Tunnel vision

The less time you spend in a place, the easier it is to sum it up with confidence in a few lines. Milan in my head starts with this and this, both from Totò Peppino e la malafemmina my all-time favourite Totò film. Add to those two clips the arbitrary judgements of friends and acquaintances, throwaway one-liners, and you get a general sense of 'German', 'grey, cold and foggy', 'industrial and not very green' 'modern', 'full of models'. Which all turned out to be true except for the foggy bit, we are, after all, in the middle of a heatwave. German, or Austrian, not in a strudel und sahne sense, but that everything and everyone works, and seem to allow others the same priviledge without a lot of unnecessary confusion. Not very green, definitely, but not in an ugly way,... anyway I am getting ahead of myself.

They go on a lot here about how ancient Milan is, a Roman and even pre-Roman city, for a time the capital of the Empire (a pretty short period of time, but still..) and then how this a place where 'one breathes Paris'... perhaps Milan is the sidekick, the co-star, the passive aggressive sibling of Rome, a city with absolutely no problem in being its schizo-uncoordinated, messy and prodigal, self-centred self. Milan is built to work, to resolve issues, to move on: Rome is built to be visited, to be problematical, that's Rome's thing, to be admired, hated, never ignored. One has the sense that Milan is the 'sensible one' still waiting to be recognized as such. But what do I know.
The main things to be seen here, from my point of view, are a few Lombard, a lot of gothic and romanesque architecture; the renaissance castle, via Montenapoleone in the heart of the fashion district, the Last Supper, some art galleries, and the cathedral of course. The Pirelli building, and 60's architecture by the yard, not really my thing, but who knows.

Milan is 11 minutes from Monza, by train, a train filled with ugly girls who spent the entire journey exchanging stories about how they had been mistaken for 'much younger women'... I think the prize for lames story was the 20 year old girl whose neighbour had guessed her age as 18. I think there is a special hell for eavesdroppers, and it consists in being exposed, powerless, to the inane conversation of people under 25, who share at the top of their lungs the news of how they've discovered gravity and reinvented the wheel. Still they could have been talking about World Issues, so I consider myself as having been let off lightly.

The Brera was at the top of my list of places to go, also the orto botanico which is part of the same complex. I'm particularly interested in gardens and botianical ones most of all. Milan city centre is a very simple piece of topography, you just go to the most findable monument first, and that, of course, is the Duomo, visible from a large percentage of the city. Add that to the fact that everything is clearly marked, you can't really get lost. There's only a handful of metro lines, and they seem pretty idiot-proof, and on the platform, there's a nice big TV screen with news, although, this being Berluska's stamping ground, I wondered if it was a Foxy channel, ie skewed news for the masses, a sort brainwash-while-you-wait arrangement. There was no time to make a judgement, the train arrived in businesslike manner, and four stops later I was at Piazza del Duomo.

This is the big brother of Monza's duomo, also built in the 14th and 15th centuries, also but even more in International Gothic style. From far away you can see it has about a million statues on the pinkish grey marble front, almost a cross between a pup tent and a confectioner's nightmare, with pinnacles. Not to mention the madunina... and in another post there'll be space to put more pictures. If you enjoy the overly exuberant cathedral facade you'll love their website it is an exact etherial match.

Heat, like odour, works in a very specific part of the memory. The heat of the day is often the first thing you forget, you remember being uncomfortable, or the inconveniences of the hot weather, but the sun on your skin, that is only properly recalled the next time you find yourself in the same situation. Not a humid heat, like we get in the South, but as intense as a hairdryer. There was a line coming out of the cathedral at least 300 people long, so I immediately gave up on going inside. The square in front is elegant and airy, despite the rays pressing down on us. For some reason, instead of selling the usual trinkets, the African streetvendors were all giving away some sort of coloured strings to be tied into bracelets.

