These are stories about those places that are noteworthy either as public attractions, or perhaps even quiet personal places that make a difference in people’s lives. They are the places that give us energy, sustenance and reflective moments that help us to live richer lives.
Imagine a hiking trail 100 miles long with no particular destination. Rather than hiking to some specific place, what if the trail encircled a landmark, the most magnificent symbol of the Italian Renaissance—the Duomo, Cattedrale Santa Maria del Fiore—the main cathedral in the heart of Florence? Well, there is such a trail, called The Renaissance Ring, Anello del Rinascimento. The hiking experience results in the deepening of the magic and mystery of that special place known as Firenze—the heart of Tuscany!
The Pinnacle
The famous dome of the Duomo, was thought to be impossible to build, but has been a reality now for nearly 600 years. It’s both a miracle and masterpiece, designed in the 15th century by the great Filippo Brunellischi. Located near the banks of the River Arno, the unforgettable dome can be seen miles away, rising prominently amid the red tile roofs of the old city center. It looms with a rather surreal presence, seen from miles away.
Florence Italy
Florence has history, art and architecture like no other city. However, not many understand the unique relationship the “City of the Lily” has always shared with the rolling hills and beautiful countryside that surrounds the Arno river valley—the small towns that grew up alongside her, but certainly not in her shadow. Characterized by centuries of mutual influence and respect, the connections between the various areas become apparent as you experience the rather intimate valley, not from its center, but rather from its outer edges.
The people who lived in, and loved the surrounding countryside, gazed down into the city where the compelling dome stands watch. Or, if by chance the Duomo was not within view, they knew it was always there, visible from a nearby point just around the bend. And just like us, they surely felt a comfort at its familiar, awesome presence.
To celebrate the relationship between Florence and the communities that hold it, local organizations were tasked to create a continuous ring of trails leading past monasteries, castles, ancient walled cities, and country churches that all grew up together in that larger “Florentine family.” While unraveling the story, we’ve walked meadows, old Roman roads, mule trails, through olive groves, vineyards and cypress woods. There are 13 unique itineraries that break the 170 kilometers (100 miles) down into day-length pieces. With the help of train and bus schedules in hand, we charted our excursions, to experience the entire circle—slowly and thoughtfully, just like it evolved over the centuries.
Every leg of the grand circle can be coupled with a quaint overnight, or a relaxing Italian meal and a bus or train ride home. In any case, there will be a series of unforgettable experiences that add up to one grand loop around one of the world’s most fascinating regions.
Below is a companion story about one particular section of the circular trail that is known for its intact collection of ancient “Butter Houses,” scattered around the mountainside. Just click below to discover the rest of the story which is a unique hiking exploration all by itself.
C’era una volta, once upon a time, in the Tuscan hills just north of Florence, Italy, lived some very poor farmers. Their homes were usually one room, built high in the mountains, where both family and animals dwelled together. Life was difficult, but they were thankful for what they had.
Recently, I read a post online about nature and the relationship between birds and branches. The pondering was simple. Yet the thoughts went deeper. The pondering/wondering went something like this: When a bird nears a branch, does she anticipate the branch’s ability to hold her or does she land without calculating the branch’s strength, but rather trust her ability to fly?
Trampoline trust
Since reading the post, I’ve been observing birds more closely. The day before yesterday I saw several birds actually using thin branches in a pretty elaborate and playful “dance.” One landed while the others fluttered. A second one landed and the one on the branch immediately sprang into the air. They resembled trampoline acrobats, engaged in a fascinating synchronized routine. I watched them for several minutes as they continued to create variations of that same pattern. Was it a mating ritual? Was it some form of bird zoomies after the rain? All I can say is that none of the birds seemed concerned about the strength of the branch, even with all of the bouncing.
