János Géczi - Artist in Schio

János Géczi, the well-known Hungarian writer, poet and artist was in Schio in the beginning of March 2025. Some of his works created during his stay in the city are expected to be a part of Schio's DiCarta Paper-Art Biennale planned for 2026-27.

During his stay in Schio, János was accompanied by his friend and garden-architect, Zsolt Ambrus, who also acted as his translator.

I had an opportunity to meet János on 12th March, and to talk to him about his work. This post is based on that meeting.

Artists in Schio

Though Schio (VI) is a tiny town in the Alpine foothills in the north-east of Italy, it has a vibrant cultural and artistic life. The city has a rich calendar of artistic events including the DiCarta Papermade Biennale organised by the Commune of Schio. These events often bring to the city important artists and opportunities for interacting with them.

The next Papermade Biennale in Schio is being planned for 2026-27 and will be curated by Valeria Bertesina and Roberto Nassi.

János Géczi and His Creative Evolution

János was born on 5 May 1954 in a small town called Monostorpályi in Northern part of Hungary. His family members were mostly peasants and manual workers. He went to a local primary school, which had big classes with around 45 children.

He started writing poetry in the middle school. There, he had a good teacher who thought that he had potential and encouraged him to go to the grammar school for secondary education.

He was able to win a scholarship for the grammar school in Debrecen, where he studied biology. He understood very early that life-sciences and literature (prose and poetry), are two different ways to look at and understand the world and its reality. Thus, all his life he has followed both, the scientific and the literary-artistic paths. While in the school, he also started to explore the writings of important Hungarian writers like Péter Melius Juhász, Mihály Csokonai Vitéz, Fazekas and Diószegi.

After the grammar school, most of his classmates went on to study medicine while Janos went for 5 years to a biology institute, known for its research work. Today, apart from being a university professor and researcher, he is a well-known writer, poet, editor and artist.

During his university years, he became interested in sociological issues around the marginalisation of different groups of people and started to write about it. This was during 1970s when Hungary was under a communist rule - his writings were not appreciated by the authorities and he was told to stop.

For all his life, János has continued to observe and understand the world through those two different lenses, creativity and science, expressing himself through essays, poems and visual poems, fiction, décollage and has won different awards.

You can read English translations of two of his poems (link opens in a new window).

János & His Reflection Diary in 2025

János explained that for whole of 2025 he is participating in a writing exercise in collaboration with a Hungarian newspaper. Every month, a creative person (a poet or a writer or an artist) poses a question to him and every day of that month, he writes a kind of daily diary, reflecting on that question. His diary is published in the newspaper and its website, and after completing a year, it will come out as a book.

I thought that it was an incredible prompt for stimulating creative juices, but it also requires a very strong discipline. Even while his stay in Schio, he continues to write his reflections every day. 

János Géczi as an Artist in Schio

As an artist, János is known for his Décollage work. "Dècollage" is created by tearing-off or removing a piece or a part of a paper or canvas. In that sense, it is opposite of a "Collage", in which we bring together different pieces to create an art.

He works with old public-posters in cities. Those posters are usually pasted one on the top of another, till they become too many and then someone tears all of them off, cleans the space and puts up new posters.

János goes around to collect different layers of posters and then removes parts of each layer so that bits and pieces of the underneath layers can be seen. This mimics what happens in real-life as sometimes posters can tear off and show older posters below, creating shapes, juxtapositions of words, pictures, colours and shapes, as a kind of memento-mori about passage of time and the role of memories.

During his stay in Schio, János has collected many old posters from the public spaces in the city. He said that he liked the pale pinks and and blues that he finds at the back of these posters and his décollage works created in Schio, focus mainly on the different layers seen from the back of the posters.

The room where he was working, had rolled sheets of old posters he had collected from the city, some of them wet because it had been raining in Schio. It also had big containers of glue, which he used to create additional layers of the posters. Once the layers are placed, then he can tear-off some of them, creating the shapes and colours of his artistic geographies.

Compared to some of his works which showed the more vibrant colours and words from the front of the posters, I personally loved his more abstract creations made from the back of the posters, with their pale colours.

