薩倫託 意大利尚未被發現的寶石

The slow-paced villages that make up Salento boast a stunning landscape, deep-blue seas, centuries of history — and are blissfully isolated from the 21st century.

普利亞的薩倫託由諸多小村莊構成。這些村落生活節奏緩慢，有着令人驚歎的風景、深藍色的大海和數百上千年的悠久歷史，人們過着遠離21世紀的幸福生活。

AT THE START of the Italian film director Edoardo Winspeare’s ‘‘Quiet Bliss,’’ a world-weary woman moves her family to live in an olive grove. Italy’s enduring recession has brought the family to its knees and, forced to close their textile factory, they’ve come to work the land. Here — amid the cream of stone, the green of olive, the blue of sea — the women discover the ancient grace of agricultural Salento, long the humblest region within Puglia, the rough-hewn, rocky area in the country’s south. If the premise seems pat, the film is exquisite: visually arresting, emotionally raw. Minutes into meeting its director, I understand why.

在意大利導演愛德華多·溫斯皮爾(Edoardo Winspeare)的影片《靜謐的幸福》(Quiet Bliss)的開片部分，一名厭倦了俗世喧囂的女子帶着家人搬去一片橄欖林里居住。意大利經濟的持續衰退導致這個家庭陷入困境。他們被迫關閉了紡織廠，回來耕種田地。在米色石頭、綠色橄欖樹和藍色大海的映襯下，影片的女性角色發現了尚處在農業社會的薩倫託的古色古香之處。普利亞位於意大利南部，地勢崎嶇，多岩石。而長期以來，薩倫託一直是普利亞最不起眼的地區。雖說其構思有些穿鑿附會，這部電影仍屬精緻之作：視覺上引人入勝，感情強烈。在見到導演幾分鐘後，我便明白了其中的緣由。

‘‘I’m obsessed with this place,’’ Winspeare tells me, his gray-blue eyes alight. We are sitting in the dining room of his palazzo in Depressa, a Salentine village 10 minutes from the seaside, where his family has lived for generations. The Winspeare home is the first of several I’ll visit over the next few days as I make my way through the tip of the stiletto heel of the Italian boot, a necklace of sparkling villages strung along the limestone peninsula dividing the Adriatic and Ionian seas.

“這個地方讓我着迷，”溫斯皮爾對我說，他那灰藍色的眼睛開始閃閃發亮。我們當時正坐在他家的餐廳裏。這座大宅位於薩倫託的迪普雷薩村，離海邊10分鐘路程。他的家人世代生活在這個村子裏。意大利的版圖呈靴子狀，薩倫託便位於這隻靴子的鞋跟處。這裏由一串熠熠生輝的村落構成。它們鑲嵌在石灰岩遍佈的半島上，把愛奧尼亞海和亞得里亞海分隔開來。在接下來的幾天裏，我將穿越這片地區，並去參觀多處房屋院落。溫斯皮爾家正是我的第一站。

Salento is having its day, exalted as one of Italy’s last undiscovered gems. In reality, it has been so unendingly trafficked — by Romans, Normans, Germans and more — that to call Salento undiscovered demands a rather narrow view of history. Gemlike, yes: a dazzling display of nature’s way with color. But the region is more precisely described as many gems, not one. There’s a reason Italians call Puglia ‘‘le Puglie,’’ in the plural. Just as there are many Puglias, of which Salento is one, there are also many Salentos: small hamlets spread over hundreds of miles. From the Baroque city of Lecce, known as the Florence of the South, to southernmost Santa Maria di Leuca, which is lapped by a Caribbean-like sea, to the inland Grottaglie, with its vineyards and ceramics, Salento is vast and various.

眼下，薩倫託風頭正盛，被譽爲意大利最後幾顆尚未被發現的寶石之一。實際上，這裏一直有源源不斷的羅馬人、諾曼人和德國人等往來不息。說薩倫託未被人發現所參照的歷史視角實在狹隘。但這裏的確像寶石一樣：它用自然界的各種色彩令人目眩神迷。其實，說這片地區是很多寶石，而不是一顆寶石會更準確。意大利人在說到普利亞時用複數形式是有原因的。就像有很多個普利亞，薩倫託是其中之一一樣，也有很多個薩倫託：那些小村莊四散分佈，綿延數百英里。從有“南方的佛羅倫薩”之稱的巴洛克風格城鎮萊切，到最南邊被一片類似加勒比海的海洋環繞的聖瑪麗亞迪萊烏卡，再到內陸隨處可見葡萄園和陶瓷器的格羅塔列，薩倫托地域廣闊，風格多樣。

‘‘In the 18th century, my father’s family were British Catholics — there’s been a lot of mixing since then,’’ Winspeare says, gesturing to their portraits as we pass them in a hall. This house is plainly a family home, impressively grand but lived in, filled with portraits, porcelain, plants — and people speaking French and English.

