edited by giovanni lattanzi€¦ · innate intuition of the human race in evolution to dictate the...

edited by Giovanni Lattanzi

index

introduction 5craft in Abruzzo, a long history 6craftmen, instructions for use 12

province of Chieti, capitals of craftGuardiagrele 16Lanciano 22Chieti 28Vasto 36

province of Chieti, routes for the craft workshopsthe stone masters 42the goldsmith’s masters 48the glass masters 56the ceramics masters 60the iron and copper masters 68the paper and decorations masters 74the leather, textiles and embroidery masters 80the wood masters 86

introduction

This work, that I have the pleasure of presenting, moves outof the normal schemes that distinguish it from guides onartistic craft to offer the keen traveler a cross-section of the

territory of our province indicating some tourist itineraries thatinclude, apart from the artistic and environment beauties, whatthis province can offer, also an index of craft workshopsrepresenting various sectors. The guide to the itineraries toartistic craft wishes to tell of the magic spell of our villages andof people’s passion that animate these places through their workwith the awareness that it is possible to hand down the memoryonly by drawing visitors close to this priceless heritage. The Chietiprovince, with its peculiarity of environment and traditions, is theideal place to satisfy the curiosity of the attentive tourist. Thefour chosen itineraries are just a small part of what this territoryhas to offer. This guide is testimony to the interest the Chamberof Commerce of Chieti nurtures for this sector, so importantbecause it is evidence of a civilization that proposes itself in suchan evident way. It pleases me greatly to express my satisfaction inthis work, thanking one and all who participated in the laying outand, in particular, the Craft Department of the Chamber ofCommerce of which I am honoured to be president.

Cav. Lav. Dino Di VincenzoPresident of Chamber of Commerce of Chieti

Guardiagrele, workshops of mastercraftsmen of iron and copper.

routes for the workshop of artistic craft in the province of Chieti6 routes for the workshop of artistic craft in the province of Chieti 7

craft in Abruzzo

a long story

On left, bronze helmet from Italictimes from Pretoro.

On left at bottom, Comino nearGuardiagrele, the Italic necropolis.Terracotta finds and the excavations ofa tomb.

On right, Atessa, a silver monstrance,embossed and gilded, masterpiece ofNicola da Guardiagrele.

they were refined objects inflint, artfully chipped andworked with surprisingshrewdness and precision. Inour region there have beennumerous findings of real andproper prehistoric workshopsmainly on the slopes of theMajella where flint was inabundance, from which greatquantities of stone utensilswere made. The same certainlycame about concerning wood,of which, unfortunately,archaeology can tell us verylittle since it is very unlikelyto remain through thecenturies. From the simplebranch picked up off theground, we move onto theworking of sticks and handleswith a function. Similarlyceramic showed a rapid andsurprising evolution over theentire prehistoric period, bothin form, working techniques aswell as in the fineness of themixture. The manual abilityguided by the intelligence,experience, creativity: these,therefore, were the winningelements that permitted ourancestors to exploit the naturalraw materials to make usefulobjects and so becoming the

Without any fear ofbeing banal, we canhappily confirm that

craft was born from mankind.In fact, the word ‘craft’describes, according to theItalian dictionary, production,repairing of an object made byhand or with traditionalmethods. This is in contrastwith those industrial ones orthose on produced such a largescale to warrant the use ofmachines or various kinds ofautomation. It is the manualcharacter that is the peculiarelement to distinguish andcharacterize craftwork whichbegan, however, at the sametime in which prehistoric man,and we are talking about more

than 700,000 years ago,started to use his intelligencein utilizing raw materials thatnature had provided such asstone, wood, earth, animalbones in order to alleviate thetoughness of their primitivedaily existence. It was theinnate intuition of the humanrace in evolution to dictate therules of the first attempts inthis way, strengthened thenalmost certainly by casual andlucky discoveries. They mayhave noticed, for example, howclay, placed close to the fire,became as hard as stone thenext morning. It is easy toimagine one of the brightest ofthe group modeling the softclay with his hands then

cooking it on the fire to makea bowl. It is certain that thescience of archaeology thatstudied these age-old stages ofthe presence of man on earth,that is prehistory, has revealedhow it was with stone, thenwood, the first materials thatmankind used to make tools forwork and, above all, weaponsfor hunting. The first weaponsgrasped by human hand dateback to the so-calledPaleolithic period, the mostancient of prehistory, and theywere very little more than hardfragments of stone withcutting edges. In the followingperiods, in particular theNeolithic, which in Abruzzostarted about 7,000 years ago,

