Pope Benedict XVI in Venice - Blast from the Past

Photo: Comune di Venezia on Facebook

(Venice, Italy) With Pope Benedict's resignation stunning the world, and as whispers of scandal surrounding the Vatican abound, it made me remember how much joy and goodwill the Pope actually generated when he was here in Venice back in May 2011. Enormous crowds of people arrived from all over the world to see Papa, a cornucopia of languages enlivened Piazza San Marco, and the feeling was one of community and friendship. IT WAS SO COOL. I wrote about it here:

Papa is Here! Pope Benedict in Venice

Catholicism permeates the Italian spirit, and Venice and Venetians have their own unique way of expressing their faith. For myself, I was raised as a Catholic on my mother's side, and an agnostic on my father's side, a combination of faith and rationalism.

Photo:  Comune di Venezia on Facebook

Carl Jung wrote in The Undiscovered Self:

"In order to free the fiction of the sovereign State -- in other words, the whims of those who manipulate it -- from every wholesome restriction, all socio-political movements tending in this direction invariably try to cut the ground from under the religions. For, in order to turn the individual into a function of the State, his dependence on anything beside the State must be taken from him. But religion means dependence on and submission to the irrational facts of experience. These do not refer directly to social and physical conditions; they concern far more the individual's psychic attitude.

Photo: Comune di Venezia on Facebook

But it is possible to have an attitude to the external conditions of life only when there is a point of reference outside them. The religions give, or claim to give, such a standpoint, thereby enabling the individual to exercise his judgment and his power of decision. They build up a reserve, as it were, against the obvious and inevitable force of circumstances to which everyone is exposed who lives only in the outer world and has no other ground under his feet except the pavement. If statistical reality is the only reality, then it is the sole authority. There is then only one condition, and since no contrary condition exists, judgment and decision are not only superfluous but impossible. Then the individual is bound to be a function of statistics and hence a function of the State or whatever the abstract principle of order may be called."

Of course, scandal at the Vatican is nothing new; it has been going for centuries. In 1983, Richard Condon (The Manchurian Candidate, Prizzi's Honor) published a historical novel entitled A Trembling Upon Rome, which reaches back 600 years, about the exploits of Baldassarre Cossa (1370-1418), who started life as a pirate and, backed by the Medici, ended up as the first Pope John XXIII. Once Pope, Cossa made the Medici Bank the bank of the papacy. The logline for A Trembling Upon Rome at Google books reads: "Elevated to the papacy and involved with two remarkable mistresses, Baldassare Cossa--lawyer, soldier, and prelate--becomes embroiled in the political intrigue, financial machinations, and violence of late medieval Italy."

Personally, I find comfort in the fact that I can duck into an ancient church in Venice whenever the mood strikes me and surround myself with the mysterious and the unseen. The icons, the altars, the structure of the buildings themselves all awaken what Carl Jung called "the undiscovered self." 

Basilic of San Marco

 Carl Jung again:

"The statistical method shows the facts in the light of the ideal average but does not give us a picture of their empirical reality. While reflecting an indisputable aspect of reality, it can falsify the actual truth in a most misleading way. This is particularly true of theories which are based on statistics. The distinctive thing about real facts, however, is their individuality. Not to put too fine a point on it, one could say that the real picture consists of nothing but exceptions to the rule, and that, in consequence, absolute reality has predominantly the character of irregularity."

Conversion of Mary Magdalene by Paolo Veronese (1547)

No matter how scandalous the outer workings of the Vatican are, I can always feel the spirits of the Christ and the Madonna in the ether -- the foundation upon which the Church was built -- and recover my inner spirit. And, after everything, isn't that what it's all about?

UPDATE: February 27, 2013 - the original post ended there. I have since found another remark by Carl Jung that seems appropos:

...it should not be forgotten that, unlike other religions, Christianity holds at its core a symbol which has for its content the individual way of life of a man, the Son of Man, and that it even regards this individuation process as the incarnation and revelation of God himself.

Ciao from Venezia,
Cat
Venetian Cat - The Venice Blog 

Venice Carnevale 2013 - The Magic Continues

Youth of Dagestan Dancing Group

(Venice, Italy) Thanks to a cultural exchange between the Russian Republic of Dagestan and Venice, the dancing group the "Youth of Dagestan" is here during Carnevale, performing their passionate dances on stage at Piazza San Marco. 

