A Fountain of Beauty in Lucca

I probably have more photos of her than of any other subject in Lucca - photos taken from every angle, in every light, in every season.  She is a fascinating subject and one of Lucca’s most graceful landmarks.  She is The Naiade or Water Nymph.

 The Naiade rests atop one of Lucca’s many fountains, built in the 1800’s to bring fresh water to the city via Nottolini’s aqueduct. 

Some of the fountains are simple utilitarian structures but are few are quite decorative, none more so than the Naiade fountain. 

She was sculpted by Luigi Camolli from a design by Nottolini, one of Lucca’s most famous architects and sculptors.  She turns an ordinary fountain into a work of art.

The fountain itself is a marvel.  At the base is a large bathtub-like marble basin resting on claw feet and decorated with lion’s heads.  Above the large basin is a rectangular marble column with water spigots on 3 sides, each one placed above a small basin.  This is where so many Lucchese come to fill containers with fresh water direct from the hills beyond Lucca.  Locals swear this water is much better, and much more tasty, than either tap or bottled water.  Some even have a preferred spigot, always filling their bottles from one side of the fountain.   More than just a place to get water, this is also a gathering spot and a place for social connections.

 Above the fountain sits the Naiade who is commonly known by a much less proper nickname.  To locals she is “La Pupporona” which loosely translates to “The Busty One”, so called because of her one exposed breast (in Tuscan dialect the word puppora means breast).  That breast so scandalized a long-ago bishop that he tried to have the statue removed.  Fortunately he did not succeed! 

 The Pupporona is elegant, with softly draped folds in her garments, curvy hips, and perfectly coiffed hair.  She is made even more striking by the backdrop offered by the surrounding buildings, including the oche colored Church of San Salvatore (also known as the Church of the Misericordia).  The piazza where she resides is also named Salvatore, but don’t be surprised to hear it called Piazza della Pupporona, such is her fame.    

 Much loved by locals, she is occasionally adorned with a red scarf, a symbol of support for female victims of domestic violence.  Once, back in 2017, she was vandalized when someone drew a mustache on her face during the night.  Che peccato! The damage was quickly repaired.  I don’t believe the culprits were ever caught, but the vandalism caused quite an uproar. 

 On one of my first visits to Lucca I snapped a photo of the Naiade long before I knew the story behind her creation.  I just knew that she was lovely and she quickly became the representative image of Lucca in my memory.  Today, that photo is one I use as the symbol for Two Parts Italy and which accompanies each Monday morning email to subscribers.  It is still one of my all time favorite photos.  Be sure to stop by this small piazza when you visit Lucca. And don’t forget to fill your water bottle!

The statue of the Pupporona at Christmas time

An Artist In Tuscany

Flowers are often a focus of Kat’s work. Bright reds, yellows, purples, and shades of green - all stunning.

Could there be a more perfect place for an artist to live than Tuscany ?  The light is magnificent, the sky a special shade of blue.  The green hills shimmer and flowers appear in waves of color.  There is something in the very air of Tuscany that inspires.  All these magical Tuscan qualities come to life in the brushstrokes on canvas of artist Katerina (Kat) Ring. 

 Originally from California, Kat has lived and studied in many places. All of them have influenced her art – from Coronado Island, to Europe and even a decade of living in Zambia where she was inspired by African wildlife and vistas.  

 Today, Kat lives just outside the Tuscan town of Lucca where she paints local scenes, landscapes, flowers spilling from windows or blooming in fields, and slices of everyday Tuscan life. 

Of course there is Italian magic well beyond the borders of Tuscany, and so Kat often ventures to other areas of Italy, especially to the seaside, capturing the essence of these places in paint.

Lerici, on the Bay of Poets, captured in an oil painting.

 Painting mostly in oils, Kat is an artist “en plein air” – which means you are likely to find her easel set up alongside a rustic building, a sparking bay filled with boats, a field of flowers, an old bridge, or a pretty street.  And she is sure to stop for a field of sunflowers or a tree heavy with ripe figs.  

