Matthew Daub is a professional artist and university professor with works in major public and private collections throughout the United States and Europe. He has been leading plein air painting workshops in Italy since 1994. In 1999, Matthew and his wife Barbara formed Arts Sojourn as “a vacation for artists and their friends.” The program is designed to appeal to artists of all levels as well as non-artists who enjoy the company of creative people in a slow travel format.

Slow Travel Tours is an affiliation of small-group tour operators who offer personalized trips in Italy, France and other European countries.

The majority of the town is medieval, although there is evidence of Gubbio’s history dating back to the Bronze Age. Just outside the city walls there is a substantial 1^st century BC Roman amphitheater. A Roman mausoleum is located just a stone’s throw from the amphitheater. It is listed on Gubbio’s tourist maps as belonging to the Roman consul Pomponius Graecinus, although there is nothing more than coincidental evidence to substantiate that claim.

The Italian way of preserving and honoring history is clear and evident throughout Gubbio. On our first visit to the town my wife and I passed a public works sewer project along the via dei Consoli. Ancient foundation walls had been uncovered below the the road surface. A young woman, who turned out to be the project archeologist, was standing nearby. “Romano?” I asked, in reference to the unearthed stones. “No, medioevale” she replied. Workers were in the process of carefully cleaning, documenting, and photographing each pile before they could be buried once again and capped with rounded paving stones restored to their original pattern. The work appeared to be progressing slowly. This is the sort of procedure that must be followed when any antiquity is discovered in any project in Italy, whether public or private. Work must stop; archeologists must study; plans must be drawn; every detail noted. History must be preserved and protected; even the history of medieval stones that will not be seen again until future sewer repairs are necessary. Is this the fastest and most efficient way to expedite construction? Of course not! It is the Italian way.

Also along via dei Consoli are some of the best examples of one of medieval Gubbio’s most puzzling mysteries, the Porte della Morte, the “doors of death.” One could easily pass right by them if not alerted to their presence. The “doors of death” are narrow bricked-in openings usually very near and slightly above a home’s main entrance. They are rare architectural features, found only in a few places in Umbria, Tuscany and the south of France. Their name comes from the most popular, although unlikely explanation of the doors’ purpose. Legend has it that they were used only for carrying out the coffins of dead residents and then sealed again – a very romantic notion, but their primary purpose was probably much more pragmatic. In case of an attack the larger main entrance could be barricaded and the narrow opening, usually leading to a very tight staircase, would be much easier to defend. As is usually the case, superstition provides the more appealing narrative.

Just off of via dei Consoli is the medieval police station, the Bargello, and next to it the Fontana dei Matti – “The Fountain of the Mad.” The legend claims that if you walk around the fountain three times you will lose your mind. Presumably every teenager in Gubbio has tried this at least once and it is also a temptation too great for many visitors to resist. I was not tempted in the slightest, seeing no reason at all to push my sometimes shaky luck.

Towering above the town, near the summit of Monte Ingino, is the Basilica di Sant’Ubaldo; a monument honoring Gubbio’s patron saint. There are two ways of getting to the Basilica; either via a steep and winding footpath which leads up the mountainside from behind the duomo, or by a precarious ski lift-like contraption that is very reminiscent of either a string of dangling human bird cages or some form of medieval torture device. Gubbio is renowned for one great annual event, the Corsa dei Ceri; a foot race up the mountainside to the basillica that has been conducted each May for nearly a millennium. The Corsa dei Ceri is no ordinary foot race. It is a combination civic celebration and religious procession with a dose of carnal fertility rite thrown in for good measure. It is second only to the famous Palio di Siena in the pantheon of popular Tuscan and Umbrian festivals. The Ceri are three large priapic, wooden columns topped with effigies of Saints Ubaldo, Antonio and Giorgio. The carved Ceri are four meters high and very heavy. During a procession through the town the Ceri are raised to their erect position accompanied by a chorus of excited cheers from the crowd. There is an entire day of various celebratory stops and feasting, and then the race begins. Three teams of ten men, which can be replaced every ten minutes, race up the mountain path to the Basilica carrying the Ceri. Of course, the Cero of Saint Ubaldo always wins.

