Story and photos by Kate Storms

The creases in his face fold like the pages of a truly loved book. His perfectly symmetrical teeth shine each time he smiles, and the movement of his mustache mirrors his emotions. Above all, Mauro’s kindness radiates through the grin within his eyes.

Mauro Santi was raised in Cagli, Italy, and remained there until he attended university in Urbino where he earned a law degree. Soon after, Mauro began working as a funzionario pubblico or public employee for Artigiancassa in Bologna, Regione Marche in Ancona, and Comunita’ Montana in Cagli. During his time with these governmental agencies, Mauro worked to save forests and protect land through bills and other governmental means. He spent 25 years as a manager and secretary, says Mauro, who adds he loves helping others.

“The best part [of working for the government] was saving forests,” says Mauro, who is now retired but loves to travel to his farm.

When Mauro talks about his accomplishments, he is modest. Mauro says that he finds dignity in behaving in an ethical and just way. He shares that his greatest pride is in his ability to provide for his family. He considers himself blessed with many women in his life. He and his wife, Mariella, have two daughters. More recently, the family has grown to include three granddaughters. Mauro describes his current job as “full-time grandparent.”

The Santi family has owned a farm in the hills, Strada San Fiorano, outside of Cagli since Mauro’s babbo or father bought the land in 1965. In 2000, Mauro’s father died, leaving Mauro to mange the farm. The farm is home to a variety of plant and animal life. This year, Mauro’s farm yields mostly wheat, barley, and alfalfa, but a few sunflowers and cherries grow there as well. The fruits, or in this case grains, of the farm are taken to a business in a neighboring town that acts as an intermediary between farms and consumers. The business buys the raw grains from local farms, processes them, and provides the processed grain to consumers. The produce from Mauro’s farm tends to stay within Cagli and the immediately surrounding area. Mauro says he is proud to provide quality grains to his family and community.

The farm also has chickens and cats. Although Mauro has worked on the farm in various ways throughout the years, these days Mauro manages the farm by hiring and managing farm hands. However, Mauro ventures to the farm daily to feed the cats. His kindness for the animals reflects his generous spirit.

At one point, the farm had cows. These days, Mauro says, cows do not produce profits, and he is too “old and tired to be running after cows.” Still, Mauro demonstrates his knowledge about land conservation by rotating his crops to replenish the soil. This technique produces the best crops and allows the farm to continue long into the future, Mauro says. His wisdom and environmental stewardship echo within his profession and his personal choices. Similarly, Mauro’s land is 60 acres, but he uses only 40 acres. Mauro has left 20 of the acres as a wilderness area.

Beyond his duties as a landowner, Mauro is enjoying his time as a full-time grandfather. He is often found caring for granddaughters, and he and Mariella watch the girls while their parents work. During summer months, Mauro and Mariella ensure the girls get plenty of time at the beach. Additionally, Mauro watches them as they run and play in the piazza.

Mauro continues to provide many gifts to the community of Cagli. The Santi family farm provides jobs to several seasonal workers in the area each year, and the grains provide local food to the community. Mauro’s sense of responsibility in land conversation will allow the land to be fruitful for future generations. Mauro shares many gifts with the town of Cagli, yet his greatest gift to his community is the smile and kindness he shows to each person he meets.

Story and photos by Kailee Dunn

The beige-colored room was quiet. The only sounds came from the teacher at the front of the room as she calmly reviewed the day’s lesson plan. When the time was right, she gracefully pushed her chair away from her desk, walked to the classroom door, and said cheerfully, “It’s 10:30.” In other words, it was time for English class.

For now, Cagli, Italy, native Giuditta Leoni is teaching in Pergola, just a few miles from her hometown. But this was not always the case. At the age of 18, Giuditta packed her bags for the University of Bologna. At the time, she could not foresee what her love for language could do for her or where her passion would take her. Since then, she has shared her linguistic talents in 12 countries and has lived in Spain, Australia, and the United States.

Although Italy is her favorite place to be, she admits that venturing beyond her home country was not difficult. “When you love what you do, it makes leaving easy,” she said. Now, she believes all of her students should travel and explore the world.

So, how did a young woman travel the world while still going to school? She did a variety of jobs, including working as a gardener and a waitress. As a member of the USA Pavilion-Expo team in Milan, she met U.S. Secretary of State John Kerry and the First Lady of the United States, Michelle Obama.

Giuditta began learning English when she was 14-years-old, but she hadn’t thought about a full-time teaching job until she worked as a translator and Italian teacher. In addition to English and Italian, she also speaks Spanish and French.