Kat describes her style like this: She prefers painting-in-place and capturing the sights, scents, light, and feel of a place. Her paintings do not strive to be photographic snapshots. Rather her scenes unfold as she perceives them - the periphery abstract, adding to the total picture but a bit out of focus. Moving toward the central image things become more clear, less abstract, more impressionistic. Finally, there is clarity and detail towards the center as the eye focuses on an object or group of objects.

Windows are always fascinating and this one is captured perfectly.

 Kat’s paintings are compelling for anyone who loves Italy – the use of color, the gorgeous flowers, the windows, the countryside, the sea. They transport the viewer directly into the heart of Italy.  To see more examples of Kat’s work, her portfolio can be found at www.katring.com and on Facebook.

This Tuscan landscape by Kat Ring hangs in my apartment in Italy. It evokes everything I love about the Tuscan countryside

The gallery is open from Sept 1 - Oct 16, lots of lovely works to see.

If you happen to be in Lucca this fall, you’ll find Kat’s “pop up gallery” at the north end of Via Fillungo, near the medieval Porta dei Borghi gate, from September 1st through October 22nd.  Her recent works are on display and she is on hand for questions about the places and scenes in the paintings.

 Contact info: 

Instagram: katringpaints

Website: www. katring.com 

Email: ringkat2@gmail.com

 All images used with permission.

An Italian Decade

August has come and gone, there are only a few weeks of summer left, and I have just arrived back in Lucca after a long visit with family in the US. Today I am feeling nostalgic - it was 10 years ago that I first came to Lucca, intending to have a “once in a lifetime” month of studying Italian here. Little did I know that the adventure would be much bigger than I realized at that time. Once in a lifetime turned quickly turned into once a year, then twice a year, and then, in 2018, a move to Lucca where I now spend the majority of each year. That first excursion to Lucca was a decade ago, my Italian decade. With that in mind, I thought I’d share some of my favorite photo memories from each of the last 10 years in Lucca, beginning with the gardens of Palazzo Pfanner, one of my favorite spots (top photo, from 2012).

2013 - Another garden, the Orto Botanico. I snapped this photo of two friends, some of the dearest people I have ever met, at the end of our garden visit.

2014 - An excursion to Pisa with Lucca Italian School. Those storm clouds !

2015 - One of the many Medieval celebrations in Lucca. I still never miss a chance to see one of these. I’ve gained a new appreciation for men in tights, ancient weaponry, and flag throwing.

2016 - The year I retired and went a little crazy - making three trips to Lucca. Spring (below left) and my favorite view from Lucca’s wall. Fall means beans for soup at Bottega di Prospero, one of Lucca’s oldest markets. Winter brought my first Christmas season in Lucca (made possible by a ridiculously low $400 round trip airfare!).

2017 - Spring in Lucca and another chance to study in the beautiful Liberty Style building that houses Lucca Italian School. The Santa Zita flower market, something to look forward to each spring. My favorite of the many beautiful stands of wisteria that herald spring in Lucca. The Rolling Stones came to Lucca in Fall of 2017, these posters were everywhere! The Volto Santo Procession and a medieval archery competition, both part of the Settembre Lucchese events.

2018 - Summer fun in the piazza. One of Lucca’s outdoor art exhibits. My first home in Lucca - what a thrill to see my own name on the doorbell.

2019 - A cold winter morning. Carnevale in Viareggio. A costumed participant at the Lucca Comics and Games Festival. A cooking class during Olive Oil week at Lucca Italian School.

2020 - Definitely a strange year ! Even the street art reflected the pandemic. Banners promising that all would be ok where everywhere, a sign of community spirit and hope. Christmas decorations were most welcome this year, especially with inspiring words from Dante.

2021 - Magnolias, the first sign of spring in Lucca. A sculpture from Cartasia, the celebration of paper art. Over the summer paintings of Puccini heroines appeared on many of the store shutters in Lucca, a delightful surprise.

