"And would it have been worth it, after all, Would it have been worth while, ... If one settling a pillow or throwing off a shawl, And turning toward the window, should say: 'That is not it at all, That is not not what I meant, at all.' " ("The Love Song of J. Alfred Prufrock" T.S. Eliot)

For the most part the exterior of our house is "facia vista", exposed stonework, in all the subtle earth colours of the region from soft yellow to deep rust.  But there are areas, including the whole of the kitchen, which was the stables, where the exterior is plastered, "intonacato". Here we need to choose a colour of paint. It's not such a big deal.  It's not easy either.

Paolo insists that there are unspoken rules about colour. Houses must be painted in Marchigiano (from Le Marche) hues in order to be traditional. Looking around the towns and countryside you can see that for the most part he is right. Unusually in a country where conformity to the rules of fashion is paramount, there are some transgressors. Bitterly striking yellows, acid greens, deep, almost purple, browns and even (most unforgivable) white, will taint the horizon.

From the outset I had my sights on one particular house in a small hilltop town nearby. Mondavio boasts the best preserved "rocca" (fortress tower) in the region. It is also where I occasionally go to school to learn Italian. This house is not especially remarkable except for the colour of its intonaco: an earthy, pastel apricot. It has the advantage of blending with the stonework, having terra cotta tones, whilst a bit fruitier for interest. I have passed the house many times on my way to lessons, seen it in all weathers and at different times of day. I've set my heart on this colour.

Far too timid simply to knock on the door and ask the owner where he got his paint, we go to the supplier of our building materials, give the proprietor the address of the house and ask him to check it out and match the paint.  This is Italy, he understands, obliges, and eventually produces two sample paint pots.  One, he says, is spot on, the other a little darker, but we are to try both on a patch of our wall and wait and see.  There are also instructions about not painting the samples close together, about painting very large patches, and more. We ignore them all.

On a drizzly afternoon two small patches are painted side by side on the kitchen wall. Before the paint has even dried we stand back in horror and exclaim, in unison with Paolo, his sons, Alessandro and everyone with a view: "They're not right, they're all wrong.  O per amor di Dio, che faciamo! (What in God's name do we do now!)  In desperation we paint the least offensive colour onto a large brick and Peter and Paolo's son (the painter) drive up to Mondavio to see if the colour matches against the house. They return fairly sure it is the same, but insist that I take the sample myself and check just to be sure.  In reality it is so that, should it be wrong, I can be blamed.

My Brick in repose against the kitchen window

I carry the heavy brick, the bulky colour chart and the burden of my responsibility up the hill in Mondavio.  I stand outside the all important house, deposit my load by the roadside and begin my assessment.  An elderly lady walks slowly up the otherwise deserted road, wishes me good day and without asking, immediately intuits what I am doing, as though this were a normal everyday event in this peaceful place.

"Yes, yes, put it here to see" she commands. Then, "No, no, it's weathered there, but here, yes here, see it's the same colour. Che bello colore!"  She goes on her way, she has an appointment in town at 2.30 she explains.  It's nearly 3.00, but I am secretly glad she is delayed.  She has made the decision and in so doing has relieved me of the responsibility.

On my return to the building site the proprietor of the supply store has arrived, somewhat diluting my triumphal return.  He is delivering some cement bags, but has time to look at the samples on the wall. He is a patient man.  He looks at the wall, looks at all of us and says benignly, "Paint another, bigger patch and wait, wait, perhaps a month, and you will see."  It's not a: "be patient, my dear children, and all will be revealed unto you," but it may as well have been.

We are waiting, and watching...

"sta il cacciator fischiando / su l'uscio a rimirar" ("San Martino", poem by Giosuè Carducci).

The Feast of San Martino celebrates the transition from summer/autumn to the depths of winter;  seen by Carducci as a threshold.   The weather is expected to be unseasonably mild;  the Italian version of an Indian summer.

This year, however, whilst very warm, it rained, and it rained.  In Tuscany and Umbria they were flooded, as RAI news endlessly reminded us.  Even the "Tevere"in Rome nearly broke its banks.  Here in our little part of Le Marche our little "temporary replacement" bridge (see blog of 1st May 2012) was swept away by the flood waters of the Cesano river.

Now there are two bridges, the old and the new, both impassable.  Locals come from the north and from the south banks of the divide to stare at the destruction.

