Kimchi - Outsider's Gaze

Kimchi is a photo-exhibition on South Korea by Nadia Bagattin, which was held recently at Palazzo Toaldi Capra in Schio (Italy). The wide success of K-Pop, as well as, that of their TV serials, has created an international image and interest in South Korea. Nadia Bagattin's pictures in the Kimchi exhibition go behind that international image to look at the society, focusing especially on the contrasts between traditions and modernity.

I always find it interesting to understand how the outsiders look at countries and cultures, compared to the insiders. However, I have never been to S. Korea and I am not much informed about it, so to complete this exercise I should also look at works of some Korean photographers.

You can click on all the images in this write-up for a bigger view.

A Brief Talk with Nadia Bagattin About Kimchi Photo-Exhibition

While visiting the exhibition, I had a brief talk with Nadia Bagattin about her pictures in this exhibition, which is presented here.

Q:  You are a photographer for passion or professionally?

Nadia: For passion. I have studied multi-medial art at the Art Academy. I have been passionate about photography ever since I was a child and was gifted a camera.

Q: These days everyone clicks pictures everywhere, what is the meaning of being a photographer for you?

Nadia: My professor used to say that photographers are like painters, they paint with the light, to capture a moment, or an emotion. Everyone approaches it with their own ideas, so every photograph has a right to exist. Thus it does not matter, how many other pictures exist, for me it is a way to share my emotions from that moment.

Q: When you click pictures, what interests you more?

Nadia: I like to photograph persons, sometimes I am a very slow photographer. For example, if I arrive in a park, I would just sit there and look around for a long time, till there is something which strikes me emotionally and only then I click its picture.

Q: This was your third journey to South Korea. When you look back, was there anything different this time in terms of your photography, compared to your earlier visits?

Nadia: It was a very different expereince The first time, I had gone very casually as a tourist, to meet some friends who had invited me. I didn't have any specific expectations. I used to listen to South Korean music and watch films and I had a vague idea of what I was going to find there. Later, I became passionate about it, I studied its history, now I have a better idea of its people and culture.

The first exhibition I had about S. Korea was last year, it had a more of a tourist kind of pictures - beautiful places that looked like picture postcards so that persons could feel attracted to visit the country. 

This exhibition is more visceral, I wanted to discover both sides, good and ugly of Korea. Like every country, it also has both, and I love them both.

Q: There are some pictures in the exhibition that look at the traditions, at dresses, at religious iconography and rituals. There are others that look at city life, such as the images of plastic toys in different colours.

Nadia: Yes, that is the aim of this exhibition, it is about contrasts, the two sides of the coin. Thus there is "pali-pali" (Korean way of saying "hurry up") side of Korean culture, as well as, the more traditional meditative side linked to zen, respectful of the nature and culture. So if you have noted these two sides, this is exactly what I wanted to achieve.

Q: If you could choose three pictures from this exhibition, which represent a significant moment for you, which pictures would you select?

Nadia: Let me think.

The first picture that I would choose would be one of these children. It is from a city where they had few tourists. They were very surprised to see me in their city. They said "Hello" to me to show that they knew English.

The second can be the two elderly persons and their boat (left). They were retired persons and were doing volunteer work to clean the algae from this lake. When I was clicking this picture, the man became aware and he told me that both of them were very old but were still strong and active. I like these interactions with people.

The third would be that of the man making an offering to the turtle statue. The elderly man is making this offering underneath the turtle which represents the eternal life, it was his prayer for a long life.

Conclusions

So what does the choice of her three favourite images from the exhibition tells us about her as a photographer? I think that it denotes her attention and preference towards human-interaction. 

I love talking to artists and photographers to understand what motivates them to create. My exchange with Nadia Bagattin was short and yet interesting. You can also see some of her other pictures on her Instagram page.

I was struck by her description of photography as a painting with light. I had a somewhat similar idea when I had called my old photo-blog as "Chaya-Chitrakar" - the painter of shadows.

Kimchi exhibition can be visited at Palazzo Toaldi Capra in Schio till Sunday 27 July 2025.

   

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Martini Art School Exhibition in Schio

Students of Schio's art school A. Martini, organise an annual art exhibition to present their works. This exhibition has hundreds of exhibits. This year I was able to visit it. It was wonderful to see Schio's familiar streets, buildings and monuments in their works.

This first image below is about some of the city streets and has art works by Fatima Sadkaoui, Eva dal Maistro and Giacomo Scarpati. (You can click on all the images in this post for a bigger view)

It is not possible to talk about all the works that I liked in this exhibition, I can only present a small selection of them. Who knows, one day one of these students will be a famous artist! This post is dedicated to all of them.

A. Martini Art School in Schio

The Martini art institute is part of the Tron-Zanella-Martini high schools. It has a 5 years course for art students including 2 years of general study which is common to all the students, followed by 3 years of specialised studies in 2 areas - figurative arts and architecture.

Many years ago, this art school had an evening course and I know some local artists who had done that. I wish they would again conduct an evening school or may be have an art course for elderly people - I would also like to join it.

Let me now show you some of the art works from the 2025 exhibition. They are no particular order. All the students in the art school learn about and work with all the different figurative art forms including designing, sketching, painting, graphics, sculpture etc. 

Some Sculptures

Some years ago, I had seen some computer made sculptures from 3D printers. Since they were made of resins, I had mixed feelings about them. I am sure that in future, a mix of CNC and 3D printing will make more human-made kind of sculptures but I am sure that good sculptor will always have a value.

The two sculptures on the sides in the image below are by Tommaso Guadagnin & Anita Peruzzo.

Perspectives

I liked the works using a kind of binocular effect in the drawings to show a different perspective of their subjects. The three works presented below are by Sofia Damoc, Andrea Busato & Angelica Guido.

Ex-Lanificio Conte

This art exhibition was held in SHED hall of the old Conte wool mill (ex-lanificio Conte). There were different art works of this building. The image below presents three of them - all the three have the building as seen from the Conte Square, through the artists' locations and colours are different. It has the art-works of  Alessandra Peron, Elisabeth Salin & Sofia Rapagnani.

City Landmarks

There were many art-works about the city landmarks. The two images below present some of them.

The first one has the Rossi monument and St Anthony church by Benedetta Valente, the civic theatre building by Agnese Gasparella & the Salesian sports' complex by Aurora dal Pezzo.