first craftsmen in the history ofmankind. The first step was,therefore, the transformation ofthe rough material into afinished product destined andmotivated by a purely practicalobjective, where the onlyparameter guideline was thefunctionality of the actualobjects. By principle, everyeffort to improve moved in thisdirection, as with all theproductive tasks. And thisshould not be surprising. Thesurvival of prehistoric man wasextremely precarious; his lifedepended on his capacity tohunt the great herds of wildanimals and defend himselffrom the cold using their skins:weapons and tools for workingthe skins were the vitalelement of survival. Between12,000 and 10,000 years agotribes stopped being groups ofnomadic hunters that followedthe migration of the animals tosettle down in favourableplaces, rich in water. In thisway, man discovered farmingand the necessity to buildstable living areas, totallydifferent to the tents whichthey had been used to duringthe previous periods. And so it

became a necessity to organizea series of objects that madedomestic life easier, eventhough we are still talkingabout huts made out ofbranches and leaves covered inclay. The production of

ceramics, textiles, woodenobjects developed and, steadilyand slowly, the functionality ofobjects was associated to anew parameter up to thenunknown – style. In thearchaeological finds, in fact,appeared traces of a pureprimitive taste for beauty;vases were decorated bypressure of nails or shells ontothe still soft clay or makinglines with sticks dipped intored ochre as in the villageLeopardi, the most ancientNeolithic settlement inAbruzzo, brought to light nearPenne by Baron Leopardi anddating back more than 6,500years ago. In 1970, the scholarfrom Pescara, Claudio DePompeis discovered atCatignano the remains of aNeolithic village withfragments of shiny and well-worked ceramics, painted withred bands and blackdecorations, a unique, originalstyle of our region which takesthe name of Catignano. A shorttime later in the province ofTeramo, another largerprehistoric village, Ripoli, wasdeveloped, where theterracotta was decorated with

impressions and engravedsigns. All these finds can beadmired today in the Museumof the People of Abruzzo(Museo delle Genti d’Abruzzo)in Pescara, and represent thebirth of the Abruzzo design.About 5,000 years ago groupsof populations coming from thepresent Middle East brought toAbruzzo, the knowledge ofcopper, introducing the use ofmetals and so bringing usdefinitely out of the StoneAge. Bronze was discovered700 years later, an alloy withbetter results and so historyentered into the era of bronze,underlining the importance theworking of this metal took onin everyday life. Its diffusionwas so rapid and widespreadthat, actual categories ofmetalworkers capable ofmelting and forging objects ofevery kind were created,reaching a surprising degree ofrefinement with weapons,vases, statues, but alsodecorative objects, jewels andamulets. Then, approximately1,000 years before the comingof Christ, man masteredanother fruit of the earth that,again, radically changed his

way of living – iron. From theIron Age the development ofhuman activities of productionand transformation of rawmaterials became always moreand more rapid and refined asthe cultural identities of theItalic tribes gained strength.Technique and style maturedhand in hand, the shrewdnessof the working and theaccuracy of the skilled master.From the individual craftsman,capable of producing utensilsand objects with a good degreeof decorations, we quicklycame to the appearance of trueand proper artists, capable ofdrawing out of a stone ormetal, but also glass or wood,masterpieces. By means ofsplendid finds discovered intombs, the Italic world,including Abruzzo, showed theexistence of ranks of worthymaster craftsmen capable ofworking raw materials toproduce every sort of utensil ortool but also ornaments andfurnishings of great splendour.The Roman world absorbed thisknowledge from thepopulations conquered as fromthe refined Greek world,increasing even more the craft

productions in all sectors.Abruzzo museums are full ofthis exceptional evidence suchas the Warrior of Abruzzo (AQ),the Ercole Curino of Sulmona,the many statues from Romantimes such as those from AlbaFucens (AQ), mosaics fromTeramo and Vasto, bronzevessels from Campovalano of

8 routes for the workshop of artistic craft in the province of Chieti 9

At top: Chieti, National ArchaeologicalMuseum of Villa Frigerj. The famousWarrior of Capestrano, funeral statueof an Italic prince.

At bottom: pots and pans in copperworked by hand in the CostumeMuseum of Guardiagrele.

routes for the workshop of artistic craft in the province of Chieti

At top: Chieti, ‘La Civitella’Archaeological Museum. Reconstructionof the pediment of an Italic templedecorated with a terracotta statue.

Above: Renaissance statue in wood,painted and gilded.


