If travel writing is all about storytelling, then I’m in big trouble
As a Midwesterner and an aspiring travel writer visiting the Big Apple over spring break, I wanted to use a trip to New York City to build my portfolio. Sounds easy enough, right?
However, good travel writing is all about storytelling, or so the big-time travel bloggers tell me. And in order to tell a story, one must fully immerse oneself in a new culture. One must talk with the natives, learn the local customs, and ask the hard questions. Y’know, the questions that reveal fresh cultural perspectives and which way is north.
Watch out world, my travel storytelling is gonna take off any minute based on the slew of revelatory conversations I generated with New Yorkers by asking them these five riveting questions:
Number 1: Where am I?
I asked this question of a 60-something man standing against a concrete column at LaGuardia Airport. I was trying to find the pick-up spot for the Uber I had reserved. “D Terminal. The lower,” he informed me before shifting his feet and looking away.
See what I mean? There’s good fodder for a story.
Number 2: How do we get to the ferry?
The 20-something construction worker rose from the barrel he was leaning against and walked toward us. I think I had interrupted the break he had been taking at the far west end of Huron Street in Greenpoint. He pointed one block down, toward India Street, just south of where we stood. “Go through all the construction, keep to the right, and you’ll get there,” he offered.
Can’t wait to build a ten-minute read off that one, I told myself.
Number 3: Why do you think I need a fork?
Just as I uttered this profound query, a rice noodle slinked off my chopsticks, splashing a drop of broth onto my glasses. The young waiter at Lao Ma Spicy in Greenwich Village had just walked by our table and offered me an alternative utensil. Apparently, I seemed to be struggling.
I mulled over his offer. My stomach rumbled. “Yes, that would be fine,” I said. I set down my chopsticks, blotted my glasses with the corner of my napkin, and waited for a fork to appear.
A travel tale for the ages, folks.
Number 4: Is this train headed south?
When I asked this head-scratcher, I had just become separated from my daughter as we headed back to our flat one evening. She had boarded the train; I missed it. Man, those doors move fast. So I hopped on another train on the opposite side of the platform. After finding a seat, I wanted to verify that I was indeed on the right bullet to Brooklyn. I asked an Orthodox Jewish man next to me; he looked up from his scriptures and confirmed that yes, the G train would take me south.
A novel will come from that encounter. I just know it.
Number 5: How do we get out of here?
After wandering around the subway maze that exists below Times Square, I posed this question to a man striding by in a navy blue uniform. He looked to the ceiling, waved his finger back and forth as if tracing some imaginary constellation and replied, pointing off in the distance, “Take that train to Court Square.”
Yet another meaningful exchange.
All right, maybe my conversations weren’t the kind to evoke rich and meaningful dialogues upon which to build fascinating tales of travel and intrigue. Oh, well. Maybe next time I’ll be able to focus on the people and places I’m experiencing instead of merely focusing on how to navigate public transit.
So, thank you, New Yorkers, for exploring my existential wanderings on street corners and in subway stations, and for not ducking away too quickly when you realized that I was just another tourist, confused, bewildered, and amazed at the city you know and love so well.
My daughter and I visited NYC for a week in mid-March. We asked questions when we needed to, just not ones that will give my travel writing the shot in the arm that it needs. It was a great trip, nevertheless. Feel free to leave a comment or follow my blog for more. And thanks for reading!
The NYC subway’s newest mosaic stunner: Funktional Vibrations
You’re a lost cause.
When you push against the turnstile to exit the subway at 34th St.-Hudson Yards in New York, you can’t help it. The brilliant cobalt of Funktional Vibrations snags your attention and stops you in your tracks. That’s okay. In an hour or so, this last stop on the 7 line will be bustling and you’ll have to get out of the way. But for now, go ahead and gawk.
