Mara Venier - television presenter

Former actress became famous as face of Sunday afternoon

Mara Venier found fame as host of the
Sunday afternoon TV show Domenica In

Mara Venier, a familiar face on Italian television for more than 35 years, was born on this day in 1950 in Venice.

The former actress, who made her big-screen debut in 1973, is best known for presenting the long-running Sunday afternoon variety show Domenica In, which has been a fixture on the public TV channel Rai Uno since 1976.

Venier, born Mara Povoleri, hosted the show for nine seasons in four stints between 1993 and 2014. Only Pippo Baudo, something of a legendary figure in Italian television, has presented more editions.

Fronting Domenica In, which was on air for an incredible six hours, was not only a test of stamina for the presenter but came with a huge sense of responsibility. In fact, holding the attention of the viewers was a patriotic duty, the show’s format having been conceived by the Italian government, faced with the global oil crisis in the 1970s, as something to tempt citizens to stay at home rather than use precious fuel for their cars.

Venier had been a movie actress, known largely to audiences in Italy, for two decades before she was invited to host Domenica In.  She enjoyed some success, having made her debut with a nude scene in Sergio Capogna’s Diario di un Italiano in 1973, and gained good reviews for Abbasso tutti, viva noi (1974), directed by Gino Mangini, and for Nanni Loy’s comedy Testa o croce (1982).

It was Loy, in fact, who introduced her to television audiences as the host of an Italian version of Candid Camera on the Mediaset commercial channel Italia 1 in 1987.

Venier hosted Domenica In for nine seasons
and has fronted many other hit shows 

She became the lead presenter for Domenica In after spending one season working alongside Luca Giurato and proving a hit with the viewers.  Venier quickly became a host in-demand, held in such high regard that she was chosen as one of the five hosts – one for each day of the week – for the hit nightly game show Luna Park, alongside Baudo, Fabrizio Frizzi, Milly Carlucci and Rosanna Lambertucci, all of whom were high-profile names.

The two shows, and a good deal of other TV work, kept Venier very busy, although her career stalled in 1998 when she, Baudo and Lambertucci became embroiled in a scandal over payments made to promote particular products while on air.

After two years away from Rai, during which she made a number of programmes for Silvio Berlusconi’s Mediaset channels, she returned to the public broadcaster in 2000.

She had two more spells fronting Domenica In between 2001 and 2006, although the programme was less successful than it had been in its early years and Venier left the role in 2006 after failing to control an argument between two guests that descended into such foul-mouthed language that the programme was temporarily dropped from the schedule.

Venier’s presence on the small screen was almost constant, however, as the host of many concerts, special broadcasts, talk shows and prime-time regulars such as La vita in diretta – “Life live” and Telethon. 

Mara Venier in her movie acting days

She hosted Domenica In for the last time in the 2013-14 series, at the end of which she announced she was leaving Rai and rejoining Mediaset on a contract that included the hit Canale 5 shows L’Isola dei famosi – similar to the UK hit I’m a Celebrity…Get Me Out of Here! – and Striscia la notizie, as well as a co-host role in the New Year’s Eve show Capodanno con Gigi D’Alessio.

Nowadays, she is often affectionately referred to as Zia Mara or “la zia d’Italia” – Italy’s aunt.

Born in Venice, the daughter of a railway worker, Venier moved to Mestre with her family and became a mother at the age of just 17 when her daughter, Elisabetta was born.  She married Francesco Ferracini, Elisabetta’s father, and moved to Rome, where he wanted to pursue an acting career.

The marriage did not last, however.  Venier had a son, Paolo, from a relationship with another actor, Pier Paolo Capponi, before making Jerry Calà, also an actor, her second husband in 1984.

They divorced in 1987 but since 2006 Venier has been happily married to the veteran film maker and publisher Nicola Carrara.

The Piazza Erminio Ferretto in Mestre, looking
towards the Torre Civica

Travel tip:

Mestre’s reputation as a grimly modern industrial centre is not undeserved and many travellers know little of it beyond the railway station, which offers trains not only across the lagoon into nearby Venice but to all places on the mainland.  As such, tourists arriving at Marco Polo airport – or Treviso, for that matter – pass through in large numbers. Some holidaymakers do use it, however, as a cheap alternative to staying in Venice and many workers in Venice commute daily from Mestre.  Its most appealing area for visitors is around the main square, the Piazza Erminio Ferretto, a large, rectangular open space lined with porticoes and pleasant cafes. Nearby is the 18^th-century church of San Lorenzo and the restored Torre Civica.