The second one has the works of different students including the Duomo church in the centre by Mariem Fatou.

Sketches and Graphic Designs

The image below has sketches and graphic designs by different students.

Self Portraits

To conclude this highlights-view of the exhibition here are some of the self-portraits based specific themes like water, air, etc. I liked this idea of the students imagining themselves as mythological or cosplay figures. (You can click on each image for a bigger view).

In Conclusion

It is not easy to be an independent artist and earn a decent living from it. Thus, I think that many of the students will probably end up doing some other day-time work and continue being an artist in their free times and week-ends, till some of them will find success and recognition.

Apart from the challenges of finding work related to art in today's world, I think that in future, in the kind of world that is coming, having a connection with art will be very important for the human experience. Whatever they will do in their lives, hopefully making and appreciating art will continue to enrich them.

So, best of luck to all the art students of Schio graduating this year.

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Life & Times of Almerico from Schio

Recently Cooperativa Trama organised a city walk to introduce the life and times of Almerico da Schio, known as the inventor of the first airship in Italy. Last year, I had visited the "Da Schio" family library, which has some precious manuscripts and written about the library as well as, about the first airship built by Almerico. This post focuses on some of the interesting things I learned from this city walk.

The image below is a street mural about Almerico in the city square dedicated to his name, built in the old lands of Da Schio family (click on the picture for a bigger view).

Before I start, a brief note - while Almerico's family used "Da Schio" (from Schio) as its family name, that appellation can also be added to persons from Schio, thus not all persons known as "da Schio" may necessarily belong to the family. 

Da Schio family tombs at St Francis church 

Our city walk started from this 13th century church of Schio, known for a beautiful painting of Francesco Verla and an old choir room made in wood at the back of its altar. This was an opportunity to talk about the family of Almerico.

Da Schio has been an important family in Schio since around 1500s when they had received the noble title of Count from the emperor. Almerico was born in 1836 in one of the family homes in Costozza, about 50 km from Schio. Some of the Da Schio family members are buried inside the St Francis church, where their tombs are located right in front of the altar, which can be recognised by the family coat-of-arms, which includes an imperial eagle and a two tailed mermaid.

It may have started as a humbler farming family and the earliest records are from 11-12th centuries. They owned all the farming land starting from the right and front of Schio's Duomo church in the city centre, up to the St Francis church and parts of Valletta.

One of the first well-known persons from the family was a Dominican priest in 13th century, Fr Giovanni da Schio. Another important person in the family was Girolamo da Schio (also known as G. Bencucci) in the 16 century, who was close to different popes and had become the bishop of Vaison in France, who was responsible for the nobility title of this family. Terracotta busts of both these persons can be seen the Jaquard gardens of Schio. 

Almerico's father was a well-known archaeologist and had a beautiful Gothic house in Corso Palladio in Vicenza, Ca d'Oro. Almerico became famous for making the first airship in Italy, which had its first flight in Schio in 1905.

The Football Arena in Valletta 

The family was also involved in construction of a sports arena in a natural depression called Valletta near the St Francis church in 1852, which had stairs around it for people to sit and watch football matches. Different personalities of Schio of that period, including Alessandro Rossi, Giovanni da Schio and Clemente Fusinato contributed funds to make the area oval-shaped and to build the stairs. Unfortunately, part of those stairs collapsed and some persons were injured. Those stairs were later removed, but the place with the depression, denoting the area still exists and used for play. The old print of the sports arena below is from Schio Cultura. In it, you can see Schio's Duomo church in the background (click on the image for a bigger view)

Schio's poet, Arnaldo Fusinato was also there to watch a match and later, he wrote a poem about playing football, titled, "Un impressione autunnale", in which a ball hit him on the face and he lost of one of his teeth. 

The Family Arch near St. Mary Chapel

All this area was farm-land of the Da Schio family, and was known as "Brolo del signor Conte".

The road coming down from the Castel-hill and going towards St. Francis was separated from the farm by a wall on both sides, part of which can be seen in the old photograph on the signboard near the St Mary chapel from 1400s.

Near the chapel, there was the old water spring called Gaminella, water from which went into Gaminella canal today mostly hidden under Via Gaminella, except for a tiny bit close to the chapel. There was a time, when this canal ended in a lake in this area.

An arch built during 1700s still remains from the old wall. If you look carefully, you can see the coat of arms with twin-tailed mermaid and the words F.S. for the Da Schio family on the arch. The arch has two pyramid-shaped decorations resting on round stones on the sides. Some years ago, a professor noticed that there are Latin words written on the arch. These words are mostly family recommendations to the people, such as, "One who asks will receive and who knocks on the door, it will be opened", "Stealers remain always poor",and, "Don't take loan if you can't pay". The image below shows the arch.

Later, part of Da Schio family building in front of Duomo church was demolished to create Via Capitano Sella.  

Almerico and Meteorology

Almerico studied law but he was not interested in that subject. He had interest in mathematics, astronomy, science and photography. While studying law in Padua, he had been an assistant to well-known astronomer Prof. Virgilio Trettenero. In those years, this part of Italy was under Austria and Almerico took part in cavort liberation and resistance activities.

His first job was as the director of the meteorological centre of Olympic Academy of Vicenza, which had one observatory. He recognised that this new discipline needed better understanding and decided to care observation centres in all the province. Over a period of next 20 years, he would help in creating 200 observation centres to study temperatures, rains, storms, etc., including in neighbouring regions, including one of the first centres in Schio in 1873, located on his own land (Image below shows the family gate with the twin-tailed siren from the coat of arms and the area where the meteorological centre was located) .

Bringing together all the data he had collected, he contributed to the foundation of national centre of meteorology. Development of this discipline also contributed to development of more precise measuring instruments.

The study of weather patterns was very useful for agriculture, including their own farm production. He helped his brother, engaged in agriculture in Costozza to start a new activity, growing cave-mushrooms.

Almerico's Collaborators & Friends 

Different persons collaborated with him on this. In Schio, his administrator Matteo Manea and his wife Minimina, were tasked with daily checking and noting the temperatures at specific times - 9 AM, 3 PM & 9 PM.

Almerico also wanted to create a centre for observing storms, for this he found a collaborator in Giovanni dal Pozzo, who was a tailor but who had a passion for astronomy and sciences. He was also a musician, playing Viola and a poet in the local dialect of Schio, and had translated an opera, Oralando Furioso, in the dialect. He had a big family and his wife had died. He also started a tavern called Osteria Cantarana, to earn some more money, on Almerico's land in the area near Via Baratto. Almerico helped him to get good wines for this tavern. 