After all, you came all the way over here, one day before parts of the Hudson Yards complex even officially open, to see the latest and one of the largest additions to the public art collection of the Metropolitan Transportation Authority (MTA). Funktional Vibrations is a mammoth mosaic (2,788 square feet, according to artnet news) that fills the ceiling of the station’s mezzanine and then oozes outside onto the wall surfaces above escalators.
Created and designed by fiber artist Xenobia Bailey, Funktional Vibrations riots on a field of cobalt blue within its dome.
It’s colorful. Abstract. Lava lampy. Kaleidoscopic in color and pattern. And you notice there’s an Atlantic vinyl record, too, tucked into the design. (It’s the black dot on the left side of the photo below.)
To your eye, Funktional Vibrations pulsates with life. “Bailey sees the work as speaking to the universal idea of creation and has created artwork that vibrates with energy,” according to an MTA website article. “(Bailey) refers to her accumulation of materials as in the tradition of African-American art—reflected in the music of the 60’s she grew up with—and its material culture and design, where one made do with what was available and made it into something new and wonderful.”
So that explains the Atlantic record, you think… an earlier era’s musical relic retrofitted for contemporary times. It fits perfectly—seamlessly even—into the mandala-like charms and spheres that vibrate all shape-shifty and cloud-like across the glass mosaic cosmos.
Bailey, originally an ethnomusicologist (here’s what that means!), worked in costume design before transitioning to fibers, specifically crochet, as noted by Manhattan’s Museum of Arts and Design. She is known best for her colorful crocheted hats and mandala design. Funktional Vibrations evokes that aesthetic, which observes African, Native American, and 70’s funk motifs.
You learn later that Funktional Vibrations includes a total of three—not two—mosaic installations by Bailey. You vow to return another time to photograph the third. For now, you revel in the vibrancy, the touch of the human hand, and the simple rush of this subway stunner.
I went to New York City with my daughter for spring break. I’m still tripping out over the mosaics (and the tile work in general) that adorn the entire subway system. How did I not know about this underground art museum? Follow my blog for more posts on subway artworks.
What is it about edges that attract us? Why do we gladly stand, albeit timidly, at the precipice of a cliff? Why the compulsion to see the very last tip of land? When all that we know for sure is safely and surely behind us, why linger at the edge to gaze squinty-eyed at the breathless gap before us?
The Cape of Good Hope is the ultimate edge experience. It seduces with the wild, the open, the unknown.
The rugged outcropping holds what many believe to be South Africa’s southernmost grain of sand and its southernmost sun-bleached rocky beaches. (Actually, Cape Agulhas, 95 miles east, is the continent’s most southern point.) No matter. The Cape of Good Hope holds our fascination.
And because the edge is there, the people arrive. In cars and SUVs, pickups and taxis, they arrive and park along the asphalt road and near the Cape Point Visitors Centre.
They park, step out of their vehicles and walk south toward the vast emptiness. They walk single file along the road. They say “Excuse me” to others they pass who have already had their turn. They notice the hardy purple daisies—here, vegetation of South Africa’s Fynbos biome—that line the road.
They eye the ostriches grazing in the distance. They see the large kelpy swaths that flutter to shore and snag on the rocks and driftwood from unknown, faraway voyages. They stand on tip-toe in the cool gusts that stir and blend the merging waters of the Indian and Atlantic Oceans.
They smile, teary-eyed, into the blinding noonday sun for photos to mark this occasion. They know they will never return.
For many of us traveling from other continents, the pilgrimage is made to the Cape of Good Hope for the first and last time. We know this.
Tucked inside airliners that require eleven hours to traverse Africa, we envision our eventual walk on the beach at the Cape of Good Hope. We land at Cape Town, fit in a night’s sleep and make the 45-mile southerly drive to arrive at the inevitable, exotic edge.
We peer into the distance at the unknown, watery wilderness, teetering at the tip of South Africa. We stare at the seduction, we embrace the edge… and then we leave.
Finally, I’ve found a city I can trust myself with — Ravenna, Italy.
I didn’t mean to fall in love. I wasn’t looking for someone new. I had never even heard of Ravenna until I went to Italy.