Birds trusting the dance
So for me, the post/riddle seems to have been answered. It appeared as if the birds trusted in their ability to land or take flight at just the right moment. Their self-trust allowed them the opportunity to touch and fly, touch and fly. This very practiced routine continued for several minutes. Then suddenly the birds abandoned the swaying branch and flew away. I didn’t see any movement nearby, so I don’t know if they continued their dance on another close-by branch. I pondered their activity and then shifted my focus to humans in relationship with one another. Do we mimic the dance of the birds? Do we decide about whether or not to trust our abilities or do we calculate the strength of the branch?
At any point in time we could ask ourselves: Am I the bird? Or am I the branch? Is my confidence in myself or do I rely on something to support me? And if I am the branch, who counts on me to be strong enough to hold them? Does holding them keep them from flying or give them a springboard? Is this a mutually beneficial dance we’ve created?
Related Musical Story
Circle of Trust
Circle of Trust: This story is about a relationship of trust for us, that plays out around a campfire instead of on a tree branch. There is a similarity between our flitting exchange of conversation and the playful dance of the birds. Just click the title above to go directly to the story, or have a quick listen-in to the accompanying music below.
The Adventures of Pinocchio is a classic, right? Disney put the marionette on the big screen in 1940 and Jiminy Cricket became an overnight success. But the real story is from Italy, Tuscany, to be exact. It symbolically represents Italy, as it grew into a unified country.
So we decided to read the book, first penned by Carlo Collodi in 1883—in its original language, as they say—Italian. Little did we know that our simple decision would be such a task. We decided to read one chapter a day. Pretty good, right? Well, no, when you consider that the average chapter is only about 5 pages long, and that includes pictures!
Our Pinocchio kit
Here’s our routine: we have an English version that we keep handy to check our translations; we have an Italian version in which Emerson writes copious notes (definitions, idiomatic phrases, verb forms etc.); I also have the original Italian version on an iPad; together, we use 2 dictionaries and one verb book; and finally, we access a translator online called, My Translator. Once we have our pile of books, pencils, erasers and various accoutrements, we begin just after lunch each day with a strong sense of anticipation and determination..
Pinocchio fully notated
Emerson reads the chapter title, for example, Pinocchio è derubato delle sue monete d’oro e, per gastigo, si busca quattro mesi di prigione. Translation: Pinocchio is robbed of his coins of gold and, for punishment, is put in prison for four months. Now, we think this is more than a regular title. A title is something like, “A Day at the Beach.” You know, there’s some over-arching topic that captures the essence and your attention. But the Pinocchio chapter titles are spoilers. They tell you what happens BEFORE you read it. Then Collodi goes into all the details of how the chain of events took place, but you already know the poor marionette is going to prison.
In the pokey
The other thing about the title is that we look up nearly every word. For example, Derubato. Oh, it’s a verb and this is the past tense. Okay. Monete. Oh, coins. D’oro. This is a common contraction. The word di means of. When it’s placed before a word that begins with a vowel, you leave out the i because, heaven forbid you put two vowels together! Okay, got it. Di oro = d’oro = of gold. Well, you get the picture. Every chapter is a language lesson as well as a lesson in logic. Why would Pinocchio go to prison? He was robbed. Well, the logic here is that if you’re foolish enough to be duped, you deserve punishment. Really?!
Actually, the Italian culture and thought process is something quite unique. The stories they concoct and the way they choose to say it, are nothing short of original art—funny and entertaining, yet thought-provoking at the same time.
Taccini ceramic
When we first discovered that Pinocchio is Italian, we went to a town west of Florence called Montelupo (which means wolf mountain), where an artist named Eugenio Taccini lives and works creating unique ceramic pieces. He’s well known for his depictions of Pinocchio. In fact, he actually made pieces of artwork for each of the chapters, exploring their deep psychological meanings. It became a form of therapy for him as he dove into the hidden messages. As an Italian, he wanted to use the original story to explore the process of change and transformation. Beneath the external beauty of Italian life, love and laughter, there are many deep thinkers pondering something profound and meaningful.
