delicious and special.

They served in a manner that we were to come to learn is somewhat typical in Curaçao. The portions are about the same as an appetizer, smaller than a typical main dish and meant for sharing. They recommended 2-3 per person. Including dessert, we orderd 6, each served separately, so the experience lasts a couple of hours, so relaxing and what a luxurious way to eat while sitting on the beach.

My brother Treves and his wife Kim joined us for our last week in Curaçao. We took the opportunity of having guests to return to Willemstad for a walk at night to see the lights.

We also took them to the flamingo habitat

and used the opportunity for a drone selfie of the four of us.

We continued to enjoy sunset drinks at the beach.

For a new adventure, we headed to a distillery. From their website: “A visit to the Curacao Liqueur Distillery at Landhuis Chobolobo is a journey through the history of Curacao and the distillation process of the world-famous Blue Curacao Liqueur.” The tour starts outside Landhuis Chobolobo, an iconic 19th-century country mansion.

Our tour guide first told us how to identify the “genuine” Blue Curaçao by the bottle.

He then explained the history of the liqueur, which is dependent on the Lahara fruit. The Laraha fruit is a result of Spanish explorers bringing sweet Valencia orange trees to Curaçao in the 1520s. The trees did not thrive in the arid climate and soil conditions and mutated into the Laraha fruit. The dried peels of the laraha, however, were discovered to be pleasantly aromatic, and experimentation with the extracts of these peels led to the creation of Curaçao liqueur.

We had a peek into the bottling facility of the insect repellent also made from the fuit.

Then we were taken into the factory.

There we learned first of the early history of the island.

the fruit

and the Dutch settlers

Finally we learned about the Senior family, owners of the distillery.

and the history of Jews from the Netherlands to Curaçao.

The Senior family has remained faithful to their Jewish origins, and the liqueur retains its kosher methods of production and status. Our guide explained the entire process of making the liqueur from cane sugar and spices into the copper still which is the original and is 120 years old.

The lahara rinds are peeled and dried in a gunny sack for 5 days, then mixed with spices

and cane sugar,

then in the still for 10 days.

Color may be added to the resultant liquid,

which is then bottled, sealed, and labeled by hand.

There are now also some additional flavors like tamarind and coffee.

The liqueur is 60 proof, ie 30% alcohol. The yield is 500,000 bottles a year. There are also other uses for the formula including a refreshing body spray and an insect repellent.

Upon completion of the factory tour, we were led to the patio to enjor a cocktail of our choosing using any of the liqueurs.

The afternoon was delightful. We were joined by some birds feeding in a nearby tree.

Of course we exited through the shop where we learned that the liqueur has won awards in the past.

Having skipped lunch, we headed to Piscasdora for an early dinner at De Visserij, a humble beachside fresh fish restaurant, so delicious.

and a sense of humor.

With Treves and Kim in tow, we also returned to Westpunt. We had planned to visit the other national park: Christoffel. But when we arrived we were informed that it was too hot for the very long hiking trails; it was for driving only. So instead we headed back to Shete Boka, some of which had been closed on our first visit anyway due to rough seas.

This time we were able to head to Boka Tabla

and visit the caves

We noted the numerous fossils

and hiked the extensive coastline.

Treves pointed out that if turned away from the coast, the landscape could be used for a SciFi representation of the moon or Mars.

We hiked all the way out to the Natural Bridge.

We were all impressed at what a great job the parks service did of making the rugged landscape negotiable while maintaining its natural beauty with little disturbance of the environs.

I took note of the many and healthy cacti

and succulents species along the way.

Finally we made our way back to Boka Pistol that had so enthralled us on our first visit.

We drove the rest of the way around the western point. As we passed Playa Forti, the local church called out to me, so we made a stop.

And now I knew why I loved this little church..

One of the most popular beaches on the island is Grotte Knip (Kenepa Grande) so we swung by to see for ourselves. It did not disappoint.

Look at the color of that water, ahhh…

We made it back in time for another gorgeous sunset with drinks on the beach.

In the final days we mostly hung out on the beach or the porch.

Blue Bay has a dive shop right on the beach. When the mood struck Eric and me, we rented tanks and weights and headed right into the bay with the snorkelers for a quick SCUBA dive below.

On Kim’s birthday we headed into town to Fort Nassau Restaurant. Fort Nassau was built in 1797 to defend the island from enemy attacks. The Fort was originally named Fort Republic until The British invaded the island in 1807 and gained control of the town and all its Forts. To honor England’s King the British changed the name to Fort George. In 1816 the island was given back to the Dutch. In honor of the Dutch Royal family the Fort was renamed Fort Orange Nassau.

Today the Fort plays a vital role for the harbor (it is from here the harbor master signals to the myriad of incoming and outgoing vessels). In 1959, The Monument Foundation of Curacao declared Fort Nassau a National Monument. .

The canons along the Fort walls, the former Fort prison and the primitive toilet used by the soldiers are testimonials to the period in which Fort Nassau was on duty long ago.

For our final night we went for our first repeat dinner at a restaurant because it was soooo very good.

Dinner was served in the multi small sharing plates fashion we had grown to love here. And it did not disappoint.

Once again it was time to say goodbye to a place we had grown to love.

After dragging ourselves away from Modena, we arrived in Verona late in the day. We had booked an AirBnb that turned out to be about a half hour from the old city, so we stayed in for the night and did not venture into Verona until morning when we had a walking tour booked. We met our guide Lucia in front of the ancient Roman amphitheater.

The amphitheater is in the city’s largest plaza, Piazza Bra, and is directly across from Palazzo Barbieri, which currently functions as Verona’s city hall.

Lucia explained to us that Verona had been established by the Romans from at least 300 BC and remained under their control until the 12th century at which time it was ruled by various consuls until the 15th century when it was ruled by the Scaligeri family, then, by marriage, the Visconti family. Together they ruled from the 15th to the 18th century when Napoleon took over, then Austria after Napoleon’s defeat, until 1822 when it became independent again until Italy united in 1866. The city received UNESCO World Heritage status in 2000 due it’s urban structure and architecture.

Lucia told us that the amphitheater was built by the Romans in the first century, is currently the third largest in Italy. In its day it could hold over 25,000 spectators. At that time it was outside the city walls. The events which took place inside the arena were brutal. They used sand on the floor to sop up the blood. By the 5th century the ludi shows (gladiator fighting) was stopped. In Roman times there was an outer ring, very little of which remains today. The stones were used to extend the wall of the city to include the arena. The arena lost even more stones during the earthquake in the 12th century after which time it became illegal to remove stones.

In Roman times the inner arches were used both for prostitutes to stand under and to display art. In 1913 Aida was the first opera performed in the arena and now is performed every year there. The arena is used throughout the year for performances but is currently, unfortunately, closed for rennovations.

Lucia then showed us a map of the city from medieval times. The city was well protected by the hill across the river and the river itself. River Adige, the second longest in Italy, circles the city on three sides forming a protective peninsula. The map also shows the large central plaza, Piazza Bra, which means wide, crossed by both main streets: Corso Cavour and .

The municipal walls of Verona, recognizable due to their scalloped shape, were the defensive walls erected starting in the 12th century to the south of the historic city center to connect the Piazza Bra and the arena with the rest of the city using the stones from the outer ring of the arena.

We passed The Basilica di San Zeno, a minor basilica constructed first in 967 as a shrine to St. Zeno, Verona’s patron saint, but then destroyed in the 12th century earthquake, and rebuilt in 1120s. Its fame rests partly on its Romanesque architecture and partly upon the tradition that its crypt was the place of the marriage of Shakespeare’s Romeo and Juliet (more on them later). 

Castlevecchio (Old Castle) was the first castle built in Verona; it was erected in the 14th century for the Scaligeri family. It is a vast military fortification with high defensive towers, and it also had a residence for the Scaligeris. At the time it became an instant standard for military architecture because it had a double wall, considered double strong. But first Napoleon destroyed the castle, then it received heavy destruction during WWII. Today it has been renovated and houses important collections of medieval, Renaissance, and modern art. 

As we walked from Castlevecchio Lucia explained that porticos became very popular in the region, adopted from Bologna architecture, where they are most commonly found (although we have seen them even in Bern, Switzerland).

Next she showed us The Castelvecchio Bridge, a three-arched crenellated and fortified structure, which is an outstanding example of 14th-century military engineering. Two of the arches have survived intact. The bridge, like most bridges in Italy, was destroyed by retreating Germans at the end of WWII. The third arch was rebuilt larger to accommodate bigger boats.

Just beside Castlevecchio now stands the Arch of Gavi, a very rare case of an honorary and monumental arch for private use in Roman architecture. It was built around the middle of the first century, originally near the clock tower and was used as a gate to the city. During the Renaissance it was one of the most highly prized of Verona’s antiquities. Napoleon’s armies destroyed it in 1805 because it impaired the movement of its troops into the city. Due to its popularity, numerous reliefs had previously been produced which made it possible for it to be reassembled by anastylosis and restored in 1932 in its current location. The black stones beneath the arch were originally on the first century Roman road.

Porta Borsari is one of the gates that opened along the Roman walls of Verona and constituted the main entrance to the Roman city. Borsari is the Roman term for soldiers to whom taxes are paid. The gate is now missing the original two towers, It is now covered for cleaning.

On the street in front of Porta Borsari Lucia pointed out the swirl of an ancient snail fossil, evidence of the area once having been a sea bed. The pink and white stone originates from Verona.

The industrial zone of the medieval city was very wool based. During the 13th century the activity of the Veronese wool industry became increasingly significant, to the point that the production techniques and finished products became highly sought after in the various markets of northern and central Italy. Corte Sgarzerie is a monumental complex linked to the working of wool. Underneath the square porticos from Roman times have been found and are now archaeologic sites open to the public.

Finally we made our way to Piazza delle Erbe (Market’s square), which was the town’s forum in Roman times. The northern side of the square is occupied by the ancient town hall, the 12th century Torre dei Lamberti (Lamberti Tower), the Casa dei Giudici (Judges’ Hall) and the frescoed Mazzanti Houses.

The fresco decors on the outer walls of buildings that we see today were made in the 16th century, but the practice began in medieval times as a less expensive way to appear wealthy for those who could not afford marble.

Piazza delle Erbe today looks very different than it did in Roman times. One of the biggest differences are all the winged lions, which are the symbol of the St. Mark, Veneto’s patron saint, therefore the symbol of the Republic of Venice. They were placed in Verona by the Venetians. The western side of Piazza delle Erbe features the Baroque Palazzo Maffei, decorated by statues of Greek gods. It is faced by a white marble column, on which is St. Mark’s Lion. 

There are other winged lions around the square.

 On the southern side is the crenellated Casa dei Mercanti  (House of the Merchants), now the seat of the Banca Popolare di Verona.  Today the square still has markets regularly.

The square’s most ancient monument is the fountain built in 1368 for the Scala family surmounted by a statue: Madonna Verona which is Roman and dates to 380 AD.

Another historical monument in the square is the capitello. In the past its function was twofold: on the one hand as a place used for the election of the Lords and Podestas of the city and as a place to deliver news. Also it was used as a meter, the standard for measurement for the merchants, as can still be seen in the intact parts of the capital.

Passing from Piazza dei Erbe into Piazza dei Signori, we passed beneath another remnant of the ancient sea: another whale bone. As in Modena, it was hung as a protector for the city.

Piazza dei Signori has several important Romanesque buildings including Palazzo Domus Nova, formerly city hall, currently a museum, and La Casa della Pietà, formerly a private home and now a home for the less fortunate children.

In the center of the square is a statue of Dante.

On the edge of the square is a preserved portion of the original Roman road.

Straddling the two squares is the The Palazzo della Ragione (Palace of Reason), so named because during the rule of the Republic of Venice, it housed the court. It was built in the late 12th century.