Giovanni and Almerico became friends. Almerico wrote a booklet about instruments used for meteorological observations and in this mentioned the work of Giovanni.

Another friend of Almerico was Don Francesco Faccin, a local priest born in 1871, who was interested in astronomy. Schio's astronomical observatory located on Monte Novegno is named after Don Faccin and there is a city street in his name. Almerico wrote to Queen Margherita, to ask for a telescope for Don Faccin and this request was accepted by the queen. 

Another collaborator of Almerico was Giacomo Moracchioli who lived in Via Fusinato, in front of the church dedicated to St. Bakhita. He was a historian and interested in astronomy. He was in charge of the meteorological centre of Schio. He had build an observation tower on his roof. Both Almerico and Giacomo were passionate about mountains, and were part of the group which had created the Alpine group of Schio, which later became part of CAI-Vicenza (Italian Alpine Club) and introduced the importance of scientific study of the mountains.

Schio's Aqueduct

One of Almerico's most important contributions to Schio was the construction of city's water supply though an aqueduct. The idea of bringing water from surrounding mountains started being discussed in 1870s, because the city had grown and industries had polluted the local water sources. A priest called Don Michele Saccardo started the campaign for the aqueduct.

The first study on how to make an aqueduct was paid by Alessandro Rossi. This project proposed bringing water from the area of Poleo in cast iron pipes, but was considered too costly. A second project with stone-tubes was proposed, which reduced the cost a little but it was still considered too much.

Then Don Saccardo spoke to Almerico, who came up with a third project, which was approved by the municipal authorities but they didn't have the funds to cover all its cost. Almerico asked the citizens to make donations for building the aqueduct. About 100 families were promised that water-pines will come to their homes, while there will be public taps in 14 locations of the city.

The fund-collection was successful and the aqueduct was inaugurated on 18 June 1872, with a fountain with a nymph and a 27 metres high water-jet in front of Duomo. (Image show a painting belonging to Angela Rossi showing the aqueduct inauguration)

In Conclusion

Almerico da Schio had played an important role in carrying forward the ideas of scientific knowledge in 19th-20th centuries in different fields, especially astronomy, meteorology and air-ships. Italy's queen Margherita had come to Schio on 1 July 1905 to see one of his flights.

This post, based on a walking tour organised by Cooperativa Trama in 2025, focuses on some aspects of Almerico's life.

You can also check my post from 2024, in which I had written about Almerico's airship and the old books in his family's library in Schio.

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The Forest Farm-House of Andrea Zenari

Andrea Zenari has a degree in forest development and for about ten years, he worked at international level and travelled to look at the forests in different parts of the world, especially Europe. In 2018 he decided that he had travelled more than enough and needed to settle down and grow his roots.

For settling down, he chose the edge of a forest near a tiny village-town called Caltrano with around 2,500 residents, where his family had some pasture lands. On this land, with the help of some of his wood sawing and cutting students, he has built a wood house.

Around his wood house, Andrea has set up a farm-house called Fattoria del Legno with a number of activities for teaching interested persons, especially children about nature and the role of farm houses.

Reaching Andrea's Farm-House

Caltrano is located on the road going up towards the high-plains of Asiago in the province of Vicenza. It is about 11 kms from Schio.

To reach Andrea's farm-house you can leave your car at the parking of the cemetery of Caltrano, and walk up on the road passing behind the cemetery and going up. It is a ten minutes walk up the hill. Along the way, you will pass different areas each dedicated to a specific activity, from Christmas pine trees to the sheep and hen raising areas.

Andrea has a Facebook page of his farm-house where you will find his phone number and email.

Our visit to Andrea's Farm House

With our Book Reading group, we went to visit him a couple of weeks ago.   Each of us brought something to eat or to drink and we had planned to visit him, talk to him about what it means to be living in a forest and to have an open-air dinner.

As we entered his home, we were welcomed by Andrea's friendly and curious cat, Pici-Pici.  

We started by sitting on benches around a big table, both built by Andrea, talking about his life. His grandfather had his farm-house here but after his death in 1966, no one was living here and the grassy pastureland was taken-over by the forest. This change, from pastures and farmhouses to forests, has occurred in many other places in the hills and mountains around Schio. In the nineties, his parents used to come here in their roulotte.

Since 2018, when Andrea decided to settle here, he has reclaimed some parts of that forest to create his farm-house.  It aims to be a forest-farm-house for teaching and learning. The first building was smaller, 30 sq.meters. Two years ago, it was enlarged around the first building and now it was a bigger kitchen, living room and a covered veranda.

He has a bathroom inside the house and an open-air wooden tub with a shower made from an old flower watering can, for the summer. We were wondering about the tap of this open-air shower, which is very high and needs a ladder to go up to open and close it. He said that he is working for a wooden extension rod, so that the tap can be turned on and off more easily.

Apart from tree trunks used for the wood, everything else in his house is made from recycled materials. He has solar panels for energy, which can be saved in batteries for using fridge, computer, etc.

Some of Andrea's Activities at Fattoria del Legno 

He runs different training courses. Young children come to see how a farm house works. Adults can learn the use of electrical saw and wood-work (short course of 8 hours and a long course of a couple of weeks, both recognised by the region). People can learn basics of being a carpenter, making tables, chairs, cupboards. 

We talked of his experience of raising a variety of heirloom sheep called Lussò. There are around 200 of these sheep in the world. This part of Italy has four varieties of the heirloom sheep and ensuring the survival of those old genetic pools is a challenge. Andrea told us about the difficulties of guarding these sheep from the attacks of wolves. Wolves had become extinct from these areas and have been reintroduced in the recent past. However, with increase in their numbers, there are difficulties in avoiding human-animal interactions and safeguarding the sheep.

Andrea has lost some of his sheep to the wolves in January this year, and now has just 3 female sheep left, two adults and a baby (Lussò dwarf-sheep, originally from Groix island in Brittany). He is hoping to get a new male sheep. The Italian law says that only the males with high genetic values can be used for reproduction of the heirloom sheep.

In the winters, Andrea rents pine trees for Christmas - after Christmas, you can give it back to him. When the trees grow up, they are planted. He also keeps bees and grows vegetables.

