Jewellers in Abruzzo    Historic notes on a craft that still exists

Since prehistory, gold, silver and jewels have had a symbolic, sacred significance connected to populations' cults and ceremonies, going beyond the simple function of the object. In Abruzzo, such customs have favoured the development of independent, cultural courses, distinctive in both artistic form and the working of the objects, and in the traditions with which there is dose connection

Since prehistory, gold, silver and jewels have had a symbolic, sacred significance connected to populations' cults and ceremonies, going beyond the simple function of the object. In Abruzzo, such customs have favoured the development of independent, cultural courses, distinctive in both artistic form and the working of the objects, and in the traditions with which there is dose connection. There exists a sort of cultural continuity, all the same historic, between the archeological evidence that bears witness to the artistic workings of metals in Abruzzo since the Bronze Age and the folkloristic and devotional displays in this art. Through the goldsmith's art, some aspects of Abruzzo traditions can be rediscovered or get to know typical customs of some areas through the dose connections with the decoration. Even the graphics and pictorial, artistic trends of the region have been partially influenced, often reproducing through costumes and scenes of life, characteristic jewellery worn by women of Abruzzo. Obvious examples are Cascella or Michetti's paintings with the large circular earrings worn by the "pacchiane" (flashy women) of Orsogna, that have ended up being a stereotype.

Abruzzo is a region that, in the past as in the present, has given much to the art of the goldsmith.
Above all between 1200 and 1500, the master goldsmiths and silversmiths of Sulmona and the entire region have created works of an extremely high level. Remembering one in particular, Nicola from Guardiagrele, known for his famous silver altar frontal, created for Teramo Cathedral. But there is not a single church of Abruzzo, no matter how small, that has not concealed some work of art such as professional crosses, chalices, monstrances, etc.

In contrast to this production of superbness, created mainly for an ecclesiastic purchaser for holy reasons, there is a production for utility, connected to custom and of definite, folkloristic mark, developing particularly from the second half of the XVI century. It is exactly at this time that Pescocostanzo and Scanno started to emerge as centres of the goldsmith's art; alongside the traditional places such as Sulmona and L'Aquila. The affluence induced by the commerce and exchanges along the "Via degli Abruzzi", which went from Naples to Florence, had created the conditions for the beginning of new relations, cultural too, with the more well developed northern areas in the XIV century. The new magnate purchaser, not only aristocratic or ecclesiastic any longer, needed more and more the craftsman's skills to honour adequately their status. Therefore, whereas at L'Aquila the "courtly" working of silver was slow for the "high" purchasers, the majority being ecclesiastic, but local, allowing their own workshops to succumb to the overwhelming Neapolitan production, during the XVII century, at Pescocostanzo and Scanno, during the later half of the XVI century, a production started of a folkloristic kind destined to the growing market.

The Pescocostanzo production recalls some aspects of the Lombardo, from which it probably derives, and there are definite connecting points with the designs of pillow lace, another work typical of Pescocostanzo, in the embroidery the stitches "alla-milanese" and "veneziano" are recurrent. In particular, we refer to the filigree technique which is often used and is characteristic to Pescocostanzo but brings to mind Venice, and so leaving room to the hypothesis, as with the lace, of lagoon contacts, perhaps indirectly through the Lanciano fairs.

But at Pescocostanzo, as well as working by melting, there was use of moulds too, and the use of repoussé was not totally ignored. The possible contribution of the Neapolitan school for these kinds of work must not be underestimated; above all being the natural source of supply of the mw materials together with enamels, cameos, and semi-precious stones used in the working. Oriental influences are more evident in the Scanno goldsmith's production, linked as it is to the custom and culture of those people. Here, silver is preferred to gold, and melting to filigree, the latter being used more for decorating and welding the melted products. This work of composition often elaborated during the centuries, from a pastoral culture used to re-utilizing everything, starting from buttons, of which the traditional costume of Scanno is rich and of other forms of decorations, until a jewel is created. Such an artistic evolution which follows exactly the phylogeny of the goldsmith's art, is documented at Scanno in the prints and traditional materials that the Di Renzo family, still today, hands on from father to son, and has been doing so for the past 13 generations, since 1560, keeping intact their own laboratory with all its instruments. At Sulmona, too, all the techniques were used, including filigree, even in ages previous to the beginning of the Pescocostanzo goldsmith's art. But what is still possible to be seen in the city are, above all, the medieval evidence of this art, preserved in the Museo Civico (Town Museum).

