Manzi’s first experience as a teacher dates back to 1946. After participating in World War II, he returned to Rome and finally had the opportunity to put to use the teaching diploma he earned in 1943. At just 23 years old, he began teaching with a personal history already shaped by the war and faced the challenge of working with students with unique needs and characteristics. His first teaching assignment was at the juvenile detention centre Istituto di Rieducazione e Pena Aristide Gabelli in Rome. Confronted with 94 students of varying ages and backgrounds – many of whom had endured significant hardship – Manzi was compelled to devise a “different way of teaching to accommodate a classroom that included both illiterate students and those with secondary education experience”^[7].  Reflecting years later, Manzi described his profound desire to become a teacher, particularly one devoted to youth and to using education as a means of integration and self-improvement: “After the experience of the war, my idea was to help young people”^[8].

Although his assignment at the Gabelli detention centre lasted only one academic year, the innovative teaching methods and outcomes he developed during 1946/47 profoundly influenced his future career. Manzi introduced an alternative approach to teaching, moving beyond traditional lectures. Collaborating with his students, he co-created stories, culminating in the production of a school newspaper, La Tradotta. Periodico mensile dei ragazzi del Gabelli. The engaging and collaboratively written and illustrated pages of this newspaper inspired the publication of Grogh, storia di un castoro (Grogh, Story of a Beaver), which won the prestigious “Collodi” award and was translated into 28 languages.

Following a period of further study during which he drew inspiration from the works of Jean Piaget, John Dewey, and Lev Vygotsky^[9], and gained new experience through collaborations with the children’s magazine Il Vittorioso and radio storytelling, Manzi’s teaching career continued at the Fratelli Bandiera primary school in Rome.

By the 1950s, Manzi’s philosophy of education and his vision of the teacher’s role were already fully developed, shaping his career until his retirement in 1987. For Manzi, education meant “educating to think”^[10] and teaching was about “leaving a meaningful imprint”^[11] (“in-segnare” in Italian). To achieve this, teachers needed to be highly prepared and continually updated, capable of creating a ‘cognitive tension’ that actively engaged students.

Manzi’s apparent flexibility and encouragement of free expression for pupils which fostered confidence and participation among his students, concealed a solid teaching strategy and a deliberate intent to make learning a necessity, one deeply felt by the students themselves as a means to express themselves and engage in dialogue. As one former student vividly recalls: ‘We had many discussions, and they were about difficult, profound topics […]. They were genuine discussions, where no one knew where we would end up […]. What mattered wasn’t so much where we were going, but the journey we were making to reach our goal. This gave us immense confidence in our opinions and our point of view”^[12].

For Manzi, learning should become an intrinsic need for students, one that they felt compelled to fulfil to express themselves and interact with the world.

In summary, the concept of education that guided Maestro Manzi throughout his career was that of a “school that fosters the intellectual development of the individual, a school of thought capable of stimulating the growth of all a child’s intellectual abilities”^[13].

In 1960, Italian public television launched a new programme aimed at fight illiteracy. This was the birth of Non è mai troppo tardi (It’s Never Too Late), designed for adults who could neither read or write and had not completed basic education. The programme, developed in partnership with the Italian Ministry of Public Education and developed under the guidance of the pedagogue Nazareno Padellaro, aired during the early evening hours (30 minutes, three times a week). With Manzi as its host, the show successfully transformed a television studio into a classroom, captivating viewers from even the most remote corners of Italy.

Manzi’s innovative approach leveraged the unique capabilities of television as a medium: he did not merely speak to the camera but used visual aids such as flip charts and, later, an overhead projector to create and explain concepts, making them more accessible to his diverse audience. His direct language, paired with his pedagogical expertise, creativity, and empathy, inspired adults and workers from all walks of life to cultivate a desire to read and write. In the programme’s first year alone, 35,000 Italians earned their elementary school diploma.

