Swimming in Lake Como 2024

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At the end of June, there is an annual mass swim across the lake from Torno to Moltrasio organised by Moltrasio’s Rowing Club.

Each year we publish the data on the cleanliness of the water across the twenty two beaches or lidos on the Como leg of Lake Como. The official collection of data starts mid to late April so the results quoted below are from last year’s season (2023). Out of the 22 sites tested, 2 had no data for unknown reasons, one was deemed ‘good’ and the remaining 19 were classified as ‘excellent’ for swimming. These results provide a resoundingly positive reply to those questioning if Lake Como is safe for swimming. Details are reported below.

The EU’s Bathing Water Directive

portale acque

Go to portaleacque.salute.gov.it to access the latest data on the level of bacteria in water sampled from Lake Como’s beaches

All the countries within the European Union apply the standards defined in the 2006 Bathing Water Directive. These require member states to monitor rivers, lakes  and beaches regularly, to report their results and immediately publicise closure whenever any specific location fails to achieve acceptable levels. There is a broad range of poisonous bacteria that can enter the water either from sewage, water treatment centres or as agricultural or industrial run-off. Beyond causing gastroenteritis, they may also lead to very serious conditions such as meningitis. Rather than test for the wide variety of possible bacteria, the tests focus on identifying the number of units of just two microorganisms, e-coli and intestinal enterococci. Levels of these provide a good indication of general levels for the other harmful bacteria. Units are measured per one hundred millitres with any number below 1000 acceptable for e-coli and below 500 for enterococci. Depending on results, the water from each site is then classified as being either excellent, good, sufficient or poor.

Water Temperature

como swimming club

Como Nuoto used to organise a competitive swimming race across the lake. Let’s hope it is reinstated now that the fate of the swimming club is more secure.

The Lake Como swimming season runs from June to September. During these summer months, the average temperature of the surface water on the lake does not fall below 20°C.  The actual average summer temperature of the water is 23.2°C with June at 21.3°C, July at 24.1°C, August 24.2°C and September at 20.4°C. In contrast the winter average is a mere 5.8°C and currently (April) it stands at a bracing 13°C. 

Lidos and Beaches

Faggeto lido

The lido at Faggeto Lario pictured off season in uncharacteristically high wind.

Those not familiar with Lake Como may be initially surprised at what is defined as a beach here, particularly if they have the seaside in mind where beaches are often more extensive areas of pebble or sand. While there are more open areas of beach to the north of the lake, with accompanying facilities and water sports, the southern end is more rugged with mountains regularly running down to the water edge. So any flat, sandy or grass area on the lakeside could be given the sobriquet ‘spiaggia’. However only those beaches with at least the bare minimum of services are included in the water quality monitoring programme. This does not mean that the ‘unofficial’ beaches are any less clean. In fact, since they are more likely to be away from the larger areas of population, they can safely be assumed to share the general high level of water  cleanliness found elsewhere.

Spiaggia Careno

The ‘spiaggia’ or beach at Careno, just below the romanesque church of San Martino. This beach is not monitored for water quality but is located between two of the cleanest monitored beaches on the lake.

Lidos provide more services in exchange for an entry fee. All offer sunbeds and  umbrellas with a bar service. Most also include changing cabins and showers. Although some occupy quite a small area, e.g. the lido at Faggetto Lario, they offer an experience similar to their seaside equivalents. 

The Data

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The lido in Viale Geno

The table below shows the figures for the two lidos in Como – Villa Olmo and Villa Geno – for the tests done over the swimming season (June to September).  Colour has been added to the row for the tests done on 28th August because the results are anomalous being much higher than all the other tests done but still within the levels deemed acceptable for swimming. Most other sites on the lake also recorded higher figures for that week in August probably due to levels of rainfall beyond the capacity of the local purification plants to manage entirely satisfactorily.  When such weather events occur, the impact on water quality is worse close to the larger centres of population such as Como.

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The Winners

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The beach at the tip of Bellagio is the second cleanest on the Como leg of the lake.

As mentioned previously, there are no losers last year in that all beaches sustained results within acceptable levels of bacteria across the whole season BUT there are winners. 

By totalling the figures in the two columns across the five testing dates per location, we have devised a simple ranking of beaches with the best achieving the lowest overall score. The top three places all go to beaches on the eastern side of the Como leg of the lake. The overall winner is Rosina beach in Nesso, very closely followed by the Spartivento beach in Bellagio. Third place is shared by the lido in Faggetto Lario and the Salice beach in Lezzeno. So the very cleanest beaches are all on the Bellagio side of the lake. 

Detailed figures for these four winners are shown in the table below.

winners table

Note here how figures for testing on the 28th August are higher than the average but not to the same extent as in Como itself. 

Lenno

Lenno’s lido is the cleanest on the western shores of the Como leg of the lake.

The cleanest beach on the western shores of the lake was at Lenno Lido (5th in overall ranking), followed by Cernobbio Villa Erba. Then came Tremezzina Parco Teresio, Colonno Lido and Sala Comacina. Argegno Lido is next but this has a swimming pool for those not wishing to bathe directly in the lake. Moltrasio follows. This beach was closed last year and recently bought by the Hotel Imperiale who will reopen it again this season. The last two in the list are Laglio Tenclu and Ossuccio Ospedaletto. This latter beach is in a truly delightful location facing on to the northern shores of Isola Comacina. But its results are nothing like as impressive as most others with an E-Coli reading for August almost tipping the unacceptable level at 850 units per 100ml.

Ossuccio Lido

The lido at Ossuccio. This is a delightful setting and the water is within acceptable bacterial limits but it does come at the bottom of our crude system of ranking.

scoring tableThis table shows the ranking of all the beaches and lidos tested in our area. The figures in the right hand column are simply the sum of all the data collected over the five occasions during the swimming season. For the details, please go to the Portale Acqua site.

Conclusion

Overall wild swimmers can feel confident in finding clean water in Lake Como if entering the lake at any of the listed public beaches and lidos.  There are a number of locations where swimming is actually prohibited. This is either because the location is close to the outlet of a purification plant, such as in the tempting beach area behind the Tempio Voltiano in Como, or because it is near a landing stage for boats. The lake does not suffer from any significant chemical pollution since most of the land on the surrounding mountain sides is not cultivated and bacterial pollution is kept well under control as year on year data goes to show.

The Beach

The beach area behind the Tempio Voltiano is NOT a permitted swimming site since it is at the mouth of the Cosia river and just downstream from the city’s waste water purification plant. It does look very tempting on a hot sunny day but it is not safe.

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Como Tourism Post Covid

lake charms

The charm and beauty of Lake Como

Covid dealt a blow to tourism throughout 2020 and 2021, only allowing for a reduced season from June in 2022. The restrictions on travel over this prolonged period created a pent up demand that saw record numbers of tourists visiting the lake in 2023. Expectations are high this year of achieving similar results but last year’s success has brought its own challenges. What is more, the traumatic restrictions on liberty over Covid lockdown seem to have had an impact on what visitors now look for from a holiday. Lake Como’s natural charms are secure but does Como possess the necessary infrastructure, professionalism and will to meet the challenges of success, to safeguard and publicise the qualities of the ‘brand’ and  to satisfy the evolving demand for ‘experiential’ tourism?

The Impact of Covid

Lombardy was the worst affected region in Italy to be impacted by the Covid pandemic. Within the region, the province of Bergamo suffered the greatest number of fatalities. The mortality rate in the province of Como was less but tourism here was hit badly since it receives a high percentage of foreign visitors and their travel was more restricted than domestic visitors during the brief periods when lockdown measures were eased. 

Overnight stays in Lombardy

Table A (top) shows numbers of domestic visitors to Lombardy in 2019 (dark blue) and 2020 (light blue). Table B shows numbers for foreign visitors.

Table A above shows the figures for domestic visitors to Lombardy in pre-Covid 2019 (dark blue) compared with 2020 (light blue). Table B makes the same comparison but for foreign visitors. Domestic visitors even managed to achieve similar numbers in August 2020 to the same period in 2019 but this was far from the case for foreign visitors. Eight out of ten visitors to the province of Como come from abroad.

The Recovery

Last year, 2023, saw a massive recovery in visitor numbers across Lombardy with a 25% increase compared with pre-Covd 2019. Lombardy had 51 million visits of which 44 million stayed overnight. Of the overnighters, Milan was the most popular destination with 18.8 million total nights followed by Brescia with 13.1 million. The province of Como came third with 4.6 million closely followed by Sondrio with 4.4. million. Whilst foreign visitors to Milan represented 66% of the total, the figure for Como was 85%.The average length of stay in Como falls below the regional average at 2.7 days (2022 data) which shows little improvement over the 2.5 days registered back in 2014. 

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The lake retains its charms over the usually dry and sunny days of mid winter.

Day visits to Como – either by foreigners staying elsewhere or by those residing in the Milanese conurbation – doubled from 2014 to 2022 to arrive at a total of 3.9 million. 

Como’s restaurateurs, hotels and holiday home owners were very pleased to see a record-breaking recovery in visitor numbers last year but the persistent difficulty in increasing the average length of stay and the high proportion of day visitors suggest there are some challenges ahead, in addition to  protecting ‘the brand’.

The Brand

Why do an increasing number of people want to visit Lake Como? What in marketing terms is its brand, and to whom does it appeal? 

Villa Balbiano (1)

Villa Balbiano originally built for the Giovio family but past on to Cardinal Tolomeo Gallio in the late 16th century.

There are a surprising number of Russian oligarch residents on Lake Como who tend usually to keep a low profile.  But Mikhail Kusnirovich, 57 year old entrepreneur and owner of the GUM shopping mall on Moscow’s Red Square, recently afforded a rare interview to the local newspaper ‘La Provincia’. He has owned a second home in Tremezzo adjacent to the Villa Balbiano since 2005. He and his family fell in love with the lake for its ‘tranquillity, convenience, good climate and the unique colours of its lake and sky’. This may be a fair description of the Lake Como ‘brand’ if we also include an element of exclusivity (literally meaning ‘to exclude’). This brand definition may apply less to the northern end of the lake (Alto Lago) where the topography allows for more camping sites and beach facilities but is entirely accurate for the high end tourism focussed on the area between Menaggio, Varenna, Bellagio and Tremezzina whose facilities are primarily accessed via the city of Como itself. 

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Breakfast ‘alla americana’ in Como’s Piazza Cavour.

The natural beauty appeals to all visitors no matter how short their stay but the tranquillity and exclusivity appeal primarily to visitors from abroad (8 out of 10 visitors) with the highest numbers coming from Europe (Germany, France, Netherlands and United Kingdom). In recent years there has also been a big increase in visitors from America and particularly from Asia and the assumption is that these two will see the biggest growth in the future. 

But Mikhail Kusnirovich foresees some problems with growth.  In expressing his concern for the number of parties held over the season in the neighbouring Villa Balbiano he commented, “Two parties per season represents exclusivity. Two parties per day transforms a ‘Ferrari’ into a utility vehicle, “ resulting in the “loss of peace and tranquillity”. He went on to say “Lake Como must stay as a dream location, leaving those who visit with the wish to return. If it turns into a Miami Beach, this changes the rules of engagement…Don’t ruin its enchantment.” 

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Calm and tranquillity at risk from displays of excessive exuberance!

No doubt famous seasonal residents like George Clooney have given a massive hand in marketing the Como ‘brand’ but an unmanaged increase in visitor numbers may well kill off this particular golden egg-laying goose. Back in October 2023 rumours circulated that the Clooneys were putting their Villa Oleandra in Laglio up for sale based on Amal Clooney’s apparent preference for France. Their solid denial came as a massive relief to local businesses but the mere threat illustrated the fragility of the brand image.

The Challenges to Lake Tourism

The geography of the lake does not lend itself to mass tourism. The number of visitors in 2023 saw previously unknown pressures put on the area’s transport infrastructure via land and lake. There are 45 licensed taxis able to operate in Como and available to take visitors from the railway stations to their various destinations within and beyond the city. These were not enough.  Many hotels and holiday home owners had to make their own arrangements for getting their guests to and from the 240 hotels and 6,000 holiday homes on the lake. 

Concordia

Pride of the Navigazione’s fleet, the restored steamboat Concordia

In 2023 up to 5,800,000 people were transported on the lake in the boats of the Navigazione Laghi  – more than those travelling on either Lakes Garda or Maggiore. Unfortunately the Navigazione suffered technical issues with at least two of their high speed boats intended to transfer visitors quickly to Bellagio, Tremezzina or Menaggio. Long queues developed in front of the Como ticket office in spite of the possibility of purchasing tickets online (a service not sufficiently publicised). 

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The bus fleet may well boast latest full electric members presented in front of the Tempio Voltiano (the father of electricity) but the narrow roads present an insurmountable challenge to increasing passenger volumes.

The bus routes (C10 for the west side of the Como leg of the lake and C30 for the east to Bellagio) were overwhelmed.  Although there may be the possibility of increasing the number of journeys if staffing levels permit, there is no option to increase the size of the buses given the nature of the roads. Travel was further impacted by the traffic jams caused by large vehicles trying to negotiate the narrow roads on the sections of the Via Regina from Colonno to Lenno. 

The numerous transport issues caused frustration to visitors and residents alike and certainly threatened the sense of ‘calm and tranquillity’. 

The Como municipality recently approved the issuing of an additional 23 taxi licences to bring the total number up to 68 but these may not all be granted in time for the current season. This is the first change in the number of taxi licences granted since the 1970’s – such is the pace of change on Lake Como.  The Navigazione Laghi have brought two more high speed boats into operation this year and they hope to avoid further technical issues. Little though can be done to improve bus services other than some tinkering to improve integration with other transport services. 

High end tourism requires well qualified staff to meet the levels of knowledge and service demanded by discerning visitors. Staffing across most industrial sectors, but particularly in the tourism and hospitality industry, has been a problem post Covid. Back in pre-Covid 2019, 30% of appointments in the tourism sector on Lake Como had been difficult to fill. That has now risen to 51% whilst the average across all sectors has risen to 45%. 10% of the workforce in the province  – a total of 31,300 people – are employed in the tourism industry working within 7,636 different establishments – a total that has increased by a mere 1.2% over 2022. Many new establishments are hoping to open their doors in the near future but the challenge will be to find the numbers of appropriately qualified staff to work in them. 

Current Tourism Objectives

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Climate change is encouraging the lake’s cormorants to stay on over the winter months but will ‘deseasonalising’ also work for foreign visitors?

Other than managing the issues raised above, the local tourist industry has set itself two main objectives. The Italian term for the main one is ‘destagionalizzazione’ a clumsy term equally clumsily translated as ‘deseasonalising’ or in other words, seeking to extend the season beyond its historic span from April to October. Some of the larger hotels have managed to stay open recently throughout the year or with an additional opening over the Christmas period but the majority do not. 

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Christmas in Como is atmospheric. The days are ususually dry but the climate is not so favourable in early spring and late autumn.

Opening from late autumn to early spring means equipping your hotel sufficiently to keep your guests comfortable and entertained. The investment needed can be considerable and the modifications may also require prolonged closure. The vast majority of hotels on the lake are family-run businesses less able than the national or international chains to cushion these costs. Possible result? A decline in family run establishments in favour of chains. The chains are more able to manage the investments needed either to ‘deseasonalize’ or to set up any of the high end luxury units that the market now favours. But any attempt to increase the length of the season beyond the long balmy days of a prolonged summer runs into the realities of the climate. November in particular is usually a particularly wet month with the risk of incessant rain falling for four or five days at a time. So much for the ‘good climate’ espoused by Kusnirovich as part of the lake’s enchantment. The same risk of rain applies to spring as experienced this year over the Easter break. 

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Staircase of the hotel Il Sereno in Torno whose interior and exterior were designed by Patricia Urquiola – an example of one of the latest high end luxury hotels.

