Following the photographs of Fossa’s doors, it seems fitting to share some of Fossa’s windows too. So many beautiful and distinctive windows throughout the village (and to me, so much more character than most modern ones these days).
These photos were taken over the past 20 years or more so some are a bit grainy since I had an old Pentax camera with film back then. I could have perhaps photoshopped them but that didn’t seem being true to the era of even 15 or 20 years ago.
I didn’t realise just how many photographs I’d taken of Fossa during my visits, especially windows! (And no, I didn’t peek in any!) But I loved the resonances of village life you’d hear drifting down from them as I walked along the lanes – loud conversations in rapid Italian I mostly couldn’t understand, the aroma of a pasta sauce simmering on a stove, a tv set blaring, someone singing… all lovely. xx
Walking around Fossa, along lanes that become so steep and narrow they merge into steps or descend into tunnels, I began to notice all the different doors I passed. Some with stylised, door furniture of lion heads or dragons and beautifully varnished wood, others crude, weathered timber, or painted mission brown.
Patting il Porcellino, ‘the little pig’ for luck, (left) in Sydney, (right) in Florence. These bronze, wild boar (cinghiale) sculptures are replicas of the original by Pietro Tacca (1577-1640) commissioned by Cosimo II de Medici in 1621 that is now in the Museo Bardini. Apparently since at least 1633 visitors to Florence have ‘rubbed the snout’ for luck and to ensure their return to the city and tourists now rub it so much they have to replace the sculpture every decade or so.
In this photograph of my family’s fruit shop and milk bar in its earlier days, it’s apparent how it began very modestly with my grandparents standing on the footpath in Ann Street selling produce from a ‘hole in the wall’ before they expanded the space to include a milk bar. Visible in the top left is some of the sign that hung over the footpath from around the early 1950s. It was white with ‘milk bar’ in red Perspex letters and lit up at night.
Since the earthquake, my family’s house in Italy remains too damaged to stay in. Much of the village remains empty. And now, thieves have broken into the house. They mainly upturned drawers adding to the mess of earthquake damage, since belongings inside are mostly of sentimental value, but of course it is another blow.
… at around dawn while most of the village still slept.
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).