The following year, the virtual classroom welcomed students in person, adults and elderly aged between 50 and 82. While the lessons prepared students for the elementary school diploma examination, they also addressed current issues and incorporated playful elements, which Manzi viewed as a medium for learning. Scientific topics were interwoven with language instruction at a time when dialects were still widespread in Italy. Over its eight-year run, the programme aired nearly 500 episodes, earning international recognition. Upon recommendation by UNESCO, Non è mai troppo tardi was honoured in Tokyo as one of the most effective television programmes in combating illiteracy.

Non è mai troppo tardi was part of the broader Telescuola initiative, Italy’s first distance education programme, launched in 1958. Born as a collaboration between RAI, the Italian national broadcaster, and the Ministry of Public Education, Telescuola aimed to improve education in Italy, particularly in geographical areas with limited or no post-elementary schools. The initiative offered various courses, including vocational pathways (called in italian “avviamento al lavoro”) and artistic education. Given that televisions remained luxury items, listening centres known as Posti di Ascolto Televisivi (PAT) were established. These centres, organised by associations, labour unions, private citizens, parishes, and the Ministry of Labour, provided spaces where participants could watch lessons, complete homework, and take exams.

Lessons were broadcast daily, and each PAT (Television Listening Post) had a teacher acting as a tutor. In a short time, over 2,000 PATs were established. RAI (Radiotelevisione Italiana) published dedicated textbooks and exercise books to support the initiative.

The use of television for educational purposes attracted widespread attention from educators and scholars: in December 1961, the First International Congress on Radio and Television in Education, promoted by the European Broadcasting Union and RAI, was held in Italy.

The Telescuola initiative concluded in 1966, but in the meantime, the Ministry of Public Education committed to funding the purchase of new technical and audiovisual equipment for schools. Additionally, RAI (Radiotelevisione Italiana) later established the School and Education Department.

The programme Non è mai troppo tardi remains one of Italy’s most significant examples of educational television. So much so that, in 1992, RAI once again called on Manzi to teach Italian – this time to the new immigrant population with limited proficiency in the Italian language – through the programme Impariamo insieme (Let’s Learn Together). Between these two programmes, which represent Manzi’s first and final experiences in using television for education, he was involved in various other radio and television projects over the years, all leveraging technology for educational purposes.

The post-World War II years in Italy brought a pressing need for profound reform in the educational system. This included not only the overhaul of school curricula, shaped by two decades of fascist rule, but also a transformation in the structural organisation of schools and their capacity to truly impact student development.

Ninety years after the introduction of compulsory education (established in 1861 alongside the unification of the Kingdom of Italy), nearly 13% of the population was still illiterate, and as much as 59.2% of adults had not obtained an elementary school diploma^[14].

To address this crisis, the scuola popolare (popular school) was established in 1947. These were “free, day or evening schools, for young people and adults, located in primary schools, factories, agricultural enterprises, institutions for emigrants, military barracks, hospitals, prisons, and other settings where there was a recognised need, especially in rural areas” (Legislative Decree 1559 of 17.12.1947). These schools offered five-month courses with a weekly schedule ranging from 10 to 18 hours. The curriculum was designed for illiterate individuals, those aiming to complete elementary education, and those pursuing professional specialisation. Courses were divided into:

• Basic elementary education (Type A)
• Advanced elementary education (Type B)
• Supplementary and advanced primary education, career orientation sessions, technical and artistic education for those already holding a basic elementary certificate (Type C).

Alongside the establishment of popular schools, efforts to fight against illiteracy were supported via the introduction of new elementary school programmes in 1955. These programmes were structured into “instructional cycles” tailored to align with “the developmental stages of the pupil”. Consequently, elementary education was divided into the first and second grades (first cycle), the third, fourth, and fifth grades (second cycle), and a third cycle, which effectively served as post-elementary education. A memorandum dated 1 September 1955 introduced sixth, seventh, and eighth-grade classes within elementary schools starting from the 1955-56 academic year. These classes were accessible to “anyone not attending other types of schools after completing the second cycle of elementary education”.