2022 - This year marks 10 years of travel to Lucca and the easing of COVID travel rules, double the reason to celebrate. Verde Mura, the spring garden festival returned. My grandkids and daughter came to visit (finally)! The kids explored Lucca with local tour guide Diletta Barbieri. A happy group enjoying lunch after a cooking class at Extra Virgin Cooking. It has been a good year and it isn’t over yet ! Life is good in Lucca.

And Then Came Giotto

I am not an art historian; far from it.  I don’t even claim to be a serious student of art.  And yet, it is impossible to live in Italy and not develop a profound appreciation for art. There are museums full of ancient art – Etruscan and Roman – displaying artifacts from those eras, from tiny jewelry pieces to funeral urns, mosaics, and classic statuary.  And though there were also Roman painters, the examples that have survived are relatively few.  In contrast, paintings from the late Medieval (Middle Age) and Renaissance periods fill Italian churches and museums.  The differences between the two eras can be appreciated by even an untrained observer like myself.

Madonna and Child ca. 1300 artist: Duccio. (photo from Wikimedia Commons Public Domain). An example of painting from the Medieval era.

Prior to the Renaissance, Medieval paintings were characterized by religious subjects, often a single figure filling the center of a painting.  The figures were flat and the faces often expressionless.  The human form was not natural looking or sensuous.  These were icons, not neighbors.

Backgrounds and perspective were not very important components of medieval painting.  And all that gold!  Gold shows up everywhere in Italian art of the middle ages.  In backgrounds, in halos, in elaborate detailing.  Imagine how that gold appeared – as the richness of God, the divine light – and also, perhaps, an symbol of the wealth of the patron or church who commissioned the work.

In contrast, paintings from the Renaissance era (1400 – 1600 AD) make wonderful use of perspective and often place subjects in natural settings.  The figures are realistic, their human-ness evident.  The clothing drapes and swirls, the faces show a full range of emotions.  The subjects are still largely religious, though portraits were also painted, usually for wealthy patrons (think of Da Vinci’s Mona Lisa, painted in 1503).  The names of Renaissance artists are familiar: Donatello, Da Vinci, Michelangelo, and Raphael being perhaps the most widely known artists from the 1400’s.

An unfinished Da Vinci portrait painted between 1500 - 1505. La Scapigliata (the word scapigliata refers to her disheveled hair) hangs in the National Museum in Parma, Italy. The difference between this Renaissance painting and earlier Medieval ones is pretty clear!

And in between the two periods, the Medieval and the Renaissance, came Giotto di Bondone (1267-1337). Giotto was that rare artist who was appreciated, even famous, during his lifetime. He even merited a mention by his contemporary Dante in The Divine Comedy. 

 Giotto revolutionized Italian art, creating life-like figures and placing them in more natural settings. Giotto’s figures show a full range of emotions through their facial expressions. No flat, lifeless saints and madonnas here!   Giotto’s scenes are populated by people who look like the neighbors down the street (at least what the neighbors would have looked like in 1300).  His men are placed in realistic poses and settings, his ladies have (gasp!) breasts over which their garments drape. His angels fly, his flames flicker.  And while the saints still have halos of gold, their clothing is colorful and the background is the most heavenly blue. 

Panel # 34. Weeping over the Body of Christ. Scovegni Chapel.

Sadly, much of Giotto’s work has been destroyed, by time and by fire.  Of the works that remain, the Scrovegni Chapel in Padova is Giotto’s capolavoro (masterpiece). A chance to see the frescoes there was the main reason for my trip to Padova last fall. The church is small and intimate, built as a private chapel for the Scrovegni Family.  The frescoes are in wonderful condition, the figures beautiful, and the colors spectacular.

Panel #35. The Resurrection

The frescoes wrap around the chapel, in a three-tiered series of panels, telling stories from the life of Joachim and Anne, Mary, and Christ. The scenes are full of life, there is movement and emotion, the figures pull you in to their story. Through it all Giotto proves to be not just an accomplished artist but a master storyteller as well.

