All posts tagged neapolitans


Published March 30, 2013 by Tony


Easter time.
In addition to doing my best wishes to you all, I take this opportunity to tell you some memories that in these days come to my mind.
At that time I was a toddler and often on Friday our grandmother picked me up to let me spend a few days at her home.
The grandmother “mmaculatina“, as people called her (Immaculate, God rest her soul), in those days did not go to work, and aware I liked being with her, came to our house to take me, and sometimes took my sister too. She loved her grandchildren, and on that time I was the youngest grandson, and although she was living with our grandfather, between work and commitments she spent little time at home. It had been years that the granddad was already retired, having made the postman became sick with bronchitis and arthritis, and alone spent all his days at home. He had his own bed with a bedside table on which a glass of wine and his radio never had to be missing. A man of few words who spent his days walking slowly in the house, sitting on the bed, sipping wine, smoking and listening to 1920: My grandma when youngopera on the radio.

It was an old building where, on different floors, a long balcony gave access to homes, inside the building those balconies turned all around the perimeter of the apartment blocks. The houses were not very large, entering directly to the first room, usually the living room, where the granddad had created his personal corner. On the right there was a small kitchen with a small window that looked out on the perimetral balcony, and where there was a very small bathroom formed simply from toilet and a sink. Beyond the living room was my grandma’s bedroom, that had a small balcony overlooking the street below. We slept in the same double-bed with grandma and I still remember her laughter when she told relatives how I sometimes fell asleep touching her breast and resting my head on his chest. I loved my grandmother and it was only the need in maternal instincts of a kid who, like me, had evidently not received enough cuddles from his mum. The grandma “Immacolatina” was good, cheerful and friendly, as well as a holy woman and had dedicated her life to work in the factory where she had become the “teacher,” as called her there, to wit the supervisor. Her relationship with the granddad were not excellent, having been from long more a nurse than a wife, and she was glad to have us at home to chat and pass the time.

As usual, Friday is the day when all Neapolitans dedicated to the preparation of the “casatiello“, also called “tortano“, the typical Neapolitan rustic pie (Neapolitan Lard Bread). And the grandma prepared it Friday afternoon to let it rise all day and then in the night took it at the bakery for baking. In those years it was customary to let casatiello bake by bakers because not everyone had a powerful ovens as bakeries where the cooking was done in an optimal way. There was no area or neighborhood that did not have some baker nearby. Anyone who would have walked in the alleys of Naples, during Friday and Holy Saturday, felt the almost stagnant scent of “casatielli” which were cooked at homes or by bakers. How can we forget that smell?
Odor that became all one with those feast days Grandma & Iand represented them as well. For this in Naples, even today, Easter is to say casatiello and vice versa.

At that time, due to the enormous work to be done between Thursday and Saturday, bakers worked continuously day and night. For this you could go to one of them at any time of the day or night, and deliver your casatiello or withdraw it.
The baker from whom my grandma went, was a few blocks from the house, the huge old wooden front door was always open for the occasion, placed on the ground and stacked up one above the other, hundreds of aluminum “ruoto” (round baking pan). They were the casatielli waiting for bakery.
Truly spectacular!
At that time, not everybody had the pan with the hole in the middle, which gives casatiello the classic donut shape, and so, most of the containers had a wineglass or a cup (glass or metal) at the center, around which the pasta was then grown encasing it.

Crossed the entrance hall, people arrived at the courtyard where on both the sides were stacked firewood for the ovens, shovels, sacks, buckets and other objects. In addition to the smell of casatielli, so strong here to become pungent, you also felt the scent of flour that you found everywhere, on the ground, on walls, on objects, everything was whitewashed with a pinch of flour!
Entered in the furnaces room, the heat became almost unbearable. Everywhere there were shelves made by long wooden boards, one above the other, on which side by side the casatielli already cooked were placed.
Here, the casatiello was not more as white as those encountered at the entrance, but the color of the rind of bread in its various gold shades.  A variety of sizes and shapes, those with the eggs above visible under two small strips of pasta in the shape of X, those without eggs or those where the eggs were just popping out below the golden crust. You could not but be enchanted to see those scenes, and especially for a kid like me.

People came and went, with those who were giving their casatiello and those who were going to pick up it, and all workers each with its own task. On that occasion there were more people at work and one of them went to the grandma and after taking two plates of aluminum from a huge basket, gave one to her and attacked the other with thin wire to the container’s handle. The baker asked if the casatiello had already risen and then placed it onto the others waiting for cooking. Probably, somewhere else there were those which were in need of further rise before being baked.

