St. Francis Church in Schio

St. Francis church is one of the older churches of the city. If you are visiting Schio, it is worth visiting it for its history and for the art-works. It is easy to visit, since it near the city centre. The only problem is that it is open for public only on the afternoon of the first Sunday of the month. In the image below, the bell-tower of the church can be seen on the left. (click on images for a bigger view). 

 An asymmetrical building surrounded by green hills, this church from 1424 CE is famous for a beautiful altar piece dedicated to St Catherine, painted by Francesco Verla. However, there is many other things to see in it.

This post is about the history and things to see in St Francis church. Let me start with a little bit of history. 

Historical Overview of St Francis Church 

St Francis church is located at the edge of a hilly forest area of Schio, known as Valletta. The hillocks around the church were originally known as "Monte degli Oliveti" (the Olive trees' Hill), because this area used to have many olive trees.

This area was known for its "lazzaretto", a place for housing the sick and homeless poor. The word "lazzaretto" is related to leprosy and perhaps in the past there were some leprosy affected persons there. However, over the years, such places were often used for keeping sick persons including those with plague and other illnesses such as tuberculosis and mental illness. 

Itinerant Franciscan friars arriving in Schio had built a chapel dedicated to Madonna on the Monte degli Oliveti in 1424. The sandstone statue of Madonna, installed in that first chapel can still be seen inside the church. Twenty years later, in 1446, the Bishop of Vicenza consecrated that chapel, and the event was marked by a plaque, which can still be seen on the wall near the entrance.

The church expanded quickly. By the end of 1400s, a Franciscan monastery was already active next to the church. The church-building had also been expanded and had a central and a lateral naves. Since, the other side of the central nave was already occupied by the monastery, and space on the hillock was limited, the church ended up as an asymmetrical building. A hundred years after the first chapel, by 1520 CE, the church as it looks today, was ready.

Important Artworks in St Francis

St Francis church has many things to see, among which the most important are: 

A Corberelli Altar with Inlaid Stones: The first Chapel in the lateral nave has a beautiful altar (left) made by the master stone artists of the Corberelli family from 17th century. The Corberelli (o Corbarelli) were from Tuscany and were specialised in making inlaid stone artworks.

The altar has an announcing angel on the left and a slightly ruined mosaic of Madonna on the right. The central part has 2 corberelli birds, identified by the pink spot on their breasts, as the legend says that the bird had hurt itself while trying to remove a spine from crucified Jesus' head. The inlaid stone work is very beautiful, made of stones in vivid colours, it looks like a painting.

There is another Corberelli altar in Schio in the San Giacomo church near Duomo, and another, better known one, in Santa Corona church in Vicenza.  

Altar Painting by Francesco Verla: This luminous painting about the spiritual wedding of St Catherine from 1512 CE is in chapel 3 of the lateral nave (right). It is the most famous art-work of this church.

Giorgio Vasari, the renaissance period art-historian, who wrote Le Vite in 1550 about the biographies of well-known artists of his time, called him as Francesco Veruzio, who was from nearby town of Villa Verla ("verla" literally means 'cherries'). His painting style was influenced by Pinturicchio and, especially, Perugino, with whom he had spent some time.

The Pala (artwork for the altar) is composed of a semi-circular top part, a narrow top panel and the main painting, a bottom narrow panel, and a frame. The figures, the composition, the use of light, and especially the figure of God as a man with long beard in the top part of the painting, reminds us of some of the famous works of Pietro Perugino. The "Putti", the baby angels in the top narrow panel are seen as typical figures painted by Verla - they seem like the many baby angels painted by Donatello. The bottom panel, showing the life of St Catherine, seems to show a hill with the castle of Schio, which was demolished a hundred years earlier. (The bottom panel of the altar piece, below - Schio's castle is a little to the left of the centre - click on the image for a bigger view)

The cult of St Catherine has older roots in this area, as shown by the St Catherine church and village on the Summano mountain, that looms over Schio. 

The painting was commissioned by one Mr Giovanni who was married to a woman named Lucia - both of them are represented in the painting as St Lucy on the left and St John Baptist on the right. Behind them are St. Agatha and St Joseph. There is a baby holding on to the leg of St Joseph, whose reference to this painting is not clear. The central figures are Madonna, baby Jesus and St Catherine covered with a rich golden and red brocade.