To the left in this picture, the Mother of all Malls - the Galleria. Italians use the word to mean Galley but also Tunnel. Named after Vittorio Emanuele II, the first King of the United Italy (and if you think Vittorio Emanuele is a mouthful, his full name was Vittorio Emanuele Maria Alberto Eugenio Ferdinando Tommaso... the number two though in terms of the Kingdom of Sardinia, which is actually the ruling house of Piemonte, no, this is getting too complicated for this blog... ) It is not, as some think, the 'first' galleria, not even in Milan, there's a much smaller, plainer, earlier one at San Babila. This Galleria, however, was the brainchild of Giuseppe Mengoni and dates from 1865... think Liszt and Yeats, Browning and Verdi and Wagner, the assassination of Lincoln and Rockefeller's first oil refinery. It's not If it makes you think of the Crystal Palace, that's no surprise (unless, of course, you don't know what the Crystal Palace is) - the two are only six years apart. Burlington Arcade in London is the copy-cat version. Ironbridge was also an inspiration, and, in turn, Mengotti's design, linking two of Milan's most fashionable streets under a canopy sufficient to protect elegant shoppers from the worst indignities of Milan's weather, is said to have been one of the places that gave Gustav Eiffel an idea for a tower. The city of Milan, booming in what has come to be known as the second wave of the industrial revolution (trains and all that jazz) set up a competition for an original building to celebrate the city's new wealth and status, Mengoni's design beat an impressive 176 other architectural proposals. The King, for whom pretty much any new construction was being named in Italy at the time, did not come to the inauguration of the Gallery; Mengotti later threw himself off the top of the building, some say out of disappointment at the royal snub. Seems a bit much, to me.

The octagon, at the point where the two tunnels cross, was the 'salon' of Milan, where the city's VIPs came to see and be seen. Of course now the VIPs are mostly Varied International Passersby. Four floors contain are all kinds very elegant restaurants and internationally famous shops prestigious offices and some residences tucked in here too, although I wonder how long it takes for the shine to rub off living in a mall, even a historic mall - this is the place to go if you want sunburnt English people to step on your foot, or large families with absolutely no peripheral awareness to walk in front of you ar 0.05 miles an hour.

Eclectic art reighns, from the lunettes high on the walls to the rich pavement which features the coats of arms of Milan Turin Rome and Florence. They're Italy's four 'capitals... Turin was already the capital and home town of Vittorio Emanuele, before the unification of Italy in 1860. During the years it took to get all the city-states on board, Florence was the provisional capital, when at last Rome was removed from Papal control, it became the definitive seat of government. So what, I hear you say, is Milan in there for? Well there were about 5 minutes when under Napoleon, Italy was a 'new Kingdom' (you guessed it, with him as Emperor) and Milan was the new capital of that...
The mosaic of the coat of arms of Turin (the King's city) has a bull on it, and it's considered lucky to put your heel on the bull's family jewels and spin three times. There was a line.

What shops? The one that ticks people off is, of course, MacDonald's, it's sort of the Al Fayed of the Galleria. Well, I gotta run, more soon...

The Rondanini Pietà

O ombra del morir, per cui si ferma
ogni miseria a l'alma, al cor nemica,
ultimo delli afflitti e buon rimedio;
tu rendi sana nostra carn'inferma,
rasciughi i pianti e posi ogni fatica,
e furi a chi ben vive ogn'ira e tedio.
Rima 102 Michelangelo Buonarotti

It was his last obsession: "Il Cristo con un'altra figura di sopra" - The Christ with another figure above. Mary, it would at a guess, but the point at which the statue remains, the face and body are rough-hewn and indistinct, the second figure remains open to interpretation, in the inventory taken of the contents of Michelangel0's studio on his death at about 89 years old. The statue was valued at about 30 scudi, the yearly wage of a modest school teacher, or, to put it another way, about half the sum Daniele da Volterra spent on wood to build a scaffold for the PGing of the Sistine Chapel, that same year.