On those aluminum plates was imprinted a number which from then on would have marked our “casatiello.” After cooking the casatielli were placed on those planks in a coarse numerical order, according to the number that had been tied close, so to trace it when the owner would come back for it. In fact, to take the casatiello you had to give back your plate, and the baker began to turn around the wooden shelves to look for it. Hundreds and hundreds casatielli. You paid, wrapped the container in a cloth, and went back home happy with your casatiello ready to be eaten.
Things of other times, when everything was simpler and folksy!




Published March 11, 2013 by Tony

‘Paschal struscio’
A sort of stroll


All over the world, the Holy Week for Catholics is the period before Easter, from Palm Sunday to Holy Saturday.
In Italy, the Holy Week’s representations are numerous and often very charming, popular in almost every region, in which strictly religious elements mix with folk components.
In Naples, one of these is the “lo struscio“.
From Good Friday the Sacrifice of the Mass is no longer officiated, and therefore the Eucharist is not consecrated. In addition, the repose of the  Eucharist is a way to invite the faithful to worship, in the night between Thursday and Friday (that we called Holy Sepulchers time), the establishment of a so big mystery and meditating on the sufferings of the Passion of Christ.
It was customary to decorate every altar with buds. In the days of Lent (which lasts forty-four days, starting from Ash Wednesday), many people placed in small flowerpots or bowls, containing wet soil or cotton wool, seeds of wheat or pulses, and then placing them in the dark. After a few weeks, they germinated in the form of greenish-yellow long and thick filaments, and on Holy Thursday each person brought the vase in church. (The seed, place in the ground -sepulcher- is transformed into a new plant that will look something different in appearance from the seed, but it is essentially the same thing, and maturing generates new seeds allowing the renewal of the life cycle).

In the past, during ‘Holy Sepulchers days’ many believers went in mass in the different parishes, generally seven (like the days of the week) to pray and visit the churches (the number of visited churches had to be odd and never less than three or more than seven, otherwise it was ominous).
Keep in mind that in Naples there are a lot of churches, often not very far from each other. In the eighteenth century in Naples there were a hundred convents and monasteries and about 500 churches, so that Naples earned the nickname of “the city with 500 domes”. Naples still has a large number of churches and convents, a value that is around thousand units, which places it among the cities with the highest number of worship’s place in the world. If we consider only the historical churches, the number is very high, in fact, they even surpass the 200 units in the old town and 450 in the entire city center.

“Ce qui nous to the paru plus extraordinaire à Naples, c’est le nombre et de ses the magnificence églises; puis je vous sans exagérer say this hides surpasse the immagination”  – Maximilien Misson –

Although in many parts of Italy and in general “lo struscio” (rub) is strusciodefined the evening Sunday stroll in provincial towns, once in Naples it referred to the visit of the Sepulchers made during Holy Week, (Thursday, Friday and Saturday) in the churches. The name comes from the Neapolitan verb “strusci-are” (to rub) and stems from the fact that, in the past, so much was the persons who moved into the street for this occasion, that crowding led people to touch and “strusciate” (rubbing) each other, or it can also refer to the sound of their shoes “rubbing” on the pavement.
Over time, this custom has lost its religious significance and although many people still leave their homes for a walk on Friday or Saturday evening, the ‘Paschal struscio’ has become an opportunity to go shopping, to show off new clothes or meet friends and people.
Even today, for young people it is a good opportunity to get “panni nuovi” (new clothes) from parents. This custom originated in the postwar years, when people bought some new clothing only on special occasions such as Christmas and Easter.