She was able to practice the Spanish language while completing her bachelor’s degree in Madrid. After a couple of years, she decided to pursue a master’s degree in teaching Italian as a foreign language. “Language is something that makes you free,” she said. “It allows you to express yourself, wherever you go.”

Giuditta now works as an interpreter, a private tutor, and a language teacher, working in a new city or country every few weeks. On this day, she is in Pergola, giving three teenage boys their last English lesson of the summer. As the boys shuffled in together, one said “buongiorno,” and they all took their seats. In English, Giuditta replied “good morning,” and the class began.

On the agenda for the day was first, second, and third conditional grammar. Like a proud mother, she patiently waited while one of the boys read aloud or answered a question in English. When the time came to complete the class, the three boys and Giuditta reviewed the lesson. “Very good,” she said smiling, and the boys were dismissed.

Prior to the class, Giuditta explained the importance of continuing to learn and grow. Education, as she explained, is where passion and understanding begin. “Education is the base for everything,” she said.

In July of 2017, Giuditta will travel to England to serve as a course leader for a program known as Education First. While the program is only three weeks, she plans to continue working with young adults and children to enhance their language skills and sense of culture.

“Language and culture go together,” she said. “There is no language without culture. There is no culture without language.”

The parchments are yellowed with age. The script is elaborate cursive completed by hand with goose quills. Many of the papers reflect everyday life of the parishioners in 800 AD—business licenses, judicial sentencings, purchases, and sales of everyday items; births, deaths, and marriages. They detail the labor of stonecutters, woodworkers, and artisans hired for various work within the walls.

For most of his life, Giuseppe has been the caretaker for San Francesco, a medieval church in Cagli. Recently, Giuseppe has been asked to work with the archives by the Bishop. He has the daunting task of putting them in order for future generations so that they understand the significance of the town in the digital age.

This priceless history must be preserved before it is lost forever, Giuseppe says. Over time, the ink will fade, and the paper will become brittle and turn to dust. Giuseppe’s labor of love becomes evident in his preservation efforts. He is Cagli’s keeper of time.

Giuseppe shares the stories of San Francesco church, beginning with the tale of a local legend, St. Francis, who traveled through Cagli and left behind several trusted followers. The followers settled and preached the Gospel in Cagli.

As he moves through the church, Giuseppe explains the significance of the art and design. The church, he says, is typical of the Roman/Gothic style of the time. Blueprints from the archives hold proposals that were rejected and accepted during construction.

Construction of the church began six years after the death of St. Francis and was completed 50 years later. The consecration of San Francesco took place in 1250.
During the plague from 1629 to 1631, the artwork was diluted, Giuseppe says. The walls and ceilings were whitewashed and disinfected, creating blank spaces in the frescoes that resemble forever-lost puzzle pieces.

The church has seven altars. The first altar to the left of the sanctuary displays a hand-carved crucifix made from one piece of wood in the 1400s. A life-size Christ on the cross, made about 1500, is attached, giving the illusion the work is all one piece.

In 1622, the famous Cagli stonecutter Elpidio Finale created intricate carvings on the altar surrounding the crucifixion, Giuseppe says. The hand carvings credited by a simple plaque on the side that reads, “Finale 1622. Elpidio DCagli.” (Completed 1622 by Elpidio of Cagli.)

The carvings tell the story of St. Francis, beginning with his departure from the army and including key points in his life as a monk as well as several of his miracles. The ornaments across the front of the altar display key Franciscan Saints: Claire, Elizabeth, Anthony, and Bernard.

An organ was added to the church in the 1500s. The instruments’ tones were made to fit the Renaissance music of the time. To keep the instrument in tune, the organ is played only occasionally such as special holidays, festivals, and events. The organ is incapable of playing anything “modern,” Giuseppe says.

In the 15th and 16th centuries, San Francesco benefited from the prospering Cagliesi. Cagli became a thriving city whose residents specialized in art, music, and tanning. The wealth led to ornate additions to San Francesco, including the hiring of Lapis, the renowned Renaissance painter. Lapis was a native of Cagli.

The Cagliesi specialized in using archery and became famous for making crossbows, arrows, and bows, Giuseppe says. Residents became renowned as mercenaries. When they returned to Cagli, they brought wealth with them.

