(More than…) Two Years in Torino

"Le cose belle sono lente." –Pane e Tulipani

Category: art

Cintiq review

In my last post, I promised to update either my progress on the color comps for Princess Carla of Spaniel or the new Cintiq Pro 16 (a draw-on-screen monitor).

I’ll start with the Cintiq. It’s revolutionary for me, even with its steep learning curve.

First I must list the difficulties, which are fairly well known by now to the digital art community: It has issues with Mac Sierra, with connections and drivers, and with getting the promised 4K screen resolution. For a complete list of problems and fixes, see the Wacom Reddit  board, though Wacom has its own discussion board as well.

I don’t have the Sierra problem because I never upgraded to it, preferring to preserve as much RAM as possible. I will probably have to eventually, but hopefully by then the compatibility issues will be ironed out.

I am, however, having the resolution problem. I’m stuck at 1440 resolution. I have a MacBook Retina Display, which should support 4K.  But I don’t have a USB-C port, and that’s what the Cintiq Pros are set up to use. The Wacom link, an adapter which was included in the box because Wacom knew how new USB-C ports are, doesn’t support 4K. At least not officially. Some people have been able to make it work by ordering special MiniDisplay cables, but I have had no success with that route. Wacom Reddit has more information if you’re trying to troubleshoot this issue, and meanwhile, if I am able to make mine work, I’ll post an update.

And I must say that the sleek Cintiq monitor does look rather silly with three long, bulky cables sticking out of it and sprawling all over the table, just to make it work. It looks very jury-rigged.

Those caveats aside, however, having a pen display is absolutely an enormous boost to a digital art setup.

Even at just 16″, the workspace feels much bigger than my 13″ laptop, and besides I don’t have to keep juggling apps around a tiny screen to look at reference material or watch tutorials. Now I have one maximized screen just for my artwork!

And even at 1440 resolution, I’m able to work quite well enough for a beginner.

The new pen works very well and even has an eraser on the other end. I have yet to figure out its relation to the eraser function in Photoshop, but I will discover it eventually. I have set my pen controls to display toggle (to switch quickly from the display to my computer monitor and back) and radial menu (a pop up on screen menu in which you can store your favorite shortcuts). Both of these have made the tablet much easier to use.

The first few days I was a bit disoriented because things kept popping up on the wrong monitor and I didn’t know how to toggle, but slowly I’m getting the hang of it.

And today I figured out how to make the font on the Cintiq big enough to read. The fix is not in Photoshop, but in the Mac display scaling preferences. I had been afraid to touch those because I thought it would decrease my display resolution even more, but apparently it doesn’t.

But the absolute best thing, and the reason I got this device to begin with, is that now I can draw, lasso, and use all the other precise tools included with Photoshop with the same precision I would a pencil and paper. If you’ve ever used an Intuos, the small black drawing tablet with no screen, you know what I’m talking about. It feels like you’re drawing with your non-dominant hand, or worse. I got better at drawing with it over the year that I used it, but there’s no comparison between an Intuos and a Cintiq if your drawing style is about manual dexterity.

So, now I’ve got the Cintiq setup and I’m back to working on color comps for Princess Carla of Spaniel. I’ll post an update when I’m a bit further along.

The new Cintiq Pro 16 with my first color comp for Princess Carla of Spaniel in progress. 

 

 

Spaniel drawing update

Here’s a short update on the fancy animal assignment from the last post: I’ve been working on it whenever I get a chance, and have now finished the tonal study. To do this, I scanned and combined my favorite two drawings and then worked out the values in Photoshop.

The awkward black lines in the study are drawing corrections done on an Intuos pro tablet. The point at this stage was never to have an elegant, finished drawing, but these lines are particularly rudimentary and I leave them in to emphasize that it’s really hard to draw accurately on a small tablet. But I’ve finally sprung for a Cintiq draw-on-screen monitor and it should arrive tomorrow. Yay!

Anyway, the tonal study showed me that I needed to further “flesh out” the dog’s paws, so to speak. That has been today’s work. When I used to paint oil portraits, back in the pre-digital era, I’d take a couple hundred photos and make sketches to think out various aspects of the painting. Illustration is by nature imaginary, but I still like my drawings to look correct and believable. That requires a ton of photo reference and detailed studies. Sometimes I wish I had an in home menagerie!

