Bonsai & the Life in the Plants

Last month I visited a Bonsai exhibition at the Jaquard gardens of Schio. The sight of tiny plants looking like a miniature version of full-grown trees reminded me of a nature-visit in Bologna some years ago. This post is about two different ways of thinking about the life-forces in the plants. At the same time, it is also a reflection about the relationship between humans and nature.

Indian Ideas About Nature

Let me start briefly with some of my ideas about nature, which are influenced by my growing up in India. Hinduism is full of Gods and Goddesses, each of whom is linked with an animal and a plant species. There are many mythological stories that teach one to respect all the beings as a part of the respect for the sacred.

There are different stories linked with plants in the Hindu mythology. Like the story of the sacred Tulsi plant (Indian Basil), which represents a pious prostitute. Thus, people believe that this plant should not be kept inside the house, but must be planted in the courtyard where the families can pray to it at dawn and sunset by lighting a lamp near it. The 1960's Hindi film Parakh had one of my all time favourite songs, Mere Man ke diye (The lamp of my heart), in which Sadhana lights a lamp and prays to Tulsi plant. According to Ayurveda, Tulsi is an important medicinal plant. Such myths and sacred stories, are ways to remind the communities about the importance of different species of plants and animals, and to safeguard the biodiversity.

I remember my grand-mother once telling me to not to pluck the leaves of a plant at night because "the plant was sleeping". I think that such a way of thinking illustrates the popular understandings of life in the plants among Indians. While in the cities, people have a more transactional ideas about nature (for example, that it is good for breathing and well-being, it is relaxing and stress-busting), in the smaller towns and villages of India, I feel that there is still a lot of respect and traditional knowledge about these ancient understandings of nature.

Bonsai Plants

Literally the term Bonsai means "planted in a vase". The aim of growing a Bonsai is to create a realistic representation of nature through a miniature tree.

An exhibition of Bonsai plants was held at the beautiful 19th century Jaquard garden in the centre of Schio. It is a small garden but is very beautiful, with an old theatre and a green-house. The exhibition presented the plants grown by the Bonsai students of Schio under their teacher Dr. Ennio Santacatterina.

I spoke to Ennio to understand about Bonsai. He explained that he had discovered his passion for Bonsai after his retirement. His school is a part of the Bonsai Art School and its classes are held in a local plant shop called Garden Schio.

Ennio sees Bonsai as a part of the Zen traditions from Japan, in which it is fundamental to understand kamae, the basic and essential nature and characteristics of each plant. He cites the Bonsai guru Aba Kurakichi and says, "We must conserve all the specificities of the nature of each plant because Bonsai is a life-art." This means that each plant will develop according to its own characteristics and the Bonsai-maker must know how to enhance its individuality and highlight its beauty by selecting the appropriate style, branches and spaces.

I think that it means that a Bonsai is not created but rather it is nurtured, grown and gently guided. It is an exercise in mindfulness, in which the Bonsai-maker searches for a connection with the plant through silence and meditation, to understand its nature and develops a vision of how it should grow. Then, with patience and mindfulness, the maker helps the plant to achieve that vision.

Free-Growing Nature

While Bonsai speaks the language of Zen, meditation and mindfulness for creating a connection with plants, it seems as if the plant is moulded into an idealised vision of how it should look. It reminded me of another encounter about plants - in 2011, I had an opportunity to meet Mr. Marco Colombari, a gardener and plant-lover from Bologna, who had some very radical ideas about the plants.

Marco had guided us in the discovery of a forest, talking to us about how to observe and "see" the plants. A century ago, this forest was an "aviculture centre", an area for developing and growing different species of birds. Then it had become a hunting laboratory and a honeybee cultivation centre. In the 1980s, surrounded by multi-story apartment buildings, this area was supposed to be used for building more condominiums. However, the local residents had started a campaign to save it as a natural area. It is now managed by an association called Oasi dei Saperi (The Knowledge Oasis), which promotes it as a site for the conservation of biodiversity. It is known as the Forest of St. Anna and is located in the Corticella area of Bologna.

Marco's point was that every plant is a living being and has its own characteristics. He felt that people decide about planting trees and plants without really thinking about those natural characteristics. Thus, every time we cut the branches of a tree for making it fit into our urban landscaping, it is like closing an animal or a bird inside a cage. In the forest, he had shown us parts of the trees where the branches had been cut, making us look at the seeping liquids from the cut surfaces and drawing parallels with injured animals.

Besides the natural forest, St. Anna Forest also has some other areas including a botanical garden for growing medicinal herbs, a small pond which was used in the past for jute production and a group of ash trees with old artificial nests which were used for keeping birds when it was an aviculture centre.

Some Reflections

Listening to Marco had a very strong impact on me. Reflecting on his words and coupled with the philosophy in the Indian sacred books of Upanishads, I feel that it is the same life-force flowing inside the trees and plants which flows in every living being.

How do I reconcile this understanding with our daily business of living? There is a proverb in Hindi which says "If the horse becomes the friend of the grass, what would it eat?" I think that this proverb sums up the basic dilemma of our life - the impossibility of avoiding violence, if we wish to live.

Thus, I think that all life in the world is inter-connected and there is no way we can avoid eating other life forms, till the time comes for us to die when we return back to the earth, turn into our basic elements and become a part of the never-ending cycle of life, death and decay. To me it means respecting nature and all forms of life, which I translate as avoiding giving unnecessary suffering to my fellow creatures. Thus, I feel that individuals can decide if they wish to eat meat or they prefer to be vegetarian or vegan - it is a matter of choice linked with personal convictions.

However, I think that keeping animals to be used for their meat (chicken, ducks, sheep and cows) in narrow spaces, which do not allow them to move, and making them eat food laced with hormones and antibiotics so that they can fatten quickly, or hurting them unnecessarily, are wrong.

It means being kind to the animals and birds that we keep as pets. It means, taking care of the nature so that our biodiversity is maintained and strengthened. It means that if we have a zoo or a circus, we shall ensure dignified spaces for keeping the animals and treat them with care. I think that zoos and wild-life parks can play an important role in saving species close to extinction and in teaching young people about the importance of safeguarding nature and biodiversity.

Some people would completely separate humans from other animals because they see all human-animal interactions as basically evil and unwelcome for the animals. They are against keeping pet animals, they don't like zoos, they do not want any experiments involving animals - I feel that it is an extreme view and does not help the animals or the nature.