Pinocchio’s home town
Then we decided to make a trip to Collodi, the town where young Carlo Lorenzini spent summers and from which he took his pen name. Collodi is now known as the town of Pinocchio. There are restaurants named for those in the book. There’s an amusement park for children with all things Pinocchio. But in addition, there’s an amazing hillside baroque park called Garzoni Gardens. It’s considered one of the most beautiful gardens in all of Italy. It’s another example of the paradox that underlies Italian thinking: the whimsical, childlike attitude juxtaposed with the heady formal, compelling, meticulously planned.
So we’re on chapter 21 in the book. My bookmark only jumps a few pages a day. But, for the first time, I’m beginning to understand Pinocchio on multiple levels. As you might expect, the original is much more earthy than the Disney version. He’s more real. And that’s just the wood marionette. I can hardly wait to see how the world changes when seen through the eyes of a real boy.
First posted onOctober 1, 2011
Related Story
Reading the Yogurt Cups: Pinocchio is perhaps one of the earliest “Psychological Thrillers” ever. No story is any more psychologically rooted than that classic. This other story about yogurt cups is much more straightforward, but holds its own human potential
His full name is Henri Marie Raymond de Toulouse-Lautrec-Montfa, but most of us know him simply as Toulouse-Lautrec. He was an artist known for his renditions of the life he lived and observed, as well as for his diminutive stature. Due to a genetic weakness that rendered his bones brittle and vulnerable, he unfortunately broke both legs when he was a young boy. The result was a disturbing stunted appearance. Ever self-conscious about his physical imperfections, he found himself most at home with common people who had their own obvious flaws. He was especially drawn to the fascinating theatrical lifestyle of Paris in the late 19th century, even though, as his hyphenated name suggests, his family had deep aristocratic roots.
Playful self portrait
Toulouse-Lautrec became a famed artist, printmaker, master caricaturist, draughtsman and illustrator during his short life (1864 to 1901). He was also a gourmet food lover who invited his guests to dine with him via formal, artistic invitations. He even described the anticipated menu and commented that a meal was very similar to any other artistic expression—full of color, in both the foods and the guests. Meals and people were meant to be savored and shared. He often directed conversation to inspire lively exchanges.
Can-can dancers
Lautrec’s many associations in the vibrant milieu of Paris’ Montmartre district allowed him simultaneous front row and backstage views of that world of wonderfully “imperfect people,” like him. He was deeply immersed in the imagery of decadence—empathizing with the every-day plight of the working-class characters swirling around him, performing in the theaters. The famous Moulin Rouge (Red Mill) drew boisterous crowds, Lautrec interpreted them to be willing subjects, part of the “show.” The frenetic energy of the “can-can” invigorated the audience. Brothels of the area added to the attitude of decadence and pleasure. Lautrec enjoyed all of it, leaving a colorful, artistic “journal” for us to understand and appreciate his contribution to a rapidly evolving world of art. Although Lautrec enjoyed success and notoriety while he lived, he was destined to succumb to his circumstances and choices. An illness abruptly ended his life when he was merely 37 years old.
Ospedale
We think Toulouse-Lautrec would have found this exhibit to be the perfect expression of his artistic flair, since it was such a unique presentation. The historic corridors of the space were transformed into Parisian passageways that transported us back in time. Anchoring one side of the Piazza Santissima Annunziata, the beautiful Renaissance “Ospedale degli Innocenti” was the perfect choice for the exhibition. The 1419 architectural masterpiece was conceived by Fillipo Brunelleschi as a Children’s Hospital and Orphanage to support and care for the children abandoned during the Florentine Renaissance. (Brunelleschi also designed the famous dome of Florence’s grand cathedral—il Duomo.) The contrast of the exquisite historical building with Lautrec’s avant-garde style accentuated both.
Seeing 19th century art with 21st century eyes has become “normal,” yet to have that experience in a 600 year old architectural gem seems almost miraculous.
Stock Photo
Coming back outside into the brilliant Florentine sunshine, after having spent a 90 minute immersion into the late 19th century underbelly of Parisian cabaret life was a bit shocking and overwhelming. We had just glimpsed inside the life and mind of one of the world’s most influential artists of the late 1800s.