“18世紀時，我的父系家族是英國的天主教徒，但從那以後，發生了很多通婚，”溫斯皮爾說道，並在我們走過一個大廳時把他們的肖像指給我看。這棟房子明顯是一處家庭住宅。它的雄偉令人印象深刻，但同時散發着生活氣息，屋裏擺滿了人物肖像、瓷器和植物，還會響起法語和英語的聲音。

His 5-year-old daughter points to one of the portraits. ‘‘That’s my great-grandfather,’’ she tells me in Italian.

他五歲的女兒指着其中一幅肖像用意大利語對我說，“那是我曾祖父。”

‘‘No, darling,’’ Winspeare says, and to me: ‘‘That’s Davide Winspeare, our most famous relative. He wrote ‘The History of Feudal Abuses,’ in 1811, a treatise arguing for the abolishment of the title system — for which they offered him a title.’’

“不對，親愛的，”溫斯皮爾對女兒，同時也是對我說，“那是達維德·溫斯皮爾(Davide Winspeare)，是我們最有名的一位祖先。他在1811年寫了名爲《封建濫權史》(Feudal Abuses)的文章，闡述了廢除頭銜制度的理由。爲此，他被授予頭銜。”

‘‘Did he accept it?’’

“他接受了嗎？”

‘‘Of course he did.’’ Winspeare laughs that particular laugh I’ve come to associate with Italy: at once joyful and cynical, weary and light, a wordless ‘‘nobody’s perfect.’’

“當然接受了，”溫斯皮爾笑着說。這是一種特別的笑。我已經逐漸地把它和意大利聯繫在了一起。這種笑既表達了開心，又有些許憤世嫉俗，顯得見慣不驚、輕鬆自若，像是在無言地表達着“孰能無過”。

When I ask him what he considers himself — Italian? — he laughs again.

我問他，他認爲自己算是哪裏人，是意大利人嗎？他又笑了。

‘‘To be Italian is one thing. To be Salentino is something else. I’m Salentino. Cosmopolitan Salentino.’’

“意大利人是一回事。薩倫託人又是另一回事。我是薩倫託人，一個多種文化造就的薩倫託人。”

IN A SENSE, the term is redundant. I spent two years in Rome and never encountered the kind of cosmopolitanism that I observe, at all levels of society, in two days in Salento. Winspeare, the son of an Italian baron and Liechtensteiner princess, is exceptional in his lineage, but the norm is not so different; the history of Salento is one of hybridity.

在某種意義上，這個說法是多餘的。我在羅馬待了兩年，但從未遇到過我在薩倫託待的兩天時間裏，在社會各個階層中注意到的那種多種文化揉和的情況。父親是意大利男爵、母親是列支敦士登公主的溫斯皮爾有着不同尋常的血統，但與這裏的社會常態並沒有太大差別。薩倫託的歷史是一部民族雜揉史。

In brief: Ancient Salento belonged to Magna Graecia, that part of southern Italy settled by the Greeks. Its original inhabitants were Messapii, an Indo-European people later called Salentini. The Messapii were not of Greek origin — historians tie them to Illyria, of ‘‘Twelfth Night’’ fame — but associated with the Hellenics to create a vibrant culture. When the Romans conquered Messapia, they admired the local art: the sculpture and painting. With the fall of the Roman Empire came successive waves of conquerers: Byzantines, Normans, Swabians, Angevins, Aragoneses, the Spanish, Ottoman Turks. When Italy was unified in the mid-to-late 19th century, the region was plunged into poverty. For decades, Salento witnessed a massive migration. But unlike the Sicilians and Neapolitans who settled permanently in America, many Salentini returned after World War II.

