My life at the questura

I’ve been in Italy since late last November and only today did I get my official permit to stay, otherwise known as my Permesso di Soggiorno.  Let me recount the tale.

Here’s the Questura in Florence.  Lovely, right?  I wish you could feel the temperature as well, and get a drift of the fragrance.  It is icy cold in winter and hades hot in summer!

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So, I came to Italy on a student visa last November.  That visa took me through March of this year.  I had to visit the Questura within 8 days of arriving.

Before going to the Questura in Florence in December, I had to go to the Florence post office and get a “kit” with the documents I needed to submit at the Questura.  Completing these documents in black ink (and only black ink; any other will get your documents put in the trash), I also needed to go to a Tabbachi store to purchase a particular francobollo or stamp for a rather high price.

With my completed black ink documents and receipts and francobollo, I paid my first visit to the charming Questura in early December and submitted necessary documents and receipts for monies paid.  At that point I was given a date for returning to the Questura to pick up my Permesso.

Unfortunately, the date given was 3 months out, or in March of 2017, which was beyond the time my Student Visa allowed me to be in Italy.  A bit of a quandary, but what to do?

I had decided to stay longer in Italy anyhow, and worked with my language school to submit new documents to the Questura showing I would be a student for another 8 months or so, at my appointment in March of 2017.

At my March appointment, with my new documents and pictures and receipts for monies paid, I was fingerprinted and told I would receive an SMS when my Permesso.  That was March.

On June 1, I received this SMS.  I was to go back to Questura on 29 June at 15,13 o’clock to get my Permesso! Woo hoo!  I think I am finally going to get my Permesso!

 

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Yesterday, at 15,13 (actually I was early) I arrived at Questura and explained why I was there to the officer in charge.  He gave me a number and told me to expect to wait for 2 hours.

He was right, it took 2 hours for my number to be called.

 

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Finally, my number was called and I darted up to the sportello and greeted the bored bureaucrat behind the counter.  He fetched my Permesso but explained to me that as of 7 June, a new tax has been added.  I needed to pay an additional 40 Euro to get my Permesso.

OK, I said, I can pay you now.  I had known to take some money with me, just in case.

Oh, no, he laughed.  You can’t pay me!  You have to go to the Post Office and pay them and get a receipt and bring it back here.  He told me where the nearest PO was and told me I could ask the officer at the front of the Questura if I could return yesterday with my receipt and get another number and get my Permesso.  I wanted to do just that.  He told me that if the officer told me no for yesterday, I could return today between 9 and 11 a.m. with my receipt.

I went to the officer at the front and asked him if I could dart out, pay the tax, and return the same afternoon (yesterday).  No, he said, they would be closed.  OK, I said, I’ll come back in the morning.

No, he said, you can’t come back until Monday.  I complained and showed him the note the bureaucrat at the sportello had given me.  He read it and got his supervisor.  They consulted.  The supervisor asked me who gave me the note.  I told her as best I could and she said yes, you can return tomorrow between 9 and 11 with your receipt.

So, yesterday, after waiting 2 hours at Questura, I went to the big, beautiful neoclassical Post Office in the center of Florence and got a number to wait to pay the new tax that’s been in effect since 7 June.

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At least the PO is air conditioned and clean and beautiful.  I never really mind waiting there.  It gives me a chance to people watch.

Eventually my number was called.  I was given a document to complete, asked for 41.50 Euro, and given a stamped receipt and sent on my way.

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This morning it was back to the Questura where I got a number and waited while the bureaucrat waited on numbers before me, and then turned out his office light and took what I assume was a break (he was gone 20 mins, fyi), and returned and took a couple people before my number was called.

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He remembered me from yesterday.  He took my receipt, took the paper I had been given in March, took my two index finger prints, and finally, gave me this.

I have my Permesso!  It only took 6 months!

What if?

What if you woke up today in Florence and decided you wanted to live in a fantasy world?

Let’s say you thought to yourself  “wouldn’t it be cool if I could go into a Renaissance palace in the center of Florence, and be a welcome guest?”

And, further, wouldn’t it be groovy if, when you were in that Renaissance palace, as a welcome guest, you could sit down for a while on a very comfortable, velvet covered chair, and enjoy a glass of nice local wine, while something amazing entertains you.

And, to increase the fantasy, what if this entire experience was air-conditioned, while Florence sizzles in the heat of the summer outside?