Another part of today’s work has been to start thinking about mother-of-the-bride’s dresses for July, but after trying on everything I own that might work, I must confess I much prefer drawing Velasquez dresses to shopping for one for myself.

Once I get the Cintiq up and running, or get to the color comps for this assignment (whichever comes first), I’ll post an update. And there are more steps to go after that. But I like the way this assignment is making me stretch.

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Princess Carla of Spaniel

It has been a while since I’ve posted. I’m working a lot on illustration and am now much more comfortable with Photoshop, but have little original work to show for all this study, so I recently joined a group that gives assignments. Here is the first:  Find an atmospheric portrait and combine it with an animal.

I immediately thought of Velasquez, and as I looked at his portraits, I thought, What do they remind me of? Why, King Charles Spaniels, obviously! (Perhaps that’s not so surprising considering that Velasquez painted at least one King Charles Spaniel into a royal family portrait. People do tend to look like their dogs.)

I started out this assignment thinking I’d use Las Meninas, but when I did a Google search I immediately found that someone had already done a few spoofs of that extremely famous image with a dog’s head, and besides the light is coming from a less conventional direction in that painting. So I decided on another image of the same princess, here:

Velasquez, The Infanta Margherita, Kunsthistoriches Museum, Vienna

I’m not sure I can post the main spaniel reference photo I used since it’s probably someone else’s intellectual property, but needless to say I had a ton of spaniel photos.

After various attempts, I finally settled on one main head pose and expression:

Princess Carla of Spaniel, by me

This is an interesting assignment because it forces you to think of such unconventional questions as, how much puppy belly is appropriate to show in a corseted dress? How do you make shoulders that look human enough to retain the main lines of the dress while looking doggy enough not to suggest a straight cut and paste? How do you put earrings on a dog? How much of the full length portrait should be incorporated into the assignment and what to do with that other paw? (Not to mention that I cut off the near one, which was part of the drawing, in the photo.) And how do you adapt the reference material in a way that maintains form over mere photographic realism? I must say I was quite pleased with the ready transitions from necklace to dog collar and spaniel ears to 17th c. Spanish hair, though.

The idea is to do a finished digital image in color. I should have a Cintiq (tablet that allows the user to draw directly on screen) soon, but as of now I still don’t have one, so doing this assignment on a tiny Intuos tablet is going to be a challenge. I’m going to try it nonetheless.

And obviously I’m posting here to hold myself accountable. If you like this sort of thing, stay tuned…

Illustration resources

This is the post I was going to write before I got sidetracked with Thanksgiving. Though Two Years in Torino is primarily about life as an American in Italy, I think it’s only natural that as I live in Torino longer and longer (way beyond two years, it looks like), not all of my life will be consciously expat. As such, most of these illustration resources are American, but if you’re just itching for some bureaucratic irony and humor from the bel paese, I have one more Accademia Albertina update to publish soon. Also, some day, I hope that my illustration interest and my interest in things Italian will truly intersect.

But for now I have a lot of technical information about art to digest, quickly, and so this year I am taking the efficient, if somewhat lonely route of art self-study online. Online schools seem to be a pronounced trend in the US, and while I might not recommend online study for an 18-year-old getting his or her first degree, as a middle-aged expat self-study has a lot to offer: for starters, convenience of time and place, choice of specialized syllabi, and prices that allow for experimentation. (Note: the link, which actually argues that not even young people should go to art school, leads to yet more online resources.)

I’m not even sure how I first found all these schools and resources that I am about to list (I think I may have begun with Will Terry’s channel on YouTube), but I will say that once you discover a couple of these artists, they tend to lead to one another in a serendipitous rabbit trail. Most of these artists are entrepreneurial in outlook, and therefore they are open to other streams of income than book illustration. For instance, Will has branched out from children’s book illustration to Comi-cons (comics conventions), and has just published a book of his own fan art.

Another thing these artists seem to have in common is an acquaintance with animated film studios. They may not all have worked for one, but the style of modern animation has at the very least contributed to their visual vocabulary. I say this because digital animation is more of a recent discovery for me, and it wasn’t until I saw such films as Up!, Brave and Big Hero Six that I was truly convinced of the potential of digital animation, particularly the lighting. (I watch a lot of animated films during those long flights to the US.)

