Bianco e leggero come la neve - Pagine D'Abruzzo

Although present, at least to level of practical relative, and in sporadic shape, on all the regional territory, the working of the lace to fusello seems diffused above all in the Abruzzi they mount. Pescocostanzo, Scanno and the Aquila are in fact the May rivers centers of this shape raffinatissima of feminine handicraft.
The reasons of the precise geographic positioning of the development of this type of artistic handicraft could be tied are to factors acclimatize them that anthropological: embezzled for many months to the job of the fields from the long ones inverni of the high quotas, the women of the localities mount some have had more time to dedicate to this art; moreover, the wealth of these countries created one such amount of committenza to allow the women to dedicate itself nearly totally to the creation of equipments.
The abruzzese product had the immensest market: it was thought best, the beautifulst one, the most refined than all the Reign of Naples. A good testimony of the consideration of which they enjoyed our peaks offers it the history of the scannese Mancinelli Dove, than between the 1700's and the 1800's, taught to webbing and cloth dye in the Real Factory Borbonica di San Leucio, near Caserta.
The lace to fuselli comes worked on the typical called cylindrical pillow tombolo. Over of it the design comes place to reproduce and from lì, in a magical one interlacing itself of threads, with the hands that they move, fastly, at the same time pins and fuselli, the designs takes to shape, revealing made universes of the light and thinnest figures as the thread of which they are woven. It is proceeded making to complete to the threads you burn turns around the pins, working following the same procedure that a time was used in order to weave: two braces of fuselli govern the general system, while the others (in kind do not come used less than six braces) come used in order to define the design.
The several composed shapes on the tombolo come then joined with from a uncinetto, so as to to obtain, finally completed, compact compositions, always precise, that they hide, under a fine and delicate appearance, one unsuspected resistance.
 Two of the places where greater it is the skill caught up from the merlettaie are Scanno and Pescocostanzo, even if the origins of the embroiderys are various: while the scannesi creations are native, those pescolane risentono of the lombardesche infuences that had weight, of the rest, also on the other artistic expressions of the citizen, after that one Lombardic colony settled down in this center you radicò the own traditions. Also the tipologie of execution of the embroiderys are various: while the embroidery of Pescocostanzo is to continuous thread, that one of Scanno it is not; while in the first country the used thread is of a linen much large one, that scannese is of cotton much thin one.
Moreover, to Pescocostanzo they come uses you from a minimum of six braces of fuselli for the rinascimentale peak to a maximum of thirty for that one melted, while to Scanno it is gone from a minimum of three to a maximum of twelve: the expert hands of the ricamatrici are in a position to managing therefore from the six to the sixty spin without shadow of hesitation, and often without the aid of the design. The cylindrical pillow on which it is worked, the tombolo, ago still immancabilmente part of the wedding equipment of every young person woman of these countries. Tombolo and sceda, of the rest, not only makes part of the material culture (and) of ognuna, since infancy. And if before they were the grandmothers, the mothers and the aunts to teach fantasy, speed and patience to the young generations, with the realization of a card-model series (from which the term sceda) on which to construct precious creations she ornaments them, hour have assumed this task also the schools, between which the communal lace School to tombolo of Pescocostanzo. Instituted in 1992, it has placed the objective to above all maintain, to increase and to hand on a feminine patrimony that is not alone economic resource, but cultural identity.
Point after point, reason after reason, with one aerial webbing that renders the lace to tombolo regarding all the other similar ones only, from the intrico of cotton or linen threads (but tells that once the silk and the gold were worked also) bloom fantastic flowers, birds, animals, geometric hearts, dolls, designs and symbolic and magical signs, that they construct with an allusive language, secret and common at the same time. And the fantasy becomes bordura to pinti, peak to scaluccia, trina to seven rebellions, like many centuries orsono, when, in the long colds and inverni of mountain, the women gathered in front of the hearth and, while they created figures of fantastic worlds on their tomboli, told ancient history or recited rosaries.
Therefore this ancient art is not last solo: the schools are full, not only of getlteman adult, but also of children and young ancient women whom they always give have seen the sheet and table cloths of the wedding equipment of the grandmother, or they remember directly of when they watched, fascinated, the old that they apparently drew precise shapes from the chaotic movement of fuselli, hands and pins.
The wedding equipments of the grandmothers are joints until the grandaughters today, and represent one inheritance, the memory of the job patient of the young spouses of a time: dreams of a life conjugate them happy that were expressed through those embroiderys made with cure. To that ancient suggestion the pescolane and scannesi young people do not escape today, and anch' they repeat the antichi gestures of interlacing the fuselli in order to testify the love of their spouse and for giving memory of this love near their daughters.