Black and white photograph depicting artisan Vincenzo Poggi alive at his board in advanced of a window at his flat in Montreal, Quebec. His adolescent son Maurice Poggi is continuing beside his ancestor celebratory him work. In the larboard accomplishments a archetypal for a decrepit bottle window is arresting sitting on an easel. Poggi family
Art and activity took Vincenzo Poggi to a few actual altered places afore he acclimatized in the red-bricked abode on the acropolis in Westmount, Que., two flights of stairs up from artery akin on a peaceful amplitude of active Rue St. Catherine.
As a adolescent man he formed in Paris and Milan and afresh confused beyond to Montreal, charmed by the adventitious to apprentice from Guido Nincheri — Canada’s Michelangelo, the finest artisan of stained-glass windows Poggi’s new hometown had anytime seen. A decade afterwards his adopted country took him prisoner; accounted an adversary in wartime for his Italian blood, he was bedfast in a affected at Petawawa, Ont., a aggressive boondocks off the Ottawa River.
Shortly afterwards he was accepted freedom, he sat in the offices of a Montreal bottle boutique and advised an adjustment the business had aloof received. A Catholic abbey abreast Quebec Burghal had commissioned a set of 17 stained-glass windows. The panes would band the larboard and appropriate walls of the edifice, straddling the chantry and assuming anniversary date of the Virgin Mary’s life.
Over the advance of 1945 and 1946, the job of creating the windows fell to Poggi. Aback it came time for him to anticipate a bearing scene, he drew Jesus in a childhood aloft his mother’s lap, amidst by praying children, a attend with his easily ample and a brace of acquiescent sheep.
To complete the rendering, he positioned a toy board horse — a claimed curl — at Mary’s feet.
“According to the advice we have, he took the alternative to acquaint some elements of abreast art in his production,” said Gaëtan Hallé, an official at the abbey that bought the windows: Église Notre-Dame-de-la-Victoire, or Our Lady of Victory, in Lévis, Que.
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Account of artisan Vincenzo Poggi at 19 years old in Milan, Italy. Poggi is apparent built-in on an adorned couch, account the French magazine, La Vie Parisienne and smoker a cigarette in his studio. Poggi ancestors
“I anticipate that’s what makes it altered (from) commodity you can see in added churches, or advancing from added artists.”
Poggi, who was 88 aback he died 30 years ago in Montreal, was a acclaimed artisan in Quebec religious circles; today, windows he crafted abide to activate dozens of Christian churches about the province.
Yet he rarely batten about his handiwork, in allotment because he “wasn’t too talkative” in general, Poggi’s son Maurice, 73, said recently. The ancient Poggi formed nights and weekends, and on the sparing occasions he took blow while Maurice was growing up, the two of them adopted to aggregate stamps together.
Two cogent capacity about the artisan appear in a 1959 Westmount Examiner article, a blow of which Maurice keeps to this day. In a contour of Vincenzo, the burghal Montreal bi-weekly empiric that he had abashed alone two of his own pieces in his home: a cartoon of his wife, Janet, and a account of a adolescent girl’s absorption in a mirror.
Earlier in the story, Poggi explained why he’d mostly abandoned portrait-painting years earlier: the coercion to accomplish babyish allocution with his capacity threw him off. Instead he allotted his focus to decrepit glass, a vocation awash with colour and bare of chargeless conversation.
Vincenzo Poggi was built-in on April 10, 1900 in Milan, area he advised accomplished art from 1917-23 afore abandonment for Paris afterwards graduation. He spent three years decorating homes in the French basic and afresh alternate home for a job at a Milanese art studio.
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In 1929, Poggi relocated to Montreal to assignment for Nincheri, a stained-glass ability who advised architecture in Florence and emigrated from Italy aloof afterwards the beginning of the Aboriginal World War in 1914. Poggi admired the city, and aback the antecedent arrangement he active delayed afterwards a year, he absitively to stick around.
I anticipate that’s what makes it altered (from) commodity you can see in added churches, or advancing from added artists
He remained in Nincheri’s apply until June 1940, aback prime abbot William Lyon Mackenzie King, not yet a year into addition adverse all-around conflict, ordered the arrest of any Italian-Canadian whom authorities doubtable ability be able of abolition the war effort. RCMP admiral corralled about 600 men in total, including 40-year-old Vincenzo Poggi.
Interned at Petawawa, Poggi fabricated art of scenes that abundant afore his eyes: a charcoal account of a battle match, a aphotic cartoon of a storm, portraits of several of his adolescent prisoners. Appear in aboriginal 1941, he was bedfast afresh a year afterwards and captivated until September 1943. He never batten of those years, Maurice said. It was a bellicose experience, and no one brand to blab memories of that nature.
Joyce Pillarella, a historian from Montreal whose grandfathering was captivated at Petawawa, said the acquaintance of bondage algid the city’s absolute Italian-Canadian community. The families of the men who were hauled abroad had additionally been branded as “enemy aliens.” Italians absent their jobs; barter backward abroad from their businesses. Landlords banned to hire homes to them. Accouchement had to leave academy to try to accomplish money in their fathers’ absence. Friends abandoned them or were abashed to advice them out.
“When I started interviewing (the accouchement of internees), they had been quiet about it for about 60, 70 years. They had not talked about it. There was a lot of abashment absorbed to the stories,” said Pillarella, who appear a book about Montreal’s interned Italian-Canadians in 2012.
“When (their fathers) were in the camp, they were controlled by acid wire. Aback they leave, they’re controlled by fear.”
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After he was appear for good, Poggi formed as a artist and corrective children’s toys for a time. In 1944 he abutting J.P. O’Shea, the stained-glass close area he advised the Virgin Mary windows for the abbey in Lévis. In 1947 he opened his own shop, Flat V. Poggi. For abounding years it was anchored on the aboriginal attic of his family’s home, the red-bricked abode on Westmount’s Rue St. Catherine.
As a adolescent who occasionally would accept adopted to be arena outside, Maurice chipped in to advice about his father’s office. He anchored panels, arranged completed windows to be shipped. Later, he advised art history and went on to assignment in advertising. In the mid-1990s, some years afterwards his father’s death, he started volunteering with a activity at Toronto’s York University: a anthology that abstracts stained-glass windows beyond the country.
In a window that is housed at Église Notre-Dame-de-la-Victoire in Lévis, about amid bedding of bottle that characterize the alliance of Mary and Joseph and the afterlife of Christ, Maurice’s ancestor adherent a console to activity in Nazareth. Two women dote on a brace of children. An angel flutters beneath the words, “Douce mère” — candied mother.
In the basal appropriate bend is a hasty addition: Bambi, the believing deer that accent a archetypal Disney blur in 1942. It is addition Poggi flourish, an aesthetic alternative in the mould of babyish Jesus’ toy horse.
Though we can’t be abiding what the man was cerebration in the moment, Hallé, the abbey official, is addicted of the improvisation. He sees it as a admonition that the scenes in the windows still matter.
“We’re not alone talking about an old history,” Hallé said. “We additionally accept a articulation amid those belief that go aback 2,000 years and today.”
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