From Orsogna and Guardiagrele the production is known through pictorial documents of outstanding value, highlighted by the works of Cascella, Michetti and other artists who emphasized the richness of the jewellery. Towards the end of the 1800's at Guardiagrele there were about 44 goldsmith's shops and it is assumed that a crafts centre, famous for metal working, other than being home to Nicola of Guardiagrele, had also origins regarding traditional goldsmith's art. However, today true goldsmith's shops do not exist. The same can be said for Orsogna, even though the last family of goldsmiths, the Piccicacco, has preserved some typical objects from their production.

Then comes the "discovery" of Giulianova as an important centre of coral work. The "cutting" or polishing was a typical and greatly esteemed work there, done mainly by female workers. For this production too, that although it must have been important, the only cultural inheritance handed down to our days seems to be of the object hind, and this is dispersed throughout the region in small, private collections.
It would appear at first that during the 1800's each area had its goldsmith but, at a closer look, the work is very limitated to the assembling and composition of pieces, gold leaf and moulds coming mainly from Naples, on which were engraved the initials of loved ones or the classic R for "ricordo" (memory) or S for "salute" (health).
The phenomenon foreshadowed the disappearance of the goldsmith as a craftsman and introduced the ordinary shopkeeper, who sells products not of his own making, often moulded, reproducing imitations of traditional pieces at a much lower price and so putting the craftsman’s product off the market.

Useful information

Pescocostanzo and Scanno are two important tourist centres set in the heart of the mountains of Abruzzo, between the National Park of Abruzzo and the Majella. At Scanno (1,050 mts) it is worth the effort of strolling around the narrow streets of the centre, with its many steps and stone buildings that characterize it. Here it is possible to observe the austere costume, of oriental origin, that is still worn by some elderly women, especially during the religious festivities. A traditional little cake, the "mostacciolo", baked by an old recipe, is greatly appreciated. A visit to the beautiful church Matrice is a must.

There is a walk to the lake of the same name at 3 kms. Pescocostanzo (1,382 mts) is the capital of the plateaus' region, surrounded by age-old beechwoods. It is a town rich in monumental properties with an urban layout which has essentially remained unchanged, preserving even the elegant severe-looking buildings built out of local stone. The Collegiate is one of the most outstanding churches in Abruzzo. Apart from the goldsmith's art, pillow lace is also a typical craft. The area is also well supplied with winter skiing facilities.

The present production

It is still possible today to find this particular traditional goldsmith's craftsmanship, above all, in the two centres, Pescocostanzo and Scanno. Small shops have kept moulds and old designs of jewels handed down from father to son for generations, together with work techniques that have remained basically unchanged. The symbolic jewel of this tradition is, without doubt, the "presentosa", a typical pendant in the shape of a star with one or two central hearts surrounded by little spirals of filigree.

Since this piece was given by the groom as a "present", D'Annunzio, the poet, who often found inspiration in the traditions of Abruzzo, named it the "presentosa", and so making it known far afield of the regional boundaries. Together with the "presentosa", during the celebrations, earrings of the same fashion and worked in filigree were usually worn. The ship-shaped earrings, characteristic of Scanno ("circejje"), and those of Pescocostanzo ("cecquajje"), are created by welding together two melted, fretworked layers, and then embellishing them with pearl pendants ("scaramazze") or spiral-shaped designs ("sbroccole"). These were worn together with the "cannatora", a choker with indefinite ovals. Still at Scanno two types of characteristic wedding rings are made: the most antique one represents two hands joined on a central heart, the "manine" (little hands), and the other,- common from the 1800's onwards, is made up of a gold band with a decorative central strip with little ashlars, encircled with a spiral wire.