Roberto Nassi has asked Janos to also write a poem linked with his artwork for the Biennale, so that both his artistic and literary dimensions are presented together.

In the End

For me, meeting János and Zsolt was also an opportunity to reconnect with Valeria Bertesina, who has been curating the DiCarta Paper-Art Biennials in Schio.

János is of my age and I was trying to imagine his years of growing up in Hungary when it was a part of Soviet influence and to compare them with my growing up in India.

In a way, I find a reflection of my life in his, as like him, I also have my professional doctor-researcher life and a creative life. I was sorry that I could not speak and understand Hungarian, because it would have been much more interesting and enriching to talk and exchange notes about our similarities and differences.

Staying in a small town like Schio, and meeting and talking to interesting creative persons like János, is a wonderful combination, and I feel very lucky to have such opportunities.

*****

Early Humans in Schio

Last week I went on a small trek to visit the underground caves of Bocca Lorenza near Schio. In early 20th century, objects from late neolithic period were found in those caves.

This post is a result of that visit and relates to archaeological objects found in 3 areas close to Schio - Bocca Lorenza underground caves, Monte Magre and the summit of Monte Summano.

After the end of the last ice-age and the beginning of Holocene some 10-12 thousand years ago, slowly humans must have arrived in the northern mountainous areas of Italy. 

Guido Cibin's Archaeological Collection

In early 20th century, an amateur archaeologist from Schio, Guido Cibin (1860-1947) was responsible for finding and safe-guarding most of those archaeological objects in this area. The map below shows the different locations around Schio, from where Cibin collected archaeological materials. 

Guido Cibin  was instrumental in setting up the first archaeological museum in Schio in the newly built Technical school on the Castello hill in 1912. There are around 4 thousand archaeological objects of the the Cibin-Gori collection, including Roman coins and Greek vases. Some of these will hopefully, soon be displayed at the new city museum being created in Palazzo Fogazzaro in Schio.

Let me start with the archaeological finds from Bocca Lorenzo underground caves.

1. Bocca Lorenza Caves in Santorso

In late 1908, Guido Cebin together with Don Rizieri Zanocco from Piovene, they explored these caves located on the southern flank of Summano mountain. Among the objects they found were hundreds of neolithic tools made from flint-stones, and many prehistoric decorative bones. The materials collected cover a 7000 years period, starting from late Neolithic period (around 6000 years ago) till about a 1000 years ago.

The flint-stones found here are not local and this means that persons living here were in contact with other groups and they had some kind of commercial exchange system. Image below shows some objects from neolithic period found in Bocca Lorenza.

Cibin also found many vases from late iron age 4th century BCE, as well as a bronze axe-piece. These vases are hand-modelled and they have different decorations such as fish-spine, triangles, zig-zag lines and lines of dots. The area is full of animal bones, including deer, wild goats and pigs, rabbits, and buffaloes, which means that they had enough wild animals to hunt in this area. Some vases from Bocca Lorenza are shown in the image below.

In late neolithic period the caves were used as shelter by shepherds. During the copper age (3300-2300 BCE), they were also used for some burials. During the bronze age (2300-900 BCE), groups of persons were living here. During the second iron age, around 4-5th centuries BCE, shepherds again started using it, while some feel that it was also used for religious and ritual use. Only a few Roman period objects have been found here.

The structure is composed of a vestibule and a series of deeper underground caves, as shown in the image below from the publication, "Grotte d'Italia" (click on the image for a bigger view).

Monte Magre in Schio

In 1912, a person called Giovanni Piccoli was excavating limestone on Monte Magre near the ruins of an old castle. He found some archaeological objects including pieces of deer-antlers marked with incision-signs. He informed the authorities and thus, Monte Magre also became an area of archaeological interest.

The archaeological objects found in Monte Magre start from the bronze age (2300 - 900 BCE) and go on till medieval period. Most interesting findings are from late iron age, 4th to 2nd century BCE, when there was an important shrine in this area. Parts of a stone building where the shrine was located can still be seen. Here some animal bones, a stone axe, and some bronze and ceramic objects were found.