As he takes his visitors on a journey through time, Giuseppe proudly displays a scroll from Pope Leo the Fourth, circa 847- 845 AD. The Papal seal is attached. Giuseppe explains that the “bolo” cylinder discs prove that the Pope sent the missive for the Parish of Cagli. As the keeper of the archives, Giuseppe says, he is proud of his work.

Story and photos by Art Por Diaz

Roberta Sandreani squats in front of her computer, scrolling through a playlist of songs; she fidgets with knobs on a sound system, then double clicks on a song. The recognizable bassline of a hip-hop song echoes inside the dance studio of Movimento E Fantasia (MEF). She walks to the center of the studio, pivots on her left foot to face the wall-length mirror covering a side of the room, and begins to stretch. Without any lead-in, the song shifts, and she flings her body to the left, takes a hard step, and begins her dance routine.

As the first song continues, Roberta creates a seamless mix of steps: B-Boy, Wu-Tang, Pop Lock and Droppin It, as well as an endless assortment of unrecognizable moves. She seems to challenge her reflection with each move as if she were engaged in her own personal dance battle. Roberta blends sharp movements with fluid ones to create a hip-hop dance routine fit for a dance studio in the street-style metropolitan areas of Los Angeles or New York City; yet here she is in Cagli—a small town in the Marche region of Italy.

Roberta says she began dancing when she was nine years old. Originally dancing classical ballet, she transitioned to hip-hop after falling in love with the style. One of her joys is discovering hip-hop beats or songs mixed with classical ballet music. A quick Google search results in several hip-hop adaptations such as Tchaikovsky’s Dance of the Sugar Plum Fairy and even the Nutcracker.

When asked about her choreography process, she says, “The music comes first. Always, because the music will tell you how and what movements will work.” She explains that she first checks in with the studio owner about the type of dance and dancers she will be teaching. She also asks about the song choice. From there, she stages the dance.
Roberta ponders the difference between teaching and dancing. “As a teacher I am anxious,” she says. “As a dancer I am confident because it is only me.”

“To organize a dance routine for a showcase takes me about a month to put together. And dance lessons take me three-to-four minutes, depending on the music.”

Roberta says she could not choose between teaching and dancing. “I love both,” she says, adding the two activities fill her with pride and joy.

“My favorite memory as a teacher?” she asks over and over, pressing her lips together as if trying to kiss the recollection. “Every time I see my students dance.” Her absolute favorite? “My very first dance showcase I taught that was in a dance festival.”

As for her favorite memory as a dancer, she answers quickly: “My first Movimento E Fantasia company dance.”

As Roberta begins her second dance routine, she makes evident the contrast between her humble demeanor and her powerful moves. She infuses emotion into every shift of her body, lift of her foot, shuffle, and arm cross. Every bend of a joint and head twist meets the percussive beat reverberating from the speakers. As the song nears its end, her right heel kicks the floor, and with the weight of her body, she pushes back onto her left foot and raises her left arm while her right arm drags behind to maintain balance; her face reflects full focus. Then the song ends, and she breathes heavily, welcoming the applause. “Prego,” she says with an exhale.

Story and photos by Samantha Quintanar

With both precision and care, Atillia Leoni ties a silk pink bow on each gift the girl purchased. She smiles with every loop, swoop, and pull and sends her on her way with beautifully packaged artisanal soaps for her family back home. Going above and beyond for a customer is what business in Cagli, Italy, is all about.

Atillia knows the ins and outs of running a successful business in Cagli. As a little girl, Atillia watched her parents own and operate the local beauty supply store that brought fine perfumes to locals. She knew that one day the perfumerie would be passed down for her to manage, so she paid close attention to how her parents ran their business.

After attending school to study accounting in New Cagli, the 21- year-old Atillia took over the daily operations of her family’s business.

Since 1967, Profumerie Leoni has been a place for the people of Cagli to purchase items that help them feel beautiful. The shop has expanded to include a variety of products from soaps to accessories.

Over the last 30 years, Atillia and her brother have managed their two locations in Old and New Cagli. While her brother’s role is that of a traveling salesman, Atillia manages daily operations at their shop in Old Cagli, just around the corner from the piazza.

Atillia greets with a smile every customer who enters her shop. She takes obvious pride in her work and is knowledgeable about every product in her shop. As the owner and operator of the profumeria in Old Cagli, Atillia wears many hats. She strides around the shop stocking shelves, ordering products, providing customer service, and managing the shops’ accounts.

Each day, Atillia carries herself with both strength and grace, a confidence she says was passed down from her mother. Atillia’s upright posture and curvaceous figure beams assertion, poise, and beauty. The soft lines on her face and almond-brown eyes tell the story of a business woman raised by the town of Cagli.

