There was a family who lived down the block from me when I was growing up that had a passel of kids. I don’t recall how many, but definitely in the low double-digits. We would play together, and they were always just slightly unkempt…mismatched socks, hair needing a trim, ratty toys. The predictable signs of harried parents short on time and money. That said, I also remember how loved those kids were. Despite there being so many of them, I never got the sense that they were any less treasured than those of us with just a sibling or two who always had clean pants and extra milk money in our pockets.
This is kind of how it is with art in Italy. There’s just so damn much of it here that there aren’t the time and resources to take painstaking care of it all. That said, you do get a sense that Italy loves its treasures—despite much-discussed cases of mismanagement and graft—no less than any other country, even if it presents them with much less pomp and circumstance.
The lovely sanctuary of the Madonna delle Lacrime right outside of the center of Trevi is a perfect example of this. I stopped by mostly by chance, drawn to the pretty 15<sup>th</sup> century facade and elaborately carved Renaissance portal (by Giovanni di Giampietro di Venezia, I later learned) looming over the winding road which leads from the valley below Trevi up through the sprawling olive groves which surround it.
I stepped into the silent church, its lone visitor, and quickly skimmed the historical information near the door, recounting how the sanctuary had been constructed on the spot where, in 1485, an image of the Virgin (now forming the altarpiece) miraculously shed tears.
As I circled the church to take a look at the chapels and artwork, my echoing footsteps suddenly stopped in front of a large Adoration of the Magi fresco. Wait one darn minute. Could that really be? Right here, in this empty church in the middle of an olive grove with not even a caretaker keeping a watchful eye?!?
Yep, it was a magnificent Perugino, painted in 1521 and unmistakeable in its fairytale colors, Umbrian landscape background, and—most movingly—breathtakingly fine portraits. I stood for a minute in silent admiration until I was startled by the door of the church banging shut behind me. A slight woman in her eighties, weighed down by a number of shopping bags and a lethal-looking black handbag quickly shuffled past me, set down her load, and kneeled in front of the Perugino.
I backed quietly away, leaving this priceless treasure to those who love it best.