On the south side there is a little restaurant, a kind of roadside cafe, frequented by lorry drivers and canny locals. The food here is excellent and cheap, as is the house wine (even cheaper this time of year because the new "novello" wines have just been pressed). Today the restaurant is almost empty. The patron bemoans his loss of custom with a shrug and a smile, as he heaps another helping of fresh "pesce blu" onto our plates. These "little pilchards"(?) are baked whole in a seasoned crumb  and are eaten with your fingers. They may be finger-licking good, but this is more feast-food than fast-food.

Whilst one thoroughfare has been destroyed another has been created.  The pathway up to our front door has been concreted.  The actual work took less than two hours.  The build up took many hours of argument among the workers - how wide should it be, how high, how steep the angle of incline?  We had very little say and, as usual, Paolo did it his way.  Once paved, I'm sure it will be perfect, or, at least, Paolo will convince us it is so.

For those interested, here's my own liberal translation of Carducci's "San Martino"

Clouds shroud the hills
A mist rises
And under a nor’ westerly
A rage-blanched sea cries out.

Meanwhile, unseen, beguiling fumes
Of fermenting wines in oaken vats,
Smother the alleyways of the borgo,
Seducing the senses.

A spit, over a burning log
Turns the roast, the fat spatters,
In a doorway stands the hunter
Whistling, watching, waiting.

Starlings swirl in charcoal scribbles
Across the clouds’ pastel blush
Wayward scrawls, like wayward thoughts
Atone at evensong.

"Sometime before noon, clouds scudded in from the west and rain fell in big scented drops; but the sun re-emerged with a scorching heat, and now the sky is so clear you can see Heaven and spy on what the saints are doing." ( "Bring Up The Bodies" Hilary Mantel )

I know I am not alone in thinking that the juxtaposition of Festivals that are celebrated in Italy at this time of year is rather curious.

On the 31st of October we have Halloween: originally pagan, and which (despite the garish, plastic pumpkins which adorn the supermarket shelves in a land where the real things grow aplenty), remains eerily ghoulish.  The 1st November sees in All Saints Day, dating back to the martyrs of The Holy Roman Empire.  Then on the 2nd of November, The Feast of All Souls when souls in purgatory are said to reappear and, being hungry, eat the meals carefully prepared and laid out for them on their tombstones or haunt the houses which the living vacate on this day to visit the cemeteries.

Near us, the town of Corinaldo is most famed for its Halloween Festa, which begins on 26th October.  Pilgrims come from all over Europe, many in their camper vans, to enjoy the spectacles and partake in the festivities.  But this year we had rain.  The bad weather had been predicted by all the meteorological internet sites and the faithful stayed at home.  Corinaldo tried to put on a brave face - the streets were decorated, local artisans set up stalls in the thoroughfares and most of the planned events went ahead, including the "Miss Strega" (Miss Witch) beauty (?) contest.  Without the usual throngs the commune of Corinaldo ended up out of pocket and deemed the whole affair "un flop" (trans. a flop).

After which the sun came out.  Which was just as well because it enabled the builders to finish the roof on our annexe.  As with the completion of the roof on the main house we shall have our own little celebration and invite the builders and their partners to a dinner;  perhaps a pizza this time, given that it is a relatively small roof.

Another milestone in the construction of the house came with the purchase of a postbox which we proudly put up at the roadside.  A symbolic sense of ownership?  Not really, we were expecting bills for water and electricity and, lo and behold, 2 days after placing the postbox the bills arrived.  Now that's what I call a prompt and efficient postal service;  don't let anyone convince you otherwise.

The Postbox

Il Gelso - The Mulberry Tree

" 'The low-lying areas of the town around the Forum, and the valleys between the hills, where flood-water usually collected, were drained by sewers leading down to the Tiber.' And this, adds Dionysius, was 'a wonderful work exceeding all description.' " (The "town" was Rome and Dionysius is quoted here in "The Etruscans" by Verner Keller).

The plumber finally arrived last Tuesday!  ("He's the best", says Paolo).  We know this prodigy has arrived because the "new" internal walls have all been hacked almost to ruins, and multi-coloured pipes criss-cross the floors like elaborate sketches for a prototype man-trap.

Outside, yet more menacing pipes have been laid in deep trenches leading from the house to an adjacent field further down the hill.  There are 2 tracks of pipes, one for black water (sewerage) which flows to a septic tank, and one for white water from gutters, sinks et al.  (Fascinating, huh?)