The Italian term for the other main objective is ‘delocalizzazione’ offering an equally clumsy translation as delocalising. What this represents is the aim of spreading the distribution of visitors beyond a focus on the  Menaggio-Varenna-Bellagio-Tremezzina  area and out of the city of Como itself. Apart from the recent and planned openings of some luxury hotels in and around Como (for example in Torno, Moltrasio and Brunate) this may mean seeking to develop new forms of tourism pointing to some possible future trends.

The Future

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The multi day walk on the Via del Viandante on the Lecco leg of the lake

We can assume that high end tourism is set to increase in the near future with a greater presence of international hotel chains opening relatively small luxury units more adapted to providing comfort all year round. 

One trend that might favour delocalisation is the post Covid move to what is called ‘experiential tourism’, namely holiday breaks designed around specific activities such as cycling, walking, cultural studies and food and wine tours. Lake Como is well qualified to provide for all these forms of holiday activity. Two long multi day walks flank either leg of the lake  – the Via del Viandante on the Lecco side and the Via Francigena Renana  running down from Coira (Chur), through Chiavenna to and beyond Como. And there are of course other scenic one or two day options for walking in the neighbouring mountains. Much more could be made of the cultural and historic heritage of the region but the potential is there. If we think of Lake Como as the gateway to the Valtellina then we can also boast a fine tradition of viticulture with a local cuisine to match. The large increase in holiday home rentals over hotels means there are many more visitors looking to eat out and in search of local traditional food. 

Pizzocheri

Nothing can beat the simple pleasure of a well made plate of pizzocheri and a glass of everyday wine on a hillside hike.

The current estimates for the numbers of people engaging in one form or other of experiential tourism in Europe are as follows: 4.8 million in France, 5.6 million on Germany and 7.1 million in the United Kingdom – with Italy favoured as a destination. The potential is there. A growth in experiential tourism would support delocalisation and could potentially bring revenue to the string of small communities based in the mountains up from the lakeside. It would definitely increase the average length of stay and It would also democratise local tourism and counter the trend towards Como becoming a millionaires’ playground. 

Posted in Culture, Food, Itineraries, Lake, Sustainability, Transport | Tagged , , , , , , , | 1 Comment

Como and Henry’s ‘Turbulent Priest’

Throughout the Middle Ages there was constant friction across Western Europe between the crown and the church – with the temporal authority of the crown envious of the spiritual authority of the church (and vice versa). The fate of one person in particular came to symbolise this struggle. This was Thomas a Becket, appointed Archbishop of Canterbury by King Henry II of England in 1162 and subsequently executed on his orders in 1170.  His martyrdom and beatification gave birth to a cult celebrated through pilgrimage to Canterbury and the veneration of shrines and relics across Europe including here in Como.

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The Reliquary housed in the sacristy of the Basilica di San Giorgio in Borgo Vico. It contains the mandible of Saint Thomas a Becket

The Basilica di San Giorgio in Via Borgo Vico is the proud possessor of Thomas A Becket’s lower jaw complete with molars! We will attempt to explain why and how the jaw came to reside in the sacristy of the church starting with a minimum of Becket’s backstory.

Brief History

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Poster of the 1964 film ‘Becket’ starring Peter O’Toole and Richard Burton

Those of a certain age may remember a great film entitled ‘Becket’ released in 1964 starring Peter O’Toole as Henry II and Richard Burton as Becket – the Archbishop of Canterbury. They will therefore be fully aware of how these two figures were close friends until the King sought to have Becket ordained as a bishop. Becket had warned the King against this knowing full well that his loyalty would no longer be towards his good friend but to the church that he would now head. As he himself said, he changed from ‘a patron of play-actors and a follower of hounds, to being a shepherd of souls.’

Becket San Giorgio

Fresco depicting Thomas a Becket in the Basilica di San Giorgio in Borgo Vico, Como. The fresco is attributed to the Recchi brothers.

Henry II had come to the throne in 1154 and the following year he appointed Becket as his chancellor. Becket then served the King loyally for seven years in his role as statesman, diplomat and soldier. But in 1161,on the death of Theobald, the Archbishop of Canterbury, the King ensured Thomas was ordained a bishop in the following year and then immediately appointed Archbishop.  Henry was hoping to have selected a close ally as head of the English church to support him in his disputes over the judicial rights of church members, their freedom from regal taxation and their right of final legal appeal to the Papacy in Rome. 

Their personal relationship rapidly broke down to the extent that Becket was forced to flee the country in 1164 taking refuge in France. However he returned six years later in 1170 following a reconciliation with the King. But towards the end of that year, the relationship broke down again with Henry becoming irate when Becket held a formal meeting with Henry’s heir apparent in London. In a fit of temper the King is said to have turned to his courtiers and uttered the challenge, “Who will rid me of this turbulent priest?”. Four knights took him at his word and rode off to Canterbury where they murdered Becket on the 29th December 1170 as he was at prayer in the cathedral.  

The Becket Cult

becket fresco in Spoleto

This fresco is in the Church of Saint John and Saint Paul in Spoleto. It depicts the murder of Thomas a Becket and is said to date back to the 13th century.

News of Becket’s martyrdom rapidly spread across Europe to Rome.   By 29 February 1173 Pope Alexander III had, in an unusually short time, completed the process of canonisation. Canterbury Cathedral rapidly became an important destination for pilgrims across England. The Pope continued to fan the flames of a growing Becket cult by publishing various tracts from Rome aligning the saint’s martyrdom with his own dispute with the Holy Roman Emperor, Frederick I – better known in Italy as Federico Barbarossa. The Papacy was keen to present Becket’s martyrdom as a potent symbol of resistance to temporal power. 

Becket aquilela

This bas-relief sculpture depicts Christ sat in the middle with Saint Peter on his right and Saint Thomas a Becket on his left. It is found in the Basilica di Aquileia in Friuli.

As a result of Pope Alexander’s ‘propaganda’ the Becket cult quickly spread throughout Italy. There are at least forty religious sites across Italy dedicated wholly or in part to Thomas a Becket with twenty eight of these in the North. A chapel within the grounds of Varese’s Ospitale Nifontano was dedicated to Saint Thomas and St. John the Evangelist immediately following his beatification in 1173. The delightful mediaeval village of Corenno Plinio on the Lecco leg of Lake Como has a church dedicated to Becket. It was originally built as a chapel for the adjoining castle. 

The most significant dedications to the saint are to be found in Sicily, possibly because many members of Becket’s family were forced to take refuge there when Thomas himself sought safety in France in 1164. Clearly they had received help and a welcome from Queen Margherita. She was the English widow of the Norman King of Sicily, William I, and was at the time acting as regent to the infant William II. He in turn was married to Giovanna D’Inghilterra whom he had married when she was at the tender age of eleven. Giovanna was the daughter of King Henry II.  Becket is said to have written the following to Margherita,  “We owe you a great debt of gratitude and we thank you from the depths of our heart for all you have done for our family – those poor souls forced to flee to your country to save themselves from persecution and where they have found consolation…”. Becket himself had visited Italy in happier times with a visit to Rome in 1150 and a year spent studying canon law at Bologna from 1146 to 1147. 

Mosaico di San Tommaso Cantuariense nel Duomo di Monreale

Mosaic depiction of Saint Thomas a Becket in the Duomo of Monreale.

The cathedral at Marsala in Sicily was dedicated to Saint Thomas at some point between 1173 and 1189 which was when the reign of William II of Sicily ended. The Chiesa di S. Tommaso Cantuariense (Canterbury) in Palermo is said to have been dedicated to the saint immediately following his beatification. The church is noted as having an ancestral right dating from 1439 to receive a whole tuna once a year gifted by one of the numerous ‘tonnare’ along the Palermo coastline.  Sicily can also boast one of the first known representations of Saint Thomas a Becket.  It can be found in the mosaics of Monreale Cathedral. This dates from before 1182 and so just precedes a bas-relief to be found at the other end of Italy on one of the altars within the Basilica of Aquileia in Friuli. The sculpture depicts three figures with Christ at the centre with St.Peter sat to his right and Thomas a Becket to his left. The sculpture has been dated to the early 1180s and is perceived as a symbol of Papal propaganda directed against Frederick I, the Holy Roman Emperor. 

The Becket cult was consolidated over the following years with over seven hundred healing miracles assigned to him over the ten years after his martyrdom. These would have resulted either from a visit to his shrine in Canterbury or exposure to any of his relics. His shrine in Canterbury became one of three or four of the most significant pilgrimage centres in Europe. Chaucer’s Canterbury Tales, written between 1387 and 1400, are testimony to the broad appeal of this destination throughout the Middle Ages.  

Becket’s Relics

Reliquary casket showing the murder of Thomas Becket copyright VandA

A reliquary casket showing the murder of Thomas a Becket in Canterbury Cathedral.

In a clever move to encourage and facilitate pilgrimage to Canterbury, Archbishop Langton instituted the Feast of the Translation of Thomas a Becket first held  on 7th July 1220. On that day the remains of the saint and his clothing were moved from his grave in the crypt into a specially constructed shrine in the cathedral’s Trinity Chapel. From 1220 onwards, every 7th July was celebrated as the Feast of the Translation with festivities lasting for two weeks afterwards.  Thousands of pilgrims would descend on Canterbury every year preferring to celebrate the mid-summer ‘translation’ rather than the mid-winter martyrdom. A jubilee celebration was held every fifty years attracting hundreds of thousands of pilgrims to Canterbury at a time when the overall population of the country was no more than three million. 

becket reliquary Limoges in BM

A reliquary built in Limoges showing the martyrdom of Thomas a Becket

For those pilgrims travelling to Canterbury, visiting his shrine was a confirmation for them of the saint’s continuing earthly presence. Being physically at his shrine meant having a link to Becket’s immortal being. Relics of the saints also possessed similar power in the minds of believers.  The belief was that by viewing or touching something that belonged to the saint, the devotee might receive some of their healing or redemptive qualities. The relics provided a conduit to the saint’s spiritual presence.  When Archbishop Langton transferred Becket’s remains to his shrine, he ensured that he left out some of the bones so as to present them to visiting dignitaries. And this may be how Como came to host Becket’s lower jaw. 

The spread of Becket’s relics outside of Canterbury and across Continental Europe can primarily be attributed to the passage of pilgrims to and from Canterbury and Rome. It is of course very difficult to validate the authenticity of relics and as Chaucer depicted in the Pardoner’s Tale, there was a brisk business in false relics across the Middle Ages. The Pardoner came armed for his pilgrimage to Canterbury with his glass jar full of pigs’ bones. 

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The reliquary housing the tunicle said to have been worn by Thomas a Becket at the time of his assassination. It is housed in the Papal Basilica of Santa Maria Maggiore.

But the most significant and probably entirely genuine relic resides in the Papal Basilica of Santa Maria Maggiore in Rome. It is the blood-stained vestment said to have been worn by Becket when he was assassinated. It is known as the Rome tunicle and is housed in a seventeenth century glass reliquary. It has been loaned out from time to time to Canterbury Cathedral. The most recent loan was in 2020 timed to coincide with the 850th year anniversary of the saint’s martyrdom. On that occasion a spokesman for the Anglican church said, “Venerated by pilgrims for hundreds of years, the artefact will be a focus for prayer for the thousands of pilgrims expected to come to Canterbury this summer, and will give historical perspective to the bishops of the worldwide Anglican Communion attending the 2020 Lambeth Conference in Canterbury during this time. ”  The tunicle was originally given to the Pope by Henry VII who reigned from 1485 to 1509. His son Henry VIII, as we shall see, had a very different attitude towards the ‘turbulent priest’ and any of his relics.

Sens Cathedral in France has a chasuble (the frock worn by priests when celebrating mass) said to have belonged to Thomas a Becket, while the Papal Basilica of Santa Maria Maggiore possess parts of the saint’s brains in addition to his tunicle. And Como has his lower jaw. I have not been able to establish how the Basilica di San Giorgio came to acquire their relic other than the suggestion it was bought at some point in the first half of the 13th century. 

Suppression of the Becket Cult

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In this manuscript illustration, the background shows London Bridge as it was rebuilt in 1176 with funds secured by building a chapel dedicated to Thomas a Becket at the bridge’s centre (visible in the top left hand corner of the illustration.)

Becket’s fate was the result of a political struggle between crown and church. The immediate and sustained popularity of his cult was aided by the Papacy adopting his cause in support of its conflict with the Holy Roman Empire. The Pope had both temporal and spiritual supremacy across the Papal States whilst retaining only spiritual leadership elsewhere. The Holy Roman Empire was constantly threatening to seize temporal power around the margins of the Papal States whilst also seeking to extend or consolidate its rights over spiritual matters within its dominions. Italy’s fragmented series of dukedoms and city states sought survival through alliances with one or other of these two major players with the so-called Ghibellines supporting the Imperial cause and Guelphs supporting the Pope.  Como was predominantly Ghibelline throughout the Middle Ages whilst neighbouring Milan was Guelph. 

ghibs and guelphs (1)

The crest of Guelph cities supporting the Papacy such as Milan (on the left) have a red cross on a white background while those of Ghibelline cities such as Como (on the right) reverse the colours to show a white cross on a red background.

This contest for spiritual power was resolved in favour of the crown in Britain when Henry VIII passed the Act of Supremacy in 1534 declaring himself as the Supreme Head of the Anglican Church rather than the Pope.  Schoolchildren in UK have been brought up in the belief that Henry broke with Rome so as to allow himself to divorce his first wife, Katharine of Aragon. This may have been one advantage from the King’s perspective but the main purpose was to resolve the struggle between temporal and spiritual power that had characterised the Middle Ages. By breaking with Rome, Henry was now free to seize the wealth of the church, suppress a large number of the abbeys and monasteries around the country, consolidate all legal jurisdiction under the crown and pursue an entirely independent mercantile policy abroad. 

With Becket so closely associated with the Papacy, it was inevitable that shrines and imagery dedicated to him came to be destroyed across Northern Europe as the Reformation took hold. In Britain Becket was redefined as a traitor to the crown in a royal decree of 1538. His shrine in the Trinity Chapel of Canterbury Cathedral was destroyed and his body either burned or reburied elsewhere in an unknown location. It seemed that Becket was not an appropriate person to venerate on the dawn of the modern age.

Further Reading

Giovanni Paolo Recchi San Giorgio

The fresco on the ceiling of the Basilica di San Giorgio in Borgo Vico attributed to Giovanni Paolo Recchi.

The Basilica di San Giorgio in Borgo Vico was the local church of the Recchi brothers who saw to its redesign in the 17th century and to much of the internal decoration. Read Early Lombardy Baroque: Fratelli Recchi for more information.

The conflict between Guelphs and Ghibellines has been a constant element in Como’s history. Read Como’s City Walls for an overview of this history and Isola Comacina – A Serene Location with a Tragic Past for an account of one of the major Guelph v Ghibelline conflicts in our area. The story of Lake Como’s Condottiere – The Marquis of Musso illustrates the complex series of shifting alliances that led to bloodshed between neighbouring cities on the lake.

Posted in Art, Culture, History, People, Places of interest, Uncategorized | Tagged , , , , , , , , , , , | Leave a comment

Como to Auschwitz on Convoy 8

giorno della memoria

Holocaust Memorial Day, January 29th. A small group gather to commemorate the victims of the Shoah in front of the Memorial to Resistance, Como.

On 22nd February 1944, a train left Fossoli concentration camp near the town of Carpi in the Province of Modena with 650 people on board. Its destination was Auschwitz. It arrived there four days later on 26th February. 525 of its passengers were immediately marched on their arrival to the newly constructed gas chambers where they were killed. The remaining 125 were deployed as slave labour. Out of their number only five survived to return back to Italy. This train, named as Convoy 8, was the first of a further five convoys from Fossoli sending Jews to the Nazi death camps. 

Convoy 8 included a number of men, women and children who had been arrested, interrogated or detained in Como and then sent on to Fossoli.  Most had moved to within the province either to escape the allied bombing of Milan or to try to reach salvation across the Swiss border. The majority were Italian citizens. They were all captured by agents of the fascist state  – the Polizia di Stato (PS), the Guardia Nazionale Repubblicana (GNR), or  the Border Militia particularly the ‘Monte Rosa’ legion.

