The Daylight Cat Burglar: Pipino and the Madonna Col Bambino - PART III
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Sources:
https://medium.com/epic-magazine/pipino-gentleman-thief-ede9713dafb1 https://news.artnet.com/art-world/meet-vincenzo-pipino-venices-notorious-gentleman-art-thief-148148 https://www.theguardian.com/world/2018/nov/17/venice-jewellery-heist-expert-insight-from-the-gentleman-thief
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Zevon Odelberg is a true crime podcast host and disability advocate. Zevon has cerebral palsy and he wants Kinda Murdery to be welcoming community for people with disabilities and for people living with challenges of any kind. Life can be hard, but being together makes it better.
Warning, Kind of Murdery contains adult themes, explicit language, and descriptions of
violence. It is not suitable for anyone, and we recommend you stop listening
now. True crime with a dash of the paranormal, the garish, the
strange in the darkly comic. I'm Zeven Odelberg, host of kind of Murdery,
a podcast that's about more than just murder. It's my very own pocket
dimension, home to a curated collection of bizarre and compelling stories, the unsolved,
the unsettling, and the unbelievable. I cover it all just so long
as it's kind of Murdery. That's right, folks. Intro me speaks nothing
but the truth. I am Zeven Odelberg, and this is kind of Murdery.
You have found your way to part three of the Daylight Cat Burglar.
That's right, I said part three. So if you haven't heard part one
and two yet, then go back and listen to him, then rejoin us.
We'll save you a seat. If you're all caught up, then what
I'm about to present to you is Peppino's third version of his story of the
Madonna Theft, a version that he shares back in twenty fourteen while incarcerated in
Venice, and it's quite a story. I invite you to please join me
as we uncover what truths we can and solve what mysteries we may. The
Daylight cat Burglar, Peppino and the Madonnacle Bambino, Part three starts now.
In the cheery ambiance of the prison visiting room, Vincenzo Peppino, the seasoned
art thief now turned inmate, sat contemplating his next move. He gently tapped
the side of his espresso cup, a thoughtful gesture that hinted at his strategic
mind. Breaking the side silence with a caveat, he leaned forward and said,
this is a hypothetical story, emphasizing that the tale he was about to
unfold might blur the lines between fact and fiction, a hallmark of his storytelling
style. His disclaimer set the stage for a narrative that true or not,
promised to be as intriguing and layered as Peppino's life journey. Mala del Brena
mafia boss Felisee Manierro, often referred to as Angel Face, chose to build
his mansion not in a luxurious neighborhood, but rather in his hometown of Campelongo
Maggiori, a small farming community located about twenty miles west of Venice. The
construction of this mansion, which began in nineteen seventy nine and took three years
to complete, resulted in a unique architectural design. The house was notable for
its unconventional structure, featuring wide angles and polygonal bedrooms. It was equipped with
bulletproof windows and an advanced water filtration system, a precautionary measure its potential poisoning
attempts Filice. Monnieiro, known for his criminal pursuits, also harbored a deep
appreciation for art. He reportedly acquired what were believed to be paintings by Renoir
and Mireau, although their authenticity as originals was uncertain. Nevertheless, these pieces
served as sources of inspiration for him. Demonstrating his dedication to art, Monieiro
engaged Mario Schifano, a noted postmodernist collogist, as his personal art tutor.
Surprisingly, Monniro exhibited considerable artistic talent, creating works that intriguingly blended chaos and
balance. Despite his skill, his reputation as a criminal overshadowed his artistic endeavors,
limiting recognition of his art, primarily to his hometown, where it was
occasionally displayed in the city hall of Compolongo Maggiori. In a scene straight out
of a cinematic crime thriller, Peppino approached the heavily fortified estate of Filiche Monnieiro.
Upon arrival, he was greeted by a pair of guards armed with shotguns,
a clear indication of the high security and potential danger that permeated Monieiro's stronghold.