Michelangelo was never still, it seems. His final years found him back once again in Rome to work on the Pauline Chapel in the Vatican, yet found time to make three versions of the Pietà. The other two are in Florence, This was the last of the three. Even in very advanced years - especially for a period in which to live to be 60 or 70 was considered extraordinary - Michelangelo continued to accept and to squabble over commissions. Not least the news that his work in the Sistine Chapel was about to be revised; although knowing that a close collaborator was going to censor the naughty bits may have helped. Perhaps he was immune, after so many battles with patrons and Popes. Perhaps not.
Unfinished, this Pietà, because out of time. Like many of his poems, the statue seems a dialogue with death, not a glorious passing or a final judgement, but with the failing of the light, the loss of power, the melting back to dust. On the Medici tombs at S Lorenzo the detail of faces of Dawn and Twilight, Night and Day remain unfinished, slightly vague, an allegory of the fading of day escaping notice, until it is too late. Here, death and loss seem frozen in time and in the act of creation. Halfway between an emerging and a fading back into the earth, one wonders if the figures are coming towards us out of the marble, or receding back into it, losing their hold on a defined existence outside the rock.
Two figures, sharing this fate, fused at the torso. Marks on the statue show that originally the upper body of Christ was detatched. In his final version, the two come together in a single gesture of support given and taken, the smooth muscular legs of youth giving way, relying on the power of the rough hewn stone. The faces are unfinished, lined, worn, for all the centuries set in permanent pity, for telling the same story over and again, resigned to the inescapable fate of loss and of being captured in that act of losing, the slipping away of things irreplacable. Mary's left hand rests lightly on his heart, a reminder of the fusion between the hand and heart of the maestro himself: "non si possono esercitare in modi che ben vada l'arti manuali, perché la mano è lo strumento delle arti." Limbs and arts, gli arti e le arti here are inseparable as they had been throughout Michelangelo's life: limbs painted, sculpted and celebrated in poetry, the hands that brought them into being, now at the end of their great career.

The Pietà was not a commissioned piece; Michelangelo's servant Antonio del Francese got it as a keepsake, on the death of his master. Shortly afterward it disappeared for a couple of centuries, to reemerge during the 1700's in the collection of the powerful Marquis Giuseppe, the last of the Rondanini family, when his palace in via del Corso was sold in Rome. Cleaned up, the statue has remarkable power. The commissioners of the City of Milan bought it. I am not sure what that says about Milan, it seems a very acquisitively New World gesture to me, snapping up a trifle of the artist's work; or so it must have seemed at the time, covered in grease and dirt. Today the statue is hidden behind a semicircular screen in the lowest part of the Scarlioni room, the last item in a succession of Ancient stones that begins with the Romans, to end on this very Roman note. If you're curious, to see the rest of the room, you can click here .

more monza

Recession? What Recession? Walk the city centre of Monza, and you'd never guess that there are places in Italy hurting for jobs, at least at first sight. The city is a rich corner of one of Italy's richest regions, with a right-wing administration to match its wealth; the neo-fascist Alleanza Nazionale with their leader Gianfranco Fini who always reminds me of Spock, usually cringing at some unfortunate remark by poor old Berlusconi, the Bush of Italy, several members of Forza Italia, the party of the aforementioned Mr. B., and the rest coming from Italy's answer to the BNP the Lega Nord. These are people (especially the Lega Nord) who take great pride in Getting Things Done, stuff like planning a Park and Ride on the edge of town, and having it finished by the weekend. Excellent. If you think you hear the distant sound of trains running on time, you may be right... Political buzzwords are always biographical, here spreco is the hate-word, waste. It is a nice wide open term, a general condemnation of waste through corruption, waste through mismanagement, waste through handouts to the undeserving. Careful people, these monzesi, cheap might be going to far, but certainly not given to the sort of chaotic and florid spiritual and material generosity the South.

At the same time, this industrious yet quietly unindustrial town is in the process of breaking away from being part of Greater Milan in favour of being a provincial capital in its own right, Monza e Brianza, I'm not sure why they feel the need to tack on the Brianza bit, it's not a 'twinned' city as in the case of Massa and Carrara, but rather the name of this little bit of countryside around here. Perhaps it speaks to a sense of pride and independence, this is, as we saw earlier, the city of the Iron Crown.