Enemies of State

Italian fascism had not adopted antisemitism as a fundamental element of its ideology at birth unlike Nazism. It had though shown its propensity for racism before and during the conflict with Ethiopia.  However Jews had remained socially integrated and, in the majority of cases, fully supportive of the regime in its early years. All was to change in 1938 when Mussolini introduced the first of his race laws depriving Italian Jews of key rights and limiting the freedom of those foreign Jews who had migrated from Germany or other Nazi-occupied territories. Along with a variety of restrictions to civic rights, the law now required all Jews to register their ethnicity with their local state police.

questura di como, viale innocenzo, polizia di stato

The Questura di Como, State Police. From 1938 all citizens of Jewish descent had to declare their ethnicity at the local Questura.

In June 1940 a government decree forced foreign Jews into internment camps. The largest of the fifteen specially constructed camps was at Ferramonti di Tarsia in Calabria. It held 2,700 internees at its peak in the summer of 1943. These were to prove the more fortunate in that they were liberated by allied forces in September of that year.  This was also the month in which the Nazis occupied the north and centre of the country and re-established Mussolini as head of the so-called RSI (Repubblica Socialista Italiana).  From that date the lives of all Jews living within the nazifascist occupied territory were at risk.

A law was passed on 14th November 1943 defining all Jews as foreigners. Sixteen days later it was decreed that all Jews of whatever nationality were to be treated as enemies of the state and as such, to be arrested and interned. All of the various repressive agencies of the RSI were authorised to arrest Jews and seize their property and possessions. The Italian state then handed over their prisoners to the Nazis who organised their transport into slavery, or more frequently, execution. 

DifesaRazza

Using stereotypical caricature, this Nazifascist poster summarises the restrictions imposed by Mussolini’s 1938 Race Laws.

The Bid to Escape

During the very first days of the Nazi occupation, thousands sought to cross the border into Switzerland at Ponte Chiasso. They included Jews, allied ex-prisoners of war and demobbed Italian soldiers. The Nazis took immediate steps on arriving in Como on September 12th 1943 to close and control the border. This drove those seeking safety to adopt clandestine routes over the mountains as habitually used by local smugglers. 

De Benedetti family

The De Benedetti family, photo courtesy of CDEC.

Leonardo De Benedetti,  a 45 year old medical doctor from Turin, had crossed over the Swiss border below Lanzo D’Intelvi on 3rd December 1943. He had been accompanied by his mother, wife and other members of the family. The Swiss had allowed his elderly mother and other family members to stay but forced Leonardo and his wife Jolanda back over the border, leading to their immediate arrest. Husband and wife were detained in Como and then moved to the newly opened concentration camp in Fossoli. They were both then put on Convoy 8 leaving Fossoli for Auschwitz on 22nd February 1944. 

border crossing

The wire fence marks the Italian Swiss border above Maslianico on the side of Monte Bisbino with a now disused guard hut on the Italian side. Escapees were led to areas such as this where they sought safety through gaps in the wire fencing. This form of escape would not be suitable for a family travelling with a new-born child.

The start of December saw the arrest of a number of families trying to cross the border. All those listed here were to find themselves detained in Como and then moved to Fossoli to be placed on Convoy 8 leaving for Auschwitz on February 22nd 1943. They included the Bassani family from Venice arrested on 1st December. The family consisted of father Edgardo aged 50, mother Nives, aged 43, son Franco aged 20 and daughter Tina aged 14. 

Franco Bassani

Franco Bassani (Number 7). Photo courtesy of CDEC

The Valabrega family from Genoa consisting of father Arturo, 49, mother Ida, 59 and son Luciano 22 were also arrested on 1st December trying to cross the border. 

The Calò family were arrested in Olgiate Comasco on 2nd December. The family was originally from Trieste and consisted of  father Emilio, aged 59, wife Enrichetta, aged 51, daughter Rosina aged 21 and son Giuseppe aged 20. They were also accompanied by Enrichetta’s brother, Vittorio aged 49 from Venice and his wife Norma aged 44. 

Enrichetta Gentilli

Enrichetta Gentilli, mother to Rosina and Giuseppe

The six members of the Calò family had travelled over from Trieste with the Campi family. The Campi family were arrested on 3rd December. They were Massimiliano, born in Poland but resident in Trieste, aged 57, his wife Iris aged 40 and their daughter Lia Anna aged 14.

Both the Calò and Campi families had entrusted themselves to a group organising clandestine crossings into Switzerland run by the owners of the ‘Volta’ bar in Brunate – Primo Massa and his wife. Massa’s band provided at a price foreign exchange and guided passage over the border to Jews, ex prisoners of war and other refugees. His group had been infiltrated by a ruthless hunter of Jews and partisans called Gaddo Jermini who worked in the state police directly for the Prefect of Como Province, Franco Scassellati. Jermini had presented himself to Massa as a very wealthy Jew looking to escape into Switzerland. His infiltration led to the arrest of over thirty members of the band and to the Calò and Campi families being taken into custody. 

locanda-volta

Primo Mazza, the proprietor of the Trattoria Volta in Brunate, organised the expatriation of Jews and others seeking safety over the Swiss border.

The Levi family from Milan were arrested on 4th December. The father Aldo was 45 years old, the mother Elena was 43, their son Italo was 12 and their daughter Elena was a mere 5 years old.

Aldo Levi e Elena Viterbo

Aldo Levi and his wife, Elena Viterbo

All those mentioned above were detained in one of Como’s prisons before being moved down to Fossoli and placed on Convoy 8.

Como’s  Prisons

The increased level of repression and the growing numbers of the ‘state’s enemies’ (Jews, partisans, anti-fascists etc) caused the authorities to supplement the San Donato prison by converting other buildings over for detainees. This was the case with the Comunal gymnasium, the Palestra Mariani, where Ines Figini was held before being deported to slave labour in Mauthausen for supporting a workers’ strike in the Ticosa textile mill. It also applied to the military barracks to the south of the town known as Caserma De Cristoforis. This  was partly occupied by the GNR and partly converted into a prison where many of the Jewish prisoners were detained. It was known at the time as the Caserma Monte Santo. 

Caserma De Cristoforis

The army barracks – Caserma De Cristoforis – in Como. Citizens had rushed to the barracks in September 1943 to arm themselves after the initial fall of fascism. On the return of Mussolini in September 1943, the barracks were partly occupied by the GNR and used as a prison for detaining Jews.

45 year old Olga Fleischer, resident in Milan, had been brought to the Monte Santo Prison along with her 73 year old mother, Ida Goldschmiedt. They had been arrested on 4th December 1943 on arriving at Como’s San Giovanni train station with the idea of finding their way to Bellinzona over the border. A young 18 year old Red Cross nurse called Luisa Colombo befriended Olga during her time in the prison.  When Olga’s mother was later released from prison, Luisa did her best to follow up on her welfare keeping Olga informed. When Olga was moved down to Fossoli on January 20th 1944, she kept up a correspondence with Luisa up until the moment she was placed on Convoy 8 a month later.

Olga letter (1)

Letter written by Olga Fleischer to Luisa Colombo from Fossoli detention camp. She writes:Dearest Luisa, I hope you are well and can soon send your news about my adored mother; I am very worried about her. We had a good journey here without changes and arrived in the evening at about 22.00. We have found those others we have met previously to be in excellent health. I have almost got used to my new location

Olga’s mother was initially released due to her age. Many elderly Jews had assumed the state would not act so viciously against the elderly. Unfortunately they were soon disabused. Ida was re-arrested on 14th December, detained yet again in Como prior to being transferred to Fossoli. She would then be put on Convoy 9 and killed on her arrival in Auschwitz. 

Luisa Colombo and a nun, Sister Cecilia,  befriended another inmate of Monte Santo – the 68 year old Anna Corinna Corinaldi. She was originally from Milan but had more recently moved to Cernobbio in Via Regina 61 to avoid the bombing. The decree passed on 30th November 1943 had finally convinced her that her life was in danger. She attempted to cross over to safety in Switzerland from Tirano in the Valtellina but was arrested there on 13th December. Out of bureaucratic correctness, she was brought back to Como for interrogation and detention. She too was transferred to Fossoli and put on Convoy 8 for Auschwitz on the 22nd February 1944. Whilst in the Monte Santo prison she had gained the help of Sister Cecilia in presenting her case to the state police. Ever hopeful of being freed from Fossoli she had written to Luisa Colombo and referring to Sister Cecilia had stated optimistically “On my return I will seek her out.  Dear Signorina, I will never easily forget her, believe me, and I do so hope to meet up with her again in better more serene times. I am at least delighted to have known her.” 

LEAD Technologies Inc. V1.01

Luisa Colombo, the 18 year old Red Cross nurse who befriended and sought to help a number of detainees at the Monte Santo prison

Another elderly lady, Margherita Luzzatto aged 65, wrote  a note to Luisa Colombo on 2nd February 1943 from Fossoli stating, “Dear Signorina, I learnt yesterday that my husband  has been rearrested in Como and sent to Milan. Did you know? Is there anything you could do?”.  Margherita’s husband was Michelangelo Boehm, aged 76, a highly acclaimed technical expert in managing domestic and industrial gas supplies. Husband and wife had tried to cross the Swiss border at Tirano in the Valtellina. They had residence within the Province of Como and so were returned to Como for detention. 

Michelangelo wrote the following letter dated 6th January 1944 from Monte Santo Prison  to Lorenzo Pozzoli, the Head of State Police in Como: “The undersigned Gr. Uff. Ing. Michelangelo Boehm, son of Benedetto, Italian citizen, born in Treviso on 25 November 1867 to Israeli parents, living in Maggio (Municipality of Cremeno), found here as of now together with his wife, in the absence of his children and other family members, asks to be free to leave this place, temporarily establishing his domicile in a hotel in this city, expecting to return home in May, as soon as freedom is also granted to his wife, who is indisposed […] point out that the wife herself is familiar with the care necessary for her husband and the diet to which he must be subjected.

Michelangelo was initially released and cared for by the nuns of Valduce Hospital. But Margherita remained in prison until transferred to Fossoli and subsequently placed on Convoy 8 leaving on 22nd February 1944 with destination Auschwitz. 

Michelangelo had been freed similarly to the mother of Olga Fleischer, because a police order dated 10th December 1943 amended the general arrest warrants for Jews published ten days earlier by providing an exception for those over seventy or gravely ill. This amendment was however quickly rescinded by the SS Command in Milan meaning that Olga’s mother Ida and Michelangelo found themselves back in Como’s prisons. Michelangelo was subsequently deported to Auschwitz from Milan on the 30th January 1944. He died on arrival at the death camp.

Margherita Luzzatto and Michelangelo Boehm

Margherita Luzzatto and Michelangelo Boehm. Photo courtesy of CDEC

Fossoli

The concentration camp in Fossoli in the Province of Modena started life housing allied prisoners of war until the armistice published on September 8th 1943. Once the Nazis had reinstated Mussolini as head of the RSI (Repubblica Socialista Italiana), the fascists set about adapting the camp to house Jews. With the declaration of 30th November calling for the internment of all Jews, Fossoli was quickly expanded with extra barracks built to house entire families such as the those like the Levis, Valebregas, Calòs and Campis arrested in Como.

The camp was run by the RSI until the Nazi SS took it over in March 1944. Prior to that the RSI partnered the Nazis in preparing detainees for transportation to the Nazi death camps. The first convoy departure from Fossoli was Convoy 8 leaving on 22nd February 1944. 

In addition to those detainees already mentioned, there were others arrested individually and detained in Como who were to take their place on that first convoy out of the camp. They were:

  • Arrigo Levi, aged 61 who had been arrested in Como on 20th December 1943.
  • Ada Vitali, aged 57 from Milan, arrested in Tavernerio in December.
  • Oddone Pesaro, aged 54 from Milan, arrested in Como in December 1943

The Convoy

We know about the conditions on Convoy 8 because it included two detainees who managed to survive their time in Auschwitz and Birkenau. They were Leonardo De Benedetti, arrested alongside his wife in Lanzo D’Intelvi, and his good friend Primo Levi, the author of ‘If This is a Man’ and the ‘The  Periodic Table’. Levi and Leonardo De Benedetti wrote a report together on the conditions in the concentration camps for their Red Army rescuers. Later in 2006 this was published under the name ‘Auschwitz Report’. 

From this we know that the convoy transported around 650 prisoners in twelve cattle trucks each housing around 50 deportees. The eldest of the detainees was over 80 and the youngest a three month old baby. The journey took four days with the prisoners being fed bread, jam and cheese along the journey but given no water. To quench their thirst the prisoners had to eat snow whenever the convoy stopped. 

emilia levy book cover

Cover of a picture book recounting the journey of the 5 year old Emilia Levi arrested with her mother and father in Como and transported along with the author Primo Levi to Auschwitz on Convoy 8.

Primo Levi had noted a small five year old girl in his carriage and wrote of her in the first chapter of ‘If This is a Man’ describing her as  A curious, ambitious, cheerful and intelligent little girl who, during the journey in the crowded carriage, her father and mother had managed to bathe in a zinc tub, in warm water that the degenerate German engineer had agreed to pour from the locomotive that dragged us all to our deaths“.  This was Emilia Levi, arrested in Como along with her father, mother, and elder brother on the previous 4th December.

The train arrived at Auschwitz at 9.00pm on 26th February.

Arrival at Auschwitz

As soon as the train arrived in Auschwitz, soldiers of the SS armed with pistols and batons cleared the trucks forcing the deportees to leave all luggage behind. They were then divided into three groups as follows:

  1. 95 young and able men
  2. 29 young women
  3. 525 children, elderly and infirm.
Jolanda De Benedetti

A card seeking information on the whereabouts of Jolanda De Benedetti. She had been killed immediately on arriving at Auschwitz on Convoy 8 accompanied by her husband.

This last group was marched straight to the newly installed gas chambers in Birkenau where they were massacred. The victims included Leonardo’s wife, Jolanda. The young men were marched 8 kilometres to Monowitz, a labour camp for the Buna-Werke complex of IG Farbenindustrie set up to produce synthetic rubber. Leonardo and Primo Levi were in this group. IG Farben never managed to produce any synthetic rubber at this plant due to allied air raids but mainly down to constant sabotage by the Polish civilian workers employed there.

Summary

The fate of those referred to in this article, all of whom were arrested in Como and put on Convoy 8, was as follows. Those who died at place and date unknown never managed to return home and died during their captivity:

Leonardo De Benedetti: Survived the holocaust and returned to Turin with his friend Primo Levi and resumed his role as a general practitioner. He died of natural causes in 1983 aged 85. His mother who had managed to pass into Switzerland was to die shortly afterwards.

Jolanda De Benedetti: Killed on arrival at Auschwitz 26th February 1944. 

The Bassani family: Father Edgardo survived until 27th April but died after at a place and date unknown, mother Ines died at a place and date unknown, son Franco died after 5th May 1944 at a place and date unknown and daughter Tina died at a place and date unknown.

The Valabrega family: Father Arturo died at Auschwitz 4th April 1944, wife Ida was killed on arrival at Auschwitz 26th February 1943, son Luciano died at Flossenburg 6th April 1945.

The Calò family: Father Emilio was killed on arrival at Auschwitz on 26th February 1943, mother Enrichetta died at a place and date unknown, daughter Rosina died in Bergen Belsen after February 1945, son Giuseppe died after 26th January 1945 at a place and date unknown, uncle Vittorio died at a place and date unknown, aunt Norma died at a place and date unknown.

The Campi family: Father Massimiliano died at a place and date unknown, mother Iris died at a place and date unknown, daughter Lia died at a place and date unknown.

The Levi family: Father Aldo died after March 1945 at a place and date unknown, mother Elena died at a place and date unknown, son Italo was killed on arrival at Auschwitz 26th February 1943, daughter Emilia was also killed on arrival at Auschwitz on 26th February 1943.

Olga Fleischer died at a place and date unknown.

Anna Corinna Corinaldi was killed on arrival at Auschwitz 26th February 1943.