Easter in Naples



Published February 26, 2013 by Tony

EL PIBE returns in Naples

Yesterday Diego Maradona made his return to Italy to resolve problems with the Italian Revenue, and after landed in Rome with his lawyer, then he made a stop in Naples, the city that is in his heart and that long wanted to see again, after eight years of absence. “I want to meet the President of the Republic Giorgio Napolitano” he said. A cheering crowd of fans, young and old, has received him on his arrival, while by car he wanted to go to the stadium then passing for the waterfront. The fans and the boys who followed him on motorbikes started singing “Maradona è meglio ‘e Pelè,” the song “O sole mio,” and the historic song dedicated to him, “O mamma mamma mamma….” .
Another crowd of Neapolitans along with journalists and cameramen were waiting for him when at 16.40 has arrived at the Hotel Royal, hotel which has hosted him free of charge in the presidential suite (to prevent further requisition of goods, he came here without values or money).
A piece of Napoli’s football history that gave us so many emotions. “How I missed Neapolitans,” Maradona confided to who is with him as he prepares for a press conference scheduled for tomorrow. In the hotel he met the Neapolitan actor and comedian Alessandro Siani, and then went to dine in the restaurant of his friend Bruscolotti (former captain of Napoli team) with Carmando, his historical masseur). In the evening in his room, El Pibe  followed the match Udinese-Napoli. “I’m happy to be back here,” he said. “I saw the game and Napoli had to win, deserved it.”
Maradona will probably attend to the highly anticipated match Napoli-Juventus, and now it only remains to see whether here in the city something in his honor will be organized.
Diego Armando Maradona has released this statement to “Napoli Magazine“:  “I have never been a tax evader, if you must blame someone, do it with those who have signed the contract on that time, I had nothing to do with that. Thank also to Neapolitans whose affection and love towards me has not changed… Naples has a memory, the memory that maybe someone wants to distort with things that do not exist. I only come to ask justice and let me walk for Italy because I have not killed anyone. There are so many beautiful memories of Naples, we could be here for hours. I couldn’t come, I represented this city and went away crying ….




Published January 30, 2013 by Tony


The use of the “language with the hands” is a feature of all the Mediterranean’s people and certainly one of the most well-known holographic images of Italians abroad. But it is in Naples that communication through gestures assumes the most striking and bizarre forms, till to become art!
Gesturing became one of the main curiosity of the Neapolitan people that foreigners want to see or getting astonished to see.
By the movement of arms and hands, sometimes we can also understand, as distant observers, the subject of a discussion. Some hand gestures have been used for centuries, and have now become a common form of symbolic communication (many books have been published on this subject, and there is even a dictionary of gestures).
For us it is something innate.
There is no true Neapolitan that does not gesticulate while talking, and if  you happen to meet a Neapolitan intent in a heated phone conversation on cell phone, then I invite you to stay a couple of minutes and watch the frantic and incomprehensible dance of the free hand which moves in the air!
For us, the “gesture” is a way to express ourselves, a contribution to our speech and beautify it, because for us is important that our interlocutor understands fully what we are saying, at the cost of being redundant and pedantic.
It is not easy to understand the reason of this behavior, as it is lost in the mists of time, and to understand where it comes by, you should  know the cultural and social history of this people.
But beyond the gesture, Neapolitans are also more likely to handle, to touch and palpate. “To Touch” becomes for us a way to interact, to establish a physical contact beyond the verbal one. It also is a way to transmit our trust and affection. For those who are not accustomed to this pattern of behavior, our habit may seem too confidential as well as indelicate. For us there is no malice in “touching“, but something that comes from our well-known friendliness and helpfulness. Besides, we are kinda “material” and sceptical in things, as we need to watch and touch at the same time. For us it is normal to caress and kiss a child even if the first time we meet, give pats on the shoulder of a person we are chatting for the first time, or grab his/her body in case of need.
In private and family life, this aspect is even amplified and what made Neapolitans in world-famous for their “groping” during lovemaking. Alien women, not used at this, remain astonished as well as satisfied, and once it was well-known that many women came in Italy (like Danishes) just to taste such a foreplay whose husbands or local partners were not able to carry out.
About groping, I also must mention the significance of the Neapolitan terms “prendersi il passaggio” and “rattuso“, that have no similar terms in Italian or English language, and that are a form of unpleasant sexual approach.
The first, with the meaning of “catch the chance”  or “take the step”, happens when a guy touches (in a sexually way) a woman, usually touching her back or tits even though she had given no explicit consent or not noticing it. It also happens when a guy take the opportunity to touch, letting pass it as a casualness or coincidence.  Think, for example, a woman who is falling and with the pretext of helping her, you grab her, touching the breast; in this case we say that you took “il passaggio”.
The term “rattuso” is much more difficult to translate, perhaps deriving from “ratto = rape” even though little to do with it. This term is saddled who habitually takes advantage of certain opportunities to touch or rub his crotch against a woman’s body. Usually, are elderly men to act so, trying to do it without getting noticed by others, but their excitement does not go unnoticed by the victim. They take advantage of the fact that some victims do not complain because ashamed and timid. Think, for example, to a crowded bus where standing people are jammed, and the bus jolts conceals and justifies bodies movements and close contacts. A guy who likes to do this is “kindly” nicknamed a “rattuso”.


