Tag: italy

Cocktails and Crime

As you might know, Nathan Sutherland enjoys an occasional drink. So, too, does David Hewson’s Arnold Clover (he’s even been known to go to the same wine shop that I use). What, then, could be more natural than to arrange a couple of crime-based cocktail evenings (or should that be cocktail-based crime evenings?) at this year’s Venice Noir.

First up, here’s David with his favourite places to eat and drink, and news of a special event on the Friday night.

My first recommendation is don’t dine near the Piazza San Marco unless you know what you’re doing. Outside the hotels, some of the places are very touristy. But here’s an exception. Il Ridotto is a charming little restaurant in Campo Santi Filippo e Giacomo. Just nine tables so you must book and you’ll pay San Marco prices. But it’s a lovely spot and the Hotel Rio opposite was once home to Vivaldi.

I like to catch a boat to the Lido and enjoy the very local Al Merca, situated in the old market a ten-minute stomp from the vaporetto stop. Reliable local food, always a pasta dish and fish main course of the day, and there’s a very popular cichetti bar attached too. Best booked through Quandoo. That wonderful frittura mista at the top of the post is theirs. If the pasta of the day happens to be spaghetti alla busara, a dish from Trieste made with lagoon mantis shrimp, grab it. This is the one I had a while back and it was superb.

Spaghetti alla busara at Al Merca on the Lido

There’s always someone who wants meat, of course, and for that you need to find La Vacaria where you can even enjoy the legendary Fiorentina. It’s in an interesting out of the way location on the Fondamenta de L’ Arzere. Al Canton, the cafe next door is a great spot for lunch and breakfast too. The name, by the way, doesn’t just refer to the fact this is a meat restaurant. Not so long ago there used to be cows grazing in this area on the edge of Dorsoduro.

These are all serious restaurants but you can eat for a lot less. I love the traditional carbonara at Bakarò in Campo Santa Margherita — as good as any in Rome and you can eat outside in the square if the weather’s good enough. 

Margaret Duchamp (see if you can work out the name) is a great pub in the same square with a decent range of inexpensive panini and other light meals. Nearby you’ll also find good pub grub and excellent negronis in Cafe Noir and around the corner on the way to the Frari some of the best cicchetti in town at Bacarotto. Now for two places you’ll find Arnold Clover and Luca Volpetti visit regularly in my books. The Osteria ai Pugni is a long-time favourite bacarò with inexpensive lunchtime meals if you can get a table. And Adagio is the friendly cafe by the Frari they head for during breaks from the nearby Archivio di Stato. Nice cicchetti too…

Cicchetti at Adagio

If you crave a fancy three course lunch you’ll usually find a fantastic 40 euro menu at the close by Il Refettorio. This is a very pricey place run by the Majer chain in the evening, but much more affordable at lunchtime. They usually do octopus, below. Here’s the current lunchtime menu to whet your appetite..

Il Refettorio lunchtime menuDownload

Octopus at Il Refettorio

And finally for a very memorable cocktail head for the beautiful old cafe of Il Mercante near the Frari. A very old establishment that used to be known as the Caffè del Frari, and in the 19th century had a famous cat visited by all manner of celebrities over the years.

Cin cin!

Inside Il Mercante, an elegant and historic place for a cocktail.

And if you’re still in the mood for more, here are my recommendations!

As those of you who follow my Venice novels might know, Nathan Sutherland does enjoy a drink. Negroni by preference, Spritz by necessity. Crimes, after all, are unlikely to be solved following a mid-morning Negroni.

This has, of course, meant a considerable amount of research on my part. But, in the cause of authenticity, that’s just the sort of thing a writer has to do from time to time. 

Now, if you’re attending the festival, you’re likely to be spending a lot of time in the area around the Ateneo Veneto. You’re going to need somewhere, then, to squeeze in a restorative drink and a bite to eat in between panels. Fortunately, the American Bar at the Taverna La Fenice is almost right next door, and they serve an excellent Spritz and cicchetti as well as more substantial bar snacks.

Of course, we’re only about five minutes walk from Piazza San Marco and you’re going to want to check that out. It’s very tempting to go to Florian or Quadri which indeed are lovely but you’ll be paying a lot for the experience. Instead, head for the Gran Caffè Lavena. And here’s a tip for you – don’t sit down but stand at the bar and you’re paying normal prices! They might even throw in some crisps. It was good enough for Richard Wagner and so it’s good enough for me. 

Head in the other direction, towards Campo Sant’Angelo, and you’ll come across Nathan Sutherland’s local the Caffè Brasilia (or “The Magical Brazilians) in the Rio Terà dei Assassini. It’s changed hands a few times over the years, but it’s still good. And you really do need to check out the Negronis here.