Margherita Luzzatto was killed on arrival at Auschwitz 26th February 1943.

Arrigo Levi, died after Sept 1944 at a place and date unknown.

Ada Vitali, died after 31st March 1944 at a place and date unknown. 

Oddone Pesaro was killed on arrival at Auschwitz on 26th February 1943.

The atrocity of the Holocaust and the impact of such a massive scale of genocide is hard now to imagine. Out of the 6 to 7 million victims across Europe, I have focussed here on a very specific group that were all arrested in Como over December 1943 seeking to show how in this small corner of the European conflict, the diverse backgrounds of these victims led them on the same journey and to the same fate due purely to their shared ethnicity. The enormity of where racism can lead us must surely never be forgotten.

oplus_34

Wreath at the Memorial to Resistance in Como laid by ANPI – the National Association of Italian Partisans. Up to 2000 young Jews joined the Italian partisans, predominantly choosing Brigades of Giustizia e Liberta or the Garibaldini.

Sources

Rosaria Marchesi, Como Ultima Uscita, 2004 Nodo Libri 

Liliana Picciotto, Il Libro della Memoria, 2002 Mursia

Francesco Scomazzon, “Maledetti Figli di Giuda, Vi Prenderemo”, 2005, EsseZeta

CDEC (Centro di Documentazione Ebraica) Digital Library

Posted in crime, History, Uncategorized | Tagged , , , , , , , , , , , , , | 6 Comments

Lake Como in Fiction

Lake Como from Monte PalanzoneOver recent centuries Lake Como has gained increasing popularity as a holiday and travel destination. It comes as no surprise that the sparkling lake and the majestic mountains that surround it find themselves used as the setting in a wide selection of novels. On the one hand, Lake Como is commonly perceived as a romantic location and so is used as a fitting backdrop to amorous tales. Yet its location selected for the fascist era’s endgame confirmed its dramatic credentials for setting historical narratives. And the very depth of the lake beneath its shimmering superficiality symbolises the duplicity of darkness and danger for mystery, murder and intrigue.  

Lake Como from Schignano

Lake Como from Schignano with the Sanctuary of Sant’Anna in the midground.

Here follows a selection of a number of works of fiction, listed under different genres, where Lake Como is used as one of the main settings for the plot. This selection offers a wide variety of writing styles and ultimately, of quality. They reveal different uses made of the setting and a range in the importance this plays in the effectiveness of the fiction. While not having had time to read all the works listed, I have dipped into a few in a highly subjective bid to evaluate how the lake is represented.

cernobbio

Romance

Holiday romances offer a rich vein for writers of romantic fiction so what could be better than selecting one or more of the following for your own holiday reading whilst relaxing on the shores of the lake. 

Summer at the Lake

Erica James, Summer at the Lake,; available on Amazon and Kindle

James, Erica: Summer at the Lake

From the publicity:  This summer, escape to Lake Como – where the scene is set for romance, fate and second chances… Even in the dazzling summer sun, the past casts a poignant shadow… But can the magic of the Italian lake finally set them all free? 

This is one of the books I actually read and enjoyed due to the rounded characterisation of the protagonists and the way the varied facets of the local landscape were used to reflect contrasts in moods and emotions – a skilful use of the pathetic fallacy. The writer makes accurate reference to places and to aspects of local culture such as smuggling. Above all the plot is engaging.  Bravo! . 

Hilary Boyd, The Affair

Hilary Boyd, The Affair; Available from Amazon and on Kindle

Boyd, Hilary: The Affair

The publicity states: On the glamorous shores of Lake Como, Connie meets Jared. She’s married. He’s young. But that doesn’t stop the heat rising between them. And so begins a long, hot, intoxicating summer where Connie succumbs to temptation – breaking her marriage vows.

At the end of summer, Connie returns to her husband, ready to put the affair behind her.

I didn’t read this one but can recognise from the publicity how Lake Como is depicted as this other-worldly location where normal patterns of behaviour and morality are subverted only to be re-established once escaping from the idyllic setting – a common trope within the ‘holiday romance’ genre.

Anita Hughes

Anita Hughes, Lake Como; available from Amazon and on Kindle

Hughes, Anita: Lake Como

From the publicity: Sisterhood, family, career, and sumptuous descriptions of Italian life fill the pages of this newest offering by Anita Hughes. Lake Como is a heartbreaking and heartwarming story of love, self-discovery, and the quest for truth.

This is one of the most annoying books I came to read seemingly born out of the kardashian School of Creative Writing. An impenetrable layer of superficiality smothers the book epitomised by the habit of identifying characters through the brand names of what they are wearing, not just on their initial stage entry but on almost every successive appearance in the plot. My intense irritation was further aggravated by the exclusive depiction of Lake Como as a playground for the super-rich. 

As Max Saw It

Louis Begley, As Max Saw It; available from Amazon and on Kindle

Begley, Louis: As Max Saw It

From the publicity: With all the force and elegance of his earlier work, Louis Begley’s masterful new novel tells a gripping story of friendship and mortality.

The male protagonists renew acquaintanceship after many years when finding themselves guests at the same luxury villa on Lake Como. I did not read this book but it’s interesting to note how Lake Como holds a mystical fascination for a number of these American writers presumably because its natural beauty (an aspect far from being in short supply back in the USA) is overlaid with an air of sophistication emanating from the architectural elegance of its historical villas – two vital ingredients for the depiction of a fantasy land. 

Broom, Isabelle: The Place We Met

From the publicity: Lake Como, Italy, New Year’s Eve. The perfect place to fall in love? Or the perfect place for everything to fall apart?

This is another book unread by me but the line of the publicity above implies a more than one-dimensional view of the role of our landscape in the narrative. 

Paul Wright, Beside Lake Como

Paul Wright, Beside Lake Como with the cover illustration done by the author. It is available from Amazon and on Kindle.

Wright, Paul: Beside Lake Como

From the publicity: An affair emerges that gradually unravels the life of wealthy Italian Lucrezia Bonucci, and a much younger hard up English artist. Set in the scenic paradise called Lake Como, this is a disquieting work of fiction with an insight into the inequitable lives of a family of village bar owners.

This novel straddles the romance and crime genres and even throws in reference to the lake’s wartime past. It is written by local resident, Paul Wright, whose non-fiction we reviewed in An Expatriate’s Life on Lake Como. Having read the non-fiction it is easy to see where Paul Wright has included autobiographical detail alongside his fascination with local bars! His first hand knowledge allows him to portray a realistic evocation of family life on the lake into which he incorporates a plot with some rather fanciful dramatic turns.  The overall effect is harmed though by a rather lax editorial review that has failed to eliminate syntactical issues in a few  places. Maybe this is a case of rushing too fast to print. As a result, whilst admiring the way he portrays the setting for the plot, I do need to qualify my overall recommendation which is certainly not the case with his non-fiction trilogy set on the lake.

Crime 

Lake Como Carate

Autumn mist on the lake at Carate

We have already noted in Noir 2018: Moral Ambiguity and Death how Italy is in general well adapted to the ‘noir’ genre given its recent history of dark state duplicity, obscurantism and skulduggery. Lake Como has also been the scene of true crime sensations such as the Villa D’Este murder. Beneath its beguiling surface it hides the mystery of the Dongo gold and its depths also host numerous victims of the wartime internecine feuds, not to speak of the various fatal accidents behind which some may have stemmed from more sinister motives. Crime writers must be attracted to the dramatic potential in portraying the sublimity of the landscape as the setting for fiendish deeds. 

The Lake Como Girls

E.Y. Chypchar, The Lake Como Girls; available from Amazon and on Kindle

e.y. Chypchar: The Lake Como Girls Book 1

From the publicity: Fourteen year old Summer is spending July and August at Lake Como, Italy with her mother. She doesn’t know it yet, but her parents are about to drop a bad-news-bomb that will change her life. All she wants to do is scuba dive in Lake Como with her cousin Francesca. But family and scuba diving take on a whole new importance when the cousins witness a crime and realise they’re the only ones who can prove a boy’s innocence.

The lake provides the context for the descriptions of scuba diving which in turn are critical to the narrative. In most of these novels, the lake forms the setting for disruptive events which can be positive or negative. The disruption is then only resolved once the protagonists end their stay and return home either to the original or a reformed order. In this novel, the plot’s issues are resolved ‘on location’. The beauty of the landscape is only once mentioned and then so as to  contrast with the emotions of one of the protagonists. In other words, the landscape is presented in an unlaboured way with its primary characteristic – water – used as a vital part of the scuba diving action. 

Shadows on the Lake

Cocco and Magella, Shadows on the Lake

Cocco, Giovanni and Magella, Amneris: Shadows on the Lake

This novel features a woman detective, Stefania Valenti, attached to the Como Questura, who sets out to resolve a cold case mystery of the murder of a German soldier whose skeleton is uncovered during the construction of a tunnel under Monte San Primo. One of the authors, Giovanni Cocco, is from Como. Local knowledge is used extensively to provide realistic and mostly accurate locations. The authenticity of the landscape is clearly important to the authors to the extent that they even include an afterword to explain where, for the purposes of the narrative, they have deviated from topographical accuracy. There are however two minor defects to the book. One is the complexity of the plot and the fact that the final resolution of the mystery does not measure up to the effort made in getting there. The second is the inclusion of a couple of chapters when our protagonist, Stefania Valenti, meets up with a potential love interest, Luca Valli, to go hiking around the lake. They add nothing to the plot (the love interest goes nowhere) and serve only to introduce readers to the local tourist sites around Tremezzina and Gravedona.

Honour the Dead

John Anthony Miller, Honour the Dead; available from Amazon and on Kindle

Miller, John Anthony: Honour the Dead

From the publicity: Six English survivors of the Great War – four men and two women – converge on Lake Como, Italy in 1921. The result: one corpse and one killer…

The Lake Como setting is presumably used to convey a calm backdrop to the psychological disturbances of the main protagonists, and as a likely location for a Swiss-style sanatorium. But it is unconvincing. Como is inconsistently referred to as a village and at other times as a city. If the author had ever visited Como, one glance at the cathedral would dispel any notion that this was ever a mere village. Essentially the setting for the plot is entirely arbitrary and this fault undermines any tension in the narrative.

Swan Thomas, The Da Vinci Deception 

A novel about art forgery with action in a variety of setting but ending up with the final chase and the ‘rousing denouement’ taking place on Lake Como. I did not read this novel but I have the suspicion that the choice of Lake Como was made purely on the basis of its perception as a glamorous setting. 

Historical fiction

villa d'este

Images of the Villa D’Este at Cernobbio at the time of Princess Caroline of Brunswick

Historical fiction must to a certain extent incorporate aspects of non-fiction such as verifiable past events, or real characters as protagonists in the plot, and, of course, the setting for the action. Como’s historical past is long and varied and so well suited as a setting for this genre. Mussolini’s final days and the local partisan uprising on the lake give it a further qualification as a picturesque yet tragic setting for drama.  

Beneath a Scarlet Sky

Mark Sullivan, Beneath a Scarlet Sky; available from Amazon and on Kindle

Sullivan, Mark: Beneath a Scarlet Sky

From the publicity: Based on the true story of a forgotten hero, the USA Today and #1 Amazon Charts bestseller Beneath a Scarlet Sky is the triumphant, epic tale of one young man’s incredible courage and resilience during one of history’s darkest hours.

The book has been very successful and has even been used as the basis for a film. It is probably well written but its claims to veracity are bogus. The story does contain a number of factual elements and so may well qualify as a valid representation of wartime life in Milan and on Lake Como. But these separate elements are configured in a way to maximise dramatic impact at the expense of veracity. It includes many glaring historical inaccuracies which would not really matter if the author does not go to such pains to present the story as true. For example, the dramatic denouement is a nonsense. It has our hero, Pino Lella, the personal driver for a German general, transporting the general for delivery to the Americans over the Austrian border. The general in question is Hans Leyers, Albert Speer’s representative in Italy of the RUK who managed Italian industry’s supply of armaments and war production. He actually lived in Como during the Nazi occupation, but was nowhere near the Austrian border when he surrendered voluntarily to representatives of the American army at Como’s football stadium at 23.00 on April 26th 1945. That is a fact – Pino Lella’s account of driving the general to Austria is a fiction. None of this would matter if the publicity for the book did not insist on its truthfulness. 

Once Night Falls

Roland Merullo, Once Night Falls; available from Amazon and on Kindle

Merullo, Roland: Once Night Falls

From the publicity: Italy, 1943. Luca Benedetto has joined the partisans in their fight against the German troops ravaging the shores of his town on Lake Como. While risking his life to free his  country, Luca is also struggling to protect Sarah, his Jewish lover who’s hiding in a mountain cabin. As the violent Nazi occupation intensifies, Luca and Sarah fear for more than their own lives.

I certainly enjoyed this book and it stands as a fine example of what historical fiction can achieve in terms of conveying the very atmosphere and pressures on everyday people in situations of extreme adversity as were present for those living on Lake Como during the last war. Roland Merullo himself states in the Author’s Note. “ It seemed to me that (I had come across) the actual events of a great story: heroism, treachery, secrecy, suffering, dignity, romance and death – all set against the background of a country I had come to love.” And his results do match the potential he had identified when looking into the local history. 

The plotting is complex but the separate strands skilfully come together as we arrive at the denouement. The chapters that feature Mussolini are extraneous to the main plot but do serve to remind us of the broader background to the story of Luca and his girlfriend Sarah. There are some slightly odd aspects like giving the name of the Archbishop of Milan as Federico Maniscalco rather than the actual Ildefonso Schuster and placing Bellinzona a mere five kilometres over the Como border, but so what. I could even detect a slight anti-communist and pro-Catholic prejudice in his presentation of the patriots but even that can be overlooked when considering the overall imaginative strength of the writing in depicting the daily misery of living alongside an invading force. Bravo!

Kate Ross

Kate Ross, The Devil in Music

Ross, Kate: The Devil in Music

This novel is set on Lake Como during the  start of the nineteenth century. The book is difficult to find now being out of print but I include it here because reviews on Goodread are largely very positive.  They mention the author’s descriptive ability to capture the beauty of the lake and depict the life of those favoured aristocrats residing in their lakeside villas. This was the last of her novels before she tragically died prematurely due to cancer. 

Conclusion

There is no commonality to be found in how Lake Como is presented across this brief selection of fiction. There are only different levels in how relevant the setting is to the narrative.  The most successful integration of landscape for me was in Roland Merullo’s  Once Night Falls. Here the setting may be beautiful but the author does not overlook the effort in climbing up the mountain paths for the elderly or overweight! But, leaving Alessandro Manzoni aside, I have still to find Lake Como’s equivalent to Thomas Hardy’s mystical spirit of the Wessex countryside. Any recommendations will be willingly received.  

Further Reading

For lovers of true romance: Our articles Lake Como’s Star Crossed Lovers: 1) Osvaldo and Louisa and Como’s Star-Crossed Lovers: 2 – ‘Gianna’ and ‘Neri’ describe the doomed love affairs of two couples on different ends of the political spectrum and on opposing sides during the civil war during the nazi occupation.  

For True Crime addicts: We have already mentioned above the high society shooting at the Villa D’Este but there is also the previous case of the honeymoon in Moltrasio that went tragically wrong.

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Wartime Occupation of Cernobbio

como cernobbio

Como in the foreground and Cernobbio on the left hand side of the lake

On the 19th July 1944, Cernobbio’s  Commisario Prefettizio, Angelo Martinelli, wrote the following letter to the Prefect of the Province of Como, Renato Celio: 

The geographical position of Cernobbio – precisely due to its proximity to Milan -, the fame it has acquired over many years and, last but not least, its well-known tourist organization for supplies, well-stocked shops, health services, etc., etc. ., have put the town, in relation to the displacement situation, in a particularly difficult situation.The Italian and German commands have drawn heavily on hotels, villas and private homes; commercial organizations, semi-public or otherwise, have created offices; large Milanese companies, especially after the bombings of August 1943, have transformed hotels and villas into offices and company canteens, so that a frantic and sometimes ruthless hunt for apartments and rooms has developed. The current situation does not allow us to have even one space left available and it would be really appropriate for Cernobbio to be forgotten for the moment. It must be kept in mind that the water, gas and electricity systems are based on a presence of 5/6000 people, while currently the inhabitants are almost double that figure. For these reasons Cernobbio cannot logically increase the already overwhelming number of its residents, nor can its houses be further congested. It is hoped that by taking the above into due consideration, we will desist from any new requisitions and requests in the town of CERNOBBIO.