Another recent initiative of Andrea, in collaboration with a bio-architect Maurizio Signorini, is that of creating a natural open-air church / meeting hall called Vegetalis. 1,150 trees and creepers were planted all along its walls in February 2021. Birch trees play a central role in this building. As they grow up, they will create the building, which can be used for meetings as well for silence, reflection and meditation.

In the End

Our book-reading group called Lettori in Circolo, is very active. Some months ago, we had visited an expert in old books and the art of book-printing (I still need to write about that).

This was our second outing this year and I really enjoyed meeting Andrea and visiting his forest farm-house.

I felt that apart from thinking about nature, farming and how the human experiences keep on changing with new technologies, an important part of this visit was the discussions on the re-introduction of wolves in these forests and the challenges that creates for human habitats.

It is wonderful to be part of such a group of people, with whom I share the love of books. At the same time, it gives us opportunities to visit new stimulating places, which force us to share, think and discuss.

Thanks to Andrea Zenari for being such a wonderful host and for sharing his life and Fattoria del Legno with us. 

***** 

Some Beautiful Minerals from GM Museum of Schio

I like beautifully coloured minerals and I like to learn about ancient beliefs about the power of different minerals. For example, in India, based on people's astrological birth-charts, they are advised to wear certain mineral-stones to build up their positive energies and to counteract the negative influences. 

However, minerals have also played a fundamental role in the human history. In my first post about the  Geo-Mineralogic Museum (GMM) of Schio, their president Alessandro Sella had talked about the mineralogical history of Schio and surroundings starting from the Copper age mines.

This post is about some specific minerals from Schio and its surrounding areas. It also has information about 6 of my favourite exhibits from the GM museum.

Alessandro Sella about local minerals of Schio in the Museum 

I asked Alessandro Sella, president of the to tell me about the exhibits of the local areas around Schio. 

Alessandro: We have samples of the oldest Quartzite rocks present in this area, which are metamorphic rocks (1) primarily composed of quartz. These have more than 300 million years. These can be found in Pasubio valley, Torre Belvicino, Recoaro Terme, etc. They are important because these are the base for all the successive sedimentation leading to our mountains.

Then we have Yohansenite, a mineral found in Monte Civillina in our territory, which is recognised widely. For example, I found references to it in a book in Ottawa.

Around 15 years ago, some of our members, while on an excursion in Monte Trisa in Valle dei Mercanti, came across an old mine-complex, where the rare mineral Laurelite, as well as corkite and lanarkite were found.

We also have the quarries of Pearl-grey Marble in Val Posina along th Astico river, as well as in Ronchetta (in the Pasubio valley). These abandoned quarries were active around mid-18th century, and this marble was used also for the altar of the church in Valle del Pasubio.

Then there is the Sandstone of Val Gardena, which is a sedimentary rock that comes to the surface in the Pasubio valley and Torre Belvicino, cut into round-shaped stone disks with lathe machines, which were used for sharpening knives and scissors, as this sandstone is formed by sand which is rich in quartz, which is one of the toughest stones (7th on the Morse scale). The image below shows quarzite and sandstone specimens in the GM museum. (You can click on all the images for a bigger view) 

We also have the Agate stone (a kind of Chalcedony) found in the Timonchiello torrent which joins Timonchio, and comes down from San Rocco under the Tretto area of Schio. Agate is also a quartz, it is very beautiful stone even if the ones in Schio are not as colourful like the ones found in Brazil.

 

Among the precious stones, not so much in economic terms but in scientific terms, we have Pink Quartz from Campo Grosso. Then we have brucite (magnesium hydroxide) and magnetite (ferrous oxide), both from the pearl-grey marble quarries. We also have zircon (zirconium silicate) found in the caves of Novale. 

Among the minerals from other parts of the world, we have some big and imposing looking Amethyst from Brazil, which is a quartz stone in a shade of violet colour. 

My Personal favourite 6 minerals from GMM

To conclude this presentation of GM Museum of Schio, let me talk about 6 of my personal favourites.

Malachite: In the museum, there are two rocks with Malachite from Namibia with beautiful velvety looking green deposits over white crystals. It is composed of copper carbonate hydroxide. The name comes from Greek and literally means Mallow-green because it has the colour of Mallow leaves. Since ancient times, Malachite was used to produce copper as well as, used as a semi-precious stone. It was also used as a green pigment in paints. 

Xonotlite: The specimen in the museum is from Spagnago, south of Valdagno, not far from Schio. It is an ino-silicate mineral with prismatic or needle like crystals. Xonotlite is a luminescent mineral, producing grey-white florescence in short UV light. I like its creamy and chalky white flower-like appearance. 

Blue Smithsonite: The beautiful turquoise blue rock in the museum is from Sardinia. The zinc containing smithsonite mineral comes in different colours. It was discovered in 1802 by James Smithson, the person who donated money for the creation of the famous Smithsonian museum in the USA. People who believe in powers of crystals, say that it helps to calm the mind and they recommend it for anxiety, depression, low energy and even, shyness.

Iron Pyrite: It is also called Fool’s gold. Schio’s GM museum has different samples of this minerals, which were found when the tunnel connecting Schio and Valdagno was built in the 1990s. It is an iron sulfide mineral, with a metallic brass-yellow hue. Striking against pyrite can produce a spark and in 16-17th centuries, it was used in firearms.

I especially like the sample of reticulate pyrite found near Schio, it looks like a shining lace overlaid on a black rock (in the bottom-right part of the image below - click on the image for a bigger view).

Rhodochrosite: This red coloured manganese carbonate mineral sample in the museum is from Peru. Its name comes from Greek, Rhodo means Red, and Chrosite means coloured. For people who believe in the power of crystals, this stone is good for getting love and compassion and it is supposed to help you get over heart-break.

 Crocoite: The beautiful saffron-red prismatic needle like crystals of Crocoite are from Tasmania in Australia. It is a lead-chromate mineral. Its name comes from the Greek “crokos” which means saffron. It is too delicate for jewellery, while people believing in the power of crystals use it for energy, vitality and detoxification.

 

In Conclusion

If you want to visit the GM Museum in Schio, it is located in the old Cella Barracks on Via Pasubio, not far from the city centre. The museum is open on saturday afternoons from 3 to 7 PM and entrance to the museum is free.