I hope that science and technology would soon progress so that one day we can have all kinds of food, including meat and fish, grown in cell-cultures. In the meantime, I would like more humane conditions for the animals we keep for meat.

Conclusions

Coming back to the plants, does making the plants grow as miniaturised Bonsai trees means that the plants are being forced into unnecessary suffering? Probably Marco Colombari would say yes. I don't think so. I feel that Bonsai practice, by helping us to seek a connection with the plants through mindfulness and meditation, is another path to recognising the importance of nature.

The evolution has made different life-forms co-dependent on each other. We have biomes inside each of us, made of billions of bacteria and viruses - every time we are ill and take medicines, we are killing millions of them. Life, death and decay are a part of a never-ending cycle going around us all the time and there is no way we can say that we don't want to be a part of this cycle.

This reflection about the life in the plants, makes me think of Shiva, the Hindu God who controls the never-ending cycles of creation and destruction in the universe. I think that Shiva is a metaphor of the life and death which connects together all the organic and inorganic matter of the universe. It is the life-force moving the particles composing the atoms, which combine to make the molecules of different elements, the building-bricks of everything in the universe. Life and death are illusions, because those atoms and the forces moving their particles, they do not die and will continue to combine and create new forms all the time.

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Merry Christmas Or Seasons' Greetings?

A few days ago, one morning I read two articles which made me reflect on the two different ways in which multi-cultural and multi-religious societies can look at inter-faith dialogue, respect and harmony.

In this post, I am going to talk about these 2 different ways of looking at religious differences and what we need to do for living with a diversity of beliefs.
The Two Articles

Let me start with the 2 articles which had stimulated this reflection. The first was an article in a recent issue of Readers' Digest magazine. Actually it was not an article but a snippet under the heading "Your True Stories". I am transcribing that snippet here:

Last December, a young lady ringing up my purchases greeted me with an enthusiastic Merry Christmas!” I was not offended, but I am a Muslim, and at the time I was wearing a beautiful headscarf in a manner identifying my spiritual convictions. I responded, “Happy birthday!” At first, she was taken aback, but then she nodded and laughed good-naturedly, acknowledging my point. I smiled back at her and said, “Merry Christmas to you.”

The second was an editorial in the Indian newspaper Hindustan Times, written by Mr. Rajmohan Gandhi, the grandson of Mahatma Gandhi, under the title "In Memory of Frontier Gandhi, a Plea for Justice for Faisal Khan". It mentioned the story of Khan Abdul Gaffar from Peshawar, now in Pakistan, and his organisation called Khudai Khidmatgar, which worked for promoting Hindu and Muslim unity. Khan Abdul Gaffar was also known as Frontier Gandhi and I have memories of meeting him as a child in Delhi in early 1960s at the home of Dr. Ram Manohar Lohia, the charismatic leader of the India's Socialist Party. This article is about a person from Delhi, Mr. Faisal Khan, who has an organisation in India inspired from the ideals of Frontier Gandhi. It described Faisal with the following words:

Faisal Khan has striven without pause for two goals — communal harmony and relief for the neediest. He is also a wonderful singer of the Tulsi Ramayan. Hindus of all types, from venerated guru to college students, have been charmed by his rendering of the Ramayan’s verses. Keen, as part of his efforts towards harmony, to identify with the traditions of his Hindu friends, Khan, along with associates, recently performed the much-valued Braj Parikrama. On the last day of this 84-km yatra, they went to Mathura’s Nand Baba Mandir, where they were courteously received by the priest.
Reading these 2 articles, made me reflect about the two approaches to inter-faith harmony.

Multicultural Approach to Inter-faith Harmony

I think that first article represents the multi-cultural approach to inter-faith harmony, which arose in UK or perhaps in Western Europe. Now this approach seems to be common in the West (Europe, USA and Australia). It is slowly making inroads even in countries like India, at least among some academic and activist groups. It asks individuals to respect the diversity of religions of others, by not offending them by involving them in things related to other religions. Thus, if we are Christians, it says that we should not have overt signs celebrating Christmas or Easter in public spaces and schools. If we have to greet people we do not know, we should use generic terms like "seasons' greetings" and to not "merry Christmas", for not offending non-Christians. People who believe in this approach, talk of tolerance and respect for other religions.

If we believe in this approach to inter-religious relations for harmony, then if we are Muslims, we won't make Eid or Ramazan greetings to the non-Muslims and if we are Hindus, we would greet only other Hindus on our festivals.

Indian Approach to Inter-faith Harmony

When I grew up in India, our approach to diversity of religions was different. While in school, we had holidays for the festivals of all the religions. Since early childhood, I was used to meeting persons of different religions among neighbours, friends and in public spaces.

Over the years, we lived in different houses, where we had as neighbours families of different religions. Even at home, among the socialist friends of my father who visited us included persons of different religions. During our travels, I had stayed at the homes of family friends of different religions.

When I think of those years, it is remarkable that I can't remember ever thinking about the diversity of religions of all those encounters in India. I had been familiar with news of riots and religious riots, but somehow they had no real bearing with my relationships with persons of different religions. My first actual encounter with the underlining of and impact of diversity of religions happened in Italy, when a high school student asked me if I believed in Madonna. I had told him that I was a Hindu. He did not know any Hindu but he knew about protestants and that question was his way of reassuring himself that I did not deny the sacredness of Madonna. When I told him that I respected Madonna, he was reassured.

The basic understanding governing the multi-religious relationships in the India of my childhood was that all religions are about the one and the same God. Therefore, festivals of all the religions belonged to everyone. Having school holidays for all those festivals reinforced that feeling. So it meant, waking up at early morning to go out and stand on the side of the street to wait for Prabhat Pheri of the Sikh when they celebrated their Gurupurab. It meant wishing everyone Eid Mubarak and eating the sweet sewaiyan, that our neighbour Irene brought to our home. It meant going with my Catholic friend to the midnight mass in the Cathedral on the Christmas eve. It meant going into Buddhist temple to pray to Buddha. And, it meant, saying Happy Diwali to everyone and offering them sweets to celebrate the Hindu festivals.

In that India of my childhood, the idea of "tolerance" in reference to other religions, would have been kind of insulting, because we were expected to share the joy and sacredness of each religion and not just "tolerate" them

Which Approach Do You Prefer?