The most interesting finds from Monte Magre are pieces of deer-antlers with incisions in southern Rhaetic (retico) alphabet. This language was used in alpine and pre-alpine areas in north Italy during the second iron age (around 4th century BCE). It has been given the name of Magrè alphabet.

These bones have a hole at one end and were perhaps used to hang them from trees. It could have been a shrine dedicated to Diana or Artemide, as it was located in a forest and may be, used by hunters. Some say that the incisions refer to a Venetian divinity called Reitia. It is thought that Magrè was the border area between the Veneto speaking persons and Reti speaking persons living to the north, who controlled the Alps and its mineral wealth.

Among the archaeological objects found at Monte Magre, the antler-pieces with Reti incisions are in the museum of Este. Some other objects can be seen in the archaeological museum in Vicenza.

The Shrine at the Summit of Monte Summano

The Summano mountain (around 1300 metres) dominates Schio and the surrounding towns and countryside. People say that its name comes from the antique cult of god Summanus. Its name reminds me of the ancient Indian myth of Manu (som+manus), at the time of universal floods (Noah in Christian mythology).

There are folk-legends about sacrificing black rams on the summit of Summano. Bone-ash deposits and old medals and coins have been found here. In 2007 a silver statue of Mars was found in the area. Thus, during 2008-10, some preliminary archaeological tests were conducted here, during which a second silver statue of a mother-goddess or Salus was also found. Archaeological objects found here can be seen at the Alto Vicentino Museum in Vicenza.

Near the mountain summit there are areas with traces of regular fires dating back to the second iron age (4th century BCE), indicating that there may have been a shrine or a sacred place here (shown in the image below). There are also traces of Roman period buildings near the summit.

Conclusions

Most of the information for this post came from an exhibition on the Cibin-Gori collection held at Fogazzaro Palace in Schio in 2023.

I loved the visit to Bocca Lorenza, even if I didn't try to explore any of the caves as I was alone and did not want to risk it. I am hoping to write specific posts on how to visit Bocca Lorenza and Monte Magre.

I have already written about the visit to the summit of Summano mountain in my post on Sacred Sites to visit in Schio. 

*****

Renaissance Art & Giovanni Bellini

The renaissance period introduced the ideas of three-dimensional depth, realism, perspective, colour-tones and light in paintings, based on new understandings from different sciences such as anatomy, physics, mathematics, geology and natural sciences occurring in that period.

This post focuses on the evolution of a renaissance period artist through 11 paintings on the theme of "Madonna and child Jesus". The artist is Giovanni Bellini and all the paintings are from the Accademia museum in Venice.

The image below is that of a telero (huge painting covering an entire wall) started by Giovanni Bellini in 1515-16, left incomplete due to his death. (Click on the images for a bigger view)

The Bellini Bottega in Venice

In that period, the artists worked in Bottega or workshops, where the master artist had many apprentice and helpers. Jacopo Bellini, Giovanni's father, was a renowned Venetian artist in Venice. One of Jacopo's famous works is a tall mosaic inside St Marks basilica in Venice, known as "Mosaic of Visitation".

Giovanni Bellini, also called Giambellino, was born around 1930-35. He is considered as one of the great masters of early Venetian renaissance art. Giovanni had learned the art from his brother and father, was also influenced by his brother-in-law Andrea Mantegna, as well as other artists. Giovanni played an important role in developing the ideas of "tonality" in art, ensuring an overall tone for the painting and a smooth passage of tones in different parts of the painting.

Before presenting his art-works, let me briefly introduce the Accademia museum of Venice, where you can admire the originals of all the paintings presented in this post.

Accademia Museum

This museum hosts some of the masterpieces of renaissance period art by maestros like Tiziano (Titan), Tintoretto, Canaletto, Tiepolo, Hans Memling & Hieronymus Bosch. It is situated close to the Accademia bridge (orginally called Ponte della Carità, inaugurated in 1854). If you like renaissance art, do not miss visiting this museum during your visit to Venice.

The building hosting the Accademia museum today, was once a convent and a church (Santa Maria della Carità church).  Under Napoleon's rule in late 18th century, the religious persons from the church and the nearby convent were sent away. In 1807, the old Accademia museum was shifted in those buildings.

