As far back as Franco can remember he was immersed in ancient expressions of art. "At the age of three, I used to sit on my grandfather's lap when he was working. I would blow the dust off his carvings," says Franco Tammaro, Roatan's cameo carver. Cameo carving originated in Ancient Greece and was brought by the colonizing Greeks to Franco's hometown, Naples, in 79AD. For the Tammaros, an Italian Family of painters and sculptors, cameo carving has been a tradition since 1851. His father, also a gemologist and explorer, owned a vessel on which Franco spent most of his free time as a young boy. Franco was actually born during a trip to the Caribbean. "In 1960, we were on the ship and we were passing the island [Roatan]. They say I was born in the waters of Roatan," says Franco. "I decided to make it my home."
Franco grew up in Italy and traveled the world on his father's ship. He later attended NYU to study architecture, which he dropped to proceed with the creativity of art history and carving. Fifteen years ago, Franco moved to Roatan and seven years later started conceptualizing his Stone Castle. In 1999, the Castle was built, serving as Franco's home, workshop, teaching institute and boutique. "Roatan Island has won my heart for here I've built my castle where in any man's heart is his home," says Franco.

Today the Castle is a landmark on Roatan and is where it's Lord teaches the techniques of carving to twelve local apprentices. "It does worry me that this art can disappear," says Franco. "It is an art that should continue and that gives a fine representation of what men can do with the raw materials that Mother Nature gave us." In the back of the Castle is where the mastermind works his craft. Franco retreats behind the two large wooden doors facing the main lobby, in his small and chaotic workplace, to keep the dying tradition of cameo carving live.

The curtains are shut and the room temperature kept no higher than 18 degrees Centigrade. Franco works best when most of the island is asleep. "Just to think, not even carve, to create… it takes a tremendous amount of time," says Franco.

Clues of Franco's artistic influences are noticeable throughout his workshop. Pictures of ships from the Queen Elizabeth II to the Andrea Doria and to Franco's father Cammile, hang on the walls; while scenes from Salvador Dali, Michelangelo and Leonardo da Vinci and images of romantic art and neo-classism are displayed among cameos in glass cases. A variety of intricate tools lie on the table among colourful gems, books, Italian biscuits and pictures of Franco's two daughters. On another table, piles of wooden boxes carrying hundreds of small cameos are adjacent to an improvised mini-bar. Sitting in a corner of the room is the piece that won Franco a place in the Museum of Metropolitan Art. "It is my representation of the abduction of the Sabine women," he says. Franco's main clientele is in Japan and his pieces are sold worldwide. Despite the fact that he is a successful businessman, Franco considers him self first and foremost an artist. "If I saw myself as a businessman, I would approach things without the love of perfecting the art," says Franco. "I'm an artist, a realist, an honest man, a sculptor, an architect, a barbarian." The love of perfection that Franco refers to is reflected through his art.

The details in the faces of the angels are flawless and the captivating scenes of Roman history evokes the Italian Old School of Art. Covering an important part of the wall is a large painting representing the Crossing of the Atlantic. "It represents people crossing the ocean to come find a better life," says Franco. With the same goal, Franco came to the Americas to share his passion for carving the marine canvas.

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Freeport Calling
Ambitions for creating a Freeport out of the Bay Islands have been here for a while. It was 2006 that all the stars aligned and all the political power-houses agreed and the plan was pushed full force from proposal to commit-tees, congress and the president. After many back and forth changes, the document was voted in by congress and in December signed by the president. Fast track to change. {PHOTO: President Zelaya receives a commemorative conch carved lamp during the AOLITUR signing ceremony}

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