Following is a video of a “passageway experience” within the exhibit, along with a few amateur snapshots of his masterful work. Notice how accurately he captured the essence of a complex personality with a single, delicate line of the face, the audacious glint of an eye, or the subtle slant of an expressive black hat—absolutely fantastic!
On a backroad between Borgo San Lorenzo and the small town of Polcanto, in Tuscany, just north of Florence, an unknown artist has taken an open, sunny patch of meadow and created an outdoor exhibit, a seemingly permanent Art Gallery of sorts. Each unique piece is weathered and worn, allowing the natural patina to be the final artistic touch. The exhibit appears to be a dynamic, additive process, with some pieces showing more age and weathering mirroring the passage of time (perhaps years), while others seemed like more recent additions.
Two of the sculptures were quite detailed and complex, using a very modern-day material, Corten steel (a special alloy that forms a stable external layer of rust). The large heart-shaped steel plates were incised with the first stanza of the Rumi poem: Ode 314—which offers commentary on our choice of living our lives “asleep” or “awakened.” He suggests that life is to be lived with intention and reflection. Without judgment, he suggests that the alternative is simply sleep. He even advises against disturbing this sleep. It’s sort of a live and let live perspective. Perhaps he’s posing the question of readiness. But clearly his choice is to take the way of intention. The first stanza is shown below.
In stark contrast, another sculptural piece is in the form of a collage. Another, is a fluttering collection of random neck ties, suspended from the branches of an oak tree. Do the ties relate to the steel heart? Or to the other pieces? Are these expressions from the same artist, or is this an open invitation to anyone who feels inspired? Either way, it is compelling enough to warrant a closer look from any passersby, either on foot or enjoying a peaceful drive on a typical Tuscan side road.
Signature?
We found what could be an artist’s name in only one location, but couldn’t verify it. So, this “pop-up gallery” appeared to be a relatively anonymous gift offered freely without recognition or reward. All we know about the prolific creator(s) is the number 46 adjacent to a gravel drive that disappears down the hillside. We wonder what lies at the end of that ordinary country drive. One day, we might take a walk down that meandering road to see what’s at the other end. If we discover more to this story we’ll definitely let you know.
Side Note:A few days before discovering this Roadside Gallery, we visited the Palazzo Strozzi exhibit in Florence, viewing the collected work of Fra Angelico—what a fascinating contrast to the Roadside Exhibit.
To read that story, go to Perspectives: Immersion Into Religion Through Art.
Gallery of Roadside Art
Broken Heart of Rusted Steel (Right Side – Poem by Rumi)
Ode 314 (First Stanza) Those who don’t feel this Love pulling them like a river, those who don’t drink dawn like a cup of spring water or take in sunset like supper, those who don’t want to change, let them sleep.
Broken Heart of Rusted Steel (Left Side – author unknown) The last stanza – translated from the original Italian version:
Imagine utopia
Dream of Ithaca and hope the road you choose is long
Live in the moment, the emotion, the desire
Now.
We went to an exhibit at the Palazzo Strozzi in Florence, which is an incredible experience, even without an exhibition. Fortunately, the Palazzo was the site chosen for a once-in-a-lifetime collection of paintings from around the world by the Renaissance artist Beato Angelico. He was also known as Fra Angelico (Dominican Friar 1395-1455) prior to being canonized by the Catholic Church. He is now acclaimed as one of the greatest artists in all of Italy—ever! That’s a significant statement.
The exhibit was truly amazing. Ever loyal to his faith, Fra Angelico was a painter, sculptor, and creator of Illuminated Manuscripts (texts decorated for the reader’s enlightenment or illumination). He expressed his religious awe through a unique ability to render his subjects nearly translucent. The luminosity of the skin tones and his use of color is absolutely magical. The addition of gold leaf to highlight the halos of the saintly religious figures, as well as the intricate attention to detailing is quite mind boggling.