Beyond Piazza dei Signori are the Scaliger Tombs, a group of five Gothic funerary monuments celebrating the Scaliger family, dating from the 13th to the late 14th century. The tombs are located in a court outside the church of Santa Maria Antica, the private church of the della Scala family, and separated from the street by a wall with iron grilles.

The tombs are placed within an enclosure of wrought iron grilles decorated with a stair motif, referring to the name of the Della Scala family, meaning “of the stairs” in Italian.

Across from the Scaliger Tombs is the medieval house of Romeo. At the time Shakespeare wrote “Romeo and Juliet,” it was known that Romeo’s family was a real family from Verona. However, there is no real evidence that this home was truly his home. A private family resides there now; it is closed to the public.

There is also no evidence that Juliet’s family was real or if so that they ever lived in Verona. However, that has not deterred thousands of Juliet fans from flocking to Verona yearly to see their romantic sites in the play. The Juliet Fan Club has placed little reliefs around the town denoting locales mentioned in scenes of the play.

 Basilica di Santa Anastasia (Basilica of Saint Anastasia), is the largest church in Verona, but is not a cathedral. Construction was started in the 15th century by the della Scala family, but when they lost their fortune, building was stopped, and the church was never finished.

The state high school “Scipione Maffei,” established in 1804 is the first Napoleonic high school established in Veneto.

The last stop on our walking tour was in a square with a view of St. Mark’s Hill. Lucia highly recommended that we cross the bridge and climb the hill for the views of the city.

To get there we needed to cross the Pietra Bridge, a stone bridge which is the oldest in Verona. A wooden bridge had been placed there in 148 BC, but later replaced with a stone one. Despite damage through the centuries due to flooding and bombing (WWII), two of the arches have survived intact.

Once across we rode the tram to the top, had lunch at the cafe and enjoyed the views.

From up high, the bend of the river surrounding and protecting the city is clear.

In the late afternoon, we strolled around the city a bit more.

Now that we were aware of the della Scala stair symbol, we saw it everywhere.

The next day was sunny and warm, and we headed to Lake Garda, as did the rest of Italy. All Saints Day is a Bank Holiday in Italy which meant a three day weekend with glorious weather! The traffic was unbelievable. The crowds seemed consistent with those of the summer. We were headed to Sirmione on the end of the peninsula at the southern end of the lake. As we neared and huge crowds were walking from much further away, we feared we would not find parking and would be stuck in a quagmire of traffic. As we passed Villa Pioppi, the restaurant opened for the day. We were waved over by the staff and told we could park all day for €8, and if we ate at the restaurant, it would be credited toward our bill. What luck! We happily paid and merrily joined the sea of people streaming toward Sirmione.

The big attraction is The Castello Scaligero di Sirmione, (Scaligero Castle), a fortress from the Scaliger era. It is one of Italy’s best preserved castles. It was built in the latter half of the 14th century for the Della Scala (Scaligeri) family.

We joined the very long queue to enter the castle. We noted the Della Scala stair symbol and the Winged Lion of Veneto.

We entered through the drawbridge.

The castle is amazingly well preserved.

We climbed to the first level and took a look out toward the back.

After exploring around the various areas, we climbed to the next level. Looking out the front we could see all the folks still waiting to come in.

Both the front and back of the castle are well protected.

Another level up and we were able to see the end of the peninsula, across Lake Garda, and make out the northern shore in the distance.

We could see the port of Sirmione.

One more flight up, and we were at the top.

It definitely would be hard to sneak up on this castle.

Not my favorite, I was ready to descend.

We exited back through the drawbridge.

We explored the tiny town packed with restaurants and cafes

and some really cute shops. I include this one for all my purple loving friends and family.

It was time for a very late lunch. Villa Pioppi had good reviews and great views, so we headed back.

The next morning we were off to Venice. We had hoped to stop by Padua, another Shakespearean setting, but with our trip to Lake Garda, we had run out of time. Our car rental was due, and our AirBnb host was awaiting our arrival. We dropped the car near the main train station. As our host had recommended, we bought multi-day passes for the water bus system and headed to the canal. This is what a bus stop looks like from the water.

We met our host and settled in. This is our view from the apartment.

We brought in groceries for the few days. By the time we were done, it was already getting late into the day, so out we set again to explore. We learned that we were on a bit of a thoroughfare for the gondolas, so lucky. For the rest of our visit we would periodically hear the serenade of a gondolier.

Along the way we passed Chiesa di San Moisè (Church of Moses), which we were to pass daily for the next several. The church was built initially in the 7th century. It is dedicated to Moses because, like the Byzantines, the Venetians often considered Old Testament prophets as canonized  saints. Its elaborate Baroque façade profusely decorated with sculpture dates to 1668.

And so it was that our first visit to San Marco Plaza (St. Mark’s Square) was as the sun was starting to set.

We walked around, enjoyed the music playing from some of the outdoor restaurants, and took it all in.

The winged lion represents St. Mark, and it is proudly displayed over the main entrance of the basilica dedicated to him.

and on the Doge’s Palace

as well as on the clock tower.

As the hour strikes, the figures strike the bell.

How very beautiful is the setting sun.

Venice is known for many things, one of which is glass. In the plaza we saw some our first impressive glass shops, every piece a masterpiece, literally.

Another attribute of Venice are the masks of Carnival, which was begun in 1097. There are shops for Carnival masks everywhere in absolutely every price range from the street vendor to the the high end to the pure art.

We enjoyed yet another amazing meal in Italy, and went in early; we had an early walking tour. In the morning we crossed the Grand Canal to meet our guide Elena in Campo Sant’Agnese.

Although the square itself was not of interest, it was a quiet area away from crowds to allow her to give us the history of the city succinctly so we could better appreciate what we were to see over the next few days, which is exactly why we take these tours. (I take notes on my phone.) Many of the things she talked about were not seen in the scope of the tour, but we sought out later. For clarity, I am going to include those pictures taken in the days to come here for the visual.

Venice today is 124 separate islands connected by bridges. There are over 80 churches in Venice because before before the 9th century, when the first bridges were built, one could only cross between the islands by tying boats together and walking across the boats. Each island was its own parish necessitating a church. The 9th century bridges were wooden; they had no stairs, no rails. Today there are 423 bridges, 300+ stone, the rest wood and iron. The Academy Bridge, which we had crossed this morning, was the first, of now four, that cross the Grand Canal. It was built in 1854 by the Austrians during the Hapsburg Rule.

In 1933 it was one of two bridges in the city intended to be replaced with stone. But the locals fought to keep the original, which was renovated in 2008 and reinforced with iron along with all of the remaining wooden bridges at the time. It took exactly one year to build in 1854 and one year to renovate in 2008.

The bridge that crosses the Grand Canal and was replaced with a stone bridge in 1933 is the Rialto Bridge.

The Ponte degli Scalzi, named for the nearby church of Santa Maria di Nazareth, better known as the church of Scalzi (barefoot). It is near the railway station. A wooden bridge had been built at this site in 1858, but was too low to allow for large boats to pass beneath. The current bridge, constructed of Istrian stone (limestone from what is now Croatia), was built in the mid 1930s along with the construction of the railway station.

The Freedom Bridge connects Venice to the mainland, which we had crossed the prior day. The most recent fourth bridge to cross the Grand Canal is the The Ponte della Costituzione (Constitution Bridge) connects the train station with the piazzalle roma. I nstalled in 2008, the official name was adopted to celebrate the 60th anniversary of the Italian Constitution in that year.

Elena next pointed out the Guggenheim House located on the Palazzo Venier dei Leoni, so named because the original owner of the house kept lions, was commissioned by the Venier family in 1749. Peggy Guggenheim was the third owner of the house. The house itself is white, plain, unfinished. It is rumored that the house is this way because the original owners ran out of money while building, but others say it was because of complaints from the neighbors who did not want their view obstructed. Only the first of its originally planned five stories was built. The second owner filled the inside of the house with gold and art. Peggy Guggenheim, who had previously lived in Europe and had been collecting art in America and Europe, in July 1949 purchased the palazzo and the garden behind it, and made it her home for the following thirty years. In the same year she organized an exhibition of contemporary sculpture in the garden. After some interior remodeling and with the collection finally installed, in 1951 Guggenheim began to open her home and collection to the public, free of charge, three afternoons a week from Easter to November, and continued to do so until her death in 1979. Peggy is now buried in the garden. Like all structures on the Grand Canal, the main entrance to the house is on the canal.

Next Elena took us to see Palazzo Dario, first built in 1451. The house (or ca for short) is believed to be cursed; the original owners died right away after building before ever having a chance to live in it. One rumor is that it is cursed because it was built on an ancient temple or cemetery. But we know today that cannot be true; it is built on land that was filled in, as were many canals, using petrified wood as a base to make fewer islands. The Dario Ca sits on this type of filled in land. The Palazzo Dario sat empty for centuries after the next 3 owners died relatively quickly after purchasing the ca. In the 1600s it was renovated, but the curse continued as that owner lost his fortune then committed suicide. The area is full of wealthy homeowners due to the great views of the Grand Canal, but the Palazzo Dario still sits empty for sale.

The alleyway next to the Daria Ca still has “Rio” (River) in its name in remembrance of the canal that had previously been here, now Tera (Earth). Rio tera literally means filled in canal.

Elena then gave us a brief overview of the history of Venice. It was founded in 421 by the Celtics. In 453 Attila the Hun invaded, but locals hid in the lagoons and mostly survived the invasion. Originally the land was controlled by the Byzantine Empire, the center of which was in the far east allowing mostly for independence of the Venetians but with trading rights along the Adriatic Sea. In 726, the first Doge, a chief magistrate for the republic of Venice, was seated in Venice establishing a republic that would last over 1000 years. The city was well placed in the middle ages for trade between East and West, and it flourished financially during that time. This tie to the Byzantine Empire explains the Byzantine influence seen in the architecture of many of the palaces along the canals.

Venice became an imperial power following the Fourth Crusade which culminated in 1204 by the capturing and sacking of Constantinople  and establishing the Latin Empire.  As a result of this conquest, considerable Byzantine plunder was brought back to Venice.  This plunder included the gilt bronze horses from the Hippodrome of Constantinople that were placed above the entrance to St. Mark’s Basilica. The originals are currently in the basilica museum and have been replaced with replicas.

In the 1300s Venice’s influence moved inland conquering local areas including Verona, Lake Garda, and more. By the late 13th century, Venice was the most prosperous city in all of Europe. The Venetian governmental structure was similar in some ways to the republican system of ancient Rome, with an elected chief executive (the doge), a senator-like assembly of nobles, and the general citizenry with limited political power, who originally had the power to grant or withhold their approval of each newly elected doge. The decline of Venice was long and slow, starting with the plague, aka The Black Death, in the early 14th century, again in 1575 killing over 50,000 people in the following 3 years, and again in 1630 again killing a third of the 150,000 inhabitants. In the late 15th century the Ottomans took over Turkey and Greece; Constatinople was lost. And after 1492, the trade center shifted from East to West with new products like tobacco increasing in importance. But in the 17th and 18th centuries, Venice again became a cultural center for art. By the end of the 1700s there was little money left when Napoleon invaded in 1797, ending the over 1000 year republic. In 1815, after Napoleon’s defeat, Venice was traded to the Austrians. The Austrians under the Hapsburgs’ rule, modernized the city and built more bridges. It was not until 1866 that Veneto, like the rest of Italy, became part of the united Kingdom of Italy.

Next Elena showed us Saint Mary of the Health which was built in 1630 after not only 50,000 died of the plague in Venice, there were over 160,000 deaths in Italy. It is in the over-the top Baroque style with eight sides, 8 being, on its side, the symbol of infinity.

