Viva Arte Viva! Visiting the Collateral Events at Venice Art Biennale will take you off the Beaten Path

Courtyard of Palazzo Pisani - Photo: Cat Bauer

(Venice, Italy) La Biennale's 57th International Art Exhibition is nearly upon us. On May 10, 2017, art lovers from all over the globe will flood Venice with sparkling energy, as only those dynamic individuals from the World of Art can do, wandering around town, wacky and wonderful, in colorful fashions, to visit the preview. Really, I think we would have suffocated long ago here in the ancient lagoon city without Biennale and contemporary art!

In addition to the main events at Giardini and Arsenale, scattered throughout Venice are collateral events, which are admitted by the curator, Christine Macel, and promoted by non-profit national and international bodies and institutions. Sometimes these events are even more fascinating than the ones in the main exhibition, and offer a chance to visit venues in Venice sometimes overlooked.

Viva Arte Viva! The 57th International Art Exhibition - La Biennale di Venezia will open to the public on May 13 and run through November 26, 2017.

Here are the 22 Collateral Events in this year's Biennale Arte:

Campo della Tana

A bonsai of my dream – works by Wong Cheng Pou

Arsenale, Castello, 2126/A (Campo della Tana)

May 13 – November 12

Promoter: The Cultural Affairs Bureau of the Macao S.A.R. Government;

The Macao Museum of Art

www.icm.gov.mo

www.mam.gov.mo

Alberto Biasi, Sara Campesan, Bruno Munari e altri amici di Verifica 8+1

Istituzione Fondazione Bevilacqua La Masa, galleria di Piazza San Marco, 71/c

July 28 – October 8

Promoter: Associazione Culturale Ars Now Seragiotto

www.bevilacqualamasa.it

Body and Soul. Performance Art – Past and Present

Palazzo Pisani, San Marco, 2810 (Campiello Pisani)

May 13 – November 26

Promoter: Rush Philantropic Arts Foundation

www.rushphilantropic.org

Catalonia in Venice_La Venezia che non si vede

Cantieri Navali, Castello, 40 (Calle Quintavalle)

May 13 – November 26

Promoter: Institut Ramon Llull

www.llull.cat

blind.wiki/venezia

Doing Time

Palazzo delle Prigioni, Castello, 4209 (San Marco, Ponte della Paglia)

May 13– November 26

Promoter: Taipei Fine Arts Museum of Taiwan

www.tfam.museum

Fernando Zobel Contrapuntos

Fondaco Marcello, San Marco, 3415 (Calle del Traghetto o Ca' Garzoni)

May 13 – November 26

Promoter: Ayala Foundation/Ayala Museum

www.ayalafoundation.org / www.ayalamuseum.org

Palazzo Contarini dal Zaffo Polignac

Future Generation Art Prize @ Venice 2017

Palazzo Contarini dal Zaffo Polignac, Dorsoduro, 874 (Accademia)

May 12 – August 13

Promoter: Victor Pinchuk Foundation

James Lee Byars, The Golden Tower

Dorsoduro, Campo San Vio

May 13 – November 26

Promoter: Fondazione Giuliani

http://www.fondazionegiuliani.org

Jan Fabre – Sculptures Glass and Bone 1977 – 2017

Abbazia di San Gregorio, Dorsoduro, 172

May 13 – November 26

Promoter: GAMeC – Galleria d’Arte Moderna e Contemporanea, Bergamo

www.gamec.it

Man as Bird. Images of Journeys

Palazzo Soranzo Van Axel, Canna regio, 6099 (Fondamenta Sanudo)

May 13 – September 5

Promoter: The Pushkin State Museum of Fine Arts

http://www.arts-museum.ru

Michelangelo Pistoletto

Isola di San Giorgio Maggiore, Basilica di San Giorgio Maggiore

May 10 – November 26

Promoter: Associazione Arte Continua

www.arteallarte.org

Modus

Ca’ Faccanon, San Marco, 5016 (Poste Centrali)

May 13 – November 26

Promoter: WAVE’s (women arts Venice)

www.m-o-d-u-s.it

Philip Guston and the Poets

Gallerie dell’Accademia di Venezia, Dorsoduro, 1050 (Campo della Carità)

May 10 – September 3

Promoter: Museo Nazionale Gallerie dell’Accademia di Venezia

www.gallerieaccademia.it

Pierre Huyghe

Espace Louis Vuitton Venezia, San Marco, 1353 (Calle del Ridotto)