But, Venice, I’m torn. In so many ways, Ravenna attracts me.
It’s untouristy. Affordable. Strangely familiar.
And yes, I’ll admit that although our relationship was brief and passionate, it has withstood the test of time, Venice. After all, I still long for your watery passageways and roaring, rushing boulevards. I fantasize over your shimmering lagoon and all those glossy gondolas slicing through the wakes of vaporettos, taxis, delivery boats.
But Ravenna, well… Ravenna is different. It grounds me. Located just three short hour away from you by train, its rugged stability thrills me in a comfortable, predictable way.
Finally, I’ve found a city I can trust myself with.
Ravenna is real. For one thing, there are cars. There are people looking right and left. There are horns blaring instead of gondoliers chanting gondullah gondullah gondullah.
In Ravenna, the sights are spectacular, seductive, strong, and silent. And a quick glance in any guidebook shows that my new love interest holds thirty more palazzo and churches from antiquity.
Frankly, Venice, I never thought I would say this, but I see a future in Ravenna, but not necessarily in you. I fear you’re too exotic for a long-term relationship.
After all, I’ve stood in St. Mark’s, your gold-drenched basilica. I’ve felt the reflections from the ceilings and walls warm first my cheek, my neck and then my shoulders as the afternoon sun dipped below the Adriatic. In fact, you’re so beautiful it terrifies me.
Knysna wanted to tell us a story, but there simply wasn’t time.
We were nearly ready to leave when the winds began howling at 34 South, the seafood eatery where we had dined on oysters, beef, beer, and cheesecake. Raindrops swiped against the plate glass windows. A gust of wind rocked the rafters. The bartender looked up from his pour. A squall blustered through Knysna, “the jewel of the Garden Route” in the Western Cape of South Africa.
Locking arms, my daughter and I left the restaurant and headed out, hunch-shouldered, toward our waiting minivan that had been rented for our two-week tour of South Africa’s Garden Route.
Pushed by violent gusts of wind, bistro chairs scooted across the wide concrete sidewalks of The Waterfront of Knysna Quays. One flipped and careened across our path. We shrieked. Maritime flags above us whipped and ripped in the straight-line winds.
We found our van and climbed inside, allowing the wind to heave the doors closed. Rain poured and pounded against the roof and windshield.
Our host headed back to Leisure Island, an idyllic residential suburb surrounded by an estuary. We crossed the causeway and looked forward to the warmth of our hotel, Cuningham’s Island Guesthouse, one of many quaint lodges nestled along the isle’s manicured avenues.
We climbed out of our minivan, splashing on the asphalt driveway. Lifting our jeans above our ankles, we bounded down the complex’s brick-lined paths through water four inches deep.
Once near our respective rooms, our party—my in-laws, husband, our daughter, son, and our professional hunter who had planned this portion of the journey as a prelude to an Eastern Cape safari—escaped the rain, retreating to our rooms without the customary pleasantries. On a calm night, we would have discussed the next day’s plans and determined a time to leave in the morning. However, not tonight.
The next morning we would breakfast on eggs, sausages, and tomatoes, and then emerge from the cocoon of Leisure Island.
We would travel the tidy streets of Knysna and notice the affluence of well-maintained homes surrounded by emerald green lawns.
Moments later, we would pass impoverished townships and notice women sorting through piles of clothing on dirt streets that stretched into the distance.
We would wonder at the disparity. We would question the two extremes.
We spent too little time in Knysna back in 2011. One night anywhere is never enough. This beautiful city wanted to tell us a story—but there simply wasn’t time.
The next evening, we would be in Tsitsikamma, further east on our Garden Route tour. The forecast called for more rain and blustery cold, common for the winter month of June.
I visited South Africa in 2012 and now wish I had written more then about my experiences there. This post is my first attempt to record some details of what I remember. Follow my blog for more stories from this trip.