There are, of course, many fierce competitors in the Italian lineage of great artists like: Michelangelo, Botticelli, Giotto, Leonardo da Vince and Caravaggio, just to name a few. But after the exhibit, we had to agree that Fra Angelico’s art and impeccable character seemed inseparable and incomparable. If you ever get the chance to experience his artistic gifts to the world, seize the opportunity.
A few days after the Strozzi exhibit, we were in the countryside just north of Florence and happened upon a different artist’s work in a very different “Gallery.” The contrast with the Fra Angelico exhibit was remarkable and quite thought-provoking. Watch for another story coming soon—part 2 of Perspectives: Free Spirit and Free Form.
Related Music
You might also enjoy some music written about the Spiritual Quest and how the deep, personal changes find their way into Each Cell of our Being. We imagine the young Fra Angelico moving quietly through stone arches, meditating as he struggles with a longing to serve as both loyal friar to the religious order, while accomplishing his patrons’ requests for commissions. With his art, Fra Angelico elevated his patrons’ status, while making his unique way through a humble monastic life.
Each Cell
You can also find the original story and video that accompanied the song called Each Cell, from 2005, as we visited the beautiful Italian Monestery of Madonna del Sasso in Tuscany.
Credits (Each Cell Music)
From Where I Need to Be, track released June, 2005
Cheryl Martlage – Lyrics and vocals
Emerson Martlage – Music, guitar and vocals
Tom Tomasello – Producer/Arranger
Jim Bruno – Vocal producer
Mr Toad’s San Francisco – Mastering
Inspiration – The kind Monk from Madonna del Sasso
More than a decade has passed. We find ourselves drawn once again to this “delusional” bedtime story, woven by the master storyteller, Laurie Anderson.
On a Saturday night 12 years ago, we witnessed a spectacular performance. At the EX3 Theater of Contemporary Arts across the Arno River in Florence Italy, Laurie Anderson mesmerized the audience with a one-woman show. An incredibly creative and energetic performing artist, singer, musician, inventor and philosopher, she did not disappoint! “Normal” instruments weren’t enough to express her dream-state thoughts and feelings. So, she invented one: an electronic violin that uses special magnetic tape on the bow instead of horsehair and space-age pick-ups that make the violin wail like a wild cat. Laurie’s philosophy is expressed weaving diverse fragments of life into a political-personal-psychological-fairy tale performance. Her style is unique and we’ve never experienced anything quite like it.
Florence/Firenze
Following is the excerpt from a local newspaper, “The Florentine,” November 2010, which described her anticipated performance: “Delusion” is an eclectic multimedia show that brings together various forms of media, including video, music, monologues, and electronic puppets and violins. The show, which made its premier last February at the Vancouver Olympic Games, is conceived as a series of short mystery plays featuring elves and golems, nuns and dead relatives, fantastical unmanned ships and dark, scary forests. Through a series of altered voices and imaginary guests, Laurie Anderson’s colourful and poetic language in “Delusion” is a reflection on words and things, life and language. “Delusion,” a story of longing, memory and identity, makes its Italian premier in Florence, as part of Ex3’s New Musical Events.
Art Like Great Wine?
She has described her art as “of the moment,” and says that it doesn’t really keep well over time. While her many videos create a chronicle of her performances throughout the years, they don’t quite tell a full story.
We arrived early, as usual, to claim third row seats. From 8:30 pm, when the doors opened, people slowly wandered into the theater. In true Italian style, they chatted in the aisles, gesturing to animate their conversations. The l’ora accademia, (the academic hour) prevailed, which is customary in Italy. Performances and lectures begin a fashionable 15 minutes later than scheduled. At 9:30 pm the theater lights flickered to indicate the beginning of the show. Some obstinate folks continued to linger, ultimately fumbling their way to their seats in the dark.