Giovanni Bellini's "Madonna and the Child" Series of Paintings

Bellini made a series of paintings of Madonna with the child Jesus. Let me now show you 10 paintings from that series present in the Accademia museum, so that you can appreciate his evolution as a painter.

There is an 11th painting at the end of this post, from his series on the theme of Pietà.

1. From 1448

I am not sure how old was Giovanni when this painting was made and how much did he actually contribute to it. The madonna of this painting does not look very young. Baby Jesus, sitting on a parapet, is holding an apple in his left hand and two fingers raised showing his dual (human and divine) nature. Madonna is expressionless while the child has a knowing expression, much wiser than his age.

2. From 1455

This painting was done when Giovanni was about 20 years old. It is simpler with fewer colours compared to the first one. The baby wearing a black dress, looks younger but still has a knowing expression while he holds his mother's chin with his hand.

3. From 1470

When this painting was done, Giovanni was 35 years old and clearly it is a more mature work, even if it not an oil painting on canvas like the others. Madonna seems to be lit by the light, with a blue sky behind her. Her face has a serenity while looking down at her sleeping son, lying nude, his hand hanging down, almost like a glimpse of the future awaiting them. There is a sense of three-dimensionality, proportions and perspective in this work.

4. From 1475 

Giovanni made this when he was forty. He has light coming in from upper right side, lighting up Madonna's serene and young face, while the light on the baby is more diffused. The baby has a more innocent face, and he makes the sign of his dual nature with this right hand, while his left hand grips his mother's thumb. 

5. From 1480

By now, Giovanni was 45 years old and clearly more skilled as a painter. The whole canvas seems lit by light with bright colours. The background has a light blue sky, fluffy clouds and the Euganei hills near Padua. The baby has a knowing and petulant look, as he holds his right hand in the two-fingers sign while his left hand discreetly seeks his mother's touch.

6. From 1485-90

Now Giovanni has crossed fifty years, he is recognised as a maestro. Perhaps, this means that now he can experiment and try new colours and ideas. The most distinctive change in the painting is the use of bright red colours in Madonna's gown and the heads and wings of the six cherubs on the clouds floating above. The baby seems to be wearing a modern looking night-shirt. The baby also has a more child like expression and seems to be talking to his mother.

7. From 1485-90

This is also from the same period. In this, the two have a green screen behind, the surface of the parapet is painted green, and in the background on the two sides there are two trees. The baby is nude, has a more child like expression and his left hand holds his mother's fingers. Once again the whole canvas seems to be lit by light.

8. From 1488 (With St Catherine and Magdalene)

This is a more complex work. Compared to the two women saints on the two sides, dressed in rich clothes and wearing jewellery, Madonna looks similar to the other paintings above. The baby seems lost in ecstasy. While the background is dark, the 4 figures seem lit by an external light, creating a few shadows. It seems to have clear Flemish or Dutch influences.

9. From 1490 (With St Paul and St George)

Like one above, this one also has two figures standing on both sides of the mother and child. However, this painting has much more in common with his other works - light blue sky with clouds, a red screen behind them, all the persons lit by a light coming from the left with a hint of shadows in the right side of the canvas.

10. From 1503 (With St John Baptist and a Woman)

This painting was done when Giovanni was 68 years old and it is even more complex, with a detailed urban background with the Vicentino mountains behind them - the houses have a distinct look, may be it shows the city of Bassano. Sheep are grazing on the grassy hills (click on the picture to see a bigger version for the sheep). It is bathed in light with shades of liliacs, pinks, green and light blues. Madonna has a soft and innocent expression. The skin tones of Madonna and the woman on the right seem to have the red tones associated with Titan.

11. From 1505 - Pietà with Madonna and the Dying Jesus

The last painting is from the Pietà series, and is from 1505, when Giovanni was 70 years old. The white-haired Madonna's face is etched with lines of sorrow. A dramatic touch is given by the broken tree on the left of the canvas. The background is in the shade of orange-yellow seems to show Padua with Euganei hills and Vicentino mountains behind. Once again, the whole canvas seems to be lit all over with a diffused light and few shadows. (You can click on all the images for a bigger view.)