The quiet rebellion of women who take pictures anyway
When you visit the island of Torcello in the Venetian lagoon, you observe a sign inside the basilica that forbids photography. Ugh, you think. But it’s so beautiful. Inside, the apse—a half-dome of sorts—is encrusted in gold mosaic. The Virgin Mary resides in its center, alone, regal, royal. It’s graphically arresting and elegant in its simplicity; it contrasts with the opposite wall, a riot of colors, shapes, lines… Biblical scenes of the Last Judgment.
The cathedral is exquisite. One simply must have pictures to remember. So you plan to purchase them in the form of postcards from the adjacent gift shop when you leave. Problem solved.
Why then, the click? Why then is that woman over there snapping away? Lost in thought, she roams the chapel, gazing at the art, studying the expressive scenes, recording her visit on her sleek 35mm Canon.
Your immediate thought: she must have special permission. She must be a researcher working on a project. You explain as much to your husband. No, he says, she’s just ignoring the sign. His nonchalance startles you. As if this is just what people do, and in this case, a woman.
Oh, you reply, secretly envying this woman’s quiet rebellion that allows her a certain freedom that you will never claim. Disobey a sign that clearly states no photos? You shake your head. It’s right there in 96-point Times New Roman even. You roll your eyes at her audacity. This disregard for convention and rules astounds you.
You wonder how much inevitable damage each click does to the Byzantine masterpieces. Over the decades, who knows? She could be causing irreparable harm, you think. This should go down on her permanent record, wherever those are.
You ask your husband about the inevitable damage. Probably doesn’t hurt the art at all, he explains, adding something he read reported most cameras have filters that limit or remove UV waves. Doesn’t damage a thing, he says.
Here I’ve been, you think, following all the rules all this time.
You continue to stare at this renegade designing her destiny, staking her claim with a few flashes that you still cannot bear to sneak on your measly iPhone. It’s true, you think, this woman has shown you to be the fool that you are.
She clicks another shot and checks the tiny screen. It must have been good, you think.
Her crimes finally and fully committed, the woman strides purposefully across the nave, stuffing her camera into a turquoise canvas tote bag. On the side of the bag is a design: two kitschy, feathery angel wings protruding from behind a shield. The design is cliché and you abhor that about things.
Thanks for reading! This is another story generated by a week-long trip to Italy I took in 2017. There are more stories on the way. Feel free to leave a comment and click follow for more.
When the security employee at the gate asked me to step aside, I remembered. My pocket knife. Oh no, my pocket knife, I thought, realizing I had left it earlier in the little cosmetic bag inside my purse. I had forgotten to check it with my luggage and now I was at the gate and my knife was going away.
The uniformed employee explained in her thick Venetian accent, “We must take this from you. If it’s you really need, you go downstairs, fill out the form, and it be sent to you.”
Standing there, I knew we wouldn’t have time to make those arrangements. And besides, it wasn’t a valuable possession. But then again, it was.
For twenty-five years, I had carried that pocket knife.
Back in 1990, I had chosen it from a mound of identical ones heaped in a small cardboard box next to a cash register in the sporting goods department at a Kmart in Topeka, Kansas. It had cost my boyfriend (now my husband) an entire dollar. It featured a steel blade, a wooden casing, and bronze hardware that over the years, had polished to a golden shine from being nestled in my purse for so long.
Similar to how candy bars are placed at checkout stands to captivate small children, that box of $1 knives held equal allure for the fishermen and hunters who visited that department. Not that I was one of them. We had gone to the store to use the restrooms tucked away behind the restaurant at the back of the store. As he waited on me, he spotted the knives and bought one for me.
“Keep it in your purse. It’ll come in handy,” he told me. He was right.
That little knife had been many places… all over Missouri and Kansas, Nashville, Asheville, several cities in Maine and Vermont, Columbus, Atlanta, Sarasota, Highland Park, Phoenix and other Arizona locals, multiple sights in the Los Angeles area, Oregon and Washington State, Cape Town and other South African cities, DC, New York City, Taos, Breckenridge, Crested Butte, Dallas, New Orleans. Over the years, we had journeyed across the country to attend annual family reunions, exhibit my husband’s ceramic art at festivals, and accompany him as he served artist residencies.