From the start of the allied bombing campaign over Milan that reached a crescendo in August 1943, Cernobbio had housed individuals, families, businesses and state organisations seeking a degree of safety from constant bombardment. Martinelli’s letter identifies the reasons why Cernobbio was particularly selected as a refuge, due to the number of holiday homes, the tourism infrastructure and, not least,  its pleasant location on the lake. Its location close to the Swiss border offered some degree of assurance against allied bombing with the allies keen to avoid the risk of shells falling inadvertently within neutral Swiss territory. For others as well, the town offered the reassuring possibility to make escape over the border if necessity required it.

But the principal demand for accommodation in Cernobbio came from abroad – from the moment of the Nazi occupation of Northern Italy that immediately followed the Badoglio government’s armistice with the allies announced on September 8th 1943. 

In ever increasing numbers arriving at their zenith in September 1944, the Nazis either sequestered or requisitioned rooms, apartments, hotels and entire villas across the town. There were three Nazi organisations primarily heading this occupation. The Luftwaffe requisitioned the Hotel Villa D’Este as a military hospital. Sections of Heinrich Himmler’s SS and SD sequestered Villa Fargion (now known as Villa Carminati) as their base for the Frontier SS controlling border activities. The RUK (Albert Speer’s department of the Reich government  responsible for war provisions and armament production) took over Villa Erba. Both the SS/SD and the RUK extended their occupation of the town from September 1943 to April 1945.

Villa Carminati

Villa Carminati (formerly Villa Fargion)

Villa Carminati became the barracks and prison for the Frontier SS known as Como West – Grenzbefehlsstelle. This division of the SS was responsible for managing the frontier with Switzerland from the Val Ossola to the far corner of the Valtellina. Its location in Cernobbio reflected the importance of the official crossing of the border by road and train at Chiasso. The Como West group controlled all access to and from Switzerland. The rail link from Como to Chiasso in Switzerland, managed from Cernobbio, was critical for the transport of food and war materials produced in Italy for distribution in Germany. The other formal and clandestine routes into Switzerland  became increasingly important to the Germans as the war progressed proving eventually absolutely critical in the final days of ‘Operation Sunrise’ – the surrender negotiations between Karl Wolff, the Head of the SS in Italy,  and the allied delegations in Berne. Como West became used as the bridge in the passage of secret agents organised by the SD and reporting officially to the head of Grenzbefehlsstelle, SS Hauptsturmführer Joseph Voetterl.

One of the protagonists representing the SS in ‘Operation Sunrise’, Baron Parrilli, had a very low opinion of Joseph Voetterl as shown in this quote from ‘La Resa degli  Ottocentomila’ – the account of Baron Parrilli’s wartime exploits written by Feruccio Lanfranchi. These  comments by Parrilli followed on from being denied return access to Switzerland via the border at Chiasso:

“In reality, the “higher orders” did not come from Garda, but from the nearer Lake Como: the ban on allowing Baron Luigi Parrilli to enter Switzerland had been given by the commander of the border SS, Captain Giuseppe Voetterl, who had created a sort of fortified citadel in Cernobbio, requisitioning some villas and establishing his residence in the most beautiful and spacious Villa Geltrude Locatelli; another building, Villa Levi, had been reserved for guests. Captain Voetterl left nothing to be desired! I went to Villa Locatelli to ask him the reason for the ban. He greeted me with cold haughtiness, stating that the pass I had was valid for a trip or two at most. My back and forth with Switzerland didn’t convince him and he decided to stop it: that’s all. The officer’s tone especially irritated me. I replied, dryly: “Well, if you have any doubts, call Fasano, Rosenfels private switchboard: you will receive precise orders from General Wolff himself.”

The German occupation of Como had commenced on 12th September 1943 with their primary objective to stop the massive flow of fugitives crossing over the border into Switzerland via Ponte Chiasso. Joseph Voetterl was in command of the Frontier SS charged with controlling the border. He immediately took over the Villa Carminati sequestered from its owner, Eugenio Fargion. 

Cernobbio-Villa Locatelli

The lakefront at Cernobbio with Villa Belinzaghi (occupied by the RUK) to the right and Villa Belinzaghi Locatelli (occupied by the Frontier SS) closer to the San Vincenzo church.

A month later on 15th October 1943, he took possession of the entire Villa Belinzaghi Locatelli on the lakefront having requisitioned it from its owner, the Countess Nora Belinzaghi. Villa Locatelli became the preferred location for receiving and hosting the numerous high Nazi officials and agents on their way to or from Switzerland. 

votterl letter

A letter from Joseph Voetterl to the Prefect of the Province of Como confirming the latter’s right to proceed with the sequester of property and goods belonging to Giuseppe and Guglielmo Levi following their arrest and imprisonment in Milan for the crime of being Jewish

Many of those seeking refuge across the Swiss border were both foreign and Italian Jews who, following the Nazi occupation, faced the serious risk of deportation to one of the Nazi-run extermination camps in Eastern Europe. The Frontier SS worked in collaboration with local bands of fascists such as the Monte Rosa Legion who readily took responsibility for capturing Jews and others defined as ‘enemies of the state’.  The captured Jews would then be brought to Villa Locatelli/Carminati and handed over to Joseph Voetterl who was responsible for approving their imprisonment (usually in Milan’s San Vittore prison) and onward deportation to extermination camps. He would then relay his decision by letter to the Como Prefecture giving the fascist state confirmation of its right to sequester all of the prisoners’ goods and property. 

The persecution of Jews provided a source of funds for the fascist state evidenced by the law passed in February 1939 that put limits on how much property and industrial activity Italian citizens of Jewish origin could own. All goods above the set legal limit could be sequestered and proceeds from sale granted to the state. An organisation known under the acronym of EGELI was set up to manage and dispose of all goods and property sequestered under this law. 

In selecting facilities for the Frontier SS, Joseph Voetterl took advantage of those properties in Cernobbio belonging to Jews that had or could be sequestered under the fascist law. The largest one of these was the Villa Carminati. It had been owned as a second home on the lake by Eugenio Fargion, but had been sequestered by EGELI  around September 1943. Eugenio Fargion himself had managed to reach safety in Switzerland over the summer of 1943. His sister Elisa and her husband Gastone Levi had themselves also spent that summer in the villa but had not managed to follow Eugenio over the border. They were later arrested on their return home to Ferrara. They were then deported to Auschwitz and faced execution on the very day of their arrival there on the 26th February 1944.

Cernobbio-Villa Carminati

The location of Villa Carminati on Via Della Libertà

The fascist state later sought to take possession of Villa Carminati from Voetterl’s Frontier SS. A decree was passed by the Milanese Prefecture on 10th February 1945 confirming the right of the RSI (Mussolini’s puppet Socialist Republic of Italy)  to  take possession of the villa. A judicial delegation arrived at the villa on 3rd March to enforce the state’s right of ownership. However Voetterl’s division refused their entry and also refused any suggestion to move out. EGELI continued to make claim to the property as belonging to the state with the Nazis having no right to possession. Voetterl continued to ignore the RSI’s claim. The Frontier SS continued to use Villa Carminati as an administrative base and centre of detention until abandoned as part of the general Nazi retreat in late April 1945. It was immediately occupied by allied troops.

Baron Parrilli was right in claiming that Voetterl was building up a citadel in Cernobbio with mention of the Villa Levi being occupied for guests of the Frontier SS. This villa, at No.3 Via Cavour, had been sequestered from its Jewish owner, Vittorio Levy. The Nazis occupied it from October 1943 until April 1945. Vittorio’s son, Dr. Aldo Levy, wrote a letter to the Cernobbio Municipality on 12th July 1945 seeking compensation for rent not paid during that period. 

EGELI records list two additional properties sequestered from Vittorio Levy and occupied by the German command, namely Via Cinque Giornate, 150  and Via Bernasconi 7C. The latter villa was later redefined as requisitioned rather than sequestered in a note from the Cernobbio Municipality dated 25th August 1944.

Another large sequestered property occupied by the Nazis was the holiday home of Mary Sforni just across the border of Cernobbio with Como at Tavernola. The EGELI records show that the entire villa, its gardens, outhouses, boathouse and landing stage were occupied by the SS – Joseph Voetterl’s division. Mary Sforni herself had moved to Florence with her husband, the scientist Tullio Terni, and her children in 1941. She survived the war hiding out in the Tuscan countryside at Tutignano.

The German command occupied many other properties in Cernobbio but these were for the most part requisitioned through orders to the local municipality, through its Commissariato Alloggi. Owners of requisitioned properties were due compensation not paid by the Nazi occupiers but by the municipality itself. Compensation was based on a rental value based on predefined tariffs. As an illustration, when Aldo Levy after the end of the war claimed for non-payment of rent due to sequestration of his father’s property on Via Cavour, he sought compensation from the municipality based on rents charged for similar sized properties at 9,900 lira per month. Rates were fixed at the beginning of the period of Nazi occupation in September 1943 and did not vary up until liberation in April 1945 – a period that saw considerable inflation and devaluation of the Italian lira.

The German command passed all the invoices they received for rent to the municipality which, under the terms of the occupation, was obliged to pay for the accommodation and for all other services rendered to the Nazi occupiers. The Cernobbio Municipality would then in turn seek funding to cover these costs of occupation from the Como Prefecture. A note passed from Cernobbio’s Commissario Prefettizio dated 25th January 1945 to Renato Celio, the Prefect of the Province of Como who succeeded Franco Scassellati, specified that the annual expenditure for maintaining the German occupation during the previous year amounted to 2,304,907.55 lira and that this had been covered by funding from the Province of Como of 2,305,000 lira. The note also asked for an immediate advance of 700,000 lira to meet demands already received in January for 407,625 lira with more invoices in the pipeline. The Municipality were even charged for the cost of feeding prisoners of the Frontier SS retained in the Villa Carminati.  

Villa D’Este

Villa D'Este

Villa D’Este, requisitioned to serve as a military hospital for the Luftwaffe.

The largest of Cernobbio’s requisitioned properties was the Hotel Villa D’Este acquired initially for Joseph Voetterl but then passed to the German Luftwaffe for use as a military hospital known by the Nazis as the Luftwaffen Lazarett.

Initially the Nazis in the name of the SS requisitioned the use of fifty rooms in the hotel from the 16th September 1943 – almost immediately following their occupation of Northern Italy.  They then requisitioned the hairdressing saloon within the hotel owned by Signora Cervieri from 1st November 1943.  The following month they requisitioned the entire hotel at an annual cost of 115,000 lira with an order from Hauptmann, PlatzKommandator Como for the hotel and its dependance to be left empty by 1st February 1944. By then, the SS and Joseph Voetterl had clearly agreed to allow the German Army (the Wehrmacht) rather than the SS to make use of the site. 

bisbino

Monte Bisbino with Villa D’Este on the lakefront. The path up to Monte Bisbino was one of the most common routes for making a clandestine crossing over the border into Switzerland.

Prior to the Nazi possession of the entire site, the Director of the Villa D’Este, Augusto Besana, sent a letter on the 28th December 1943 addressed to the then Prefect of the Province of Como, Franco Scassellati, in which he complained how the Germans had already transported furniture from the hotel to furnish private residences and offices in and around Como. In spite of the hotel being denuded of its furniture, the Cernobbio Municipality received various requests from residents demanding reimbursement for furniture requisitioned by the Nazis for the Luftwaffen Lazarett.

In later months the hotel’s garages and the apartments above them were requisitioned for Nazi use at a cost per month of 22,000 lira for the garages and 3,400 lira for the apartments. The apartments were used as accommodation for the hospital’s doctors. Other rooms in the town were requisitioned for use by the German nursing staff. 

Joseph Voetterl, in giving up the use of the Villa D’Este for the Frontier SS, set his eyes on the Villa Belinzaghi Locatelli on the lakefront but closer to the town centre. This villa was requisitioned from 15th October 1943 at an annual cost to the municipality of 150,000 lira. This became the main headquarters of the Frontier SS where they would receive high ranking Nazi and fascist officials. Baron Parilli stated that Voetterl himself lived there although other sources state he retained his residence in Como’s Hotel Barchetta.

In between the Villa Belinzaghi Locatelli and the Villa D’Este was the similarly named Villa Belinzaghi, also formally owned by the Countess Nora Belinzaghi. This was occupied by a group belonging to the Reich Ministry of Armaments and War Production (the RUK) headed by General Hans Leyers in Italy. The RUK group who occupied Villa Belinzaghi focussed on managing aircraft production. They  moved into forty rooms of the villa at a cost to the municipality of 14,500 lira a month. 

Villa Erba

villa erba

Villa Erba, requisitioned with its extensive park and gardens by the Armament Office of the Wehrmacht

The impressive holiday home and park of the Visconti di Modrone family, Villa Erba, immediately attracted the attention of the German and RSI military authorities. Initially it was occupied by the Republican National Guard (GNR) which had been established in December 1943 by Mussolini. However they would be ousted by a requisition order from the Nazis that resulted in the Cernobbio Commissariato Alloggi sending out a notification on the 16th August 1944 commanding the GNR to vacate the villa by the 27th of the month. The entire villa, its park and the Villa Vecchia (Villa Gastel) had been requisitioned on the orders of the Director of the Italian Army Weapons Office, General Ritter Von Horstig. The administrators for Edoardo Visconti di Modrone and his sister Ida wrote a letter to the municipality on 13th October 1944 seeking to secure agreement over the rent they should receive in compensation for giving up the complete property with the exception of two rooms in Villa Gastel used to store the furniture of Ida’s husband. They pointed out that the Nazis had also constructed six wooden barracks in the park.

Von Horstig had identified the strategic advantage of Cernobbio in close proximity to the all-important rail link with Germany via Chiasso as an ideal location for the warehousing of arms either for or from the Reich. Not only was the Villa Erba’s park used as a fuel repository but most of the buildings running alongside the River Breggia towards Maslianico were used for military warehousing.

The Frontier SS, the RUK and the Military Hospital had been quick to establish their presence in Cernobbio shortly after the Nazi occupation in September 1943.  In the ensuing months, the demands for accommodation continued to grow particularly after the fall of Rome in June 1944 which caused the relocation of many Nazi offices to the north. Although the Nazis favoured Lake Garda and Verona to locate their administrative offices, the attraction of setting up on Lake Como close to the Swiss border increased as their imminent defeat became more obvious to them and the fascist hierarchy.  

NYT Aug 22 1944

New York Times report dated 22nd August 1944 on the RSI decision to move many of its administrative offices to the area around Como and Cernobbio.

A conference held by the SS in April 1944 at the Villa D’Este outlined plans for extending the foreign secret service branch of the SD (Amt VI) in Milan and Cernobbio with the purpose of sending agents into Switzerland and into the allied occupied half of Italy. Joseph Voetterl hosted the AMT VI administration in the Villa Locatelli and set out to requisition further lodgings for the increase in staff.

The number of large hotels in Cernobbio provided an obvious solution for housing temporary visitors and a provisional base until accommodation was requisitioned for those staying on permanently. The Prefect of Como Province, Franco Scassellati, had established the charging regime for hotel accommodation back in January 1944 as follows:

  • Where less than half the total number of rooms were rented, the cost was per room
  • Where over half the rooms were rented, the cost was as fixed by the Ministry of Popular Culture
  • Where all the rooms were occupied, the cost was fixed by the ‘Commando Presidio Germanico’ in agreement with the podestà.