Things I Noticed in the Paintings

I think that as Giovanni grew older and more skilled, his works assumed more renaissance characteristics - they seem more three-dimensional, more realistic, while the proportions and perspectives improve.

In most of his paintings, the Madonna has an innocent or an aloof look, she does not seem to be looking at you. I also noticed that in many paintings, her little finger seems to be bent or crooked in the middle - it does not seem very natural. Try bending your finger like that and you will see what I mean.

On the other hand, the baby Jesus has a more knowing look, creating a kind of dissonance because his facial expressions are more adult-like. At the same time, the child's proportions do not always look right. For example in painting number 10 above, the child seems to be too long. Child's ecstasy, with his eyes turning up, in image 8 also made me feel a little anxious.

I love the light and vivid colours that seem to illuminate many of his works. They lack the light and shadow effects (chiaroscuro), which would become a dominant part of later renaissance art.

I also love the tender affection between the mother and the baby, expressed in the way the boy holds his mother's thumb or touches her hand. 

To Conclude

To look at the different paintings of Giovanni Bellini in a chronological manner gives us an idea of his evolution as an artist. At the same time, it gives us an idea of how the renaissance ideas of art were evolving.

Leonardo da Vinci was born in 1452 and his Monalisa was painted in early 1500s. Michelangelo was born in 1475 and his frescoes of Universal Judgement in Vatican were painted around 1540. Thus, the art of Giovanni Bellini needs to be seen in the context of all the other artists, as they exchanged ideas, knowledge and techniques. 

All the paintings presented in this post are from Accademia museum in Venice. To feel their full impact, you need to look at them in the museum. For example, the sensation of light when you look at painting number 10 above is absolutely incredible. When I saw it, I was transfixed.

BTW, the Telero shown in the first image above was commissioned to Giovanni Bellini in 1515, when he had turned eighty. He was unable to finish it, as he died in 1516. It was completed many years later by another artist, Vittore Belliniano. 

I have been to the Accademia museum a few times, and every time I go there I discover new works which I had not noticed earlier!

*****  

"Still Life" Art Exhibition Schio 2024

During Nov.-Dec. 2024, the Schio artists' group organised its annual exhibition. The theme for this year was "Still Life". The Italian word for "still life" is "Natura Morta" (dead nature), which I think that describes the subject better than the English version. Somehow, the words "still life" make me think of the game "statue", in which you are supposed to stand still like a statue.

Here are a few works from this exhibition that I liked. Click on the images for a bigger view.

Giuseppe Fochesato

I really liked this more contemporary interpretation of the theme by Giuseppe Fochesato, two paintings with a limited palette of colours, giving impression of the early morning on an autumn day and the coffee cups waiting for the persons to wake up and to begin the day.

His Facebook page has some other examples of his work in the same style - washed out colours and light beams illuminating the spaces. You can also check some of his works on his blog.

Daniela Baroni

Daniela had only one work in the exhibition, a painting with two dried sunflowers and a dead robin. The sombre theme of the painting clashes with the bright red feathers on robin's breast and, the purples, greens and the pale yellows of the background.

Gianbattista Clementi

Clementi had two artworks in the exhibition. While one was the classical still-life painting with a flower vase and autumn berries, the other was more abstract and I spent some time looking at it. With winter trees, a small cup and some drying leaves which look like dying fish, I found it more unsettling. 

Antonio Capovilla

I am a great fan of Antonio's long-limbed clay statues. I was surprised to see his two artworks in the exhibition, because I had no idea that he made that kind of work. However, he informed that he makes all kinds of art, from sculptures to mixed material collages and oil paintings.

I know that Antonio's wife is a poet and I told him that I would like to interview both of them together to learn about their reciprocal influences.

His two works in this exhibition included a collage of dried leaves from his garden against a white resin background and a composition made from different kinds of leathers in which he made swirling-holes to create geometric patterns.

You can check Antonio's Instagram page and Facebook page to see his other works, including his beautiful sculptures.