And what if I told you that this is actually not a fantasy, but something you could truly experience?!  How fast would you beat it there?

 

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One of my favorite places in Florence ticks all of the boxes above.  I love going to this place!

The classic art nouveau/deco interior is gilded and gorgeous and makes an average evening at the movies feel like an elegant affair!  And an added bonus is, it has air conditioning!  A great place to pass a summer evening in broiling Florence.

So, let’s start with the building, which is the Palazzo Stozzino, constructed in 1450s and 60s.  Here t’is!

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Work on the palace began in 1457. None other than Filippo Brunelleschi is thought to have designed it, but several other architects, among them Michelozzo, also had a hand in the edifice. The façade is attributed to Michelozzo, at least in the lower part, with its rusticated stone facing. Higher floors have been changed during various periods of renovation; they were changed a lot in the 19th century. 

Inside the Renaissance palace was a courtyard surrounded by an elegant porch with columns; it is thought Michelozzo designed the cortile and that it was built around 1460. The Palazzo Strozzino took its name after the larger Palazzo Strozzi.

The entire area around the palazzi Strozzi and Strozzini was changed during the 1860s, when Florence became the capitol of Italy.  Many buildings were razed.  Fortunately, these two palaces were spared.

The story goes that it was the suggestion of a famous Italian actress, Eleonora Duse, to transform the Strozzino into a cinema. Apparently the people who owned the palace in the 1920s were considering turning the building into a luxury hotel.  Duse is said to have convinced them into building this stately cinema instead. 

At any rate, it was somehow decided to create a cinema in the Strozzino’s courtyard. The Cinema Teatro Savoia was designed by noted architect Marcello Piacentini in 1920 and finished in 1922; the theatre was lavishly inaugurated in December of 1922.

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At the same time, two of the palace’s facades were redesigned, and a circular temple-shaped lantern was placed on a corner with bronze nude efibici, by the sculptor Marescalchi. 

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Inside the cinema, the sculptor Giovanni Gronchi created the lacunars and stucco plaques, and sculptor Antonio Maraini designed the three Muses in gilded and polychromed wood on the boccascena.  Other specialized artists and firms created the elaborate decorative interior.

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The theatre was later re-named Cinema Teatro Odeon, and it is now operated by the Cinehall Group. It remains a first-run single screen cinema. Many films are shown in their original language version (with Italian sub-titles).

The Odeon has long been a preferred meeting point for members of Florentine cultural and artistic life.  Guests such as Louis Armstrong and Ella Fitzgerald visited the theatre, as have directors and actors of Italian neorealist cinema, as well as contemporary artists such as Isabelle Adjani, Angelica Houston, Bernando Bertolucci, Kenneth Branagh, Roberto Benigni, Nanni Moretti and Paolo Sorrentino.

The prestigious and elegant spaces of the Cinema Odeon Theater include  a large open room, with a stage holding the movie screen, and has a total capacity of 594 seats, divided into the large stall (with 334 seats) and stylish balcony (seats 260).

Fortunately for us, the Odeon still maintains the harmony and beauty of its original art deco/nouveau style; its tapestries, statues, and colored glass skylight are admired by its many visitors.

The original furnishings of the grand room were red velvet; the furnishings were renewed in 1987 and replaced with yellow gold velvet. Theoriginal wooden chairs remain in the balconies. 
On Via dei Sassetti a plaque reads: "Built in the MCMXXII on behal of S.A. Toscano Immobiliare Sindacato - Restored in the MCMXXXVIII".

The Odeon Cinema is a vibrant cultural centre, often hosting cinema
festivals. One of the leading is “50 Giorni di Cinema Internazionale”, which takes place in winter, showcasing movies and directors from
diverse cultures.

In addition to the entertainment venues and offices of the German Management, the building houses the Departmental Department of Tobacco Growth and the Department of Economic Development of the City of Florence, and in the basement a historic disco, the Yab.

He who wants happiness knows tomorrow is uncertain.

Or, put another way, Carpe diem.

But, the following inscription is above the proscenium at the Odeon theater in Florence.

Chi vuol esser lieto sia di domani non c’ è’ certezza.

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Loosely translated it means “He who wants happiness knows tomorrow is uncertain.”  My Italian teacher told me today that this is a famous quote from Cosimo I.

