Syusy gets Sergio Noberini to take her to the exhibition of the great artist, draftsman and theatre scenery designer Emanuele Luzzati. Luzzati used the technique of the aquarelle crayon, he drew with crayons and then dirtied the colour sheet before the line, turning the stains of colour into images. He applied animated figures piece by piece, like a shift of images on the plane with a fixed television camera ...

Then Syusy meets Emanuele Conte of the Luzzati-Theatre of the Cough Foundation. As a child Emanuele played with all the pieces of the models that Luzzati piled up in a box, while his father spoke to the artist of work. The years have passed and today it is precisely Emanuele that deals with the foundation devoted to him ... And indeed it seems a bit strange to him to find himself looking at the cupboard of his childhood games displayed like a relic in the exhibition!

Emanuele Luzzati had a very particular way of seeing life: to friends he confided that he owed his success to the racial laws, which in his day allowed him to attend art school in Switzerland. Perhaps also breaking away a bit from the family, who initially didn’t understand his vocation, gave him the opportunity to meet other people, other Jews that like him aspired to work as directors, filmmakers, and authors. Despite his personal experience, Luzzati was an optimistic person, who saw the positive side in people. The more his work was used and copied, the happier he was. There was no problem for him because his “mission” was to communicate his work.

As Sergio Noberini reminds us, a famous sentence of his was “you can’t do anything alone.” He never imposed his own idea on others, above all with children, he didn’t force them to draw, and he left them free to create and to express themselves according to their needs...

An artistic walk in Via Garibaldi

We find Syusy again, but this time she is not on board Adriatica or snooping on the quays. She has gone into the historic area of Genoa, to Via Garibaldi, which since 2006 has been World Heritage. Originally called Strada Maggiore and then Strada Nuova, it was created in the sixteenth century, the golden century of the Genoese.

It was created as a street of representation and since that time has contained the rich buildings of the nobility. “It was a nobility of mercantile origin, a money nobility” explains Anna Dagnino, executive officer for culture in Genoa and Syusy’s guide for the occasion.
Their tour takes them past buildings characterized by sobriety in the external look and by richness in the interior decorations, financed by the economic success of the Genoese of the day like Tobia Pallavicino, who obtained from the Pope a monopoly on alum mines. The building that bears his name, which now houses the Genoa chamber of commerce, contains frescos and gilded rooms in the Baroque style that amaze Syusy to the point of making her exclaim “A small but even more beautiful Versailles!”