The Peggy Guggenheim Collection is housed in the
Palazzo Venier dei Leoni on the Grand Canal

Travel tip:

Mara Povoleri is believed to have taken Venier as a stage name after the noble Venetian family of the 14^th to 16^th centuries, three of whom were Doges – Antonio (1382-1400), Francesco (1554-56) and Sebastiano (1577-78) – and several of whom were appointed podestà – city ruler – of Padua. The Fondamenta Sebastiano Venier forms part of the waterfront along the Canareggio Canal in Venice, while the Peggy Guggenheim Collection, the city’s famous modern art gallery, is housed in the family’s former palace, Palazzo Venier dei Leoni.

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Carlo Urbani – microbiologist

Infectious disease expert who identified SARS

 Carlo Urbani was a World Health Organisation
specialist in infectious diseases

The doctor and microbiologist Carlo Urbani, whose decisive action after discovering the deadly SARS virus saved millions of lives, was born on this day in 1956 in Castelplanio, near Ancona.

Dr Urbani himself died after contracting the condition, which had been given the name severe acute respiratory syndrome.

He identified it in an American businessman who had been taken ill in Hanoi, the capital of Vietnam, with suspected influenza.

Recognising quickly that what he was dealing with was not a straightforward case of ‘flu, Urbani, who was working in Vietnam as an infectious diseases specialist for the World Health Organisation, immediately alerted WHO headquarters in Geneva.

He convinced them that what he had discovered posed a grave threat to life and thus sparked the most effective response to a major epidemic in the history of medicine.

At a local level, be persuaded the Vietnamese health authorities to introduce a raft of preventative measures, including large-scale screening and prompt, secure isolation of suspected victims, that slowed the spread of the disease.

At its peak, people in the areas affected by the SARS virus
were encouraged to wear surgical masks in public places

It was as a result of Urbani’s actions that the epidemic was largely contained, almost all deaths from the disease occurring in territories surrounding the South China Sea, namely southeast China, Hong Kong, Vietnam, Singapore and the Philippines.

Some 775 people died in the epidemic, two thirds of them prior to Urbani’s intervention.

The only significant outbreak beyond this area was in Canada, where 44 people died following the import of the disease into the country by a tourist who had stayed at the same hotel in Hong Kong as Urbani’s patient, who probably contracted the disease from a Chinese doctor who was a guest at a wedding there. 

This doctor had been treating patients suffering from the disease in Guangdong Province, just across the border from Hong Kong, where the virus is thought to have originated.

Urbani, whose parents were a teacher at the Ancona Commercial Navy Institute and a primary school headmistress, gained a degree in medicine from the University of Ancona and a postgraduate degree in tropical parasitology from the University of Messina in Sicily.  He began voluntary work in Africa while he was still at university.

Urbani contracted the virus after treating a
sick businessman in Vietnam

After a period of academic research, he went to work at a hospital in Macerata, about 55km (34 miles) from his home town of Castelplanio in the Marche region.  In 1993 he began to accept temporary assignments from the WHO in places such as the Maldives, Mauritania and Guinea.

In 1997, on a recommendation from the WHO, he joined Médicins San Frontières to work in Cambodia and Vietnam. He was elected president of the Italian section of MSF in 1999 and travelled to Oslo in the same year to receive the Nobel Peace Prize on behalf of the organisation.

A year later he was recruited by the WHO to be their infectious diseases specialist in Vietnam, Cambodia and Laos, based in Hanoi. He achieved success in reducing the health impact of parasitic flatworms.

Urbani was summoned to Hanoi’s French Hospital following the admission on February 23, 2003 of a 47-year old Chinese-American businessman called Johnny Chen, resident in Shanghai, who had begun to feel unwell with 'flu-like symptoms soon after arriving on a flight from Hong Kong.

He became suspicious that Mr Chen had something different from normal influenza when several hospital workers who had been in contact with him quickly developed similar symptoms, some rapidly becoming seriously ill.

Sadly, the story has a tragic postscript.  After treating a number of sick patients, Urbani left Hanoi on March 11, bound for a conference in Bangkok, Thailand, where he was to give a talk on the subject of childhood parasites.

During the flight he became feverish. He realised straightaway what had happened and when he arrived at the airport in Bangkok told a colleague sent to meet him that he should call an ambulance immediately and inform the operator that he had almost certainly contracted the SARS virus.  While they awaited the ambulance, Urbani insisted his to his colleague that he was to allow no one within eight feet of him.