When I got interested in children’s book illustration again, Comic-cons and Disney films were not exactly what I had in mind, and yet I do think it’s important to understand the trends. I can take in bits of this knowledge and inform my own art.

And lastly, I appreciate that all of these artists have been willing to share some of what they have learned. They do not operate under a scarcity mentality. Instead they assume that the more knowledge is available, the more new opportunities for artists will open up. More art for everyone, more jobs for artists!

So, here’s my list of resources:

First of all, Photoshop is the industry standard software for illustrators. (Ironically, Adobe Illustrator is more for logo design and other projects that require a vector format.) I found a Photoshop offer that allowed me to get just Photoshop and Lightroom (English version) for about $10/month. I don’t know how long it will be available, but even if you are the most traditional of artists, your illustration work has to be camera ready, and Photoshop offers editing tools. How far you take your editing, and their painting tools, is up to you.

Also, although for now I work on a small Wacom Intuos tablet, I want to eventually buy a Wacom Cintiq, which allows you to draw directly on the screen. Both of these devices plug into a regular computer and use a stylus, but since the Intuos requires you to look at a screen while drawing on a separate tablet, it produces certain hand/eye coordination problems that, although they do improve with practice, never quite go away. I spent 50 years developing my drawing hand, and a Cintiq would allow me to fully preserve it in digital form. One reason for my delay in buying a Cintiq, by the way, is that I am waiting to see if an updated version of the 22″ model is released soon.

Now that I’ve listed the materials needed, there is the matter of developing the specialized skills required to use them well. Though I only discovered it somewhat recently, there is at least one excellent, free site that will walk you through the basics of digital painting in Photoshop as well as the fundamentals of drawing and painting. Let’s face it, Photoshop is an overwhelming program when you first encounter it, and you can waste hours trying to resolve seemingly minuscule problems. Matt Kohr’s Ctrl + Paint is clear, concise, and while he doesn’t always still have the practice downloads mentioned in his videos (some videos are several years old and have been moved to the site from elsewhere), you can usually take a screenshot (cmd + shift + 3 on a Mac) and make one yourself. Ctrl + Paint is a great first stop. He also offers paid content, which I haven’t tried yet. And just a note: I usually use Safari, but I find his site works better on Firefox.

My paid instruction source of the moment is SVS Learn.com. The classes seem to be available every so often as real time courses with instructor feedback, and thereafter are preserved for download or streaming. The main instructors are Will Terry and Jake Parker (founder of Inktober). Will and Jake give digital instruction, but never emphasize digital tricks over fundamentals. In fact, most of their courses are just as helpful for traditional media. Their specialty is children’s books, and to some degree, comics and graphic novels. They and other artists present courses on such topics as Painting Color and Light, Developing Interesting Character Designs, Perspective, How to Make Money in Illustration, and many others. I currently have a streaming subscription for $15/month that allows me to watch anything on the site and download the workbooks and other digital aids that accompany the courses. I really have learned a lot. And another nice thing about their site is that they allow you to leave and come back with no hassle (haven’t tried it yet, but that’s what it says on the site). They seem to understand that artists are struggling enough just to stay afloat, so they let you pick and choose what you need.

Branching out from SVS, I have also discovered such sites as Noah Bradley’s Art Camp and Chris Oatley’s Oatley Academy. Yet another paid online art education site is Schoolism. I haven’t joined any of those yet, but they do look like they might be promising. If anyone has experience that they would like to share, or knows other sites of similar quality, I would love to hear from you.

And what 21st century artist’s resource list would be complete without Pinterest? Artists use all the social media sites–Facebook, Twitter, Instagram, and Tumblr being some of the more common ones–but the lure of Pinterest is the ability to make your own collections of other artists’ work and reference material, not just your own. When you’re starting out, Pinterest can be a helpful way to organize all the different sources of inspiration you want to keep track of. My account goes through periodic growth spurts and has now exploded to over 1000 pins. Oops!

For inspiration and general knowledge about the industry, I have enjoyed not only Will’s and Jake’s YouTube channels, but also Chris Oatley’s Artcast. Now that I am home alone a lot, I often listen to You Tube or podcasts while I do housework. Some of them are art-related and some have nothing to do with art, but that’s another blog post.