And now, its final destination would be Venice, Italy, where it would be left behind, a hindrance to a quick departure, discarded inside a gray plastic tub under the counter.
I regret leaving that silly little knife because it wasn’t just a pocket knife. It was a symbol of family life and motherhood and had been more often used for non-cutting tasks. That knife spread peanut butter on sandwiches many more times that it ever cut into a fish or snipped a cord on a tent or tarp. It was this mother’s indispensable tool. As such, it was always easy to locate.
My son and daughter both knew I carried a pocket knife and I passed it back to them at least once or twice on every road trip we took over the years. Need to break open a family-sized plastic bag of M&Ms? Get Mom’s knife. Opening a DVD? Get Mom’s knife. Got a stray thread hanging from your hem? Ask Mom to hand back her pocket knife.
Just prior to leaving Venice, as I buckled up inside the plane, regretting my decision to leave my knife, I recalled how six years earlier, I had flown from Johannesburg to Atlanta with a knife my son had purchased as a souvenir. Despite its massive four-inch blade, he had somehow forgotten to pack it in a checked bag. I offered to stow it inside my purse, warning him it would likely be confiscated at our first departure.
Nope. X-rays and inspections by hand never discovered it. Of course, that would happen to a brand new knife without any peanut butter experience. And of course, that knife has since been long forgotten, I might add.
As for my knife, I have since replaced it, but the blade on my new one is narrower and not quite as functional as the one left in Venice. I mean, you can spread peanut butter on a slice of bread if you really want to, but it’s the not the same as my Kmart special.
I’m one of those people who feels sorry for the last Christmas tree on the lot. So it’s no surprise that I’m still feeling nostalgic for my lost pocket knife… a year and a half later.
Somewhere in Italy, it’s languishing in a gray bin of confiscated sharp objects. Maybe it’s been recycled by now. Maybe it’s been donated to a charity. Hopefully, it’s performing some mother’s mundane tasks, making her life a little easier, and definitely more memorable.
Had an experience similar to mine? Like this post, follow my blog, and feel to leave a comment about any precious object that’s drifted out of your life. Thanks for reading!
Those spires. Those ledges. Those bluffs. Behemoths of weight and mass, rising from the high desert floor with quiet heft and bulk.
The space between them is as much a part of the experience as the monuments themselves. My perspective disintegrates. My awe overwhelms. There is no way to determine: how far is that from me? How much expanse between those mittens?
The valley appears surreal, other-worldly. The interior of a cave where the sky forms the walls.
I hear the purr of a single car traveling the dusty road, a red thread snaking in the distance. Other than that, nothing. Even the breeze is silent, its sound swallowed in the burnt sienna drapery of rocky canyon gowns.
The valley transforms me and I am small, insignificant, a dot of breath in the stillness.
We travelled to Monument Valley three years ago and I’m still thinking about it.
Click like if you enjoyed this piece and follow me for an occasional travel post. Also… I would love to hear about your own canyonland experiences. Feel free to comment!
How I found connection in the Basilica of San Vitale
Here’s a scenario: Your daughter requests sprinkles on the cupcakes you’re baking for her birthday party. However, pretend the shaker needed to sprinkle on the dotted decorations has not been invented yet, and the only way to get the sprinkles perfectly placed and evenly dispersed on the cupcakes is not by scattering them with your fingers, but by applying them one by one, with tweezers perhaps.
Adding sprinkles to the cupcakes now will take days, weeks or longer. The task will be one of intense devotion and labor, simply because of the time involved and the perseverance needed to complete it.
One by one, each tile is placed into the scene. One by one, each tile forms a bit more of the image. This will take twenty years at least. It’s a painstaking process and creating the picture would be much faster with brushwork, but glass is the medium and a stunning mosaic is the goal.