I think that with some exceptions, increasingly the modern world is going towards less orthodox religious beliefs. A large number of my friends and members of my extended family in India, do pray in temples and homes, but they are equally respectful of other religions. There are four inter-religious couples among my cousins' families. My own family is also inter-religious. With time, I expect that religious diversity in our family is only going to increase. This means that we shall have more occasions for celebrating festivals and also picking and choosing some aspects of ideas and practices of other religions in our daily lives. This seems to be in line with the ideas of inter-religious harmony with which I had grown up in India.

It is true however, that even in India, I feel that compared to my childhood, today many groups of persons are more polarised in terms of religions. Though a lot of persons continue to value respecting and sharing among persons of different religions, those with polarised thinking speak louder and dominate many forums. Fortunately, India continues to have a lot of mixed religious spaces formed by inter-mixing of persons of different religions.

I think that the ideas of multi-culturalism approach to inter-religious relations in Europe and America, which are focused on "not offending those of other religions", are a result of increased encounters after the second world war and due to a globalised world, between the more secularised and less religious populations in the West with more conservative minorities, often immigrants, who feel that they need to hold on to their specific identities, for not getting lost in their new lands. Thus, I feel that it is an expression of cultural anxiety.

In many ways, these inter-cultural encounters are also shaped by identity politics and ways of reading all relationships in terms of dominance and oppression. Perhaps historians can tell us from the experiences of the past, how such encounters between people of different cultures can evolve and resolve?

Which of these two approaches to inter-religious harmony do you prefer?

Conclusions

From the way I talk about the Indian way of looking at the diversity of religions, it must be obvious that I prefer this approach to inter-faith harmony. At the same time, after my travels across different countries and encounters with a diversity of religions and cultures, I must acknowledge that many persons feel threatened or at least uncomfortable if they have to accept close contact with other religions. I try to respect their diffidence, though I must confess that I can't really understand their anxieties.

I also try that I continue to deal with persons of different religions in my way. I go rarely to the mass in a church, but when I do, I am happy to bow my head and pray. I am not very religious, and while visiting temples, churches, gurudwaras and sufi dargahs, I try to feel the sacredness of their ambience and prayers. I also wish Eid Mubarak or Merry Christmas or Happy Deewali or Happy Navroz, to all my friends at the festival times without worrying if they are Hindu, Muslim, Jew, Christian or Sikh. However, if I know that a person does not appreciate receiving greetings for festivals of other religions, I try to be respectful of their choice.

I know that we live in polarised times. For whatever reasons, some people have become more aware of religious differences and at least some of them, do not wish to celebrate the festivals of others or to visit the others' prayer places. At the same time, I often find many persons who think about different religions like me, they are happy to listen to religious ideas of others and do not get offended by religious differences.

Personally, while each one of us is secure in his or her own religion, I would prefer a world of acceptance, respect and joy towards all religions. I know that it is an utopia, but I like utopias.

A final note about Mr. Faisal Khan mentioned above: I have read that Mr. Khan was arrested on 2nd November 2020 for offering namaz in the courtyard of a Hindu temple in India, though it was the temple priest who had suggested to Mr. Khan to pray there. I think that a Muslim singing Ramcharit Manas and praying in a Hindu temple can happen only in India because of this approach to inter-religious harmony that I am talking about. It is an embodiment of the Indic thinking which sees different religions as paths to the same God.

I hope and pray that better sense will prevail and Mr. Faisal Khan can be released.

***

The Angry Birds - About Books & Birds

This month our reading group in Schio (Italy) had decided to read The Bird by the British author Daphne du Maurier. The long-story written in early 1950s was turned into an iconic horror film of the same name by the celebrated film-maker Alfred Hitchcock.

Being a part of a Book-Reading Group has substantially changed the way I read some books. First of all it forces me to read books that otherwise I would not read. For example, usually I don't read horror books - they make me too anxious and afterwards I can't sleep. So by myself, I would not have read du Maurier's book.

"The Birds" was not too bad in terms of its horror-impact, probably because I interacted with it differently from the way I usually read books. I read it more critically and consciously, so I felt less immersed in its imagined-world. If you read a horror book without letting yourself get lost in it, probably you enjoy it less and at the same time, it does not affect you in the same way - at least, that's how I felt about it.

As a part of being more critical and aware while reading a book for our group, I also write down notes about the ideas that it provokes, which I rarely do while reading others books. During normal reading, those ideas are fleeting like dreams which I forget the moment I turn the page. By taking notes those fleeting ideas are marked deeper in my mind, and I can reflect about them. That is how this post came around, to share some of those ideas which came to my mind, while reading "The Birds".

The Birds by Daphne du Maurier

The story of this book is about millions of birds suddenly turning into killer machines who want to murder humans. The first thought that came to my mind while reading it was about the video-game "The Angry Birds", which was supposed to be very popular some 10 years ago. I am not a fan of videogames and I had never tried playing The Angry Birds, but I knew that it was about birds attacking some pigs who had robbed the bird-eggs. A TV serial and a film were also made about it. So the question in my mind was, did this book (or the film based on it) in any way inspire the videogame makers?

The second aspect which struck me was about some of the parallels between the descriptions in the book and the present situation of Covid-19. The first line of the story "On December the third, the wind changed overnight, and it was winter" seemed like a description of the suddenness of the pandemic. The phrases about cold autumn winds sweeping away the yellow-brown leaves, seemed a metaphor of the old and sick persons succumbing to this virus. While, the reactions of the farmer Trigg and his family in the book, reminded me of those who do not believe in the pandemic, think that it is some kind of corporate conspiracy and who refuse to wear masks or take precautions. For example, read the following paragraph from the book: "He tried to tell Mrs. Trigg what had happened, but he could see from her eyes that she thought his story was the result of a nightmare. “Sure they were real birds,” she said, smiling, “with proper feathers and all? Not the funnyshaped kind that the men see after closing hours on a Saturday night?” Mrs. Trigg, “no explaining it, really. You ought to write up and ask the Guardian. They’d have some answer for it. Well, I must be getting on.”

I was also struck by the names of a large number of birds in the story - blue tits, robins, wrens, thrush, blackbirds, house sparrows, pigeons, starlings, black-headed gulls, rooks, crows, jackdaws, magpies, jays, gannets, hawks, buzzards, kestrels, falcons, finches, larks, oystercatchers, redshanks, sanderlings and curlews.