Invoices for German occupation were passed on to the Como Prefecture from the Albergo Asnigo, Miralago, Centrale,  Regina Olga and the Terzo Grotto. This latter hotel was requisitioned by the Nazis in its entirety from September 1944.  The apartment belonging to the former Director of the Hotel Villa D’Este, Augusto Besana, in the Villa Besana Ciani was requisitioned for Germans previously housed in the Albergo Miralago. 

A number of individual rooms and apartments were also requisitioned across Cernobbio. In August 1944 two rooms and a bathroom in Via Carlo Porta 5, and belonging to the Suore di San Giuseppe, were rented out to six German nursing nuns working at the Villa D’Este. A further six rooms at this address were requisitioned in October. Back in August an empty apartment of five rooms belonging to Pastore De Micheli on the second floor of Via Regina 55 was requisitioned. Three rooms and a sitting room in a property owned by the Tessitura Seriche Bernasconi were rented out to the Nazis in September 1944. 

There are instances where the Nazis requisitioned property for possession by Italians. For example, tin September 1944 the Nazis ordered the requisition of an apartment in Via 24 Maggio 21 to be occupied by the Rizioli family. In the same month an apartment of five rooms at Via Perlasca 1, belonging to Giuseppe Vismara was rented out to the Dotti family on orders of the German command and presumably at the expense of the Province. This may have been to compensate for the fact that the Nazis had requisitioned in turn the entire seven-roomed villetta belonging to Alfredo Dotti at Via Cavour 5. Alfredo Dotti was later rehoused after the German surrender by virtue of a requisition by the allied command of a property in Via Privata Lupi belonging to Carlo Cavalleri, the proprietor of the Albergo Centrale. 

sept 6 1944 news erport

New York Times report dated September 6th 1944 based on intelligence provided by Italian partisans of a meeting held bt senior Nazi commanders at Villa Carminati.

By September 1944, the eventual defeat of the Nazis was evident to all, but this seemed to provoke even further expansion of the Nazi occupation of Cernobbio with a fresh blitz on requisitioning entire houses. In that month they acquired a ten room villa at Via 24 Maggio 6A and the nearby villa of 14 rooms down the road at Number 2. In the same month they requisitioned the entire house at No. 1, Via Cavour as well as the Dotti home mentioned above at Number 5 and a seventeen room villa at No. 2, Via Porta. The month previously they had moved in to Villas Noseda and Bindi. In October they took over the house of the Fromenini sisters at Via Regina 57.  

By January 1945, with Nazi leaders in Italy putting out ever more committed peace feelers towards the allied intelligence agencies in Switzerland, their requisition of Cernobbio properties finally came to an end. The German Wehrmacht Platzkommander Von Mulber had put in an order to requisition the Villa Tarsis belonging to Count Giacomo Tarsis di Castel D’Agogna on the 16th January. This property consisted of fourteen rooms plus outhouses at No. 10, Via 20 Settembre. However four days later Von Mulber had changed his mind and withdrawn the requisition order. 

Zona Franca

above villa deste

A look down on the Villa D’Este in the foreground and the Villa Belinzaghi to the right with Como in the distance.

With such a high concentration of Nazi offices and personnel in Cernobbio, it was not surprising that Voetterl tried to define the entire Como/Cernobbio area as a so-called ‘zona franca’ outside of the normal areas of conflict between the nazis, allies and partisans. Renato Celio, the Prefect for the Province of Como, had the same ambition given the increasing number of leading fascists making a home for themselves, their families and close friends around the lake. Both Nazis and partisans had a shared interest in maintaining the passage between Milan and Lugano free for the movement of couriers transporting intelligence, funding and even contraband to and from Switzerland, whether via the clandestine route over Monte Bisbino or across the official border crossing at Chiasso. The one significant exception to this informal agreement was the RSI and in particular, the Como Federale Paolo Porta who, as head of the local Brigata Nera ‘Cesare Rodini’, continued to seek to round up and eliminate the local partisan groups. Voetterl and Celio had attempted to get Porta replaced but their plan had been thwarted with Porta being supported by the more hardline SS Commander Willy Tensfeld based in Monza. There are even suggestions that Joseph Voetterl was acting selectively as a double agent on behalf of the American OSS (Office of Strategic Services).

The end of the war came to Cernobbio when Villa Locatelli was occupied by Lugano-based American Army Officer Emilio Daddario on April 27th. Joseph Voetterl was allowed to vacate the building with the 200 officers and soldiers at his command to journey up the Valtellina finally to reach the Alto Adige. He then made his escape to Argentina. Once the Nazis had vacated Villa Carminati, it was occupied by allied troops until they left on 17th September 1945. Villa D’Este was taken over by the American Army for a time to serve as a centre for their troops’ rest and recuperation. 

The end of the war was followed by months of confusion caused by the displacement of so many people across Continental Europe. Only gradually and slowly could Cernobbio return to normal such that the demand for accommodation was still a grave problem as expressed in a letter from the Mayor of Cernobbio to the Prefect of Province of Como, dated 2nd January 1947:

Due to the absolute lack of housing in the territory of this Municipality, which has been subject to continuous requisitions first by the German Armed Forces – then by the Allied Forces, as well as for civilian refugees and victims of other Provinces, please include this Municipality itself in the list from which the Legislative Decree of the provisional Head of State 18 October 1946, n. 290. Sentences or orders issued monthly by the Magistrate No. zero. Housing destroyed by war. No. zero. Accommodation requisitioned currently No. 54

sindaco letter Jan 46

A letter from the Mayor of Cernobbio to the Prefect of the Province of Como outlining the continual number of requisitioned properties even by January 1947

Sources

Archivio Storico di Cernobbio, Class 8 – Carteggio 146, Fascicolo 8; Class 8.4, Fascicolo 9

EGELI Archive, Intesa San Paolo, N. 998, Carteggio 158, Fascicolo 3

Fossati Daviddi, I. R. (2003). Cernobbio 1943-45 Dalla Memoria alla Storia. Istituto Storia Contemporanea.

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Twenty English Artists on Lake Como

Twenty English Artists on Lake Como is the name of the exhibition running from the 13th to 17th November in London featuring all of the output from the art project set up to raise funds for the preservation of the Anglican Church in Cadenabbia.

Interior Anglican Church

The glorious interior of the Anglican Church in Cadenabbia.

Back in August we published an article entitled ‘Lake Como’s British Enclave, the Anglican Church and Landscape Art‘ which featured the church and described the project to raise funds for its restoration. There was an initial exhibition of some of the project’s artistic output inspired by Lake Como on show last September at Tremezzo’s Museo del Paesaggio. That exhibition contained only a sample of the total output from the art project. The complete collection of new works by the twenty artists invited to the lake last April will now be shown at the Gurr Johns Gallery in London’s Pall Mall (Gurr Johns International, 16 Pall Mall, London SW1Y 5LU).  If in London, do take this opportunity of seeing how this unique mix of established and up and coming artists of varying ages have come to interpret the magnificent landscape in the most fashionable area of the lake around Tremezzina, Griante, Bellagio and Varenna. 

The whole purpose of the art project, organised by the dedicated congregation of the Anglican Church in Cadenabbia, was to secure funds for the much needed restoration of the church and to ensure it remains open to all residents and visitors alike through its season of regular services from May to September. Part of the proceeds from the sale of the items in the London exhibition will be donated to a charity called The Friends of the Church of the Ascension.

exterior mosaic

One of the two mosaics on the church’s exterior.

For a preview of all of the works on display, download the exhibition’s catalogue and price list from this link – https://www.20artistsonlakecomo.co.uk. I have in turn copied and pasted below from that catalogue the brief biographies of the twenty artists with a single example of what each artist will exhibit. 

The Twenty English Artists

In alphabetical order: 

Alice Boggis-Rolfe

Alice

Alice Boggis-Rolfe. Hazy Afternoon, Lake Como. Oil on panel, 15 x 40cm

Born in 1990, Alice Boggis-Rolfe is a figurative painter. Her subject matter veers from vast open landscapes to quiet, intimate interiors and still-lifes. Trained at Chelsea College of Art and Heatherley’s School of Fine Art, Alice has since held six sell-out solo exhibitions in London and exhibits regularly with the New English Art Club, the Royal Society of Portrait Painters, the Royal Society of British Artists and the Royal Institute of Oil Painters.

Caroline Bromley-Gardner

Bromley-Gardner

Caroline Bromley-Gardner. Raveglio Olive Farm above Lenno. Oil on canvas, 24 x 30cm

One year Foundation course at Bath Academy of Art followed by 3 years study in Florence Italy with Nerina Simi. Working mostly in oil I undertake equestrian and animal portraiture and sculpt in clay to cast in bronze. I also enjoy Landscape and try to capture the connection between the shifting light of sky and landscape and the movement of composition and perspective. 

Hugh Buchanan

Buchanan

Hugh Buchanan. Morning Light, Villa Carlotta. Watercolour, 22 x 15 inches

Hugh was born in Edinburgh in 1958. The city instilled in him a love of architecture which he developed as a student of Drawing and Painting at Edinburgh College of Art. After graduating in 1981 he worked on commissions for the National Trust and in 1987 was invited by the Prince of Wales to paint a series of interiors of Balmoral. In 1988 he was commissioned by the House of Commons to paint four interiors. Hugh Buchanan’s paintings are also in the collections of the Victoria and Albert Museum, Edinburgh City Art centre, the University of Edinburgh, the University of Aberdeen, the Bank of Scotland, the Royal Bank of Scotland, Flemings Bank, Deutsche Bank, and the National Trust for Scotland. In 2002 he was commissioned by the House of Lords to paint the Lying in State of the Queen Mother at the Palace of Westminster.

Nancy Cadogan

Cadogan

Nancy Cadogan. The Trees at Villa Carlotta I. Oil on linen, 40 x 32 inches

Nancy is a British figurative painter living in the UK. She has been exhibiting her work globally since 2004, and paints from imagination and observation to explore themes of literature, time and still moments. Her paintings invite the viewer to share her joyful appreciation of contemplative observation.

Richard Foster  PPRP. 

Foster

Richard Foster. Getting Ready for the Wedding. Oil, 40 x 60cm

Richard is a portrait and landscape artist, a member of the Royal Society of Portrait Painters, President 2017-2022 and former Vice President and Hon Treasurer. He spends the majority of his time painting portraits, some in London but many on location. He also likes to have occasional exhibitions of his landscapes. His past commissions include the National Portrait Gallery, Oxford and Cambridge Colleges. 

Timothy Hyman RA

Hyman

Timothy Hyman. He Struggles Twice to Hold the Lake. Oil on board, 27 x 65cm

Painter, writer, curator; born 1946. As well as ten London solo shows, I have published seven books, including most recently (and relevant to this show), ‘Sienese Painting’ (Thames and Hudson, 2003 and 2022). Lifelong commitment to drawing and one of the founding teachers at the Royal Drawing School.

Irma Kennaway 

Kennaway Irma

Irma Kennaway. Griante View, Lake Como. Mixed media on canvas, 50 x 120cm, signed limited edition print.

“I love colour, sunshine and good food, so living in Italy makes sense for me! Florence was the obvious choice after art college at Central St. Martins. Then the lure of Lake Como!” Since graduating from CSM in Fashion & Textile Design, Irma has created for fashion houses including Kenzo and YSL, as well as working on her own playful painting and drawing practice. Today she makes digital art, paints and makes design objects. Irma exhibits regularly and her works are in private collections worldwide.

Lester Korzilius

Lester Korzilius

Lester Korzilius. Half Moon Rising. Bronze resin on Jesmonite base, 85 x 55 x 64cm

Lester Korzilius is an artist and architect. He runs his own arts and architecture practice in London. In the arts, Korzilius graduated with an MFA from the University of Sussex/West Dean and an MA in Sculpture from the Royal College of Art. He is a Doctoral student in Fine Art at the University of East London. 

Cathryn Kuhfeld SWE, CAS. 

cathryn kuhfeld

Cathryn Kuhfeld. Cormorant on Lake Como II, Watching. Wood engraving, edition of 50, 14 x 7.5cm

Cathryn Kuhfeld is a painter and printmaker who completed her art school studies with a postgraduate course at the Royal Academy Schools. She works with woodcuts & wood engraving and is a member of The Society of Wood Engravers. Her painting subjects range from portraits and gardenscapes to the natural world, the flora & fauna, birds & beasts in and around her studio in Kent.

Peter Kuhfeld  RP, NEAC, CAS. 

Peter Kuhfeld

Peter Kuhfeld. Morning on Lake Como. Oil on panel, 25 x 50cm.

Peter Kuhfeld is a figurative painter who studied at the Royal Academy Schools London. He is a long-standing member of the New English Art Club & the Royal Society of Portrait Painters where he won the Ondaatje Prize for Portraiture & gold medal in 2019. His great loves are portraiture, interiors, the landscape, and Italy. He has painted extensively in Venice, Florence and Rome, where he is inspired by the architecture and the light. He has had numerous one-man shows & currently exhibits with The Jerram Gallery in Sherborne. Among his notable commissions have been painting the marriage of Prince William & Catherine Middleton at Westminster Abbey in 2011, and painting HM The Queen’s Diamond Jubilee River Pageant in 2012. More recently in 2022 he painted Anita Lasker-Wallfisch MBE as part of the Surviving the Holocaust exhibition at Buckingham Palace. 

Chris Levine 

Chris Levine

Chris Levine. Divine Light at Lake Como. Screen print with diamond dust and luminescent ink, 80 x 60cm.

Chris Levine is a UK-based artist, working in the field of light art. He uses cross-fertilization across many fields including music, performance, installation, fashion and design in a multitude of collaborative projects. He has worked with a wide range of collaborators, including Antony and the Johnsons, Philip Treacy, Massive Attack, Grace Jones, Asprey Jewellers, Mario Testino and has an ongoing relationship with the Eden Project.

Emma Levine

Levine Emma

Emma Levine. Tree of Ascension. Lasercut paper with laser etching and entomology pins, 50 x 55cm.

I am a paper and textile artist working with trees. I search for organic shapes and outlines in trees, landscape, plants, corals and shadows that can be translated into delicate cut paper Braille-like forms. I try to keep the very natural essence of the subject even though the method of cutting is digital and industrial. I use paper and silk as this brings about a cyclical return from pulp to tree, from thread to material. I’ve had numerous exhibitions in London, Miami and Dallas as well as international commissions, with my series embodying a valuable and timely connection to the elements that surround and sustain us.

Ray McInnes

McInnes Ray

Ray McInnes. Bellagio. Acrylic on canvas, 90 x 40cm.

Ray is a retired Anglican vicar from Melbourne, Australia with a lifelong passion as an artist. He works mostly in watercolour and enjoys painting city-streetscapes in a realist/ impressionist style. 

Jonathan Miles 

Miles Jonathan

Jonathan Miles. Ascent. Acrylic on canvas, 84.1 x 59.4cm.

Jonathan has just been made a Fellow at the RCA.

Nina Murdoch

Murdoch Nina

Nina Murdoch. Sophia il Vento. Soft pastel and watercolour on panel, 94 x 75cm.

A painter (Slade and then RA), working mostly on gesso panels with egg tempera, although in the last few years she has increasingly used a combination of pastels and watercolour. Her work is held in the collections of the David Roberts Art Foundation and Hiscox PLC amongst others. Winner of the inaugural Threadneedle Art Prize as well as the ING Discerning Eye Purchase Prize. Solo shows at Marlborough Fine Art, London, and Fine Art Society. 

Abigail Norris

Norris Abigail

Abigail Norris. Bello e Brutto 2023. Latex, polymer, nylon, animal wool, string, PVC MDF, forged steel bracket, 200 x 140 x 50cm.

Abigail recently graduated from the Royal College of Art, where she studied Sculpture. Her work centres around connectedness, transcendence, absence and presence, exploring entangled relationship with self and other living and non-living beings.

Chris Orr MBE, RA. 

Orr Chris

Chris Orr. Dreams of Lake Como. Watercolour and pencil on paper, 46 x 108cm.