Livio Comparin

Livio had only one work in the exhibition but it is beautiful, though I am not sure if it can be called "still life" because it includes a sparrow and a dragonfly, which are attracted by the ripe fruits - black and white grapes, plumpy peaches, a few fat plums and some autumn-tinted vine-leaves. Just looking at the painting, makes me feel hungry. I think that it will be a good painting to have in the kitchen or next to our dining table.

Livio is a well-known artist of Schio, he has been active over the past 6 decades with water colours, graphics and even comics.

Lanfranco Dalle Carbonare

Lanfranco had 2 classical compositions of still life in the exhibition, one with flowers and the second with a mix fruits, dominated by a green-striped melon. I like his straight forward compositions, almost minimalist with plain backgrounds. You can check his Facebook page for some more examples of his works.

Moreno Dalla Vecchia

Moreno is the president of the Schio's association of artists. I have already written about Moreno's artistic journey in this blog.

In this exhibition, he had two watercolours, one predominant in blue and the other in yellow-orange. He has experimented with his compositions as well, one has an old lamp and a colourful flower-vase, while the other is focused around a piece of pumpkin, both are beautiful.

Lucio Mantese

Lucio is a wonderful artist. In this exhibition he had 2 works - one a beautiful copy of a famous still-life painting of a fruit-basket by Caravaggio. The second work was a wonderful composition of corn-cobs, old drying apples, a pulley and a bucket. I love the way he is able to bring alive the corn-cobs and the metallic texture of the bucket and the ladle (click on the image for a bigger view to appreciate this).

Apart from being a wonderful painter, able to copy famous painters, Lucio also teaches ballroom dancing (Liscio). You can check some of his other works on his Facebook page.

Mauro Marzari

The last artist that I have chosen is another person, Mauro Marzari, about which I have already written on this blog. Mauro makes wonderful abstract works. His two works in this exhibition have a yellow-metallic finish with rectangles presenting a still-life object - an apple in one and a skeleton in another. Both the paintings give an idea of brooding sadness, as if commenting on the short lives of their subjects.

Conclusions

It is wonderful that our tiny little town of Schio in the foothills of Alps in the north-east of Italy, has so many opportunities related to art and culture. This has given me the possibility of talking to some of them and to learn about their artistic journeys, which is a great privilege.

*****

Watercolours of Moreno dalla Vecchia

I love admiring paintings and sculptures. Among the different styles of paintings, my favourite is watercolours. This post is about a watercolour artist from Schio (VI), Moreno dalla Vecchia, who is also the president of the Schio's association of artists.

Recently I talked to Moreno during an exhibition of local artists held at Toaldi-Capra palace in the city centre.

Moreno's Artistic Evolution

Moreno loved art ever since he can remember. Seeing his artistic skills, his teachers suggested that he should study art. Thus, after completing middle school, in late 1960s he decided to join the art school in Padova. He studied there for five years.

He followed it for another 2-years' course for teaching art. However he decided to not to work as a teacher, instead he chose to work in public administration. Moreno retired four years ago from his public administration job. During his working life, being an artist was a parallel life for him. He feels that having a separate job allowed him to be more independent in his artistic evolution because he didn't need to earn from his art.

He has continued to learn and practice art ever since. For example, after completing art school, for about 10 years, he joined an art group in Vicenza called La Soffitta, created by Otello de Maria. Here, artists can meet, talk, and learn from each other. In this period, he experimented with oils, design and water-colours. He said, "Initially I was afraid of water-colours, I can't explain why but I was hesitant to try it. However, once I started to work with water-colours, I never stopped, I have continued to work with this medium." 

Moreno had started with oil paintings, and experimented with other techniques including acrylic, tempera, graffite and frescoes, before coming to water-colours. He has even taught oil painting and likes oil paintings.

Regarding his approach to water-colour painting, he said, "Now I am trying to get away from using photographs, to a slightly more real depiction of my subjects. I am thinking of this new approach but it is not yet very clear. Usually, when we paint we follow our mental images and not the reality of things as they are."

Artists' Association of Schio

Scledense Artists' group is about 50 years old. It did not even have a room and used to
meet in a bar. It is a space for meeting, talking and supporting each other. In June each year, the city and Scledense artists traditionally organise an open-air art exhibition called Sareo Art Festival. At the same time, they organise a thematic art competition for the primary and middle schools of Schio.