Did the British people in the 1950s know and could identify so many birds? I think that 70 years ago, with lesser urbanisation, there was greater awareness of the nature among people, which is difficult today. It made me think of the night skies of my childhood and the way I used to search for and look at different stars and constellations - now the streetlights and city lights are so strong that even when you do look up at the night sky, you can hardly see any stars. Like the names of the birds in the book, probably I can recite a much larger number of names of stars and constellations compared to an average person from today's generation!

If this book was written today, in which ways it would have been different from the book of Du Maurier? For example, read the following passage about Nat, the hero of the story, finding the sea full of seagulls: "Then he saw them. The gulls. Out there, riding the seas. What he had thought at first to be the white caps of the waves were gulls. Hundreds, thousands, tens of thousands . . . They rose and fell in the trough of the seas, heads to the wind, like a mighty fleet at anchor, waiting on the tide. To eastward and to the west, the gulls were there. They stretched as far as his eye could reach, in close formation, line upon line. Had the sea been still, they would have covered the bay like a white cloud, head to head, body packed to body. Only the east wind, whipping the sea to breakers, hid them from the shore."

In the story, when Nat sees them, he thinks of going "to the call box by the bus stop and ring up the police". Today we do not have "call boxes", we all have our mobile phones, but if you do find the sea full of gulls, what would you do? I bet that 99% of us would click pictures and share them on WhatsApp with their families and friends. A fair number would put them on Facebook or Twitter or Instagram, and many of us would try to get a selfie with those gulls in the background. If the author was writing this story today, probably Triggs and his wife would be shown dying while trying to click a selfie.

The story also made me think of our local popular dish in this part of Veneto region in Italy where I live, called "Polenta e Uzzei", which is corn-cake with roasted small birds. The scene in the book in which burnt dead birds fall down in the fire under the chimney, reminded me of lunches in a friend's home, who loved hunting birds and then roasted them on the hearth along with the corn-cake. I thought that this story was written especially for people who love eating those tiny birds, because it absolves them of the guilt for killing them. I mean, if those birds are actually killers and a danger to the nice humans, it is good that one can kill them and eat them.

Classifying Horror, Terror, Fantasy Genres of Books

During the discussions in our reading group, one of my friends, Michela, said that the story was not really a "horror book" but rather a "terror book". I could understand her point because it is that sense of terror and fear which stops me from reading this kind of books.

After the discussions, I was thinking about how we classify all these different and yet similar genres of books. Classifying them into genres like horror, thriller, fantasy, action and mysteries is difficult because they often overlap. A common element of all these books is the sense of tension and dread which they create. Personally, I like reading action thrillers and some murder mysteries, though I have less patience with Agatha Christie kind of cerebral mysteries. I avoid books with supernatural elements, zombies, splatters and gory violence, while I get bored with books about vampires, werewolves, shape-shifters and most fantasy books.

Some months ago, I had a small Facebook discussion with a friend Francesca, where she had written about Stephen King. She is a well-known translator of books from English to Italian and has translated many Indian authors. I told her that I had never read any book of Stephen King because his books are about horror. She said that King is a master story-teller and the way he develops characters is wonderful, so for her, thinking of his books as mere horror books would be reductive. Thus, I have decided that I should try to read at least one of them before making a judgement. (P.S. Jan 2023 - I have read a couple of Stephen King books and I agree with Francesca, they are very engaging and very much different from what I was imagining!)

While I don't like horror books and films, if their horror is so exaggerated that it become kitsch, I like them. For example, I had liked watching the South Korean film "Train to Busan".

Like "The Birds", this specific genre of horror, where the ordinary things/beings become menacing raises another question about the psychology of their writers in my mind. "The Birds" turns nice little chirping birds into killers. Others have written books which turn clowns, toys, dolls, insects, or even flowers into killers. So, I wonder if these authors have some psycho-pathological problems, which makes them find fear in the beauty? What do you think?

Conclusions

If it was not for our book-reading group, I doubt if I would have read "The Birds", and even if I would have read it, I doubt that I would stopped for 5 minutes to reflect about it. I would have certainly not written a blog post about it. Slowly, I am becoming aware about how reading books for the group is changing me a reader. I think that if you have to teach creative-writing or literature-appreciation, that would also change the way you interact with books. Is that a good thing? By not allowing ourselves to get immersed in the imaginary worlds dreamt by writers, do we lose our enjoyment? I think that it would be an interesting discussion.

I feel that if it is not exaggerated by over-thinking about the books we read, to some extent becoming a more aware reader and occasionally stopping to reflect on what we have read and to talk about it with others is a good skill for today's fast-running world. I am glad that I am part of our book-readers' group!

Note: With this post, I have used pictures of 2 birds which are considered ugly and, in some ways, inauspicious by many persons, though I like them - the crow and the Brazilian Urugu vulture. Both the birds are scavengers, they eat the leftovers, keep our environments clean and live close to human settlements.

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Unusual Vicenza: Discovering the Magic

Venice does not need an introduction. Many tourists visiting Venice have also heard of Verona. However, very few persons visiting Venice and Verona know of Padova and Vicenza.

Vicenza is counted among the 4 beautiful cities in the Veneto region in north-east of Italy along with Venice, Padova and Verona. Each of these cities is a concentration of history, art and culture. At the same time, each of these cities is distinctive - Venice is the city of canals, Padova is the oldest European university and the city of the saints (St Anthony and St Justine), Verona is the city of Romeo and Juliet, while Vicenza is the city of the architect Andrea Palladio and is a World Heritage city for UNESCO.

This post is an introduction to Vicenza, which has a large number of buildings designed by Andrea Palladio, one of the most influential architects of recent history. For example, his little gem, Villa Rontonda (in the image above), has inspired many patrician houses around the world including the White House.

This post is also about unusual ways for discovering the city's magic, seen through my eyes of nostalgia and through the eyes of Chiara Pesavento, who is passionate about languages, history and culture of this city.

Vicenza of My Memories

I had come to Vicenza in 1979 and stayed for a period at the guesthouse of the Filippini Church along the city's central street called Corso Palladio. Listening from my room on the second floor to the concerts of organ music held in the church below, is one of my first memories of this city and of Italy. At that time I was not very familiar with the western classical music and I remember my shock when it had happened for the first time - I felt surrounded by the warm pulsating embrace of the music as it had filled my room, it was absolutely amazing. Probably the particular acoustics of that building had something to do with that experience.