Chris Orr is a painter and printmaker interested in the narratives around him in the landscape and people. He lives and works in London and has been a Professor at the Royal College of Art and taken part in the governance of the Royal Academy on many committees and as the Treasurer of the Royal Academy 2014-18. 

Sarah Quill

Quill Sarah

Sarah Quill. Statue of Artemis, Villa Balbianello. Black and white photograph, 35 x 20cm.

I have worked for many years between Venice and London to create an extensive photographic archive of Venetian architecture, sculpture and daily life. My book Ruskin’s Venice: The Stones Revisited was first published in 2000, with a revised and extended edition in 2015. I give regular lectures, mainly on Venetian subjects, and am a trustee of the Venice in Peril Fund (the British committee for the preservation of Venice). 

Ania Sabet

Sabet Ania

Ania Sabet. Excelsis. Oil on canvas, 75.5 x 61cm.

Ania Sabet b.1972, is a British-Iranian artist and a practising doctor who trained at Imperial College and then as an artist at the Royal College of Art. The impulse of her art is motivated by sensations derived from the configuration of situations which are in turn figured by formations that could be described as dreamscapes. 

John Wonnacott CBE, RP.

Wonnacott John

John Wonnacott. The Balcony, Lake Como, Early Morning. Oil on canvas, 91.5 x 122cm.

“I have lived and painted on the Thames estuary in Southend for the past sixty years”. John studied at the Slade, his work has been shown globally and is held in the collections of the Metropolitan Museum NY, The Clark Art Institute USA, Tate, National Portrait Gallery (NPG), Scottish National Portrait Gallery (SNPG), Imperial War Museum (IWM), National Maritime Museum (NMM) Arts Council, British Council and Government Art Collection, among others.

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An Expatriate’s Life on Lake Como

Paul’s first book in his autobiographical trilogy describing life of an expatriate settling in Moltrasio on Lake Como. The cover design by Paul met with the initial disapproval of his neighbour for including her underwear on the clothes line.

Paul Wright and his wife Nicola moved from England to Lake Como over thirty years ago. They have faced various challenges and tribulations over this time but have never regretted making that move. Initially they tested the waters by house sitting a friend’s home in Moltrasio and, once they found their venture to be economically viable, went for full expatriate immersion by selling up their home in Surrey in favour of a villa in Argegno. Paul  recorded the couple’s experiences as expatriates in a trilogy of books available on Amazon.

I read the first two titles in the trilogy fascinated to learn how he and his wife responded to the challenge of moving to a different country and what it was about Italy that they found so appealing, and at times, exasperating. I could not help contrasting his views and experiences with those of my own since my wife and I also moved to Italy at around the same time. 

The Expatriate Genre

My wife and I first moved to Italy in 1988 while Paul and Nicola moved to Moltrasio from Surrey in 1991. Increasing numbers of people at that time were exploring the possibilities of living abroad within the European Union, a right that was not actually established in law until the signing of the Treaty of Maastricht in 1992. A genre of biographical nonfiction developed on the back of this interest in which the authors recounted their experiences of setting out to establish themselves in a foreign land. The most successful of these was Peter Mayle’s ‘A Year in Provence’(1991). It set in chain this fashion for accounts of foreigners (usually from the cold and wet North) settling in envious sunny rustic environments. I hated Peter Mayle’s book with an almost irrational vehemence. The major irritant for me was the author’s air of self-satisfied smugness that lay behind the rose-tinted cliche-ridden depiction of what had to be a pseudo-reality. It was a journalist’s time-limited project whose principal aim from the start was the production of a best seller. Unfortunately its immense success influenced the tone and voice of many of the others that followed in the same genre. So it was a great relief to me to find that neither of the two books in Paul’s trilogy shared this fault. The first ‘An Italian Home’ describes the challenges and excitement of moving, getting established and becoming acquainted with your new adopted country, home, and neighbours – a dramatic and often traumatic process even if just moving to the next street let alone to a country where you have yet to learn the language. The second, ‘An Italian Village’,  focuses on when the couple were already well established in Italy but needed to move, primarily for economic reasons, from their much beloved Moltrasio to nearby Argegno. Both books have an authentic feel with a sense of honesty and integrity incorporating some amusing incidents and engaging character sketches along the way.  

Watercolour, Moltrasio Centre by Paul Wright

The Expatriate Experience

Expatriates voluntarily expose themselves to a series of challenges of which the most significant must be the ability to communicate. Paul’s wife could speak Italian but he could not. He was not an employee of some large multinational with a workplace in which speaking Italian may have been desirable but not essential. He was and remains a self-employed artist needing to both understand a client’s commission and explain his response to it. They had also moved to Moltrasio, a small village on the west bank of the Como leg of the lake where the locals were more likely to have the local dialect as their alternative language rather than English. And he wanted and needed to become fully integrated within his new social setting. Achieving a degree of functional literacy must be the first hurdle for any immigrant and Paul does not shirk in describing how much a challenge that was – with its detrimental impact on his self-confidence. 

Morning Mist Over the Lake, Paul Wright

Pre-Maastricht, an English expatriate went through exactly the same bureaucratic hurdles in obtaining residency rights as immigrants from any other part of the world. Paul and Nicola had a tough time obtaining the right to stay. Italian bureaucracy has not got the best of reputations.  I had hoped that the UK’s ongoing membership within the European Union would mean never needing to queue up again at the Questura with multiple copies of the correct documents and a ‘marca da bollo’ of the right value. But no, following Brexit, Paul, Nicola and myself now need to return there again to obtain a ‘carta di soggiorno’ which is similar in name and intent to the original ‘permesso di soggiorno’ that they bravely queued up for so many years ago. 

River Telo, watercolour by Paul Wright.

The issue of bureaucracy is though a mental trap for the expatriate since, back in the UK, a British subject has no need to obtain a ‘permesso’ for anything. But a foreign visitor does and their experiences in attempting to gain residency, let alone nationality, have been for years difficult and are only getting worse.  And to make a slow underfunded bureaucracy even worse, the UK government deliberately set about making the immigrant’s experience more unpleasant by instituting the so-called ‘hostile environment’, a phrase that  ex-Prime Minister Theresa May has belatedly come to regret using. As an expatriate/immigrant you are on the powerless side of the bureaucratic battle in whichever country you aim to settle. Until you have secured your rights, the ongoing sense of powerless is yet another blow to your well-being and self-confidence.

Libero Professionista

The River Telo as in the painting by Paul Wright above with Argegno’s famous Roman bridge

Apart from being an author, Paul’s main activity is as an artist specialising in murals as well as using trompe l’oeil effects to decorate furniture. One of his original reasons for leaving leafy Surrey was because UK fell into recession in the early 1990’s causing a major drop in the number of clients. He very quickly gained some commissions on settling in Moltrasio thanks primarily to the contacts Nicola had made years earlier when acting as an au-pair. Paul had immediately learnt the importance of personal introductions in allowing him to market his skills. Back in the UK he had been accustomed to present his portfolio to private galleries as the primary way of gaining commissions. He was told and quickly learnt that this was not a sufficient marketing technique here. In Italy one needs some form of personal contact, an established person who can recommend you to others. I have heard the same point made by other expatriate artists working around Como. Fortunately Paul’s wife’s contacts could provide Paul with the necessary entry amongst interior design architects. 

He worked initially for a Como architect who gained him a number of rich but demanding clients but sadly also introduced him to a less scrupulous variety of business ethics. While cheats and scammers can unfortunately be found everywhere, they seem to stand out to a greater extent in Italy since they exist in direct contrast to the much larger number of selfless, generous people who dedicate time and energy volunteering for all manner of associations and social causes. Paul was being introduced to the Italian world of ‘bravi e stronzi’ or heroes and villains.

Heroes and Villains

Heroes and villains stand in contrast to each other. Villains are essentially sociopathic with the capacity to defraud or cheat without moral qualms. By acting almost entirely selfishly, they debase their human value. Heroes act on behalf of others to increase their quality of life through their organisational or inspirational abilities or simply through selfless acts towards others. Their human value goes beyond price. 

If the defects in Italy’s judicial system provide scope for villains, then the existence of so many voluntary associations also provides scope for heroes. Paul’s villain was the Como architect. His hero was the leading light in the Moltrasio Pro-Loco association. 

Many small Italian towns and villages have what is called a Pro-loco association whose aims are to enhance community life through organising social events or additional services to those provided by the local council. Moltrasio clearly had an inspirational figure behind organising carnival celebrations, Christmas crib competitions as well as coaching the local football team. Involvement with the Pro-loco association certainly helped Paul and his wife to integrate within their adopted community and in exchange Paul came to recognise the exceptional nature of their inspirational leader with his tireless energy.  

Continuity and Change

Paul did not just leave UK due to the recession in the early 1990s but because he felt that UK society had lost an element of ‘continuity’. If I have understood him correctly I believe he refers to a continuity of custom and values, aspects of everyday life that pass from one generation to another made explicit through social events and ceremony. These are definitely aspects that are more identifiable in a small town or village, and Paul certainly seemed to relish living and integrating within a relatively traditional society. However change is a continuous given, and as we get older, the rate of change appears to get ever faster. For expatriates perhaps the most significant positive change since the 1990s has been the Internet and the rise of social media. Phone calls back to family no longer cost an arm or a leg as in the days of metered tariffs. Events in family groups can be shared in real time as with news and current affairs.  Technology has even ameliorated some aspects of the local bureaucracy but by no means all!

The fountain in Argegno’s main piazza became a significant meeting point for Paul as he became acquainted with the band of pensioners who would gather there and in the adjacent bar most days of the week.

Paul and Nicola themselves had to undertake a significant change once they had decided to buy a house on the lake. They found they could not afford what they wanted in Moltrasio but did find what they wanted fifteen kilometres north in Argegno. Their experience of moving and living in Argegno is the subject of Paul’s second book in his trilogy ‘An Italian Village’. 

Altar in the Santuario di Sant’Anna, Argegno. with fine examples of stucco, fresco and scagliola work by local artists and craftsmen.

Argegno sits on the lakefront at the start of the Val D’Intelvi which runs horizontally from Lake Como towards Lake Lugano. The Val D’Intelvi has a long tradition in providing artists and craftsmen whose skills have gone to embellish churches all over Eastern Europe and Southern Italy. The first wave of craftsmen, known as the maestri comaschi, constructed churches in the Romanesque style throughout the middle ages. The second wave worked on the redecoration of church interiors during the Baroque period. Val D’Intelvi artists and artisans were used to paint frescoes and design plaster statuary. Paul learnt about the technique perfected by the artisans of Val D’Intelvi called ‘scagliola’ used to give the appearance of marble marquetry on altars.

Ceiling of Passau Cathedral, stucco work and frescoes by Val D’Intelvi craftsmen

Paul’s own skills in painting trompe l’oeil murals fitted into the tradition of Val D’Intelvi craftsmanship as did the resulting need to work away from home for prolonged periods. Val D’Intelvi craftsman might work away from home from Spring to Autumn in decorating a cathedral such as that in Passau (Passavia) in Germany. Paul’s Passavia was down on the Ligurian coast where he worked away throughout the summer heat in the company of two builders from Bergamo. Little was he to know that he would be participating in a traditional pattern of seasonal migration established in the area he had chosen as home as far back as the tenth or eleventh century. 

Too Much Continuity

Screenshot from Google Maps showing an inveterate band of pensioners passing the time outside the Bar Milanese in Argegno. Most bars in Argegno do now seem to discourage this less profitable type of customer in favour of the ever increasing number of tourists.

Paul was as keen to integrate as fully in Argegno society as he was in Moltrasio. But rather than involvement in the local pro-loco, Paul’s target here was to become a member of the inveterate band of pensioners that gathered daily around the main piazza’s fountain to gossip and put the world to rights. Most Italian small towns, villages or city districts have at least one location, usually a bar, where retired men gather to while away the hours until called home to eat at midday. Paul’s group in Argegno seemed to consist of retirees from the hospitality industry – from the many bars, restaurants or hotels that for years have met the needs of visiting tourists. As a result many had retained an enhanced interest in eating or drinking or both. They also shared in the migratory instinct of the Val D’Intelvi having spent time at some stages in their careers in working abroad, particularly in the United Kingdom.  

Membership of this select band of societal ruminants required a heavy obligation to maintain a regular appearance around the piazza’s fountain and to accept the unchanging daily pattern of discourse. The repetitive continuity of the ritual discussions and the necessary regular commitment to them became even too much for Paul after a while. Apart from other demands on his time, he found the company was limiting its own horizons, becoming far too focused in time and place. This was just one further level in local immersion and continuity he could not sustain. 

A Lakeside Village, watercolour by Paul Wright

Conclusion

The second book in the trilogy describes life in Argegno where he and his wife finally settle.

Now over thirty years have passed since Paul described his arrival in Moltrasio in ‘An Italian Home’. As a result his account has become slightly historical but perhaps all the more interesting as a result. As mentioned  previously, he writes with honesty and humour avoiding all the standard pitfalls of an expatriate’s viewpoint, such as generalisation and cliché. All the traumas and excitements of the couple’s initial move to Italy were behind them when he describes their move to Argegno in his second book ‘An Italian Village’. It is here where he actually establishes his own home and, no longer over concerned in gaining local acceptance and without further challenges to his self-confidence, he can settle to the idyllic existence he must have had in mind when moving out from Surrey so many years ago. 

For my part, his books engendered a whole series of personal thoughts on the expatriate/immigrant experience simply due to their authenticity – a response in marked contrast to that provoked by ‘A Year in Provence’. I am very grateful to him for that.

Further Information

All of Paul Wright’s nonfiction is available on Amazon and in Kindle editions. He is currently working on a novel set on Lake Como so look out for its publication early next year.

Further Reading

I have previously noted the positive results that can be achieved by small communities with an active pro-loco association, in particular Moltrasio. Please read Moltrasio: The Power of Civic Pride to see why it is well worth visiting this enchanting village.

The Maestri Comaschi and the work of the Val D’Intelvi artists and artisans feature in two previous articles which are Como’s Artistic Tradition – A Pan-European Legacy: Maestri Comacini and Stucco and Scagliola – Two of Como’s Baroque Specialities.

For walks around Moltrasio see Carate Urio to Moltrasio via Rifugio Bugone and for Argegno see Argegno to Argegno: Up and Down the Telo Valley

Moltrasio is characterised as a village of stone and water
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Como’s Hidden Gems – The Sala Recchi

Sala Recchi Palazzo Lambertenghi

Giambattista and Gianpaolo Recchi – Sala Recchi in Palazzo Lambertenghi

Twice a year the Fondo per l’Ambiente Italiano (better known as FAI) open up some of their own properties and other locations of historical or cultural interest to the general public. These days provide the opportunity to visit many locations in private hands which are not normally accessible. One of these locations in Como this autumn was the Sala Recchi within the Palazzo Lambertenghi on Via Lambertenghi. The Palazzo Lambertenghi was built in 1615 and had the ceiling of one of its key reception rooms on the ground floor painted by Giambattista and Gianpaolo Recchi. The Recchi brothers had their studio on Via Borgo Vico and were key local exponents of Early Lombardy Baroque following the school of Il Morazzone. Their work can be seen in a number of locations in Como such as the Cathedral, the interior of the Palazzo Odescalchi, Palazzo Cernezzi, the Chiesa Di San Giorgio in Borgo Vico, Palazzo Rusca and the Pinacoteca. Beyond Como,  Giambattista’s work can be seen in the eighth chapel of Varese’s Sacro Monte and Gianpaolo’s work is found in Turin’s Palazzo Reale commissioned by the Duke of Savoy. 

Aurora Sal Recchi

Aurora driving her horse-drawn chariot from east to west, from dawn to dusk.

The Sala Recchi with its painted ceiling is undoubtedly one of the many hidden gems that are only occasionally revealed to the public. It is in relatively good condition. Giambattista had an architect’s sensitivity to space and here he used trompe l’oeil to make it appear as if the relatively small room opens up onto a rectangular section of sky. Trompe l’oeil  is also used to give the appearance that the ceiling is pierced by a series of oblong grilled openings to the sky that illuminate ten niches occupied by a classical figures. 

trompe l'oeil

Trompe l’oeil effects including the oblong lighting grilles and the occupied niches.