About the activities of their association, Moreno explained, "With time, other initiatives were added to Sareo festival, such as organisation of exhibitions in different city-spaces such as the Toaldi-Capra Palace. When Schio had the orchids and flowers exhibition, we also participated by having an exhibition on art about flowers. For example, the present exhibition has 5 artists from the city. Then, we have another initiative planned for Christmas and the end of year, which will focus on still-life."

There was a time when this group had 80 members, but now they are much less, around 30 persons and Moreno dalla Vecchia is its president. For him, it was important to be a part of this group since it kept alive his interest in art by getting new ideas, learning from others. He said, "We organised initiatives, we displayed our art, I also took part in some art competitions."

Art Courses in Schio

After completing his studies, Moreno came back to Schio, and he joined the Artists' group. One of his first initiative was to organise art courses. Together with another artist, Moreno organised an evening course for design and painting.

He said, "Around 15 persons came to the first course, sometimes they had no idea about art. The course lasted five evenings. Later on, I became the president of our association and started organising solo courses on water-colours. Some of my students have grown to become good artists. For example, Mari Baldissarotto, who is also a part of this exhibition, was one of my students, who has become a wonderful artist."

In Conclusion

Every time I meet persons like Moreno, who have cultivated a passion for all their lives alongside a 9-to-5 daily job, I feel a great admiration for them. There are so many others who say that they did not get time to do what they really wanted in their lives, because they had a full-time job.

I am sure that persons like Moreno, need to make sacrifices for keeping alive their passion. At the same time, their dedication to their passion means that their families get lesser time and attention. It would have been an interesting theme to discuss with him, however, I did not talk about it to Moreno. 

*****

Visiting Schio: Sacred Sites

The tiny town of Schio in the north-east of Italy, about 30 km from the provincial capital Vicenza, is full of sacred sites that bring here pilgrims from all over the world. At the same time, many of these sites are also wonderful places for nature walks and hikes.

The town is located in the foothills of Pasubio mountain, part of the Little Dolomites, and thus, be ready to go up and down the hilly paths during your walks (above: a view of Pasubio and Leogra river in Schio).

This post provides an overview and brief information about the different sites. Over the next few months, I hope to write more detailed posts about each site. Except for a pre-historic site, all the other places in this post are related to the Catholic church.

Pre-historic Prayer Sites on Mount Summano

Mount Summano towards the east of Schio is around 1300 m. high. Some believe that the its name indicates Pluto, the ancient God of the underworld; others think that it indicates the God of lightening and rain.

Ancient archaeological remains have also been found in a cave known as Bocca Lorenza, on the eastern side of Summano, which can be a great walk from the nearby Sant'Orso town.

Near the summit of Monte Summano, you can visit the church dedicated to St. Mary (above), as well as see the ancient site where prehistoric folks use to make sacred fire for worship (image below).

If you are used to mountain hikes, you can try the hike from Tretto or from Sant'Orso to the top of the mountain. It has plenty of places for panoramic views of the Schio valley below. Many years ago I tried this hike once, starting from Tretto, but it was too tough for me, I had to give it up half way (below, a view from the top).

St. Martin church in Schio

St Martin hill in Schio hosts one of the oldest churches in this area, which was built at the site of an older temple dedicated to a female deity. The first church was built here around 7th century CE. The first written document about this church is from 1185 CE.

In late 1985, a person from Schio called Renato Baron claimed to have a vision of Madonna on the hill, around 250 metres above the St Martin church. Over the following years, hundreds of his followers started collecting here for prayers. Some persons from the Catholic church, spoke against Baron and his cult.

For the pilgrims coming here from different parts of Europe, a proper walking path has been created leading to the site where Baron had his vision, and then to the top of the hill. You may or may not believe in Baron and his vision, but it is a wonderful place for a hike to the top of the hill. Come prepared with proper walking shoes, a cap and a bottle of water. You can see two views of this path here (above and below).