Mary is the patron saint and protector of the navy. Inside Mary is surrounded by 8 obelisks.

On the statue, beneath Mary and child, an old ugly woman, who represents the plague, is being chased away by a young woman wearing doges’ clothes, thus symbolizing Venice.

Finally, Elena walked us out to the peninsula directly across from San Marco Plazza for a view from across the water.

From there we could see, across the water in the other direction, Chiesa del Santissimo Redentore (The Church of the Holy Redeemer), which was also built to celebrate those who survived the plague. It is traditionally the centre of the great feast of the Redeemer, celebrated on the third Sunday of July in memory of the danger averted from the Black Death.

Elena also pointed out the weathervane above us. The statue represents two Atlases supporting a gilded globe upon which stands the allegory of Fortuna, that indicates the direction of the wind. One’s fortune can change with the wind.

This completed our walking tour. Elena encouraged us to ride up and down the Grand Canal over the next few days to see all the sights, which advice we heeded. But first we were off to Murano. We took a water bus, which took about an hour to get there. Along the way, we were struck how every aspect of life in Venice is conducted on the water. We passed delivery vessels

and police, which are the local authorities

as well as carbinieri, somewhat equivalent to our National Guard

We passed an emergency room complete with water ambulances.

and, of course, taxis.

We even saw a hop on/hop off water bus.

We also saw this really interesting statue

right near the Port Authority.

We arrived in Murano starving for a very late lunch before heading to the Glass Cathedral for our glass blowing demonstration.

Inside we were treated to beautiful works of art

before our demonstration of both blowing

and sculpting. First a swan

and then a fish.

We strolled around Murano peeking into the windows to see all the gorgeous works of art.

But it was late in the day, and many were closing up. But we happened into a tiny place in a back alley where the artist explained to us how the rods were “manufactured” locally by laying colors of glass together, then heating and stretching them into very thin rods,

and the rods are then cut and laid side by side, melted, and covered in a clear layer to create jewelry and other items like coasters.

It was time to get back on the water bus.

and head back to St. Mark’s Square.

We had a long day and as we needed to be out early the next morning, we settled in for the evening. Bright and early the next morning we took the water bus to the train station to head north for a booked Prosecco tasting tour. But as bad luck, and Italian labor, would have it, there was a strike of the railroad personnel. After wasting the morning with many phone calls, attempted taxi hiring, and frustrating delays, the tour was cancelled. We decided to spend the rest of the afternoon riding the water buses around the canals, which is when many of the above pictures were taken as well as those of that follow:

of the casino

and several churches

We got a better view of St. Mary of the Health.

And a full view of Saint Mary of the Health with the wind vane from across the water.

We arrived back at St. Mark’s stop and stopped to look at the victory statue we had passed several times already, but never took the moment to admire. It was created in 1887 to honor the Kingdom of Italy’s first king.

Once off the water bus, we had lunch in a very cute little restaurant off a back street, which had not only delicious food, but all the symbols we had come to know as Venice: the winged lion

and Murano glass sconces.

After lunch we aimlessly meandered the winding streets of Venice.

Again, there was a church in every neighborhood.

In one church square we noted something popular in Venice, of which we were soon to see more: a 24 hour clock.

We noted the many intriguing doorbells and knockers.

We headed to the Rialto Bridge which we had passed under many times, but not yet crossed on foot.

We took some pics of the bridge from the other side.

On the following day it was time to enter St. Mark’s Cathedral. The body of St. Mark the Evangelist was brought to Venice from Egypt by two merchants in 828. The remains were initially placed in a corner tower of the Doge’s residence, currently the Doge’s Palace. The church was built in honor of St. Mark and to house his remains. Prior to the fall of the Republic in 1797, it was the Doge’s chapel. The present church is the third built at this site begun in 1063 after a huge fire burned down most of the cathedral. St. Mark’s body was found hidden in a column during a reconstruction project in 1094. Like its two predecessors, it was built using as its model the sixth-century Church of the Holy Apostles in Constantinople. It’s influences were Middle-Byzantine, Islamic, and Romanesque with Gothic elements incorporated later. To convey the republic’s wealth and power, the original brick façades and interior walls were embellished over time with precious stones and rare marbles, primarily in the thirteenth century. Many of the columns, reliefs, and sculptures were spoils stripped from the churches, palaces, and public monuments of Constantinople as a result of the Venetian participation in the Fourth Crusade, including the bronze horses, as mentioned earlier.

Before entering, we took some close ups of details of the cathedral’s exterior.

The interior of the domes, the vaults, and the upper walls were slowly covered with gold-ground mosaics depicting saints, prophets, and biblical scenes. Many of these mosaics were later retouched or remade as artistic tastes changed and damaged mosaics had to be replaced, such that the mosaics represent eight hundred years of artistic styles.

The chancel is enclosed by a Gothic altar screen, dated 1394. It is surmounted by a bronze and silver Crucifix, flanked by statues of the Virgin and Saint Mark, together with the Twelve Apostles.

There are pulpits on both sides.

The Pala d’Oro, believed to have been created in the tenth century, is a highly ornate altarpiece studded with 1,300 pearls, 300 emeralds, 300 sapphires, 400 garnets, 100 amethysts, rubies, and topazes, making it the most precious Byzantine altarpiece. The altar depicts Biblical scenes like the enthroned Virgin Mary with the baby Jesus and Christ Pantocrator. Visitors to St. Mark’s Basilica can view the Pala d’Oro and appreciate its exceptional beauty and historical significance. When Napoleon took over Venice he was told that the jewels were made of glass; he did not remove it to Paris.

Every item in the basilica is a work of art.

Madonna of the gun was dedicated by the navy for protecting them during the Austrian invasion. The relief dates to the 13th century; the gun was put there in 1849 by Venetian sailors who survived the explosion of an Austrian bomb in Marghera (a city near Mestre).

The floors cover over 2000 square meters and are made of marble of 60 different types, mostly from the East.

After thoroughly exploring the basilica, we headed upstairs to the museum. There we saw the original bronze horses, brought from Constantinople in 1204, which became the symbol of victory until they were taken to Paris by Napoleon. They were brought back to Venice by the Austrians in 1815.

We saw other works of art that had been removed from the basilica for the sake of preservation. One included this family tree of the Virgin.

We saw tapestries

an original bronze winged lion

And examples of the famous Venetian lace which adorned the robes of clergy.

From upstairs we had a view of the plaza.

And we learned that on July 14, 1902 the Bell Tower collapsed. It was rebuilt over the next 10 years.

When we exited the basilica back into the plaza, we were approached and offered a free taxi ride to Murano. We had wanted to return as we had gotten there late in the day and did not get a chance to fully explore, but had been reluctant to spend the over 40 minutes in the water bus to get there, so why not? The ride took only 15 minutes this time and we were taken to a private shop

and treated to another glass blowing and sculpting demonstration.

We then were guided throughout this huge shop with its many floors and so many works of art! It was better than most museums with works by dozens of masters. Unfortunately, photos were not allowed. We had to keep reminding ourselves that we do not have a home for any of these gorgeous (and very pricey) masterpieces. We then walked all around Murano, not able to get enough of these beauties.

Once we’d had our fill of Murano glass, we headed back and enjoyed a dinner near the Rialto Bridge, which was beautiful lit up at night.

For our final day in Venice we had tickets to visit the Doge’s Palace. With the ticket came a ticket to the Correr Museum, which we were to see first.

I can only say that this was the most poorly curated museum I have ever visited with little sense to the layout or collections. It had ancient sculptures

and renaissance sculptures

and some interesting architectural elements

But overall, it was mostly a waste of time. We did see a few tidbits worth noting. There was a mint for making coins.

There were sailing implements

and the funky shaped oarlocks for which Venice is famed.

and some collections of porcelains brought from the East.

There were medieval maps of Venice.

and several depictions of the lion with his paw on an open book: the symbol for St. Mark the Evangelist.

Finally it was time for our entrance to the Doge’s Palace.

Doge is elected for life, the only position in the republic for which this is true. The first nucleus of the Doge’s Palace was built in the 810; none of it remains. It was rebuilt in 1340 with modifications made through the centuries. The oldest part of the palace is the wing overlooking the lagoon, the corners of which are decorated with 14th-century sculptures.

The north side of the courtyard is closed by the junction between the palace and St Mark’s Basilica , which used to be the Doge’s chapel. At the centre of the courtyard stand two well-heads dating from the mid-16th century.

In 1485, the Great Council decided that a ceremonial staircase should be built within the courtyard.

Since 1567, the Giants’ Staircase is guarded by two colossal statues of Mars and Neptune, which represents Venice’s power by land and by sea, and therefore the reason for its name.

In the courtyard is a hole in the mouth of a monster which passes into the Doge Palace through which secret “suggestions” may be placed.

The palace is entered from the courtyard

and onto the Golden Staircase, which was built to separate the courthouse, located to the south, from the doge’s private flat to the north. The first of its five flights is dedicated to Venus, Venice in allegory.

The second is dedicated to Neptune, representing the city’s dominion over the sea.

Once upstairs, we entered the meeting rooms of the different councils. We had audio guides which explained the purpose of each room and the ceiling frescoes and wall art that depicted scenes from history relevant to the works of each committee. But it was way too overwhelming to remember much other than to be able to recognize the Doge’s hat and to know that an olive branch always symbolizes peace. Also there were two large fires. The first in 1574 involved the lower government floors; the second in 1577 involved the rooms in the upper councils’ wing. In both numerous artworks were lost, but there was no structural damage. Here are some of the pictures of the government meeting rooms.

Note another 24 hour clock.

and another clock using the zodiac symbols

Each of the mythological scenes depicted is also an allegory of the Republic’s government.

There is also a secret “suggestion box” internal.

We were taken through the armory

with a precursor to the modern machine gun

and a mobile cannon.

In areas that were redecorated after the fires, a window to the preexisting frescoes was saved.

The largest meeting hall, the Chamber of the Great Council, is 180 feet long by 82 feet wide and is one of the largest in Europe and could hold more than 2,000 people. Here, meetings of the Great Council were held, the most important political body in the Republic. A very ancient institution, this Council was made up of all the male members of patrician Venetian families over 25 years old, irrespective of their individual status, merits or wealth. This was why, in spite of the restrictions in its powers that the Senate introduced over the centuries, the Great Council continued to be seen as a bastion of Republican equality.

This is one of the rooms destroyed in the 1577 fire. The current works mostly date from the late 16th century. On the walls are large canvases depicting episodes from Venetian history such as The Fourth Crusade of 1202, on the side facing the basin, and The Peace of Venice, the theme being the city’s relations with the papacy and the Holy Roman Empire.
On the far end is a canvas depicting the Il Paradiso painted by Tinteretto and is the longest painted canvas in the world. The theme is not only religious but also the Allegory of Good Government, the light is the divine essence that enters the figure of the doge and allows him to always make the right decision.

At the other end of the Chamber of the great council stand three 15th century Renaissance statues depicting Adam, Eve, and Mars, the Warrior. They originally stood in an alcove in the courtyard and required restoration several times in the 18th and 19th centuries. They were moved for safety during WWI, and it was decided to replace the originals with bronze statues and the originals were moved inside.

As we toured through the Doge’s private rooms, we saw several depictions of St. Mark/Venice as the winged lion with his paw on the book.

Finally we made our way into the prisons. Prior to the 12th century, there were holding cells within the Doge’s Palace but during the 13th and fourteenth centuries more prison spaces were created to occupy the entire ground floor of the southern wing.  In 1591 yet more cells were built in the upper eastern wing. Due to their position, directly under the lead roof, they were known as Piombi. A corridor leads over the Bridge of Sighs,  built in 1614 to link the Doge’s Palace to the structure intended to house the New Prisons. The famous name of the bridge dates from the Roman times and was supposed to refer to the sighs of prisoners who, passing from the courtroom to the cell in which they would serve their sentence, took a last look at freedom as they glimpsed the lagoon through the small windows. 