And finally, I have found some rather fun animation resources on TED and even Khan Academy.

 

My illustration adventure has only just started, and yet I’m really itching to get to the point where I can produce something that reflects not just technical art skills, but a mature vision. I think this may be a typical problem with starting a career in midlife. When you’re young, you have tons of energy and learn easily, but little life experience. At my age, you know your own interests and you have tons of experience you want to get out on paper or screen, but need to get your skills caught up quickly. I think a combination of humble and agile mind, and yet confidence about what you are trying to do, are optimal. But most of all, this job requires practice. So that’s what I am going to do now. Hope this helps someone, and thanks for reading!

Signs of life in Italy

In keeping with my accountability posts, I’m checking in today to do a brief report.

I’m happily busy, motivated, and working on my art. I’m involved with family, housekeeping and volunteering as usual, but I’m also learning to paint in Photoshop, which is like opening up an entire bag of caramels and chewing furiously. The learning curve is straight up. So I don’t have much to show for it yet.

So, in the meantime, I offer these small (and one not so small) signs of life in Italy:

Top: The world’s largest elliptical dome, canvas for an extraordinarily Baroque fresco complete with wooden extensions of figures into the cupola, at Vicoforte. Bottom left: The sanctuary at Vicoforte as seen from above amidst the Alban hills (home of the white truffle and Barolo). Both of these photos are from a volunteer day trip with 85 soup kitchen guests–always entertaining!. Bottom center: Chancellery cursive using a medieval reed pen, from Thursday’s calligraphy lesson. Bottom right: today’s lunch, ribollita. Yes, I know, it’s Tuscan and not Piedmontese, but I like to make it whenever I find black kale (I actually forgot what you call this kind of kale in English).

And then there was Wednesday, in which I turned a year older and we had a dramatic election.

Stay tuned! More news soon.

 

The Feast of St. Francis of Assisi

The feast of St. Francis is almost over here in Italy, but here are three reasons to post about it anyway: In the first place, I attend a Franciscan church and I have a soft spot for the friars’ gentle ways and their love for the poor. In the second place, St. Francis is the patron saint of Italy (and animals). And in the third place, I recently found this lovely post card painted by Pauline Baynes, who is probably best known as the original illustrator of C. S. Lewis’s The Chronicles of Narnia. As you can see, the post card emphasizes St. Francis’s relationship with animals and also that he was the first to popularize nativity scenes. He was a man who sought to imitate Christ in all he did.

And…it’s also my sister’s birthday today. Happy birthday, Leah!

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                                     St. Francis, by Pauline Baynes

New ideas

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One of today’s exercises, on old fashioned pencil and paper. What is going on with this fox’s other leg, anyway? And why can’t I get this photo to load at full resolution? If I thought too hard about these things, I’d never post it, so I won’t!

As perfectionism is a killjoy, I thought I’d post a half-baked update before I figure out how much I don’t know.

I have been looking for a new professional focus for about two years now, but the process is slow, and as usual, it is complicated by the fact that I live outside the only country where I understand how things work. But last year I decided that if I were ever to do art professionally again, it would be smarter to do it digitally. Italian shipping, insurance, bureaucracy and customs are all part of the short answer as to why.

And then last year someone approached me with the idea of illustrating a book. That didn’t work out, but the idea stuck. I had entered college with the idea of illustrating children’s books. I quickly switched to drawing and painting, but that was useful too and by now most of the techniques I would have learned in graphic design have changed anyway.

Finding a local course to learn the new techniques, however, proved difficult. I love the idea of going out daily and interacting with people, but in this case it just didn’t turn out to be practical. First, the Accademia discontinued all individual courses, so I got kicked out of the one I had been attending for the past two years and couldn’t sign up for the Photoshop course I was eyeing. The only other local digital art course I could find was expensive, with inconvenient class hours, and it wasn’t really geared to book illustration anyway.  So I found a course–nay several–online. I found an inexpensive Photoshop subscription. And now I’m studying furiously. I just have to remember to schedule exercise, listening to Italian, and going out with friends!

I know that this is a long shot. The publishing industry has completely turned on its head since I went to art school. Also, it can take ten years to learn all the skills needed, and I’m closer to grandma age than college age. It’s quite hard to break into the market, and for all but a few people, it doesn’t pay that well.