San Zeno Church in Magre, Schio

Magre is the part of the Schio located across the Leogra river bridge. Magre hill is located in the centre of this area, while the much higher, Magre mountain separates Leogra valley from the Agno valley on the west. Archaeological excavations on the Magre hill have shown objects from prehistoric to more recent times.

San Zeno area is located on the western slope of Raga mountain in Magre. To reach here, you need to walk till the end of Via Siberia road. It is a protected area and vehicles (including bicycles) are not allowed beyond a point. The tiny San Zeno church is from 14th century, and has been recently renovated.

It is located next to a waterfall, which looks beautiful after the rains.

The final 150-200 metres of the path require a steeper climb and some effort. So go there with proper walking shoes, a cap and a water bottle.

St. Mary Mother church in Pieve

This church goes back at least a thousand years. The legends say that it was built at the site of an older pagan temple. During medieval period, it was considered as the mother church for all the surrounding mountains areas. It was also the seat for a bishop, till the Duomo church was built in Schio in 1473.

Over the past centuries, this church (above) has been renovated many times, the last being in 1989, so it does not look so old. It still has some old frescoes and an old baptismal fountain. Next to the church, you can also see the old water canal, Roggia Maestra, from the 12th century.

This church is located in Pieve Bel Vicino, a few kilometres north of Schio. From the city centre, it takes a 45 minutes walk to reach there.

St. Francis church of Schio

This church and monastery were inaugurated in 1436. Built on the eastern edge of the medieval town on the hill of Olives, it is one of the most beautiful churches in the city. The church has a famous painting (below) by the well-known renaissance-period artist Francesco Verla (1470-1521) and a 14th century stone statue of Madonna.

The asymmetrical looking church (below) with a central nave and one sided aisle is open to public only on special occasions (at present, it is on the afternoons of the first Sundays of the month but that keeps on changing).

Duomo of Schio

Duomo was built in the city centre in 1473. It is placed on the Gorzone hill, right in front of the castle hill. An older Longobard tower and then a church had existed here before the construction of Duomo. It is dedicated to St. Peters. With stairs on the two sides for going up to the church, it has a majestic look. The external sculptures of the four evangelists are by Valetino Zajec. It dominates the central plaza, Piazza Rossi.

One of the paintings (Gesu Maestro, 1943) in Duomo has an indirect link with my wife's family. That painting is by Alfredo Ortelli, who lived in Magre. His sister Ita, was my mother-in-law's friend and after the death of her brother in 1963, lived with my wife's family for many years (in the house where I am writing this post).

FYI, Duomo is a cathedral level church, without a bishop - it can only be called Cathedral, if it has a bishop.

St. Jakob Church

Located on the road behind Duomo is the 15th century St Jakob's church. It has some nice paintings from 19th century. The most beautiful part of this church, in my opinion, is its 16th century bell-tower, in the image below (to see it, enter the portico next door, going to the back of the church).

St. Mary Chapel in Valletta

It is charming little chapel located in the valley between the Castle hill and the hill with St Francis church. A water canal passes underneath it and an old city gate can be seen next to it. The first documents about this chapel are from early 16th century but probably the church goes back to older times.

St. Bakhita's Canossian Church

The congregation of Daughters of Charity, also known as Canossian nuns, have an old history in Schio. One of their nuns, mother Bakhita, was declared a saint in 2000 by Pope John Paul II. Mother Bakhita (or St. Bakhita, if you prefer) had a very unusual story.

Born in Darfur region (Sudan) in 1869, she was taken from her village and sold as a slave when she was 7 years old. Her name Bakhita (fortunate) was given by the Arab slave-sellers. She ended up in the house of the Italian consul in Khartoum, who brought her to Venice, where she joined the nuns. She spent many years in Schio, and died here in 1947.

Pilgrims come to visit her tomb from all over the world. Her church (image above) and tomb are located in the city centre. A monument near the St Francis church (image below) remembers her and the millions of persons taken away from Africa as slaves.

In Conclusion

As you can see, even if Schio is only a tiny mountain town, it has many sacred places to visit, which are open to people of all religions. Many of these places, also provide opportunities for nature-walks along beautiful  and serene mountain paths. To conclude this post, here is a view of the city centre seen from the terrace of the Duomo of Schio.

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