In the mid-16th century, it was decided to build a new structure on the other side of the canal to the side of the palace which would house prisons and the chambers of the magistrates known as the Notte al Criminal. Ultimately linked to the palace by the Bridge of Sighs, the building was intended to improve the conditions for prisoners with larger and more light-filled and airy cells.

However, certain sections of the new prisons fall short of this aim, particularly those laid out with passageways on all sides and those cells which give onto the inner courtyard of the building. In keeping with previous traditions, each cell was lined with overlapping planks of larch that were nailed in place.

The last room on our tour of the Doge’s Palace was the archival room.

We made our way out of the palace, through the courtyard, and back into St. Mark’s Square for a final visit before our final evening meal in Venice. Once again we enjoyed our visit and felt we could have stayed longer; there is so much to see and do in all of these amazing Italian towns.

Our intent on leaving Florence had been to stop in Bologna, home of a major university. But the recent rains had caused some serious flooding problems in Bologna, which was in the middle of a massive clean-up project, so we opted to skip it. Instead we drove straight to Modena. We checked into the Phi Hotel Canalgrande, an historic home located in the old Schedoni Palace. The outside was nothing special.

But the reception is what one would expect from an old palace.

As were the sitting rooms off the reception area.

Once settled we headed out in the late afternoon sun to explore the town. Modena is most well know for its famous balsamic vinegar. But it is also known for being home to both Ferrari and Maserati. Lesser well known is that it is a seat for an archbishop; our first visit was to the cathedral. The Cattedrale Metropolitana di Santa Maria Assunta e San Geminiano, aka  Duomo di Modena, is dedicated to the Assumption of the Virgin Mary and to the city’s patron Saint Geminianus. The Duomo and the annexed campanile are a UNESCO Word Heritage Site. Its first stone was laid in June 1099 and its crypt ready for the city’s patron, Saint Geminianus, and consecrated only six years later, the Duomo of Modena was finished in 1184. 

The entrance is typical to those we have seen now throughout Northern Italy: flanked by a pair of lions.

The interior is divided into three naves.  Between the central nave and the crypt is a marble parapet portraying the Passion of Christ, including the Last Supper. The  pulpit is decorated with small terracotta statues.

The Duomo also houses two nativity scenes by local Modena artists, this one from 1527.

The Torre della Ghirlandina (the Bell Tower) built in 1179 and restored in 2008 is annexed to the church.

We walked around the Piazza Grande, also a UNESCO World Heritage Site, and took in the Town Hall, 17th and 18th century amalgamations of several 12th century buildings.

The Town Hall is characterized by its clock tower.

As we strolled around town we noticed what appeared to be booths being built in a couple of squares. We wondered what event was coming, but more on that later. We walked by San Vincenzo, a 17th century Baroque style Roman Catholic church.

Dark descended, and we had a reservation at Frigieri, a tiny restaurant and wine bar in Modena. We were greeted by our host for the evening, Matteo, and handed our menus. Matteo, an extremely animated individual, appeared to be the host, cook, sommelier and waiter. He played each roll with zeal.

He explained that his menu is written daily, and he does not translate from the Italian because he wants to explain each dish, which he proceeded to do in the most animatedly entertaining way while also helping us to choose the correct wine to accompany our food choices. He then went into the kitchen and hand cut! our fresh pasta while we enjoyed our starters of, what else, parma prosciutto and gnocco fritto, a small puff of fried bread popular in the region. This being October in Italy, we ordered their special delicacy of pasta in olive oil with grated white truffles. It was one of the most simple and yet one of the most delicious, certainly the freshest, meal we have ever enjoyed.

In the morning, unable to find a guided walking tour of Modena in English, we embarked to explore on our own armed with a guide downloaded from “Matteo@walkingcap.com.” It took us first to the Church of San Pietro, the parish church for a Benedictine Abbey founded in 983, making it the oldest parish in Modena. The church was rebuilt between 1476 and 1518 and was consecrated in 1518.

The interior was decorated during the early Renaissance by local artists.

Inside what particularly caught our eye was this inlaid cabinet with a modern doll sitting atop it.

The organ was in the center nave, an unusual placement.

It had something we had never seen prior: a fresco decorated bridge to access the back of the organ for repairs.

Next our guide took us to the market. I apologize for the poor quality of the photo (all of these pics are from our cell phones, which have no filters).

The market itself was pretty typical as markets go with the usual meats, fish, fruit and vegetables, although this one, purple artichokes, is a bit unusual for us North Americans, but very common in the cuisine of Northern Italy.

The most fun stall, and probably unusual for a market, was the wine bar.

The guide then directed us to the Piazza Grande.

There we learned about a relic from the Middle Ages, the Preda Ringadora, a rectangular marble stone next to the palace porch, used as a speakers’ platform.

We also learned about a statue called La Bonissima (“The Very Good”) portraying a female figure. It was erected in the square in 1268 and later installed over the porch. Today, the Bonissima is so famous in Modena that if someone is referred to as “a Bonissima” it means he/she is of great notoriety.

Next our attention was turned back to the cathedral. In addtition to what we had already learned about it, we now learned that the friezes on the exterior façade not only told bible stories for locals who could not read, but also tales of King Arthur and the round table.

We also learned that a large whale bone was found during construction. At the time it was believed by the locals to be a dragon bone and was placed next to a sculpture of patron Saint Geminianus over the Porta Regia to drive away evil spirits.

Next our audioguided walking tour took us by the The Teatro Comunale di Modena (Community Theatre of Modena), renamed in 2007 as Teatro Comunale Luciano Pavarotti after the famous tenor’s passing. Pavarotti was born and raised in Modena; his funeral services were held in the Cathedral here. It seemed fitting to name the Opera House for its most famous hero. The exterior of the building was not special except for the statue of Pavarotti.

We asked in the lobby if we could peak into the theater and were told normally yes, but there was an ongoing practice for tonight’s concert. “What was the concert?” we asked. The answer was Bach’s Brandenberg Concertos, one of our favorites! We had to be up early in the morning but warily asked the price of admission and were told for seniors $21 each. Wow, for that price we could leave at intermission and at least have seen the inside of the theater. So we bought tickets and moved on. We continued through the streets of Modena, which is full of the colorful homes of Northern Italy, which we have come to love.

Finally we came to the Ducal Palace. The Palace, with its Baroque façade was started in 1634 and was the seat of the Este court from the 17th to 19th century. The Palace is not currently open to the public; it houses the Military Museum and a precious library.

Our walking tour of Modena now complete, we drove out of the city for our appointment at Acetaia Villa San Donnino, an aceteria: a place where balsamic vinegar is produced. From their website “Traditional Balsamic Vinegar of Modena is a DOP food condiment, obtained from the processing of typical Modena grapes, such as Trebbiano and Lambrusco. The complexity of its characteristics is given not only by the long maturation, but above all by the particular environmental conditions and microclimate of the Modena area. Its uniqueness and its many beneficial properties have allowed it to become a sought-after and appreciated product throughout the world, earning it the title of “Black Gold of Modena”. Traditional Balsamic Vinegar of Modena has very ancient roots and, as tradition dictates, its production is handed down from generation to generation, applying processing methods provided for by strict regulations.”

Upon entering the building, we were immediately assaulted by a very strong odor of vinegar. Our guide explained that DOP designation means that everything from the origin of the grapes to the entire process of making the vinegar is strctly regulated. There is only one ingredient on the label: grapes. All other balsamic vinegars are IGP and are allowed to say “Modena” on the label even if only one step of the process occurs there including bottling. She advised us that when buying IGP balsamic vinegar in the future to pay attention and only buy ones with 2 or at most 3 ingredients.

White grapes are used but turn the notable dark color during the aging process. Once picked and pressed, the grapes are simmered for 24 hours. It is this cooking that differentiates balsamic from other vinegars. Then it is left in a large metal barrel until the next season. Balsamic vinegar is aged in a series of ever smaller barrels, which are made from a variety of woods: oak, chestnut, juniper, mulberry, acacia, with an opening at the top covered by a cheesecloth. Old wine barrels are often used.

After a minimum of 12 years, one liter is removed from the smallest barrel. Because of evaporation, it has now lost more that the one liter. The amount is replaced from the next larger barrel in its set, which has also lost some volume to evaporation. This total loss is now replaced with vinegar from its next larger barrel and so on. The largest barrel in the set, which is now down several liters total, is filled using the new vinegar from the large metal barrel of the previous season. None of the barrels are ever emptied. Most of the sets are stored in the attic.

The barrels can be used indefinitely, and some are very old. This oldest is from 1512.

The instruments to move the vinegar from barrel to barrel today are sophisticated. But in past times they were simple siphons.

The napkin over the open hole of the barrel allows bacteria from the air to get in and turn the grape juice into alcohol. In the attic over the summer the heat allows for alcohol to turn to vinegar and some of the vinegar to evaporate. The cooler winter stops the process and allows a rest. When a new child is born, local families often start a set to celebrate the birth. The first extraction occurs when the child turns 12. Sometimes guests who visit the aceteaia decide to start their own set, as was the case with Pierce Brosnan.

Once the vinegar in the smallest bottle is at least 12 years old, one liter is removed and taken to the consortium for inspection and approval. If approved it can be bottled. All of the DOP bottles of Modena Balsamic vinegar must be in the same size (100 ml) and shape bottle. Only the label is allowed to differ. That makes 10 bottles per set per year. This acetaia produces only 3500 bottles per year., which is not a lot. Locals use the balsamic not only on just about everything they eat including eggs, but they also use it for sick stomachs and sore throats.

If left in the barrel for a minimum of 25 years, then the designation is “extra vecchio,” “extra old,” and it is bottled in the same size and shape bottle, but with a different color top.

She gave us a taste of both; the extra old is much thicker, more syrupy, and sweeter. She then treated us to vanilla gelatto with a drip of the 12 year old balsamic on it, and it surprisingly tasted like caramel; so delicious!

Our tour finished, we drove back into town for a quick dinner in the Ducal Palace Piazza before heading to the concert. Our seats for the concert were in a box with only 5 seats.

The orchestra was a group from Germany called the Freiburger Barockorchestra, a group founded in 1987 with the mission statement to enliven the world of Baroque music with new sounds”. They play without a conductor and interact with each other with animated facial expressions and body language.

It was one of the most fun concerts we had ever been to, not to mention the music was great. Despite the late hour and our early morning appointment, there was no leaving at intermission, so I ran down to the stage and took a picture of the theater from the stage.

and the red harpsichord, so cool.

In the morning we were up bright and early to drive about an hour to a dairy farm just east of Parma.

Our host here explained that like the balsamic, parmesan cheese is also regulated. All of the products. ie the cows, must be raised locally, and a specific cheese making process followed in order to obtain a DOP designation. This particular farm is run by two families: her’s, which farms and milks the cows and is responsible for the public facing part of the business, and the other family actually makes the cheese. Their cows produce 7000 liters of milk daily, which amounts to 14 wheels weighing 50 kg each (about 110 pounds).In the evening the milk is poured into containers for overnight storage. In the morning, the cream is skimmed off the top (and usually made into butter), then this skim milk is added to the morning’s whole milk in these containers. Some of yesterday’s whey, explained below, is added.

Once mixed, the milk and whey are cooked in copper pots at 131 degrees F for an hour. Then the mixture is raked to change the texture. The solids sink to the bottom and collect into a big ball.

The big ball is then split into two. The remaining liquid, which is the whey, is drained. Some of the whey is saved for tomorrow’s cheese. The rest is dried and sold as whey powder. Whey proteins are popular for everything from protein drinks to skin care products.