But I couldn’t be happier.  I wake up every morning looking forward to working. I’m not particularly concerned with comparing myself with the thousands of extremely skilled illustrators out there, but more with whether I can accomplish something I can be pleased with. And I can teach English when I have to have money.

One more thing: I’m starting to realize how similar children’s book illustration skills are to film direction skills. You have to know a little bit of everything, and I love that. I used to be quite the Luddite where movies were concerned (I think I watched a bit too much film noir in my 20s), and I still love old-fashioned illustration techniques and paper books, but I have come to appreciate the new overlap with animation, graphic novels, and interactive stories as well.

So, hopefully the learning curve will continue, the work will get better, and I’ll find opportunities to share what I’m doing. But for the moment, back to the drawing board. Have a good week!

On pilgrimage to Northumberland

Main house at Hethpool (photo by Fern Smith)

A couple of weeks ago I was preparing for our summer trip to the US when I got an email from an old NYC friend saying, “I’m writing to invite you to spend a few days with me in the north of England this summer.”

How could I pass up an invitation like that? So I soon I found myself in Northumberland, immersed in the successive waves of early medieval history amidst the bleating of sheep.

Scottish borderYeavering Bell and Ad Gevrin

Top: The Scottish border is a sheep fence overlooked on either side by prehistoric hill forts. Bottom: Atop another hill fort, Yeavering Bell, looking down on the site of one of the seats of the Saxon kings of Northumbria, Ad Gevrin (lighter field in foreground).

My friend Amy had been to Northumberland before, so it was she to introduced me to such personages as the Saxon king Edwin, his queen Aethelburga, the Roman missionary Paulinus, St. Aidan, and St. Cuthbert. We hiked along St. Cuthbert’s way to the Scottish border one day, and the next we climbed Yeavering Bell, one of the myriad Cheviot Hills topped by ancient hill forts. Down below Yeavering Bell one can see the field where Ad Gefrin, the local residence of King Edwin, once stood. There Paulinus baptized the local residents in the adjacent River Glen. These stories come to us from The Venerable Bede, who lived at the nearby Jarrow monastery.

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Lindisfarne: (Top) The Norman priory’s only remaining cross rib vault. (Middle) A relatively modern grave marker modeled after a traditional Celtic market cross. (Bottom) The ruins of the Norman priory as seen from above at the Heugh.

On another day we walked at low tide to the Holy Island of Lindisfarne, where the Celtic St. Aidan, on land granted by the Saxon king Oswald, founded a monastery. Riding on the popularity of Aidan’s successor St. Cuthbert, the monks (or their bishop, Eadfirth) produced the splendid Lindisfarne Gospels, now housed in the British Library in London. Not long after the manuscript was finished, however, the Saxon monastery was attacked by Vikings (several times), causing the surviving monks to move St. Cuthbert’s relics to Durham.

The next centuries brought more invasions, and a successive Norman priory based on the new gothic Cathedral at Durham, on the site of the original Saxon church. This monastery, too, flourished for a time until the Scottish border wars reduced its viability. Eventually Henry VIII suppressed it and it fell into ruin. Its most recent pilgrims have been the Romantics, such as the painter William Turner, and modern tourists.

Lindisfarne flats with Amy

As Amy and I hiked stretches of St. Cuthbert’s Way and walked across the mud flats from Lindisfarne, we were each making a sort of personal pilgrimage. For one thing, we were renewing a friendship that had been interrupted by distance and difficulties in both our cases. We shared our spiritual journeys, at least partly by attending each other’s Sunday services, which turned out to be remarkably similar.

And lastly, we shared our (for me newfound) delight in the country life of the English/Scottish borderlands–a life of bare windswept hills and spritzing rains, in which stone houses face away from tiny lanes and towards wild-ish gardens; a sporting culture of walkers, riders, dogs and sheep (and more sheep); and naturally, huge breakfasts and an occasional summer fire with evening tea.