The property itself was a testament to Moniro's eccentric and lavish tastes, featuring
massive hedges and intriguing sculptures that adorned the grounds. Among these were a striking
seven foot tall wishbone sculpture and another that resembled an ancient Mayan astrological tool,
adding a surreal and almost otherworldly feel to the environment. This setting underscored the
blend of luxury and vigilant security that defined Manieiro's realm, a backdrop that set
the stage for Peppino's high stakes meeting. In a tense yet almost bizarrely friendly
encounter, Vicenzo Peppino was welcomed by Felice Monniro himself at the smoked glass doors
of his estate. The scene was charged with an undercurrent of both respect and
caution. Moniro, known for his volatile nature, greeted Peppino with an embrace
and kisses on both cheeks, a gesture that indicated a certain degree of familiarity
in regard. Peppino, older and with an air of an elder statesman,
reciprocated the pleasantries, although his casual demeanor belied his awareness of Monnieiro's recent brutal
betrayal of the Rizzi brothers. The Rizzies were a rival gang that Monyeiro made
peace with and then planned a joint operation with. But when the Rizzies showed
up, Monnieiro's men gunned them all down. That's the betrayal that was on
Peppino's mind. Also, Moneiro's health issues, notably a severe case of acid
reflux and his use of barbituates for pain management, added an unpredictable element to
his already complex personality. These factors, along with his underlying psychopathy, rendered
Moniro's mindset difficult to read, a concern that did not escape Peppino's experienced eye.
The descent into the basement where Moniero led Peppino was a journey into a
wreckingly different environment. The space they entered was adorned with dark wood paneling illuminated
by lights designed to resemble pink, blue, and yellow flowers. The decor
was an unusual blend that seemed like a teenage girl's idea of a bachelor pad,
a sort of Austin Power's mod vibe, if you will, contrasting sharply
with the serious and potentially dangerous nature of the meeting. This peculiar setting served
as a backdrop for Maniro and Peppino's conversation, a mix of the whimsical and
the grave, reflective of the complexities and contradictions in the world of organized crime
and in Monieiro's mad jokeresque mind in particulars. In their meeting, Peppino and
Monieiro delved straight into discussing the stolen painting, the Madonnaco Bambino. Peppino initiated
the conversation, expressing his concern about the painting's condition and the potential repercussions if
it were returned damaged. Monniro reassured him, saying it's in a shed behind
my cousin's house. It's covered. Plus it's guarded by my pets. No
one will get to it. This response, while somewhat reassuring, left Peppino
puzzled and a little worried, particularly at the mention of quote pets unquote guarding
the artwork. Next, the conversation shifted to Monyeiro's legal issues, a topic
Peppino could speak on with authority due to his extensive knowledge of the Italian legal
system. They discussed the challenges posed by the special surveillance measures that Monneiro was
under. As their meeting drew to a close, Monniro expressed his gratitude for
Peppino's involvement in the heist, indicating a sense of future obligation, saying to
Peppino, I appreciate the favor you did for me. I won't forget it,
thereby reinforcing the complicated dynamics of their relationship. In his preparation for the
recovery of the stolen Madonna from Monniro, Peppino undertook two critical errands. He
first visited a skilled forger known as the Professor, who resided in the countryside.
There requested a creation of a replica of the Madonna painting. Understanding the
urgency, the professor agreed to take on the task with minimal questions asked.
Peppino's second step was at a veterinarian's office, where he acquired animal tranquilizers.
Anticipating the need to neutralize any guard dogs at Monniro's property. He obtained extra
doses to ensure that he was well prepared for any situation that might arise.
A week after his preparations, Peppino ventured into Compelango Maggiori under the cover of
a nearly full moon. It was around ten at night, and the atmosphere
was tense, especially considering Monierero's notorious history with the Brenta River. Peppino,
carrying the imitation Madonna and a knapsack, was aware of the danger he was
in the darkness of the night, and the flowing river, known for its
grim association with Monieiro, specifically the mob boss's tendency to dump bodies into the
river, added an ominous feeling to Peppino's task. Despite the quality of the
replica being perfect, it was sufficiently convincing for his purposes. Peppino's reluctance was
palpable, but the necessity of his mission drove him forward. His nerves on
edge, Peppino approached the shed on Monniro's cousin's property under the cover of darkness.
The quiet of the night was pierced by a sudden sight that sent a
shiver down his spine, a shadow that seemed like a golden, shining leg,
reminiscent of the fearsome Gamba de Oro from his childhood. But as his
eyes adjusted, the truth dawned on him. It wasn't a ghostly apparition,
but rather alive adult tiger, one of the few things in the world that
is definitely even more terrifying than the ghostly nightmares from your childhood. Whispering an
Italian affward under his breath, Peppino cautiously approached the tiger with a piece of
meat laced with tranquilizer. He carefully offered it to the magnificent beast, who,
intrigued by the unexpected treat, consumed it rapidly. As Peppino waited anxiously
for the tranquilizer to take effect, the intensity of the moment hung in the
air, a stark reminder of both the precariousness of his mission and his own
impending mortality. Inside the dimulet shed, Peppino was acutely aware of the smells
of fur and hay. He saw the outline of the large cat, and
above, in the rafters, he spotted the Madonna painting. Just as he
was processing this, he heard a sound that resembled breathing. Uh oh.