For those wishing to pursue further studies, scuole di avviamento a lavoro (vocational training courses) had been available since the 1923, lasting three years and specialising in fields such as industry, commerce, art, agriculture, and hospitality. These were considered secondary schools.

At the time, compulsory education in Italy was mandated until the age of 14. However, the reality was starkly different: illiteracy remained a significant social issue, with approximately six million citizens unable to read or write.

This was the educational landscape—with its pressing needs—into which Alberto Manzi’s programme Non è mai troppo tardi was launched in 1960. The programme aimed to guide six million illiterate individuals toward completing their elementary education. Such was the pivotal role of Non è mai troppo tardi and Manzi’s contribution to the history of educational expansion in Italy.

The Historical Textbook Collection preserved at UNESCO’s International Bureau of Education (IBE) includes three volumes authored by Alberto Manzi. These publications, titled Quaderno VITT, are aimed at first, second, and third-grade primary school students and were published between 1962 and 1963 by the A.V.E. publishing house in Rome.

As suggested by their title, these volumes are designed as workbooks: exercise books intended to guide students in advancing their education autonomously. Central to their design is the use of imagery, reflecting Manzi’s consistent emphasis on the importance of drawing. Additionally, the playful elements of games and riddles are integrated into the learning process. The Quaderni VITT embody the active role of students, encouraging them to participate, create, and take the lead in their learning journey.

The pedagogical vision underlying these volumes considers learning as an action-oriented, participatory, and exploratory process. Students are invited to cut, paste, draw, and complete tasks using the workbook, transforming it from a traditional textbook into an operational tool, a “companion” that supports learning through enjoyment. Learning, therefore, is no longer solely theoretical but also practical.

For example, in the Quaderno VITT for first-grade students, learners are instructed to cut out pages to create a real letter, affix postage, and mail it to a family member. This transition from the theoretical simulation of writing a letter to the practical execution of sending one exemplifies what is now referred to as “authentic tasks” in education.

The workbook’s pages invite students to explore various environments, such as churches or schools, as well as aspects of everyday life and society, including professions and modes of transportation. These elements are described and analyzed by the students themselves. Even when introducing abstract concepts, such as the names and shapes of geometric figures, the workbook applies these concepts to real-life scenarios, asking students to identify objects in their surroundings that match the given shapes.

The Quaderno VITT is interdisciplinary in nature, encompassing subjects such as geometry, geography, Italian language, and science. It is designed to support students throughout the school year.

The call to action is further stimulated by the inclusion of die-cut pages with flaps for folding, enabling students to create three-dimensional illustrations. These activities help students gain a deeper understanding of the subject matter, such as different types of dwellings or geometric shapes.

The diverse range of educational activities proposed in the Quaderni VITT – reading, completing tasks, drawing, cutting, and even collecting materials and samples from their environment – maintains a playful dimension while fostering continuous engagement with learning. This combination reflects the two key elements that, according to Manzi’s idea, are fundamental to educational success: fostering curiosity through enjoyment and sustaining a persistent drive for learning.

The three Quaderni VITT preserved at UNESCO’s International Bureau of Education are part of a larger series dedicated to each grade of primary school. These publications emerged from Manzi’s collaboration with Il Vittorioso, a Catholic children’s magazine established in 1937. Manzi began his collaboration with the magazine in 1951, after reconnecting with a former schoolmate, Domenico Volpi, who was then its Chief Editor^[15]. Volpi co-authored the third-grade Quaderno VITT with Manzi.

Starting from 1958, Il Vittorioso had already published, the Diario VITT (VITT Diary)^[16], designed by the well-known cartoonist Jacovitti, and continued to publish other Quaderni VITT illustrated by Jacovitti in the following years. However, Manzi’s Quaderni went far beyond being “simple” school exercise books. They were dedicated editorial products that fully embodied Manzi’s educational vision.