Verla had also done the frescoes decorating the top parts of the church walls, so do not forget to look up while visiting the church.  

Madonna statue: Chapel 4 in the lateral nave hosts the original Madonna statue from early 15th century - it is made with sandstone from Vicenza. The name of its sculptor has been lost. It has a renaissance like look and is beautiful. Later on it was painted in bright colours, which make it look like a wooden statue.  

Recently, a space was discovered in front of this statue, which held a curtain, which could be opened and closed with a lever. The curtain has a painting with a lever for pulling up a curtain, which was used for covering the statue during some rites and then removing it to show the Madonna. The painted curtain will be kept in the forthcoming Schio museum, which is supposed to open this year (2026).

A Francesco Maffei (1605-1660) Painting Above the Main Altar: This painting is from 1640s and has Madonna with the baby, along with St Francis, St Anthony of Padua,
Bernardino of Sienna and Ludvic of Tolosa. It is more gothic, Madonna seems as a two dimensional figure and not so expressive. 

The hidden Chapel: There is another Chapel (right) with an old San Bernanardino altar, which is now hidden after cloister 2 in a side wall. It was shifted in the past during some restructuring. On the wall near the old altar, there are a couple of coat-of-arms from notable Schio families, including that from the Toaldi family (it has a tree and a dog).

Tombs Inside St Francis 

Since early times, rich persons could ask to be buried inside the church by paying money. Having a tomb inside the church increased families' social status. During the Napoleonic period, many tombs were removed but even today, the cost-of-arms of some important local families can still be seen inside, especially in front of the altars.

For example, in front of the main altar, you can see the De Schio family-tomb with their symbol (left), a two tailed siren; the Marostica family tomb has a cherry tree on it, while Fantinelli family tomb has a baby.

There is a lot of pink sandstone used for the tombs - these rocks were at the bottom of the sea and which rose up when the African tectonic plaque hit Europe, creating Alps and pre-alps.

The Beautiful Chorus Room 

The ligneo (wooden) chorus room is behind the main altar. It is also from early 1500. It was carved wood seats on two levels for the monks. In the centre, it has a big leggio, used for keeping the hymn book.  The leggio can be rotated and has a compartment for keeping the books. A handcrafted and painted codice miniato manuscript was found here which is now kept in the civic library of Schio, not very far from the church.

There are 2 paintings in the chorus room, both are by Francesco Maffei from 17th century (the painting on the back wall has a family connection for me - it carries a plaque with a dedication to "Lino Raddino", my wife's brother-in-law). 

Fossils in the stones near the church 

The geological history of Schio's hills show that in the past, 20-40 million years ago, they were at the bottom of the sea and the movement of the tectonic plates of the earth's crust, had brought them up. The local sand-stones and rocks used in the walls outside the church has many fossils, which testify this geological history.

Guided Tours in St Francis 

You can always visit the church area from the outside, but to visit inside the church, you need to come to Schio on the afternoon of the first Sunday of the month - the church is open to public only on that day, from 3 to 6 PM. On that day, there is usually a guided tour around 4 PM. 

I have been to numerous guided tours to St Francis church and had been promising myself to write a post about it for many years. The last image below, shows the monument to St Bakhita outside St Francis church.

Every guided tour brings out some new aspect about this church. For example, during the last tour, we visited the side-room connected to the chorus room and saw some of the paintings of the Popes in this room that I had not seen before.

In the End

Most people visiting Italy can see the famous cities, such as Rome, Florence and Venice. People who have a passion for history, visit slightly less famous cities like Verona, Bologna, Naples and Padua. To be aware about the histories and treasures of small towns like Schio, is not possible for casual visitors and Italy has hundreds of such places.

So if you are visiting Schio, try to discover as much of its history as possible - visiting St Francis church and its environs can an important part of this discovery!

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History Seen Through Trees & Gardens

History is usually seen through big events like the lives of kings & queens, wars, building castles & forts. The lives of ordinary people are usually missing from the history books, though sometimes we can get glimpses of that, like the recent discovery of graffiti in some Egyptian monuments.

