A Nation of Shopkeepers

This is an affectionate photographic tribute to the shopkeepers of italy, most of whom were forced to close this week because of COVID-19.

So there I was, unable to get back to Italy for the foreseeable future and worried about the people we know there. Then I saw the news about most shops being closed, which depressed me further, but then I realised it had given me an idea about something else to celebrate about Italy. It might cheer me up a bit, and I hope it cheers you up too.

The Italian genius for design manifests itself in various celebrated ways. The fashion houses of Milan. Alfa Romeo and Ferrari. The classic Vespa. The Piaggio P.180 aircraft. It isn’t enough merely to be fit for purpose. – it must be beautiful. (In fact thinking back to my much-loved Alfa 159, sometimes form clearly had taken precedence over function). But it isn’t just the highly-paid designers. Deep down, every Italian is a stylist. You can tell by the way they dress for the evening passegiata. And in every market and every shopping street, you can tell by the care with which they arrange the displays of merchandise for maximum effect on stalls and in shop windows.

The architecture can be a delight too – especially the way that a vintage shopfront is carefully maintained for decades.

Italians are famously individualists. Not always a good thing, when it comes to following public health directives. But the pride that people take in themselves and their own enterprise really comes out in their shops. I’ve already posted a photo essay on the market at Padua, which you can look at to see the displays of fruit, fish and meat.

So here is an affectionate tribute to shopfronts and shop window displays, dedicated to all of their proprietors, and what they are going through right now. Things may not always be done in the most refined taste, indeed sometimes they are positively idiosyncratic, but in every case they have been done carefully.

We start in the town of Norcia. Apart from being the birthplace of St Benedict, it is famous for its smallgoods manufacturers. So much so that salumerie throughout Italy often refer to themselves as Norcinerie.

Norcia
Norcia. Contax G1 35mm rangefinder camera, Zeiss Planar 45mm lens. Fujichrome Velvia film (click to enlarge).
Norcia
Norcia. “Da Tre Porcellini” (The Three Little Pigs). Contax G1 35mm rangefinder camera, Zeiss Planar 45mm lens. Fujichrome Velvia film (click to enlarge).
Norcia
Cool dudes in Norcia. “Coglioni de lu Mulu” means “mules testicles” in dialect, but they are just a form of salami. Contax G1 35mm rangefinder camera, Zeiss Planar 45mm lens. Fujichrome Velvia film (click to enlarge).
Norcia
A Norcineria in Norcia. Fratelli Ansuini (Ansuini Brothers) is quite a big producer, and I can’t help wondering if that really is their name, since “suini” means “pigs”. If so it is a happy coincidence. Hasselblad 500C/M camera, Zeiss Planar 80mm lens, 6x6cm rollfilm back, Fujichrome Velvia film (click to enlarge).

The first three of those pictures were taken with my favourite 35mm camera of all the many I have owned. The Contax brand originally referred to cameras made by the branch of Zeiss that stayed in the old East Germany. The brand was bought by the Japanese Kyocera company, and they produced a couple of absolutely beautiful little rangefinder cameras, with superb genuine Zeiss lenses. If they would bring out a digital version I would buy it like a shot. Being small and light, the Contax G1 is great for candid street photography, such as the following two taken in Via Garibaldi in the Arsenale quarter of Venice.

Via Garibaldi
Via Garibaldi, Venice. Contax G1 35mm rangefinder camera, Zeiss Planar 45mm lens. Fujichrome Velvia film (click to enlarge).
Via Garibaldi
Via Garibaldi, Venice. Contax G1 35mm rangefinder camera, Zeiss Planar 45mm lens. Fujichrome Velvia film (click to enlarge).

This next is also from Venice, and is of course a shop in a Venetian context. Not a candid street snap, as it was taken on a large format camera on a tripod.

Rio S Barnaba
Greengrocer’s “shop”, Rio San Barnabà, Venice. Horseman 45FA large format camera, Nikon Nikkor-W 150mm lens, 4×5″ film back, Fujichrome Velvia film (click to enlarge).