From the Carnival of Venice official site, slightly edited:

On the southern edge of Russia lies a wonderful mountain village - Dagestan - indeed, the Mount of languages, the ancients said. The people here speak over thirty different languages​​. However, all the ethnic groups have lived and worked in peace for centuries. Since ancient times Dagestan has been famous for its handicrafts. The art of the masters and popular culture are transmitted from generation to generation, with poems, songs and dances.
 

Their national dance lezghinka -- impetuous, fiery, fervent -- does not leave anybody indifferent. The performances of the dancing group "Youth of Dagestan" is a testament to the originality of the multicultural society of Dagestan. The group was formed in 1978 by the Ministry of Culture of the Republic of Dagestan. Over the years the group has developed into a collective of skilled dancers. 
 
The group has achieved a broad consensus of the public in 32 countries and has won the International Festival of Folklore on several occasions. Today, the complex State dance of the people of the Caucasus is performed by "Youth of Dagestan," a group of high-level professionals who are always looking for new forms of artistic expression and are ready to reach new levels!

It's peaceful here in Venice, with throngs of people wandering through town, some dressed in elaborate costumes, some not, some wearing masks, some not, and others getting designs painted on their faces. 

Here are some images I captured today.

 From a Venetian Cat - The Venice Blog post entitled, Venetian Masks:

As far back as the 11th century, the mattaccino costume was worn by mischievous young men, who, dressed as clowns, would bombard noblewomen with eggs filled with rosewater, inspiring the first official documentation regarding masks: a 1268 law prohibiting the throwing of eggs while disguised. The Venetian government apparently gave up trying to enforce it, however, and resorted to putting up nets along the Procuratie in St. Mark's Square to protect the ladies and their rich clothing. 

Mask-making in Venice can be documented back to the 13th century, though it probably existed much earlier. On April 10, 1436, the ancient profession of mascareri was founded under the jurisdiction of the Painter's Guild. Over the years, masks were used for a variety of reasons -- in the government, the theater, and as a means of disguise. Masks provided the Venetians a degree of anonymity.
 
The wearing of a mask put everyone on the same level: rich and poor, nobleman and citizen, beautiful and ordinary, old and young. It permitted confidences to be exchanged anonymously -- everything from accusations before State Inquisitors, to a potpourri of sexual indiscretions. Prostitutes practiced their trade without fear of retribution; homosexuals hid their illicit lifestyle. In 1458, it was decreed that men were forbidden to dress up as women and enter convents to commit indecent acts.

Not all masks were used for indelicacies, however. The bauta was worn by both men and women, and was not considered a costume but a form of dress -- required wearing if a woman wanted to go to the theater. Il medico della peste had a long beak-like nose stuffed with disinfectants, and, as its name implies, was used to protect doctors from the plague.
 
Another ingredient in this colorful mix was the Italian theater, Commedia dell'arte. In the 18th century, the renowned Venetian playwright, Carlo Goldoni, brought theatrical masks to the forefront. Pantalone, Harlequin, Colombina and Pulcinella were among the many masks that found their way into the Carnival.
 
Over the years, Carnival festivities grew more decadent until it evolved into a 250-day event of non-stop parties, gambling and dancing. Social and class distinctions were flipped on their heads, with servants dressing up as masters and vice versa. It was difficult to distinguish a housewife wearing a traditional mask, cape, hood and three corner hat from a nobleman dressed in the same outfit, allowing both to move freely though the city without fear of recognition. ...

 

Over in Campo Sant' Angelo there is the Carneval Altro - Facciamo la Festa all'Austerity, or the "Other Carnival - Let's Celebrate Austerity," where students flood in from all over the region and dance the night away, and where the anti-cruise ship folks, Comitato No Grandi Navi, have set up a base. Dogs play frisbee while gyros sizzle in the background, and the sweet smell of crepes cooking perfumes the air.