And finally, despite being almost 100% British in ancestry and having forebears from Northumberland, this was my first ever trip to the UK. As I surveyed the parishioners with their raincoats, wooly hair and apple-rose cheeks during the local Anglican service at St. Gregory’s, I decided that they were taller and blonder than myself. But as I admired their needlepoint kneelers with Saxon-inspired designs, and chatted with them over coffee afterwards (instant, but their hospitality earned them a likewise instant indulgence), and listened to them recount the long history of their church, I decided we were kindred spirits nonetheless.

St. Gregory'sSt. Gregory's cancel 2St. gregory magi in kilts

(Top) The exterior of St. Gregory’s church: with its traditional churchyard. (Middle) The long presbytery at St. Gregory’s, which I discovered was typical of English churches in the late 13th C. (Bottom) A bas relief of the Three Magi, in kilts!

Viaggetto a Verona–churches

IMG_1690The presbytery of the Basilica di San Zeno, with its Mantegna altarpiece.

Visiting a church in Italy is three experiences, the spiritual, the artistic, and the historical. The spiritual part may depend on what your convictions are, and certainly many Americans are a bit startled when they see saints’ relics for the first time. The first time I went to Italy, there was a small church at the top of our town that housed, in a glass case, the body of a local saint–except for her hand. Someone had stolen the hand. My 20-year-old sensibilities were creeped out. While I still don’t condone stealing relics, I do understand better why they are venerated, but in this post I’ll mostly stick to what everyone can enjoy.

Verona is extremely rich in churches. For example, the entire street where I stayed was dedicated to religious buildings of one type or another: a convent, soup kitchens, schools, confraternities, all still active. In contrast to the largely Baroque churches of Torino, however, the churches of Verona are mostly Romanesque. I don’t really know what caused such a contrast, but I would guess that an 1117 earthquake in Verona and the rule of the Savoys in Torino might both play a part.

What’s for sure is that some of these churches, in both places, have origins that go back much farther. One Verona church that we entered, San Giovani in Foro, was built over the old Roman decumanus that adjoined the nearby forum and it has room off of the nave with excavations from the fifth century. The flyer for the most famous church in Verona, San Zeno, says that the original church  and convent were built over the saint’s burial place (d. 380) at a Roman-turned-Christian graveyard along the Roman Via Gallica. The complex had already undergone significant renovations by the 6th century. The present church was built in the 9th century and rebuilt during the Romanesque period (the present basilica). That’s at least four major reconstructions before the Gothic period that usually comes to mind when we imagine European cathedrals.

The Basilica of San Zeno is well-known enough to appear in my current medieval art history textbook, where it is listed as a Venetian refinement of the classic Italian Romanesque style developed in Modena. All the many other Romanesque churches in Verona are based on San Zeno in some fashion. San Zeno itself has so many interesting components that it’s hard to know where to start: the local adaptation of its Romanesque architectural elements, the façade frescoes by Nicolò and the lions holding up the columns on the portico, the inner set of bronze doors with scenes from the Old and New Testaments, the altarpiece by Renaissance painter Mantegna, the outlines of a Last Judgment discovered under the gable after 800 years, the hidden ruins of the original church, the graffiti’ed frescoes, or the legendary marriage of Romeo and Juliet in its crypt?  Since I had to leave to return to Turin way before I had explored everything, I’m going to just have to scratch the surface.

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First of all, I did notice the lions, because my own church has them, albeit in a 19th century version. This “Lombard porch” is found all across the Po Valley, but the lions also appear on pulpits, such as the famous ones by Nicola and Giovanni Pisano. Do they represent law and faith? Or maybe they derived from an Assyrian motif by way of Syriac and then Carolingian manuscripts? One of the friars at my church told me that their lions were originally put there to guard against Masonic influences in Torino. I love this sort of mystery–there’s probably an answer to where these lions originated, but no one really knows! Perhaps they meant different things to the various people who used them. I like to think of them as being like Aslan.

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And I certainly love the bronze doors. The Old Testament set was probably made by Saxon craftsmen in Germany, whereas the New Testament one was an early example of Italian bronze doors. Besides the Biblical scenes there are some whose subjects are hard to pinpoint, but the life of San Zeno figures among them, and probably some local rulers. What I like about the bronze panels is their sheer invention, the way the Biblical iconography is interpreted in bas-relief with woven geometric patterns and splayed out architectural elements. It’s fun to try to figure out what scene is being depicted.