When I had asked Alessandro about the name of Monti d'Oro (Gold mountains) near Schio, he had told me that it was only a legend and gold had never been found in this part of Italy. However, this area is rich in iron pyrite, which is also called Fool's Gold. Looking at the samples found in the Schio-Valdagno tunnel, they do look shiny like gold. Thus, I was thinking that may be the toponym Monti d'Oro had come from pyrite rocks. What do you think?

I also think that apart from the scientific and practical curiosity about rocks and minerals, since ancient times, human beings also associate specific, or even magical, powers with some minerals, and create stories, legends and myths about them. I think that a guided tour of the GM museum, which touches on those myths and legends about the minerals in GM museum would be very interesting.

If you visit this museum, do share your experiences in the comments below. You may also like to check my earlier post about this museum where I had spoken to Alessandro Sella, president of the GM Museum.

***** 

Notes 1. Metamorphic rocks are formed when existing rocks are altered by heat, pressure, or chemical reactions deep within the Earth which changes the rock's mineralogy, texture, and chemical composition.

Geo-Mineralogical Museum of Schio

Schio, in north-east of Italy, has a wonderful little museum about local geology and minerals of the surrounding areas. It is hosted in the stable buildings of the old Cella military barracks, not far from the city centre. The Geo-Mineralogical (GM) Museum has free entrance and is open on Saturday afternoons, when the volunteers of the local Geo-Mineralogical Association (GMA) can guide you its collections.

Recently, I had an opportunity to visit the museum and to talk to Alessandro Sella, the president of Schio’s GMA. (The image below shows the museum entrance - you can click on all the images for a bigger view)

This first part of my blogpost is about my talk with Alessandro. A second part of this post will focus on some of the exhibits from the museum. Finally, there should be a third part, focusing on the contributions of Pietro Maraschin, a 18th century geologist from Schio.

Let me start this post with a brief history of the building which hosts the museum.

Cella Military Barracks: Brief History

These barracks were built in the second half of nineteenth century and functioned till the end of second world war. In September 1943, when Italy asked for armistice, it was hosting the 57th Infantry Regiment. It was attacked and occupied by the German soldiers, who used it for their troops as well as a prison for the partisans.

In 1945, when Germany lost the war, on 29th April, the German troops stationed in Alto Vicentino gathered in its courtyard and left for Austria through the Fugazze pass on the Pasubio mountains.

The old barracks were bought by the municipality of Schio and the old stables were renovated. These now hold the Geo-Mineralogical museum as well as the offices of Association IV November, involved in historical research, especially about the first world war.

Pietro Maraschin Exhibition

Though I knew that there was this GM museum in Schio, I had never been to it.

I learned about it in an exhibition on Pietro Maraschin organised by the museum in collaboration with local schools. He was an amateur geologist known for his mineralogical studies in Schio. That exhibition was an opportunity to know more about some of the local toponyms and their links with geology and history. It was also an opportunity to see some of the exhibits from the GM museum.

The image below shows the inauguration of this exhibition (click for a bigger view). Thus, I decided to visit the museum and asked Alessandro for an interview.

 Talking to Alessandro Sella, President of  the GM Museum

 Q: Alessandro, how did you develop an interest in geology and mineralogy? 
 

Alessandro: I was always passionate about natural sciences, I loved studying them at high school and university levels. I never lost that passion and thus even if I work in another area (as a product quality manager), I continue to be active in this area in my free time. I deeply love Schio and its surroundings, I was born here. (Alessandro Sella, left)

Ever since I was a child, I was very curious about places like the Pasubio Valley and the little Dolomite mountains. I wanted to know why a rock was dark and another was white, how were they formed, why do certain plants grow only in one area and not in another, why some animals live here and not others, and so on. About ten years ago, I became associated with the GM museum and I am its president for the last 6-7 years. My aim is that our little museum should remain alive and active. It is a private museum, maintained by the work of all the volunteers of our association called MUSA and the GM group of Schio. I feel that this museum is important because it narrates the natural and geological history of this area.

This area known as Recoarese (area around Schio which covers Recoaro, Pasubio & Leogra Valley, Astico valley up to Posina and Laghi), is important because it is the southern most part of the Alps which have an outcropping of crystalline basement, which is a metamorphic formation, more than 300 million years old, on which different geological layers are located. Our museum exhibits showcase this big local geological and mineralogical diversity. At the same time, we have a lot of geological and mineralogical samples from other parts of the world, all the continents are represented here.

Q: Ancient humans have a long history mineralogical knowledge and discoveries. How was the situation in this part of the world?

Alessandro: In the Leogra valley, the area known as Valle dei Mercanti (Merchants’ valley), has traces of human occupation from the copper-age. They were using this metal because the rocks in that area have copper.

More recently, during the reign of the Venice republic (Serenissima) this area was known as a metal-district for the extraction of zinc, lead, copper, iron and even silver. For example in the Tretto area of Schio, around the area of the St. Patrick’s well (Pozzo di San Patrizio), there used to be extraction of silver, used for minting money. As the stores of silver were exhausted, the mines were abandoned.

From 1000 CE till medieval periods, groups of persons from Tyrol and lower-Bavaria regions, were invited by the local Bishops, to come and settle in the Leogra valley, as they had the necessary skills for fine wood work as well as for mining. These Germanic groups were called Cimbrians (Cimbri), literally, ‘good carpenters’. Many locations and family names of this area carry the traces of this immigration even today.

Then around the end of 18th century till the end of the second world, there was a new phase of mineral extraction in this area.

Finally, an important extraction was of Caolino, a special clay formed from alteration of volcanic rocks formed from ancient volcanic eruptions, in this area, which was used for a different kind of industrial development. It was linked with production of porcelain, ceramics and paper-industry, which were active till early 1980s.

Q: Tell us about the origins of this museum.

Alessandro: Schio’s mineralogical group was formed in 1973 by persons like Prof. Luciano de Zen, Girolamo Zamperetti, and many other friends. They were all passionate about geology and mineralogy. The group changed different locations along the years and started putting together some exhibit boxes to showcase their first collections of the materials made during their walks and excursions in the area. In the year 2000, the group was given some space in the basement of the old primary school building in Magre, where the first exposition-room was started.

The present location in the old Cella barracks was inaugurated in 2013, and it is no longer just an exposition room, it is a proper museum.

Q: Earlier you spoke about the valley of merchants in Pieve. It also has Monti d’oro (Gold mountains). Did they really find gold there? 