Panels #8 (Presentation of the Virgin), 21 (Baptism of Jesus), and 33 Crucifixion (top to bottom)

The far end of the chapel has the largest scene - the Last Judgement. It is stunning in both its beauty and its brutality. 

To the left, heaven. To the right, a hell that is terrifying!

 Look closely and you will find Enrico Scrovegni, offering up the chapel in atonement for the sin of usary (the Scrovegni family were money lenders). This is no doubt an attempt to avoid Giotto’s graphic depiction of hell.

 Aside from bible tales, the allegories of Virtues and Vices are fascinating. Simplistic in design and color compared with the rest of the frescoes, without much adornment, the contrasting figures are as relevant and thought-provoking today as when painted in the early 1300’s.  Pictured below (left to right): Hope, Envy, Justice, Despair.

The Scrovegni chapel is simply astonishing (my photos can’t capture its majesty).  One does not have to be an art historian, a religious scholar, or even a believer, to appreciate Giotto’s artistic brilliance and the power of these frescoes.  And for anyone with an interest in art, or simply in beauty, the Scrovegni Chapel in Padova is an experience not to be missed.

Detail from panel #33. The Crucifixion

 Even the smallest decorations - such as these quatrefoils - have incredible detail and depth. I could spend hours here looking at everything from the largest scene to the smallest detail. I think I’ll need to go back to Padova before too long.

Note: The Scrovegni Chapel is open to the public with advanced reservation tickets only. Before entering the chapel itself there is a short video (with subtitles in English) which gives a good history of the chapel. Admission is limited to about 25 people at a time with a time limit in the chapel of 15 minutes per group. A short time, but well worth it and sufficient to see this small space (especially after some pre-visit reading).

Off The Beaten Path in Vernazza

Vernazza is crowded in June (even before peak season).

Vernazza is one of the five little villages that make up the Cinque Terre, stretching along the Ligurian coast of Italy. 4 of the 5 towns are perched right along the sea (from north to south: Monterosso al Mare, Vernazza, Manarola, and Riomaggiore). The fifth village is Corniglia which sits nearly 400 steps up a hillside. Once a string of isolated fishing villages, the railroad made the region more accessible and the tourists soon followed. Today the Cinque Terre is a UNESCO World Heritage site, part of a national park, and a popular tourist destination.

Many would argue that the whole region has become much too popular with tourists and that is probably most true of picturesque Vernazza. It can be a very crowded place, especially in the summer.

And yet, it is a magical place to visit. Vernazza has a natural harbor surrounded by dramatic cliffs with the ruins of a castle and tower, an ancient defense against pirates, facing out to sea. The small harbor plays host to the ferry dock, fishing boats, lots of sunbathers along the rocks, and a small beach.

Colorful boats in Vernazza’s harbor

Standing tall above the harbor is the church of Santa Margherita D’Antiochia with it’s unusual octagonal campanile (bell tower). It is this church and the harbor that is the classic view of Vernazza and the photo taken my countless visitors (top photo). Nearby is pretty Piazza Marconi ringed with cafes and restaurants. From there a single main street links the harbor with the train station on the opposite side of town. Along the street is an arch leading to another small beach, shops, gelaterie, a small street-side chapel, and lots and lots of tourists.

When I visited in mid-June, with my daughter and two oldest grandkids, the crowds had already arrived though had not yet peaked. After a harbor side lunch we headed out along Via Roma. After a while we decided to escape the crowds by taking a left hand turn and heading up some steps to get above the fray. What a good decision!

Just one street off the busy “main drag”, Via Agostino del Santo is another world entirely. Few people, no tourists spots. But so much to enjoy - small houses with painted doors, steep streets, little hidden alleys, a couple of galleries, enchanting corners, and a walk that ended high above the harbor with great views.

This off the beaten path walk was a wonderful break from the crowds and a glimpse of Vernazza that most visitors never see. As is so often the case when visiting Italy, it is the slices of everyday life and the hidden spots that are the most enchanting.