The island of Burano, in the Venetian lagoon, is famous for its brightly coloured buildings. Here is a butcher’s shop.

Burano
Butcher’s shop on Burano. Horseman 45FA large format camera, Nikon Nikkor-W 150mm lens, 4×5 inch film back, Fujichrome Velvia film (click to enlarge).

The town of Sulmona is in the rugged region of Abruzzo, surrounded by high mountains. It is famous in Italy for the production of confetti for weddings and other celebrations. Now in Italy confetti are not bits of coloured paper to throw at the happy couple. They were originally hard sugared almonds – not the sort of thing you would throw at anyone. These days “confetti” include all sorts of hard candies, many garishly coloured. The maker pictured below specialises in making sunflowers out of them.

Sulmona
Sulmona, confetti maker’s shop. Hasselblad 500C/M camera, Zeiss Planar C 80mm lens, 6x6cm rollfilm back, Fujichrome Velvia film (click to enlarge).

In Naples, the colour and glow of shops, especially a baker like this, make a particular contrast to the gritty streets outside.

Napoli Via Tribunali
Baker’s shop in Via Tribunali, Naples. Hasselblad 500C/M camera, Zeiss Planar 80mm lens, 6c6cm rollfilm back, Fujichrome Velvia film (click to enlarge).

The picture below is from Bologna, which is generally thought of of a gastronomic centre. Needless to say, it has several excellent (and expensive) food shops, which clearly feel obliged to have window displays that match the reputation.

Bologna salumeria
Bologna salumeria. Contax G1 35mm rangefinder camera, Zeiss Planar 45mm lens. Fujichrome Velvia film (click to enlarge).

Here are four very elegant shop fronts. A cafe and tobacconist in Urbino, another confetti outlet in Sulmona, a butcher’s in Spoleto, and an electrical parts shop in Bologna.

Urbino Caffetteria
Caffetteria Fratelli Boni, Urbino. Fujifilm GFX-50R camera, 32-64mm lens (click to enlarge).
Sulmona confetti
Confetti Rapone Panfilo, Sulmona. Hasselblad 500C/M camera, Zeiss Planar 80mm lens, 6x6cm rollfilm back, Fujichrome Velvia film (click to enlarge).
Spoleto Macelleria
Macelleria Giovanni Luna, Spoleto. Hasselblad 501C/M camera, Zeiss Distagon 60mm lens, CFV-50C digital back (click to enlarge).
Bottega della Luce
Bottega della Luce, Bologna. Hasselblad 501C/M camera, Zeiss Distagon 60mm lens, CFV-50C digital back (click to enlarge).

Here are two very traditional shops. Another salumeria, from Verona, and “Everything for the Home” from San Quirico d’Orcia in Tuscany.

Salumeria Albertini
Salumeria G. Albertini, Verona. Hasselblad 501C/M camera, Zeiss Distagon 60mm lens, CFV-50C digital back (click to enlarge).
Tutto per la Casa
Tutto per la Casa, San Quirico d’Orcia. Canon EOS-3 35mm camera, 28-135 IS lens, Fujichrome Velvia film (click to enlarge).

And I will finish with two of my favourites. The first is from the town of San Zeno in Montagna, high up above Lake Garda. The second is the town of Castiglione del Lago, a fortified town sticking out into Lake Trasimeno in Umbria. They are my favourites because they include the proprietors. Bless them, and all the shopkeepers of Italy.

San Zeno in Montagna
San Zeno in Montagna, Veneto. Hasselblad 500C/M camera, Zeiss Planar 80mm lens, 6x6cm rollfilm back, Fujichrome Velvia film (click to enlarge).
Castiglione del Lago
Castiglione del Lago. Hasselblad 500C/M camera, Zeiss Planar 80mm lens, 6x6cm rollfilm back, Fujichrome Velvia film (click to enlarge).

Note, added 2024: I said earlier that I wished I could find a digital equivalent of the Contax G1 35mm camera. A year ago I bought a Fujifilm X-Pro 3 and I must say that does give me much of the same kind of feeling when using it.