Alessandro: That is just a legend. It was an important area for different metals, as I have explained, starting with copper and iron. There are stories about finding gold there, but they are just stories. In more recent times, there was an article about finding a rock containing an iron-mineral, where they have found traces of gold, but it did not have any gold deposits.

Q: The area around Arsiero called Laghi is called Val di Ferro (Iron valley), did they have iron in that area?

Alessandro: If you go towards Valdastico, there is a place called Fusine, on the banks of the Astico river, where they did have smelting of iron (from the verb ‘fucinare’) found in that area, and used the water-energy of Astico river for this purpose. We have also found signs of Ematite (iron mineral) extracted in Valle dei Mercanti, which was taken to Fusine for smelting of iron.

Q: Tell me about the different collections in this museum.

Alessandro: The mineralogical collectors can collect materials from different parts of the world or they may limit themselves to some specific geographical areas, such as our collection of the minerals of Alto Vicentino. Some collectors focus on some specific kinds of minerals, for example, there are persons who collect only Agate stone, known for its colour bands. Personally I am interested in the geological aspects and minerals of our own geographical area.

Among the collections of our museum is that of Alessandro de Grandis, one of the founders of this museum, that is given on loan to us by his son Ugo.

There have been many donations as well, including one from Mrs. dalla Fina, who was a traveller, geologist and speleologist with geological and mineralogical samples from different parts of the world. She left all her writings and materials to the museum in her testament.

These persons leave their collections not just to us in the association and to the museum, but to all the population.

Q: Tell me something about the different aspects of the minerals which are studied.

Alessandro: Each mineral has a geometrical aspect, which is about how that mineral is built. Another is the aspect about its chemical composition.

When I talk to children about it, I explain that we can look at the ingredients of a mineral and then, we also need to look at the dress or the form those ingredients take which determines what kind of mineral it is going to create.

Knowing both, the form and the composition, of these is fundamental for classifying the different minerals. Every mineral must have a name, a family name and the location where it is found, for its scientific and naturalistic value, which can be very different from its economic value.

Q: If you are shown a piece of rock, looking at its colours and form, can you tell its composition?

Alessandro: Generally speaking yes, eventually with the help of some of our members. We have these stereo-microscopes here for looking at the rocks under the microscope. We also have different volumes of books about geology and mineralogy. With the help of these, we can identify them by looking at their crystals, their colours, hardness, etc. and classify them.

Bigger laboratories can do spectre-photometric tests to analyse the spectrum of different minerals in a sample.

Q: We can now create molecules of different chemicals, such as those used as medicines, in the laboratory. Can we do similar creation of natural elements? For example, can we create iron in the laboratory?

Alessandro: It is a difficult question. I am not conversant with some of the new technologies like Nanotech, but I don’t think that we can create elements. For example, thinking of all the ‘rare earths’ elements used for technology such as microchips, whose mining is much in the news and is associated with difficult international situations, because we can’t just create them. For the time, we need to focus on recycling and reuse.

Conclusions

Thanks to Alessandro for sharing his knowledge and being patient in answering my questions.

The second part of this post will look at some of the interesting exhibits from Schio's GM Museum.

*****  

Writing About Heartbreak

Chinese-American author Yiyun Li has written a new book, "Things in Nature Merely Grow", about the suicide of her younger son, James. This post is about this book.

 

Yiyun Li

About twenty years ago I had encountered Yiyun Li, through her first book, "A Thusand Years of Prayers". That book had immediately captured me. It has her stories about Chinese lives, both in China, as well as in the diaspora, especially in the USA.

Yiyun Li had arrived in the USA as a science student in 1996. While doing a PhD in immunology, she decided that she was actually interested in writing. In 2005, she completed a masters in fine arts and in that same year, her first book, "A Thousand Years of Prayers" came out.

When I had read her first book, it was the time when I used to dream of giving up my job and to dedicate the remaining years of my life to writing. When I had read about her, I was really envious. She had chosen the path that she really wanted. She also had a talent for entering people's minds and to make them come alive through her words, and, her writing voice was distinctive, different from other American and European writers.

I think that many years ago, I had already written about her in one my blogs. Over the past twenty years, I have read some of her other books.

Things in Nature Merely Grow

However, it is her latest book, "Things in Nature Merely Grow", which has prompted this post. In this book, she writes about the deaths of her two sons, both by suicide.

This is how she tells about it in the first chapter of her book: "There is no good way to state these facts, which must be acknowledged before I go on with this book. My husband and I had two children and lost them both: Vincent in 2017, at sixteen, James in 2024, at nineteen. Both chose suicide, and both died not far from home; James near Princeton Station, Vincent near Princeton Junction." 

For her first son, she had already written a fiction-memoir, "Where Reasons End". It is composed of 16 chapters, one for each year of his life, and is about the dialogue between a mother and her dead son.

Her latest book, "Things in Nature Merely Grow", is both heart-breaking and exquisitely written. In an interview for The Guardian about this book, it says, "For months after his death, Li worried that she lacked the vocabulary to write about James, but then she began writing and realised “of course I could do this, this is what I do”. Things in Nature Merely Grow, her memoir of losing her sons, is resolutely unsentimental, and yet it might wind you with its emotional force. She wrote it in less than two months. Often people ask her if writing the book was cathartic. “No, never!” she replies. If it offered solace, “it was the solace of thinking”. “When I was writing the book it felt like I was at the centre of a hurricane. The eye of the hurricane is the stillest place. It’s very quiet and clear,” she says. And then she finished writing, and she stepped back into the hurricane. “My life goes on as a very strange woman,” she tells me, strange because her losses are so extreme: “Going out, people will always look at me and say, ‘Poor woman’." 

I can vouch for the emotional force of her writing, for I cried many times while reading it. In the interview, she says, “My children were not my burden. My sadness is not my burden.”

I wonder what kind of mental detachment would be needed to continue to be a writer, and to talk about it in interviews, so soon after a tragedy? As a parent, to be able to do it, perhaps it would need a kind of dissociation, a kind of schizophrenia, to be able to go on?

For example, in the following paragraph, she writes about personal objects of her sons - "Objects don’t die. Their journeys in this physical world, up to a certain point, are parallel to the trajectories of the humans to whom the objects belong. Then comes the moment when the separation happens. Vincent’s phone became a phone, James’s backpack, a backpack. They became objective objects, left behind in strangers’ hands."