There is something for everybody at this year's Carnival, and everyone seems to be having a good time. The thing that always amazes me about the Carnival in Venice is how polite people are despite sometimes being caught in a pedestrian traffic jam. There is a feeling of goodwill permeating the air, and the city feels alive and warm. Let's hope it is a sign of more good things to come!

Ciao from Venezia,
Cat
Venetian Cat - The Venice Blog

It's Carnival! Venice 2013

Photo: Carnival of Venice Official Site

(Venice, Italy) As the bells in Saint Mark's Campanile struck noon, "Angel" Marta Finotto took flight and floated boldly into the throng of 70,000 packed into Piazza San Marco to watch the Volo dell'Angelo. Marta was costumed as Columbina, a stock character in the commedia dell'arte, and flew with pizzazz, stricking glamorous poses on her descent. According to a new tradition, the winner of the previous year's Festa delle Marie, an ancient Venetian beauty contest, is the Angel who kicks off Carnevale the next year. The Festa delle Marie was supposed to be held yesterday, but it got rained out -- it poured all day long -- but today is beautiful and sunny, and things are back on track.

Photo: Carnevale di Venezia official site

I've written about this festival before:

OTTOCENTO - From Senso to Sissi - The City of Women - Venice Carnival 2011

La Festa delle Marie originated from a pirate raid in 943 a.d., according to Venetian legend. In ancient times, Venetians married on only one day each year. A water procession from the Arsenale on the canal “delle Vergini” started the festivities. All the brides-to-be were rowed across the lagoon in decorated boats brimming with dowries, while their future husbands waited at the Church of San Nicolò at the Lido.

Photo: Carnival of Venice official site

That year, pirates raided the procession, kidnapping the brides and the booty. An enraged Venetian rescue party executed the pirates and brought the brides back to the ceremony.
To commemorate the victory in the past, every year twelve patriarchal families would present twelve virtuous young women from poor Venetian families with a dowry, and the designation “le Marie,” or “The Marys.”

Bruno Tosi

The biggest thing missing from Carnival this year is the presence of Bruno Tosi, the King of the Festa delle Marie and Maria Callas expert. Sadly, Bruno Tosi passed away on September 13, 2012. But I think I saw him flying next to Marta Finotti -- except he did not use a cable, he used his own wings! Click to read the Bruno Tosi obituary entitled Una vita come un'opera (A Life Like an Opera) at the Corriere del Veneto (in Italian).

The theme of this year's Carnival is Live in Color, a Carnevale dedicated to color itself. "The Carnival of colors, the colors of Carnival: this is the theme of Venice Carnival 2013. Venice is the only city in color before the invention of color itself: Canaletto, Guardi, Bellotto, Titian, Giorgione, Bellini, Veronese refined the art of perspective and color painting here in the lagoon. Under the theme of color are the many events of the rich calendar of Venice Carnival: the concerts in St. Mark's Square staged on the spectacular scenic structure of the Grand Theatre, each focusing on a strictly different color theme, the dances and historical performance in the squares, the aperitifs in music as well as all the entertainment for kids. 

Photo: Carnevale di Venezia official site

Click to go to the Carnevale di Venezia official site.

This year, during Carnevale, the Conservatorio di Musica Benedetto Marcello at Palazzo Pisani in Santa Stefano is putting on a special program called A Music Aperitif.  At 4:00pm on February 3, 4, 5, 6, 7, 9, 10, 11, 12, Venice's music academy is offering guided tours to Palazzo Pisani where you will be able to visit the interior of the magnificent palazzo. Then, at 5:30pm a series of concerts will be performed. After the concert, enjoy a drink of Prosecco and some typical Carnival pastries and cicchetti, traditional Venetian finger food. The price for that unique afternoon and evening is 15 euro, and all proceeds will be donated to the Conservatory of Music Benedetto Marcello of Venice.

Conservatorio Benedetto Marcello

Click to go to the Aperitivo in Musica .pdf file invitation.