It seems like a good thing to think about every time you go to the movies, or anytime, really.

 

 

 

 

 

 

 

 

Market update

I must be very easily entertained.  I can go to an Italian supermarket and spend hours rambling around.  I usually restrain myself not only because I know very well I will have to carry whatever I buy home with my two little arms and hands, but also because supermarkets are crowded, noisy and currently very hot affairs.  I get pretty sick of bumping into other people, literally.  In the winter, I go a little crazier with my time.

So, what’s new at the market?

A lot!

Today I spotted this dried oregano from Sicily.

 

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I hung it in my kitchen and now the room smells divine!  Fresh dried herbs!  Chi sa?

 

In the bakery department, this delectable caught my eye for lunch.  It came home with me, but won’t be here long!   Arugula and cherry tomatoes and pizza base.  Perche’ no!

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And for those of you who wonder the costs of buying food here: this chunk of pizza cost 1.19 Euro. See:

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The fruits and veg are bursting the seams of the market.  For less than 3 Euro I got this large package of apricots.

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Pretty, huh?  As pretty to look at as any bouquet, at least in my mind.  Secondome.

 

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For a real wow moment, check out these pepperoni.  That’s what peppers are called.  (Italians think American pepperoni pizza is made with these, not salami.)

 

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This large package of 3 huge peppers cost 2.66 Euro.  Amazing!

 

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With the package open, you can see the size of these things!  This is an average size table knife for contrast.

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And last, for today, are the round zucchini.  Isn’t it cute?

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Back to Rome for a hot minute: Triumphs and Laments

William Kentridge: Triumphs and Laments, Rome

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Last month I had the great pleasure of staying in Rome for a few weeks.  I’ve lived in Rome in years past and, like so many others, have a great affection for the Eternal City.  The city has had its ups and downs, but still has great capacity to beguile.

As is well-known, Rome is suffering under mammoth financial and organizational problems; what is less well known but, quite interesting and inspiring, is how some non-profit organizations have stepped in with armies of volunteers to make a difference in the city.

One instantly noticed area of neglect has always been the banks of the Tiber. While for decades city officials have promised to clean up the river’s banks, little to nothing has been done over the years.  That’s until some volunteers stepped in.

 

As a result of their work, one of the best new things in Rome is the street art, or I guess I should say the river art, along sections of the Tiber: Kentridge’s Triumphs and Laments. Great stretches of the riverfront walkways that abut the high travertine embankments built after disastrous flooding in 1870 have been covered with images from local–and thereby world–history.

 

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As Rome’s largest contemporary art work, it was unveiled last year with great festivities. Launched by a local non-profit organization, the Tevereterno Onlus, the mission of Tevereterno is to reactivate the Tiber in the heart of Rome. It’s a multidisciplinary cultural organization, dedicated to the site-specific contemporary art on Rome’s urban riverfront, called Piazza Tevere. Overcoming years of administrative opposition and bureaucratic hurdles, the Italian culture minister and others finally gave the green light to the project.

 

Along a 500-yard stretch of the river’s embankment now appear an incongruous procession of historical characters depicting a series of “Triumphs and Laments,” culled from Rome’s history.

The figures were created using gigantic stencils and power-washing to erase layers of smog, soot and biological patina on the embankment — a process sometimes known as reverse graffiti — to produce beauty from grime.

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The ancient statesman Cicero, St. Peter and the she-wolf who nurtured Romulus and Remus are among the dozens of figures, drawn from iconic sculptures, photographs and monuments, along with Bernini’s statue of St. Teresa in ecstasy.

There are celebrities: Anita Ekberg and Marcello Mastroianni from “Dolce Vita” days. And then there are the unknown and anonymous: three women who are the nameless widows of countless migrants who have drowned trying to cross the Mediterranean into Italy.

The artist, William Kentridge, discussed his work: “There’s no specific narrative, except that everyone’s triumphs and glories is someone else’s laments and shamefulness.”

 

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You can read about Kentridge, a South African political artist, here:  http://nymag.com/arts/art/profiles/15946/

You can view the project fully here: https://vimeo.com/204544946

And you can read more about it here: https://www.nytimes.com/2016/04/27/world/europe/tiber-river-rome-cleanup.html?action=click&contentCollection=Europe&module=RelatedCoverage&region=EndOfArticle&pgtype=article