Zachariah Mattheus will be part of ARCA's 2011 summer program in art crime studies and cultural heritage protection. He is an independent art director and graphic designer working in branding, print and web design. HIs professional collaborations over the past ten years with Warner Music Group, Rhino Records, Kerouac Films, Bloomberg, Conde Nast, Envirosell, Vox Guitars, The New York City Ballet and Jordache exhibit his penchant for the telling of great stories. His work can be seen at www.zachmattheus.com.

ARCA Blog: What is your academic background and how did you come to commit to a summer in Umbria studying art crime?

ARCA Blog: Have you traveled or lived in Italy and what would you like to do there when you are not attending lectures?

ARCA Blog: The program culminates in the writing of a publishable article. What area of art crime or cultural protection would you like to research?

Mr. Ellis: I use Michel van Rijn to illustrate not only the importance of "informants" to the criminal investigator, but also the problems that "informants" can create for an investigator and hence the care that must be used when dealing with such individuals. I play an interview that I recorded with Michel in 2004 at the request of the Dutch Government, which was played to an EU conference to illustrate how criminals fabricate provenance and the difficulties that this presents for all those involved in cultural property. I am still in contact with Michel, which provides me with a constant insight in to the darker side of the art market. Michel will of course help the authorities if it is in his interest to do so and this is another reason why I introduce him to the students. Understanding why people become informants is essential to being able to use them and the information that they provide safely and legally and this is another part of the scope of my course. Understanding why people become involved in cultural property crimes, their motives and expectations will assist the investigator in reaching a successful outcome to a case.

Mr. Ellis: The past three decades has been interesting in respect of the response to cultural property crime by the police in many countries. At the start of the 1980's there was little interest in this area of crime with the exception of Italy, who throughout this time have devoted considerable resources to protecting their cultural property and investigating those responsible for the theft of it. In 1984 the art squad at Scotland Yard was actually closed and its 14 detectives were dispersed on to other crime squads. In the USA the FBI had no dedicated team and only in the police departments in New York and Los Angeles was there any recognition that art and antique crime posed a problem. It was largely due to the restructuring of the art market during the 1980's and the rapid increase in prices that this generated that criminals recognised the potential in art crime. The resulting increase in crime forced law enforcement to adjust and review the situation.

By the end of the 1980's I had reformed the art squad at New Scotland Yard, the FBI in New York were handling an increasing number of international requests through one dedicated office and in Los Angeles an art detail was put in place run by a detective Bill Martin who was later appointed to the President's advisory panel on cultural property crime. During the 1990's more countries recognised cultural property crime as a problem and with the end of the cold war and the opening of international borders the trafficking of cultural property crime grew rapidly becoming a major concern.

The introduction of computer systems during this period, which recorded and made accessible information on stolen objects was a major step forward and Interpol has been able to provide a central record of at least the most important stolen cultural property. France, Italy, the USA and a handful of other countries developed their own databases of stolen cultural property supported by dedicated investigators. UNESCO developed a programme of workshops through which it was able to raise awareness of cultural property crime and by utilising the help of specialist police officers such as myself, it delivered a programme designed to assist countries in protecting their cultural heritage.

There followed a number of high profile cases which illustrated how with the cooperation of these dedicated national squads successful prosecutions could be achieved such as the recovery of the Scream and the prosecution of Tokeley Parry and Fred Schultz to name but two of my own cases. However, as we entered the new millennium, other international crimes overtook cultural property crime in importance for law enforcement. Drug trafficking, people trafficking and terrorism now occupy the top three positions and with the global economic crisis financial fraud has also moved above cultural property crime in importance and I fear that we shall see a gradual reduction in the number of specialist officers dedicated to cultural property crimes. This makes the work of ARCA all the more important as the private sector will now be required to handle the many crimes and disputes left untouched by law enforcement and only through some serious academic research to demonstrate the true scale of the problem that cultural property posses will governments and law enforcement agencies be persuaded to direct more of their limited resources to it. The internet offers a fantastic tool for the investigator in terms of information about objects and where they are appearing on the market for sale. It does not however replace the need to actually talk to victims of crime or to interview those in possession of disputed items in order to reach some kind of resolution to a dispute. These are skills that you can only gain by actually doing the job and no amount of internet research will give you those skills.