Abruzzo, an historical and artistic synthesis

Castellian  ceramic art, which became famous in the sixteenth century, appears to have extremely antique origins. It was probably the Benedictine monks, before the Valle Siciliana feudatories, who first introduced glazed ceramics around the 12th century.

However, the present centre of Castelli has only developed as a town, and thus economically, since the fifteenth century. The early production of "engobed and engraved" ceramic and the archeological digs carried out in the drains of the antique kilns confirm the growth of an industrial-type system which was already widespread in the first half of the 15th century.
The engobing technique, which consisted of a coating of ceramic bisque using an earthy liquid dough which was then coloured and "graffito" (engraved), was soon followed by the majolic production. This differed from the first in that an expensive glaze was applied to the bisque thus appealing more to wealthy clients. Right from the start, the production methods, which combined economy and quality with innovative techniques, made Castelli one of the most renowned and esteemed centres of the Renaissance. The use of engobing, for example, under the enamel meant the majolica was much whiter and consequently less enamel was needed. The particular technique of the "breathing" oven, recently studied by researchers at the C.N.R. (National Research Council), led to a marked reduction in the use of wood because the fumes given off were used again in the combustion process. The simple but genial solution of painting only the outward-face of pharmacy pots or others used for show whilst leaving the backs quickly but effectively decorated halved the time it took to produce them. Finally, the plentiful supply of wood, clay and water necessary to mill the stanniferous powder for the enamel were all characteristic of the economy of a place which, today, would seem too far from the markets, cut off from present means of communication and incredibly isolated amongst the mountains. Nevertheless, already at the beginning of the 16th century, Castelli had overcome its phase of imitating Umbrian products and was creating its own iconographic and morphological collection directed at high level buyers in a European market

The spread of Castelli's great fame in the 16th century is attested to by Antonio Bueter, who, in his book, Cronica generale di Spagna (General Chronicle of Spain), when talking about some famous Moorish majolica production, wrote: "According to Pliny, Corebo, the inventor of working clay, whilst in Athens, did not make them any better neither were they any more valuable than those of Corinth or Pisa, nor those of Castelli of the Valle Siciliana d'Abruzzo or anywhere else, neither were they more beautiful or better crafted".

That must have been the case if the Aragona, Orsini, Farnese and other noble families of the day commissioned their everyday and most elegant dinner services from the Castelli ceramists. At least eleven families collaborated together with numerous workers at Castelli. The richest and most important of these was the Pompei family, creators of the famous "Orsini-Colonna" collection commissioned to celebrate peace made between the two farmilies. They also created part of the "Farnese tableware" with the famous "turchine" in gold. One should not, however, imagine, as romantics would, dark workshops with a solitary figure, the master craftsmen, intent on his masterpiece. On the contrary, these were authentic industries organized into sections and outbuildings from the search for clay, wood and other materials to the kneading, lathing and the first baking, finishing with the painting, which was only started off by the master craftsman to then be reproduced by his helpers. The final baking then established the colours and lastly carne the glaze. It was, therefore, a whole series of craftsmanship which required quite different but highly specialised skilled workers supervised by the master craftsman himself. Together with the production there was the commercial side which was controlled by different members of the family. They supervised all the operations necessary to participate in fairs and markets, both nearby and far away, organizing the loads, hampers and mules used for transportation as well as the equipment needed for the journey.

In the 18th century the economy flourished again and Castellian production revived although it had to compete against porcelain now being produced in Europe. This was another occasion where strategic choices, which today would be called "marketing", were able to bring the Castelli majolica to the attention of the European market. It was particularly the comeback of the "historiated" style (from "historia"), and landscapes, inspired by an almost canvas like concept of the object, as though it were a background to be painted on, which put the product high above any technological competition from porcelain, which concentrated on imitating oriental models and decorations.

