I went to Florence to immerse myself in beauty. A few weeks ago, I leaned on the Ponte alla Carraia with a delicious treat from its namesake gelateria and looked out at the Arno. An old man on a bicycle stopped and stood beside me to do the same. We greeted each other, buona sera, and chatted. As he slowly climbed back on his bicycle, he said that my eyes are ‘full of light.’ ‘No,’ I replied awkwardly, never one to take compliments well. ‘It’s not me. It’s Florence that is full of light.’ He shook his head with a smile. ‘Something in your eyes, it says maybe you want to know the whole world.’ Then he rode away.
He’s right, the old man on his bicycle, making cryptic statements and reading people’s eyes. I do want to know the whole world. That’s what’s so beautiful in Italy, the relationships. That you cannot walk into a salon, a store or a café without indulging in pleasant conversation, a glance, a smile, either from those who work there or a fellow patron is enough to justify buying a crumbled old villa and settling down somewhere in the Tuscan hills—not to mention the local produce, perfect weather, Chianti wine and unique artisanal crafts.
It is such a change from life in Toronto, where many harbour almost a peculiar, inexplicable sense of refuge in anonymity. One can easily become another faceless person in the vast city, walking through the streets or sitting in a café without ever catching someone’s eye or engaging in genuine conversation. Sometimes I just want to talk to strangers. Which is what I do here in Greve in Chianti, where I am currently an artist-in-residence.
I awake to the sound of a cooing rooster, murmuring voices outside, a vine tractor meandering the vineyards. It’s harvest time, vendemmia. Each morning, I go to piazza Matteotti, Greve’s main piazza, for a cappuccino and brioche alla marmellata at my favourite place to sit and watch the world. They have memorized my order now. I once ordered a cappuccino without the brioche, and received a startled look. The barista placed the drink on the counter and pressed the warm, soft pastry into my hands anyway. ‘Eat,’ he said. ‘It’s not right without.’
Despite its constant impermanence and change, there is a comforting sense of continuity here, an access to natural symmetry that cannot be found anywhere else. Things grow, die, replenish. People enter and leave. Time moves a little bit differently in Chianti than it does in other places—it’s slow enough to give you a true impression of who you are outside of the bustle of routine and industrial life, to make you stop and look at not only the world, but yourself. It’s a special place.
Later, I walk into one of the many art stores to decide on a new print for my bedroom back home. As I’m considering the works, I hear a loud OINK! behind me. I turn—it’s Carmellino, the shop owner’s friend. The diminutive ‘-ino’ on the end seems far too young for this retired 60-year-old artist, but I realize they continue to call him this because he has never really aged.
OINK! He squeezes a stuffed piglet at us, and we laugh and shoo him away. He goes onto the sidewalk and squeezes it at tourists passing by, cradling their many purchases. ‘Buongiorno! Good day! Hello!’ OINK! OINK! They give him dirty looks or roll their eyes. He comes back inside looking dejected. ‘Non ride più nessuno.’ No one laughs anymore.
The shop owner, Jacopo, turns the radio up louder—Michael Jackson is on, PYT. He starts to sing. He grabs my hands with his hands that have wet paint on them and twirls me around. I laugh and chide him for dirtying my new white shirt, but, in spite of myself, dance along. It doesn’t matter really. It is a joy for me to simply come here every day, chat and browse the new paintings by local artists or the old photographs of Greve, grainy figures soaked in sepia, staring back at me. I like to imagine their lives back then, where their descendants are now, if they ever stood in this very spot.
I ask Jacopo how much the small Pinocchio painting is. 30 euro, he tells me. Ah. Ok, I say. It’s wonderful. I will think about it. I begin to put the painting back. Carmellino and Jacopo talk in fast dialect with serious looks on their faces. I can’t catch everything.
‘Ok … For you, 20 euro.’
‘The economy here in Italy is very bad, as you know. So, we need to try to sell our pictures. And we want you to have it.’
I give him 30 euro, and refuse the change.