Puglia and the Salentine

Puglia feels different: the terrain, the climate and the culture. The Apennines sweep down the entire length of peninsular Italy but when they get to the bottom they turn west and run down to the “toe”. Puglia, on the Salento peninsula – the “heel”- is bypassed by the mountains and is comparatively flat. I read somewhere that geologically Puglia is not really part of Italy but is joined to Albania, which isn’t far away – you can see it on the other side of the Adriatic on a clear day. Puglia is very fertile – at least it is now. The climate is hot and dry, but a large-scale irrigation scheme in the Fascist era brought water down from the mountains in Abruzzo and agriculture was transformed. That being said, some of the very ancient olive trees you see in Puglia clearly pre-date the coming of irrigation by hundreds of years.

Sadly, these olive trees are currently threatened by the Xylella fastidiosa bacterium, although there have been reports that some varieties may be resistant to the infection.

To my Australian tastes the intensely-flavoured red wines of the region made from grape varieties such as Negroamaro, Primitivo and Aglianico are very good, and excellent value.

In the last ten years or so Puglia has been well and truly discovered by northern Europeans and especially Brits, assisted by direct flights into Bari. This has driven property prices up and earned it the ironic name “Salentoshire” (cf. the “Chiantishire” of twenty years ago).

The towns look like nowhere else in Italy: either white-painted and looking like they belong in the Aegean or North Africa, or in the larger towns, with buildings made of the most fantastically-carved sandstone. In a small area around the town of Alberobello you also get the famous cone-shaped huts called trulli.

We visited Alberobello to see the trulli – not to do so would be like visiting Pisa and skipping the leaning tower – but it was a very touristy experience with many of the trulli on the main street having been converted to souvenir shops selling snowdomes and fridge magnets. By ducking into a doorway we just avoided being accidental extras in a Japanese TV travel show. The best place to see trulli is out in the countryside, where a reasonable number still survive.

Alberobello
Alberobello. Hasselblad 501 C/M, Zeiss Sonnar C 250mm lens, 6x6cm rollfilm back, Fujichrome Velvia 50 film (click to enlarge).

We were staying in the town of Ostuni. Its Greek origins are clear from the name: it is from Αστυνέον or “new city”– Latinised as “Astynéon” (at some point the stress moved to the first syllable in Italian). It has to be one of the classic Pugliese views – a snow-white town sitting on its hill a few kilometres from the coast, with the coastal plain beneath it covered with olive groves and dotted with masserie all the way to the horizon.

Ostuni
Ostuni. Hasselblad 501 C/M, Zeiss Sonnar C 250mm lens, 6x6cm rollfilm back, Fujichrome Velvia 50 film, multiple images merged in Photoshop (click to enlarge).

To be in the centre of Ostuni is a delight – little winding streets in among all the white houses, leading up to a gorgeously-carved duomo at the top of the hill. Nearby were a caseificio from which we could buy fresh burrata and mozzarella, and a bakery. We were there on Easter Sunday and after mass the families came out with their children dressed in white and took them to buy gelato as a reward for being good during the service.

Ostuni
Ostuni on Easter Sunday. Hasselblad 501 C/M, Zeiss Distagon C 80mm lens, 6x6cm rollfilm back, Fujichrome Velvia 50 film (click to enlarge).

It is quite common to find reputable travel guides and online publications ascribing the “Greek look” to the fact that this region was settled by the Greeks in antiquity, and formed part of Magna Graecia. With all respect, this sounds like rubbish to me. Partly because it was a very long time ago indeed (starting from the 8th Century BC in fact) and other parts of Magna Graecia like Sicily and Naples do not show any such influence. Secondly because if there were to have been a period of Greek influence, it is far more likely to have been when this area was last under Byzantine rule in the 9th-11th centuries AD – much more recently. But it could also be a matter of simple proximity to Greece.