The two balls of solid milk are then lifted by this very nifty machine

and placed into shaping wheels and turned every 3 hours.

In the evening the wheels are taken into a cool room and stamped.

They remain on this table for 24 hours, after which they are further stamped using this plastic mold around the outside

The mold can have the date changed and has a blank area, seen on the right below, for the final DOP inspection stamp.

Traditional parmesan is from black and white cows. Their milk is creamier than those of the brown cow variety, but they produce less milk. This farm uses both, keeps the milk separate, and designates those from the black and white cows with this stamp on the top of the wheel.

After 1 day on the table, the wheels are placed in salt water to brine for the next 25 days, turning daily.

After 25 days they have lost about 10 pounds. They are then transferred to the aging shelves and kept at 65 degree F with 80% humidity. There they will loose another 10 pounds.

They are taken out weekly for a dusting.

In addition to a visual inspection, the inspection at age 1 year is also an audible one using a hammer.

There are three levels: First gets the seal stamped. Second can be sold, but not as DOP. Third can only be sold as grated. Less than 10% do not pass.

Most of their demand is aged 24 months, but there is no age too old; one below is 10 years.

After the tour we were treated to a tasting of different aged cheeses from one of the black and white cows, a dab of balsamic vinegar, and a cup of Lambrusco, the sparkling semi-sweet wine of the region.

Then we drove along narrow, winding farm roads from the dairy farm to the Perla Parma ham factory tour. Perla, founded by two brothers, sells about 40, 000 pounds of ham a year. Our guide recounted the history of the local area which had been marshy, which is a good environment for black pigs. Starting around the year 1000, black pigs were imported from England for their desired high fat content. Today the pigs are raised locally and fed a very specific diet. Parma ham is DOP certified.

Only the back legs are used. The practice has been around for centuries; all of the other parts of the animal are used in other operations. Perla receives deliveries a couple of days a week. Even though they have been transported in temperature controlled trucks, after arrival the hams are rested at 35 degress F for 24 hours. then they are pounded to reduce the fluid and to soften the muscles.

The fresh ham is then hung by a rope and salted first by machine then by hand. After a week they receive a second salting.

They are moved and the temperature increased to 37 degrees F and left there for 2 months. At this point they will have lost 30% of their weight.

They are transferred to a dry room at 54 degrees for 3 months. After this point the exposed meat is covered with sunatura, a thick white substance consisting of rice flour, black pepper, and fat from the pig. Black pepper historically deterred the flies. The temperature is increased to 43 degrees F and the white turns to grey.

After 14 months the iconsortium inspector arrives. At any given time there are about 80,000 hams in the factory. The inspector inserts a piece of a horse’s shin bone into 5 points of the ham and smells. If it passes, it gets a stamp. It will not be sold until it is 24 months old.

The post tour tasting here was a feast.

Already half the day was behind us and we had yet to go into Parma itself. I had a zoom meeting with friends in the evening to get back for, so we had to make our visit to Parma quick and cursory, not my favorite way to visit. Armed with another self-guided audio tour, we gave it a try. Parma is a city that has been inhabited since the Bronze age probably founded by the Estruscans then later the Romans. We went first to the main square: Piazza Garibaldi. There we found the Palazzo del Governatore (Palace of the Governor), first erected in 1283. The palace housed formerly the lord, and then Governor of the town.

In 1606, after the collapse of a central bell-tower, the structure underwent reconstruction. The present bell-tower was erected in 1673. On the facade, below the clock, is a niche with a statue depicting the Madonna being crowned by the child Jesus. Surrounding the statue are three sundials commissioned in 1829 by the duchess of the palace. Because of the way the sunlight falls, the sun dial is in two halves and includes the month and day of the year.

On one of the corners of the palace is a brick which was designated as the standard for measurement.

Across the busy street is the The Palazzo del Comune (Palace of the Commune or Municipality), which houses the municipal offices. The present building with its Renaissance-style façade was built in the late 17th century.

Across from the municipal building stands San Pietro Apostolo, a Neoclassical-style, Roman Catholic church rebuilt in the 15th century. A church to Saint Peter is first mentioned in this location in 955 built above a Roman temple.

We walked by the Shrine of Santa Maria della Steccata, a 17th century Renaissance church, so named because a nursing Madonna is enshrined within, but we did not go in.

We also passed the Teatro Regio(Royal Theatre): city opera house built 1821–1829 (the Italians do love the opera) which had flags announcing an upcoming Verdi festival. Giuseppe Verdi (1837-1901) was born near Parma and is much celebrated here.

We made our way to the Duomo di Parma; Cattedrale di Santa Maria Assunta (Parma Cathedral) a Romanesque Roman catholic cathedral dedicated to the Assumption of the Blessed Virgin. After a fire destroyed an earlier basilica in 1058, the current building was begun in 1106. The Gothic belfry, topped by a gilt copper angel, was added later, in 1284-1294

Beside the Cathedral lies the octagonal Baptistry of Parma. Architecturally, the baptistry marks a transition between the Romanesque and Gothic styles, and it is considered to be among the most important Medieval monuments in Europe.

The two great marble lions supporting the archivolt columns at the entrance to the cathedral were carved in 1281.

Particularly noteworthy in the cathedral’s interior are the capitals; many of them are characterized by rich decorations with leaves, mythological figures, scenes of war, as well as Biblical and Gospel scenes.

Like so may cathedrals we have been in, there were so many frescoes and so much to explore, but we had no time to dally.

On our way to check out the palace, we passed through the large Piazzale della Pace (Peace Square,) a large empty space caused by the air raids of 13 May 1944 during WWII, which destroyed the buildings that were there. Now in the space stands the Monumento al Partigiano (Monument of the Partisan). It is a commemoration to all those noble men and women who fought against Fascism and Nazism oppression in WWII.

Also in the square is a monument to mark the centenary of the birth of the great composer Giuseppe Verdi (1837-1901). Built of granite and bronze, it was inaugurated on 22 February 1920.

Finally we made our way to the The Palazzo del Giardino (Garden Palace) or Palazzo Ducale del Giardino (Ducal Garden Palace) which is within a very large park. It was built in the 16th century but suffered a lot of damage during WWII. It is currently closed to the public.

Alas, it was time to head back to Modena. When we went out later for dinner we noticed the booths that had been undergoing construction while we had been visiting were beginning to fill with wares. We found a sign announcing a chocolate festival beginning the next day, just in time!

After breakfast we checked out and left our luggage with reception so we could explore the festival. And oh what fun! There were dozens of booths filling more than 5 blocks around the main plazza all with variations of chocolates from the standard bars

and truffles

and fudge

and also chocolate covered fruits and nuts

and mini cakes.

There were macarons

and fondus and drinks.

There were chocolate miniatures of everything from high heels

and dolls

and toys

and even Halloween specialties.

Clearly the citizens of Modena take their chocolates seriously. There was an event tent for demonstrations, classes, and competitions.

And so many of the booths were handing out free samples! We were in heaven, and so glad we had not scheduled to leave a day sooner, what luck. We were reluctant to drag ourselves away from Modena, truly a food capital in a country devoted to its cuisine. We had packed a lot into a couple of days.

We arrived in Pisa in the pouring rain, yet again. The skies were gray when we got our first glimpse of the famous leaning tower.

Eric insisted that I take at least one of the goofy, touristy pictures of him “holding up” the tower.

But the weather gods were kind to us in that the rain lightened up a bit while we familiarized ourselves with the town, walked around, and found a restaurant for a late lunch. Gone were the Ligurian cuisine items now replaced with pappardelle with wild boar ragú and roasted meats and steaks and lots of grilled fresh vegetables on the menu.

In the morning we were blessed with plenty of sunshine for our deep dive into the Piazza dei Miracoli (Square of Miracles) aka Piazza del Duomo (Cathedral Square). Pisa means mouth, which is fitting as the city sits on the mouth of the Arno River as it spills into the Ligurian Sea – although with centuries of silt flowing down the river and depositing sediment at the mouth, the city is several miles inland currently. There is archaeological evidence that the city dates back to the Etruscans in the 5th century BC. The city was a prominent maritime center as early as ancient Roman times, as described by Virgil in the Aeneid, and due to its position near both the coast and the river, maintained that status throughout the middle ages. It was at the height of Pisa’s power and wealth that the cathedral and its accompanying structures were started in 1064.

Due to timed tickets, our tour started in Palazzo dell’Opera (Opera here means “works of art”), built in several stages from the 14th century through the 19th. Originally these houses belonged to the workmen of the cathedral complex: the tailor, the gardener, the bell ringers, etc., until the 19th century when the administration offices of the Opera della Primaziale were moved in. Today it houses a lot of the original statues and artworks from the cathedral which have been replaced with replicas in their original positions to preserve their integrity. One of the first exhibited items are the bronze doors: the San Ranieri door, built in 1186 by Bonanno Pisano depicting the main episodes of the Life of Christ and originally on the entrance of the right transept of the cathedral.

Also exhibited is the Pisa Griffin, a large bronze sculpture of a a mythical beast with head and wings of an eagle but body of a horse. It has been in Pisa since the Middle Ages despite its Islamic origin of late 11th or early twelfth century.  The Pisa Griffin is the largest medieval Islamic metal sculpture known, standing over 42 inches tall. Its original Islamic purpose is unknown, but in Pisa the griffin was placed on a platform atop a column rising from the gable above the  apse at the east end of the cathedral, probably as part of the original construction that started in 1064.

Also exhibited in the Opera are works by Giovanni Pisano (1230-1315), and Italian sculptor who trained under his father Nicola Pisano. Giovanni Pisano built the pulpit for the cathedral as well as created many of the statues for the baptistry.

In addition to the many statues, the Opera also contained examples of the inlaid wood for the choir benches

and robes for the bishops

and the various pieces required for services.

After thoroughly familiarizing ourselves with the works and artists who created them, it was time to see the cathedral. Due to ongoing renovations work, the door usually used by the public, the San Ranieri door, was closed to the public.

We entered from the other side. Construction of the cathedral began in 1064 to the designs of the architect Bushceto. It set the model for the distinctive Pisan Romanesque style  of architecture.

The mosaics of the interior, as well as the pointed arches, show a strong Byzantine influence. The façade, of grey marble and white stone set with discs of colored marble, was built by a master named Rainaldo.

I just love the details, especially the gargoyles.

The interior is faced with black and white marble and has a gilded ceiling. It was largely redecorated after a fire in 1595, which destroyed most of the Renaissance artworks.

The coffered ceiling of the nave was replaced after the fire of 1595. The present gold-decorated ceiling carries the coat of arms of the Medici. 

The dome has an impressive fresco.

The impressive mosaic of Christ in Majesty, in the apse,  flanked by the Virgin and Saint John the Evangelist, survived the fire.

The elaborately carved pulpit, which also survived the fire, was executed by Giovanni Pisano, and is a masterpiece of medieval sculpture. Having been packed away during the redecoration, it was not rediscovered and restored until 1926. The pulpit is supported by plain columns (two of which are mounted on lion’s sculptures).

The upper part has nine narrative panels showing scenes from the New Testament, carved in white marble with a chiaroscuro effect.

There are numerous artworks found inside the cathedral mostly from the renaissance, following the fire.

and, of course, the choir stalls

Madonna di sotto gli organi, The Madonna under the Organs is a tempera and gold painting on wood attributed to Berlinghiero Berlinghieri around 1220. The traditional name of the Madonna derives from its ancient location in the Cathedral, under the organs. When in 1494 Charles VIII of France freed Pisa from Florentine occupation, the Madonna, to whom a vow had been made, became a symbol of the newfound autonomy and from then on was invoked during all particularly dramatic events in the city.