Finally and in answer to the last part of your first question, "How can students best prepare for your class?" I would suggest that they cover as many art thefts and investigations as they can find in books and on the internet. To keep an open mind on who has committed the crime and not to be influenced by the often ill-informed opinions of the journalists. To read "The Irish Game" by Mathew Hart, which sets out probably the most thoroughly investigated art thefts of a single collection and gives a good insight in to who commits such crimes and how the criminal has arrived at the routes to market available to them for iconic works of art. A topic to be covered in my class.

by Catherine Schofield Sezgin

Buon giorno. This photo shows Porcelli's thin crust pizza topped with gorganzola cheese, sliced

pears, and diced almonds. If you've been to Porcelli's, do you have a favorite pizza?

by Catherine Schofield Sezgin

by Catherine Schofield Sezgin

One of the reasons for our fondness for the restaurants in Amelia is certainly due to the ubiquitous owners who have to close their eating establishments to get any time away from their businesses. Valda, as she is known by her customers, the smiling and gregarious owner of Porcelli's, arguably serves the best pizza in Amelia. Personally, I favor the gargonzola cheese with sliced pears and crushed almonds. My children love the nutella pizza that Valda often presents to regular customers at the end of a late meal. Then there's a salad that's only on the Italian menu that has greens, kiwi fruit, and walnuts dressed with a vinaigrette.

Many people prefer pizza from Napoli. However, when my family and I tried the pizza in Napoli, I had to agree with my husband -- even as I enjoyed a seven cheese pie -- when he said, "This pizza is not as good as our pizza." I understood he wasn't talking about pizza from Pasadena. Because after living in Amelia for a month, 'our pizza' had become pizza from La Misticanza or Porcelli's. The pizza in Amelia typically has a thin crust, with cheese topped with thin slices of toppings such as zucchini, eggplant, red peppers, prosciutto, or even truffles. Oil does not drip through the pizza boxes or congeal on the plate as in California. With whole pies selling from three to eight euros, we ate pizza daily.

Valda, with her trademark dark eyeliner and long eyelashes, opens her taverne in the evening and keeps it open for as long as her customers and musicians play. It's not unusual for someone to arrive at midnight. Porcelli's is carved into the hillside and has spacious dining rooms stretching into caverns whose walls are decorated with art by Valda's deceased husband. The space is perfect for musicians to perform long into the night without disturbing the neighbors. However, the customers smoking outside Porcelli's doors on Via Farratini may not be so accommodating if the party is particularly good. And the party, like the pizza, is always good.

by Catherine Schofield Segin

Two of my classmates, Lauren Cattey, a criminologist, and Katie Ogden, an art historian, and I were sitting at one of the many shiny metal bistro tables on the patio of Bar Leonardi overlooking the Piazza 21 Settembre, the large open space outside of the walls of historic Amelia. As students of ARCA’s Postgraduate Program in Art Crime Studies, we had by then survived three weeks of lectures, five days a week, five to six hours a day. Our course time had cut into prime grocery shopping time that on Thursdays in Amelia meant from about 8 a.m. to about 1 or 2 p.m. when the stores closed for the afternoon and the evening. Drinking espresso drinks and prosecco, nibbling on potato chips and nuts, we watched the Italians around us, smartly dressed in various hues of purple, the men with their man-bags which held their cell phones and cigarettes, the women who that summer flagrantly displaced purple or leopard bra straps. We considered our options for dinner – inexpensive pizza from the shop across the park – and then we ran out of ideas. We’d eaten lunch at Punto di Vino, as usual, and could return since it was the one place that always remained open.

Our counting of purple outfits – we often reached double digits – was interrupted by a tall man who exited from a car in a parking space in front of us and ambled over with a piece of paper. In either Italian or English, likely the latter as that is why he chose us, he asked how he could find La Misticanza. We were baffled. We'd lived in Amelia for more than three weeks and although it was a small town and we were always discovering a new food market or shop -- and sharing the information as to when they were open -- Porcelli's was closed on Tuesdays, Cansacchi was closed on Wednesdays and Le Colonne was closed on Thursdays -- we hadn’t heard about this Misticanza. The fair haired man, now we were guessing he was German, claimed that he was meeting friends so in helpful desperation I recalled a pretty sign with a floral motif outside a bar door across the road from Bar Leonardi and directed him around the corner to the left.