The river Lambro runs through Monza, that's the Lion Bridge you see above (built right at the end of the Austrian Period, in 1840, when a new military road was being built through town) and beside it, shown in the next photo, the Lega Nord stand. It's election season in Italy, once again another long drawn out series of smug-looking men on ugly posters, and most Italians are fascinated, mostly on a verbal level only, by politics. This booth seemed to invite fear and loathing in passers-by, which surprised me; and apparently about two hours after I took this picture, there was some open hostility that turned into a pushing match, quickly quashed by the police and 'kept out' of the local paper. Make of that what you like.
In piazza Roma, on the main pedestrian street leading away from the duomo, is the swankiest cafe in Monza, I think the double tablecloths may have been ahead of me in transmitting that piece of information. Monza is Old Money, combined with new ideas, the Comune just launched its online services. Comune is Italian for common and also means the City Hall, the local government offices, their slogan is Cosa abbiamo in comune which means 'What do we have in common?' but also 'What do we have at City Hall?' The idea that the local government might in any way be there to serve the public seems a radical departure from business as usual in Italy. Here the idea of the comune is highly valued, as it recalls the period in Italian past (ands something of a heyday in Monza's history) when autonomous mini-city states flourished and fought against the evil forces of imperialism and foreign dominance. Themes very much alive and well today.

I was a bit shocked, by all this 'what can we do for you' from local government, this is not the face of Italy I expected, but then I went to cash my traveller's cheques at the bank, where a man with a long face and a posto fisso (= he can't be fired unless he kills the Bank Manager) took one look at the 'chore' of doing his job, and, instead of smiling and just giving me my money, rolled his eyes almost out of his head and sighed like a steam engine. Aah now that I recognize.

Here in the picture is the place where people could sign up for internet access tot heir personal account in the comune making it possible to register for things like a place at school for the kids, business permits and licenses, proof of changes in residence and medical care, and of course pay taxes, taxes taxes.

The city hall itself is an imposing 18th century monster of a building, but to make the process of signing up more simpatico, the Comune opened shop in the old market building, the 13th century Arengario which recalls similar buildings in Germany and England too: it made me think of the one in Ledbury. The word Arengario comes from the German Harihrings, the ring of the army, or meeting place. Downstairs under the arcades there's room for a market, and upstairs a huge room once used for town meetings and now set aside for exhibitions and special events. It's been pulled at and primped over the centuries of course, the spiral staircase in the tower for example dates from 1903, Lord knows how they went up it previously. I particularly enjoy the pulpit-like parlera with its little flag; it was from here that the The Arengario represents in a historical sense the civic heart of the city, while the duomo is the religious heart, and it's interesting to note that while the two buildings are close to one another they are build in such a way thet neither has a direct view of the other, two worlds close and yet studiously apart.

Anyone who knows about the Lega Nord will have heard reference made to il Carroccio, which is a slightly mysterious medieval war-wagon, adopted and transformed into the political band wagon of the nationalist, and northernist party of Umberto Bossi. (another great name for a politician, don't you think? He comes off as extremely bossy).

Historical documentation on the carroccio of the medieval period is a bit sketchy, but there's no shortage of modern interpretations of the war waggon, and its purpose as a rallying point for the troops, a reference and a refuge depending on how the battle is going, the place where the commander, medical assistance, even the funds of the army, were kept. Here's an example of one of the many sites that spells out this movable feast of unification... On top of all that, it was the symbol of defiant independence, pride and general go-gettability. Here's a plaque from Monza cathedral on the subject...

iron crown

The val padana, for those who don't know, is very flat. Everything looks flat from the window of a plane, even mountains are squashed and foreshortened, but the val padana doesn't leave any room for topographical speculation, it is flat and fields and swept with the swirling lines of tributaries and tractor trails and everything is in mud coloured, from a pale sandiness to a rich brown, at least in this season and from this plane.

Monza begins with Theodelinda, lombard queen on a mission: to find somewhere breezy to spend the long hot sunmmers in the val Padana. And to build, of course, a nice church, standard practice for the 8th century. She dedicated the church to John the Baptist, who of course was beheaded, or as it's usually put in Italian, decollato a word that always make me look twice as it means 'un-necked', but also, in modern parlance, 'take-off' as in a plane. Surely the patron saint of airports, then? Oh I'm not going to explain that here it is much too hot.

Above is the redoubtable Theodelinda, anachronistically holding 'her' cathedral like toy or a relic or a prayerbook. In reality the facade, and this sculpture, are products of a much later age when, eager to cash in on the impeccable credentials of a long dead pious monarch, in 1300 or thereabouts, or roughly the heyday of Canterbury as a point of pilgrimage, the time of Dante and the guelfs and ghibbelines. Originally the front was quite a bold green and white stripe, bleached by 700 years of sun to a more sedate rhythm of greys. I am not sure about the clock tower, bit brummy to me, but at least you can see what time it is. Monza in the 1300's when Italy was all about communes and city states, went guelf, then ghibbeline, falling quickly under the control of the Visconti family from nearby Milan; it lost many of its ancient Lombard monuments including the city walls and the castle, but gained this fantastic gothic facade. Much simpler and smaller than the one in Milan, but also a hundred years older.