Head a bit further afield, over to Dorsoduro, and a Spritz outside Nico’s on the Zattere is always a pleasure on a fine day. However, should the weather drive you inside (and we are going to be in the middle of November after all), then why not check out “Corner Pub” (or, as Nathan calls it, “Church Pub”) in the Calle de la Chiesa. Alessandro, Virginia, Mercedes and the rest of the staff are all lovely, there’s a terrific selection of panini, focacce and polpette of every description, and Alessandro makes a mean Negroni!

Now, together with David’s recommendations, I think that should be enough to keep you comfortably fed and watered over the weekend. But if that isn’t enough, why not join us for two special cocktail evenings?

At 7pm on Friday 14th, David will be in conversation with Ian Rankin at La Rivista Restaurant, Ca’ Pisani. You’ll definitely need to reserve for this one (at €30 per person), so write to ristorazione@capisanihotel.it .

Similarly, at  7pm on Saturday 15th, Gregory Dowling and I will be discussing some of the great figures – and drinkers – in crime fiction. More than that, we’ll be unveiling the official cocktail of the festival in the wonderfully noir-ish space of the bar at the Palazzo Experimental on the Zattere. Again, spaces are verylimited for this one, so reserve your ticket (30 euros) by writing to adriatica@palazzoexperimental.com

We look forward to meeting you, hopefully over a drink or two, in Venice!

The Vasari Corridor

Or, A Warning to the Curious…

Or, Always Read the Small Print…

Florence is one of those cities that I wish I loved a little bit more than I do. It’s not much more than a couple of hours away from us by train but we don’t visit that often. The reason? We quite like it, but we don’t love it. Yes, Venice is overcrowded, but Florence feels like that as well, only with cars. It feels like slightly hard work.

Against that, you have to set the fact that it’s a city absolutely jam-packed full of Really Great Stuff. And that might be reason enough for a visit in itself.

January, then, would seem the ideal time to go. And, more than that, we’ve found that there’s the chance to visit the Vasari Corridor. It leads from the Uffizi and above the Ponte Vecchio to the Palazzo Pitti. Commissioned by Cosimo I de Medici to a design by Giorgio Vasari, the idea was to minimise the time the Duke would have to spend in public – for reasons of safety rather than vanity – whilst moving between his home and the offices of government. They put it together in just five months in 1465.

Perhaps most excitingly, it grew to house a collection of over 1000 paintings by the great and good, including a unique collection of self-portraits by Rosalba Carriera, Rubens, Van Dyck, Vasari himself and many, many others. From 2013 onwards, 20th Century works were added including Chagall, de Chirico and Beuys.

Private group tours became available in recent years, before the corridor closed for renovation in 2016. And now it’s been opened again to the general public. This, therefore, was an opportunity not to be missed.

The day arrives. We set off at a not-unholy hour of the morning, making sure Mimi has sufficient food and drink to survive the day (as ever, she inspects her facilities before giving us her familiar “I suppose this will do” look) and take the Frecciarossa down to Florence. There’s time for lunch – a splendid plate of meats and cheeses and a spritz. and then we’re off for the main event.

I head for my favourite room in the Uffizi, which is probably my favourite room in any gallery, anywhere. The one that holds the three Maestà of Giotto, Duccio and Cimabue. And I notice that Cimabue is under a transparent plastic sheet. I ask an attendant if it’s about to be restored. She tells me that there’s a lot of electrical maintenance work going on in the gallery and so lots of works are under wraps. They chose a transparent wrap for this one so that the room at least has the illusion of looking as it was.

Fair enough. I wander onwards and notice that this is the case in many of the rooms. Indeed, some of the paintings are wrapped up completely and can’t be seen at all. Now, you might think this would spoil the experience, but that’s not the case. Because a combination of the ongoing work and the time of year means the gallery is – if not exactly empty – surprisingly uncrowded. The Leonardo room, where viewing the paintings is normally akin to a contact sport, is remarkably quiet. And this is the case throughout the museum. Despite the fact that there are works in almost every room that can’t be seen, this might be my best visit ever.

Then it’s time to make our way downstairs to the room adjoining the Cappellina Veneziana, the starting point of our journey across the Vasari Corridor. Centuries of great artworks await us…

Except…

…we’re in a corridor. A bare corridor. Ah, well, this is obviously just the entrance. We turn right at the end, and that’s probably where everything starts and so…

Nothing. Except an empty corridor.

Caroline asks, politely I should stress, where the artworks are.

The guide looks faintly embarrassed. There aren’t any on display at the moment and there are unlikely to be for another two to three years.

This, frankly, is a bit of a blow. I consider getting cross, but it’s not her fault and, I think, it’s entirely possible we just didn’t read the small print. We have paid, it seems, for a 25 minute supervised walk down a bare corridor. Yes, the views are nice and you get a look down into the interior of the church of Santa Felicita , but I’m not sure that’s enough on its own. There are lots of nice views in Florence which you can see for free just by wandering around. We have paid, it seems, 43 euros a head to walk down a corridor.