May 13 – November 26

Promoter: Fondation Louis Vuitton

www.fondationlouisvuitton.fr

Palazzo Bollani

Ryszard Winiarski. Event-Information-Image

Palazzo Bollani, Castello, 3647

May 13 – November 26

Promoter: Starak Family Foundation

www.starakfoundation.org

www.venice2017winiarski.pl

Salon Suisse: Ataraxia

Palazzo Trevisan degli Ulivi, Dorsoduro, 810 (Campo Sant’ Agnese)

May 11; August 31 – September 2; October 19 – 21; November 23 – 25

Promoter:  Swiss Arts Council Pro Helvetia

www.prohelvetia.ch

www.biennials.ch

Samson Young: Songs for Disaster Relief, Hong Kong in Venice

Arsenale, Castello, 2126 (Campo della Tana)

May 13 – November 26

Promoter: M+, West Kowloon Cultural District; Hong Kong Arts Development Council

www.westkowoloon.hk

www.hkadc.org.hk

www.venicebiennale.hk

Chiesa di Santa Caterina

Scotland + Venice presents Rachel Maclean’s Spite Your Face

Chiesa di Santa Caterina, Cannaregio, 4090/4091 (Fondamenta di Santa Caterina)

May 13 – November 26

Promoter: Scotland + Venice

www.scotlandandvenice.com

www.creativescotland.co.uk

Shirin Neshat The Home of My Eyes

Museo Correr, San Marco, 52

May 10 – November 26

Promoter: Written Art Foundation

www.writtenartfoundaton.com

The Court of Redonda

Ca’ Dandolo, San Polo, 2879

May 13 – November 26

Promoter: The Heong Gallery at Downing College, University of Cambridge

www.dow.cam.ac.uk

Wales in Venice: James Richards

Santa Maria Ausiliatrice, Castello, 450 (Fondamenta di San Gioacchin)

May 13 – November 26

Promoter: Cymru yn Fenis Wales in Venice

venice.arts.wales

www.experiencewalesinvenice.org

Yesterday/Today/Tomorrow: Traceability is Credibility

Fondazione Giorgio Cini, Isola di San Giorgio Maggiore, Sala Borges

May 13 – August 13

Promoter: Fondazione Giorgio Cini

www.cini.it    

Go to La Biennale for more information.

Ciao from Venezia,

Cat Bauer

Venetian Cat - The Venice Blog

Surreal! Bosch & Venice at Palazzo Ducale and Rita Kernn-Larsen at the Guggenheim

Bosch e Venezia - Photo: Cat Bauer

(Venice, Italy) Bosch has intrigued the world for centuries, with his frightening images of eternal damnation, dreamy fantasies of paradise, and surreal visions of naked humans cavorting on earth. When I first saw Bosch's Visions of the Hereafter downstairs at the Palazzo Ducale many years ago, I was stunned to see he had painted it around 1505-15 -- it looked so contemporary. The Way to Heaven, with angels guiding the good up through a white light, and The Way to Hell, with demons gleefully dragging sinners into a fiery pit stamped a deep impression on my mind.

Jheronimus Bosch
Polittico delle Visioni dell’Aldilà
1505-1515 circa

Last year, in celebration of the 500th anniversary of Bosch's death, the small Noordbrabants Museum in ‘s-Hertogenbosch (or the more pronounceable Den Bosch - "the forest"), the hometown of Jheronimus van Aken, asked museums around the world to loan them their Bosch-works -- none existed in the town in the Netherlands where Bosch was born, and on which he based his nom de plume.  

The Nordbrabants Museum had no paintings to offer in exchange. But they had knowledge, and were actually there, on the Bosch scene. This bold request by the director, Charles de Mooij, prompted major museums like the Accademia in Venice, the Louvre in Paris, the Prado in Madrid, the Met in NY and the National Gallery of Art in Washington, to come together to lift up their smaller sibling, resulting in a Bosch revival. Although 21st Century technology has cast new light on the 16th Century artist, there are still more questions than answers.

Venice is the only city in Italy that has works by Bosch -- The Martyrdom of Saint Uncumber (Wilgefortis, Liberata), a triptych; Three Hermit Saints, also a triptych; and the four panels of Paradise and Hell (Visions of the Afterworld). Just how Bosch's works of art ended up in Venice is one of the focuses of the exhibition now showing at the Doge's Apartments in Palazzo Ducale entitled Bosch e Venezia.