Stefano and his mate are back on site choreographing 2 diggers - to make the channels; to place the septic tank; and then to refill the holes.

Meanwhile, up at the annexe, the cement mixer returns with a new load to fill the "cordolo" (a cordon) which secures the wooden beams in the roof, effectively holding the structure together.  The reclaimed "coppi" (roof tiles) sit patiently to one side, watching cement dry.

These works are dependant upon dry weather.  The Gods are smiling on us this October day, the sun is shining, the temperature has reached 25 degrees.  But, proverbially speaking, we need more than one day.

Paolo walks us up to a high point on our plot of land.  "From here," he booms over the engine of the cement-mixer, "the symmetry of the house can be viewed at its most pleasing."  If you close off all other senses and avoid looking down at the sewage channels, you might be inclined to agree.

"It is towards Girolamo Guerrisi that we should extend the finger of blame - or, indeed, the hand of congratulation - for inventing the fable that Marco Polo brought pasta to Italy from China." ("Delizia!" by John Dickie)

In this quote Dickie is referring to a short story printed in an American publication called "Macaroni Journal" of 15th October 1929.  The title of the story is "A Saga of Cathay" (written by the above Guerrisi) and its protagonist is none other than a fictional Venetian named Spaghetti.  I'm not altogether sure what relevance this has to my blog, other than I was reading the book whilst on holiday last week and was much amused.

We spent the week visiting the area around Recanati which is just south of Ancona.  It's a little inland from the much coveted holiday resort of The Conero Peninsula (National Park).  There are, undoubtedly, many wonderful things to see and do around here.  A tour of Leopardi's library in Recanati is a must.  Not so the watery cappuccino served in the Porto Recanati bars.

The folk of Recanati are justly proud of their town.  One elderly man stopped his car in the middle of a busy thoroughfare as we were walking along to ask (these obvious tourists!) where we were from, "Ooh, I love the English!"; to sing the praises of his town; and to give us directions, unwittingly,  to all the sights we'd just visited; all the while totally oblivious to the traffic snarling up behind him.

But there's none so proud as the policewoman (vigile urbano) in Filottrano;  super smart in her spotless white and blue starched hat and impenetrable Ray-Bans.  We stopped her in the street to ask directions to a small WWII museum we particularly wanted to visit in the town.  She was fairly sure it was closed on a Saturday morning, but was immediately on her service mobile to someone who might know more.  That 'phone was busy.  Undaunted, she marched us across town to the museum building.  It was closed, but the opening times on the door said it should have been open.  We would have given up, but not our new friend. She led us into the public library next door and demanded an explanation, to be told that the curator was away on holiday - "in America!" (with the key in his luggage?).  We thought we'd come to the end of the line and took leave of our new friend with effusive thank you's and goodbyes, as she went off to resume her civic duties.

We wandered back into the street.  Whereupon, stridently approaching us, was the very same uniformed lady. She'd had a brainwave and, as consolation for our disappointment, invited us back to her offices where she had maps and guides to the town.  Not wishing to disappoint her, in turn, we trooped again, single file through cobbled streets, into the marbled innards of the local police station with its enviable, antique cotto floors.  Here she unlocked cupboards and drawers, producing bounty-loads of tourist guides.  For this she had to take off her official police-woman's hat, but not, we noted, her "official" sunglasses. We now have many more reasons to return to Filottrano, other than the WWII museum.

Back "home" the rustico awaits the plumber ... (at least he's not in America as we see his van about town most days).   Paolo has taken on another hand to construct the low wall which will define the sloping pathway down to the front door.

Progress on the annexe is encouraging, it's almost ready for the roof to be put on, with its reclaimed (coppi) tiles.

Back to the plumber.  He promised to come last week;  then this week;  now he's promising to come next week.  From experience, I know that this trait in plumbers is not exclusively Italian.  Wherever it may have originated, it's gone global.

"But there's a full moon risin', Let's go dancing in the light, We know where the music's playin', Let's go out and feel the night." ("Harvest Moon" Neil Young)

Last week saw a full moon by night and much activity on our building site during the day.  A digger and bulldozer cleared swathes of land around the house and annexe.  In reality it's only a few acres. but, now bare, make thoughts of future landscaping and planting quite daunting.