Old Cagli is where she was born and where she raised her children. The shop was passed down to her, and it will be passed down to her son and daughter when they are ready to take over. While she admits that on occasion her job can be tiresome, she loves it.

“My favorite part of running a business in Cagli is the connection I get to have with my customers on a daily basis,” she says.

Over the last decade, Atillia has witnessed great shifts in the city of Cagli. “Business grows slower as the population grows older,” she says.

With the rise of online shopping and social media, Atillia works tirelessly to keep up with the latest trends. The store now has an active website and Facebook page. She admits she could continue to manage the business solely from her ecommerce site; however, she won’t because the connections she makes with the townspeople are too meaningful to her.

“I am optimistic for the future of this business,” says Atillia with a smile.

She turns away and begins stocking shelves. One by one she places the golden shampoo bottles on the display case, gently turning the labels out.

A small black Nikon camera, waiting to be used, sits on the table of an old stone house about 20 kilometers outside of Cagli. As Florindo “Flory” Rilli picks up the camera, an artist awakens. His hands delicately and methodically adjust the settings for the upcoming photo shoot. His creative mind and skillful eye scan the area; he is planning the best shot.

Flory was born in 1962 in Cagli, where he continues to live and work. He is a man of few words who cares for his elderly mother while doing odd jobs around the town to support himself. He leaves Cagli to show his photographs in galleries around the area and photograph different models. However, Cagli is home, so you will find him there most of the time.

He is a gentle, humble soul, but when his instrument is in his hands, his fire is ignited. He does not have a studio since his only equipment is his camera. He travels to his models to find the best scenery, and models from around the area come to Flory to be photographed. He does not charge money for his time and art. When asked why, he replies, “No, why would I? No one would want to buy these.” The only thing he asks for in return for his work is “a thank you for the beautiful experience.”

A self-taught photographer, Flory sees the world differently. His photographs look like pieces of museum art; he knows the best angles of his subjects and how to find their inner beauty.

Flory says he has always been drawn to Dadaism and Surrealism. These styles taught him to make use of the symmetrical and architectural details surrounding him. He plays with shadows and lights, reflecting the artwork he is most drawn to. These styles are evident in his photographs.

Flory slowly and proudly flips through his creations from past modeling sessions. As he does so, his eyes lighten, and his mouth crinkles a bit. His passion is evident. He shows photographs of a model covered only in glitter and another wearing nothing at all. Other photos display a model hidden behind a cluster of sunflowers. Only her eyes can be seen beneath the leaves. None of his pictures look the same; every model tells her story from her point of view just as much as Flory tells his from behind the camera lens.

He points to a particular photograph displaying a woman in a cardboard box; only her legs show. She wears black stilettos. Flory explains that the box was the only prop he had, so he improvised. The shot looks planned rather than one born of circumstance. He captured the stunning beauty of her legs in a simple, flirty fashion.

During his sessions, Flory rarely directs his models on what to wear or how to pose. He wants his subjects to express themselves in any way they feel comfortable. Still he is able to showcase the model in a way that achieves the best outcome.

As Flory works, he seems to study and stop images in his mind. He continually searches for the best angle and pose. As much as Flory is watching the model, the model is watching him, waiting for her next move.

He looks at nearly ever picture he takes for confirmation of a job well done. He knows not every shot can be the best. Flory does not speak during his shoots; his brain moves too quickly. However, the model knows when he has taken a beautiful shot because he will softly say, “Bella.”

Flory says he has always been attracted to abstract and unusual things. He does not create typical family photos; his work is destined for galleries around the world. His models are typically artists. They use his photos to express emotions and parts of their personalities that only he can capture.

As an artist, he says, his ultimate goal is to “educate the soul beyond the look.” He strives to reveal the inner beauty and the peculiar in everyday things. Flory sees the emotions and rawness of each model through the lens of his camera. His photographs tell a story that the audience must discover.

Story and photos by Kelli Pastore

A pair of strong rough hands gently caresses the sandstone . What appears to be a porous slab of stone will soon come to life through this artist’s masterful execution.

Unlike most residents of Cagli, Italy, Enzo Torcoletti isn’t a full-time resident. In 1962, at the age of 16, Enzo found himself in an unusual situation while he was attending art school in Fano. His father decided to leave Italy to find work in Sault Ste. Marie, Ontario, Canada. Faced with the choice of living alone in Italy, Enzo decided to join his father in Canada after he finished his schooling. Enzo’s move to Canada so many years ago was the first of his five relocations.