At last it was time for us to climb the tower.

The campanile (bell tower), aka the Leaning Tower of Pisa, was the last of the three major buildings on the piazza to be built. Construction of the bell tower began in 1173 and took place in three stages over the course of 177 years, with the bell-chamber only added in 1372. Five years after construction began, when the building had reached the third floor level, the weak subsoil and poor foundation led to the building sinking on its south side.

The building was left for a century, which allowed the subsoil to stabilize itself and prevented the building from collapsing. In 1272, to adjust the lean of the building, when construction resumed, the upper floors were built with one side taller than the other. The seventh and final floor was added in 1319. By the time the building was completed, the lean was approximately 1 degree, about 2.5 feet from vertical. At its greatest, measured prior to 1990, the lean measured approximately 5.5 degrees. In 2010, the lean was reduced to approximately 4 degrees using steel beams interiorly.

This is the info provided at the base.

Oh, and there are 296 steps to the top! Once there, I was mostly paralyzed with fear.

The following views from the top are all courtesy of my brave spouse.

The tower was built to accommodate a total of seven main bells.

I was ok on the inside of the tower by the bells.

Next it was time for the baptistry, dedicated to St. John the Baptist, it stands opposite the west end of the Duomo. The round Romanesque building was begun in the mid 12th century.

Here we saw the busts and statues of Giovanni Pisano of which we had seen the originals in the Opera earlier in the day.

What was most impressive about the Baptistry were the acoustics. The was some renovation work ongoing, and one of the men had stopped for a bit and went to the central raised area and began a Gregorian chant; what an amazing sound created.

We climbed up to the balcony for a better view of the interior.

The floors were both impressive

and intriguing.

As we strode to our next stop, we noted the remnants of the medieval walls that surround the piazza.

The Camposanto Monumentale (Monumental Cemetery) aka Camposanto Vecchio (Old Cemetery), is located at the northern edge of the square. This walled cemetery  is said to have been built around a shipload of sacred soil from Calvary, brought back to Pisa from the 3rd Crusade  by the archbishop of Pisa  in the 12th century. This is where the name Campo Santo (Holy Field) originates. The building of this huge, oblong Gothic cloister began in 1278 but was not completed until 1464.

The walls were once covered in frescoes. The first were applied in 1360, the last about three centuries later.

The Stories of the OldTestament by Benozzo Gozzoli (c. 15th century) were situated in the north gallery, while the south arcade was famous for the Stories of the Genesis by Piero di Puccio  (c. late 15th century). The upper right fresco below depicts Adam and Eve in the garden.

And, of course, there are tombs

and sarcophagi

We found a grave as recent as 2009.

The frescoes are currently undergoing extensive restoration work. They survived a fire in 1944 after allied bombs dropped onto the roof. It is hard to see in the picture, but there are women sitting on the scaffolding painting and cleaning the frescoes.

Finally, we visited The Ospedale Nuovo di Santo Spirito (New Hospital of Holy Spirit) located on the south area of the square. Built in 1257 by Giovanni di Simone over a preexisting smaller hospital, the function of this hospital was to help pilgrims, poor, sick people, and abandoned children by providing a shelter. 

Today, the building is no longer a hospital. Since 1976, the middle part of the building contains the Sinopias Museum, where original drawings of the Campo Santo frescoes are kept.

Alas, we had seen little of the town of Pisa, only the small area confined to the Piazza dei Miracoli, but we had seen enough.

Our next destination was the first that was a repeat visit for us. We had fallen in love with Florence when we came celebrating our 25th year of marriage. We thought the hotel we had stayed in so romantic it necessitated a repeat visit. Plus I was on a mission to find the perfect leather jacket I had pictured in my mind. We drove there in more rain, of course. But after checking into the Hotel Degli Orafi, determined not to be disuaded by the weather, we set out toward the four leather shops I had decided after much internet research were the most likely to have my coveted jacket. Along the path we passed a few sights familiar to us like the Fontana Del Nettuno in the Piazza della Signoria (more on the fountain later)

and some not so familiar

Within two hours I had found the jacket of my dreams in Casini Florence by designer Jennifer Tattanelli, and we were able to return to our hotel to freshen up before dinner. Once reinvigorated, we headed out again. Our hotel was almost directly across from the famous Ponte Vecchio (Old Bridge).

We crossed the bridge and took in the views downriver, noting how muddy the river appeared after so much rain.

After a truly delicious dinner at Ristorante dei Rossi, we strolled around this romantic city.

We got peaks into some of the private apartments and were once again awed by the beauty of the architectural details.

In the morning we were scheduled for a walking tour despite the still inclement weather. But first breakfast. The breakfast room at Hotel Degli Orafi is one of the many reasons we returned to this venue.

Our tour guide for the morning, Giacomo, was a student of history and architecture. Our tour was filled with fun facts starting with the Medicis, one of the most influential families in Florence’s history. The Medici Palace is closed to the public for restoration work.

But while we stood outside the palace, Giacomo regaled us with stories of how the family fortune started in the 1100s with the wool trade, but as their wealth grew, they soon became money lenders. In 1397 they became the first bankers in Florence. In the early 1400s they wanted to be the bankers for the Vatican, but two popes said no. Finally a third pope said yes, and eventually, several popes even came from the family. The Medici family’s wealth and influence grew through their connections to the papacy and the city’s elite.  The Medici family held important positions in Florence’s government and used their wealth to keep their political power. They ruled Florence from 1434 to 1737, except for two brief intervals. During this time the Medici family began sponsoring artists: Donatello, Michaelangelo, Boticelli, and more.

Next stop on our tour was Cattedrale di Santa Maria del Fiore (Cathedral of Saint Mary of the Flower). The name Florence comes from the Latin word floreo, which means “flower”. Building commenced in 1296 and was not completed until 1436. The cathedral complex, in Piazza del Duomo, includes the Baptistry and Giotto’s Campanille (Bell Tower). The basilica is one of Italy’s largest churches and its dome, when first built back in the 15th century, was the largest ever built in western Europe. Although it was later overtaken by St. Peter’s Basilica, it still remains the largest dome ever constructed of bricks.

The white marble is from Carrera, same as the statues. The green marble is from Prato, near Florence, and the pink marble is from Siena in southern Tuscany. These marble bands had to repeat the already existing bands on the walls of the earlier adjacent  baptistry.

In the middle of the 13th century building efforts were stopped as the black plague swept through Italy. Half of the population in Florence perished during that time. When work resumed almost 50 years later, one of the first projects finished was the bell tower.

During the quarantines of the plague the rich got richer, the building grew, and the hole for the dome became so immense, no one knew how to cover it. On 19 August 1418, the Arte della Lana announced an architectural design competition for erecting the dome. The two main competitors were two master goldsmiths, Lorenzo Ghiberti and Filippo Brunelleschi, the latter of whom was supported by Cosmo de Medici. Ghiberti had been the winner of a competition for a pair of bronze doors for the Baptistery in 1401 and lifelong competition between the two remained sharp. Brunelleschi won and received the commission for the dome.

It took Ghiberti over twenty years to complete the two doors which depict the life of Christ in 24 panels.

Ghiberti then went on to make a second pair of doors for the other side of the Baptistry. Those took him 27 years to complete the 10 panels. At the time the Battistero di San Giovanni (Baptistry of St. John) was finished near 1500, it was one of the most important buildings in Italy.

Filippo was originally a clock maker and goldsmith. But when he lost the door competition to Ghiberti, he went with his friend Donatello to Rome and studied architecture while Donatello studied Roman statues. When Filippo came back to Florence he proposed the design for the dome to be the first self supported dome in the world almost 300 feet high. The wool guild, ie the Medicis, were in control of the erection of the dome.

So despite Fillipo’s win of the competition, Ghiberti was appointed coadjutor of the dome and drew a salary equal to Brunelleschi’s and, though neither was awarded the announced prize of 200 florins, was promised equal credit, although he spent most of his time on his other projects ie the doors. When Brunelleschi became ill, (or feigned illness in a fit of anger over the situation), the project was briefly in the hands of Ghiberti. But Ghiberti soon had to admit that the whole project was beyond him. In 1423, Brunelleschi was back in charge and took over sole responsibility. Erection of the dome had begun in 1420 and was finished in 1436.

The ceiling of the dome, decorated with a representation of The Last Judgement by Giorgio Vasari, is one of the largest frescoes ever painted, and was not completed until 1579. The building and decorating of the dome is said to have inspired Donatello, who worked on several of the statues in the cathedral, Michaelangelo, and DaVinci.

Next stop on our tour was Piazza della Signoria, named after the Palazzo della Signoria, also called The Palazzo Vecchio (“Old Palace”) is the town hall of the city. (Old Palace v the “new” palace, ie the Pitti Pace, more on that later). It is the main point of the origin and history of the Florentine Republic and still maintains its reputation as the political focus of the city. Built in the early 1300s, the Palazzo Vecchio was the second Medici palace and immediately became the seat of the government. This massive, Romanesque, crenellated fortress-palace is among the most impressive town halls of Tuscany. Overlooking the square with its copy of Michelangelo’s David statue, it is one of the most significant private palaces in Italy, and it hosts cultural points and museums.

Also in the piazza is an open air statue gallery, the Loggia del Lanzi, which has both antique and Renaissance statues as well as the Medici lions.

At this point our guide Giacamo pointed out the difference in the anatomical accuracy of Michelangelo’s David, a copy of which is outside the palace (more on David later) and the inaccuracy of the anatomy of the Grand Duke Cosimo I de Medici depicted as Hercules defeating Cacus by sculptor Baccio Bandinelli (1493-1560).

Grand Duke Cosimo I de Medici, Duke of Florence from 1537-1569, commissioned the Fountain of Neptune in 1559 to celebrate the marriage of Francesco de Medici I to Grand Duchess Joanna of Austria. Cosimo was responsible for a vast number of architectural and artistic elements in Florence that still exist today. The fountain incorporates a series of mythological figures and iconographies that symbolize both Cosimo I de’ Medici’s power as well as the union of Francesco and Joanna. Giacamo explained how in its time, the fountain and statue were a form of propaganda, depicting Cosimo shown naked like a Greek god on earth.

Next Giacomo took us to the house of Dante (1265-1321). Giacomo explained that although the tower was built in 1086, the house was built 1865, clearly not a place he actually lived.

But when, in 1865, Italy came together as a country, it adopted the dialect of Dante, ie the dialect of Tuscany, his birth place, as the language of the now united country. Dante had written the Divine Comedy in the Tuscan dialect so the average citizen who could not read the bible, which still appeared only in Latin, could learn about the afterlife. This house was built in 1865 in his honor.

Our final stop was in the courtyard of the Uffizi Gallery, a prominent art museum. The Ufizzi Gallery is one of the most important Italian museums and holds a collection of priceless works, particularly from the period of the Italian Renaissance. The building of the Uffizi complex was begun  in 1560 for Cosimo I de’ Medici as a means to consolidate his administrative control of the various committees, agencies, and guilds established in Florence’s Republican past so as to accommodate them all in one place, hence the name uffizi, “offices”. 
.

He showed us some of the many statues around the courtyard which include Gallileo

and Amerigo Vespucci.

He also pointed out Cosimo I de Medici high above the arch. After the ruling  House of Medici died out, many of them from syphilis, their art collections were given to the city of Florence under the famous Patto di famiglia negotiated by Anna Maria Luisa, the last Medici heiress. The Uffizi is one of the first modern museums. The gallery had been open to visitors by request since the sixteenth century, and in 1769 it was officially opened to the public, formally becoming a museum in 1865

After the tour we chose not to go into the Uffizi, having done so on our first trip to Florence. But we did want to go back and revisit the David. So after lunch, we headed to the Galleria dell’ Accademia di Firenze. First we made our way through a large collection of paintings by Florentine artists. Next we saw Giambolgna’s full size plaster model for his statue Rape of the Sabine women.