One of Saint Francis’ most dazzling animal escapades is supposed to have taken place in Gubbio. As the story goes, an enormous marauding wolf was terrorizing the inhabitants of Gubbio; devouring livestock and townsfolk alike. Attempts to kill the animal usually ended up with the brave hunters becoming the piatta del giorno for the fierce carnivore. The situation became so bad that few people dared to venture out beyond the city walls. Francis, who was living in Gubbio at the time, was well-aware of the town’s plight and decided to intercede. In spite of many exhortations to stay within the walls, Francis headed out into the surrounding wilderness in search of the animal accompanied by a small group of comrades. All but one of his supporters eventually turned back in fear. When Francis finally found the wolf, or perhaps vice versa, the animal was poised to attack with jaws opened and fangs bared. Francis made the sign of the cross and admonished it: “Come to me, Brother Wolf. I order you in the name of Christ not to hurt anyone!” The animal immediately closed its jaws and laid down at Francis’ feet. Francis then formed a non-aggression pact with the wolf who placed his paw into Francis’ hand as a sign of agreement and followed the saint back into town. The townsfolk were astonished by this exhibition of the power of God and vowed to feed and care for the wolf for the rest of his days. The animal subsequently lived among them in peace. Not even the dogs of Gubbio barked at him. The town was grief stricken when the wolf finally died of old age two years later.

Mysterious Gubbio – so much to discover, but where does myth leave off and history begin? I heard a rumour that the bones of an extremely large wolf were found beneath one of the town’s smaller churches. I only hope it is true!

Matthew Daub is a professional artist and university professor with works in major public and private collections throughout the United States and Europe. He has been leading plein air painting workshops in Italy since 1994. In 1999, Matthew and his wife Barbara formed Arts Sojourn as “a vacation for artists and their friends.” The program is designed to appeal to artists of all levels as well as non-artists who enjoy the company of creative people in a slow travel format.

Slow Travel Tours is an affiliation of small-group tour operators who offer personalized trips in Italy, France and other European countries.

One of the questions that I see asked frequently on the internet travel forums comes from people who want to know if it is necessary or advisable to purchase their tickets in advance from the US. I would say that the answer is generally no. Unless you are traveling on a very popular route on a fast train with reserved seating at a high demand time, there is usually no reason to purchase in advance, unless you want to try and grab one of the limited discount “Mini” fares available only by advance purchase. Advance discounted sales are not available on regional trains, which are very inexpensive to begin with. Normally, you will just purchase your tickets at the station prior to boarding, or a few days in advance if you happen to be near the station.
If you are looking to purchase for a longer trip in advance you can do so on the FS Trenitalia website. www.trenitalia.com The site is available in English, but it is not particularly user friendly and I have found that US credit cards are frequently rejected by this Italian company even after you have successfully completed all of the previous steps. I recently obtained two advance purchase Mini fare tickets through another company, Italiarail www.italiarail.com. The transaction could not have been easier and there was only a $5 US transaction fee above the cost of the tickets, but let’s get back to the station.
Be sure to arrive at the station early and allow plenty of time to make your purchase if you are buying before boarding. The ticket windows may have long lines. Part of the anxiety attached to train travel in Italy is how to navigate an unfamiliar system when you don’t speak the language. Don’t worry about the language issue. You can try buying tickets in Italian if you’ve been practicing, but there’s no need. I’m quite sure that the person in the booth will understand “two round trip tickets to Florence please,” just as well as “due biglietti andata e ritorno a Firenze per piacere.” Good pronunciation of the name of your destination is far more important than understanding the language. As an easy alternative to the ticket window you can also use the automatic kiosks that most stations now have. You can usually select an English transaction, so don’t be afraid to try the machines, but be sure to bring some smaller bills with you as these machines usually limit the amount of change they will give and some do not take credit cards.
Before you board be certain to stamp your ticket in one of the little yellow or orange boxes that you see hanging on the wall in the station and on the platform. Just insert the ticket and push it firmly into the slot. Some machines are balkier than others. Try again if you do not hear it stamp. Find another box if it does not work after several tries, they don’t always work! You MUST validate your ticket before you board by stamping it, as your ticket is not valid for travel without this stamp! Forgetting to do so will result in a fine if the conductor on board discovers you riding on an unstamped ticket. Keep your validated ticket in a safe place to show the conductor if he asks you. Do not validate your return ticket until just before boarding on your return trip. Regional travel tickets are good for six hours after they are stamped, so this means you can make intermediate stops on that line using the same ticket.
When you are waiting for your train to arrive, pay attention. Keep track of the TV screens that are now in most stations. They announce arriving trains and what track (binario) they will be on. Rarely, you may find a change of arrival tracks and trains are sometimes late (in ritardo), so do not just hop on the next train, or you may end up visiting an unexpected destination. We always try to listen to the announcements over the loudspeaker, but we have often found it to be next to impossible to understand what is being said as the loudspeakers usually have the sound quality of someone with a pillowcase over their head talking into a paper bag.
One of the most useful tips that I share with clients in our orientation is how to confirm that this is the correct train before you board. It’s actually a no-brainer even if you don‘t speak any Italian. Find someone on the platform who does not look like a tourist. Simply say the name of your desired destination with the intonation of a question and watch for the person’s head to bob or nod either “yes,” or “no,” or shrug an “I don’t know?” If the person does not know, simply ask someone else. Once again, there is no need to speak or understand Italian, but proper pronunciation of the name of your destination town is helpful.
If you follow these simple instructions, you should now be able to find your correct train, purchase and validate your ticket, and get on board without having a meltdown, but here’s one more word of advice: never panic, no matter what the situation is. Italy is a civilized country, generally safer than the US, and most Italians actually like Americans and are happy to help you. You will always return home somehow.
My next post will offer some practical advice about your actual train ride and how to know when to get off at the correct stop. Buon Viaggio!