Ostuni
Ostuni. Calling your house “The White House” in a town of white houses may not assist the postman all that much. Hasselblad 501 C/M, Zeiss Distagon C 80mm lens, 6x6cm rollfilm back, Fujichrome Velvia 50 film (click to enlarge).
Ostuni
The rooftops of Ostuni, including the Duomo. Horseman 45FA large format camera with Rodenstock 180mm lens, 4×5 inch sheet film back, Fujichrome Velvia 50 film (click to enlarge).

So what is the history of Puglia like? Complicated, is the answer. The Greek colonists arrived in the 8th Century BC, fought fiercely with each other, but largely co-existed with the pre-existing Messapian people. In 216 BC Apulia, as it was then called, was the location of the second catastrophic Roman defeat by Hannibal at the Battle of Cannae. The city-states of Apulia were gradually absorbed into the Roman state, particularly after the so-called “Social Wars” of around 90 BC.

After the fall of the Western Empire, Apulia was overrun by the Goths, then reconquered by the Byzantines, conquered by the Lombards, ravaged by the Saracens, reconquered by the Byzantines again, then taken, in the 11th Century, by our old friend the Norman adventurer Robert “Guiscard” de Hauteville from whom it passed to his nephew Roger as part of a unified “Kingdom of Sicily”. You can read more about Robert and his family in my post on Norman Sicily.

After the extinction of the male line of the Hauteville dynasty, the kingdom passed through Constance de Hauteville to the Hohenstaufen Holy Roman Emperors in the person of Constance’s son, the polymath Frederick the Second (Stupor Mundi, the wonder of the world). For Frederick, Apulia seems not to have been just a part, but the heart, of his domains. Although he grew up in Sicily and spent his early manhood in Germany, he publicly announced his choice of Apulia as his favourite place to live. Praise for one’s home region or province or town is the way to the Italian heart and so the Pugliese have returned the compliment and to this day regard him as very much one of their own.

After the Hohenstaufens came the Angevins from France and then the Aragonese from Spain, and the realm became known as the Kingdom of Naples. In due course the kingdom was inherited by a minor branch of the Bourbons in whose hands, apart from a couple of interruptions caused by Napoleon, the kingdom remained until Garibaldi’s astonishing campaign delivered it to the House of Savoy and it became part of united Italy in 1861. The later stages of Bourbon rule got quite a bad press in the rest of Europe. Some of it was deserved, as occasional experiments in liberalisation were regularly followed by periods of drastic conservative overreaction and oppression. Banditry was rife. Some of it was less deserved, as the cause of Italian unity had been embraced by liberal thinking, especially in Britain, and all such stories need their villains.

I intend to write further on this period but it will have to wait for another visit to Naples after which  I will have some more photographs to go with it.

To the legacies of all these dominant cultures must be added the effects of external forces. Saracen raids over centuries led to the construction of coastal watch towers, and rural populations tended to group together in fortified farmsteads called masserie. Both add a characteristic look to the landscape (these days, many masserie have been renovated as agriturismi and resort accommodation).

Torre Nasparo
Torre Nasparo, one of the ruined watchtowers on the Salentine Coast. Hasselblad 501 C/M, Zeiss Distagon C 80mm lens, 6x6cm rollfilm back, Fujichrome Velvia 50 film (click to enlarge).

As the Ottoman Empire advanced through Greece and the Balkans in the 15th and 16th Centuries, some groups of Greek and Albanian refugees emigrated to Puglia and lived in villages where forms of Greek and Albanian were spoken until very recently.

As in Sicily, the main architectural legacy of the Normans is in the form of massive Romanesque cathedrals, such as that in Bari. Frederick II left many castles, the most famous being the celebrated octagonal “Castel del Monte”. Later, under Bourbon rule, the exuberant carved decoration on buildings in towns like Lecce added a unique local flavour to the baroque style.

Lecce
Baroque goes berserk in Lecce – Basilica di Santa Croce. Hasselblad 501 C/M, Zeiss Distagon C 80mm lens, 6x6cm rollfilm back, Fujichrome Velvia 50 film (click to enlarge).