Each tiny piece of glass—some are half the size of your pinky nail—symbolizes perseverance and an acute attention to detail and artistry, and—by extension—to Christ.
Cupcake sprinkles are the comparison that came to mind when I began to write about the mosaics inside the Basilica of San Vitale. My family visited the basilica in March of 2017, during a much too brief daytrip to Ravenna. The church, whose namesake was a Roman soldier martyred during the Christian persecutions, was begun in 526 and consecrated in 548.
The mosaics of San Vitale are so well-known in art history circles that they have earned the basilica the description, “the most glorious example of Byzantine art in the West,” according to Ravenna: City of Art.
On the morning we visited, the interior of San Vitale was drenched in sunlight that streamed in through the windows of the church.
As I stood in the grandeur of San Vitale, sheer awe at the handiwork overtook me. Sheer wonderment at the dedication and tedium. Sheer astonishment at the skill and collaboration it took to not only conceive the images contained in the murale, but also to source the materials, create the artwork, and execute their application and installation on the high walls of this old, old church.
In the sunlight, the golden tesserae dazzled. These are actually pieces of gold leaf sandwiched between pieces of clear glass. When they were pressed into place by medieval workmen, the gold tiles were angled to best reflect the sunlight, or the glow of a candle or lantern.
As we took our self-tour, I stared up and pondered the mosaics and felt nearer to those laborers and artists who spent many years of their lives creating these mosaics. I marveled at their tenacity to produce these works without power tools and machinery, electricity, plumbing and other conveniences.
Would this sort of devotion be practiced today? I don’t think so, but then maybe it was different for these medieval workers.
Would the tedium of producing these masterpieces have been more endurable for those to whom the time of Christ was only four hundred years earlier? True, four hundred years is a long time, but wouldn’t the time of Christ have been within their mental grasp?
To compare, would I find it easier to devote myself to glorifying the Pilgrims who landed at Plymouth Rock? I don’t know of anyone from that era, but I do feel a connection of sorts. I know what their concerns were and what motivated them. I can identify with them to a degree, while I find it nearly impossible to identify with people of Biblical times. Perhaps medieval workers could.
As I continued in my thoughts, my husband and daughter sought the two mosaics-within-the-mosaics below. The mosaics of Byzantine Emperor Justinian and Empress Theodora are considered the masterpieces of San Vitale.
The first photo below shows Justinian surrounded by his court, clergy members and soldiers. The emperor holds a bowl that contains bread for the Eucharist. Justinian never visited this basilica, according to Dr. Steven Zucker in this Khan Academy video lesson, but this mosaic was his way of asserting his power and authority from Constantinople, the Byzantine capital.
The figures in both mosaics are highly stylized. Laura Morelli, art historoian and author of The Gondola Maker, explains it this way: “A more eastern aesthetic characterizes the mosaics completed in Ravenna during this early period. Elegant, slender, flattened figures on a shallow spatial plane stare out with huge, staring eyes.” The two famous mosaics clearly reveal this style.
The mosaic of Empress Theodora rests on the opposite side of the apse and mirrors Justinian’s mosaic. In this piece, the empress carries a chalice of wine for the Eucharist. Wearing a finely detailed gown, Empress Theodora is surrounded by her imperial court and attendants. She wears elaborate jewelry, and, like Justinian, is surrounded by a halo.
Ready to finally move my gaze from the brilliance of the gold, I focused on the frescoes that cover the ceiling of San Vitale. They were completed much later—in 1780—byartists from Bologna and Venice. While they are beautiful, they cannot compare, in my opinion, with the luster of the mosaics.
I felt our visit was coming to its end, and I noticed that even the floors of San Vitale were intricately decorated. Miniscule marble tiles did their best to distract me from the golden “eye candy” above. Over the centuries, the floor tiles do show some wear, but are amazingly colorful and durable. The most wear is to the floor surface itself, which, in some places within the basilica, contains depressions from heavy traffic patterns from worshippers and tourists.