To Conclude

Let me conclude this post with another paragraph from her book: "Learning a new alphabet—for weeks and months I’ve held on to that notion. James was a different child than Vincent, and James’s death left us in a different place than Vincent’s death. And yet a new alphabet can only be symbolic, as I have but this old language to work with. Words tend to take on a flabbiness or a staleness after a catastrophe, but if one has to live with the extremity of losing two children, an imperfect and ineffective language is but a minor misfortune.

There is no good way to say this: words fall short." 

While I read her book, I feel as if her writing is like a pencil-sharpner, which she runs around herself, cuts her own surface and core, and then wields herself like a knife to carve the words covered with blood.  

***

The 100 Sarees of Ms Roy

You never know where an online research will take you. Recently, an online search took me to a website where Indian women talk about their sarees and their memories linked to them. I spent a few hours reading about different kinds of saree-textiles, their designs and traditional weavings.

At the end, I have a new understanding about the kind of relationship persons can have with textiles, about which I had not thought earlier. It also brought back some memories from my childhood about my mother's sarees.

Let me start this by telling you about how I landed on that website.

Starting from Sonali Sen Roy

I was looking for information about the childhood of Sonali Sen Roy, who had become famous during the 1950s for her story with the Italian film director Roberto Rossellini.

Sonali was born in Banaras in the British India, her father was a doctor in the United Province and her mother was the elder sister of well-known Indian film maker from the 1950s, Bimal Roy.

The search took me first to Sonali's elder sister, then to her daughters and then to one of her grand-daughters, Ms. Bhattacharya Roy. Some years ago, Ms Roy had taken part in an online challenge of presenting 100 different saris, where she had talked about some of her family stories.

100 Sarees Pact Website

 The 100 Saree Pact website collects the stories of sarees, it describes its mission as, "This blog is an invitation to join and share the magic. Celebrate life, celebrate relationships, celebrate your past, your heritage, your memories, your moments, your connections through saree wearing. Enjoy the stories shared already, be enthralled ! Bring your sarees and their stories out into the world. Let them spread the happiness and positivity that we have all been surrounded with."

100 Sarees of Ms Roy

Ms Roy presented her 100 sarees on this blog during 2015. Her sarees come from different sources - the ones she bought, the one brought as gifts by her husband, the family heirlooms, the ones on loans from aunts and cousins ... Each saree is accompanied by a brief or a long description including some of her family memories.

For example, in one post, she talked about her maternal grand-mother, Sonali's elder sister: "This sari belonged to my Dimma (mother’s mother). She usually wore whites, greys, beige or very light colours. This is one of the few coloured saris I saw her wear, mostly when she went abroad. I lost her when I was still in college and hence a very occasional sari wearer but I did get two of her saris. This sari is special for another reason too. I wore it one of the first times I went out with my (then to-be) husband ..." 

In another post, she talked about the saree worn by her mother for her wedding: "The magenta Benarasi was bought from Indian Silk House. The zari work is exquisite, with three different kinds of butis all over and an intricate border and pallu. Even after almost 40 years, the zari hasn’t lost its sheen. Ma wore it only a couple of times after her wedding though ..."

There was one post, which might have been about Sonali, though she did not specify it: "She was for me a strand of red corals that my mother has always treasured and which I have worn on a couple of occasions. She was for me a letter she wrote to my mother when she lost my father and another she wrote at the time of my wedding, with an alpana-like doodle at the end. She was for me a frantic hunt for a fresco on a hot and humid afternoon in Santiniketan. I never saw her. For me, she lived in the many black and white photographs, and a few more recent ones in colour, from the family album and the many stories I heard about her from Ma and her siblings ..." 

Sarees as Repositories of Weaver-Traditions, Cultures, Memories

I don't have any emotional bond with any of my clothes - I buy most of them in the supermarkets, and when I am tired of them, give away some of them and throw out the others. There is no emotional relationship between me and the clothes. I guess that this would be true for most of us today.

On the other hand, reading about Ms Roy's posts about her sarees, gave me a glimpse of the different weaving traditions, the traditional motifs they use, the festive occasions on which special sarees are worn, the memories associated with them and how some sarees become family heirlooms. Even when they are old and worn out, their borders and embroidered parts may be kept and used for other sarees.

It is a completely different relationship with our clothes, something that we lose when we shift to today's factory made products and the consumer culture.

My Childhood Memories

In our old Delhi house, where we lived in one part and my maternal grand-parents in the other part, every year before the wedding season, a couple of men arrived from Banaras carrying on their heads, silk sarees wrapped in white cotton blankets. I think that they were middlemen and sellers, they did not weave themselves.

I remember standing there with other children, as they showed bright coloured silk-sarees with shimmering and richly embroidered zari borders and Pallus (the end of saree hanging over the shoulders).

Every year some of my aunts or uncles or cousins from the extended family was getting married and thus, the family-women needed new sarees. I remember some of sarees bought by my mother. When they became old, sometimes they were exchanged for pots and pans from another group of women visitors.

In The End

Going through some of Ms. Roy's posts and reading about her stories about specific sarees was a rewarding experience, it made me think of some of my old memories. It also brought out the importance of different textile museums and persons who are trying to conserve the priceless weaving traditions of communities such as sarees, kimonos and other traditional dresses.

Even in Italy, till some decades ago, families had traditions such as knitting, cross-stitching, embroidery and lace-making for their daughters' weddings. We still use some of the heirlooms from my mother-in-law's family at our home.

However, all those things are from the past, and often today's generation is dismissive about them, they would rather buy something new from the supermarket, as I do!

***

Aurangzeb's Tomb

As I read about the Aurangzeb controversy in India, I was reminded of my trip to his tomb in January 2020, just before the Covid pandemic.

I am no fan of Aurangzeb, I think that he was a bigot and perhaps even a psychopath. However, in this post, I want to write about my visit to his tomb and to explain why I think that the idea of destroying or desecrating his tomb is wrong.

At the end, I also want to talk a little bit about India's syncretic Ganga-Jamuni culture in relation to the Aurangzeb controversy.

Visit to Aurangzeb's Grave

I was in Aurangabad and had gone to visit the Ajanta caves. Living abroad, I always feel that I am losing touch with the India of ordinary people, thus, whenever possible, instead of taking cars, I try to travel by the public transport buses.