Campli (TE), ceramics of SanBuono (CH) and Schiavid’Abruzzo (CH), the funeralbeds in wood and bone fromthe necropolis of Fossa (AQ)and so only mentioning someof the most beautiful. From thefall of the Roman Empire tothe Middle Ages the turbulenthistoric events and the socialprecariousness had an effecton the daily life and the craftproductions, creating a slowingdown of the development andan impoverishment of theforms and refinements exceptin a few sectors. These are theones that never suffer crises –weapons, jewellery, luxuryvessels for the rich and, a newevent, sacred furnishings anddecorations for the Church.Then, after the year 1000,thanks also to the productiveand propulsive actions of themonasteries, there was aprogressive revival of craftworkings. There was the revivalof stone, that was used in thebuilding and decorations ofchurches; metal, mainly themost precious, to create jewelsbut also chalices, reliquaries,processional crosses andmonstrances, a production thatreached its peak during theRenaissance with the Sulmonaschool and the mastercraftsman, Nicola daGuardiagrele. The working ofparchment, necessary for the

techniques, decorations,adding new decorative stylesand influencing those alreadyexisting. From the Renaissanceonwards the process of growthin technique and style ofAbruzzo craft was invigoratedat a regular, more rapid rhythmuntil the apparition, in ourregion too, of modernindustrial productions andmachinery. But the thread thatties the modern craftsmen totheir predecessors remains firmand uninterrupted over all thehistorical periods. Even if overthe centuries techniques andstyles underwent evolutionsand modifications, there aredetails that remain immutableand recognizable, forming thatcultural continuity thatdonates to craft itsirreplaceable essential value.And those craftsmenthemselves, who extend theirworkshops into modernlaboratories, with machineryand employees, still conserveintact the timeless spirit andthat prodigious mix thatrenders synergy the deftnessand experience of generations.They give life to uniqueobjects that enclose in theirexclusive forms andunmistakable materiality of thesingle piece the wholemillenary history of a regionand of its hard-workinginhabitants.

Small silver plates, engraved anddecorated with coloured enamel thatwere part of a large processional crosscreated by the most famousRenaissance goldsmith of Abruzzo,Nicola da Guardiagrele.

Page in illuminated parchment forman antique volume.

extremely refined illuminatedcodes copied by theamanuensis friars in thescriptoriums of themonasteries, was substitutedby the new discovery – paperon which writing was printedby means of a genial system ofmobile characters and press.The art of wood advanced atthe same pace as iron, the firstwith the refined work ofintaglio and inlay usingprecious materials such asivory and mother of pearl, andthe second that entered theworld of household articles aswell as gates, grilles and toolsfor working the land. Theweaving of wool was alsodeveloped, ripe in Abruzzothanks to its prime position inthe practice of sheeptranshumance, and then theworking of ceramics, with newforms and colours with thebirth of really specializedcentres such as at Castelli, butalso Lanciano, L’Aquila andRapino. The arrival of skilledworkers from other regions, oreven from European kingdoms,brought new working


To become the owner of anobject created by acraftsman is not at all the

same as buying an industrialproduct from a shoppingcentre; they are, indeed, twoworlds apart. The purchase ofan artisan’s handmade article isan experience that includesboth the materiality of whathas been chosen but, above all,the emotion of taking home asmall part of the craftsman’ssoul. In that object, be it ashort-lived artistic candle or a

heavy wrought iron candelabra,during the working the vitalityof the artisan has been putinto it; while that material wasbeing shaped by expert hands,it was being enriched by anunseen force, flavoured by theexperience of the artisan, byhis creativity but, above all, byhis passion. Indeed, it is thispriceless passion that makesthe handmade article distantlight years from the industrialproduct, placing the first in theworld of spirituality, the second

in a pure material one. Thecommercial objects are theresult of a series productionfrom the mechanic arms ofrobots, absolutely perfect, nomarks or out-of- line stitching,without caresses or scratchesbut, precisely only that –perfect, but no soul. The fruitof a craftsman is not perfect,because it comes from humanhands and that is exactly whyit is absolutely unique. In thehome of no-one else in theworld is there the same object;

craftsmen

instruction for use

A master of iron shapes the wings of ametal eagle.

Pages of old magazines are basicmaterial for refined decoupages.