Manzi’s conception of schooling and the student’s role guided his commitment to educational publishing. As early as 1959, he expressed his dissatisfaction with traditional textbooks, writing: “Having reviewed the textbooks, thoroughly examined their content and format, judged them to be entirely contrary to the child’s interests and to any pedagogical-psychological foundations, and found them devoid of appeal, […] I concluded that, as they are conceived and created, supplementary textbooks and reading materials are utterly useless”^[17].

In addition to his work as a children’s author of narrative texts, in 1961 Manzi started to write materials and textbooks for elementary schools. He also wrote educational guides exploring cities, ancient civilisations, linguistic education, and more. In total, Manzi published seven school textbooks and over 60 educational works.

Manzi favoured the workbook format, which combined exercises and games to facilitate natural and spontaneous learning. He believed that many contemporary textbooks alienated students from the joy of reading, failing to engage their curiosity. As a result, his works consistently incorporated real-world references, full of curiosity and playfulness.

According to Manzi, many of the reading books available on the market during his time alienated students from the joy of reading and failed to engage their interest. For this reason, his works are consistently grounded in real-life experiences and enriched with curiosity and play. Manzi believed that play was essential in schoolbooks because it forms an integral part of a child’s authentic mental development. It was not viewed merely as a break from school or a moment of leisure but was considered a fundamental component of the learning and developmental process. Play reflects the way children perceive the world and aligns closely with their natural cognitive development.

Similarly, he argued that contemporary issues must be included in educational publishing, driven by the conviction that children are capable of asking questions and reflecting on human challenges and societal concerns.

In other words, Manzi structured both his physical and virtual classes whether mediated through television or print as “laboratories of active pedagogy, where teaching was guided by the method of scientific inquiry: the relationship between teaching and learning was based on hypotheses, implemented through practical experiences, and validated through their outcomes”^[18].

Rather than replacing the teacher, the Quaderni VITT served as a resource for professional development, offering practical ideas and potential pedagogical strategies to make teaching more dynamic and participatory. In the description What is this Quaderno VITT?, included on the inside covers of each workbook, Manzi describes how teachers can “draw inspiration from it to create a new lesson”. The Quaderno provides a basis from which individual teachers can select content and teaching methods to test. It was intended to assist educators while respecting their professional autonomy, allowing them to decide how to integrate and expand upon the material: “This is the fundamental purpose of these workbooks: to offer, without imposing; to provide, without forcing”.

And this offering, as mentioned, is expressed by the Quaderno in two complementary directions: for students, the workbook creates an environment where they do not feel compelled to study but rather choose to engage because they feel involved and enjoy the process. For teachers, it provides professional support. The Quaderno VITT aims to “inspire research, reflection, and geographic, historical, and scientific exploration”^[19]. Each page strives to transcend its two-dimensional format by stimulating student engagement and action, generating curiosity, new adventures, and fresh ideas. It demonstrates how, as Manzi puts it, “a reading book can be an inexhaustible source of ideas”^[20].

Each of the three introductory sections of the Quaderno VITT, tailored respectively to first, second, and third-grade editions, differs in content but consistently reflects Manzi’s deep respect for his colleagues. He sought not to intrude on teachers’ individual approaches but to support their work “without compromising their unique teaching styles”^[21].

Manzi strongly reaffirmed the role of the Quaderno as a guide, which could also serve as a tool for assigning “new” homework better aligned with “the needs of the student.” They were designed to bring both pedagogical and didactic innovation to the classroom, thanks to their interdisciplinary nature – encompassing grammar, science, history, geography, mathematics, technology, and civic education – and the variety of pedagogical approaches they proposed.

With profound respect for the professionalism of each teacher, Manzi strongly reaffirmed the role of this workbook as a guide. This function is complemented by its potential use as a tool for assigning homework that is “new” and more “aligned with the needs of the student”^[22]. Thanks to the interdisciplinary nature of the Quaderni VITT – which enable lessons spanning grammar, science, history, geography, mathematics, technology, and even civic education – and the variety of pedagogical approaches they propose, the Quaderni VITT aim to bring both pedagogical and didactic innovation.