Once in Canada, Enzo decided he needed to learn English, so, in 1964, he enrolled at the University of Windsor as an English literature student. While pursuing his bachelor’s degree, a faculty member in the art department learned of Enzo’s art degree and asked him to become his assistant. This led to him earning another bachelor’s degree in sculpture and printmaking in 1969.

Fast forward several years to around the time Enzo graduated for the second time. An acquaintance in the art department at Florida State University offered Enzo a scholarship and position as a graduate assistant. After moving to Tallahassee, Florida, Enzo earned his master of fine arts degree in 1971. After accepting a position as a professor at Flagler College, Enzo moved to St. Augustine, Florida. Starting that same year, Enzo taught sculpture, art history, and drawing for the next 36 years, retiring in 2007.

After spending several summers in the sweltering Florida heat, Enzo decided to return to Italy on his summer breaks from teaching. Upon his return, Enzo lived in a relative’s home for several summers but decided to look for his own house after his relative decided to sell one home and move into the house where Enzo was living. Seeking peacefulness and tranquility, Enzo bought a house that dates back to the Napoleonic Era. The house sits at the end of a three-mile-long, winding, dirt driveway. Enzo says he loves the home because it is surrounded by beautiful scenery, has no television or phone, and is the perfect atmosphere for him to create. Wild sage and fresh apricot, walnut, and lemon trees surround the house.

“My only neighbors are the wolves and the occasional German tourist,” Enzo says.
For more than 45 years, Enzo has been actively involved in creating commissioned pieces, art exhibitions, and other sculptures. His work has been exhibited over the years in many locations throughout Italy and abroad. Some of his pieces are included in private and public collections around the globe. He work has also been featured in several different books including The Sculpture Reference Book: Contemporary Techniques, Terms, Tools, Materials And Sculpture and two other textbooks on sculpture by Arthur Williams.

These days, Enzo enjoys his retirement by creating in his backyard studio, which can be found at his home about 20 minutes east of Cagli. His focus has mostly been on creating visually intriguing stone carvings of a woman’s figure. Some of Enzo’s favorite materials include granite, sandstone, and marble. His love of stone carving has taken him to countries such as England, France, Portugal and Holland as he searches for the perfect carving stones. He also imports some of his materials from Egypt and the United States, but people in the Cagli area have given him many materials with which to work.

In addition to his Italian sculpting studio, Enzo also maintains a small studio in his St. Augustine, Florida, home. In addition to stone carvings, Enzo enjoys using wood, bronze, and other materials to create his works. Enzo’s creations differ from those of some artists because he has mastered the skills needed to create all his pieces himself. Some artists subcontract pieces of their sculptures to streamline the creative process. From conception to exhibition, Enzo’s works are completely his.

The master sculptor, Enzo Torcoletti may have spent the bulk of his life away from Cagli, but he will always be an artist and Cagliese at heart.

Story and photos by Aimee Elber

Flipping through a glossy catalog, photographer Samantha “Sam” Gazzetta points at bedspreads, mugs, and mousepads superimposed with images of smiling babies. Her fingers glide across the slippery-smooth pages as she takes note of various merchandise: a heart-shaped keychain, an oversized pillowcase, a cereal bowl. This is Sam’s next ambition: to follow the digitization of photography, making a living by selling portraits printed on household items. While she strives to keep up with modernization, Sam’s life journey began with a family legacy that dates back more than a century.

Foto Duranti, a small photography studio situated just off the piazza in Cagli, Italy, was established in 1887, though some speculate the business has served Cagli residents for a couple of decades longer. For the past 15 years, Sam has run the business with her father, Luigi Gazzetta, who worked the shop with his father before. While she is an expert in her craft, Sam’s artistic talents and interests stretch far beyond photography.

Educated at a music school in Pesaro, Sam has a life-long interest in music. In addition to singing, she plays the piano, violin, and guitar. With the exception of a particular penchant for the works of Bach, she enjoys and plays most modern contemporary music. As is typical in most parts of the world, a person’s hobbies may not always be a workable career trajectory. After graduating, Sam was faced with a choice. She knew her work as a musician would be sporadic and unpredictable. Following in her father’s footsteps (and generations before her), she chose photography as a sustainable option for making a living; she knew she would likely experience continuity in her work along with a somewhat steady income.