Jheronimus Bosch
Trittico di Santa liberata o Wilgerfortis
1495-1505 circa

After a major campaign of restoration financed by the Bosch Research and Conservation Project and the Getty Foundation of Los Angeles, and a trip up North to Den Bosch for the Noordbrabants' stellar show, the works are now back in Venice, refreshed. 

One result of the restoration confirmed that it was, indeed, Saint Uncumber who was the subject of a triptych after it was revealed that the female saint definitely had a beard. In Italy, her name is Saint Liberata, which means Liberty, and that is the name I like the best. The teenage aristocrat Wilgefortis, aka Saint Liberata, grew her beard after her pagan father, the King of Portugal, promised her in marriage to a pagan prince. Wilgefortis was Christian, and had taken a vow of chastity, so she prayed to become unattractive. Miraculously, she sprouted a beard and the marriage was called off, which made her father furious, so he had her crucified. Saint Liberata is the saint you pray to if you want relief from tribulations, particularly if you have an abusive spouse and wish to be "disencumbered."
 

Hypnerotomachia Poliphili - Photo: Cat Bauer

During the time of Bosch, the Renaissance in Venice was in full throttle, with the aging Bellini, and the young upstarts Giorgione and Titian as star painters. Aldus Manutius was revolutionizing the publishing industry, and, in 1499, had published the mysterious Hypnerotomachia Poliphili, also known as Poliphilo's Strife of Love in a Dream, complete with erotic illustrations, which is included in the exhibition. The illustration of dreams (or nightmares) had cranked into gear.

To this day, scholars, theologians, and lay people still try to reconcile how the good Christian, Jheronimus Bosch, came to paint such sexually explicit and ghoulish scenes. There is documentary evidence (one written by Bosch's contemporary, the artist, Albrecht Druer) of the fabulous bed of Count Henry III of Nassau-Breda that slept 50. Count Henry owned Bosch's extreme vision, The Garden of Earthly Delights. Count Henry was a buddy of Emperor Maximilian I; he also educated Maximilian's grandson, the future Emperor Charles V. Apparently Count Henry liked to hold banquets, get his guests drunk and toss them into the big bed. Was Bosch involved with a secret cult? Was he working on commission to indulge the fantasies of his wealthy patrons? Or was his work simply the product of his wild imagination?

Jheronimus Bosch
Polittico delle Visioni dell’Aldilà
1505-1515 circa

The second emphasis of the exhibition attempts to explain the reason why Bosch's paintings are in Venice by connecting the works to the Venetian Domenico Grimani, a cardinal and humanist with an extensive collection of art. Grimani purportedly scooped up Bosch's works after his death in 1516. According to the exhibition:

There are three protagonists in the exhibition. The first is, of course, Jheronimus Bosch himself; the second is Domenico Grimani, a formidable prince of the Church, intellectual, collector of books and "artistic" objects of all kinds, and the recipient of three works by Bosch: he was a leading Renaissance figure. And the third protagonist, whose presence is perhaps a little more "indirect," is a fascinating homme d'affaires, printer, dealer in luxury goods, and intellectual in his own way and the friend of artists: the Flemish Daniel van Bomberghen, who we believe was responsible for bringing Bosch's works to the attention of Cardinal Grimani.

The Way to Hell (detail)

Although I am not a scholar, to me, it is not that strange that Bosch's paintings should end up in Venice. During the Renaissance, Venice was a hive for humanists. There was a long-established trade route between Venice and the Northern European merchants. Their headquarters, the Fondaco dei Tedeschi at the foot of the Rialto Bridge had burned in 1505; a more magnificent structure was built in less than three years. The German merchant Jacob Fugger, another important Renaissance figure and arguably the richest man who ever lived, had not only funded Maximilian I, he was the intermediary between the Emperor and Pope Julius II, and one of those responsible for Charles V becoming Emperor. There was a steady flow of goods, information and lots of money between Renaissance Venice and the North.

Although there is no evidence that Bosch was ever in Venice, there is documentation that Durer was; he is included in this exhibition. Someone else who definitely was in Venice during that period was Erasmus of Rotterdam, the Prince of Humanists himself. Erasmus asked Aldus Manutius to publish his Latin translations of Hecuba and Iphigenia in Aulis by Euripides, and personally came to Venice in 1508. Erasmus was also a member of the "New Academy" of Hellenists, founded by Manutius.