The rectangular area of sky is occupied by Aurora, the Greek Goddess of Dawn. Here she is depicted driving her horse drawn chariot across the sky from east to west, from dawn to dusk. The theme of time and the passing of days is then replicated in the classical figures within the niches on the south and north facing sides of the room. The Roman Goddess Diana occupies the south easterly niche. Here she is depicted with a moon crescent on her head according to convention. The moon (or ‘luna’ in italian)  represents  ‘lunedi’ (Monday). 

Diana Lunedi

Diana representing ‘lunedi’ (Monday)

The middle niche on the south facing wall houses the figure of Mars, the Roman God of War. Mars refers to martedi (Tuesday). The figure of Mars is dressed in the contemporary costume of a Spanish warrior also sporting the long hair favoured by Spanish noblemen. The Spanish ruled over Milan and Como in the first half of the seventeenth century when the Recchi brothers decorated the Palazzo Lambertenghi. 

Mars Martedi

Mars depicting ‘martedi’

Mercury Mercoledi

Mercury representing ‘mercoledi’

The south west niche is occupied by Mercury, the Roman God of shopkeepers and merchants who represents mercoledi (Wednesday). Moving over to the north side, the north westerly niche holds Jupiter also known as Jove, the Roman God of thunder and here he represents giovedi (Thursday). Apollo occupies the next niche accompanied by Cupid and for reasons that remain unclear to me supposedly through association with Venus, is used to represent venerdi (Friday). The last niche on the north side is occupied by Saturn, the Roman God of sowing and seed. Here he represents Saturday, a much closer association in English than in the modern day Italian ‘samedi’.

The two niches in each of the east and west walls are used to depict the four elements of earth, wind, fire and water. The south east corner houses the depiction of earth. The south west houses wind whilst water sits in the north west niche. Fire completes the set in the north east corner.

By combining the significance of the figures represented in each of the four corners of the room, the fresco portrays an additional symbolic series. The south easterly corner, combining the figures of Earth and Diana, points towards the hills of Brunate which at the time were covered in terraces for the agricultural production of grain and grapes.  The south westerly corner, combining the figures of Wind and Mercury, points towards the commercial district of the old town and its links with Milan. The north westerly corner, combining Jove and Water, points towards the source of water for the Palazzo Lambertenghi arising from a spring in modern day Piazza Garibaldi and a water course along Via Volta. Finally, the north easterly corner combines Saturn and Fire and points towards the Spanish centre of control over the city housed in the Castello della Torre Rotunda that used to occupy the site of the Teatro Sociale.  

north west corner

North West Corner, Water

north east corner

North East Corner, Power

south west corner

South West Corner, Commerce

South East Corner

South East Corner, Agriculture

Further Information

For those interested in exploring more of Como’s baroque artistic treasures, see Early Lombardy Baroque: Fratelli Recchi and Como and Early Lombardy Baroque

For more information about FAI, go to https://fondoambiente.it/

Villa Lambertenghi Gardens

The gardens of the Palazzo Lambertenghi

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Lake Como’s British Enclave, the Anglican Church and Landscape Art

brochure exhibition
The brochure for the upcoming Art Exhibition in Tremezzo featuring a sketch by John Wonnacott of the view from the terrace of Villa Collina, Griante.

An exhibition of original works by some of the most prestigious contemporary English figurative artists will open on August 19th in Tremezzo. The exhibition will later move to Gurr Johns International Gallery in London where the works will be sold to raise funds for the restoration of Cadenabbia’s Anglican Church.  

The British, Cadenabbia and landscape art have all had a close association from the early years of the 19th century. British visitors and residents have long appreciated the splendour of the lake whose natural beauty has attracted both professional and amateur artists keen to capture its sublime and dramatic aspects. The Grand Hotel Cadenabbia has to this day proved popular with British guests as in the case of Mary Shelley who stayed two months at the hotel on her return visit to Italy with her son in June 1840. Back in April this year a group of twenty contemporary British artists stayed in the Villa Collina in Griante above Cadenabbia to participate in a four day residential course. The results of this art project form the basis of the exhibition opening on August 19th in Tremezzo. The later sale of the works at the London gallery will go to provide funds for much needed restoration of the Anglican church and secure financing to retain the ongoing functioning of the church through its season of regular services from May to September each year. 

The Grand Hotel Cadenabbia established a small Anglican chapel for its many British guests back in the 1880’s. The permanent and temporary immigrant community then set about raising funds through subscription to build their own Anglican church. This was completed in 1891. The well-being of the church was and has always been dependent on the commitment and generosity of its congregation – and right now it stands in need of vital restoration.  

The Grand Hotel Cadenabbia, one of the first grand hotels on Lake Como particularly favoured by British visitors.

The Church 

The Cadenabbia Anglican Church of the Ascension

The International Church of the Ascension, to give the Cadenabbia Anglican Church its full name, is unique in being the only Anglican church on Lake Como.  It holds a religious service in English every Sunday from May to September as well as providing a popular site for christenings and wedding blessings. It also hosts musical events throughout the summer season.  

The church is itself a landmark on Lake Como due to its unique exterior and interior design. The exterior is the only completed work of a young gifted architect, Giuseppe Brentano. He graduated from Milan’s Brera Academy having gained public attention by winning a prize for the design of some of the external features of Milan’s Cathedral. At the age of 25 he was commissioned to design the Anglican Church by the main contributor to the building fund, Mr. Heathcote Long who lived in the nearby Villa Norella. Heathcote Long also gifted the land for the church from out of his villa’s parkland on the lakefront. The church has always seen its role as integrating itself and its congregation within the local community and so it was fitting that Brentano’s design incorporated neo-Romanesque elements from Lombard ecclesiastical tradition.

On Lake Como 1819 Joseph Mallord William Turner 1775-1851 Accepted by the nation as part of the Turner Bequest 1856 http://www.tate.org.uk/art/work/D15252

Foundations were laid in 1889 but when Brentano came to visit the site in November of that year, he caught a cold and went on to die tragically young of pneumonia. However the construction was entrusted to a company run by one of Brentano’s uncles who remained entirely faithful to his nephew’s original vision, allowing the young architect posthumously to achieve at least one completed project. 

One of the two exterior mosaics designed and constructed by Murchison.

The interior of the church is as distinctive as the exterior but was completed later in the 1920’s with mosaics and so-called ‘sgraffito’ work in the Art Deco style. It was the new owner of Villa Norella, Roderick Falconer Murchison, who was responsible for the exterior and interior mosaic work. His interest in mosaics was further encouraged when he befriended  James Powell, a member of the congregation and owner of Whitefriars Glass in London. Little is known about who designed or carried out the ‘sgraffito’ work of which there are numerous examples around Lake Como. 

Villa Norella, Cadenabbia, home of Heathcote Long who helped fund the building of the church and gifted the land for its site. It was later occupied by Murchison who designed the external and internal mosiacs.

Restoration 

Not only did the church lose its congregation during the Second World War but it also suffered damage from an allied bomb dropped on return from one of the numerous raids over Milan. The blast blew out the original stained glass and caused damage to the roof and guttering. The church did however reopen in 1948 with clear glass replacement to the windows. The church reached a crisis point in 2016 with a shrinking congregation and continued deterioration to the fabric of the building, Its diminishing funds had already been spent on updating the electrics when the results of the five yearly compulsory survey revealed the need to spend a further 100,000 euros on necessary repairs. Reduced funds and the declining congregation meant the church faced the threat of imminent closure on its 125th year anniversary. 

The interior of the church showing the Art Deco sgraffito work, some of the stained glass and the water damage.

The church’s survival is mainly down to two key factors;  namely the leadership provided by Roger Williams, the church’s vicar from 2016, and the commitment of its congregation. Roger Williams provided four years of continuity during which time the community grew and the congregation took on as much of the renovation work as they could manage by themselves. Meanwhile one of the members of the congregation, Tim Guinness, was considering if the Cadenabbia Anglican Church could replicate a funding project carried out on behalf of St. George’s Anglican Church in Venice. Adopting some aspects of the Venice scheme, another member of the congregation, Jeannie Willan, organised a residential retreat for artists in Villa Collina in 2018. This raised €6,000 which went to restore one of the stained glass windows. This initiative alongside the ongoing leadership and sense of community fostered by Roger Williams led to an enhanced spirit of confidence in their joint ability to tackle the restoration challenges. 

The apse of the church decorated with marble and golden mosaics.

Tim Guinness’s plans for the fund raising art project were further developed and all was set for its launch in October 2020 when fate and Covid struck. Fate came with the death of the church’s inspirational vicar, Roger Williams and  the death of one of the church wardens. Covid meant the cancellation of the project and a further reduction in seasonal visitors. This in turn led to a  drop in the additional income raised through christenings and wedding blessings. The church was barely open at all in 2020 and just for a single month in 2021. Covid’s impact was still felt in 2022 with no increase in the congregation when the next five yearly survey came due. The results were heartening in the sense that the congregation were commended for the work they had been able to undertake since 2016 but it highlighted continued problems with the roof with water ingress damaging the interior.  It also highlighted structural issues with the steeple. Now more than ever was the time to launch the fund raising project delayed since 2020. 

The Art Project

The cultural historian and ex-Director of the Royal Academy of Art Sir Charles Saumarez Smith who introduced the four day artists’ residential course at the Lake Como Landscape Museum.

Tim Guinness took inspiration for the Cadenabbia Art Project from the success of a forerunning fund raiser for St. George’s Church in Venice. This prior project was organised by Tim’s friend and fellow alumnus from Magdalen College, Cambridge, Tim Llewellyn –  previously a Sotheby’s Old Master expert and Art Detective Group Leader. He had launched a scheme back in 2007 inviting up to twenty artists to a residential retreat in Venice from which they would produce works with part of the sale proceeds going to the church’s restoration fund. As Tim Llewellyn said at the time, “We wanted to make an exhibition that would show that Venice is a sufficiently complex subject with a wide enough appeal to provide inspiration to artists representing quite different generations, interests and approaches.”  Many of the artists invited to Venice were Royal Academicians. St George’s Church was consecrated in 1892, one year after Cadenabbia. It too had to close during the Second World War and it too needed funding to repair the roof, stonework and the interior. As its chaplain reported at the time, the church’s priority was its roof “which already leaks in storms,“ as in Cadenabbia.

As in Venice so on Lake Como – Tim Guinness invited twenty British artists with a similar range in ages, backgrounds and styles as those who visited Venice. In fact the starting point for selecting the contributors was to choose some of those who went to Venice back in 2007. Others were then selected to ensure a good representation of both established and upcoming British figurative painters. The final list included such successful names as John Wonnacott and Peter Kuhfeld who have both undertaken commissions for the British Royal Family. The youngest member of the group was Alice Boggis-Rolfe who recently won the Winsor and Newton First Prize for a Young Artist. The local British community was represented by Irma Kennaway who originally came to Como twenty nine years ago as a fabric designer working for silk manufacturer Mantero SpA. 

Self-portrait of Alice Boggis-Rolfe, one of the younger members on the residential course. Copyright Alice Boggis-Rolfe.

The residential course ran for four days with all the artists staying at the Villa Collina in Griante above Cadenabbia. Villa Collina was the favourite summer retreat for West Germany’s first chancellor after the last war, Konrad Adenauer. The course kicked off with an introductory talk at the Villa Mainona given by the British cultural historian Sir Charles Saumarez Smith, who retired back in 2018 as Director of the Royal Academy of Art. He outlined the history of landscape art on the lake and the general cultural heritage of the area.  Further visits were made to some of the well known villas in Tremezzina, Varenna and Bellagio. The group also explored the crests of the mountains overlooking the lake with a stop at the Rifugio Venini at 1,575 metres above sea level beside the summit of Monte Galbiga. Here they learned about some of the darker aspects of local history with the Cadorna line of artillery defences constructed in the First World War and the fate of resistance fighters under Captain Ugo Ricci during the more recent Nazifascist occupation of Northern Italy.

Monte Crocione above Lenno and close to the Rifugio Venini.

In the words of Alice Boggis-Rolfe, “I found it completely beautiful.The perfect trio of mountains, lakes and architecture brought together with abundant gardens inspired me most and almost all of my paintings from the trip are of the relationship between the gardens and the landscape beyond.

 The Exhibitions

Early morning sun shines from over the Grigne mountains with Bellagio in the middle distance dividing the lake eastwards to Lecco and south to Como.

The four day residential was conceived from the start in collaboration with the Lake Como Landscape Museum (Museo del Paesaggio del Lago di Como) housed in the Villa Mainona in Tremezzo. It is here that some finished output and work in progress will initially be exhibited. Not all of the finished works will be on display at Tremezzo due to logistical constraints but if absent, they will be represented by sketches, photographs and notes illustrating the creative process. The exhibition will also outline the history of the Anglican church and its links with the local and foreign community over time. 

The Villa Mainona in Tremezzo hosts the Lake Como Landscape Museum

All of the finished works will then be on display from the 13th to the 17th November at the Gurr Johns International Gallery in London’s Pall Mall where they will be available for sale. A brochure with prices will be available digitally from marie.ainsby@gafunds.com

Proceeds from the sale will go to fund the urgent restoration work at the church with priority, as previously in Venice, given to the roof repairs to stop further water ingress damaging the interior decoration. Money will also be kept back to give some further continuity in providing regular church services during the long summer season.

Challenges for the Future

Clearly buildings of such elaborate internal design and complex exterior architecture require constant maintenance. The need for adequate funding to cover these needs will be an ongoing challenge for the church’s community. However they have proven time again to possess the energy and capacity to face such challenges with confidence and imagination. 

The late Janet Anderson, Director of Music alongside the organ she restored back in 2013

The church will always be in demand for English-speaking couples wishing to get married on the lake as well as for Anglican christenings. Also the church’s deep ties with the local community will ensure it remains a popular venue for musical events. Back in 2013  the church’s Musical Director, the late Janet Anderson, raised over £30,000 for the restoration of the organ and audiences have since been able to enjoy a number of organ recitals in this beautiful setting.

But the church is only open during the prolonged summer season as is not the case at St. George’s in Venice. This makes it more difficult to find a locum vicar with the right time available. The task has not been made any easier by the UK’s exit from the European Union with the added complexity to employment contracts, work visas and taxation arrangements. Yet here again, the congregation have faced and overcome such issues in the past and, on current form, are likely to continue to do so. 

The heyday of the Grand Tour and the Belle Epoque is now long over but the long running love of the British for Lake Como continues unabated. Cadenabbia’s Anglican Church of the Ascension is a physical and spiritual monument to that cultural and artistic connection and long may it so remain.

The stained glass rose window restored in previous years thanks to funds raised by the congregation.

Acknowledgements

My thanks are due to Jeannie Willan and Tim Guinness who both gave freely of their time in contributing to this article. 

Further Details

The Cadenabbia Anglican Church of the Ascension is at Via Statale 31, 22011 Griante, CO.  The website is www.churchonlakecomo.com

The Lake Como Landscape Museum (Museo del Paesaggio del Lago di Como) is on Via Regina 22, 22019 Tremezzo CO. The phone number is +39 0344 533023 and the email address is museodelpaesaggio@comune.tremezzina.co.it

The Gurr Johns International Gallery is at 16, Pall Mall, London SW1 5LU. 

Further Reading

For those wanting to explore the area of Cadenabbia and Griante on foot, read Walking the Greenway and the Antica Via Regina

For our articles featuring Irma Kennaway read  Como Silk – Memoirs of a Textile Designer   and  Ice Cream and Vespas: Irma Kennaway’s Artistic Odyssey  

For details of a walk on the crest of the mountains above Lenno including an overnight stay at the Rifugio Venini, read Overnight on the Via dei Monti Lariani

Every season reveals a different aspect of the lake’s landscape. Here the snow caps the slopes of Monte Primo as seen from Como.
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