It was the weekend when I finally got around to visiting the duomo, in a quiet island of stone away from the carneval of weekend walkers crowding the main streets, and centuries away from the mad traffic that fills the outer band of roads. I found it surprisingly full of worshippers, considering it was Saturday afternoon. Everyone else was snapping away so I went bold and took one of my own.
Then creeping down the side aisle and out into a fine square courtyard, I found my way to the museum, underneath the church, beautifully laid out. There were no less than 4 young and heavily made-up women manning the ticket desk, combined age less than 70. They asked me, in their clipped little accents, if I wanted to see the iron crown as well as the museum, I didn't know what the iron crown was. Sure why not.

They sound like they're speaking arabic here, by the way, not in the sense that it is incomprehensible, it just has the same high pitch and sharp little sounds to it, a very odd sensation to be idly eavesdropping, and have for half a second the thought that you've suddenly acquired the ability to understand arabic.

So the iron crown turns out the be The Iron Crown, the crown of the Lombards, the one Charlemagne and Napoleon were crowned with. It is quite tiny, nothing like the British Crown and one can easily see how Boney could have snatched it and stuck it on his own head with a single gesture. It is kept in a chapel right next to the main altar, naturally Theodolinda's chapel, which has amazing frescoes that were being restored (this pic is nicked from the web) with some of the nicest horses ever fresked, I think you'll agree. The Sacrestan wouldn't let me in to see the crown to start with, well. not just me, he wouldn't let anyone in, we were 'some' minutes early. He couldn't say how many. So back down to the museum, where the gaggle of girls seemed very unsurprised by his behaviour, and started telling stories about him to each other for the benefit of the entire building it seemed to me. I moved on, past case after case of spectacular medieval art, like this beautiful pair of ivory plaques showing th Poet and his Muse. Looks like the Muse is doing all the work to me, what a surprise.

One of the cathedral's most famous treasures is this set, the golden Hen and with her seven chicks, (were there originally 12 as made possibly as long ago as the 5th century, and an allegory of maternal love you'll find throughout art history. Nice imagery for the queen who managed to make peace between the Pope and her husband, the agressive King of the Lombards. In exchange for all this help, Gregory the Great gave Theodelinda (but not, preumably, hubby, do I sense some passive aggression?) the iron crown, which isn't all that iron at all. The iron bit comes from the original crosspieces that arched over the top of the golden circlet. They were made, legend has it, from one of the three nails brought back from Jerusalem by Constantine's relic-hunter mum, Helena, some 250 years before Theodelinda's time.

The crown, used by Holy Roman Emperors and Kings of Italy, has of course gone through various trials and tribulations; a book token and a round of applause to whoever is the first to tell me what actually happened to those iron bits. I got back to the chapel just in time to visit the crown in the company of a couple from Hampshire, who, like me, found the connection with Napoleon the most interesting. We were not allowed to take pictures but I took some anyway. Here they are. The crown these days is kept in a little safe as you can see, previously it was kept in what looks like a chocolate box, actually several versions of the box are in the museum. below. not at all as glam as this high tech teca...

Filed under 'other stuff'' in the museum: this striking statue of John the Baptist that I thought must be modern, but turned out to be from the 1500's, four terracotta dudes that seemed to be waiting forr the theology bus, staring at me through the centuries, some interesting stonework, originally made for the facade but discarded and lost for years, now cleaned and on show, This is a bit from one of Pope Gregory's garments, nice needlework! Not clear if tall the patching was done in his lifetime, or in the 1500 years since...

The sword of Ettore Visconti, one of the fightin' Viscontis of Milan...from the 1300's

and finally some freasky stonework. Next time, I'm off to Milan!