However, we can also look at the history through its trees and gardens. Recently I had such an experience when the Cooperativa TRAMA (Traditions, Resources, Ambience, Museums & Art) organised a special city-walk in Schio (VI) focusing on its trees, forests and gardens. 

 

Origins of Schio & an Historical Overview

Our city walk started in Piazza Rossi, in front of the Duomo church in the city-centre.

The Duomo church is located on a hillock known as "colle del Garzone". First mention of Schio in the documents is from around 990 CE, when the bishop of Vicenza allotted some land for agriculture. Around 1000, there was already a small chapel to San Petri at the top of this hill, surrounded by the oak trees. 

 

Around the first millennium, the area around Schio was subdivided between a noble family and the church, and there were rivalries between the two.

The noble family was called Malatraversi, who were faithful to the emperor, and they were prominent for about 300 years, from around 1000 CE to 1300 CE. They controlled the area on the north-east side of Leogra torrent - Schio, Piane, Sant'Orso. They had built a defensive fort (il Castello) on the Castello hill, not far from the Garzone hillock, which included two concentric walls, as shown in the famous painting by Francesco Verla in the St Francis church in Schio, a couple of centuries later.

The church responded to the Pope and controlled the area on the south-west of the Leogra torrent - Pieve, Magre, Malo. The first mother church, where the bishop stayed, was built in Pieve. However the floods of the Leogra torrent created problems and the Bishop had to take refuge on the Garzone hillock. To control the floods, the Roggia Maestra water-canal was built, which took and diverted the excess water to the farm-houses around the area. This canal passes next to the old mother church in Pieve. The building of this canal also stimulated the development of different economic activities, such as carpenters, saw-mills, flour-mills, etc. 

In 1300s, as the Malatraversi family declined, first the Nogarola family from Verona, and then the Visconti of Milano became more influential in Schio. Around the end of 1300s, Schio became a part of the Republic of Venice, also known as La Serenissima. Venice placed Schio under the jurisdiction of Vicenza.

Schio was unhappy to be under Vicenza, because the two had competing interests.  In 1412, Vicenza dismantled the castello-fort of Schio and its stones were used for other houses and buildings. A competing interest between the was the weaving of refined clothe (panni alti), as both cities wanted to produce it and Vicenza did not give permission to Schio for it (only in 1701, Schio was allowed to make "panni alti" clothes).

In 1797, the republic of Venice was defeated by Napoleon Bonaparte. Under Napoleon, the monasteries and churches were closed, some of their artworks and valuables were hidden, the others were taken away his troops. In 1814, the area of Schio became a part of Austro-Hungarian empire. In 1866, a treaty between Veneto and Austria, finally brought the whole region under the Italian kingdom.

Schio Seen Through the Histories of its Trees and Gardens  

The Oak Forest: Before the city of Schio became an urban centre, there was an oak forest in the Duomo area, which gave the city its name, as such forests were called "schleda" in the local language. That led to its Latin name "Scledum" in the Roman period. Archaeological remains of a Roman garrison have been found near the area which now hosts the Campo Romano mall.

No traces remain today of that oak forest and the constructions of Duomo church completely cover the Garzone hill. However, from the Garzone road, which passes along Duomo, little bits of the grassy hill are still visible.

The Lime Trees of Castello: The hill which hosted the castello-fort of Schio is much bigger, extending back to the Capuchin monastery. The part of the hill where the remains of the old fort are still visible, was known as "Tajara" in the local dialect because it hosted two huge and old Tiglio trees (Lime or Linden tree). These were removed in early 1900s because they were in danger of falling down. The area also included a hundred years old Platano (Plane tree), which was planted in 1912.

To remember them, rows of Lime trees were planted in that area. 

 

Horse-Chestnut trees on the Castello Hill: A row of Ippocastano (Horse-Chestnut trees) was planted along the side of the Castello Hill in 1850. These trees were brought to Italy from Turkey in the 1500s. Their chestnuts are used for making a medicine used in the horses, which gave these trees their name. The popular belief says that keeping a couple of these chestnuts in your pocket will prevent catching common cold.

Exotic Trees of Jaquard gardens: These gardens were built in 1859 opposite the Rossi Wool mills near Schio's centre, by the industrialist Alessandro Rossi. At a time when mill-workers were mostly illiterate, included many children and international travel was restricted to a few persons, these gardens brought the world to Schio. They include a theatre with busts of famous persons of Schio, caves, sculptures of wild animals like crocodilian and panther, and a hanging garden.