"Ai Filippini" was a 2 minutes walk from the city's central square, Piazza dei Signori (Lords' Square), where I remember spending hours on the weakends, admiring the absolutely amazing Loggia del Capitanio and the imposing Basilica with its green domed roof. Both these buildings were the works of Andrea Palladio, though at that time I had no idea about who he was!

I loved sketching in those days and that had helped me to become familiar with different landmarks of the city including the incredible Olympic theatre, Chiericati Palace Museum, Montanari Palace and 2 wonderfully landscaped parks - Querini park and Salvi park. Another of my favourites memories is that of the climb to the Monte Berico church at the top of the hill overlooking the city. The image (above) presents one of my sketches of the Piazza dei Signori from those days.

When I look back, I feel that I was fortunate to have the introduction to the historical and cultural treasures of Italy through the unassuming and lesser-known Vicenza. Most tourists to Italy know of Rome, Florence, Pisa, Venice and Pompei. A few more discerning ones know about Bologna, Naples, Verona or 5 Terre. Relatively few think of visiting Padova or Vicenza. Knowing Italy through Vicenza has taught me about the joys of visiting smaller and relatively lesser known Italian towns to discover their hidden gems of history, art and culture.

Today, I live in Schio, a tiny town situated 20 km from Vicenza. Even Schio and many other smaller towns of the province of Vicenza, such as Thiene, Bassano del Grappa and Marostica, have so many historical, artistic and cultural sites to discover, that would be impossible to find in any other country! Anyway, enough about my memories of Vicenza - let me now give you a brief glimpse of the town through the eyes of Chiara Pesavento, who is more qualified to talk about it.

About Chiara Pesavento

Chiara Pesavento is a tourist guide in Vicenza, active in this role since 2006. Her decision to become a tourist guide can be traced to a visit to an art collection in Chiericati Palace Museum as a child, when she was struck by the description of a painting by the guide. "Suddenly that uninteresting piece of art acquired details and a depth of meaning" she explains, "and I knew that I wanted to be a tourist guide."

She also had a passion for learning languages (she speaks Spanish, French and English) and loves meeting persons from different countries. All these skills combined to create a person who is passionate about the history, art and culture of her town, and she loves to share these passions with people who come to visit Vicenza. For this post, I asked her to talk about some special thematic tours, which help in discovering lesser-known aspects of this city.

Unusual Vicenza

One of Chiara's favourite tours of Vicenza is called "The lost treasures". For this tour, she uses old city maps from '700 to visit and understand how the city has changed over the past centuries. It means going around to see buildings that are not there anymore and to hear about the history of what had happened and how the city had changed. This also helps in understanding the old toponomies of the town. For example, there were about 50 churches in Vicenza in late medieval period, out of which only 17 are still there today, while the remaining are lost. Many of these were lost during the occupation of the city by Napoleon Bonaparte. This tour lets you understand the impact of that occupation.

Another tour of the city is through its art collections. The art collection at Chiericati palace museum, the collection of 18th century Venetian art at Montanari palace, the sacred-art collection at the Diocesan museum and the different art works in the city churches - if you love art, there is so much to see and discover in Vicenza. For example, the St. Corona church has the altar and a painting by one of the famous Venetian artists, Giovanni Bellini.

About 500 years ago, Antonio Pigafetta, a writer, navigator and geography expert from Vicenza, had completed an around-the-world trip. To celebrate this event, together with her colleagues, Chiara proposes the "Pigafetta tours of Vicenza", to discover the Gothic town of the 15th century. It was a period when the town was recovering from the plague epidemic, agricultural crisis and famines. The tour allows the visitors to look at the buildings from that era and to understand the life of those times.

Chiara feels that there are many aspects of the city linked with its artisans and production systems, which are equally valuable to visit and to know better. For example, Vicenza has long traditions of wool and silk production since 15th century. It is also known for it goldsmith artisans. Another example is that of specialised printing such as the Busato artistic printing press specialised in chalcography (bronze plate engraving for printing), lithography (printing with stone or metal plate) and xylography (wood-block printing). She feels that tours to visit and see these artisans at work can be another interesting way to discover and understand the city.

Conclusions

With the Covid-19 epidemic, few persons are travelling around. However, hopefully soon this epidemic will be over and persons will start travelling and visiting other countries. Personally, I miss my travelling very much. However, not to be able to travel to far-away places has a positive side-effect - I can go back and rediscover my old favourite towns like Vicenza.

When travelling will become possible and you will plan a visit to Venice and surrounding cities, I suggest that you keep a few days to discover towns like Vicenza, Padova and Verona, and to visit the smaller provincial towns of Vicenza such as Schio, Bassano and Marostica.

If you want to contact Chiara Pesavento, you can check her website - Vicenza Tourist Guide.

***

Snakes, Merchants & Emigrants - Gun Island

Finally, I have read Amitabh Ghosh’s latest book “Gun Island” (Penguin, 2019). This book can be looked at different levels – as the exploration of an old Bengali fable, as a modern fable on emigration, as a cry of alarm about the looming environmental catastrophe, as an understanding of ancient links between India and Venice/Venetian republic in northern Italy, as a book about books, and probably many more.

For me personally, this book’s theme has a special resonance because it touches on the worlds which I inhabit – that of India, from where I come, and of Venice, where I live; and those of emigrants and refugees, especially those coming here from the Indian subcontinent, with whom I identify and sometimes work as a volunteer.

At one level, I was a little disappointed while reading this book because it lacked the immersive imagined worlds which Ghosh can create with his words. It is a fable and thus, chance, destiny and miracles play a disproportionate role in moving and shaping the story and these elements do not need to be always plausible. At another level, I was fascinated by its complexity in bringing together so many themes, and now after finishing reading it, I keep on thinking about them and discovering new angles and inter-connections to them.

Themes of the Book

Its themes are like rivers, sometimes flowing in parallel, sometimes inter-mixing and sometimes changing their course as the story moves, from Sundarbans in India, to Venice and then finally to Sicily. Some of them take centre-stage for some time, only to go underground for long tracts, waiting for another opportunity to emerge. The book has a big canvass but most of the time, it skims on its surface and does not delve deeper.

The book is equally divided into 2 parts - the first part is based inIndia, in Kolkata and the second, in Italy and mostly in Venice.