Matthew Daub is a professional artist and university professor with works in major public and private collections throughout the United States and Europe. He has been leading plein air painting workshops in Italy since 1994. In 1999, Matthew and his wife Barbara formed Arts Sojourn as “a vacation for artists and their friends.” The program is designed to appeal to artists of all levels as well as non-artists who enjoy the company of creative people in a slow travel format.

Slow Travel Tours is an affiliation of small-group tour operators who offer personalized trips in Italy, France and other European countries.

One of the first things we do when an Arts Sojourn group arrives in our base location in Italy is to visit the train station for an orientation session. I still remember how intimidating it all seemed when we took our first Italian train trip in 1994, but we have come to find that with just a bit of preparation even first-time travelers can move about the country’s train system easily and without fear. The Italian train system does have a few arcane and mysterious aspects, some of the fine points are even confusing to some Italians. The topic is too broad to cover thoroughly in a short blog post such as this, but in my next few entries I will try and offer some practical suggestions and provide links that may help build a bit of confidence for you adventurous travelers.

Here are a some of the instructions that I give in our orientation to help our clients navigate the system:

First, we need to understand the paper schedules that are posted in every station. These may look a bit overwhelming at first glance, but they are pretty easy to decipher. Notice that there are two paper schedules, one for arrivals and one for departures. Let’s assume that you want to take the train from the town you are in to another, so we will look at the departures first. The time posted (in military time) in the far left column of the Partenze schedule will tell you what time the train leaves, but first you need to know which train to get on. The column on the far right tells you the trains’ ultimate destination, but here’s the catch, the large bold type in the right column tells you only the end of the train’s journey, so unless you’re going all the way to the last stop you will have to look at the smaller print below or to the left of the main listing to be certain that the train will stop where you want it to. Every intermediate stop will be listed in smaller print along with the time that the train is expected to arrive there. If your desired destination is not on the list, then do not get on that train – this will not be the train for you! You may notice that instead of listing individual intermediate stops it may say ferma in tutte le stazioni – “it stops in all the stations.” This will mean that although the train will stop at every station on that line it will also take a long time to get there. If you are traveling for only a short distance this will likely not make much difference, but over longer distances it could add hours to your travel time.