The frescoes are also fun to try to figure out, partly because they seem to have been added organically over the years, and sometimes superimposed. Just as interesting are the graffiti scratched into the frescoes in all kinds of writing (including Greek). Several reference a large earthquake (spelled teremoto, with one r) in 1095, but the earthquake that interrupted the construction of the church was in 1117, and from the handwriting, I’m guessing they were added later. Some date from the 1300s and may have been left by pilgrims. Many date from the 18th century. And there are several contributions by Austrian cadets on their way out of Italy after unification. There are even a pair of figures etched into a fresco. While I’m generally horrified by the defacing of artwork, I consider the sensibilities of the times, and am intrigued by the mystery they represent. Here’s a story (in Italian) that tells of recently discovered graffiti found behind the statue of San Zeno, on a 10th century wall. It commemorates the assassination of Emperor Berengario in 924.

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And humorously, among the items displayed in the crypt along with the body of San Zeno and a variety of Romanesque capitals, is the treble bell from the adjacent bell tower, with the comment, “It still works, but after 800 years of faithful service, it deserved a break!”

IMG_1696A Romanesque capital at the entrance to the crypt

Carlana and I also ducked in and out of several other churches as we were walking along the streets of Verona. One, San Lorenzo, was recommended by a museum guard at the Castelvecchio as “a little jewel.” Like many of the smaller churches, it was hidden within a courtyard and preceded by a portico. Inside were the typical Romanesque striped stonework and a soaring vault that one would never have suspected from the outside, plus remnants of frescoes and other more modern signs of devotion. Other churches included San Giovanni in Foro, the Romanesque Santa Maria Antica and also St. Anastasia, which is slightly newer (Gothic) but no less beautiful!

I’m having to leave out a lot here, but this does give you an idea of the hidden treasures of ecclesiastical Verona. I have a few more photos of interesting things in Verona, but I’ll save them for one last post.

IMG_1655IMG_1657IMG_1661San Leonardo

For the time being I will leave you with one spiritual observation: You can’t go to Italy and not become aware of almost 2000 years of continued Christian worship. As with any institutionalized worship, yes, some of it is superstitious and some hypocritical, but some of it is very real and vibrant and continues to this day. The first time I came to Italy this idea was literally foreign to me, but now I see from the inside that “old” does not always mean “dead.”

Viaggetto a Verona

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This is an “old people selfie” that Carlana and I took at the Castelvecchio museum in Verona. Neither of us really knows how to get rid of the fishbowl effect in the selfie-cam. But we didn’t let that stop us from having a good time!

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When an old New York friend, Carlana, said she and her husband would be coming to Italy but not to Torino, I took that as an excuse to drive to the closest meeting point, Verona, and see a new town. Verona is 3 1/2 hours from Torino by car and is part of the Veneto region. The people there are notably blond, even compared to the northern Torinese, and their “o”s tend to become “u”s, as in nui for noi.

You can also see Venetian influence in the local architecture–particularly the pinks and reds in the stucco, the slender columns, the conical brick bell towers, and the occasionally pointed windows (see below). The whole town started out on a Roman grid, with the original amphitheater still dominating the main piazza (above) and the Roman city gates still extant. But the main part of the Roman city center has long been overlaid with serendipitous medieval twists and turns.

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We had a great time walking around all the old streets, ducking into the characteristic Romanesque churches, sipping vin brulé from the market, and of course, eating and catching up! Carlana likes history too, so I had a happy and energetic touring companion.

Some things to note below: Renaissance frescoes on the sides of buildings in Piazza delle Erbe (which was the original Roman forum, used for chariot races), a plaque marking where a city captain was killed during a coup in 1277, and the conical bell towers.

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There was so much going on in architecturally in Verona that I plan to do another post. But before I end for today, what would a trip to Verona be without Juliet’s balcony? Actually, the only thing they know for sure about this house is that it did belong to the Cappello (Hat) family, from which the name Capulet derives. But that doesn’t keep the entire courtyard entrance from being covered with graffiti, the tourists from flocking to the balcony, or the shops nearby from bearing Romeo and Juliet themes. In fact, since we were there just before Valentine’s Day, the entire town was festooned with hearts.

Back soon with some more of Verona!

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Juliet’s balcony, or at least a house belonging to the Cappello family.