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Everything is related
to Naples
first
entry
Jan.
2003-
Number 20 in a
series. Links to parts:moved here Feb. 2009
Two years later, they returned to Europe and went to Italy where they were invited to the Vatican to attend the celebration of the tenth anniversary of the coronation of Pope Leo XIII. Also, in Verona, Cody fulfilled his ambition of exhibiting his "Wild West" (he disliked the term "show") in an ancient Roman amphitheater. (In Rome he was unable to fulfill his dream of playing in the Coliseum, itself, as there was too much rubble and stone cluttering the arena; he settled for having himself and his troupe photographed in front of it.) A high point of the visit to Rome was a bronco-busting
challenge "grudge
match" between Buffalo Bill's cowboys and true working cowhands from
the
Maremma region in central Italy, men who spent much of their time
working
with the Cajetan breed of horse, the wildest and most unmanageable in
Italy.
The Prince of Teano challenged Cody's men to break the Cajetans. Twenty
thousand spectators saw the contest. The Rome correspondent of the New
York Herald wrote: The brutes made springs into the air, darted hither and thither in all directions, and bent themselves into all sorts of shapes, but all in vain. In five minutes the cowboys had caught the wild horses with the lasso, saddled, subdued and bestrode them. Then the cowboys rode them around the arena while the dense crowds applauded with delight. Depending on who is telling the story, the Maremma cowboys were then only marginally to moderately successful at trying to duplicate that feat on Cody's horses. Buffalo Bill opened in Naples on January 26, 1890. (An
imaginative local
had counterfeited more than two-thousand tickets—and why am I not
surprised
at that?!—producing great confusion at the opening.) An ad in the
Neapolitan
newspaper, il Paese, that day announced: Buffalo Bill's Wild West!
The Neapolitan papers praised Cody and his band: That which may seem to the everyday Neapolitan to be a kind of game, an idle display of skill, is nothing less than a common necessity of everyday life in a country where acrobatic agility, boundless audacity and prowess are conditions for survival.The reporter was enthusiastic, yet, in the next breath, melancholy at what apparently was a "faithful reproduction" of the passing of a native race, of the "…red race fleeing from destruction wrought by whites". Today, those raised on the "authenticity" of films and
television can
scarcely comprehend what a live display of this kind must have meant to
Europeans of the late 19th century. Speaking of a simulated Sioux
attack
on an immigrant wagon train, part of the daily show in Naples, the
reporter
for il Paese continued: No description can convey the effect of an authentic mounted charge by Indians, this folk who here show us a few meager scenes from a life that until a few years ago was theirs to lead untrammeled. Buffalo Bill Cody had brought a kind of time machine with
him.
He had
opened a window and given a privileged few a chance to look out and
glimpse
something very rare: an authentic reproduction of a way of life played
for them by the very people who had led it. The window would soon close
and the players would become anachronisms and caricatures of
themselves.
Then, generations of imitators and made–up distortions of "cowboys and
Indians" would follow. For a fleeting moment, however, the citizens of
Naples and other European cities got a chance to see the real
thing. A curious sidelight
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