The 16th-century Italo-Flemish sculptor sculpted a representation of this theme with three figures (a man lifting a woman into the air while a second man crouches), carved from a single block of marble. This sculpture is considered Giambologna’s masterpiece. The original is in the Loggia del Lanzi.

Finally we came to the works of Michelangelo including his set of 4 prisoners “escaping” from the marble.

and the Palestrina Pieta, which recently has come into question whether it is by Michelangelo.

And finally the David. The statue was originally meant for the cathedral, but it was too heavy to be lifted once finished. It was then placed in front of the Palazzo Vecchio (where the copy now stands). The Academia was built to house the David for conservation purposes, and it has been housed there since 1873.

After leaving the Academia, we wandered back to the Loggia dei Lanzi in the Piazza della Signoria to take a closer look at some of the statues there, realizing now that except for the David, they are the originals. We were particularly drawn to Giambologna’s Hercules and Centaur

and Perseus by Benvenuto Cellini (1513-1571).

We also entered the courtyard of the Palazzo Vecchio.

There we found a statue of Anna Marie Luisa de Medici, the last heiress and benefactress of the Florentine art world.

After a long day of touring, we treated ourselves to drinks on our rooftop terrace, its view another reason for our return to Hotel Degli Orafi.

For dinner we again crossed the Ponte Vecchio to the other side. Its many shops, most of them jewelry, were closed for the night.

Our first stop, after another amazing breakfast, was the Sunday Santo Spirito Market, as recommended by Giacomo. Established in Florence in June 1986, the market has been a recurring event held on the second Sunday of every month.

With over 100 vendors, the market specializes in small antiques, features a dedicated section for organic food, plants, and flowers, and offers everything from candies

ceramics

books

and vinyl

After rummaging around in the market for a while, it was time for our deep dive of the day: the Pitti Palace. Situated on the south side of the River Arno, not far from the Ponte Vecchio the Pitti Palace was the third palace of the Medicis. The palace was originally built in 1458 as the home of Italian baker Lucca Pitti. It was bought by the Medicis in 1549. It grew to be a great treasure house as later generations amassed paintings, plates, jewelry and luxurious possessions. The Medici also added the Boboli Gardens to the estate. In the late 18th century, the palazzo was used as a power base by Napolean. Amazingly, we somehow did not take a single picture of the outside of the front of the palace itself. Our first picture is of the main entrance.

What I love about visiting palaces is that in addition to the unbelievable works of art that are frescoes on the ceilings and walls, and the numerous paintings throughout, there are the household furnishings like these inlaid tables, which are just of a few of the many that caught my eye.

Just look at this urn

Oh, and the furniture is so exquisite.

We were intrigued by this “modern” bathroom installed for Napoleon.

We had headsets for audio tours and diligently listened to the descriptions of the meanings of all the allegories on all the ceilings, but honestly, who can remember much of it. Suffice it to say the frescoes are mind-boggling.

as are the many moldings and architectural details throughout.

But lost in all the glitz of the frescoes and moldings are the many, many paintings hanging throughout by Italian artists: Raphael

and Caravaggio

and Del Sarto, just to name a few.

Also included are some Flemish artists like this Rubens.

As can be seen in the picture of the urn, there ultimately was way too many paintings, way too much to look at. But before leaving the palace (after hours there) we did have to stop by the temporary exhibit which featured gowns from the 18th,

19th centuries

to the early 20th

and beyond.

After exhausting ourselves for hours in the palace, it was time for the Boboli Gardens. The Boboli Gardens were laid out for Eleanor di Toledo, wife of Cosimo I de’ Medici. One enters from the back of the palace. At the base of the gardens is a view of Florence across the River Arno.

We failed to get a picture of the front of the palace, but this is the back entrance.

The lower part of the garden has an amphitheater-like shape at the center of which is an ancient Egyptian obelisk. The garden from there climbs a long relatively narrow path with hedges and statues on both sides.

More than halfway to the top is a statue of Neptune, a contemporary to its counterpart in the Piazza della Signoria.

At the peak of the hill, the forceful Statue of Abundance stands out; Giambologna used Joanna of Austria, wife of Francesco I, as inspiration for its face.

From there this is the view of the palace and Florence beyond.

And we had not yet appreciated the extent of these gardens. We started down one side and encountered the Tindaro Screpolato, a sculpture by Igor Mitoraj (1944-2014), the only modern sculpture in the gardens. Tyndareus was the king of Sparta, father of Clytemnestra and Helen who caused the epic Trojan War in the Iliad. This sculpture is an interesting modern interpretation of an ancient story.

The path of the garden then turned parallel to the palace but moving away from it as we passed rows of trees lined with statues

both of Roman antiquity

and 17 and 18th century subjects

After much walking (the gardens cover 111 acres of land) we came to the the Isolotto, an oval-shaped island in a tree-enclosed pond.

In the centre of the island is the Fountain of the Ocean.

By the time we left the garden we were thoroughly exhausted. For dinner we treated ourselves (don’t we always) to another delicious Tuscan meal including another Tuscan speciality: grilled artichokes. It was a delicious end to the Tuscan section of our journey.

We left Como in the still pouring rain. We checked into the Grand Hotel Savoia in Genoa, which was a relic of yesteryear. According to its website …”established in 1897, in a palace whose atmospheres still evoke the joyful splendour of the Belle Époque. The refined charm of our rooms and the spacious halls in the hotel was perfectly to the taste of the Italian and European royal families who chose the Grand Hotel Savoia during their travels. Their precious Guest Book not only preserves the signatures of Italian royals, but also the most illustrious artists, actors and musicians of the last century. A meticulous salvaging and restoration has reinstated the former splendour, the majestic opulence of a late-19th century palace, the ancient charm of the building, the symbols and signs of its history.” We waited out the rain, and in the late afternoon we were able to get out and explore the city a bit. We found that actually we were on the outskirts of the Old City and had to walk a bit to get to the sites. First we visited Basilica of the Santissima Annunziata del Vastato. Vastato means “built outside the city walls,” which this basilica originally was when construction began in 1520.

The interior is like a 17th-century gallery of art. It is lavishly decorated with inlaid marble, gilded stucco, and frescoes by 23 local artists and 13 sculptors. There was so much to see, we barely knew where to look first.

We were able to download an audio guide which explained a lot of the artwork like this fresco of Mary looking up at a ceiling full of frescos, ie frescos within the fresco.

There was a chapel dedicated to Mary.

Several of the chapels had sculptures that were built like dioramas.

which may be hard to discern from the above, but a closer look may help.

The pulpit was particularly beautiful.

We had spent a fair amount of time in the basilica, and by the time we emerged, the weather had cleared further. We felt comfortable at this point heading toward the port. Also on the way we passed Palazzo San Giorgio (Palace of St. George). The Byzantine Emperor Michael VIII felt indebted to Genoa. Genoa had been his ally in a war against the Latin Empire. To show his appreciation, Emperor Michael donated material stripped from the Venetian embassy in Constantinople to Guglielmo Boccanegra. In 1260 Boccanegra used the material to build his waterfront dream palace. The palace has had many uses through the centuries. In the early 1300s it was a prison, one of its most famous inmates was Marco Polo. Then it was used as headquarters for port authorities. In 1400 the building became the home of the Bank of San Giorgio, one of Italy’s first banks.

Directly across from Palazzo San Giorgio is the Porto Antico di Genova (Genoa Old Port). Genoa Old Port brings back Genoa’s golden age as a principal sea-faring city and maritime power. It was inaugurated in 1992 as part of Genoa’s 500 year celebration of the voyages of Christopher Columbus, a Genoa native.

Something we had not seen before was a round “room” that these cranes lift for a panoramic view of the port and the city. (The little square building to its right is a ticket booth).

We were also intrigued by this statue of a traveller, more on him later.

Lest one looking at these pictures and seeing blue skies and doubts my claims of awful rainy weather, I include a youtube link below, which was taken nearby on the same day. We just happened to get to the port in the 15 minutes that the sun shown through the whole day.

As dusk started to fall, we made our way through the winding, narrow streets

with a church around every corner

to the Cattedrale di San Lorenzo ( Cathedral of St. Lawrence) which, built around 1098, is the most dominant church in Genoa. During medieval times, the church was the center stage of social and political life for the residents of Genoa. After a disastrous fire in 1296, the church was rebuilt. The facade was completed in 1312.

I was drawn to the sorrowful looking lions that flank the entrance.

Another intriguing feature is the diversity of materials and styles of the columns.

The interior has a basilica plan with a transept and choir. Three naves are divided by marble columns topped by arches with light and dark bands. Above these are smaller Romanesque arches of grey stone.

It also has a beautifully decorated pulpit.

Outside, in the vein of a church around every corner, one can be seen right behind the cathedral.

Refreshed in the morning, and with a sunny day, we set out again for the port. At the entrance we found this mosaic featuring travelers of yesteryear.

From the 11th century until the late 18th century, the city became a leading economic and military power in Europe through its maritime trade and commerce. Today one of the best reasons to visit Genoa is for the history of maritime, which to be honest, neither of us really is all that interested. We visited the Galata Outdoor Maritime Museum, but did not go into the Galata Museum itself which boasts everything from a full-scale model of a 17th-century galley to all things sailing and shipyards including the big transatlantic ocean-liners. Galata refers to the historic Genoese community of Istanbul, Turkey. It was one of the most vital Genoese colonies in the Mediterranean. In the 15th century, their presence in that community ended. In the 19th century, the Genoa municipality built a system of commercial docks, the oldest of which was named for the lost colony.

As we walked along the seaside we passed lots of buildings both residential and industrial. What is always striking when visiting Italy is how many random-seeming buildings have statues

and sometimes frescos

We came to the Porto Antico from a different direction than when we had visited last night and realized we had missed this big reproduction of a 15th century ship similar to those on which Christopher Columbus sailed.

Also to be found at the Porto Antico is an aquarium, which we chose to skip today. But I really liked the human statue outside. People jumped every time he moved, which was rarely.

We continued our meandering of Genoa’s Old City’s narrow streets

and came upon the Church of Jesus and Saints Ambrose and Andrew. In the 6th century, Bishop Onorato of Milan was on the run. He was escaping from Longobard persecutions to Genoa. There he founded his Church of Saint Ambrose. Ambrose is Milan’s patron Saint. Abandoned in the 7th century by the Milanese community, the church was taken over in the 16th century by the Jesuits.

Next we went by the Palazzo Ducale (Doge’s Palace), once the home of the Doges (heads of state or captain of the people) of Genoa. It was constructed in the 13th century when Genoa was coming into its own as a maritime power. The Doge’s Palace was reconstructed in the 18th century after a devastating fire.  Today the palace is used for exhibitions, meetings, special events, and as a library and museum. It is the result of the largest restoration in Europe, covering a building of 300,000 square meters.

By now we were a bit hungry for some lunch, and who could resist the call of Elvis?

Honestly though, we chose this cafe for the view of these towers. The Mura (Wall ) in Genoa was started in the 9th century. This portion, known as the Barbarossa Towers, was built in the 12th century. Genoa has more and longer walls than any other city in Italy.

Just beyond these towers is a house that Christopher Columbus lived in as a child.

Our destination after lunch was the Piazza De Ferrari (Ferrari Square). Raffaele Luigi De Ferrari (1803-1876), Prince of Lucedio, Duke of Galliera, and senator of the Kingdom of Sardina, in 1837, acquired all possessions that Napoleon had granted in 1812. The square was christened Ferrari Square in 1877, one year after his passing. At the centre of the square, in 1936, a bronze fountain was built and it soon became one of the main symbols of the city.