A portion of a typical Italian train schedule

The second column from the left contains the train’s number, which you will also see lit up on the front of the train as it approaches, and also a symbol that indicates what type (relative speed) of train it is. What is important to know about this is that if that train listing is printed in blue or red ink it is a fast train that costs more at the time of purchase than a standard ticket. You cannot simply board a fast train with a standard ticket. You need to specify at the time of purchase. If you are buying at a ticket window and have trouble being understood, simply write the information down and show it to the person in the booth. Conductors roam the trains and check to be certain that passengers are correctly ticketed. If you are incorrectly ticketed you will have to pay a supplement on board which can be stunningly expensive. Never take a chance on this!

The third column from the left shows various seating classes on the train. Many trains including all regional ones have only one seating class, so do not worry about a first class seat unless you are a traveling on a fast train for a long distance, or over a holiday, and even then it is generally not necessary to travel first class, but do not sit in a first class car without buying a first class ticket. The class (if any) is printed on the outside of each car. On regional trains this is not an issue.

You will also see a column that says, Binario, which means “track.” The train that you want will generally arrive on the numbered track listed on the paper schedule. In smaller stations there may be only one track. In very large stations there may be dozens with multiple trains parked along each track, but each train will be parked in its own spot with a numbered position. Don’t panic, just look for the number. In many stations these days you will find electronic boards that announce arriving trains including what track they will be on. It is always a good idea to check these boards for the most up to date information. The larger stations like SMN in Florence will have extensive listings of all arriving and departing trains on very large electronic boards.

Another tip that I give to our clients is to also find and write down a number of return train options before you depart and never plan on taking the last train back home, unless you don’t mind an expensive cab ride or the cost of a hotel room somewhere if you miss that last train. You can research the return trains by simply looking at the other paper schedule for arrivals. It is the opposite process that you used for selecting your outbound train – for example, you may want to find a train that arrives back at your home station at 10 PM. You will find the times of arrival in the far left column. You will find the time that it leaves its point of origin under the main heading to the far right. Unless you are getting on the train at its point of origin you will need to check the intermediate stops it makes along the way in order to find out if, and at what time, the train stops at the destination you will be returning from. It’s really quite easy.

In my next post we will look at purchasing and validating your tickets, and a offer few more helpful tips on making certain that you board the correct train and do not miss your stop. Buon Viaggio!

The portico of the Uffizi in a rare quiet moment

Florence is one of the main tourist destinations in Italy. Travelers from all over the world flock there making for a bit of a crush. One of Florence’s main draws is its wealth of high Rennaisance art and its two museum stars are the Uffizi and Accademia museums.

There are many attractions in Florence where, although there are always crowds, the wait time will not be interminable, however the Uffizi and Accademia are another story. If you just show up at the door to puchase an entry ticket for these institutions you will be relegated to the end of a long, and I do mean LONG, line where waiting time can extend for hours.

For a modest additional fee it is possible to purchase advance tickets for a specific entry time for these and other Florence museums through an official website. This site charges a modest fee (currently 4 euros for the Uffizi) in addition to the standard museum admission fee, but the time saved and convenience should be well worth the cost.

The website can be set to the English language and is fairly straightforward and easy to understand and use. Payment can be made online via major credit cards and an email confirmation for the specific time that you request (if available) will be sent to you by email. When you arrive at the museum you will need to look for an entrance on the opposite side of the court from the main entry point. This is where you will pick up your ticket. You will still likely have a line to wait on, but it is modest compared to the throngs on the other line for those without advance tickets.

I am a firm believer in the benefits of slow travel and I like to keep my itineraries modest and loose, but when visiting the main Florence museums a bit of advance planning is clearly an advantage.

You may click on this link for the museum site or paste the url into your browser.  http://www.b-ticket.com/b-ticket/uffizi/default.aspx

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Matthew Daub is a professional artist and university professor with works in major public and private collections throughout the United States and Europe. He has been leading plein air painting workshops in Italy since 1994. In 1999, Matthew and his wife Barbara formed Arts Sojourn as “a vacation for artists and their friends.” The program is designed to appeal to artists of all levels as well as non-artists who enjoy the company of creative people in a slow travel format.

