Grazie Felice, Sono Felice Ma Non Felice!

I had a post almost finished for yesterday but then something wonderful happened in the morning that I felt I wanted to share.

The title of this post is a little play on names and words - Felice is, of course, a Christian name here in Italy but it also means "happy". So the title is three pronged.  My friend and colleague Felice did something yesterday morning that made me both happy (felice) but also sad (non felice).  Over the past few weeks and in the next few weeks these are emotions that I am finding, and given my slightly emotional nature will find, constantly overlapping. 

Over a year ago I put up a post about Felice and his remarkable gift as a woodcarver. It has proven an often read item.  In the last paragraph I promised that I would do something more about the artist and his work.  Somehow time crept up and I never did get around to it until now just as I am saying goodbye to Felice, his wife Anna and friends and at the Embassy.

He asked if I would be free for coffee in the morning as he would like to meet before he left on vacation and I left the country.  So yesterday morning we met and headed over to the Australian Bar (dont' ask!) for a capucc.  He was carrying something enshrouded in a pair of long winter socks and when we sat down he gave it to me and said very quietly, as is his nature,  "I made this for you, I hope you will like it?" 

Like it?  I love it!

What I unwrapped was this beautiful hand carved olive wood walking stick.  Felice had worked it from a piece of wood from a tree that had been cut down in the gardens of Villa Grandi, the residence of our Ambassador.  It is over a hundred years old and what I can't convey about it either in pictures or words is the feel and scent of this incredible wood.  Running my hands over it I could feel the age and strength of the wood and the work that went into it.  And the oils in my hands seemed to release the subtle scent of olive. And as I am writing this it sits on the table in front of me ever so slightly perfuming the summer air.

I can honestly say that as moved as I was by the feel and the scent of the wood and remarkable artistry that had gone into the piece what touched me most was the warmth of the gift and the person giving it.

Caro Felice mille grazie for the happiness that you have given me with this present.  I know that I join a small group of fortunate people who have been gifted with the work of your hands and heart.  It will remind me of the beauty of both this place and more importantly the beauty of the people I have come to know here.

 06 luglio - Santa Maria Goretti

Sweet Singing in the Choir

In the same room at the Bode as those beautiful choir stalls there was another stunning example of the woodworker's art from an completely unknown source. The labeling simply says Upper Italy 1531. No further attribution but it again reflects the artistry of the carver and the inlayer.


Again the wood used is walnut with stained veneers and bone for the inlays. The triangular base is ornately carved with symbols of battle and various grotesques and surmounted by a choir book stand.


A left click on the image below will show a close up of the faux-choir book which is a minor masterpiece of trompe oeil. One can almost imagine the cantor singing from it.

The three sides of the base are marquetry panels, one of which serves as a door into what is obviously a storage space.
Rather unusually the subject matters has no Christian symbols that are immediately apparent but all three scenes are of a secular nature. That cat has the strangest markings and is perhaps not the best example of craftsmanship but those instruments look like you could almost pick them up and strum a tune.

28 novembre - San Giacomo della Marca

Take A Pew!

I have mentioned more than once that woodworking fascinates me - so often the work of a master wood carver reveals the soul of both the creator and the wood he has worked on.


This remarkable set of choir stalls, chiefly made from walnut, are from a Monastery in Pavia. Made circa 1500 they have pride of place in a large room in the Bode Museum, and are fine examples of carving in the elaborate detailing at the ends and columns as well as the art of wood inlay known as marquetry.



When I first looked at the scenes they appeared to be simply reflections of town life somewhere in Italy but then I noticed a pair of figures in one scene - two women embracing at the door of a house. Their postures mirrored what is often seen in representations of the meeting of Elizabeth and Mary. It appears that the artisan created each scene to include an episode from the story of the Virgin Mary using events from the Official Gospels and the apocryphal Gospel of James;. But here they are seen as part of everyday life in a town not as a special event. Perhaps it was done to remind us that often momentous events take place in the most mundane settings.
The birth of the Virgin who was, according to James, the daughter of Anna and Joachim.

And James tells us that Mary was given to the Priests of the Temple to be educated and to protect her purity so she could become the perfect vessel for the incarnation.

Amongst the apocryphal stories is one of several men into who's guardianship the priests wish to place the Virgin. When Joseph presents himself miraculously his staff broken into bloom signifying that he was to be the chaste protector of Mary and the earthly father of the Christ.

Though the official Gospels only refer to Mary and Joseph as being "espoused" in the Medieval church their wedding was a favorite subject for paintings.

The only panel which is based on a recognized Gospel account is the meeting of Mary and Elizabeth - again a favorite subject for artists. Strangely that most frequently used of subjects,The Annunciation is not included amongst these panels.

It would appear that the artist ran out of inspiration for the last two panels that show only empty village settings.


Though it may well be that he moved on to another project elsewhere and another artist took over his work. Or perhaps the workshop may have run out of the necessary materials and he created scenes with the woods and veneers at hand.

Interspersed with this narrative are panels depicting the various instruments of the passion and for the celebration of mass.

A thurible sits ready and smoking to cense the elements of the mass - chalice and pyx in one panel as empty as the tomb. The pincers and hammer at the ready to do their part in the crucifixion.

As with most woodwork from the period the creators' name may well be hidden somewhere within the design - though these pieces were to the honour and glory of God, artistic vanity and rightful pride of workmanship demanded some small recognition. According to the Museum listing it is the product of the Mantuan workshop of one Bartolemeo di Polli - I've come up with nothing on him - with additions by others unknown.

Their names may have faded or be unknown but their craftsmanship remains as a testimony to their days spent on this earth mastering their art.

27 novembre - San Primitivo