Stage screen
A full-projection screen covered the back part of the stage, while two smaller screens flanked each side, strategically angled. The 10 x 10 screen to the left resembled a giant blank hallmark card. The other flanking screen to the right appeared to be a security fence hidden beneath a white nubby tablecloth, casually thrown over it at the last minute. A keyboard stood just right of center with Laurie’s strange electronic violin hanging precariously on a side hook. Then front and center, was a loosely covered sofa of sorts—the form looked a bit like spontaneously draped Halloween wax lips. Finally, completing the scene was a small platform toward the back of the stage.
The show began a full hour before Laurie appeared onstage, with a projector casting black and white oscillating pop-art images onto the couch—like a lava lamp without the liquid. It was undulating, almost nauseating. Despite having motion sickness, we were intrigued. Laurie finally emerged from the shadows wearing an untucked crisp white shirt, an artsy tie (loosely knotted under the collar), and black knit capris. As a final touch, she wore the cutest little sparkling Mary-Jane shoes with translucent soles.
Laurie’s violin
Laurie quietly floated her way to the keyboard. With a dreamy look on her face, she began playing several repeated chords while talking—and so the narrative unfolded. For 90 minutes, she wove stories, reading from her computer screen or paper notes, delicately pressing buttons on floor controls with her feet, while frequently launching into musical tirades with her vio-lectro-lin. With the latest technology, she made the sound of her voice alternate between ethereal, almost angelic and Darth Vader-like menacing tones. Several times she sang—her voice sounding like a strange other-worldy visitation. As she spoke, sang, read or played music, there were thousands of wild images flashing onto the 3 screens: scribbles on chalkboards, rain, blowing leaves, and other random dream-scapes.
Overall, it was an amazing, wonderfully thought-provoking evening. She was flawless and nothing short of masterful. With all the diverse ideas presented, as well as the sensory bombardment, we were exhausted by the end of performance. On the drive home, we wondered, “What does it all mean?” It was a performance that needed some mulling over. The pondering continues to this day—perhaps for the rest of our lives.?
We agree that her art is especially tasty “in the moment,” but find her message actually ages quite well—timeless, like a fine wine, better with every passing year.
What an incredible bedtime story!
Credits
Feature image above: courtesy of sfjazz.org
Video courtesy of YouTube
Cover of the Florentine courtesy of theflorentine.net
Laurie’s violin photo courtesy of Derrick Belcham
Story courtesy of our long-term memories
Related Music
“Nighty-Night Rosie June”—Another kind of bedtime story designed to take you into peaceful slumber rather than calling forth your most complex nighttime illusions/delusions:
“How much is that doggie in the window
The one with the waggly tail
How much is that doggie in the window
I do hope that doggie’s for sale”
Patti Page popularized the novelty song, “(How much is) That Doggie in the Window?” in 1952, when we had each achieved the magical age of 1. The answers to those questions were clear for us even as children and became underscored as the years went on. Here are the questions, followed by our answers: “How much?”—”priceless” and “For Sale?”—”not a chance.”
Doggie in a bag
If you want to have some fun, put a dog in a carry bag (preferably a small dog) and take it everywhere you go. Doing this in Italy resulted in our pooches becoming our “doggies in the window,” attracting the attention of many passers-by. We began with our dearly departed Izzy-B. Her name was Isabel, but Italians knew her as “Ee-sah-bella.” She was a real sweetheart who graciously allowed us to carry her everywhere—the grocery store, restaurants, running errands—the destination made no difference to her. She never uttered one complaint or showed a lack of enthusiasm. She seemed to bask in the attention of all the friendly folks who greeted her.