A collage of found objects created by Arts Sojourn participant, Bev Soasey

I was introduced to Italy and foreign travel in 1994 by a friend who took the slow approach, although it did not have a moniker associated with it at that time. I spent my first three weeks in Italy in only one Tuscan town, and although I made a few day trips into Florence, I don’t think I saw anything of Rome until my third Italian trip. I was introduced to Italy slowly, and perhaps that is why I have always taken that approach for granted, but I believe that some of my penchant for slowness comes from the fact that I have an activity that I am engaged in while I am there.  

I am an artist and have never traveled to Italy without my paints, although I do not have a quota for how much time I spend holding a paint brush. Like any tourist I have taken plenty of day trips and spent lots of time visiting churches and museums and just sitting in cafes and restaurants. I try not to have an agenda, but my art is the activity that necessitates slowness. It takes time to observe. I have had many fellow travelers accompany me to Italy since I started leading my Arts Sojourn travel groups in 1999. Some of them have kept a small informal sketchbook. Some have kept journals or scrapbooks. Some have been art photographer or avid hikers. The truth is, we have also had a good number of participants who simply have preferred not getting on and off a bus or train every day, or frequently packing and unpacking  a suitcase, but having an activity that you can call your own, whether it involves art, cooking, cycling – whatever, is a great way to facilitate a slow approach to travel.

A watercolor sketch by Arts sojourn Particpant, Bruce Barnes

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Matthew Daub is a professional artist and university professor with works in major public and private collections throughout the United States and Europe. He has been leading plein air painting workshops in Italy since 1994. In 1999, Matthew and his wife Barbara formed Arts Sojourn as “a vacation for artists and their friends.” The program is designed to appeal to artists of all levels as well as non-artists who enjoy the company of creative people in a slow travel format.

The southern end of Lake Garda is pleasant enough. It has the lake’s only train station in Desenzano del Garda on the Milan/Venice line, and Sirmione, with its Roman era baths, is a relatively popular stop for American tourists, but the real beauty of Garda is found on the northern end. The topography is flat and the lake itself is broad down south, but it narrows to the north and the deep fjord-like waters are bordered by pre-alpine mountains on all sides. The roads around Garda can get quite congested, and even the speediest hydrofoils can take hours to travel the length of the lake, but for those so inclined the north end of Garda is well worth the effort.

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Matthew Daub is a professional artist and university professor with works in major public and private collections throughout the United States and Europe. He has been leading plein air painting workshops in Italy since 1994. In 1999, Matthew and his wife Barbara formed Arts Sojourn as “a vacation for artists and their friends.” The program is designed to appeal to artists of all levels as well as non-artists who enjoy the company of creative people in a slow travel format.

If you are taking the time to read this blog entry, perhaps you are contemplating a trip to Italy or one of the other European countries served by our Slow Travel Tour operators. You may be wondering, “Should I try to learn the language before I go?” This topic is frequently brought up on many of the internet travel community forums. While I can only speak from my own experience in Italy, my response to this question is, “Yes – if possible, try to pick up some language skills before traveling!“ Is it an absolute necessity? No, particularly if you will be part of a facilitated group or are heading for a region frequented by English speaking tourists, but a rudimentary understanding of a few basics can be most useful, not to mention fun!

I have always enjoyed using my Italian – some might say “inflicting” my Italian – even when my language skills were barely existent. I have found the Italian people to be most patient and generous when it comes to foreigners trying to communicate in their language. I believe that most Italians appreciate the effort and see it as a sign of respect for their culture, but there have been more than a few times when knowing some Italian has proven to be invaluable.

To speak Italian well is difficult, but to communicate some necessities on a basic level is not. My best recommendation would be to take a short class if you can find one in your area. My wife and I were able to find a six week class offered in a Catholic church through a local Italian social club. We ended up joining the club and becoming friends with our teacher and her husband. If you cannot find a class, a set of beginner’s CD’s can also be helpful. For those who are more ambitious, a more comprehensive series such as those offered by Rosetta Stone, or an actual semester in a university, or junior college class would provide excellent preparation, but this is certainly not needed for a first time traveler.

I once heard an American tourist in Liguria talking about the “Sing-Quay Tair-ay.“ I knew what she was talking about, but I wonder if many Italians would have. The most important thing is to practice your pronunciation. Once you learn pronunciation you will be able to ask directions and be understood by local non-English speakers.