His eyes adjusted to the darkness, revealing two more large feline eyes staring back
at him. It was another tiger. Peppino's heart raced, but he composed
himself and whispered, mache belgatone, what a beautiful cat you are, admiring
the majestic creature. Despite the danger, he cautiously took out another piece of
meat, laced it with the tranquilizer, and offered it to the tiger.
The animal ate it and then watched him its tail flicking. Peppino remained still
waiting for the tranquilizer to take effect. Finally, the tiger's eyes closed and
it drifted to sleep. With a sense of urgency, Peppino quickly grabbed the
original Madonna painting and left the replica in its place. He was acutely aware
that the tranquilized tigers might awaken at any moment, but they did not.
Having successfully swapped the paintings, he cautiously stepped out of the shed, once
again carrying the Madonna under his arm. Peppino then disappeared into the night,
skillfully completing his audacious mission. In the prison visiting room, Peppino leaned back
a knowing smile on his face as he finished his story. But there weren't
really any tigers, he revealed, I never stole the painting back claiming his
own narrative was false was a twist ending that added another layer to the web
of tales he spun, leaving the true events shrouded in mystery. Despite the
dubious nature of his story, elements of it intersected with reality. Reports from
Campelongo confirmed that Monierro owned two tigers and used his cousin's property for statching stolen
good goods. In fact, in the mid twenty tens and perhaps even today,
the property did become a tiger refuge owned by a magician, but supposedly
the tigers didn't appear until nineteen ninety nine, some eight years after Peppino's escapades,
adding yet another layer of enigma to his story. The return of the
Madonna painting on November seventh, nineteen ninety one, still remains an unsolved mystery.
While Chief Palmosi of the Venice Police credited Peppino with its return, the
exact means of the painting's recovery remain unknown. There was also a claim about
Monieiro using the painting to establish credibility for a corrupt police officer on his payroll,
possibly unknowingly returning a forgery. So, in other words, this claim
is that Monieiro had turned a Venice police officer and gave that police officer the
painting so that the police officer could take credit for its return, and there
have his reputation and trustworthiness burnished. But nobody knows what the truth really is.
At the close of prison visiting hours, Peppino summed up his perspective,
quote, you see, everybody got what they wanted unquote. In this intricate
tapestry of truth and deception, each participant saw a different version of the events,
leaving the ultimate truth known only to the master illusionists himself. On that
pivotal day in November nineteen ninety one, Peppino's casual entrance into the Venice Police
headquarters was a bold move timed with the press conference announcing the Madonna's recovery.
In the Chief's office, the tension was palpable as Palmosi and Peppino faced each
other. Palmosi's declaration quote, I'm still gonna catch you with my own hands
unquote, was met with a knowing smile from Peppino, signaling a renewal of
their unique dynamic. Peppino's life of theft would go on, with Palmosi persistently
on his trail. This unspoken agreement seemed to satisfy both men, encapsulating the
essence of their long standing rivalry and, let's face it, friendship. In
Chief Palmos's office, an elegant, oversized book graced the desk. It was
a photo collection of the masterpieces from the Ducale Palace, the very museum that
the Madonnaco Bambino had been stolen from by Peppino. This book was a thoughtful
gift from the museum, commemorating Palmosi's role in the successful recovery of the Madonna,
and Palmosy thought the book would serve as a tasteful and permanent addition to
his office, symbolizing his achievement in solving the high profile case. Palmos's reverie
was interrupted by a lieutenant's knock, signaling the beginning of the press conference.
Chief Palmoze and Peppino, each aware of their roles in this ongoing game of
pursuit and evasion cat and mouse, exchanged farewells. Anticipating future encounters over others
stolen treasures. They envisioned sharing a bottle of the season's new Chianti during their
next meeting. Moments later, palmos stood confidently in front one of the assembled
reporters with two officers holding the Madonna painting. The room buzzed with the clicking
of cameras and the rustling of notepads as journalists prepared to document the announcement of
the painting's recovery. At the press conference, Chief Palmosy announced the recovery of
the Madonna cole Bambino, crediting an anonymous tip for the find. His demeanor
was one of a triumphant hero, embodying the success of the police department in
a high profile case. But later, back in his office, Palmosy noticed
something amiss. His commemorative book of the masterpieces of the Doukali palace was gone.
I'm Zevan Odelberg and this has been kind of murdery. If you like
the show, please subscribe, review and tell your friends. You can find
us on social media at kinomurdery or email at kinomurdery at gmail dot com
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