This bar we had sent the newcomer to seemed to be deserted during the day and yet attracted a boisterous crowd in the evening but we'd never been inside the open doors nor had we seen a menu. So, as soon as it grew dark, we crossed the piazza, stepped into the sit down area of a brewery and walked up to the cashier and then peered into a side door to find a crowded dining room overlooking the Porta Romana. Using our rudimentary Italian, we ordered what we thought was one plate of salami and cheese only to receive three large platters of antipasto. We were laughing by the time the pizza arrived but didn’t turn down what would become one of our favorite pizzas, the caprese, a puffy crust covered in slices of tomato and mozzarella with basil and drizzled with olive oil.

We would return a few more times, very careful to order just pizza, as the gregarious and talented chef could be creative with the menu and the bill. Many long evenings were spent in the place we came to know as “Crazy Johnny’s” where nothing is predictable except the excellent quality of the food.

Tomorrow’s post will highlight Porcelli’s, a pizza tavern inside the historic center.

Top Photo: View of the Porta Romana from La Misticanza

Middle photo: The dining room of La Misticanza

Bottom photo: Caprese pizza

ARCA's Postgraduate Program in International Art Crime and Cultural Heritage Protection Studies will be held for the third year in Amelia, Umbria, in 2011. The deadline for student applications has been extended to January 21, 2011.

Amelia is a beautiful walled medieval town about an hour drive north of Rome. It can also be reached from Rome by taking a train to Orte, then taking either a bus or a taxi to Amelia. Most visitors directed to Amelia are instructed to meet their host where all roads leading to the old town converge: Bar Leonardi, an establishment across from the main entrance to the old town, the Porta Romana, and on a piazza adjacent to a park.

Bar Leonardi opens very early in the morning and stays open late and, most importantly, in Italy, it stays open all day. In the morning, customers typically pick up espressos and cornettos, read newspapers, and greet friends and business partners. In the afternoon, during siesta, the bar can be quiet except for customers dashing in to play the lottery or to pick up cigarettes. After siesta, people emerge and gather again, drinking prosecco and more coffee. Of course, only the Americans order lattes and cappucinos so late in the day and although the server may admit to a wry smile, he will bring the milk-based drinks that cease for Europeans by 11 a.m.

I have just a bit of advice for a regular customer at Bar Leonardi: be consistent. Espresso drinks are inexpensive and plentiful; however, the cashier, who is often the ever-present owner, prides himself upon greeting you by remembering your order and the whole charm of buon giorno will be marred if you have to correct him with your whim of the day.

If you like a cappucino, then a latte, and maybe an espresso later on, I recommend that you order a cappucino from Bar Leonardi, another from Massimo's Pattisserie across the street, then cross the piazza to the smaller bar run by the red-headed Amelia to order a latte, and when you're ready for your fourth drink, maybe another latte or cappucino in the afternoon, you can visit Caffe Grande inside the walls and their staff will prepare you anything and include an artificial sweetner if you prefer.

Decaffeinated espresso is always available in Amelia's coffee bars. My bartenders well remember me for my order of 'decaffinato doppio cappuccino, per favore' which was a unique request in Italy although not in California where I normally reside. In Amelia, the cappucino is one euro or less; in Los Angeles, it's $4 so you can understand my free-for-all on the decaffeinated drinks.

Another reason people go to Bar Leonardi: everyone in town eventually goes to or passes Bar Leonardi so you can just sit at an outside table and wait. If your friend doesn't walk by, someone who knows your friend will walk by, and you can inquire, have you seen so and so, and that friend will be able to say, yes, I just saw them in Punto di Vino or at the Biblioteca because it only takes about 15 minutes and a pair of strong legs to cover the commercial area of Amelia which offers a few grocery stores, a couple of great eating establishments, many takeout places, and boutique clothing stores.

Later we'll talk about procuring food in Amelia -- when restaurants are open and closed requires knowledge of the weekly schedule.