簡而言之，在古代，薩倫託屬於大希臘(Magna Graecia)，即意大利南部的希臘人定居區。薩倫託的原住民是梅薩皮人。這是一個印歐民族，後來被叫做薩倫託人。梅薩皮人沒有希臘血統——歷史學家認爲他們和因《第十二夜》(Twelfth Night)而聲名遠揚的伊利里亞人關係密切——但他們和希臘人往來，創造出了充滿活力的文化。佔領梅薩皮亞時，希臘人曾對當地的雕塑和繪畫藝術讚賞不已。隨着羅馬帝國的滅亡，這裏接連迎來了一波又一波的征服者：拜占庭人、諾曼人、斯瓦比亞人、安如望人、阿拉貢人、西班牙人和奧斯曼土耳其人。19世紀中後期意大利統一時，這片地區陷入了貧困。此後數十年間，薩倫託見證了一場大規模移民。但不同於在美國永久定居的西西里人和那不勒斯人，很多薩倫託人在“二戰”後迴歸故土。

What makes Salento unique is the living presence of this history: from its denizens’ contrasting North African and Northern European phenotypes to the Greek dialect still spoken in its villages. In one such — Calimera — stands a Greek statue. Inscribed in the stone are the words ‘‘Zeni sù en ise ettù sti Kalimera,’’ meaning, ‘‘You are not a stranger here in Calimera.’’

讓薩倫託與衆不同的是，你能看到其歷史留下的鮮活印記：從居民臉上那些截然不同的北非和北歐面部特徵，到村裏依然有人在說的希臘方言。卡利梅拉便是這樣一個村莊。這裏還樹立着一尊希臘雕像，石頭上刻着“Zeni sù en ise ettù sti Kalimera”的字樣。這句話的意思是“在卡利梅拉這裏，你不是陌生人”。

It is this easy blending of cultures, more than its hotels or restaurants, that has made Salento so attractive to its most recent arrivals: designers and filmmakers and artists and authors (not to mention the odd farmer). Andrea del Genio is a Neapolitan who inherited a working farm from his Puglian grandmother. ‘‘I thought, ‘I’ll just go there for 15 days every year,’’’ he says. ‘‘I’ve been here 15 years so far.’’ From under a massive fig tree, we gaze out at his land: Here, the grapes may be grown for wine, but they’re still the sweetest I’ve ever tasted. Lunch is friselle, a local dish made entirely with ingredients from the farm: wheat, tomatoes, olive oil. ‘‘Farm-to-table eating? Back-to-nature living? It’s all very chic right now,’’ he says. ‘‘But the Salentini have been living this way for centuries.’’ When I ask whether he thinks tourists will change Salento, he laughs. ‘‘More likely Salento will change them. Many come. But only some go home.’’

正是這種文化的融合，而非當地的旅館和餐廳，讓新來的設計師、電影製作人、藝術家和作家（更別說間或到來的農夫）覺得薩倫託極具魅力。安德烈亞·德傑尼奧(Andrea del Genio)是那不勒斯人，他從生活在普利亞的祖母那裏繼承了一座仍在耕種的農場。“我當時想，‘我每年就去那裏待15天’”，他說。“但到現在，我已經在這裏待了15年了。”在一棵巨大的無花果樹下，我們凝視遠方，那裏是屬於他的土地：種的葡萄可能是用來釀酒的，但依然是我吃過的最甜的。午飯時，我們吃的是當地菜餚番茄麥餅(friselle)，食材全部來自農場：小麥、西紅柿和橄欖油。“從田地直接到餐桌的飲食？迴歸自然的居住環境？當下這些都非常時髦，”他說。“但成百上千年以來，薩倫託人一直都是這麼過的。”當我問他，是否認爲遊客會改變薩倫託時，他笑了。“更可能是薩倫託改變他們。來了很多人，但只有一部分人回了家。”

The region is not picture-perfect; it doesn’t attract perfectionists. Though its various towns are lovely, one needs a car to travel between them, the roads lined with scraggly farmland and industrial warehouses. One of its primary crops — olives — grows in harsh conditions; in place of the manicured hills of Tuscany, arid groves stretch across the peninsula. Donkeys roamed the unpaved street outside my B&B. And yet here, in Salento, I found things I’ve yet to see elsewhere in Italy: a rural simplicity, an unconditional warmth, true open-mindedness. I was reminded of Ghana and India, two countries I visit every year, and where, in certain farming towns, one finds the same worldly-wise sense of innocence. The fashion crowd, forever searching for the newest thing, may have fallen in love with Salento—but these arrivées are nothing new to the Salentines.

