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Saturday, May 15, 2010

Colour and light in Burano


Burano has been home to commercial fishermen since at least the sixth century AD. The houses of Burano were painted bright contrasting colours, it is said, so that fishermen could find their way home in the fogs that sometimes settle over the Venetian lagoon. Today, however the Venetian council controls which colours the houses may be painted, and Burano offers more than cuttlefish cooked in its own ink as a local treat.

From the vaporetto the leaning tower of the sixth century San Martino church, whose interior houses a painting of the crucifixion by Tiepolo the elder, is the first indication that Burano is coming into view.

The soft mud and clay of the flood plains and islands of Northern Italy is the foundation upon which numerous towers and campaniles have been built. This geological feature has led to a proliferation of leaning towers and the consequent architectural innovation of building towers separate from the main buildings. These towers topple when subsiding foundations send the fragile balance of the leaning structure to the point of collapse.

Burano has more to offer the visitor, however, than a leaning tower.

We must give Hemingway his due. There is indeed something distinctly feminine about Burano. All those lace and fabric shops might have something to do with this impression, plus the brightly coloured houses, the abundance of tea and coffee shops. But perhaps it is more to do with the women, women everywhere, from toddlers to great-grandmothers, women of all shapes and sizes, yet with one thing in common - wide welcoming smiles, encouraging each and every visitor to come, view her textiles, drink her coffee, taste her baked goods.

Burano was the poor relation in the Venetian lagoon for centuries. In Roman times it was an outlying village of Torcello. Its star rose during the peak of the trade in lace, after which it reverted to being just another lagoon island.

Today Burano is a trendy address for the well heeled in the European art and design world. Phillipe Starcke, the French designer whose furniture features on the long running American television series Boston Legal is reputed to own a number of houses on the Island.

The island has its own art movement, the Burano School, established in 1910 when a group of artists moved there and, inspired by nineteenth century French schools of painting, adopted a “simple poetic rendition of the landscape” through modern use of colour, and a stripping back of sentimentality. Ironic when one considers the history of the Lagoon Islands and the effect of the French on their history.

In A Venetian Island: Environment History and Change in Burano, Sciama emphasises that Burano is separate and different from Venice, although ‘part of Venice’s administrative and bureaucratic structure’, the island’s relationship with Venice is ‘changing and complex’, with its own ‘strong kinship links’.

Burano’s size and place in the lagoon may have helped develop its own distinct style. The district of Burano is over 50 square kilometres in area, the second largest district in the lagoon, although only half a square kilometre of that area is dry land.

Burano is part of a small triangle formed with the islands Torcello and Mazzorbo. Burano had links and loyalties to Torcello long before Venice even existed. It is also connected by a flat pedestrian bridge to Mazzorbo which is home to the 14th century church of Santa Caterina.

Santa Caterina, Catherine of Alexandria, was reputedly one of the most intelligent and beautiful woman of her day. She was beheaded by the pagan ruler of Alexandria in 305 AD at the age of 23 after being tortured by being splayed on a wheel.

The Crusaders brought the story of Catherine to Europe. The Catherine Wheel (both the children’s gymnastic feat and the fireworks) and the Catherine or Rose window were named after her. Catherine’s ability to defeat philosophers in argument was not celebrated. Instead she became the protector of young unmarried girls. The wheel of her torture became the symbol for wheelwrights, spinners and lace-makers.

Of course, in due course, the French not only lured lacemakers from Burano but also established their own rival protector of young girls and lace makers, the French priest, St John Francis Regis. John Francis’ life and times are more prosaic and more based in fact than those of Catherine.

Whether or not it is the beneficence of Catherine wafting across oceans and mountains and one thousand seven hundred years of time or some other quality in the light and the hospitality of its inhabitants, Burano is an island the visitor can imagine settling into. It is tempting to wonder what life would be like to wake in its small hotel, take a dawn walk over the bridge through the parks of Mazzorbo, drink morning coffee at tables along its cobbled streets, or just sit by the canal each evening and watch the sun set over the lagoon.

Observer
15 May 2010
Blog: Longlines - http://longline8.blogspot.com/
Email: longline8@gmail.com

Tuesday, May 11, 2010

Points in the Air: Lacemaking on Burano


Lacemaking was one of the early ‘women’s industries’, a means by which many women achieved a measure of financial independence.  Before the French broke the Venetians’ control of the lacemaking industry Burano was one of the main centres of lacemaking in Europe.