After 2 years without a doxie, we adopted her successor Sara, pronounced “Sah-dah” in Italian. We’ve had strangers scheming to sneak her into forbidden places, while others have screamed with glee as they take her little face into both hands to smooch her loudly. Most people can’t resist feeding her tiny treats they carry in their pockets, and we’ve even had her magical power give us direction and grant special favors. Following is just one silly example of the antics:
Doggie in the window
Em needed a haircut in Italy. He’d seen a barber shop in the nearby town of Caldine, just across from the local grocery store. It looked promising, so hethought he’d give it a try. One day, while Cheryl was at the market, he walked over for a trim. As usual, Sara was tucked into her carry-bag and barely visible. The barber spun around to offer Em a seat in the barber’s chair. Suddenly, he saw Sara peeking from under Em’s arm. Barber Giovanni is an avid dog lover and was fine with Em keeping Sara on his lap during the haircut—he simply let the barber’s cape drift slowly down over both of them. Another man entered the shop and Giovanni insisted on giving him a peek at Sara. He carefully lifted the hem of the cape to present a napping doggie. Everyone laughed at the silly sight. Sara glanced up momentarily and then fell back asleep.
Sara: doggie dis-covered
After the long pandemic travel drought, we finally returned to Italy some 2 years later. Although he’d had a few haircuts stateside, Em really liked Giovanni’s technique so he returned to the shop for another trim. As Em entered the barber shop, Giovanni paused over his seated customer. Holding his comb and scissors in mid-air, he greeted Em, “Hello, hello, how’s Sara?”(“Ciao, ciao, come sta Sah-dah?”) Em quickly realized that Giovanni didn’t remember his name—just Sara’s. Em replied that she was waiting in the car with Cheryl, but offered to retrieve her. When they returned, the finished customer stood to leave and Giovanni gestured for Em to be seated. Em placed Sara on his lap just like before, anticipating the same fluttering barber’s cape. Giovanni whooshed the large white bib up and out, then waited for it to settle over them. This time, to Em and Sara’s surprise, there was a new feature in the large cape. A clear window had been sewn into the front of it, seemingly custom-made for a furry friend. Sara was completely visible, giving everyone a hearty chuckle as she peered out through the plastic window (finestra di plastica), a bit puzzled and curious. It may have taken her a few extra seconds to fall asleep. Giovanni explained that the cape-windows are intended for cell phone use. However, we agreed that a dedicated dog-window is much more important and a lot more fun!
So, we return to the original question: “How much is that doggie in the (modified cape) window?”—still “priceless.” We wouldn’t trade our little fur baby for all of Italy, or the entire world for that matter! Our theory was supported yet again: some furry fun is always guaranteed when a dog is in tow.
Simone and Alessia arrived around mezzogiorno, noon the other day for lunch with us in the country. The sun was bright and the air was clear with that unmistakable fall crispness. We hadn’t seen them for over a year, so it was especially fun for us to have that time together to sit and talk . . .
What?! Are you confused? Don’t be. Tuesday is the name of our daughter’s chocolate lab. No, Iris does not work in research at Hershey headquarters in Pennsylvania. No, she didn’t adopt her sweet puppy on a Tuesday afternoon, but we do celebrate Tuesdays as double days.
Once upon a time, in a magnificent palazzo in the center of Firenze (Florence) Italy, lived Beatrice Portinari with her adoring family. They spent their summers and weekends in the cool Florentine hills in her family’s serene villa—the quiet and lush Tuscan countryside unfolding just beyond the city. Italy, in 1275, was on the cusp of the Italian Renaissance, poised to leave medieval times behind.
Tuscan hills at Villa
“Bice,” celebrated her 8th birthday with a lavish party at her country villa. There she met young Dante Alighieri for the first time. The 9 year-old-boy found himself speechless—love at first sight. More than just smitten with her beauty, he sensed something deeper. Her presence seemed to exude a spiritual quality, an aura of perfection. Had Dante seen an angel? Perhaps. Would his life ever be the same? No.
Dante Alighieri
Dante also lived in Firenze, but his family had a country villa, as well. In fact, his country home was just a ten-minute walk from Beatrice‘s place. Even though they shared a geographically small world, they only encountered one another a few times in their lives. Sadly, Bice died at the age of 24, but her influence remained a constant companion in both Dante‘s writing and in his dreams—she was his muse and inspiration.