This year is the 4th edition of La Biennale's Carnival for Kids, one of my absolute favorite things to do during Carnevale, even though I am a grown up:) The theme is Il Leon Musico, The Musical Lion. It's good old-fashioned creative fun for kids of all ages. I've written about it before:

Too Much Fun! 3rd Venice International Carnival for Kids

 

La Biennale Kid's Carnival

Here is the statement of Paolo Baratta, President of La Biennale di Venezia:

“Yet another step forward. The 4th International Kids’ Carnival becomes more articulated, more complex and more fun all at the same time. The Director of the Music Biennale Ivan Fedele will personally take charge to lead the children to meet The Musical Lion, to play with him, to experiment, to use colours, musical notes and sounds to build the most stimulating of experiences. We confirm our special attention to the younger generations and the importance we place in familiarity with the arts on the one hand, and creativity as dedicated play on the other. Carnival is an initiative that will harness the combined energy of many institutions and academies throughout the city: so far 110 schools have joined and we wish to express our gratitude to them all.”

This year promises to be even more exciting, so if you've got children, or if you are young at heart, head on down to Giardini and play!

Click to go to the La Biennale Carnival program.

Ciao from Venezia,

Cat

Venetian Cat - The Venice Blog

FUNDAMENTALS – the Venice Biennale 14th International Architecture Exhibition

China Central Television Headquarters, Beijing, by Rem Koolhaas & Ole Scheeren of OMA

(Venice, Italy) With the appointment of the dynamic Rem Koolhaas as curator, the Venice Biennale International Architecture Exhibition has dramatically changed its modus operandi as it looks forward to 2014. Originally created as an "imitation" of the Art Biennale, the Architecture section of Biennale is evolving into a major exhibition-research project conducted by the curator, and has become the most important event in the world for Architecture. The opening date has been moved up to June 7, 2014, and it will last as long as the Art Biennale, about six months, through November 23, 2014. Instead of the eight months that David Chipperfield, last year's director, had to prepare, Rem Koolhaas will have nearly a year and a half to organize his theme: FUNDAMENTALS. 

Paolo Baratta & Rem Koolhaas

President Paolo Baratta explained the evolution of the Architecture Biennale, and consequently the choice of Rem Koolhaas:

“We are universally recognized as the most important event in the world for Architecture. We are the place where Architecture talks about itself and meets life and society at large. Over the past few years, our choices of curators and themes have been based on the awareness of the gap between the “spectacularization” of architecture on one hand, and the waning capacity of society to express its demands and needs on the other. Architects are called upon prevalently to create awe-inspiring buildings and the “ordinary” is going astray -- toward banality if not squalor: a modernity lived badly. We have made choices oriented towards addressing the issue of this gap.”

Smithsonian (Tung Walsh)

In a September 2012 article for The Smithsonian, Nicolai Ouroussoff asked: Why is Rem Koolhaas the World's Most Controversial Architect?

"...Koolhaas’ habit of shaking up established conventions has made him one of the most influential architects of his generation. A disproportionate number of the profession’s rising stars, including Winy Maas of the Dutch firm MVRDV and Bjarke Ingels of the Copenhagen-based BIG, did stints in his office. Architects dig through his books looking for ideas; students all over the world emulate him. The attraction lies, in part, in his ability to keep us off balance. Unlike other architects of his stature, such as Frank Gehry or Zaha Hadid, who have continued to refine their singular aesthetic visions over long careers, Koolhaas works like a conceptual artist—able to draw on a seemingly endless reservoir of ideas."

Yesterday, January 25, 2013, President Paolo Baratta and Director Rem Koolhass met with the representatives of 40 countries participating in the 14th Exhibition at Ca' Giustinian, Biennale Headquarters, to present the theme: FUNDAMENTALS. Paolo Baratta emphasized: "It is a theme, not a slogan."  

Koolhaas has stated: 

“Fundamentals will be a Biennale about architecture, not architects. After several Biennales dedicated to the celebration of the contemporary, Fundamentals will focus on histories – on the inevitable elements of all architecture used by any architect, anywhere, anytime (the door, the floor, the ceiling etc.) and on the evolution of national architectures in the last 100 years. In three complementary manifestations – taking place in the Central Pavilion, the Arsenale, and the National Pavilions – this retrospective will generate a fresh understanding of the richness of architecture’s fundamental repertoire, apparently so exhausted today.
 

In 1914, it made sense to talk about a “Chinese” architecture, a “Swiss” architecture, an “Indian” architecture. One hundred years later, under the influence of wars, diverse political regimes, different states of development, national and international architectural movements, individual talents, friendships, random personal trajectories and technological developments, architectures that were once specific and local have become interchangeable and global. National identity has seemingly been sacrificed to modernity.