On a whim, I did some research, and learned that Erasmus had been educated at one of the houses of the Brethren of the Common Life in 's-Hertogenbosch when he was a teenager in the early-mid 1480s. Was there any connection between Erasmus and Bosch? Or was it just a coincidence that they were in the same town at the same time?

The Church of San Bartolomeo, just moments away from the Fondaco, was the house of worship for the German community in Venice. (I made a short video this morning so you can see just how close they are.) Durer had been commissioned by Jacob Fugger to paint The Feast of the Rosary for the church. Everybody Who Was Anybody in the Renaissance world was at the church when the mathematician and magician Luca Pacioli, a good friend of Leonardo da Vinci, gave his famous lecture on Euclid's elements on August 11, 1508, ten days after the inauguration of the Fondaco dei Tedeschi.

The point is that an artist such as Bosch who pushed the limits would surely have been known in certain circles of Renaissance, an intricate network that extended beyond the Alps. Today, some works of Bosch would probably be banned on Facebook.

I have read many arguments about what Bosch was up to -- no one knows for sure, just like no one knows for sure who wrote the Hypnerotomachia Poliphili, and no one knows for sure who designed the Fondaco dei Tedeschi. There are many mysteries about what was going on during the Renaissance in Venice, but one thing is certain: it is riveting stuff!
 

Anonimo seguace di Jheronimus Bosch
Tentazioni di sant’Antonio
metà del xvi secolo
2017 Credit © Archivio fotografico – Fondazione Musei Civici di Venezia

The third aspect of the exhibition focuses on other artists who were inspired by Bosch's trippy art; Bosch spawned an entire genre of surreal, nightmarish, fantastic images, which continue to fascinate.

AppTripper

The thing I loved most about Bosch e Venezia is the totally cool Virtual Reality trip into Visions of the Hereafter, courtesy of Apptripper. Strap on your VR glasses and headphones and plunge straight into the painting. Spin down to Hell, then flutter up to Paradise and experience Bosch in another dimension. It's the first time Virtual Reality has been implemented in a museum in Italy. I did it three times.

Bsoch - The Fall - AppTripper

Jheronimus Bosch and Venice runs through June 4, 2017. Go to Palazzo Ducale for more information.

The Apple by Rita Kernn-Larsen (1934)
Kunsten Museum of Modern Art, Aalborg

Meanwhile, the Peggy Guggenheim Collection has inaugurated its new "Project Rooms" (that used to be the café) with Rita Kernn-Larsen, a prominent Danish Surrealist artist that Peggy met in 1937 in Paris, and invited to exhibit at Guggenheim Jeune in London the following year. I really liked the artist, who is little known outside Denmark, and the intimacy the Project Rooms added to her works.

Rita Kernn-Larsen. Surrealistic Paintings runs through June 26, 2017. Go to the Guggenheim for more information.

Ciao from Venezia,
Cat Bauer
Venetian Cat - The Venice Blog

What is the Ballad of the Masks and the Beheading of the Bull? - Venice Carnival 2017

Here Comes the Bull! Venice Carnival 2017

(Venice, Italy) The Ballad of the Masks and The Beheading of the Bull are new elements that were added to the Venice Carnival a couple years ago. The Beheading of the Bull is actually an ancient tradition that started back on Giovedì Grosso, or Fat Thursday, in 1162, and was part of Carnevale for centuries.

There is a Venetian expression: "Tagliar la testa al toro," which translates to: "Cut the head of the bull." What does that colorful expression mean and how did it originate?

Cat Bauer - Venice Carnival 2017

This is a story about the Holy Roman Empire, which, by 1162, was German, led by Frederick Barbarossa (aka Red Beard) and his battle to conquer Italy. Ulrich II von Treven was Austrian, and supported Barbarossa and the empire. Ulrich was the Patriarch of Aquileia, a Roman city not that far from Venice on the mainland, about six miles away from the Adriatic Sea.

Enrico Dandolo was Venetian, and the Patriarch of Grado, a town on an island and peninsula not far from Aquileia. For centuries, Grado and Aquileia constantly battled each other for power. (NOTE: Enrico Dandolo's famous nephew was also named Enrico Dandolo, and would become the Doge of Venice and leader of the Fourth Crusade, but he is not part of this story.) Venice, Aquileia and Grado were tumultuous neighbors.