Likeness of Beatrice
Dante‘s book La Vita Nuova was written about his love for Beatrice. His adoration was neither physical nor earthly, but was rather an ethereal, aspirational, platonic or even agape love that inspired his journey toward enlightenment. In Dante’s La Davina Commedia (The Divine Comedy), Beatrice appeared as a guide to lead him into Heaven. While Dante could only approach Heaven, Beatrice took her seat next to God, as an amazing divine spirit—truly other-worldly.
We imagine our “Best Self” as a modest reflection of Heaven’s perfection. In order to move toward our “Heavenly Best,” don’t we all need a muse—someone who inspires, guides and leads us to our highest possibility? How romantic a thought, to be smitten by an earthly presence who shows us a way that we could otherwise never even imagine. For us, the story of Dante and Beatrice presents a powerful, idealistic yet tangible image—a vision to help us navigate this Life on Earth and beyond.
Credits
Featured image above: Dante encounters Beatrice in the historic center of Florence, Italy C1285—this painting is dated 1883 by the artist Henry Holiday, on display in the Walker Art Gallery in Liverpool, England.
Dante: Painting by Attilio Roncaldier 1801-1884, Ravenna, Museo Dantesco.
Beatrice: Painting by Washington Allston 1819, The Museum of Fine Arts, Boston.
Related Stories and Music
Winter’s End This musical story and lyrics were written by Cheryl, alone in Tuscany on a cold winter dusk as she gazed out the window toward thebeautiful Villa Portinari. Following are her poetic musings put to music.
Beatrice’s Ghost This music was spontaneously written and recorded in our Tuscan cantina by Joshua Housh in 2009—inspired by the mystery of the nearby historic villas of Beatrice and Dante.
If you have a great life, but still sense a longing for something more; if you ever considered acting on your special dream that has waited patiently for what seems like an entire lifetime; or if you’ve ever tried to create, or even change a long-term relationship, this book may be for you.
The title is Time to Partner—Relationship Changed Through Dreams, Intuition, Trust and Courage.
The story of our journey into a new way to partner together is now available thanks to the wonderful capabilities of Apple Books. Originally, we documented our process of personal change by writing the story and then binding the books by hand—creating only 27 copies. That was over 20 years ago. However, more recently, technology has opened doors to other possibilities.
The entire book has been transformed into a digital format, exactly like the original (amazingly close, except for a few improvements). The new version includes stories, art, poetry, quotes and 14 original songs. In the book we share the details of the first four years of our partnered journey, openly disclosing the dissatisfaction, risk, creative spark, intuition, dream and magic exactly as it happened. Now, our hope of sharing it with a broader group has become a reality. As we pass the 50-year mark in our relationship, we think it is a good time to reissue the digital story.
Join us on our adventure
You can easily get the e-book with just a few clicks. However, the app is only available at the App Store for iPhone, iPad, and Apple Watch. Simply go to Apple Books and search for Time to Partner—download for free and you’re ready to start reading, viewing and listening.
Below is a short video called Accidental Authors, we made as a way to introduce the book. Check it out to discover something that might spark your own insights and inspirations. Also, feel free to share the link with any friends you think could be interested. Basically, we’re inviting you to take Time to Partner!
Cheryl and Emerson
Accidental Authors (Trailer)
Uncommon Promise (Music)
An “uncommon promise” became extremely important to us in the early years of our relationship. We knew we had to become impeccable with our word, and open and honest like never before. It was then, that we decided to use “Uncommon Promise” as the name for all of the art, music and stories we were creating together. Then, we decided to write our feelings of recommitment into a new song so we could capture that feeling and sincerity for all times. At that moment, we envisioned our journey into a stronger relationship like trying to discover an unimaginably beautiful Pearl. We haven’t yet uncovered everything we’ve been searching for, but remain committed to the quest.
Cheryl & Emerson
Quality time is undeniably great for relationships. We've discovered that quantity of time can provide that quality. Perhaps it takes Time to Partner.
Quality time is undeniably great for relationships. We've discovered that quantity of time can provide that quality. Perhaps it takes Time to Partner.
Uncommon promise 