The detail in the flooring reinforced my thoughts about the devotion of those early medieval artists; they spared nothing—not even the floor—in their tenacious pursuit to glorify God.
As we exited the basilica, we took photos of its rustic appearance and its unusual structure of two stacked octagons. Its unusual shape does not follow cathedrals designed in the typical shape of the Latin cross, but instead evokes eastern influence from Byzantium. From the outside, one would have no idea of the grandeur within.
Visiting the Basilica of San Vitale was a lesson in humility, reverence, and connection. As I walked across the same floors, gazed up at the same artwork, and whispered in the same hushed tones that countless others whispered down through the ages, I knew that my visit was not about sprinkles on cupcakes.
It wasn’t even about the magnificent golden mosaic masterpieces. It was instead about connecting, in one sense, to historical Christianity, and in a broader sense, to humanity.
Thanks for reading! Please click “like” so others can find this post more easily. Feel free to leave a comment about what your mind wanders to when you gaze at something truly beautiful.
And other observations my daughter made when she visited on a daytrip from Venice
My daughter spent three months living in Venice in 2017 as an intern at the Peggy Guggenheim Collection, a small, yet world-renowned modern art museum located on the Grand Canal. Her time there was magical, challenging, beautiful, and life-changing. On four occasions, she day-tripped with her friends away from the 124 islands that compose Venice to visit these cities: Bologna, Padua, Verona, and Vicenza.
Since her return, we’ve enjoyed many conversations about her time in Italy. This post is about her daytrip to Verona, home to 257,000 residents and located on the Adige River in northern Italy.
The interview answers are just the two of us talking; see the photo captions for more detailed notes and facts about her trip.
How did you get to Verona? We left the train station in Venice around 8:45 in the morning and arrived in Verona around 9:30. It really doesn’t take long to get there! And let me just start by saying it was the first sunny and clear day of spring. The weather in Venice during the first month or so of my stay there had been rainy, gray and cold, and we were all ready for some sunshine. I didn’t have to wear a jacket at all. It was absolutely beautiful.
Once we arrived at the train station, we had to walk quite a distance to reach the central historic part of the city. It probably took around twenty to thirty minutes. We walked past a café and decided to get cappuccinos for breakfast and then we kept walking to get to the old city walls. This is considered the heart of Verona. The walls are about fifty feet high.
What was first on the agenda? After reaching the center of the city, we decided to go to the arena first to meet Alessandra, one of the interns at the Guggenheim museum in Venice who had returned on her days off that week to Verona, her hometown. She was going to be our guide for the day.
To get to the arena, we walked through Piazza Bra, one of the largest public squares in Italy. There was a garden show going on. Vendors were selling flowers and citrus trees and other plans and lawn supplies. It was very busy. There were people everywhere.
The arena di Verona looks like a coliseum. It’s made entirely of stone and is literally a big stadium. They still hold concerts and theater productions there. It’s crazy old. The day we went to Verona was the first Sunday of the month and throughout Italy, there are discounts to state-run museums. At first, after meeting Alessandra outside the arena, we couldn’t decide if we wanted to go inside, but because it cost only 1€, we went in to see just how large it was.
Where did you go next? After we saw the arena, Alessandra took us down one of the main streets, Via Mazzini. It’s a pedestrian-only street. It has tons of shopping with lots of retail clothing shops.
Did you see anything touristy? Yes! That was next! From Via Mazzini, we continued down to Casa di Giulietta, the “house of Juliet” from Shakespear’s Romeo and Juliet. Legend has it that the stone balcony that’s in the courtyard was the inspiration for the scene in Shakespeare’s play.
The balcony looks exactly like what you would expect it to. There’s also a statue of Juliet in the courtyard. It’s free to see. You pay, however, to stand on the balcony where you can have your picture taken. There’s a sotoportego—a tunnel-like walkway—you walk through to get to the courtyard. There’s a wall where people have written love notes on this wall. It’s totally black with writing and spray paint. It’s covered with notes and anything and everything people can find to stick their notes to the wall with… gum, Band-Aids, whatever.