Tools with which masters of stoneshape their works.


there may be many similar butnone the same, each oneunique, unrepeatable. Magicobjects, half material, half soulfused together by the artisan’shands.Even the purchasing is afascinating experience. When itis possible these articlesshould be chosen and boughtdirectly from the craftsman,because this is the only way toenter that spellbinding placewhich is the artisan’sworkshop. “The Cave of theWizard”, “Grotto of Wonders”

are not words that can recreatein full the idea of the artisan’sworkshop, especially if it is anage-old activity handed downfrom generation to generation.These words cannot presentyou with the emotions of asensitive, careful soul. Onethat does not simply stop atthe forms and material valuesbut goes beyond, overcomesthe consumer threshold andshares the emotive one. Theartisans’ workshops are cleanand tidy or dusty and untidybut always lived in, reflecting

the personality and creativityof he who works there. Enterand you will always bewelcomed because the artisanhas a generous soul and opensto all his workshop. Ask,observe the master at work, hismovements, the quick skill of

his expert hands and lookaround to appreciate theresults of his work. Only in thisway can you receive anemotion that makes yourpurchase a unique experienceand you will take home apriceless object.

On left: the workshop of an artisanblacksmith and results of his work;brushes and dyes to colour ceramics; amaster of copper shapes the edge of alarge pan with simple tools; hammerand strong arms to forge wroughtiron.

On right and at bottom: bright coloursof ceramics of Rapino; huge variety ofchisels used by a master of wood forhis work.


The origins of Guardiagrelego back far in time,definitely to the Italic

period as shown by thenecropolis brought to light inthe area of Comino and usedalmost 3,000 years ago. Theelement that characterizes it isstone, the white Majella stonethat has earned Guardiagrelethe name of ‘the noble city ofstone’ given by GabrieleD’Annunzio in “Trionfo dellaMorte” (The Triumph of Death).The historic centre reveals itsorigins as a fortified village,once surrounded by walls inwhich entrance gates openedguarded by towers. Only two arestill standing: Torre Adriananext to Porta San Giovanni,

rebuilt around 1841 tosubstitute the medieval Portadella Fiera, and Torre Stellamounted with the coat of armsof the homonymous family. It ispossible to pass through onlythe original gate, Porta delVento, previously known asPorta di Grele, next to theOrsini keep (desired by thepowerful family that dominatedthe city for a long time). Thecomplex of the San Pietro towerand Porta represents whatremains of a Celestine conventfrom the Middle Ages. Theancient heart of the town isembellished by elegantbuildings built between theXVII and XIX centuries by richbourgeois families, such as

Palazzo Vitacolonna, one of themost representative examples,built in the XVIII century. Alsonoteworthy are PalazzoMontanari-Spoltore, withdecorations and canvasescreated by the painter fromLanciano, Federico Spoltore, andPalazzo Liberatoscioli, one ofthe more classical examples ofArt Nouveau style in Abruzzo.Among so many monumentsthat Guardiagrele offers visitorsthe most important is, withoutdoubt, the cathedral of SantaMaria Maggiore, built in 1100and extended over the followingtwo centuries. In the 1700’sthere was a radicaltransformation that totallychanged its appearance. The

province of Chieti capitals of craft

GuardiagreleAt side: Italic necropolis at Comino.Decorative spiral detail in bronze.

At bottom: Palazzo Vitacolonna andentrance gate to medieval city.

On this page: cathedral of Santa MariaMaggiore.

putting on display refinedvestments from the XVIIcentury, reliquaries from theNeapolitan school and statuesin painted wood as well asprecious fragments from thecross by Nicola da Guardiagrelein gilded silver and embossed,the only element retrieved afterthe unfortunate theft of thismasterpiece. Near the Cathedralthere is the church of SanRocco, originally built as chapelof the Madonna del Riparo;when entering, the luxuriousdecorations of colouredstuccoes and the splendidfurnishings are striking. Almostall date back to the XVIIIcentury such as theconfessional, the wooden pulpitand, in particular, theexceptional paintings. Anothermonument of great artisticvalue is the monumentalcomplex of San Francesco. Thistoo, was built in 1100 andmodified over the following twocenturies. The main portal isattributed to the school ofNicola Mancino, whereas theside one dates back to the XIIIcentury and comes from thechurch of Santa Maria Maggiore.Splendid paintings in theinterior amongst which theAnnunciation may be admired, acanvas from the late XVIcentury, the Madonna withChild, San Giuseppe, anEvangelist, an Angel and the‘Committente’ from 1604. Onthe left of the church opens thecloister that connects with theconvent, today housing thetown hall. Among the otherchurches it is worth visiting the