Thus majolica established itself in a new way on the market. Together with the historiated ceramics, a more modest production was set up which -imitated the porcelain themes. This was designed mostly for local buyers and especially the new bourgeois class which was arising at that time. During the next century, thanks to the technical introduction of new colours, red amongst them, this production underwent a stylistic evolution with the typical "floracci" (big flowers). As had happened in the 16th century with the Pompei family, 17th century and especially 15th century Castelli production was characterized by the works of art of another great family of majolic producers: the Grue family. Landscapes, sea-scapes, hunting scenes and animals, battles, Biblical and mythological scenes would appear, one after the other, alternating the classical colours of yellow, green, sky-blue and orange. Whilst everywhere else art was in decline already, here it was reaching its peak; in the middle of the l8th century there were 35 factories and 5000 hampers of majolica were sent to the fair of Senigallia which, together with those sent to the fairs of Fermo and Loreto, earned more than 30.000 scudos.

This production continued to the beginning of the 19th century with Gesualdo Fuina who specialized in decorations which were very like miniatures. Today, in the most important museums in the world, it is possible to admire the works of art made for European noble families in four centuries of Castellian history: from the hermitage in St. Petersburg to the Louvre in Paris and from the Victoria and Albert Museum in London to the Metropolitan Museum in New York.

Or, one can visit the Castelli ceramic museum situated in the cloisters of an ancient convent just outside the town where display boards show the working methods and fragments discovered during archeological research. One kilometre from the town stands the ancient icona (as small churches were once called), of San Donato whose modest appearance is deceptive as, on entering the church, one cannot help admiring the trussed ceiling entirely decorated with sixteenth century polychrome bricks with coats-of-arms, arabesques, human figures and animals painted on ceramic. For enthusiasts there is a splendid book available and the catalogue of an international exhibition held a few years ago which summarize the studies and multi-disciplinary research which has been carried out for years on the Renaissance production of this centre. Furthermore, soon the famous Acerbo Collection will also be at the Castelli museum. This Collection, based at Loreto Aprutino, is one of the largest private collections of majolica and will, at last, be open to the public-again.

Useful information

At 17 kms from the S. Gabriele exit on the Teramo - L'Aquila motorway, Castelli has easy access to the coast (45 minutes by car), and to Rome (a drive of about two hours on the motorway). Its position, at an altitude of 500 metres, under the picturesque barrier of the Monte Camicia, makes it a good starting point to cross over and ascend the woodland-covered eastern face of the Gran Sasso group of mountains in the new National Park.

The mother church must be visited, where a 13th century wooden polychrome, the majolic altar-piece by Francesco Grue (1647), and a medieval silver cross of the Sulmona school have been preserved. In August, a large market exhibition of current ceramic production is set up but it is possible to wander around the streets of the town anytime of the year and come across numerous craft shops and stores. Prices vary greatly depending on the type and decoration, the choice ranging from simple rustic-like crockery with the typical "floracci", to the most refined imitations of antique collections maybe even decorated in pure gold. Monogrammed dinner-services can also be ordered or particular objects commissioned and decorated to one's own personal taste, thus making the most of the workmanship of the craftsman. Among the road out of the town and down into the valley one comes across the factories which produce mainly for markets abroad.
The "Istituto Statale d'Arte Ceramica" (the State Institute for Ceramic Art), is based in Castelli This school specializes in this art and its production techniques (tel.: 0861/979126-979221). For more detailed information on ceramic production one can contact the "Consorzio del Centre Ceramico Castellano" (the Consortium for the Castelli Ceramic Centre) to which all the ceramists of the area belong (tel.: 0861/979121). For information on guided excursions and trekking on the east face of the Gran Sasso one should contact the Bar "Grue" where members of the local C.A.I. (Italian Alpine Club), meet (tel.: 0861/979111). Guided tours of the Ceramics Museum can be made by phoning the Museum directly on 0861/979398 or the Town Hall on 0861/979142-979225 where further general information can be obtained.