Book summary: Dinanath Dutta or Dino, as his Italian friend Cinta (Giacinta) calls him, is a solitary ageing dealer of rare books from USA and is the narrator of the book. Back to his home-town Kolkata for a holiday, he encounters people from “The hungry Tide”, Ghosh’s book about river dolphins in Sundarbans, which had come out 16 years ago in 2004. Piya, the young Indo-American researcher working on the river-dolphins from that book, is now older but still single and the love-story between DN and Piya is a tiny river in the book, which emerges in the beginning and then disappears, only to re-emerge and conclude happily at the end.

Apart from “The hungry tide”, the book also makes some references to the slave trade ships and the ship-journeys of indentured workers from India, the subject of Ghosh’s recent Ibis trilogy, starting with “The Sea of Poppies”.

The book also makes different references to other authors and their books, especially to the literary world of Italian author Emilio Salgari, known for his books about exotic India of thugs, princesses and pirates, some of which were centred around Sundarbans and were used for creating some TV serials such as Sandokan in the 1970s. Today Salgari is not very popular among children in Italy, but his books were a major influence till about 30-40 years ago, in shaping popular ideas in about India.

The legend of “Banduki Saudagar” linked with a shrine in Sundarbans, is the seed of the book, which guides the whole story. It brings out surprising connections between India and the merchants of the Venetian republic in 17th-18th centuries. The same legend brings DN to Venice, the Banduki (gun) island, where he fortuitously meets the friends he had met in Sundarbans – Tipu, the son of the boatman from “The Hungry Tide” and Rafi, the son of the care-taker of the shrine in the Sundarbans, along with other emigrants from Bangladesh.

The final part of the book, where Ghosh gives a historical overview of peoples’ movements across the world, starting from the millions of persons from villages and towns taken by the colonial masters and transplanted in far-away lands, and links it with today’s emigrants who start similar life-threatening journeys in search for a better life, is my favourite part of this book. Let me quote a few brief passages from this part: 

Yet there was a vital difference – the system of indentured labour, like chattel slavery before it, had always been managed and controlled by European imperial powers. The coolies often had no idea of where they were going or of the conditions that awaited them there; nor did they know much about the laws and regulations that governed their destiny. ...But all of that was now completely reversed.Rafi, Tipu and their fellow migrants had launched their own journeys, just as I had, long before them; as with me, their travels had been enabled by their own networks, and they, like me, were completely conversant with the laws and regulations of the countries they were heading to. Instead, it was the countries of the West that now knew very little about the people who were flocking towards them. ...I saw now why the angry young men on the boats around us were so afraid of that derelict refugee boat: that tiny vessel represented the overturning of a centuries-old project that had been essential to the shaping of Europe. Beginning with the early days of chattel slavery, the European imperial powers had launched upon the greatest and most cruel experiment in planetary remaking that history has ever known: in the service of commerce they had transported people between continents on an almost unimaginable scale, ultimately changing the demographic profile of the entire planet. But even as they were repopulating other continents they had always tried to preserve the whiteness of their own metropolitan territories in Europe.

Few Comments: Ghosh is very eloquent in this part in presenting today's emigration as a kind of retribution of the colonial plundering of the world. However, I am not sure if real-life works like that. Italy was not much of an imperial power, except for a brief spell in Abyssinia (today's Ethiopia-Eritrea). I believe that "Preservation of Whiteness" is not enough to explain the fear of immigrants among the young men in Italy as proposed by Ghosh in his book, it is much more complex and has also to do with religion, culture, language and social norms.

I also think that it is not the young men, as the main demographic group, who are afraid of emigrants. Young people mix much more with persons of other cultures. Instead, it is the older-age groups including the elderly persons, who are more afraid of emigrants and of the changing landscapes of their towns and squares. 

Different episodes of the book ask you to believe in supernatural forces shaping the world, including the old fable of Banduki Saudagar inter-mixed with the Manasa Devi legend from north-east of India. At times, I found that a bit jarring.

The final conclusion of the book seems to be written for a Hollywood film with an Ethiopian woman standing tall in a little boat full of a ragtag bunch of emigrants, lit by a green fluorescence, with dancing dolphins and whales and a sky full of thousands of migrating birds.

Thunderstorms, islands getting submerged in the sea, tropical spiders in Venetian homes and shipworms eating the wooden base on which Venice is standing, strange and extreme weather events including the high tides which drown Venice frequently, dying dolphins and whales, sea-monsters in the Venice lagoon, all make an appearance in the book to underline the dangers of climate change.

Other Aspects of Illegal Emigration

The book touches on some uncomfortable aspects of illegal emigration, including the links with different branches of mafia of different countries which controls this traffic, but mostly it glosses over these aspects. The network which facilitates this traffic and lures unsuspecting young men (and some women, mainly from Africa) full of dreams, who take loans and sell their properties, to embark on a journey that takes years of their lives, often including passages during which they are forced into slave labour or even sexual labour and sometimes ends in drugs, alcoholism or prisons, is seen only in brief glimpses.

"Without the guys from Bangladesh, Venice won’t survive, because they do everything which local Italians don’t do", the book explains. The other side of this story is that emigrants can be asked to work with one third of the minimum salary, without a proper social security cover and to do long shifts, all conditions which locals do not accept and emigrants are too weak to resist.

Often the families of these immigrants think that they are living in Europe and imagine the European lives they see on TV and films, and keep on asking for money and other things from their sons and brothers. A few of them do find the pot of gold at the end of the rainbow, but for almost all of them, the dream of that pot of gold extracts a heavy price, as shown through the words of "Palash" in this book, who hides behind a pseudonym in the book:

It’s impossible for me to go back now. My family still does not know that I dropped out of university and am now scraping by on the streets. My parents would not be able to imagine that a son of theirs was doing that kind of work. They think I’m still a student going to lectures and writing papers, at my university. If I tell them the truth now I would have to admit that I had been lying all along; that they were right to tell me not to go abroad; that I had made a terrible mistake and would have done better to listen to their advice. I would have to acknowledge that in chasing a dream I destroyed my life.
There is another dimension of emigration which is mostly left untouched in the book – it is that of a conservative version of Islam among a percentage of emigrants and the backlash that it provokes, especially in small towns and communities in Europe and its perceived links with radical Islam. Ghosh touches on it only briefly through a clumsy air-travel scene, where DN's agitation due to vision of snakes and the accidental switching on of an “Allah” song sung by Nusrat Fateh Ali Khan leads to panic among the passengers, thinking that he is a terrorist.