這片地區並非風景如畫般完美，也不會吸引完美主義者。儘管這裏各個小鎮景緻怡人，但需要乘車才能在它們之間穿行往來。而公路兩旁散佈着凌亂的農田和工業倉庫。作爲這裏主要的作物之一，橄欖樹生長在惡劣的環境裏。這裏沒有托斯卡納那種修剪整齊的小山，取而代之的是貧瘠的林地，在整個半島綿延不絕。我住的含早餐旅館外，幾頭驢在土路上游蕩。但在薩倫託這裏，我也發現了意大利其他地方沒有看到過的東西：簡單的鄉村生活、無條件的友善和真正的開明思維。這讓我想起了加納和印度，兩個我每年都會去的國家。在它們的某些農業城鎮，你也會發現這種練達的純真感。永遠都在尋找最新潮流的時尚界人士，可能已經愛上了薩倫託，但對薩倫託人來說，來的這些人並不算新鮮。

WINSPEARE FINDS ME a driver, Amerigo Russo, a chatty handyman who the director cast in ‘‘Quiet Bliss,’’ and we head toward the village of Melpignano. In the piazza, old men sit in plastic chairs, chatting, shaded by an 18th-century church. Alongside sits Stefano Aluffi-Pentini’s palazzo, hidden behind a low door.

溫斯皮爾給我找了個司機，名叫阿梅里戈·魯索(Amerigo Russo)，他頗爲健談，有着一雙巧手。在《靜謐的幸福》中，導演還讓他出演了一個角色。我們一起駕車前往梅爾皮尼亞諾村。在廣場上，建於18世紀的教堂投下了一片陰涼，坐在塑料椅子上的老人們閒聊着。斯特凡諾·阿盧菲-彭蒂尼(Stefano Aluffi-Pentini)的院落就坐落在教堂旁邊，隱沒在一道低矮的門後。

‘‘In the 16th century this was a market,’’ says Aluffi-Pentini, an art historian and expert in European palazzi who’s from Rome, gesturing with one hand to the piazza while serving rosé with the other. The wine, Castel di Salve, is made by Francesco Winspeare, Edoardo’s brother (and co-owner, with the director Taylor Hackford, of a wine bar in nearby Tricase). From the terrace, one can all but touch the arcades. ‘‘Merchants from the kingdom of Naples signed their contracts there.’’

“16世紀時，這裏是一個市場，”阿盧菲-彭蒂尼說。他既是一名藝術歷史學家，又是研究歐洲華麗建築的專家。來自羅馬的他一手倒着玫瑰葡萄酒，一手指向廣場。Castel di Salve這款葡萄酒是愛德華多的兄弟弗朗切斯科·溫斯皮爾(Francesco Winspeare)生產的。（弗朗切斯科還和導演泰勒·海克福德[Taylor Hackford]一起，在附近的特里卡塞開了一家葡萄酒酒吧。）站在露臺上的時候，很容易就能想象出當年商鋪林立的景象。“從那不勒斯王國來的商人就是在這裏籤合同的。”

Coming from Rome, I know what it is to live with history. But here, he says, history lives with him. ‘‘Salento is a place that still belongs to the daily life of its inhabitants. Many cities in Italy are better preserved, but overrun with tourists. I prefer Salento to Capri. Here the sea is not the focus. Did Edoardo tell you the story? He knows an old woman who’s never seen the sea. This land was attacked by pirates; the sea was dangerous. Life here happens inland.’’

在羅馬待過一段時間之後，我知道和歷史相伴是什麼感覺，但在這裏，歷史融入了生活。“居民的日常生活依然佔據着薩倫託。意大利有很多城市保護得更好，但卻遊客氾濫。和卡普里島相比，我更喜歡薩倫託。在這裏，大海不是焦點。愛德華多給你講過那個故事嗎？他認識一個老太太，從來沒見過大海的。這片土地被海盜襲擊過，海上也很危險。人們的生活圍繞着內陸運轉。”

Indeed, of all the towns I visit, only Otranto has a classic beach: a veritable Miami compared to tiny Depressa and Melpignano. Here, at their beach club, I find the brother-and-sister duo of Carlo and Rita Capasa, two thirds of the threesome behind Costume National. Russo has driven me here from the rockier coast of Tricase Porto, where I stopped to chat with the graphic artist Anna Guarini. Villa Guarini, like the Winspeares’ palazzo, is as relaxed as it is regal: Guarini’s adult children, dog Léon and swimsuit-clad boyfriend pass through. Guarini herself — impeccably elegant — grew up in this house, spent decades in Paris and recently moved to Rome.