The garden was designed by Antonio Caregaro Negrin and included a sun-room for orchids and different tropical trees such as palm and banana trees. Among the trees of this garden, there are - a Mexican Cypress (also called Portuguese Cypress), 3 giant sequioia and a Yew tree to celebrate Italy's flag (it has green leaves, white flowers and red berries - the colours of the Italian flag). It also has many Japanese plants.

 

Personal & Family Memories of Trees

So many of our memories and personal histories are linked with plants and trees. For example, in our old style double-storey house in New Rajendra Nagar in Delhi, we had an oleander tree which used to be full of pink flowers. Two years ago, when I went to visit that house with my sister, and found that a new and bigger house had been built there. I felt sad because I could not see the old oleander tree. 

In our home in Schio, we have a couple of Laurel trees. I can see that same tree in some of the old family pictures, as my wife's family has been living in this house for more than 125 years. About 15 years ago, we had tried cutting them down but were unable to remove the vast network of their roots, and from those roots, two new plants came out (in the image below).

At the corner of the street, where we live, there was a huge old tree. I remember my mother-in-law telling me about it more than forty years ago - she had said that her husband was a child when that tree had been planted. Last year, when that tree was cut down because it was in danger of falling, I felt that a part of our family history had gone with it.

My wife often talks of the Ficus tree in our backyard, where she used to climb as a child. At that time, there were no walls between the backyards of the houses and families could see and talk with neighbours, while sitting in their backyard gardens. Today most of these backyards have concrete floors and high walls.

An old picture from 1950s, of a friend's house in our street, shows a tree, an old washing place and a car. When I shared this picture on Instagram, a man wrote to say that it was his father's car.

Conclusions

Once I started thinking about my memories related to plants and trees, there were so many of them that I was surprised. For example, I have many memories about my grandfather's farmhouse, parts of which lies underneath the "Dwarka Mod" metro station in Delhi. Another memory was of the different Tulsi plants that we had in different homes where we lived. For every city where I have lived, I can remember those days through some trees and plants.

To my readers, trying remembering your own memories about plants and trees - I think that you will find it a rewarding exercise.

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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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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.

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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.

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.

 

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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.

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Yajnadevam's Indus Valley Script

Reading about the meanings and significance of the figures & inscriptions on Indus Valley seals is one of the enduring areas of my interest. It all started a couple of decades ago when I read some papers by Prof. Maurizio Tosi, head of archaeology department of Bologna university, and one of his researchers, Dennys Frenes. I have already written about it many times, especially in my Hindi blog.

Since then, every time someone claims to have understood those figures and signs from the Indus Valley, I try to read their papers. Most such papers are written by people who are passionate about the subject but do not have formal training to do such analysis.

This post is about a new paper by Bharath Kumar (Yajnadevam) on the deciphering of Indus Valley inscriptions, which seems interesting.

Yajnadevam Paper on Indus Valley Language

The researcher uploaded a 99 pages long paper titled "A cryptanalytic decipherment of the Indus script" on Academia website on 13 Nov. 2024. In the summary of this paper, he explains that through cryptographic analysis, he has found that "Indus script is a proto-abugida segmental" language, which means that it is a writing system that groups consonants and vowels into units.

He also explains that "Indus inscriptions are in grammatically correct post-Vedic Sanskrit" and through his analysis of more than 500 signs, he provides their understandable meanings. He also shows connections between the Indus Valley and the Brahmi scripts.

The Indus Valley alphabet is in allographs, which means that each letter of the alphabet can have some or many variations. I think that developing allographs over long periods and vast territories is to be expected, because there were no printing presses and scripts needed to be copied manually. Sometimes the allographs can be also be made for practical reasons by making conscious changes in the way some letters are written (for example, related to the surface of writing materials).

One difficulty of deciphering Indus Valley inscriptions has been the short number of signs in the Indus Valley seals - the median inscription length is about 5 signs and there are only about 50 inscriptions that are 10 signs or longer.