Giorgio Sommer

Published October 13, 2012 by Tony


In a previous post dedicated to the German photographer Wilhelm von Plüschow, I also had set out to talk about another famous German photographer, Giorgio Sommer,  who gave so much to Naples, about its culture and natural beauty.  What you will read below has been taken from site.

Giorgio Sommer (1834–1914) was born in Frankfurt (Germany), and became one of Europe’s most important and prolific photographers of the 19th century. Active from 1857 to 1888, he produced thousands of images of archeological ruins, landscapes, art objects and portraits. After studying business in Frankfurt, Sommer opened his first photography studio, during which time he worked in Switzerland, where he made relief images of mountains for the Swiss government. In 1856 moved his business to Naples and later (1866) formed a partnership with fellow German photographer Edmund who owned a studio in Rome. Operating from their respective Naples and Rome studios, Sommer and Behles became one of the largest and most prolific photography concerns in Italy.
Sommer’s catalog included images from the Vatican Museum, the National Archeological Museum at Naples, the Roman ruins at Pompeii, as well as street and architectural scenes of Naples, Florence, Rome, Capri and Sicily. Most notably, Sommer published his comprehensive album “Dintorni di Napoli” (Near Naples), which contained over one hundred images of everyday scenes in Naples. In April 1872, he documented a very large eruption of Mount Vesuvius in a series of stunning photographs. Sommer and Behles exhibited extensively and earned numerous honors and prizes for their work (London 1862, Paris 1867, Vienna 1873, Nuremberg 1885). At one time, Sommer was appointed official photographer to King Victor Emmanuel II of Italy.
Sommer was involved in every aspect of the photography business. He published his own images that he sold in his studios and to customers across Europe. In later years, he photographed custom images for book illustrations, as well as printing his own albums and postcards. He worked in all the popular formats of his day: carte de visite, stereoview, and large albumen prints (approximately 8×10) which were sold individually and in bound albums.

The images are a lot and I’ve chosen only a few to show to you now. Click to magnify.

730px-G__Sommer_1103  736px-Sommer,_Giorgio_(1834-1914)_-_1171_-_Tempio_di_Venere_a_Diana_Baja  737px-Sommer,_Giorgio_(1834-1914)_-_n__1155_-_Napoli_-_Vesuvio  742px-Sommer,_Giorgio_(1834-1914)_-_n__2123_-_Sorrento  755px-Sommer,_Giorgio_(1834-1914)_-_n__3830_-_Pozzuoli_-_Panorama  766px-Sommer,_Giorgio_(1834-1914)_-_n__1191-_Amalfi  771px-Sommer,_Giorgio_(1834-1914)_-_n__103_-_Napoli_-_via_Roma_(Monumento_a_Carlo_Poerio)  780px-Sommer,_Giorgio_(1834-1914)_-_n__0556_-_Sorrento_-_Marina_coll'Albergo_Tramontano  792px-Sommer,_Giorgio_(1834-1914)_-_n__2501_-_Napoli_-_Eruzione_del_Vesuvio_26_Aprile_1872  Sommer,_Giorgio_(1834-1914)_-_n__1169_-_Capri_-_Marinella  Sommer,_Giorgio_(1834-1914)_-_n__2044_Strada_da_Sorrento_ad_Amalfi_Positano_verso_Prajano  396px-Sommer,_Giorgio_(1834-1914)_-_n__7102_COMO__Il_Duomo_  477px-Sommer,_Giorgio_(1834-1914)_-_1516_-_MUSEO_DI_NAPOLI  741px-Sommer,_Giorgio_(1834-1914)_-_n__1210_-_Pompei_-_Casa_del_Poeta  756px-Sommer,_Giorgio_(1834-1914)_-_n__2066_-_Pesto_-_Tempio_di_Nettuno  759px-Sommer,_Giorgio_(1834-1914)_-_n__2146_-_Capri_-_Grotta_azzurra  765px-Sommer,_Giorgio_(1834-1914)_-_n__1297_-_Pompei_-_Strada_di_Stabia  773px-Sommer,_Giorgio_(1834-1914)_-_n__2012_-_Amalfi_-_Convento_dei_Capuccini_-_Chiostro  800px-Sommer,_Giorgio_(1834-1914)_-_n__4428_-_Bronzi_-_Museo_di_Napoli_-_Cornell_university_website  G__Sommer_1164  Sommer,_Giorgio_(1834-1914)_-_n__3010_-_Pompei_-_Casa_dei_Vettii  761px-Sommer,_Giorgio_(1834-1914)_-_n__1187_-_Napoli  777px-Makkaronifabrik_Neapel Sommer,_Giorgio_(1834-1914)_-_n__11610_-_Napoli_-_Costume  Sommer,_Giorgio_-_Contadini_di_Capri_-_sec__XIX  Sommer,_Giorgio_(1834-1914)_-_n__2742_-_Scritturale  Sommer,_Giorgio_(1834-1914)_-_n__2796_-_Zampognari     Sommer,_Giorgio_-_Famille_napolitaine  Makkaroniesser