Okay, that’s a little unfair. That 43 euros does also allow you two hours in the Uffizi itself (possibly more as you probably won’t be checked once you’re inside). And, as I said, this is actually a pretty good time to visit.

We could get pissed off about this but decide not to. We’ve had a nice lunch, a walk around Florence and a couple of hours in one of the greatest galleries in the world. More than that, I think, it’s probably our fault anyway. We must have forgotten to check. So we do what we always do when faced with slightly disappointing situations. We go for a spritz and find a bar – the Caffe Amerini – with lovely friendly staff not too far from the station. We’re not paying Venetian prices here but that doesn’t matter. We are, after all, the people who’ve paid 43 euros to walk down a corridor.

Upon returning, I decide to check if we had, indeed, forgotten to check the small print. And what do you know? Halfway down the page, there it is :-

“Riportato oggi alla sua originaria nudità…”

Or, on the English page :-

“Restored to its original simplicity” 

Both of which I think are understating things just a little bit when a “No art to be seen here, lads” might have been preferable.

So, should you go? Well, for us it was a relatively short journey. Those travelling from further afield might well feel short-changed. Yes, there’s the chance to see the corridor as it hasn’t been seen before. Yes, the views are impressive. If that’s sufficient, then go ahead. Just be aware, that’s all.

As ever, Caveat emptor, folks!

Review of the Year

Well, here we are again. Another year ends with me apologising for not blogging enough on here. Really must do better.

In some ways, it’s been a bit of a difficult time. Those of you who follow me on Facebook will have seen all those monthly flights being logged back and forth to Bristol Airport. Basically I’m trying to spend a week in Wales every month for what are best described as difficult family reasons. I’ll admit I’ve been finding it a bit tough. I don’t like spending time away from Caroline (and Mimi) but, for the moment, the situation is what it is.

There’s been good stuff as well, of course. “The Venetian Sanctuary” came out to really positive reviews – possibly the best I’ve received. Not bad for a book that I was a little nervous about. Just goes to show, you’re never the best judge of your own work.

Next year’s book, “The Magus of Sicily”, is almost ready to go. I enjoyed writing this one and think that – if you’ve been enjoying the company of Nathan and Fede – you’ll enjoy spending time with Calogero and Nedda. That’ll be coming your way next July, with the paperback of “Venetian Sanctuary” out in April.

Elsewhere, Nathan makes his debut in the Netherlands next year with the release of “The Venetian Game” in Dutch; and “The Venetian Masquerade” is coming out in Estonia. Oh, and there’ll be a supermarket edition of “Venetian Game” over there as well, which is quite exciting as I’ve never cracked the supermarkets before. And on the writing front, well I’m just about to start work on the Nathan/Venice novel for 2026 and I’ve been enjoying getting back into his head again.

October saw myself, David Hewson, Gregory Dowling, Tom Benjamin and a host of others at the inaugural Venice Noir festival of crime writing. Or, Venice Noir 0.0 as we’ve been calling it. We’ll be back next year from the 14th – 16th November and it’s going to be bigger and better. Get those flights booked now, you’re not going to want to miss this one!

Next year also brings Gwyl Crime Cymru 2025 over the weekend of the 25 – 27th April. I can’t say too much more about this now other than that the programme is coming together very nicely and we hope to have a line-up to announce early in the New Year. We had a fantastic time in Aberystwyth back in 2023. Do come and see us this time, for a mixture of the very best in Welsh and International crime writing. It’s going to be a lot of fun. I might even stand you a Negroni!

Media-wise, here’s a few recordings with me from the past twelve months; in conversation with, respectively, David Hewson, Paul Burke and John Bleasdale about Venice, crime writing, Ian Fleming and lots of other stuff besides.

https://davidhewson.com/philip-gwynne-jones-the-accidental-novelist/

https://open.spotify.com/episode/3lmYDGUm6Zgu5jWBCWNArH

https://open.spotify.com/episode/6mudGk435jWWyb01UadClM

And if you’re interested in hearing me bang on about things other than crime, Venice and Italian Prog, I’ve started regular podcasting with my good pals from the House of Hammer podcast – Cev Moore, Adam Roche and Smokey (just Smokey). The pod covers the entire history of Hammer films – not just the horror – from 1935 until the present day. I join the lads in 1961, from “Taste of Fear” onwards and the entire back catalogue can be found here…….happy listening.


As I said then, it’s been a difficult year in many ways, but there has been good stuff as well. We shall see what happens in 2025.

This isn’t *quite* my last communication of the year. Keep an eye on your inbox. There might just be a little something dropping into it before Christmas.

With warmest wishes for the festive season and a peaceful New Year. And, of course, with my continuing thanks,

Philip