conventual one of theCapuchins that offers theviewing of altars, preciouswooden furnishings in abaroque style but, above all, anelegant tabernacle in wood andinlaid ivory that stands out on

the main altar. It was made inthe early half of the 1700’s byfriars who were skilled carverscalled Marangoni. TheArchaeological Museum merits avisit opened in 1999 on thepremises of the convent of San

extremely beautiful portalprobably, in the XIV century,substituted an older one.Extension work carried out inthe same period led to theaddition of a colonnade on theright side of the church beneath

which there is a Renaissanceportal from 1578 and thecolossal fresco that portraysSan Cristoforo. This work bearsthe date 1473 and is quiteimportant for the history of artin Abruzzo, being the only one

known and signed by the artistAndrea Delitio. The interioroffers the visitor beautifulpaintings amongst which theXVII century canvas portrayingthe Sepulchre of Christ byGiuseppe Lamberti, a painterfrom Ferrara. Of interest also isthe XVIII century wooden pulpitthat shows a central panelengraved with three episodesfrom the life of Christ and thefrontal in worked and paintedstone of the last altar on theright side, reconstructed byusing older elements and fromvaried origins. In some roomson the lower floor the CathedralMuseum has been set up,

On left: portal of the church of SanFrancesco. At top: XVIII century pulpit in wood,carved and engraved, church of SanRocco. At bottom: interior of the cathedralmuseum.

On opposite page, at top: portal ofCathedral of Santa Maria Maggiore; atbottom; interior of Museum ofCostume.


Francesco where finds from thenecropolis of Comino are ondisplay and the nearby Museumof Costumes and Traditions ofOur People (Museo del Costumee delle Tradizioni della NostraGente) that display objects ineveryday use and settings ofdomestic life from the end ofthe XIX to mid XX centuries.Guardiagrele boasts an

extraordinary craft traditionthat excels still today for theexcellent quality of its productsand its high technical andcreative level, in particular inthe sector of working iron andcopper, created to satisfy thefunctional necessities of theagro-pastoral economy buttoday it is perfectly in tunewith the diverse demands of themarket. The workshops produce

however the classicalfurnishings and articles for thehome according to the purestlocal tradition, as withsculptures and slabs, embossedand chased, decorated withtypical ornamental motives ofthe Abruzzo culture. Thegoldsmith’s art maintainsclassical forms and styles but itis knowledgeably open to new

models without losing sight ofthe cultural tie with its pastthat boasts works of excellenttechnical-artistic worth. Weonly have to bring to mind therefined sacred masterpieces ofgoldsmith’s art by Nicola daGuardiagrele. With this in mind,every year in August,Guardiagrele is host to animportant and highly attendedcraft exhibition.

On this page: view of roofs ofGuardiagrele; logo of traditional craftfair.

On opposite page, at top: interior andaltar of convent of the Capuchins.

At bottom: splendid candle holdercreated by a master of iron; medievalaltar in worked stone.


The old Anxanum wasfounded by the Italicpeople of the Frentani and

then became a Romanmunicipium following the so-called social war, the revolt ofthe Italic subjects against thedominion of Rome thatdeprived them of their civilrights. In the Middle Ages itwas at Colle Erminio that oldLanciano developed,characterized by what wascalled the ‘Longbard Castle’ onthe ruins of which was builtPalazzo Vergilj in the XVIIIcentury. Apart from thefortified nucleus of Colle

Erminio called Lancianovecchia,that had been built on thetraces of the Roman Anxanumand protected by strong walls,other groups of houses such asBorgo and Villanova weredeveloping to then becomeCivitanovae, immediatelyfortified. In the XIII centurythese three hamlets were bythen enclosed by a city wallwith nine entrance gates: SantaMaria la Nova, della Noce, SanNicola, Sant’Antonio, SantaChiara, Sant’Angelo (demolishedin the XIX century), theDiocleziana, the one by PozzoBagnaro and finally San Biagio

at Lancianovecchia which is theonly left standing. Of thesestrong walls, a stretch withtowers in the southern area ofwhat was the hamlet ofCivitanova, is still conserved:the famous Torri Montanare, so-called because they were thecity’s defense from themountain side. From thatperiod, Lanciano conservesother important evidence suchas the most original buildingfrom medieval Abruzzo, thechurch of Santa Maria Maggiorebuilt in the XIII century on theruins of an even older sacredbuilding. The original settingout was then transformed againin the XVI century with theaddition of five naves that arepresent today. It is arguedthough whether the presentappearance is the result of arestoration carried out at theend of the 60’s. The beautifulmonumental façade on the eastside dates back to the XIV


Lanciano

At top: ceramic vase from Lancianowith typical medieval decoration.