The techniques of the trade are constantly changing as technology advances. Moreover, the demands of the customer have transformed as society experiences a global shift toward digitized information. Fewer and fewer customers at Sam and Luigi’s studio request printed images. Gone are the days that family photos adorned the walls of living spaces and bedrooms. These days, most customers want digital images to post on social media and share with friends via text or email. This demand, coupled with the challenges of drumming up business in a small town, is forcing Sam to think creatively about where she would like the business to go.

While her father reminisces on the past, pulling out dusty daguerreotype images made with a large box camera and developed in mercury fumes, Sam tends to be more progressive. With a strong affinity for New York City and Americana, Sam’s current focus is to start offering portraiture images printed on everyday items to be used as keepsakes. Of particular interest are mobile phone protectors, linens, and dishware. Her hope is that this venture will continue to generate the income necessary to keep the business alive.

Residents in the small town of Cagli know Sam as a local fixture in the community. Not only do they visit her studio to schedule photo sessions and purchase prints, but they also like to share local gossip. Over the years Sam has learned to listen politely, entertaining the chinwag but not necessarily taking part. She has learned that, rather than making enemies in such a small town, it is best to maintain affable relationships with clientele.

Sam knows that, in Cagli, she is limited by lack of demand, lack of consumerism, and plain geography. Of all the lessons she has learned as a photographer, choosing to stay in her small town stands out the most in her mind. In Cagli, she feels constrained. The demand for print photography is dwindling with the advent of mass interest in digital images. As the population of Cagli grows older and the younger generation takes over, the need for print photography will surely fade.

Sam is working to keep her business alive and capture the appeal of customers young and old. However, if money were no object and she had the option, Sam would travel to America and drive Route 66 in a red convertible, feeling the wind in her hair as she made her way across several states. Such a trip remains her dream, and while she may find herself in America again someday, for now, she stays in Cagli.

The high clouds drift across a clear blue sky, and a young boy rides his horse at “MiNiMo,” a horse-racing school in new Cagli. He looks confident and happy. He is Giovanni Celli, a 12-year-old boy who loves horses.

Giovanni was not always a fan of animals, he says. For the first eight years of Giovanni’s life, he was deathly afraid of all animals; horses were no exception. One day, to overcome his fears, he decided to watch a horse-racing competition. The moment he saw the horses running, he was attracted to their strength, speed, and agility. Giovanni decided to begin his career in horse racing.

Giovanni’s decision was big news for his family, he says. The decision so surprised his mother that she found it hard to accept. “I almost had a heart attack,” Giovanni’s mom says. “He had so much fear of animals. But now he suddenly told me he wanted to be a jockey. How could I accept it?” By his ninth birthday, she had come around—demonstrated by her handmade gift to him of horse-racing attire.

“I was so shocked and happy on my birthday—the best gift ever,” Giovanni says and smiles at his mother. At that moment, his horse-racing journey officially began.

In 2013, Giovanni started riding Camilla, a beautiful brown horse who was gentle and friendly to kids. Because of Camilla’s good nature, she was perfect for Giovanni, who also worked with a professional trainer at MiNiMo. Giovanni recalls the first day he met Camilla. “When I saw her, I felt like she was telling me not to me afraid,” he says.

After a couple of months of training, Giovanni turned 10 years old. This was a significant year for him because that year he attended his first horse-racing competition.

At the competition, Giovanni had to show his coordination and his connection to Camilla. Therefore, Giovanni had to ride his horse alongside another rider, matching her speed and the rhythm of the music. Without any doubt, Giovanni gave his best performance. He was officially a jockey, he says.

At age 11, Giovanni won a competition in which each jockey performs different specialties. In the competition, Giovanni demonstrated how horses work a farm. Giovanni says that one of the reasons he loves horses so much is because they build strong friendships with human beings. “Horses don’t talk back,” he says with a shy smile. “Camilla is not only my best friend and partner but also a crucial mentor to my career.”

Now that Giovanni is 12 years old, he is no longer a beginner. For now, he has his own horse, Letizia. When he takes Letizia out from the barn, his eyes fill with pride. He knows Letizia signifies a new level of his career. Letizia is like Camilla—majestic, strong, and loyal. The way she walks demonstrates her power and her confidence. She seems proud of Giovanni as well.

Letizia belongs to the owner of MiNiMo horse racing school. In October 2015, she told Giovanni and his family that she would like to give them Letizia for a year so that Giovanni could continue his advanced training. The family would be responsible for medicine, food, and general care. Giovanni and his happy were thrilled because they could not afford a new horse, which could cost anywhere from $300 to $1 million. Giovanni and his family cheerfully and thankfully accepted Letizia. The offer brought Giovanni not only a new horse but also new hope for his future.