Urbani was in intensive care for 18 days but died on March 29, having ultimately suffered a heart attack.  He was only 46 and left behind a wife and three children.

The Arena Sferisterio in Macerata

Travel tip:

The walled city of Macerata in Marche, where Carlo Urbani worked in the local hospital, is a charming historic city of cobbled streets perched on a hill between the Potenza and Chienti rivers.  At the heart of the city, in the pretty Piazza della Libertà, is the Loggia dei Mercanti with its two-tier arcades, dating from the Renaissance. Macerata’s university is among the oldest it Italy, established in 1290.  Each July and August the city hosts the Sferisterio Opera Festival, which is held in the 2,500 seat open-air Arena Sferisterio, a huge neoclassical arena built in the 1820s.

The Arch of Trajan still stands guard over Ancona's harbour

Travel tip:

The coastal city of Ancona, where Urbani attended university, is a bustling port with a population of almost 102,000. Although the area around the port has an industrial feel, there are some notable beaches nearby and a good deal of history in the older part of the city, bearing witness to its Greek and Roman past. The 18m-high Arch of Trajan, built in honour of the emperor who built the city’s harbour, is regarded as one of the finest Roman monuments in the Marche region. Urbani may have been inspired to follow his chosen direction in life by the presence in Ancona’s harbour of the Lazzaretto, the pentagonal building constructed on an artificial island in the 18th century as a quarantine station designed to protect Ancona from diseases carried by infected travellers.

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Luca Giordano – artist

Talented Neapolitan was renowned for being a fast worker

Luca Giordano was influenced by Caravaggio

Luca Giordano, the most celebrated and prolific Neapolitan painter of the late 17th century, was born on this day in 1634 in Naples.

His nicknames were Luca Fa Presto - "Luca work faster" - said to derive from the way his father, the copyist Antonio Giordano, used to admonish him, Fulmine (the Thunderbolt) because of his speed, and Proteus, because he was reputed to be able to imitate the style of almost any other artist.

Giordano’s output both in oils and in frescoes was enormous and he is said to have once painted a large altarpiece in just one day.

He was influenced at the start of his career by Jose de Ribera, who he was apprenticed to, and he also assimilated Caravaggio’s style of dramatic intensity.

But after Giordano had travelled to Rome, Florence and Venice, his style underwent a profound change. The influence of Pietro da Cortona’s frescoes in the Pitti Palace in Florence can be detected in Giordano’s huge ceiling fresco in the ballroom of the Palazzo Medici-Riccardi, which he completed in 1683, and he became noted for his showy use of colour.

He went to Spain in 1692 as court painter to Charles II and stayed there till 1702. The frescoes in El Escorial are often claimed to be his best works, but there are nearly 50 paintings by him in the Prado in Madrid, which are evidence of his huge output.

Detail from Giordano's ceiling fresco at
the Palazzo Medici-Riccardo in Florence

After his return to Naples he continued to paint prolifically. His last great work there was the ceiling of the Cappella del Tesoro in San Martino, begun on his return to the city in 1702 and completed in 1704.

Many of Giordano’s other works in Naples were destroyed during the Second World War.

His St Benedict cycle, painted in 1677 in the abbey of Monte Cassino in Lazio, was entirely destroyed.

But his painting of Christ expelling the Traders from the Temple, painted in the monastery church of Girolamini (or Gerolamini) next to the Duomo in Naples, miraculously survived. It is full of expressive lazzaroni, Neapolitan beggars, who Giordano would have seen every day in the surrounding streets while he was working at the church.

Giordano died in Naples in 1705 and was buried in a tomb in the Church of Santa Brigida, where he had previously painted the cupola. He was to have a profound influence on many Italian artists who came after him.

The Palazzo Medici-Riccardi

Travel tip:

Construction of the Palazzo Medici-Riccardi in Florence was begun in 1444 to provide a home for the Medici family and the headquarters for their banking business. It was later sold to the wealthy Riccardi family. Part of the palace now open to the public includes the room where Giordano painted his frescoes between 1682 and 1685.

Travel tip:

The 17th century church of Santa Brigida in Naples had to have a dome that was no more than nine metres high, otherwise it would have obstructed artillery fire from Castel Nuovo. The fresco of a vivid sky executed by Giordano on the cupola cleverly creates a feeling of immense space. The artist’s tomb can be found in the left transept of the church.