Wilhelm von Plüschow

Published March 26, 2011 by Tony

Mediterranean trait

Note, anybody who doesn’t like nude photographs and of young people mainly, ought to stop looking at this post.

Accidentally I hit on some picture of Wilhelm von Plüschow a German photographer (1852 – 1930) who stayed in Naples from the early 1890s. He became known for his nude photos of local youths, predominantly males (but also females) like his cousin Wilhelm von Gloeden (1856-1931) who spent many years in Taormina and became a famous photographer for the nude photos of Sicilian people, instead. He came to Naples more times to meet Plüschow and so, among his archive there are some portraits of Neapolitan people too. Anyway, they both also took many landscapes that helped popularize tourism to Italy and that today have their importance under a historical aspect, also if there are other photographers specialized in this genre that I intent to find and see their old landscapes about Naples and surroundings.

The images they produced are considered to be a landmark for the beginning of the homosexual photograph. Pluschow pictures are more erotic than the ones shot by Baron von Glœden who was more an aesthete and whose works suggested a setting in the Greece or Italy of antiquity. Timeless and enticing images in search of a sublime beauty in the Mediterranean world he felt allured.

Apart from nudity – that could nettle someone – I was interested to see the models feature because any population has its own physical characteristic and it is interesting to check as they change in the time.

In Italy – divided by different regions – there are different lineages and it is amazing to see as some of them still are clearly visible nowadays – as a stereotype characterizing a region or a country.

This post started deliberately by the word “accidentally” because this blog is dedicated to Neapolitan culture priory while one of the last post concerned a tour in Sicily and – strangely enough – I found something about Naples and Sicily at the same time and looking at the different portraits I often were able to set who was Sicilian and who Neapolitan. Undoubtedly Sicilians have very strong and unmistakable feature but we anyhow are considering two populations of the Mediterranean area in southern Italy that had many things in common. Among the numerous photos of Gloeden I chose the one took in Naples or those whose people feature had some ‘Parthenope’ distinctive trait.

A boy

A boy – Wilhelm von Plüschow, Boy as a saint portrait – no date – 19th-century.

Nino_Cesarini – Portrait of Nino Cesarini by Wilhelm von Plüschow.
Male nude

Male nude – Wilhelm von Plueschow, Male nude, Naples, 1890-1900 nearly. Catalogue: 36.117.

Vincenzo_Galdi – Wilhelm von Pluschow, Nude portrait of Vincenzo Galdi (1895 ca.), at Posillipo, Naples, ca. 1895.
Male nude

Male nude – Wilhelm von Plüschow, Male nude. Naples earlier than 1907.
Boy and girl

Boy and girl –Boy and girl at Posillipo (Naples). Photo by Wilhelm von Plüschow, dating from the 1890s, from the book Der Körper des Kindes und seine Pflege by Carl Heinrich Stratz.
A girl

A girl – 1909 (Publication) – 10-year old girl with mamma areolata. Photo by Wilhelm von Plüschow from the book Der Körper des Kindes und seine Pflege by Carl Heinrich Stratz.
Italian girl

Italian girl – 13-year old italian girl. Photo by Wilhelm von Plüschow from the book Der Körper des Kindes und seine Pflege by Carl Heinrich Stratz.
A boy

A boy – Picture by Wilhelm von Plueschow. Naples or Rome, before 1907.