Altogether the effect, as in Sicily, is of the sort of layer-cake of cultures that causes the classier sort of travel writer (ahem) to use the word “palimpsest”.

For English-speakers, one of the other famous castles in Puglia is the one in Otranto – rather by accident, it turns out. In 1786 Horace Walpole created the “gothic” literary genre with his novel The Castle of Otranto, a Gothic Story. However Walpole had never been there, and picked the name from a map because he liked the sound of it (ensuring that generations of English speakers have mispronounced the name: as with Ostuni, the accent is on the first syllable). Walpole later admitted that at the time he didn’t even know whether the town possessed a castle. It does, and there are some excellent views from the battlements.

Otranto
The real Castle of Otranto. Hasselblad 501 C/M, Zeiss Distagon C 80mm lens, 6x6cm rollfilm back, Fujichrome Velvia 50 film (click to enlarge).

Also worth a visit is the cathedral which has an extraordinary early-medieval mosaic floor showing a “tree of life”, which in addition to depicting the conventional bible stories, shows various endearing mythological creatures and references to the story of King Arthur. The cathedral also contains a grim memorial containing real human skulls – in 1480 the town was taken by the Ottomans as the first step in a campaign intended to conquer Rome. Around 800 people were decapitated after refusing conversion to Islam. The Ottomans held the town for a couple of years before abandoning the campaign.

Otranto
Otranto: view of the old town from the castle. Hasselblad 501 C/M, Zeiss Distagon C 80mm lens, 6x6cm rollfilm back, Fujichrome Velvia 50 film (click to enlarge).

Otranto is quite close to the bottom of the Salentine Peninsula and it was a short but very pleasant drive down the coast along clifftops covered in spring flowers to the Cape of Santa Maria di Leuca. On the way we passed a good many watchtowers, in varying stages of disrepair.

Capo di Otranto
Clifftop flowers near Capo di Otranto. Hasselblad 501 C/M, Zeiss Distagon C 80mm lens, 6x6cm rollfilm back, Fujichrome Velvia 50 film (click to enlarge).

South of Otranto we stopped for lunch in a small place called Porto Badisco. There we found a little trattoria serving fresh sea urchins (“ricci”), a speciality of the season. You don’t actually eat the flesh of the sea-urchins – someone cuts them in half with shears and throws away the flesh. That just leaves the roe, which you scoop out with a plastic spoon. It tastes of the sea. Lou then had spaghetti with a ricci sauce and I had Polipo in Pignata, which is octopus in a tomato, potato, garlic and chili sauce. It was one of the most enjoyable meals we have eaten in Italy (not to mention one of the cheapest).

Trattoria Le Taiate
Trattoria “Le Taiate” in Porto Badisco. If you are visiting Otranto, then come here for lunch. Hasselblad 501 C/M, Zeiss Distagon C 80mm lens, 6x6cm rollfilm back, Fujichrome Velvia 50 film (click to enlarge).
Ricci
Cutting up sea urchins for “ricci”. Canon digital pocket camera (click to enlarge)
Ricci
Ricci, showing the roe. Canon digital pocket camera (click to enlarge)
Polipo in Pignata
Polipo in Pignata. Canon digital pocket camera (click to enlarge)

Another characteristically pretty Pugliese town is Polignano a Mare. It sits on the edge of a low cliff over the Adriatic, and needless to say the seafood is excellent. We ate in a restaurant where the proprietor turned out to have fond memories of some years spent in Melbourne.

Polignano a Mare
Polignano a Mare. Hasselblad 501 C/M, Zeiss Distagon C 80mm lens, 6x6cm rollfilm back, Fujichrome Velvia 50 film (click to enlarge).
Polignano a Mare
Polignano a Mare. Hasselblad 501 C/M, Zeiss Distagon C 80mm lens, 6x6cm rollfilm back, Fujichrome Velvia 50 film (click to enlarge).

Not surprisingly, Polignano has been used as a location for a few films and TV series. Also not surprisingly, it has real estate agents whose window displays are in English, which gives you an indication of the prices.