I could not find a decent map to illustrate the three different locations, so I made one myself, which you can click to enlarge:

Many years ago, when I first moved to Venice, one of my big questions was: why are all these impressive palaces on the Grand Canal? Who were these people? Why not shacks? So, a friend of mine brought me to Aquileia and Grado.

Aquileia has a long, complex history, but to greatly simplify, it started out as a Roman colony in about 180 BC. As time went on, a bunch of Roman emperors used to stop by; some even made it their residence. In 168, Marcus Aurelius made it the principal fortress against the barbarians of the North and East.

By the end of the fourth century, Aquileia had an imperial palace, and was so important that it had become the ninth great city of the world, with a population of 100,000. Then, in 401, they were invaded by the Alarics and Visigoths, topped off by Attila the Hun in 452, and much of the population fled to the lagoons of Grado and Venice for safety. The patriarch fled to Grado, bringing holy relics blessed by St. Mark himself with him. Grado declared the ecclesiastical power had thus been transferred, and that it was the "New Aquileia."

Venice Carnival 2017

Aquileia pulled itself together, and rose again, and was invaded again, this time by the Lombards. This back and forth went on and on, until two different patriarchs evolved: one in Aquileia, and one in Grado with ever-changing loyalties to various popes and emperors, as the world adjusted to Christianity.

By the time we arrive to the year of our story, 1162, the Austrian Ulrich II von Treven was the Patriarch of Aquileia, and Venetian nobleman Enrico Dandolo was the Patriarch of Grado, whose base had moved to Venice, over in the Church of San Silvestro. By that time, the battle over who had the greater ecclesiastical power had been going on for centuries.

However, what was really happening in 1162 was a proxy war, with Emperor Frederick Barbarossa intending to conquer Venice, using Ulrich, the Patriarch of Aquileia, like a bishop on a chess board. Ulrich, who was in contact with Barbarossa, attacked Grado. In response, Doge Vitale Michiel blasted a powerful force of enraged Venetians to Grado, who surrounded the city, captured the piazza, and brought Ulrich, twelve of his lords, and 700 captives back to Venice. They marched Ulrich and the lords through the streets of Venice, insulting and taunting them.

The 12 Marie - World's Oldest Beauty Contest

The Doge said he would let Ulrich and his gang go back to Aquileia on one condition: they must send a bull, twelve pigs and bread every year to mark the day of Venice's conquest, which happened to be Giovedi Grosso, a day to indulge before Lent. Ulrich caved in. The Venetians slaughtered the bull and the pigs provided by Aquileia, divided up the meat, and celebrated their great victory over the pesky Patriarch of Aquileia.

Carnival already existed in Venice -- it was first mentioned in 1094 -- but that this scene took place on Giovedì Grosso, was supreme good luck. From then on, the Venetian Senate used the yearly re-enactment of the Beheading of the Bull to remind the population of what champions they were, and marked the day with lots of pomp and circumstance. The bull represented the humbled Patriarch of Aquileia, and the pigs represented the disgraced lords. I can't date exactly when the tradition ended, but probably around the time of Napoleon, with the end of Carnival itself.

By the way, Frederick Barbarossa tried to conquer Venice again in 1177, which led to to the creation of another beloved Venetian celebration, the Festa della Sensa, the Marriage to the Sea:

Venice Marries the Sea and the America's Cup!!!

Beheading of the Bull - Photo: Official Carnival site

So, what does "tagliar la testa al toro" mean? It means, basta, enough, or a definite solution. Here is an example, given to me by a Venetian: "I claim I gave you €1000. You claim I gave you €800. This argument goes on and on. Finally, I say, Basta! Tagliar la testa al toro! Enough! Cut the head of the bull! Give me €900, and we will stop arguing about it."

I asked more Venetians, including younger ones who live on the mainland, and discovered that the phrase had a slightly different meanings depending on where you were from, and was also used all throughout Italy. But older Venetians D.O.C. said, "Forget about what anybody else says. It means, this is what we are going to do to resolve this situation, case closed!"

Venice Carnival 2017

Two years ago, the mask-making cultural organization, L'Arte dei Mascareri, decided to bring this ancient tradition back to Fat Thursday. (These are some of the same people that reignited Carnival back in 1980, which grew into the international spectacle it has become today.) 