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Bartolommeo Bandinelli - Renaissance sculptor

Career scarred by petty jealousies

Bartolommeo Bandinelli - a self-portrait

The sculptor Bartolommeo Bandinelli, a contemporary and rival of Michelangelo and Benvenuto Cellini in Renaissance Italy, was born on this day in 1473 in Florence.

He left his mark on Florence in the shape of the monumental statue of Hercules and Cacus in the Piazza della Signoria and his statues of Adam and Eve, originally created for the Duomo but today housed in the Museo Nazionale del Bargello.

Also known as Baccio Bandinelli and Bartolommeo Brandini, he was skilled in small sculptures but became known and disliked for his antagonistic manner with other artists and his particular hatred of Michelangelo, of whom he was bitterly jealous.

Giorgio Vasari, the artist and sculptor who was the first to compile a written history of art and artists, and who was a student in Bandinelli’s workshop, recalled an occasion when Bandinelli was so enraged by the excitement that ensued when a Michelangelo drawing was uncovered in the Palazzo Vecchio that, as soon as an opportunity arose, he tore it up.

Where Michelangelo was revered for everything he did, Bandinelli’s critics said he lacked the skills required to tackle large sculptures.

Bandinelli's Hercules and Cacus

This only drove him to want to prove them wrong, and to this end it is thought that he persuaded the ruling Medici family to give him the commission for the statue of Hercules and Cacus – originally intended for Michelangelo, who was busy working on the Medici Chapel.

Yet when the work was unveiled in 1534 it attracted ridicule, in particular from Cellini.   Where Michelangelo, whose David already stood in the Piazza, had a gift for imbuing his creations with a sense of realism and drama, Bandinelli’s figures - in the eyes of his critics at least – lacked character and authenticity.

Much more favourably received were his bronze copy of the ancient Greek statue Laocoon and his Sons, his tombs of the Medici popes Leo X and Clement VII in Rome and his Monument to Giovanni delle Bande Nere, the Medici condottiero (professional soldier).

Bandinelli was the son of a prominent Florentine goldsmith. As a boy, he was apprenticed under Giovanni Francesco Rustici, a sculptor friend of Leonardo da Vinci.

Later in his career, he was a leader in the group of Florentine Mannerists who were inspired by the revived interest in Donatello.

Some of his works in terracotta were hailed as masterpieces and some of his drawings have been difficult to establish as not being by Michelangelo.

Bandinelli's Pietà in the Basilica della Santissima Annunziata

Yet he continued to attract scorn whenever he took on a large project, his Pietà in the Basilica della Santissima Annunziata being another example.  Bandinelli began work on it only after he heard about Michelangelo’s similar commission in Rome.

It was completed in 1559 and again brought unfavourable comments from other artists, some of whom said that it lacked refinement, his figures appearing somewhat awkward and oddly positioned compared with the grace and beauty of Michelangelo’s work.

The other complaint against Bandinelli, voiced by Vasari, was that he accepted commissions too hastily and failed to complete many of them, although there are enough examples of his work in museums and galleries to refute that claim.

However, Vasari’s detailed Lives of the Artists also gives praise where it was due and acknowledges Bandinelli was a sculptor of merit, and in recent years his talent has been better appreciated, culminating in the first exhibition devoted to his work alone, in the Bargello museum in Florence.

Cellini's Perseus with the Head of Medusa

Travel tip:

Florence’s Piazza della Signoria, situated right in the heart of the city, close to the Duomo and the Uffizi Gallery, is an open-air museum of Renaissance art, featuring a series of important sculptures, the most famous of which are Giambologna’s The Rape of the Sabine Women and his Equestrian Monument of Cosimo I, Cellini’s Perseus with the Head of Medusa (next to The Rape of the Sabine Women in the Loggia dei Lanzi), Bandinelli’s Hercules and Cacus, the Medici Lions by Fancelli and Vacca, The Fountain of Neptune by Bartolemeo Ammannati, copes of Donatello’s Judith and Holofernes and Il Marzocco (the Lion), and the copy of Michelangelo’s David, at the entrance to the Palazzo Vecchio.

The Bargello in Via del Proconsolo

Travel tip:

More Renaissance sculptures can be appreciated in the Museo Nazionale del Bargello - the Bargello National Museum - situated just a short distance from Piazza della Signoria in Via del Proconsolo, in a fortified 13^th century building that was once a prison. The museum houses masterpieces by Michelangelo, Donatello, Cellini, Giambologna, Vincenzo Gemito, Jacopo Sansovino, Gianlorenzo Bernini and many works by the Della Robbia family.

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