In Which I Whinge

The moon was shining when we approached Pisa, and
for a long time we could see, behind the wall, the leaning Tower, all awry in
the uncertain light; the shadowy original of the old pictures in school-books,
setting forth 'The Wonders of the World.' Like most things connected in their
first associations with school-books and school-times, it was too small. I felt
it keenly. It was nothing like so high above the wall as I had hoped. It was
another of the many deceptions practised by Mr. Harris, Bookseller, at the
corner of St. Paul's Churchyard, London. HIS Tower was a fiction, but this was a
reality--and, by comparison, a short reality. Still, itlooked very well, and
very strange, and was quite as much out of the perpendicular as Harris had
represented it to be. The quiet air of Pisa too; the big guard-house at the
gate, with only two little soldiers in it; the streets with scarcely any show of
people in them; and the Arno, flowing quaintly through the centre of the town;
were excellent. So, I bore no malice in my heart against Mr.Harris (remembering
his good intentions), but forgave him before dinner, and went out, full of
confidence, to see the Tower next morning.

Charles Dickens, Pictures From Italy

A few hours in England and I find that my long absence has not in any way dented my ability to whilnge and enjoy the whingeing of others, Daily Telegraph style: it's still open season on MP's and their naughty expenses, which makes for humorous reading, and thank goodness for little else seems funny at this moment.
Heathrow is hard to love. Our flight made excellent time, but we were left in a holding pattern for an extra half hour before we could deplane. I took the - for me - bold decision to be last off the 747. It was a very good flight, my travelling companion was a nice, interesting and discreet lady and we had the blessing of an empty seat between us so we both got some sleep in between the amazingly good airline food. Now there's a phrase you don't hear often. Bagage claim is like a bizzarro funfair attraction, a cross between riding the ghost train and the big dipper while preparing for the How Much Can You Lift contest. Except it is the bags that ride around while I stand helplessly hoping and dreading that this is the time one of those horror stories fellow travellers tell finally catches up with me. Speaking of tales, my row companion told me of a trip across Northern Italy; she and her husband thought they had booked an overnight trip South, they found their couchette, and were told they had to leave their bags in a luggage rack just outside. They fell asleep, only to wake up in the small hours to discover that the train had only gone for two hours before stopping in a siding, and everyone including all the FS staff, had left. Their bags they found strewn all over the carriages, laptops and valuables of course long gone. Ah happy thoughts.
But it seems my bag has been forwarded, I don't have to take it through customs, which is weird because surely at Milan there won't be any customs check. That can't be right, I have to go through all the hoops, don't I? Or am I going to be penalized for this later? Well, not having to cart my suitcase an inch more than necessary is a good thing, leaves me way more time to sneer at Gordon Ramsay's Plane Food restaurant, with its dusty balls and cheap font, in Terminal 5. The dreaded new terminal, according to the press, where so much has gone wrong. My new friend was quite cheerful about it, the new decor and the modern facilities, but then she's not English and can't be expected to have her whinge on even though it is 9 am which translates as 3 am Eastern time. I hate it, the battleship grey and the bolted trusses make it look like car auction house, I half expect a rusty Montego to come coughing down the concourse. The concourse, the corridors, the halls - it's all too much walking. There are lots of shops to distract you but they are stupid shops like Dior and Harrod's. Water costs two pounds and a sandwich ten. Standard airport thievery I know, and inexcusable really when you think that on a plane ticket costing, say, 850 dollars, about 500 of those dollars goes to the airpoprts for fees and taxes. divide by half, say, since there are two airports involved, and then multiply that by all the passengers passing through Heathrow and they suddenly seem like the meanest, most rapacious and ugliest carnies in the business.
Even more annoying is the gate system in Terminal 5 which only tells you your number at the last minute. There are three sets of gates, the A set, which is the same as the general waiting area, and then B and C which involve taking a 10 -20 minute transit vehicle ride... arghh more walking/carrying. So here I sit, twisting in my seat at least once a minute to observe my flight crawling slowly up the departure board, waiting to know where I should be going next. Talk about tenterhooks. It seems people get tired of waiting in A, and head off to B or C, depending on where they predict their flight will be leaving from - so the desire to flop down in your gate well before time is not just confined to me. How one decides whether to go to B or C must, I imagine, involve the close study of other flights to similar destinations, if an earlier flight to Rome is going from C 43 then maybe your flight to Paris will be going from a nearby gate. Except that this kind of logic does not apply: it's a puzzle of planes, maintenance and baggage, not an exercise in geography. Hence the constantly repeated announcement by that girl with the high bright young echoey voice that passengers should not go to B or C until they are asdvised to do so. She also reminds us every few seconds that she will destroy our bags if we leave them unattended. In the nicest possible way.
Termninal 5 is grubbier and more worn than I expected it to be but the good news is my time there was shorter and simpler than I expected. just 30 minutes before the flight to Milan was ready to leave, they put up the gate number - A11, only 50 paces from where I had been waiting. And off we go, leaving behind the drizzle of a London morning, headed, like Dickens, to see if the pictures in my head are to scale.