A drive of sorts, has been gravelled.  It is on an incline rolling down the west-facing hillside.  Not a steep slope, but sufficient to instil some worries as we watched the conveyor lorry, job done, loaded with the huge 120 ton dozer, attempt to climb it; heaving its weight up to the road and failing on the first two attempts.  (We left after the second.  It wasn't there the next day.)

Whilst the house sits silently, still awaiting the plumber, the annexe is taking shape fast; the exterior walls already as high as the window sills.

During the day we too have been busying ourselves.  Finally we have bought a little terra cotta "fontanella" which will be placed on the wall adjacent to the front door.  So much more modest than our original designs on custom-made marble, but more in keeping with our humble rustic residence.   (And less than a third of the price.)

The carpenter making our windows and doors advised us to go to Fano (north along the Adriatic coast) to choose the "maniglie" (door and window handles and knobs).  Finding the shop was difficult.  It is a little, un-signposted shop, tucked away on a lost industrial estate on the less celebrated side of town.   Only known it seems, by "passa parola" - word of mouth.

Inside; a "tardis" of door and window fittings, from the ultra modern to convincing replicas of the antique.  The shopkeeper, indifferent to two strangers wandering in by chance (as if!) to his premises, until, that is, we mention the name of our carpenter, whereupon we are long lost family.  We come out with a precious, glossy brochure to browse through at our leisure, trusted to return it to the carpenter with our order, at our leisure.  Except there'll be no leisure here because, at this stage in the proceedings, every excuse for contact with the carpenter is called upon in order to spur him to complete his task.

The week ended with a visit to the  "Festa della Cipolla" (Onion Festival) in Castelleone di Suasa.   The very same one I mentioned at the beginning of the summer and which has been much anticipated.  Well here we are at what is, certainly weather-wise, the end of summer, and Castelleone is sizzling with the pungent smell  of frying onions.  There are three bands playing, mostly 70's rock and pop, and mostly ignored.  There are some tired stalls selling sundry wares and an ice-cream parlour is attracting some interest.  But, mostly, there are "osterias" (makeshift food- stalls), serving the multitude with multitudes of dishes - all of them containing onions. The onions being celebrated are small, red and sweet - typical of the region.

Every osteria is full, whilst hopeful, eager queues form to pre-pay for their meal.  The food is served tepid, on disposable plates with plastic cutlery and plastic cups for drinks, whether wine or water.  The plastic covered tables and bench seats are all placed, sardine style, in the narrow cobbled streets, under a clear, chill sky.      

There must be several thousand visitors all come to Castelleone to eat onions and... well, just to be here on this harvest night.

" 'Twas brillig, and the slithy toves / Did gyre and gimble in the wabe; / All mimsy were the borogoves / And the mome raths outgabe." ("Jabberwocky" Lewis Carroll)

It is August.  In Italy August is holiday, but seriously.

The motorways and the beaches are crowded.  Every town, and then some, is having a Festa.  Music can be heard in the hills 'til the early hours.  It is hot.

Work on our main house has been suspended, though, to be fair, most of the building work has been completed and we await plumbers, electricians, bathroom and kitchen fitters and, one day, the decorators.

Earlier this month, Paolo and the crew turned their sights to the annexe building.  It should not be such a demanding undertaking as the main house.  The base has been laid with TWENTY EIGHT cubic metres of concrete.  That's a lot for a little building.  The depth was specified by our "seismic" engineer and the exact amount of concrete needed calculated by Paolo.  At the first sign of seismic activity the annexe is where you'll find me!

For now, we are in the depth of holiday season.  But, Ferragosto has come and gone.  Soon it will be September.  Life, as we have come to know it, will begin again...

Alex constructing the weld mesh foundations for the concrete base.  The igloos are in situ to reduce the amount of concrete required.  The base will lie on 15 5-metre re-enforced concrete posts drilled into the ground.

Paolo deep in thought in the site "office" calculating the amount of concrete mix to order.

Weldmesh sheets added over the base and levelling datum points set.  All the shuttering panels are in place and fingers crossed that they will not give way - a potential disaster!

Three huge concrete mixers were required to manoeuvre gingerly over unstable ground

Plenty of practised standing around watching Alex do all the work.

The finished base.  This is what 28 cubic metres of concrete looks like.  The weight is 750 quintals approx. of mix.

Shuttering removed

The view from what will one day be the Annexe portico.