Conclusions

Quality of Story Telling in Gun Island: I think that this book Gun Island is substantially different from Ghosh’s earlier works. He has a way with his words, and this book also gives him plenty of opportunities to show-off those word-building skills, to weave unexpected inter-connections. However, that pleasure of reading is hampered by feelings of disbelief because of too many coincidences, convenient dreams and visions and some cheesy miracles which dot the whole book. While reading it, I wondered if he has become lazier as a writer or does he let himself be guided too much by his concerns and activism for the climate?

Books' Characters: Compared to his earlier books, especially the ones from the Ibis trilogy, which had a whole bunch of characters that I had liked, I did not find any such character in this book. For me, both DN and Piya were kind of colourless persons. Tipu and Rafi were a bit more alive, but were difficult to identify with. Even the character of Cinta was, at times, a bit of a caricature.

I know that Ghosh has been campaigning over the past few years for greater awareness and action on the issue of climate change. Even in this book, climate change is a key force shaping the events. Yet, I felt that by bringing in the fables, supernatural forces and miracles, he seems to be saying that we don’t need to worry about the climate change and the earth or the nature will do something to right this situation – I am not sure if he actually wanted to give this message.

To conclude, for me Ghosh is one of the best story-tellers of our times. With that kind of placement on a high pedestal, for me reading this book was not as fulfilling as his previous works.

***

10 Things to do in Schio

If you are you visiting Schio (Province of Vicenza in north-east of Italy), this post is for you. It presents my list of 10 things to do or to see in the centre of Schio - all the places indicated in this post are at walkable distance from the city centre.

Schio is a small town located on the foothills of Alps mountains. If you like history, culture and picturesque places where you can go for walks, then Schio is worth a visit, as this post will show you.

I will do a separate post for all the beautiful places around Schio, and there are a lot of them. This post is limited to the places in or near the city centre.

Schio - General Information

Schio comes under the province of Vicenza (28 km away) in the Veneto region. Nearby other well-known towns include Venice (120 km), Verona (95 km) and Padova (67 km). It is located in the northern part of Veneto, on the foothills of mountains known as Piccole Dolomiti (small Dolomites). It is connected to Vicenza by local trains (1 hour journey) and the state bus service. Schio's history goes back to at least the Roman times when it was called Scledum.

Vicenza is on the Venice-Milan and Venice-Trento-Bolzano train lines, and is thus well connected to trains from Switzerland, Austria and northern Europe. On the other hand, to go to Rome and south Italy, you need to change the train at Padova.

Schio was famous in 19-20th centuries for its wool mills. The biggest mill belonged to the Rossi family. Because of those wool mills it was one of the important industrial towns and was called the Manchester of Italy.

A hill crosses the town from south-east to the north-west - the eastern tip of this hill has the Duomo (cathedral) and the castle of Schio, while a Cappuchin monastery occupies the western end of this hill. A historical lithograph of Schio from 1864, commissioned by Alessandro Rossi, in the image below (curtsey @schiocultura) shows the area of Fabbrica Alta, as well as the San Rocco church on the hill in the right side with the Pasubio mountain in the background.

With this basic information, let me start with my list of 10 things to see/visit/do in the centre of Schio.

1. Duomo of Schio

The Duomo (Cathedral) of Schio is located in the city centre on the Rossi square and is an imposing structure atop a hillock, converted into a high platform with stairs going up on the two sides. It is dedicated to St. Peter. It was built in the 14th century. The present layout of the buildings was given more recently - it was started in 1747 and completed almost 130 years later in 1879.

The entrance of the cathedral has the sculptures of the 4 evangelists and a strip of bass-relief showing episodes from the life of St. Peter. Inside, among the different art works you can see a Madonna by the Venetian artist Jacopo Palma from the 16th century.

You can also admire the view of city and the surrounding mountains from the terrace of the Duomo.

2. Castle of Schio

The old castle of Schio was located at a higher level compared to the Duomo hill. It was built in the iron age and was dismantled in 15th century. Today only the old tower of the castle along with a more recent church (Santa Maria della Neve) remain on the hill. The church is no longer used for religious purposes and hosts the photography club of Schio.

Stairs from different sides of the hill go up to the castle, making it a short but invigorating walk. On the hill in front of the church you can see the base of two old towers of the castle. From here you also have a lovely view of the mountains surrounding the city.

At the base of the castle hill, a tunnel was constructed during the Second World War as a bomb-refuge. It is around 100 metres long and is now used by a local dairy company for stocking its local cheese, sold as "Formaggio della Grotta" (The cave cheese of Schio).

3. St. Francis church

The 15th century St. Francis church is located at the north-eastern edge of the central hill. It is one of the most beautiful buildings of Schio, with a stone bell-tower. Among the artworks, it hosts a luminous altarpiece by the artist Francesco Verla from early 16th century, which has been recently renovated.

Next to the church is an old Franciscan monastery, which does not have any monks at present. Part of it is used by a woman's self-help group called Daisy - they accompany the tourists to visit the church on Friday & Saturday afternoons. The church also opens in the mornings for the daily Mass.

4. Valletta

In front of the St. Francis church starts the Parco della Valletta (Little valley's park), a green oasis in the centre of Schio. It is characterised by century old trees and pathways going up and down the hill. From the park some of the views of the surrounding mountains are beautiful.

Coming out from St. Francis church, if you follow the road going downwards on the left (Via Grumi dei Frati), you can walk down to see a small beautiful chapel along the roadside - it is the 16th century chapel called Madonna della Salute, with a small water-canal passing underneath it. Behind the chapel is an arch from where you can climb the stairs to go back towards the Castle.

To the left of the chapel, another set of stairs also take you up towards the castle.

5. Piazza Rossi & Piazza Garibaldi

Via Pasini is the main road with shops passing through the old city centre of Schio, starting near Piazza Rossi and the Duomo. Piazza Garibaldi marks the beginning of Via Pasini. This is a pedestrian area of Schio. The two little squares, Piazza Garibaldi and Piazza Rossi, are inter-connected and have different bars with tables on the street, where you can sit and soak in the city atmosphere. Weekends usually have live music shows in one of the bars, along with buskers playing music on the sides.

From Piazza Garibaldi, the road going up towards the castle has another couple of bars that you may wish to explore and to taste some of the local beers. If you are visiting Schio, remember to spend an evening sitting there and watching the people having a drink while they exchange the latest gossip.