Did you see any art while you were there? Yes, we were in Verona on the very first day of an exhibition of Toulouse Lautrec, the French illustrator and painter. The show was at the Verona AMO-Palazzo Forti. It was a show totally devoted to his work. I really wanted to see it, so another intern and I went. The tickets cost 15€. We were at the museum for an hour and fifteen minutes. It was an incredible show. The galleries were painted in French blue and a dark, muted magenta. There was one room where all of his prints were displayed. This room was arranged like a café with tales in the middle and strings of light bulbs that led to the center of the ceiling. Seeing this show in this gallery was the highlight of the day for me.
Where did you go for lunch? We went to a restaurant my friend knew about. It was called Terrazza Bar al Ponte. You can sit outside on a balcony over the river that runs through Verona. We were hoping to find a place on the balcony, but it was so crowded outside that we had to sit inside. I ordered totellini with sausage. The pasta was a very thin dough and there was sausage flavored with rosemary and cheese. It had a spicy flavor, but the spiciness wasn’t overkilled. The tortellini was in an olive oil and light butter sauce. It was super light… a lot of food, but very light. The service was great. We did have to wait around forty minutes, but in Italy no one seems rushed when there’s food involved and there were five of us. Also, the staff let me charge my phone behind the counter.
Where did you go after lunch? After lunch, we crossed the Ponte Pietra, a stone bridge that crosses the Adige River and then we walked to the top of Castel San Pietro, the location of the first settlements of Verona. The settlements date from the 7th century… before Christ! From the castle, you get this amazing panoramic view of Verona. There are restaurants there for lunch, but since we had just eaten, we took a walk to the top of the castle instead. There were stairs everywhere. It was quite a hike to get all the way up there, but I’m so glad we did because the views were incredible.
Where did you go after the Castel San Pietro? We went to see the Arco dei Gavi, an arch constructed to honor a family by the name of Gavi. Under the arch, you’ll see stones from an ancient Roman road. We walked over the stones—they’re smooth and rounded around the edged—under the arch. You can see the ruts from wheeled chariots and whatnot that used the roads back during Roman times.
What, no gelato yet?! After the Arco dei Gavi, we went to Piazza delle Erbe, a square that’s the business center of the city. And business for us meant, I guess you could say, the business of gelato. I had one dip each of raspberry and lemon-mint from a shop called Pretto Gelato arte Italiana. It was so good. I really preferred the lemon-mint and wished I had ordered two dips of it.
What was next on the schedule? After gelato, we walked to the Castelvecchio & Museum. It was old and beautiful. So much history right there.
In 1957, Carlo Scarpa, who’s a famous modern Italian architect, began renovating the castle. This in effect created the museum. Throughout the museum, there are rooms with paintings and sculpture. There are also rooms full of weapons that were used back during the era when the castle guarded Verona.
When he was doing the renovations, Scarpa put a modern spin right on top of the ancient. He was making the castle usable again and also put his modern style on top of the old. He intentionally made details stand out so you’d notice the contrast between the old and the new.
After touring the Castelvecchio, we noticed it was around five o’clock, so we decided to head back to Venice. We got back to Venice around six o’clock.
Where does Verona rank on your list of the cities you visited? Well, no doubt, I think it’s the most vibrant. It was the most surprisingly charming. Before we went to Verona, I didn’t know what to expect, but I didn’t expect it to be so packed with activity and with so many things to see. There were so many sights… and maybe the weather spoiled me a little, but it is probably the one city I would go back to first and spend more time in.
I make no apologies. As a writer and parent, I feel perfectly entitled to take full advantage of my daughter’s experiences in Italy by wringing every possible story idea from it! Yes, our family did visit her in Venice for a week, and while we saw so much in that time, we envied the luxury of time her three-month internship allowed.
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