Fat Thursday Venice Carnival 2017 - The Beheading of the Bull

The Ballad of the Masks and The Beheading of the Bull have been a great success. A parade of Venetians wearing costumes and masks, along with the bull (no longer real:-) gathers at 2:30pm in Campo Santa Margherita. There are drummers and musicians, dancers, stilt-walkers, the twelve Marie, and a joyful assortment of colorful characters. The parade moves to San Barnaba, then to Accademia and over the bridge into Santa Stefano; next it promenades down XXII Marzo, arriving in Piazza San Marco at 4:30pm. It swoops through the Piazza until arriving on stage. This year, the bull transformed into a male dancer wearing a bull head, and was slain by a female dancer in red.

I was lucky enough to be on stage when the parade arrived, and thought the show was fantastic. Judging by the reaction of the crowd, so did those in the audience.

Beheading of the Bull - Venice Carnival 2017

The mask-makers, together with VELA, have organized The Ballad of the Masks and The Beheading of the Bull to promote the ancient craft of mask-making and inject some local mischief and joy back into Carnevale. Next Giovedì Grosso, you are welcome to join the parade if you wear a mask and a costume. It's a great new element to Carnival -- a long parade of multi-colored, bouncy people snaking their way through Venice on Fat Thursday!

Ciao from Venezia,
Cat Bauer
Venetian Cat - The Venice Blog

Sweet, Sweet Venice - Caffè Florian Delicacies - Book of Recipes

 "Venice is like eating an entire box of chocolate liqueurs in one go." 
---Truman Capote

(Venice, Italy) The Caffè Florian, in the heart of Piazza San Marco, has been one of the most beloved venues in Venice for centuries by both Venetians and visitors alike. The oldest coffeehouse in all of Italy can also claim to be the oldest in all the world, depending on how one defines the term. It was established in 1720, and has been a cozy, delightful and crucial meeting point of civilized minds for nearly 300 years.

Marco Maccapani, Artistic Director of Venice Carnival, at Caffè Florian with Cristiano Strozzi (seated)

Yesterday, the Florian launched I Dolci Veneziai del Caffè Florian, a sweet little book in both English and Italian filled with classic Venetian dessert recipes by Cristiano Strozzi, the Executive Chef Pâtissier. But it's not only about recipes -- the desserts are accompanied by fascinating anecdotes about their origins, with gorgeous photos by Marco Tortato and clever text by Stefano Stipitivich. I had never had fried cream before, and it was yummy. Here is the intro:

Crema fritta (fried cream) is a typical dish in various Italian regions and can be served as either an appetizer or a dessert. The recipe goes back many a year. It coincided with the onset of winter when the Veneto country folk slaughtered the pig as the cold began to arrive. The lard was used to cook creams, frittelle and galani, so crema fritta was another typical sweet treat at Christmas and Carnival time; the Venetian Carnival began straight after Boxing Day, on 27 December.

In the Venetian custom, crema fritta was cooked at the last minute and eaten at the end of the meal, doused in raisin wine, a "vin foresto" (foreign wine), as they used to say in the Lagoon.

Hot chocolate and cookies - Divine!

One of the most divine things about Italy is that the hot chocolate is real, oozy and thick, with sensuality and substance. It is like drinking an aphrodisiac, which Casanova liked to use in his seductions. From I Dolci Veneziai del Caffè Florian:

...It was only in the 16th century that chocolate reached Europe: Hernàn Cortéz brought cocoa to Spain in the early 1500, but no other European country would experience the joys of chocolate until the 17th century. In 1615, Anne of Austria, the Infanta of Spain, married Louis XIII and thus brought the drink to France, from where it spread to Holland, Germany and England.

The Dutch soon became the main importers. In Europe's capital cities, chocolate was as fashionable as coffee: the early "coffee shops," especially in Venice and London, began to serve not only the "black beverage" but also chocolate in a cup.

...they say that Giacomo Casanova had his lovers drink it as an aphrodisiac in voluptuous quantities with added chili. Could it be true?

Caffè Florian during Carnival - Photo: Cat Bauer

The Caffè Florian is a landmark that exemplifies Venice in all its elegance, romance and intelligence. I'm not going to give away the actual recipes -- for that you will have to get the book. The Florian is a wonderful place in which to heighten your senses at any time of the year, but now, during Carnival, it is spectacular.

Ciao from Venezia,
Cat Bauer
Venetian Cat - The Venice Blog