The city organises different festivals including the British Day (in October) and Cosplay (in April). On Wednesday and Saturday mornings it has the weekly market. The area of Piazza Rossi-Piazza Garibaldi is usually the central point of all these festivities & markets. While you are there, do not forget to look at the historical statue of Il Tessitore (the weaver) in Piazza Rossi, which is the symbol of Schio.

6. Palazzo Fogazzaro

Along Via Pasini, the central road of old Schio, you can see the municipal building (Garbin Palace) and the 18th century Fogazzaro Palace. Built in the Palladio style, the Fogazzaro Palace is the cultural centre of Schio. It hosts many history, art and photography exhibitions, seminars and events, including the Biennale of Schio which focuses on Papermade art, which has been held regularly since 2013 and brings together artists from numerous countries across the world.

Till early part of 20th century, the main water canal of Schio called Roggia Maestra used to cross Via Pasini with a bridge on it and was therefore known as Via Oltre-Ponte.

The image below shows an art work by Wilhelm Senoner from an exhibition held in Fogazzaro Palace in 2019-20.

Across the road, you can take the Garbin underpass to go to Piazza Statuto to look at the main entrance of the municipal building. This square usually hosts a car parking, so it does not look very exciting. However on the days of the weekly market (Wednesday and Saturday), it gets a make-over and you can admire it better.

7. Toaldi Capra Palace

Via Pasubio, the second main street of the old city centre, starts from Via Pasini in the middle and proceeds northwards. On this road you can see different medieval houses of the rich families of Schio including the 13th century Toaldi-Capra palace. This building was used as the municipal building till the first World war. The first floor of this building has frescoes from 15th century.

Like the Fogazzaro palace, Toaldi Capra Palace is also an important site of cultural initiatives in Schio. Its courtyard hosts an open-air theatre which has dance and theatre performances, as well as, the summer film festival (the image below shows a historical enactment of the fall of the Venice Republic in 1797 in the open-air theatre of the Toaldi-Capra Palace).

The palace also hosts art and photography exhibitions, while the rooms on the first floor hold conferences and seminars.

Via Pasubio is also the site of biannual Sareo Art Festival (which had been suspended between 2020-2021 due to Covid-19) during which local artists and artisans show their works in an open air exhibition.

8. Jacquard Gardens and Industrial Archaeology

In the 18th century Schio had become an important industrial centre with different wool mills. These were powered by the waters of Leogra torrent through a canal known as Roggia Maestra. For the workers of the wool mills, new housing areas were created. The old mills, the houses of the mill-workers and the water canals, together form the industrial archaeology area of Schio.

There are 3 old wool mills near the Schio city centre. The Conte wool mill, which is now converted into a cultural space (the Shed) where art and photography exhibitions are organised. It is located on Via Pasubio, a little further down the road from Toaldi-Capra palace. Inside, this building you can also see the water canal of Roggia Maestra with its swirling waters (the image below shows an art exhibition in the Shed).

A little further down Via Pasubio is the Fabbrica Alta (High Mill), which was the biggest wool mill of Schio and belonged to the Rossi family. The grounds of Fabbrica Alta hold music shows and garden shows while the city is discussing how best to use its old buildings.

Across the road from the entrance of Fabbrica Alta are the Jacquard gardens, built for the mill workers in late 19th century. The gardens include a theatre, artificial caves, fountains, a glass-house and some sculptures. This park is open on summer weekends. From one side of the gardens, you can also admire the beautiful San Rocco church with its lovely bell-tower, located on the Castle hill, next to the gardens.

The third wool mill, Cazzola, was located further outside the central area along Via Pietro Riboli. During the first world war, this was converted into a field hospital where the well-known American writer Ernest Hemmingway worked as an ambulance driver. One of the side-streets behind the old wool-mill is named in his honour.

To look at the area which had the mill-workers houses, you need to walk from the city centre towards the Leogra torrent. Different criss-crossing roads such as Fusinieri, Tessitori, Rossi, Cimatori, etc. are all part of the industrial archaeological area.

You can also take a short walk along the torrent in the Via Lungo Leogra and take a selfie from its bridge, from where you have an excellent view of some of the beautiful mountains surrounding the town (the image below shows the torrent with reduced water-flow in the summer).

9. Civic Theater

The Civic Theatre was built in early 20th century and is situated on Via Maraschin. During the theatre season, it has a rich calendar of plays and concerts. Parts of the civic theatre are being renovated (winter 2020). Inside, the theatre has a beautiful frescoed first-floor hall.

The Civic Theatre also conducts theatre, dance and creativity workshops with schools, elderly persons and other groups.

Across the street from the Civic Theatre, you can walk to big central square of Schio - Piazza Falcone-Borsellino. It has a model showing the different mountains around the city and their names & heights. It also has a war memorial. Finally, my favourite place in this square, is a sculpture by Alfonso Fontana of a fountain with birds and children (the image below shows an overview of Falcone-Borsellino square seen from the back of Fogazzaro Palace).

10. Mother Bakhita church

Mother Bakhita was a catholic nun in the congregation of Figlie della Carita Canossiane (Canossian Daughters of Charity). Originally from Darfur (Sudan), she was kidnapped and sold as a slave when she was 9 years old. Destiny brought her first to Venice and then to Schio in late 19th century. She died here in 1947 and was declared a saint in 2000.

Followers of Saint Bakhita come to visit Schio from different countries. Her church is located in Via Fusinato, not far from the Duomo.

Conclusions

As you can see, even if Schio is only a tiny town, it has a few things to see and do for the visitors. The town is surrounded by beautiful places to visit, especially in the mountains and lakes, starting with the two mountains which guard the north and east of the town - Monte Summano and Monte Novegno. About all these, I will write in another post.

I first came to visit Schio in 1982. My wife's family had been living in the old mill-workers' area since late 19th century. After my retirement, we are living in that same family house where my wife, her father and her grand-father were born. I love living here - I love the view of the mountains, its roads going up and down and the numerous cultural opportunities it provides. It just needs a short bicycle ride to leave the city and to be in the beautiful countryside surrounding Schio, as shown in the view from Via Broglio below.

I had decided to limit this post to 10 places. This meant that I was unable to include some of my favourite places of the city in this list.

For example, I also recommend the walk from the castle towards the Capuchin monastery in the evening for breath-taking views of the mountains; and if you have time, go to the crossing between Via Bosco and Via Fogazzaro to see the lavandaia (washer woman) sculpture and the place along Roggia Maestra where the local women used to wash laundry till mid-20th century.

*****

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