Coming back from Ajanta, I was sitting in front in the MSRT bus and talking to the driver, when he told me that the bus will pass through Khuldabad, where Aurangzeb was buried in 1707 CE. I told the bus driver to drop me there.

Khuldabad is a little town in the Aurangabad district, a little bigger than a village. The bus dropped me in a crowded market street and when I asked about the Aurangzeb tomb, people pointed to a simple looking mosque in a side street.

I was a little surprised that the Mughal emperor had his tomb in such an insignificant mosque in such an insignificant place.

Inside the mosque, his grave was immediately after the entrance, to the left side. The grave was surrounded by a marble-lattice (sangmarmar ki jaali) enclosure. There was no makbara or a monument, and his grave was just an open strip of ground, exposed to the rain and wind. A tree was planted in it but it seemed to be having difficulties growing.

The board near the grave said that Aurangzeb had died in Ahmadnagar, but was brought here, 130 kms away, because he wanted to be buried near the tomb of the 14th century sufi saint Zainuddin Shirazi. According to his wishes, no monument was built around his grave.

The marble enclosure and floor were made two centuries later by Lord Curzon and the Nizam of Hyderabad.

The Mosque and Dargah of Zainuddin Dawood Husain Shirazi

The structure has different buildings, including the dargah of the sufi saint Zainuddin Shirazi, with his grave covered with a red chadar.

Near the sufi tomb there was a board with a list of 15-18 names starting from Prophet Mohammed  and leading to the name of Zainuddin Shirazi.

The caretaker had explained about that board and how the sufi saint of Irani origins was linked to the Prophet, but I don't remember it. At that time I had thought that I will write about it in my blog but then Covid arrived and I forgot all about it.

Near the saint's tomb, there was also a special niche made in the wall holding some relic or important Islamic symbol from Mecca.

The caretaker had also explained why that relic or symbol was considered holy, but I do not remember it now. Saint's tomb was located a proper makbara.

The mosque was located on the other side, in front of the saint's makbara (image below).

In the courtyard behind the makbara on one side, there were other religious structures, which looked like shrines of some kind. I have forgotten the details about them. You can see them in the image below.

It was a very simple and peaceful place and I could feel its sacredness and spirituality. It was wonderful to sit there and soak in its atmosphere.

How to do Namaz

As a child I grew up in front of a Muslim graveyard and not very far from the big Idgah of old Delhi. I have been to mosques in different countries around the world and I have watched persons doing the prayers (Namaz), but I was not aware of the whole process of how to do Namaz, and its different positions.

Outside this mosque in Khuldabad, I found a board (left) explaining the different positions assumed during namaz, with text in both Urdu and Hindi. I was fascinated by it.

You can see that board in the picture. It makes me think of a set of stretching exercises, somewhat similar to yoga, which means that apart from the religious significance of doing namaz, it might also be good for the body as an exercise. (You can click on the image for a bigger view)

Talks of Destroying Aurangzeb's Tomb

While not being an admirer of Aurangzeb, I do not agree with the idea of destroying or desecrating his tomb, for 2 main reasons:

(1) I think that Aurangzeb paid for his brutality and sins in his own life. He was 89 years old when he died and had been the Mughal emperor for almost fifty years. The last 25 years of his life were spent in the Deccan region of India, fighting different adversaries, especially the Marathas. Imagine spending all your old age, away from your home, fighting different wars, and dying far away from your family and children.

I think that killing other human beings extracts a price from us, it leaves a scar on our soul. The number of soldiers coming back from a war and suffering from PTSD, is one example of this negative impact of violence on ourselves. Imagine killing your brothers and sisters, and imprisoning your father - persons who had loved you and perhaps played with you when you were young. Could he just kill them all ruthlessly without paying a price for it psychologically? What lessons did his own children learn from their father? After being brutal to his father and siblings, did he become afraid of his own wives and children, that they could also kill him?

He sowed the seeds of hate and violence, he reaped the crops of those seeds. Look at his family history - after his death, his son Azam Shah became emperor for only 3 months. Then he, his brother and their children were all killed by another brother, who became the new emperor Bahadur Shah, but he lasted only for 5 years. He was succeeded by his son, who lasted one year and was killed. And their stories of killings go on.

Apart from the killings and destruction of families, Aurangzeb's reign started the decline of the Mughal dynasty and empire, from which they never recovered. Thus, I feel that Aurangzeb paid for his karma in his own life and through his descendents.

(2) I also believe that we can't think of destroying or desecrating sacred places of any religion, also because we have to remain true to ourselves and our beliefs. Personally, I believe in the message of Upanishads, Aham Brahmo Asti, that there is god in each one of us, without any exceptions. 

Aurangzeb's grave is open to the sky. After more than 300 years, I am not sure if you will find his bones. And even if you can find them and dig them out, what will you do to them? Is that going to vindicate you and give you any peace of mind?

Aurangzeb killed many persons, destroyed many temples and religious places, but then I hope that his soul made peace with what he had done and he could forgive himself. I certainly don't think that his actions gave him any happiness. He left behind an inheritance of hate and bloodshed. What would anyone else get today by destroying his grave?

On the other hand, his grave remains as a warning, a place for us to not forget him and to think about his life, about his inheritance and his impact. Hate and violence do not lead to happiness and prosperity, they can only lead to more hate and violence.

India's Syncretic Traditions of Ganga-Jamuni Culture

I grew up surrounded by ideas of living together and loving of different religions and cultures. During my extensive travels in India, I feel that among the ordinary people, those basic ideas of mutual love and respect are still alive today.

The caretaker of Aurangzeb's grave was very generous and kind in taking me around, showing me different parts of the shrines and explaining. I remember sitting with him in the courtyard, talking to him about the changing world and the future of our children and grandchildren, as old men tend to do everywhere. For me, that is the essence of Ganga-Jamuni culture - recognising, respecting and loving our essential humanity.

I feel that today this Ganga-Jamuni culture is under attack not only by the religious hardliners and bigots of the different religions, but also by persons of our civil society when they start differentiating between bigotries - they can only criticise some, and about the others, they prefer to keep quiet, or worse, try to justify, minimise or white-wash them.

 

***** 

If you have read this far, perhaps you would also like to read my ideas about blasphemy (it is in my Hindi blog).

In the picture-credits above, the name of the place has been shown as Khulnabad instead Khuldabad - I regret that. All the pictures are by me.

*****