 The  Burano vaporetto stop is a small ferry terminal opening to a wide, grassy, treed area on which children play under the watchful eyes of grandmothers, and where youths lounge around waiting for the excitement of whatever will arrive from the other islands.  

After a ferry trip in which drunken men sparred – a display more of linguistic than physical abilty – the sense of space under a blue spring sky was a relief, an escape.

Burano is famous for lacemaking.  Authentic Burano lace is no longer sold in the town's street stalls. Burano lace is now a luxury item, priced according to the time and skill that goes into its making.


Much of the lace sold in Burano shops is today made to order in countries where labour is cheap.

The visitor can still watch lace being stitched in the Scuola dei Merletti (School of Lacemaking) whose museum traces the history of lacemaking on Burano. 

Burano’s lacemaking tradition evolved from the influence of Venetian imports of gold and coloured embroideries from the East.  These inspired Venetian craftswomen who supplied the church cloths and vestments.  They developed white embroidery to trim these items.  Needlepoint lace developed from white embroidery.

The first lacemaking is, in spite of competing claims from orientalists, Francophiles and the numerous other voices clamouring for recognition of their area, not really known.  Many forms of decorative fabric trim were in existence long before true lace evolved. 

But it is interesting that the two regions of Europe where pictorial art flourished in conjunction with great trading skills, north Italy and Flanders, were where lace making first evolved as an important industry.


Lace came into being at the end of the fifteenth century and lace designs evolved from embroidery designs.

The first needle lacers were Venetian.  In the 16th century Venetian women realized the monetary value of lace.  It was not only nuns cloistered in convents who made lace.  The women of Venice filled their palaces with relatives and servants and bales of thread from Salo on the shores of Lake Garda.  They produced lace edgings by the thousands of metres to trim cuffs, collars, hems because, in the early days, lace was used as a trim.  

These relatives and servants in turn began making lace at home and the skill spread to the islands.

Lace was a non-perishable product, that could be made in spare moments in the course of a woman’s day.  It was not dependent on timing or the season or the weather. 

Soon Murano, Chioggia, Burano and Pellestrina set up schools.  The translation of the Italian ‘scuola’ to the English ‘schools’ is confusing.  Italian ‘scuola’ were artisans’ guilds with strict rules and control over the products made under their auspices.  The scuola controlled who worked in the guilds, who trained the artisans and how, who sold the products, to whom and for how much.

In the sixteenth century the women of Burano developed a fine, delicate form of lace known as “punto in aria” (“points in the air”) which transformed the island into one of the most prosperous lacemaking centres in Europe.  Burano represented the standard for lacemaking in Europe until the end of the 18th century 

During the 17th century women broke away from the strict rules that had grown up around lacemaking for the church and developed new styles.

But within the mercantile spirit lies the seeds of its own destruction.  The Venetian Republic aspired to become the publishing capital of Europe and the Venetian dialect had been adopted as the official language of lace makers. 

Printers, authors and designers of manuals on lace making emerged on the fondamentas, salizadas, calles, campos and cortes of Venice.  Guides to lace making were published and became best sellers.  Outside Italy these guides were copied and translated or written by expatriate Venetians.

Those wily French and Flemish lace makers soon were providing serious competition for the women of Burano.  In order to encourage home-based industries the French imposed duty on imported lace and established their own factories for making all types of thread work.  The Venetians responded with their own import duties and bans.

From the 18th century lace became a commercial enterprise. Venetian lace makers were paid large sums of money to go to France to work in the lace factories there.  The Venetian Republic retaliated by introducing laws against the emigration of lace workers, as they had done previously with the glassworkers of Murano. 

The conquest of Venice in 1797, and the subsequent collapse of its commercial power, resulted in the economic ruination of Burano and by implication of Burano’s women and children, although Burano was already declining as a lacemaking centre.  In 1872 the present day lace-making school was founded in the hope that it would revive the island’s former fortunes, but buyers were not prepared to pay a living wage to the lace makers. 

Nineteenth century male writers seemed to take particular pleasure in recounting stories about Burano’s women and children, beautiful yet reduced to aggressive begging.

An article published in the New York Times on 2nd July 1880 typifies this writing:

“[We] soon drew up in a bad smelling canal, before a dirty broad street or narrow marketplace, ... we pushed our way through the crowd of begging children to the lace school.  We were accompanied all the way by one particular dirty little girl ... who begged persistently and dolefully. ...

