… at around dawn while most of the village still slept.
These are just a few of the lanes that wind under, over and around the village and to me they are magical. Some tunnels have small frescoes and lanterns in them.
Most are just wide enough for a tiny car, others only able to be walked. The dog on the steps is Musso Nero, the village dog who was looked after by everybody {page 328, Mezza Italiana}.
I took these photographs with black and white film and an old Pentax camera more than a decade ago while staying in the village writing Mezza Italiana.
Even though 
The steeple of Santa Maria Assunta in Fossa… the church that sits opposite my family’s house in Abruzzo. It was lovely to walk along the lanes below and listen to the bell tolling the time of day or to hear it from afar when you were on your way back to the village.
Perhaps it’s old-fashioned but I still have a wall calendar where I write up all that’s happening. This year it features paintings by William T. Cooper (1934-2015) an Australian artist who painted mostly natural subjects, especially birds. He painted with extreme precision so if there were a certain number of a certain colour feathers then that is exactly what he depicted.
A new year stretches ahead and there is something thrilling and also sobering in not knowing where our paths may meander as the months unfold. Hope this year is a wonderful one for you that brings much happiness! I couldn’t go past this beautiful painting by L’Aquila artist, 
Recently, while in Victoria I visited the 
An original glass {circa 1950} from Nanna Francesca and Nonno Anni’s milk bar. These were mostly used for my grandfather’s sought-after, homemade orange drink but customers would also request milkshakes in them too if they preferred glass to one of the metal canisters.
Part of The Fairy Tree in Fitzroy Gardens, carved in the early 1930s by sculptor Ola Cohn {1892-1964} as a gift to the children of Melbourne. Though my own childhood is distant, I found myself rushing through the gardens to find it. And while there were plenty of beautifully carved tree folk to capture, I was taken by this little group hiding in a notch near the base of the trunk, and especially like the owl.
A gift to the children of Melbourne…
A beautiful, mosaic artwork is emerging along Mercers Lane in Ingham, Queensland to commemorate the history of the local sugarcane industry. Really inspiring to discover around 2000 local volunteers and tourists so far have taken part in creating the mosaic and it’s wonderful to see local history recorded in art like this, particularly all the different cultures that have been a part. 
….as it looked when my grandfather, Annibale arrived alone in Australia at the age of 15. Met by his father, Vitale, who took him straight from the ship dock to this street to buy some new work boots. The very next day, they left Brisbane for Annibale to commence work at a farm 200km away. After seven years apart, father and son got to spend just 24 hours together.
Giuseppe, aka Pepe, is a Madonnaro whom we came across by the harbour at Circular Quay in Sydney. Since the 16th century, Madonnari from Puglia in Italy’s south have been itinerant artists who originally went to cities to work on the cathedrals and when the job was done found a way to make a living by recreating paintings from the church on the pavement. Aware of festivals and holy days in each town, the Madonnari would travel to different provinces throughout Italy to eke out a living from observers who would throw coins if they approved of the work. 
Spring in Australia starts today {although the equinox is a few weeks off yet}. I wish I’d grown these myself but I took this picture during the northern hemisphere’s spring – in Beutelsbach, Baden-Württemberg, Germany, where I was doing research for a future book. It seemed every window box and garden were growing beautiful red flowers.
For the first time, we recently saw a piano accordion orchestra concert. It was great, some of the music taking me back to attending those big Italian weddings when I was a child and also our family gatherings when my uncle sometimes played the piano accordion. Of course, there were a couple of classics played, including Volare and Funiculi Funicula.
Anyone with Sicilian connections or who have been to Sicily may recognise this doll in folk costume (right) and the decorated cart, carrello or carrozza…
The woman in the foreground carries two conche, the copper vessels traditionally used in Abruzzo to collect water from the village fountain for the household. Perhaps she was teaching the young girl to carry it back on her head (depicted by the women in the background). The village women used to do so to transport all manner of heavy things with evidence of this including iron bedheads and, on occasion in very steep areas, even coffins.
“Birds don’t only use their beaks to build: they press their breasts against the inner wall to make it round, imprinting their shape on their home, an interior formed by the steady rhythm of their beating hearts.”
Jeffrey Smart, 1921 – 2013.
Among the Spanish paintings of royalty, religion, death and destruction at the Masterpieces from the Prado exhibition is a small portrait of a copper chocolate pot with its wooden whisk, pieces of cacao, bread, and biscuits shaped like churros.
Gargoyles, in their myriad forms include being carved to represent local heretics, controversialists, rogues, or personal enemies of the architect or building owner, particularly for ecclesiastical structures during the Middle Ages.
This painting of Fossa in the Abruzzo is by artist Juan Alfredo Parisse, born in Buenos Aires, Argentina, and whose parents are from L’Aquila, Italy.
For many centuries, baking in most Italian villages took place mostly once a week or even a fortnight. Both my grandparents told me how they recalled the women of the village taking their dough to the forno (often the only oven in the entire village), and that each piece of dough had an identifying mark on it for when the women came back to collect their baked bread.
This picture of young priests
Born in 1851 in Tocco da Casauria of Pescara province, Francesco Paolo Michetti was an Abruzzese artist who aspired to paint ‘real life’ capturing people, animals, and local events. The Abruzzo was his inspiration and in 1883 he purchased a convent there as his home and studio. For the next 20 years, the convent was a meeting place for Abruzzo’s artists including writer Gabriele D’Annunzio. Time moves slowly in the Abruzzo and fortunately some landscapes such as in this painting remain.
Piedmontese peasant wood-pipe carved from cherry wood that writer, artist and folklorist, Estella Canziani presented to The Folklore Society of London in 1911. She donated it along with other items from her travels in northern Italy when she wrote and illustrated her first book, Costumes, Traditions and Songs of Savoy (before she ventured to the Abruzzo in 1913 to pen Through the Apennines and Lands of Abruzzi).