US WWI Poster for saving stamps

Having the decisive advantage of starting work a year earlier than the Biennale’s typical schedule, we hope to use this extra time to introduce a degree of coordination and coherence among the National Pavilions. Ideally, we would want the represented countries to engage a single theme – Absorbing Modernity: 1914-2014 – and to show, each in their own way, the process of the erasure of national characteristics in favour of the almost universal adoption of a single modern language in a single repertoire of typologies.

Italy WWI - Give money to victory, victory is peace Italian Bank Discount

The First World War – the beginning of modern globalization – serves a starting point for the range of narratives. The transition to what seems like a universal architectural language is a more complex process than we typically recognize, involving significant encounters between cultures, technical inventions and imperceptible ways of remaining “national.” In a time of ubiquitous google research and the flattening of cultural memory, it is crucial for the future of architecture to resurrect and expose these narratives.

Germany WWI - War Bonds help the guardians of your happiness

By telling the history of the last 100 years cumulatively, the exhibitions in the National Pavilions will generate a global overview of architecture’s evolution into a single, modern aesthetic, and at the same time uncover within globalization the survival of unique national features and mentalities that continue to exist and flourish even as international collaboration and exchange intensify…

WWI France - So that your children will no longer know the horrors of the war, subscribe to the National Loan

During the press conference, Koolhaas elaborated on the theme. He said he wanted each country to start with World War I and work forward to 2014 and examine what impact history and events had upon architecture, and how we have arrived at the state of globalized architecture we have today. 1914 was not just the beginning of World War I, it was also about the time that Louie Armstrong came on the scene and when Marcel Duchamp started creating his "readymade" art. Each country in the world has been wrestling with globalization in their own way. We used to have Swiss architecture, Italian architecture, Indian architecture. We used to have a majestic ceiling at the Sistine Chapel created by Michelangelo, and now we just have a ceiling. We used to have different types of doors; now we more or less have the same stuff, a boring, contemporary door. What happened? 

Second Stage Theatre, NYC

Koolhaas worked as a journalist and screenwriter before beginning architecture, and someone asked him whether he considered himself an architect, an historian or a sociologist. He said "I'm an amateur in many different professions, but I consider myself a professional writer. This allows me to talk about everything." I loved that answer because it is truly one of the beautiful things about being a writer -- you can be interested in a cornucopia of different topics, and it's okay.

Interior Seattle Public Library

Someone asked about the presence of the "star system" --  the so-called "starchitects," an elite club of top architects of which Rem Koolhaas is certainly a member. Koolhaas said that "we did not choose that term," and it was imposed upon them by lazy journalists. He said that it implies an architect that doesn't care, does whatever he wants and takes the money. He said "we are not like that," and that the top architects are more sincere and care deeply about what they do.

Another person asked about the word "nationalism," and did it make sense to emphasize different nations at  the Architecture Exhibition. Koolhaas said that the word "national" made sense because it is the way we are organized in the way of space. We all have our own national perspective, and it is interesting how different the reading of the same phenomenon can be. He elaborated by comparing it to "mentality," and how each of our mentalities have been deeply formed by our own individual cultures.

Personally, I think the theme is an exciting one, and the idea of the Venice Architecture Exhibition evolving into a research project will be of enormous benefit to the planet. How different do the years 1914 to 2014 look from the point of view of the United States as compared to Italy? Or Germany? Or China? Or Russia? Or France? Or Argentina? How did we arrive to the point of globalization where we are today? Koolhaas said that earlier in the day the representative from Romania said that Romania was not a modern country. Koolhaas said, "You have light bulbs, don't you? That makes you modern."

And yes, Rem Koolhass is totally cool.  