的確，在去過的所有當地城鎮中，只有奧特朗托有一片典型的海灘。相比於狹小的迪普雷薩和梅爾皮尼亞諾，那片海灘堪稱邁阿密。在這裏的海灘俱樂部裏，我看到了卡洛(Carlo)和麗塔·卡帕薩(Rita Capasa)兄妹，就是時尚品牌Costume National背後那三兄妹中的其中兩人。魯索開車把我從特里卡塞波爾圖的岩石海岸送到了這裏。在特里卡塞波爾圖，我曾駐足與平面設計師安娜·瓜里尼(Anna Guarini)閒聊。和溫斯皮爾家的大宅一樣，“瓜里尼莊園”的風格既輕鬆，又莊嚴：瓜里尼已長大成人的孩子、家裏養的狗里昂和她那身穿泳衣的男友在屋裏走過。瓜里尼優雅得無可挑剔。從小就在這棟房子里長大的她，去巴黎生活了幾十年，前不久回到了羅馬。

‘‘My mother always spoke of Villa Guarini,’’ Russo tells me as we’re parking. Once inside, he greets Guarini deferentially, mentioning that his mother once worked for her parents. She in turn greets him warmly, asking, ‘‘Who is your mother?’’ He tells her. ‘‘But of course!’’ she cries. ‘‘You’re Lucia’s son. How is your aunt Cesarina?’’

“我母親總會說起‘瓜里尼莊園’，”停車時魯索對我說。一進門，他就恭敬地和瓜里尼打招呼，並提到他母親曾爲瓜里尼的父母工作。瓜里尼隨後熱情地招呼了他，並問道，“您母親是？”他告訴了她答案。“當然，當然！”她大聲喊道。“你是露西婭的兒子。你們家的親戚切薩里納(Cesarina)還好嗎？”

It isn’t every lady that remembers the names of her household staff’s relations — but, as Guarini explains, the Salentino aristocracy is peculiar. ‘‘Historically, the landowners had very intimate relationships with the workers. As a girl, I went to public school with all the other children.’’ Though she lives in Rome, Guarini spends months at a time in Tricase Porto. The upside of the sea’s downplayed role is that summer is not the season: One can live here all year long, and some adventurous people do.

不是所有女主人都記得家裏傭工的親戚的名字，但就像瓜里尼解釋的那樣，薩倫託的貴族階層很特別。“歷史上，土地所有者和傭工關係親密。小時候，我和其他所有孩子一樣，上公立學校。”儘管生活在羅馬，但瓜里尼每次回來都會在特里卡塞波爾圖住上幾個月。大海的角色被淡化帶來的積極影響是，夏天不是唯一的黃金季節：你可以一年四季都待在這裏，而且的確有一些具備冒險精神的人這麼做着。

That, of course, is not to say that the sea is not spectacular. I’m enthralled by it, a swath of azure, as we climb the coast to Otranto en route to the Capasas for dinner. Dressed all in white, a long white braid down her back, Signora Capasa, the matriarch of the family, is impossibly chic. She is relaxing by the water with Carlo and Rita when we arrive (their middle brother, the designer Ennio, has returned to Milan). ‘‘People often ask how a family from Salento creates such minimal clothes,’’ Carlo says. ‘‘They imagine southern Italy as baroque, as over the top. But it can also be quite simple. Our parents were always minimal.’’

當然，這並不是說當地的海景不壯闊。在去卡帕薩家吃飯的路上，我們沿着通向奧特蘭託的海岸行駛。那片蔚藍的大海讓我如癡如醉。卡帕薩家族的女族長西尼奧拉·卡帕薩(Signora Capasa)穿着一襲白衣，白髮長辮垂在背上，時尚得令人難以置信。我們到的時候，她正和卡洛及麗塔在水邊放鬆（三兄妹中的老二，即設計師恩尼奧已經回米蘭了）。“人們總會問，一個來自薩倫託的家族是如何製作出這麼簡約的衣服的，”卡洛說。“他們想象中的意大利南部是巴洛克風格的，裝飾過度。但這裏也可以很簡單。我們的父母就一直奉行簡約風格。”

The Capasa siblings grew up in Lecce, that cream-walled dream of a city, and spent their vacations in Otranto, where their parents were born. Though neither their mother nor father spoke French nor English, they both traveled often, fascinated by the fashions coming out of Paris and London. For their children, an international clothing line renowned for its minimal aesthetic is classically Salentine. ‘‘We grew up in Lecce,’’ Carlo continues. ‘‘It’s baroque, but minimalist baroque. All one color, all one stone. International, minimal. These are our roots.’’