Couple – Picture by Wilhelm von Plueschow. Two nudes.
On a terrace

On a terrace – Five youths on a terrace. Naples and Mount Vesuvius in the background were painted into the picture by von Gloeden (or an assistant). Kiermeier-Debre/Vogel: Wilhelm von Gloeden – auch ich in Arkadien (Cologne 2007), p. 111. Barandum cat. #151, reg. #45.
A boy

A boy – Wilhelm von Gloeden, “A boy“. Catalogue number: 52. Francesco Gallo, W. Von Gloeden. Fotografie originali, Comune di Taormina (Tipolitografia Pino,Catania) 1981, p. 23.
Two naked boys

Two naked boys – Wilhelm von Gloeden, Two naked boys, one with an amphora, the other one wearing a Passion-flower. Catalogue number: 79. Around 1895.

Ahmed – Wilhelm von Gloeden, “Ahmed“, Picture number 227 (1899) – Italo Mussa, (Malambrì, Taormina 1980, p. 39.
Italian boy

Italian boy – Wilhelm von Gloeden, “Italian boy posing as Bacchus“. Catalogue number: 299.Janssen, Volker (editor), Wilhelm von Gloeden, Wilhelm von Plüschow, Vincenzo Galdi. Italienische Jünglings-Photographien um 1900, Janssen Verlag, Berlin 1991.

Boys – Wilhelm von Gloeden, “Love and Art”, catalogue number: 0941. Gloeden, Wilhelm von, Amore e arte, Nino Malambrì, Taormina 1999, p. 70.
boys in Pompeii

Boys in Pompeii – Wilhelm von Gloeden, “Neapolitan boys in Pompeii“. Catalogue number: 1052. The photo was taken during a visit by Gloeden’s cousin, Wilhelm von Plueschow, in Naples, evidenced by the fact that the model on the right is Vincenzo Galdi, who was model to, as well as the lover of Plueschow. “deponiert 11-3-1899”, but earlier. Source: Giovanni Dall’Orto.
boy at Pompeii

Boy at Pompeii – Wilhelm von Gloeden, “Neapolitan boy at Pompeii“. Catalogue number: 1074. source: Online auction (ebay).
Love and Art

Love and Art – Wilhelm von Gloeden, Catalogue number: 1121. from “Love and Art” (Amore e arte), Nino Malambrì, Taormina 1999, p. 77.

Portrait – Wilhelm von Gloeden, Catalogue number: 1185. From Love and Art (Amore e arte), Nino Malambrì, Taormina 1999, p. 91.
Boy in the cloister

Boy in the cloister – Wilhelm von Gloeden, male nude in the former cloister of what today is Hotel San Domenico in Taormina, in Sicily, around 1899. source: Sicilia mitica Arcadia, p. 52.
Three nude boys

Three nude boys – Wilhelm von Gloeden, Three nude boys. The picture was shot on Gloeden’s cousin Wilhelm von Plueschow’s terrace in Posillipo (Naples) in the first stage of his work (1890-1900).

Pietro – Wilhelm von Gloeden, Picture number 434. From album “Pietro. Farewell to Naples“.Source – Janssen, Volker (editor), Wilhelm von Gloeden, Wilhelm von Plüschow, Vincenzo Galdi. Italienische Jünglings-Photographien um 1900, Janssen Verlag, Berlin 1991, p. 9.

Here’s now some images where we can see the strong and unmistakable trait of Sicilian guys.

Siclian boy
Siclian guy (note the distinctive Sicilian trait)
sicilian boys
Sicilian boys

At the end I want to add two pictures of Giorgio Sommer (1834-1914). Born in Germany, became one of Europe’s most important and prolific photographers of the 19th century. Active from 1857 to 1888, he produced thousands of images of archeological ruins, landscapes, art objects and portraits.

Spaghetti eaters

Spaghetti eaters – Giorgio Sommer, Spaghetti eaters, before 1886. Photograph, albumen print, 22.8 x 18.4 cm. Numbered #6444.
Famille napolitaine

Famille napolitaine – Giorgio Sommer, Famille napolitaine (neapolitan mother searching for lice in her son’s hair).

This last few lines have been added recently because, long since, this post is the most visited page of my blog and I would like to know the real reason. Thus, I will be glad if any visitor could leave a short comment (also if anonymous) explaining the (real) reason of his/her visit. Thank you a lot!