From Wikipedia:

Prada, Beverly Hills

Remment Lucas "Rem" Koolhaas (born 17 November 1944) is a Dutch architect, architectural theorist, urbanist and Professor in Practice of Architecture and Urban Design at the Graduate School of Design at Harvard University. Koolhaas studied at the Architectural Association School of Architecture in London and at Cornell University in Ithaca, New York. Koolhaas is the founding partner of OMA, and of its research-oriented counterpart AMO, currently based in Rotterdam, Netherlands. In 2005 he co-founded Volume Magazine together with Mark Wigley and Ole Bouman.
In 2000 Rem Koolhaas won the Pritzker Prize. In 2008 Time put him in their top 100 of The World's Most Influential People.

Ciao from Venezia,
Cat
Venetian Cat - The Venice Blog

Treasures of Venice - Authentic Murano Glass

Ca' Pisani Mirror by Fratelli Tosi

(Venice, Italy) Murano glass is a work of art, appreciated by the civilized world for nearly a millennium. Throughout the centuries, everyone from the global elite to regular folk has enriched their homes and enhanced their appearance with handcrafted Murano glass.

Now, www.yourmurano.com has gathered sixteen of the most prestigious companies together and created the only e-commerce site authorized and certified by Promovetro, the Consortium of glass producers on the island of Murano in Venice, to sell products with the "Vetro Artistico® Murano" trademark. All great creations have many imitations. This trademark guarantees that you are purchasing an authentic piece of handcrafted Murano glass from Venice itself.

Classic Cubes Necklace by Ercole Moretti

The enigmatic island of Murano is just a five minute vaporetto ride from the center of Venice, yet it is mysterious enough even to Venetians. Remnants from the past can still be felt today, something that makes Murano glass unique. The art of blowing glass is often passed from generation to generation, who are closed-mouthed about the family secrets. Like the Montagues and the Capulets, feuds rage between families, or even between different branches of the same family itself. Techniques are carefully guarded, and competition is fierce, creating an environment that produces unique items of excellence. The Venetian glass industry is of such importance that, in the past, a glassblower who revealed his secrets would be punished, fined and ostracized from the community.

Goto Kaia Drinking Glass Set by Dipi

Because of the enormous amount of heat generated by the furnaces and concerns about fire, Venetian glass blowing was moved from Venice proper to the smaller island of Murano in 1291, where many of the factories are still located today. To keep the glass masters loyal and content, the Doge of Venice bestowed many privileges upon them, and they soon became Murano's most prominent citizens. The Muranesi had their own "Golden Book" which listed the most important families, creating dynasties that still exist informally today, long after the fall of the Republic in 1797 during the Napoleonic conquest. Cloistering the glassmakers on an island, making them take a vow of secrecy, and turning them into aristocrats, practically guaranteed the Venetians a monopoly on the glass-blowing industry.

Diamond Perfume Bottle by Alessandro Mandruzzato

The art of glass making dates back to ancient times, to 3500BC in Mesopotamia. Blowing the glass is a "newer" concept, about 2,000 years old. The earliest written record of glass blowing in Venice dates back to 982AD, although pieces of glass have been found on the nearby island of Torcello that originate two centuries earlier. Throughout the centuries, the coveted information of what ingredients to mix together and in what quantities has been lost and rediscovered.

Schumann Chandelier by Formia International

At the glass museum on Murano, visitors can learn about the evolution of local glass. The main element is silica, most commonly found in sand or quartz. The ancient Venetians dredged their silica out of the Ticino River in the form of pebbles, which were then crushed. Silica becomes liquid at high temperatures. Other elements such as arsenic to eliminate bubbles are added to the mix, which, when cooled, becomes glass. Today, the process of glass blowing on Murano remains much the same as centuries ago except the furnaces are heated by natural gas, not wood, and the ingredients come from different localities. The tools themselves used by the glass blowers date back to the Middle Ages.

Medusa Vase by Simone Cenedese

The word fabbrica translates to "factory" in English, which conjures up the image of enormous assembly lines. However, an Italian fabbrica is often an intimate workplace, with only a few employees not capable of producing mass quantities of goods. Government controls on the glass blowing industry are rigorous and costly, taxes are high, and the price of the top-quality ingredients is steep. So if you happen upon a piece of "Murano glass" for a bargain price, chances are that it is an imitation, and not the authentic craftsmanship that is guaranteed by www.yourmurano.com.