卡帕薩兄妹在萊切長大，那裏像是一個有着米黃色牆壁的夢幻城鎮。他們還會去父母的出生地奧特蘭託度假 。儘管都不會說法語和英語，但他們的父母經常去旅行，併爲來自巴黎和倫敦的服裝所傾倒。對他們的子女來說，一個以簡約美揚名的國際服裝品牌，體現的是標準的薩倫託風格。“我們在萊切長大，”卡洛接着說。“那裏是巴洛克風格，不過是簡約的巴洛克風格。通通只有一種顏色，一種石頭。既是國際的，又是簡約的。這些是我們的根。”

IT IS THIS MIXTURE — of minimalism and multiculturalism — that enchants Olga of Greece. Seven years ago the Greek princess, raised in Paris and New York, and her Italian husband, Prince Aimone of Savoy-Aosta, bought a crumbling palazzo in Giuggianello. ‘‘His being Italian, my being Greek, Salento is the perfect place to be both,’’ she says, dispatching their three children to the pool: one of the only finished sections of the compound. I’ve come to visit their three-wing palazzo, which is undergoing a slow and deliberate renovation; we sip coffee in a parlor cluttered with toys and lined with original editions of the Enciclopedia Treccani (I’m thrilled to find Davide Winspeare’s name among the brittle pages). The windows and doors have yet to arrive but the frescoes are ready for viewing: a gorgeous display of pastel pinks and peeling sea-foam greens. Having studied architecture at Columbia, Olga adores Salento’s villas.

正是這種簡約主義和多元文化的融合讓來自希臘的奧爾加陶醉其中。奧爾加是希臘的公主，她的丈夫是意大利的薩伏伊-奧斯塔王子艾蒙內(Aimone)。七年前，夫婦兩人在朱賈內洛買下了一處日漸破敗的大宅。“他是意大利人，我是希臘人，對我倆來說，薩倫託是最完美的選擇，”她一邊說，一邊把三個孩子打發到泳池邊。院子裏只有少數幾個地方已完工，泳池是其中之一。我是來參觀他們這棟擁有三個側翼的房子的，這裏正在進行緩慢、慎重的翻修。其中一間起居室裏塞滿了玩具，還有成排的原版《特雷卡尼百科全書》(Enciclopedia Treccani)（這些書的紙張已經發脆，但在書裏發現達維德·溫斯皮爾的名字讓我興奮不已）。我們在這裏一邊談話一邊小口喝着咖啡。窗戶和門都還沒到，但壁畫已經準備好讓來客欣賞了，放眼望去，一片絢爛的淡粉色和淡綠色迎面而來。曾在哥倫比亞大學研習建築學的奧爾加對薩倫託的鄉間莊園很是鍾情。

After we finish our coffee, she takes me to the roof. Seen from here, it could be Greece or even Morocco: the desert-like landscape, the low white houses, the olive groves, a single goat. Like Salento itself, the view is utterly captivating — quiet, unchanged by time, unspoiled by perfection.

喝完咖啡，她帶我去了屋頂。站在這裏，能看到像沙漠一樣的景色、低矮的白色房屋、橄欖園和一隻羊。這樣的景觀可能是希臘，甚至還可能是摩洛哥。如同薩倫託一樣，此情此景令人迷戀：靜謐，沒被時間改變，並不完美，卻真切動人。

‘‘You can look all you want, but you don’t find houses like this anywhere else. There are beautiful houses in Greece, but not in this style. Take our facade. It’s simple, minimal, protected.’’

“你想怎麼看就怎麼看，但你不會在其他任何地方找到這樣的房子。希臘也有漂亮房子，但不是這種風格。拿我們家房子的正面來說，簡單、簡約、得到了完好的保護。”

Much like life in Salento itself.

這一切，像極了薩倫託這裏的生活。