Unlike English, Italian is consistent in its pronunciation. The vowels are constant, and once you learn them and the consonants, you can pretty much pronounce most Italian words like a pro (although the repeated rolling “R”s in Arqua Petrarcha, a little town in the Veneto, still give me fits). One of the tips I offer to my clients during our orientation session is to repeat the name of their desired destination in the form of a question to someone standing on the train platform to be sure that they are boarding the correct train. You don’t have to be a great linguist to understand the reply, “Si,” or “No!” Add to this the numbers and the days of the week, along with a few crucial expressions such as “Where is…?,” and “How much…?,” and words such as “bathroom” and you will be more than good to go. Although it may not be a necessity, a little language study before your journey can increase your confidence and greatly expand your possibilities for independence.

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Matthew Daub is a professional artist and university professor with works in major public and private collections throughout the United States and Europe. He has been leading plein air painting workshops in Italy since 1994. In 1999, Matthew and his wife Barbara formed Arts Sojourn as “a vacation for artists and their friends.” The program is designed to appeal to artists of all levels as well as non-artists who enjoy the company of creative people in a slow travel format.

A Matthew Daub Watercolor of Portovenere

I first heard of Portovenere from an Italian bus driver in the mid-nineties. He raved about the beauty of the little coastal town that sits at the tip of a peninsula in the Mediterranean, just south of its more famous Cinque Terre cousins. When Barbara and I finally paid our first visit to Portovenere we were stunned. The driver was not exaggerating, in fact, I wondered why so much attention was paid to the Cinque Terre and relatively little to Portovenere. I think that a great case could be made for adding a sixth town and renaming the entire group, Le Sei Terre.

 
Portovenere is a little harder to get to than the towns of the Cinque Terre. There is no train line so it can be accessed only by car or bus from nearby La Spezia or the various tourist ferries that travel up and down the coast. The layout of the town reflects Portovenere’s maritime history. At the mouth of the harbor sits the weather-beaten thirteenth century church of San Pietro. One can easily imagine the countless families that have prayed there for the safe return of seafaring loved ones. The sheltered harbor is backed by a block of tall houses with very few openings in between, creating a formidable defensive wall, and from there, a winding web of narrow streets climbs the steep hillside to a Genovese fortress and the silence of the town cemetery.

A Matthew Daub Watercolor of Portovenere

Even though it is not as well-publicized as the Cinque Terre towns, Portovenere does get very busy these days, particularly on summer weekends. Many Italians from inland come to work on their tans, but a flood of foreign tourists also pour into the town from the frequent tour boats, but most tourists never venture any farther than restaurants along the busy dock area and the single main street. Just as in the other five towns, Portovenere empties out as night falls.

One of the things that I like most about being an artist and working en plien air is the way it forces me to slow down and linger in one place. I spent a week in Portovenere on my last visit with our Arts Sojourn group. This allowed me explore nearly every inch of this tiny town and study some locations intently for hours as I painted them. Not every painting that I made in Portovenere is wonderful, but the experience I had making them certainly was.

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Matthew Daub is a professional artist and university professor with works in major public and private collections throughout the United States and Europe. He has been leading plein air painting workshops in Italy since 1994. In 1999, Matthew and his wife Barbara formed Arts Sojourn as “a vacation for artists and their friends.” The program is designed to appeal to artists of all levels as well as non-artists who enjoy the company of creative people in a slow travel format.

Aquedotto Comunale, Spello: 30 Settembre 2001. Watercolor by Matthew Daub

9/30/01

Sunday – Our first full day in Spello. It is gray and overcast so we’re in no hurry to get up. After breakfast we pack our painting supplies and head up the hill. It is a magnificent town – tremendous elevation changes, angles and stone textures everywhere. The light is very flat today, so it is hard for me to get interested. We hike to the highest point in town near the church of S. Severino. The town water supply (aquedotto comunale) is there. It appears to be behind a thick wall that has been leaking in many places for many years, creating long dark streaks and pea green moss all over its surface. The corner of the walls meet at an old fountain, chipped and stained. I start a painting – at times it is so abstract – the occasional spectators are puzzled. I’m feeling pretty good, but there’s always a doubt. You can’t just be aggressive. Every aggressive move has to have meaning, not just force. That’s why this sort of painting is so difficult. Control, by itself is not so hard. Any moron can show force. It’s the combination – one works against the other, but they need each other too, to create that great, powerful mark that also perfectly forms and describes. We grab a quick bar sandwich as it begins to drizzle. Soon it pours. We spend a pleasant afternoon in our cozy apartment. Barb makes a nice and spicy red sauce to go with the ravioli and tortellini we bought, along with some vegetable antipasti. I am very pleased with this day and feel fortunate to have done a painting on a gloomy day.