Unfortunately, the following October, MiNiMo’s owner asked Giovanni to give Letizia back because Giovanni needs a more-advanced horse to reach the next level of his training.

“It is sad that I have to say goodbye to Letizia soon,” Giovnni says. “But I have to keep going. And I know Letizia understands. She knows me.

“The important thing is she will forever be my friend like Camilla,” he says, looking at Letizia and gently stroking her hair. “The connection between me and them is unbreakable.”

Story and photos by Nick Stjern

Antonio Urbinati strolled through the piazza early one morning with the wind at his back. Passing through the tall arched doorway of City Hall, the boatman of Cagli had reached his destination. The final obstacle in this journey took the form of a massive double door made of dark-brown wood. The skilled craftsman had just the tool to solve this problem. Removing a key from his pocket, Antonio turned the lock and slowly opened the heavy doors to his display room. Standing in the doorway, he took a moment to look into the past.

More than a decade earlier, this banker by trade found himself at a fork in the road of his proverbial journey. He returned home from a night of drinking with his friends and found his wife unsatisfied with his life choices. “I can’t take it anymore,” she said pleadingly. “You need to pick a hobby, or I’m leaving.” Faced with this choice, Antonio set out to change the course of his life.

As luck would have it, Antonio had a friend who made model boats. This friend enthusiastically began each project but lacked the ability, desire, and patience to finish them. Given his wife’s recent ultimatum, Antonio decided to alter the his life’s course and let model building become his new pastime.

This new journey did not begin smoothly. His children would see boats and want to play with them, so Antonio had to explain why they should not touch certain things. As a result, his offspring were unenthusiastic about their father’s new hobby. Several friends also struggled to fully appreciate the time and effort that went into each detailed vessel. For a time, Antonio planned to assemble several boats and give them as gifts. A story comes to Antonio’s mind as he recalls a boat he gave as a wedding present. The bride was upset that someone would think to give her a piece of junk like that on her special day.

Each boat is constructed with such meticulous detail that one project can take up to a year to complete when Antonio works on it for three hours each day. When accompanied by a cost of up to 1,000 euros, these models clearly transcend a small hobby and demonstrate serious passion. With more than ten boats on display—ranging from small fishing boats to warships measuring nearly one meter—the scale of this devotion begins to fully take form. The simple fact is that Antonio has dedicated a great deal of time to mastering his craft.

The amount of time spent on each project is mind-boggling. Every knot of every sail is thoughtfully tied by hand. The detail, the intention, the devotion, and the patience all create a gale-force wind that fills the sails of each observer, driving them to ask the final overarching question. Why does he do this? His kids don’t seem to fully appreciate the models; friends are upset when they receive them as gifts. No one is going to pay a price that would capture the monetary cost and the time commitment for each project. After all these years, what would push someone to keep creating models of such complexity?

“I’m obsessed,” Antonio says. “Each model increases in complexity and allows me to test myself.”

Antonio and his passion for model building seem to embody an older way of life that springs to mind when people think of Italy. Throughout the country, cobblestone roads and ancient arches draw travelers from around the globe to create an economy centered on tourism. Ancient architects paid close attention to meticulous details, slowly constructing durable masterpieces. As a result, buildings stand today that have survived for more than half a millennium. Modern creative endeavors seem to be built with short-term intentions. There is something about an old soul. The warmth and comfort can’t be created without the time that goes into each project.

As the boatman of Cagli closes the door to his display room, he passes his hand over the ancient wooden door. The last ray of light rushes to enter the room as the door comes to a heavy close. Twelve years have passed since Antonio lost his wife. His kids say they won’t keep his boats when he dies, and friends don’t appreciate them as gifts. As Antonio follows the breeze and smoothly drifts through the piazza, he represents an ancient view of the world centered on persistent progress. Mastering a craft comes with a cost. Antonio, feeling the cobblestones beneath his feet, has paid the price and is eagerly searching for more.

Story and photos by Marie Tjernlund

generous [jen-er-uh s] adjective
1.liberal in giving or sharing; unselfish: a generous patron of the arts; a generous gift.
2.free from meanness or smallness of mind or character; magnanimous.
3.large; abundant; ample: a generous portion of pie.
4.rich or strong in flavor: a generous wine.