In spite of being unable to locate finished pieces of lace to purchase the writer found at least one compensation for the trip to the island:

The Buranese women are among the prettiest we have seen in North Italy.  When we went back to the gondola, we found the landing swarming with beggars.  We were paddled away from Burano, followed along the sides of the canal by the troop of begging children among whom the frowsty-pated little girl was still prominent and quite unabashed by her utter want of success.”

It is almost certain that canals throughout the lagoon smelt badly in those days.  They still are not that fragrant.  One only wishes the ‘frowsty-pated little girl’ had flung great handfuls of mud from the stinking canal onto the backs of the mean-spirited but doubtless well scented retreating tourists.

Observer
11 May 2010
http://www.longline8.blogspot.com
Email:  longline8@gmail.com

Note: 
There is an enormous amount of information about lace and Burano on the web.  There is also an almost equal amount of printed literature on the lace makers of Burano.  Below is just a sample listing.  
http://www.museocaprai.it/en/index.htm
http://www.topak.cz/text/en/history.aspx



The Project Gutenberg EBook of The Art of Modern Lace Making, by The Butterick Publishing Co. 

(Good for techniques and styles of lacemaking, but with dubious historical information)


Migration, Minorities, and Technology Transfer in Early Modern Europe* by Salvatore Ciriacono, University of Padua

 New York Times Archive for 1880
The Sciama book is an excellent sociological study 

Saturday, May 1, 2010

On the Way to Burano

The trip from Venice to Burano takes a little under an hour and is a pleasant way to observe some of the lesser known islands of the Venetian Lagoon. These islands are treasure troves for the archaeologist. They have been the locus of important moments in Venetian history. For the visitor with a few days to spare and a copy of the Actv vaporetto timetable they can be engaging and rewarding destinations.
On the way to the vaporetto stop for Burano we passed the first spring crocuses dancing in the wind in the Giardini Papadopouli. Filaments of cloud spun across a cerulean sky. At the changeover stop at Fondamente Nuove a brisk breeze ruffled the waters of the Rio dei Gesuiti.

It seemed a perfect day to visit the island that Hemingway described as the feminine equivalent of Murano, to drift across the lagoon in the wake of Byron, Shelley, James Fenimore Cooper - the armies of tourists and visitors who had plied the route since the days of the Romans. Burano as Henry James said, is “a pretext … for a day on the lagoon”.

A self guided tour group from New York and a group of locals returning to Burano packed into the vessel. Inside the cabin, the air was thick with the fug of humanity overlaid with wafts of expensive perfume, stale cigarette smoke and wine. Obviously somewhere in Venice wine was being dished out in generous amounts early in the morning.

After the requisite amount of jostling those few individuals not belonging to either group were squashed in the middle. A young Venetian man, his English girlfriend and a scattering of other nationalities gazed across a sea of heads at the lagoon beyond windows that were firmly shut against the outside world.


The vaporetto chugged past San Michele, the cemetery island of Venice where the remains of only a privileged few find permanent rest. The less fortunate being consigned, after a suitable period of interment, to the charnel house.

Reflections on the reality of death in the lagoon were interrupted as Vignole floated green and lush far to starboard, a reminder that even Venetian vegetables grow on islands.


No one went ashore on Murano, but more Burano-bound passengers squeezed on board. There was standing room only. This was off-season. Where had the information that few people visited Burano come from?

As we departed Murano the ferry in front of ours turned south-east to wend its way through channels cut through the mud flats that have protected the island of St Erasmo for millennia.

Then someone opened a window. Wind gusted through the cabin. A man began yelling in heavily accented English. An American on the starboard side shouted back. The window was slammed shut.

The two men leapt to their feet, trading insults across the heads of startled passengers, cutting off the view of Isola San Giacomo in Palude on the port side and of Isola Lazzaretto Nuovo on the starboard.

Ancient Greek and Roman artefacts have been unearthed on these islands. But it is their history as ‘plague’ islands and later as military installations that links the two.

San Giacomo in Palude, or “paluo”, (St James in the Marsh) was originally a Cistercian convent. During the plague of 1456 lepers were moved from San Lazzaro to San Giacomo. At some stage the convent was transformed to a Franciscan monastery and remained so until Napoleon dismantled most of the religious institutions on the lagoon islands. He transformed the island into a garrison and it served a military purpose for various armies until 1964.