10/1/01

The day begins with fog, but it seems as though it might burn off. I do a lot of walking, finally, the sun breaks through. I start a painting near “Il Trombone” on Via Fontanello. The sun is strong and bright, but the view off the side of the hill is still soft from the haze. We have a quick lunch at home and after a short rest, head out for the afternoon. The sky is now an intense blue. The light is perfect. We take a new route that brings us to the Torri di Properzio. The light is glistening on the white stone. I think there’s a good picture here, but after three or four starts at a drawing I realize I’m going nowhere. At least I have the good sense not to continue. I walk up the hill to the right of the towers and find a little vicolo strewn with stone – in very poor condition. I begin with a good drawing, but nearly as soon as I begin laying in my first washes I lose the drawing. After an hour or two I return home for a snack (Campari – cheese – bread) out on our patio. Our landlord’s pet bunny gets progressively friendlier. As I study today’s pictures I don’t know whether to continue with them or not. After a dinner of last night’s left overs we go for a gelato.

Aquedotto Comunale, Spello: 2 Ottobre. Watercolor by Matthew Daub

10/2/01

The day dawns clear with that haze that seems to obscure distance, but illuminates the foreground crisply. This seems to be the normal atmosphere for morning in Spello. We hit the cash machine and Barb does some food shopping while I go to paint. This town is truly unbelievable. I think you could explore for a month and not find every hidden alley. I stop near Albergo del Teatro. The view down the street (Via del teatro?), past what looks like a little church so describes this atmosphere. The painting does not go well though. I feel as though I am very tentative. I want to be forceful, but I cannot. By 11:30 the light is in my face and I have to pee. A clear sign that it’s time to quit. Home for a quick lunch of piadini from the supermarket – only so-so. Yesterday’s bar food was better. Even when painting is not going well I feel like I am learning, not “how to” paint, but about the psychology of painting. I ask far more questions now. I think that may be why painting is so difficult. Even en plein air I don’t just want to paint the obvious. “Seeing” is perhaps the biggest challenge.

Barb comes with me after lunch. We walk back to S. Severino. I want to paint water again. I don’t think this afternoon’s painting is as good as the other, but it’s not bad either. What I’m really looking for is that certainty – the intensity that comes from a strong will. I can’t conjure it up or spit it out like some learned technique, which I suppose is a good thing. On the way back we stop and look at a house (nearly a ruin) with its own park that’s for sale. We ask at the house across the street and the woman calls her son-in-law, Mario, who shows us the place. It could be beautiful, but is ridiculously expensive. Only a dream, but I think Mario did enjoy our conversation (Am I nuts?). My Italian still stinks, but I’m improving. We sit out on our patio. Barb has prepared peppers stuffed with tuna. I’m going to pan roast some potatoes. We are feeding the bunny some lettuce. He is always close, but still won’t let us pet him.

…..My journals and watercolor paintings help me to relive cherished experiences. We have been back to Spello a few times since our extended stay and we still keep in touch with our landlords. We heard that Mario’s house sold to an American for much less than he was asking in 2001. Renovations have begun. Sometimes it’s best not to think “What if……..?”

Matthew and Barbara Daub

Matthew Daub is a professional artist and university professor with works in major public and private collections throughout the United States and Europe. He has been leading plein air painting workshops in Italy since 1994. In 1999, Matthew and his wife Barbara formed Arts Sojourn as “a vacation for artists and their friends.” The program is designed to appeal to artists of all levels as well as non-artists who enjoy the company of creative people in a slow travel format.

Slow Travel Tours is an affiliation of small-group tour operators who offer personalized trips in Italy, France and other European countries.