In the square we came upon our second traveller statue.

The prose on the signage explains it best.

On the side of Piazza De Ferrari is the The Teatro Carlo Felice, the principal opera house of Genoa used for performances of opera, ballet, and recitals. The hall is named for King Carlo Felice, King of Sardinia  and ruler of the Savoyard States from 1821 until his death in 1831. He was the last male-line member of the House of Savoy. In front of the Teatro Giuseppe Garibaldi (1807-1882), a hero of the Italian revolution, appeared astride his bronze horse.

Branching off from Piazza De Ferrari is Via XX Settembre (20th September Street), named for the 20th of September 1870, the day revolutionaries stormed the Pia Gate (Porta Pia) of the Vatican. It marked the end of the temporal power of the Church, the “Risorgimento,” which ushered in the unification of Italy. It was redesigned and modernized from 1892 to 1912.

The street has a lot of Art Nouveau decorations, decorated pavements,

and ceilings

beneath fabulous architecture and colonnades offering protection from the weather.

There are about three miles of shops, usually high-end chain stores.

and some not so high end.

After exploring Via XX Settembre we turned our attention to the palaces. In the late 16th century, the Genoese aristocracy implemented a plan to transform the medieval city. A “New Streets” system was created to provide space for their sumptuous private palaces and mansions. In 1576 the Genoese Senate established a list of forty-two palaces that could be used as hospitality residences for notable guests from abroad, such as kings, princes, diplomats, or religious authorities. The list was updated over the years. These lists were called “rolli,” literally, “rolls.” All told, 162 palaces made the lists at least once. These palaces became a World Heritage Site in 2006. Today, the Rolli Palaces are a collective term referring to 42 of the most prominent palaces in the historic center of Genoa, situated predominantly along Via Garibaldi (formerly, Strada Nuova).

Our first stop was the Spinola Palace (Palazzo Giacomo Spinola “dei Marmi”). It was built for Giacomo Spinola between 1445 and 1450. Currently it is home to the Bank of Sardegna.

Next was Palazzo Ayrolo Negrone (Ayrolo Negrone Palace), one of the foremost Rolli Palaces of Genoa. The palace includes a building erected between 1560 and 1562 for Francesco De Ugarte, Spanish ambassador to the Republic of Genoa.

The most striking feature of the palace is a 17th-century gallery with vaults decorated with the images of Aeneas, a Trojan hero, by Giovanni Battista Carlone, commissioned by Aghostino Ayrolo. The brilliantly colored frescoes are lighted by large windows, and the balustrades bring out the effects of perspective. The story of the Trojan War is depicted here in three scenes.

Palazzo Angelo Giovanni Spinola (Angelo Giovanni Spinola Palace)  was one of the original 163 Palazzi dei Rolli of Genoa established in 1576. Today it belongs to Deutsche Bank, with limited access to the public

Palazzo Lomellino (Lomellino Palace) was built between 1559 and 1565,

The façade, designed by il Bergamasco, is enlivened by a rich stucco decoration, with winged female herms supporting the string course on the ground floor;

and ribbons and drapes holding trophies of arms on the second floor.

Over the door and on the ceiling of the entryway are medallions with classical figures.

The oldest pictorial work in the building is the cycle of frescoes created in 1623-1624

Palazzo Bianco (White Palace) got its name for the plain color of its facade. It was built between 1530 and 1540 for diplomat Luca Grimaldi, who was from a prominent Genoese family. 

And finally, the Palazzo Doria-Tursi is by far the most impressive and important building on Via Garibaldi. Since 1848 it has been the seat of the Genoa City Hall. The palace was built starting in 1565 by  Domenico and Giovanni Ponsello for Niccolò Grimaldi (1524-1593).

As a culmination of the residential splendor of the Genoese aristocracy, the palace boasts an unprecedented and ingenious architectural solution – the succession of interior spaces: atrium, staircase, rectangular courtyard raised above the portico and double ramp staircase, creating a wonderful play of lights and perspectives.

There were more castles to see, but we had grown weary and decided to head back for a break. Along the way we made several observations. In areas of high tourism and/or UNESCO protection, some of the architectural features are painted on to give visual uniformity to the street.

while the neighboring window may have actual wood frames.

Also, we had wondered if this very catholic country celebrated Halloween at all; the indication of this bookstore is a resounding Yes.

On the way back we passed a bakery and bought two Ligurian treats to try at a later time: baci (kiss) cookies, so called because the chocolate ganache sandwiched between the two layers of hazelnut cookies look like lips.

and pandolce, a sweet Italian Christmas bread from Genoa consisting of flour, sugar, butter, milk, raisins, candied orange rind, eggs, lemon juice, and pine nuts. It is sold wrapped as a gift. It tasted mostly like Irish soda bread but a little sweeter.

As one may be able to discern from this reading, Genoa was not our favorite city. We are not maritime buffs, and overall except for the areas with the shopping and the palaces, it is a bit of a dirty, run-down city. But the main reason to visit Genoa is for the food. Ligurian culture has produced many food favorites, the most well known is probably foccacia, but also pesto. So when in Genoa… that night for dinner we ordered two of the most famous Ligurian dishes: trofie pesto and minestrone soup.

An iconic dish of the Ligurian tradition is trofie pasta with Genoese pesto sauce. It is thought that this specific type of pasta (short and twisted) comes from Sori in the province of Genoa. The Pesto is made with P.D.O. Genoveses basil (from here, and the least minty of all the basils), local Extra Virgin Olive Oil (preferably using local Taggiasca olives), pine nuts, garlic, pecorino and parmesan cheese. The typical  version of the dish includes green beans and potatoes. 

Minestrone was born as a home dish, a dish for daily dinners sitting with family at the kitchen table. And in fact there is no precise recipe , because in minestrone they put seasonal vegetables, those that were available, and because each family had its own habits and tastes. In general, in spring minestrone was more varied and was enriched with basil pesto. In winter, when basil was not available, the few seasonal vegetables were seasoned, at the end of cooking, with a soffritto of onion and parsley. Overall, it is very different than what we call minestrone in the states.

I will add here that my favorite component of every Italian menu is at the back where there is a code for every ingredient for people with food allergies or aversions. Each item on the menu has any corresponding numbers added. Some restaurants also include whether any of the ingredients had been previously frozen.

We were then on to Cinque Terre, also in the Ligurian region, so more opportunity to try new intriguing dishes. Again our travel day was one of rain. We arrived in Monterosso al Mare too early for our AirBnB check in, so we had lunch then a stroll to the beach on a very gray day.

We explored the town a bit which is separated into 2 parts via a tunnel. We were to stay in the “old town,” at the center of which is a church, of course. San Giovanni Batista dates from the 13th century. The façade is of both white marble and serpentine which is typical of churches built in the Ligurian Gothic style. The rose window is composed of 18 small columns as its radii.

The church required significant renovations after the 2011 flood.

In the same square is a second religious edifice: the oratory of the Neri Brotherhood built in the 17th century.

On the façade is the Latin inscription: mortis et orationis which means death and prayer. The brotherhood was devoted to prayer and to helping the needy that could not afford a burial.

We were met by our host who showed us up the many, many flights of stairs to our apartment. But the climb was worth it. We not only had a really lovely apartment, but we had a rooftop terrace with an amazing view!

After a grocery shop we settled in for the night hoping the morning would bring sunshine, which to our relief it did. Based on the advise of our host, we bought the 5 towns unlimited train pass to explore all of Cinque Terre over the next few days. First we ventured past the tunnel and wandered into Monterosso al Mare’s “new town.”

First we climbed the hill and were treated to views.

and a statue of St. Frances.

and this little pieta tucked into an alcove.

We then headed down toward the beach and stopped for a typical Ligurian lunch: a focaccia sandwhich.

Then we strolled the promenade to the Gigante (the Giant), a 46 foot high statue of Neptune. The giant was sculpted of both rock and reinforced concrete in 1910.

It originally held upon its head a humongous seashell that was the terrace for the luxurious Villa Pastine, but it was destroyed by allied bombs during WWII.

Looking back at Monterosso al Mare, we noticed the terraces for which it is famous. The terracing system has been in place since around 1000 AD to stabilize the land for farming. .  The stones are local sandstone. Over the years over 4,000 miles of mureti (walls) have been built. The most common current crops are grapes for the local wines and lemons for the local limoncini, and, of course, olives.

Next we hopped on a train and decided to get off in the very next town: Vernazza. With Monterossa, Vernazza is the oldest of the Cinque Terre towns, first mentioned in 1080.

The town was packed with tourists and had restaurants literally everywhere.

We headed over to the marina

On the way back through town we stopped by the local church: the church of Santa Margherita d’Antiochia. It was built in the 13th century in the Gothic-Ligurian style on a pre-existing Romanesque building using serpentinite, a local green stone. Mentioned for the first time in 1318, it stands on a rock overlooking the sea.

The interior is a bit dark.

The walls are decorated with wooden plaques denoting the stages of the cross.

And the view out the window is magnificent.

Next we hopped back on the train and we headed to Manarola. The ancient townspeople of Manarola descended the hills from the hamlet of Volastra, which they abandoned for the seaside during the 14th century plague. Upon arriving to Manarola by train, we were greeted by a plaque of the Cinque Terre National Park.

and a little statue.

Here we also saw our first hint of Christmas decor.

Again the streets were packed with tourists.

There was not much of a beach, but that did not stop some brave bathers.

We hiked out along the coastal promenade for a view back towards Manarola.

Also from that vantage point we could see the town of Corniglia up on the top of the hill.

Also from this vantage point we could see the ferry that carries passengers from one Cinque Terre town to another.

There was a market set up in one of the main squares.

We rode the train back to Monterrosa for a stroll on the beach.

We enjoyed one of our many delicious seafood dinners that evening which included a new one for us: deep fried stuffed sardines.

Next morning we ventured back through the tunnel to the train station, this time first to Corniglia, which is the only of the five Cinque Terre towns that is not by the sea.

After arriving by train, we waited for the bus to transport us up the long and winding roads. Despite it being October, the wait was a bit long and hot in the sun, and the town a bit underwhelming, basically one cramped street.

Although I do love this little Ligurian motto:

The church at the top was tiny.

From above the church is a view of Manorola.

We chose a restaurant with a view for our lunch

and enjoyed fried calamari and zucchini, another typical Ligurian dish.

Rather than wait in the hot sun for the bus back down the hill, we braved the steps, of which there were a lot.

Next we rode the train to Riomaggiore, named for the “big river” that flows beneath the town. Upon arrival by train, one must pass through a tunnel which has been decorated with mosaics by artist Sylvio Benedetto.

From there we entered the town of Riomaggiore.

We climbed up the hill on the side of town to the church above: Oratorio di Santa Maria Assunta, a place now used for the town’s elderly to gather.

Further up the hill was the Church of San Giovanni Battista of Riomaggiore built in 1340, but the façade was restored in the 19th century.

Inside are many chapels like this one devoted to Madonna.

And still further up the hill overlooking the town is a castle built for its defense in 1260. Today the castle is part of the parks department and is used for meetings and ceremonies.

All along the path up to the castle were large plantings of succulents.

From the top we had a view looking down on the town of Riomaggiore, a little less colorful than some of the other Cinque Terre towns..

From here there was also a view of the train which runs through many tunnels connecting the towns of Cinque Terre.

We took a different route back down and found ourselves on Lover’s Lane, which is a path that connects Riomagiorre and Manarola. Its name was coined by journalist Paolo Monelli inspired by the fact that the path was used by lovers from the two towns to meet during WWII before the rail line was built.

And finally we made our way down and out to the marina.

Then it was back to Monterosso al Mare and another walk along the promenade.

and another gorgeous sunset from our rooftop terrace.