Lazzaretto Nuovo was Venice's second quarantine island. Around the turn of the first millennium the monks of Saint Giorgio Maggiore built the church of Saint Bartholomew on the island and it became known as Vigna Murada (the walled vineyard). In 1468 the island was renamed Lazzaretto Nuovo, to differentiate it from the first quarantine station which now became known as Lazzaretto Vecchio.

All incoming merchant vessels, their crew and cargo had to be processed here. Life for ships’ crews temporarily quarantined on the island was usually comfortable. However anyone from the merchant ships who exhibited signs of the plague was summarily removed to Lazzaretto Vecchio and certain death.

Periodically, plague victims were brought from Venice and left to die on Lazzaretto Nuovo. Some historians believe that at least eight thousand people died here from the plague.

Napoleon’s, and later the Austrians’, enthusiasm for military installations saw Lazzaretto Nuovo reborn as a gunpowder store and it remained in military hands until 1975.

Through all of these changes the herons and egrets have maintained their still and careful fishing in the marshes surrounding these islands.


However ancient and natural history were far from the minds of the passengers aboard this vaporetto on an early spring morning in 2010. A modern blood feud seemed to be evolving. Loyalties were being established.

Voices were raised in support of the protagonist, or against the antagonist. The air was thick with testosterone.

The New Yorkers adopted shock tactics and engaged their foe in Italian. There was a momentary silence as the opposing side absorbed this surprise blow.

Then someone flung out insults in dialect. Touché. The Americans, however, were prepared and responded in kind.

Translations were muttered for the benefit of the neutral centre who understood neither Italian nor dialect.

The welfare of ‘the children’ – sturdy young men and women accompanying their older, and presumably more responsible family members on tour or home to Burano – was at stake.

American ‘children’ apparently cannot tolerate closed windows, Buranelli ‘children’ wilt in the wind.

What a fine linguistic display it was!

San Francesco Deserto slipped by unnoticed by most
.
This island had been inhabited intermittently since at least the first century.

In 1220 Francis of Assissi, accompanied by Brother Elias, Francis’ friend and supporter during difficult times, hastened back from a peacemaking mission in the Middle East to avert a crisis in his congregation in Europe.

Like all travellers from the East he passed through the Venetian Lagoon. Over the following few years Francis grappled with the problems besetting his congregation before returning to the Middle East in 1223. Here he instituted the practice of erecting a nativity scene at Christmas time to illustrate to the faithful the extent of the poverty in which Christ was born.

Earlier in this same year Jacopo Michiel, a relative of the Doge of Venice donated the island to the Franciscan order.

However Francis’ desire for peace among men of all faiths and nationalities was not being celebrated by the passengers on the vaporetto.

Calls on both sides for the captain to intervene and control the opposing party were studiously ignored. No actual physical contact between the two parties had occurred. But there was much pacing and milling and waving of fists to accompany the shouting. The vessel remained well balanced as each side aligned port and starboard.

Isola di Crevan, of which all that is known is the dubious fact that its oysters are safer to eat than those from islands closer to Venice, slipped by as the vaporetto turned into the channel leading to the Burano stop.

At the disembarkation point each group determined to beat the other on shore. A bottleneck ensued. Old ladies sitting under the trees in the park beside the vaporetto stop rose, curious, ready to participate in whatever drama was coming ashore. The boatman yelled a few exasperated words. Whether it was his words or the shock of fresh air and a blue sky is not entirely clear, but the arguing stopped as suddenly as it began.

One group of the antagonists headed for the public housing units on Mazzorbo. They glanced back as they crossed the footbridge that connects the two islands at the opposition who had proven such worthy adversaries.

The Americans headed for the cafes.

Had this, after all, been just an opportunity for an international family squabble to be made public?

No one cared any more.

Women in black surged from the entrance to Fondamenta Pontinello inviting the disembarking passengers to come into their village, purchase lace and embroidery, tea and cake.

The sun was shining, the canal sparkled, the brightly painted houses glistened. The air was clean and sweet. A filigree of cloud flitted across the sky.

There was lace everywhere, draped from doorways, across display tables, in shop windows. Business was going to be brisk.

Observer

1 May 2010
Note:  The map, as all my maps are, is a 'mud map' and is for reference only.  Not to be used for boating in the lagoon!
References:
Website for Actv Servizio Navigazione Linee urbane
Canticle of the Sun, Francis of Assisi
Italian Hours, Henry James