A man with muscular arms and a chiseled jaw strides onto the patio. His uplifted hand carries an oval plate that holds a mountain of golden pasta glistening with melted cheese. He leans toward the customers and slides the plate off his hand onto the tabletop. The man lingers for a moment, his hands gently resting on the shoulders of one patron. Friendly banter ensues. With a quick wink and a wry smile, the man returns to the kitchen.

Pushing through saloon doors, the man enters a bustling kitchen. Rich aromas of cheese, pancetta, and spice fill the room. The man transitions from waiter to chef. He blends penne and sauce in a large aluminum bowl set on the stainless steel island. With a well-worn, wooden spoon, the man pours the creamy creation onto a plate. He snatches a block of hard cheese and a grater for a few fresh strands of parmesan. The plate is whisked to customers leisurely resting at a table laden with carafes of hearty wine and bottles of sparkling water.

This man is Lorenzo Pazzaglia, owner and chef of RIstorante Il Poggio. Strong and confident, with distinctively spiked hair and a polite smile, Lorenzo has a formidable and charismatic presence.

The secret to the success of this family-owned business is largely due to Lorenzo’s enthusiasm for authenticity and his generosity in his approach to food. A 14-page menu offers dozens of varieties of fresh and savory recipes for pastas, pizzas, risottos, and insalatas that inspire and satiate the hungriest of patrons. First-time customers and regulars eat family style, sharing culinary creations bursting with native flavors. Securing a table for dinner on a weekend requires reservations.

The name Poggio translates to “hill.” Located above the city of Cagli, bordered by a row of large shade trees, Il Poggio stands in stark white against the blue sky. The building is half residence and half business, and its furnishings are simple and casual. The restaurant seems to beckon to customers to come in, have a seat and be among friends.

One of the most famous items on the menu is Spaghetti alla Carbonara, a creamy dish of pasta, cheese, eggs, pancetta (bacon), and black pepper.

Spaghetti alla Carbonara has a vague history. Popular legend has it that the dish became popular during the 1940s when war rationing forced Italians to subsist on bacon and powdered eggs. Others say the name carbonara, which roughly means “in the manner of coal miners,” was a popular dish among workers. Regardless of its humble beginnings, Spaghetti alla Carbonara remains a popular dish throughout Italy and around the world. According to Lorenzo, people travel hundreds of miles to enjoy the specialty at Il Poggio. Liberal portions at reasonable prices keep them coming back.

A ceramic chili pepper hangs high on the kitchen wall. Departing from traditional Italian cuisine is part of the lure of Il Poggio. Lorenzo has a passion for spice—exceptionally hot spice. Around the corner from the large outdoor patio lies a small garden hosting a dozen varieties of hot peppers. Lorenzo cultivates and imports more than a hundred hot chili peppers from around the world to incorporate into his menu. Some are served fresh, others dried and ground. The most potent are simmered and reduced to a frightening intensity.

Scalding hot peppers including Naga Viper, Trinidad Scorpion, Bhut Jolokia (ghost pepper), and Smokin Ed’s Carolina Reaper can be added to a special selection of pizzas and pastas that challenge the bravest of diners to a sweltering contest of wills. Customers who successfully attempt to consume the “world’s hottest pizza” at Il Poggio not only gain bragging rights, they also receive a commemorative T-shirt and what is certain to be a raging case of indigestion.

The afternoon turns to evening. Hot coals flicker in the fireplace in the kitchen corner. Rustic rosemary bread sizzles in the heat; it will soon be removed and drizzled with olive oil and sprinkled with rock salt. Pans on the gas stove are shaken and stirred. Cooks and waiters move in rhythm as pots bang together, cupboards open and close. Lorenzo’s sister calls out for ingredients. His tall brother-in-law flashes a brilliant wide smile as he jokes with one of the waiters. Mushrooms saute in olive oil. Lush ripe melon is cut into slices and set aside on a tray filled with prosciutto. Delightful aromas of butter, cheese, and truffles fill the air.

Working the dining room, Lorenzo sets out clean wine glasses and menus for the newly arriving guests. Patient and engaging, he makes gentle recommendations. His piercing eyes crinkle, and after making a quick note on his order pad, he is back in to the kitchen to get the meals underway.

Just as art is an expression of an artist, cooking reveals the personality of the chef. At Il Poggio, Lorenzo Pazzaglia reveals his passion, imagination, and generous spirit. He creates meals that not only nourish the body, they nourish the soul – one overflowing plate at a time.