Waiting for Go

I should be doing stuff not sitting in a cafe writing this. Doing important stuff. Last minute things, I don't know, making sure my personal papers are in order, or that I haven't left something vital in the kitchen or the bathroom of the house I am about to leave for good. I have had this feeling so many times before when moving on permanently from a town or a country, the sinister calm before the storm, the fake spacious inertia, mucking about burning up minutes and hours whose loss I am so sorely going to regret tomorrow, or the next day, but knowing is not the same as changing something, the two stare at each other through the window of two trains pulling out of the same station.

My good friend Jessica, who took this picture, and who has put up with me for... ever, it seems is one of the knowables I will miss. Going to an unknown place is like one of those dot-to-dot pictures. In some cases, you can predict exactly what you're going to get, even though your first raggedy lines of reasoning may need smoothing out. I quite like the delicious darkness of the yet unilluminated picture in my head. New places are always less prestigious than in the imagination; like celebrities, they seem much shorter in the flesh, but in my experience they are better illuminated, and more practical. And I like filling in the empty map in my head with roads I know. But I have to get there before I can do that.

Packing

To travel hopefully is better than to arrive

Robert Louis Stevenson

I think he meant in literature, really: travelling is not at all like in books.

Books, even the most picaresque and surprising ones, have a last page you can count on reaching, even if you don't want to get there. Travelling is hoping the last page meets up with your luggage and your documents. And a hot shower.
I'm going in about two weeks, and will be away for at least 3 months, which means I am just beginning to take packing seriously, clothes, books, shoes, toiletries, electronics and those little odds and ends that you take for granted and forget to pack, and end up having to buy once you arrive. I hate that! So I'm trying to pack smart, but already feel somthing essential has escaped me.
It's all a sham of course, this taking control through lists, observing the passing of necessities from one hand to another like a person swept away on the current of a great river counting the trees and the reeds as she slips helplessly by.

I am starting to be aware of what I will miss; that doesn't happen in books, either, you can always put them down and enjoy something different and familiar for a bit. Apart from dear ones, I will miss 30 Rock, Colbert, the series finale of Lost. I have watched it all from the pilot in September 2004 and have come to trust JJ Abrams to finish his story with enough threads tied to make me happy, and now I depart the night before the finale. Ouch!

I will miss my things, the ones too precious or too big to come with me, but not much, I am used to them being packed away for long periods of time. Easy parking, cheap shampoo, and the chords of Sweet Baby James.

So where and what is Monza. If you look on a map you'll see it's really part of Greater Milan, at about 1 o'clock from the city centre. It's the third largest town in Lombardy, and Lombardy is in Northern Italy. Lombardy, before it became part of the united Kingdom of Italy in about 1860, had previously been an independent Duchy under the Sforza and Visconti families. Later it was part of the Austrian Empire and dabbled in Repubblicanismo too. And MacDonald's: 2 Big Macs for 3 Euros. I have been reliably informed that 'Monza è tutta bella, una città ricca con tanta storia e un'economia molto forte' and that I am going to love it. It is an old town, with links to royalty, there's a huge park there and the Villa reale the palace that was the summer residence of various rulers. Arcore, the home of Silvio Berlusconi is nearby. Monza lies between Milan and lake Como, and the Formula One race takes place in Monza's park in September. My plan is to see it all, and visit Milan, Verona, Mantova, Venice and maybe slip down to see friends in Tuscany and Rome if I have the chance. And then come back here, and tell you about it.

I don't promise to always write in English, or that the embedded links will always work or lead to English pages, but I hope you'll be patient and keep coming back!