Yajnadevam explains that the oldest inscriptions are about 6000 years old, while the most recent ones are about 1700 years ago, and among the more recent ones, Indus Valley signs are sometimes mixed with Brahmi script signs. He also mentions a 3500 years old inscription in Belpahar, Odisha (Vikramkhol cave), which is half-way between Indus Valley and Brahmi scripts. About 83% of the inscriptions are from right to left.

Allographs of specific signs can lead to mistakes of 2 kinds - two different signs may be thought of as allograph of same sign; and, allographs of same sign can be interpreted as two different signs.

He underlines similarities between Indus Valley to Gupta period seals, and links them with specific shlokas from the Vedas. For example, he writes, "The contents of the Indus inscriptions are similar to Janapada coins and Gupta-era seals that they resemble. Long seals seem to use a concise Vedic concept as a motto or slogan." At the same time, he looks for origins from other languages such as Sumerian and old Akkadian.

The image below, presents the different allograph variations for some of the alphabet characters from his paper (click on images for a bigger view).

He concludes his paper with the following: "This is the only cryptanalytic decipherment and the only one that uses well-established mathematical models and methods instead of guessing sign values based on their appearance. This decipherment is the only full decipherment and the only one where every sign and every stroke has been resolved, the only one that is programmatically reproducible, the only one where the decipherment can be followed sign-by-sign by the reader ... We also show how the constraints and habits of the Indus script carry on to Brahmi inscriptions of the early historic era." 

The image below, presents his analysis of a standardised Indus Valley alphabet, along with Brahmi and Devnagari alphabets from this paper. You can draw your own conclusions if there are similarities between the 3 alphabets - personally, I am struck by the similarities in the 3 alphabets for different letters. I am also struck by his assertion that this analysis provides meaningful results for the all the epigraphs he has looked at.

In Conclusion

This paper on the decipherment of the Indus Valley script is almost 100 pages long, out of which around 50 pages are descriptions of individuals inscriptions. I do not have the domain-skills needed to judge its scientific validity.

Probably, over the coming months and years, linguists, philologists and experts of Indus Valley civilisation will look at it and decide if his ideas and results make sense. Many years ago, I remember reading a somewhat similar understanding of the Indus Valley seals in a paper by Ms Rekha Rao on Academia, in which she had proposed that the unicorns on the seals were representations of the Vedic priests.

I am not sure how reliable can be papers uploaded on Academia, without being presented on a peer-reviewed journal. I do hope that Mr Bharat Kumar (Yajnadevam) is working on such a paper for a peer-reviewed journal.

We have limited understanding about the languages and cultures of people living under Indus Valley civilisation. It will be good for someone to finally solve this riddle, so that even from the limited seals and inscriptions, we can learn more about that period of India's history.

With AI, many persons have started saying that AI will help us in understanding Indus Valley script. I am not sure that AI has already reached such a level of expertise. However, AI may also help in expanding the findings of researchers and making sense out of them.

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PS: On the social media, there are other persons raising questions about Yajnadevam's decipherment of IVC seals. For example, Nityanand Mishra has presented some arguments against it: "I have read parts of YD's paper, his proposed decipherment, and his readings and translations of the IVC inscriptions. While the effort is commendable, some assumptions are questionable. As for the results, they are far from convincing. The deciphered texts do not look like natural expressions or statements in either Vedic or post-Vedic Sanskrit. Sivasenani Nori (a traditional scholar of Sanskrit) made the same observation on the bvparishat list a few months ago: "I glanced at the Sanskrit sentences and they don't sound anything like in Veda or the classics." On the INDOLOGY list too, YD's work has received negative comments. I would like to see if any Vedic or Sanskrit scholar of note has a positive view of the decipherment purely from the perspective of Vedic or post-Vedic Sanskrit. I also found YD's translations to be inaccurate at many places. ... Without a review by peers, it is difficult to buy a new theory. Rememeber Rishi Rajpopat's claim of cracking a 2,500-year-old Sanskrit puzzle. More than two years have passed, the claim still has few takers. The decipherment of Brahmi and Kharoshthi by James Princep (whose decipherment was aided by linguists and built on work of several epigraphists) is universally accepted because there is no doubt about the deciphered readings not being natural expressions or sentences in Sanskrit, Prakrit, Pali, etc. This cannot be said, unfortunately, about YD's proposed decipherment."