Whether you are looking for an impressive gift, or to add a touch of Venice to your home, or a dazzling accessory to enhance your wardrobe, Murano glass is an investment that will retain or increase its value over time. In a rapidly changing world where so much is fleeting, Murano glass is a solid object of beauty created by human hands with knowledge that has been passed down throughout the centuries.

Canaletto Goblet by Seguso Gianni

Ciao from Venezia,
Cat
Venetian Cat - The Venice Blog

Treasures of Venice - Authentic Murano Glass is a sponsored post by www.yourmurano.com

Magicians and Witches in Venice - Epiphany 2013

Magi bear gifts to an infant Jesus in one of the earliest known depictions. 3rd Century Sarcophagus, Vatican Museums, Rome, Italy

(Venice, Italy) The Three Wise Men star in nativity scenes all over the world at Christmas, and are remembered in song, such as We Three Kings of Orient Are. In fact, many unusual characters appear during Christmas time around different parts of the globe, which is what happens when you lay a new religion over existing celebrations. How Santa Claus and his reindeer bringing gifts got tangled up with the birth of Jesus Christ, the Son of God, is a question that has been examined by scholars and historians for centuries.

Befana in Rome

Here in Italy, there is another element that has been added to the mix, and that is La Befana, who is a witch, complete with broomstick. Like Santa, she gives gifts to good children, and coal to naughty ones. Here is one version of how La Befana met the Three Wise Men, or the Magi, or the Magicians.

From Wikipedia:

Christian legend had it that Befana was approached by the biblical magi, also known as the Three Wise Men (or the three kings) a few days before the birth of the Infant Jesus. They asked for directions to where the Son of God was, as they had seen his star in the sky, but she did not know. She provided them with shelter for a night, as she was considered the best housekeeper in the village, with the most pleasant home.

The magi invited her to join them on the journey to find the baby Jesus, but she declined, stating she was too busy with her housework. Later, La Befana had a change of heart, and tried to search out the astrologers and Jesus. That night she was not able to find them, so to this day, La Befana is searching for the little baby. She leaves all the good children toys and candy (“caramelle”) or fruit, while the bad children get coal (“carbone”), onions or garlic.^[3]

And here in Venice, the holiday has added a watery element that I have written about many times before, starting back in 2009:

Befana Regata and Epiphany

Befana Regata and Epiphany

The Epiphany, or the Twelfth Day of Christmas, on January 6th is a national holiday in Italy. It is also the day of the La Befana, a witch who hands out candy and gifts for good children, and coal for bad children, similar to Santa Claus.

In Venice, the holiday has morphed into something truly unique. During the Regata delle Befane, male Venetian rowers dress in drag as female witches, and have a little regata, or race. 

Click to continue reading.

It's strange, isn't it, that for more than two thousand years we still celebrate the birth of the controversial figure named Jesus Christ, a being who gave this planet a message of compassion, love, hope and redemption.

Noli me tangere - Titian 1514

 Blessed are they who hunger and thirst for righteousness: for they will be satisfied. Matthew 5:10

Here is an interesting article by Matt Kettman from the December 20, 2012 Santa Barbara Independent entitled Christ the Activist regarding "Jean-Pierre Isbouts, a professor at Santa Barbara’s Fielding Graduate University whose new tome, In the Footsteps of Jesus: A Chronicle of His Life and the Origins of Christianity, was released last month by National Geographic Books."

Sermon on the Mount by Henrik Olrik

"Drawing on an extensive collection of multidisciplinary research, from ancient histories to biblical archeology to Greco-Roman economics, Isbouts paints a vivid portrait of the world as Jesus knew it, so scene-setting that Jesus doesn’t even appear as a topic until more than 100 pages into the 300-page book.

Among other theories, Isbouts posits that Jesus was born near Nazareth, not Bethlehem; that he was a construction worker who toiled on new Roman cities rather than a carpenter; that he valued women as equal to men; and, perhaps most critically, that his ministry was as much about political and social activism as it was about religious belief.

And in that latter discovery, that Jesus’s role was about bringing economic freedom and everyday justice to a land deeply divided between the rich and the poor, there’s much for our contemporary world to learn in this Christmas season, even lapsed Catholics like me."

Happy Epiphany!

Ciao from Venice,

Cat

Venetian Cat - The Venice Blog