On left: part of old city walls with theMontanare Towers.

On right: aerial view of historic centreof Lanciano.


century, embellished by itssplendid portal with a lunettein which there is a sculpture ofthe Crucifixion done byFrancesco Petrini. Inside thereis a wooden triptych of theMadonna with Child and thefamous processional cross from1422, a masterpiece by Nicolada Guardiagrele. Otherimportant churches in Lancianothat merit a visit areSant’Agostino, with its XIVcentury façade decorated witha priceless portal and a delicaterose window, and San Nicola. Asacred place of great relevancedue to its incredible affluenceof pilgrims is the Church of SanFrancesco, founded in the XIIIcentury and guardian to theEucharist Miracle. Traditionnarrates something thathappened in the VIII centuryinside the old church of SantoLegonziano and SantoDomiziano on the ruins ofwhich today there is SanFrancesco. A priest, well-knownfor his doubt in the Eucharistpresence, was celebrating masswhen suddenly the host turnedinto flesh and the wine, blood.The amazement before themiracle was so great that therelics, fruit of the prodigy, wereconserved with great care anddevotion. In the XVIII centurythey were mounted in aprecious reliquary where theycan be still found today. Piazzadel Plebiscito is really the heartof Lanciano and in its widearea we can find monumentsthat are symbolic to the townsuch as the civic tower built inthe XVII century and the

Cathedral of the Madonna delPonte, consequence of anextension to the XVI century ofthe little old church originatedon the ruins of the Roman-medieval bridge called Ponte diDiocleziano. The archaeologicalitinerary recently opened to thepublic is really suggestive. Withreference to private houses ofhistoric and architectonicrelevance it is worth

mentioning Palazzo De Crecchiofrom the 1800’s and theFenaroli theatre, built around1840 by the architect Salvini.Amongst the expositive placesto visit is the Archaeological

On opposite page: church of SantaMaria Maggiore, portal with rosewindow.

On this page, at top: church of SantaMaria Maggiore, interior; at bottom:sheep-track church of the Iconcellanear Lanciano.

routes for the workshop of artistic craft in the province of Chieti26 27

Museum that has the majorityof the numerous findsdiscovered during excavationsin the town and territory ondisplay on the first floor inPalazzo de Giorgio. Conservedare some finds from a Neolithicvillage of Marcianese, known asVillaggio Rossi and the preciousmedieval ceramics discovered in1993 during excavations in thesanctuary of the Eucharist

Miracle. These are the oldestevidence of local traditionalcraftwork in the production ofceramics in the XIII and XIVcenturies. The DiocesanMuseum is partially set up inthe old Archbishop Seminaryand, in Palazzo Spoltore, it ispossible to visit the HouseMuseum Federico Spoltorededicated to this importantartist of Lanciano.

At top: the Cyrenaic, bare-footedprotagonist of the Maundy Thursdayprocession.

On left: Diocesan Museum, XIV centurystatue in wood of the Madonna withChild.

At side: Diocesan Museum, embossedsilver processional cross by Nicola daGuardiagrele; embossed silver pastoralstaff; an embossed silver monstrance.



The ancient Teate wasfounded by the Italicpeople of the Marrucini in

the area known today as ‘LaCivitella’ where, for this reason,the Archaeological Museumdestined to tell the history ofancient Chieti and its territorywas built. In II B.C. two hugetemples had been built on thehills, today partly rebuilt in themuseum with their beautifuldecorations in terracotta. Theywere knocked down a centurylater when there was areconstruction of the wholecity. After the social war, therebellion of the Italics againstRome that was depriving themof their civil rights, Chietibecame a Roman municipiumwith the name of TeateMarrucinorum and then enjoyeda period of great prosperitywith the erecting of anamphitheatre, a theatre,thermae and many other publicbuildings. From this splendor,the city still conservesimpressive traces: at thecrossroads between via di PortaNapoli and via Generale Pianellthere is a glimpse of massivewalling from the I centurytheatre. In the Templi Romani


Chieti

Aerial view of city and Gran Sassomountain range.

Decorative detail of the pediment of atemple of ancient Teate.


square, in front of the De Meislibrary, which was the religiousand civil heart of the ancientRoman Teate, it is possible toadmire three small temples(Tempietti), one of which thenbecame church of Santo Pietroand Santo Paolo. In the eastside of the city, at the foot ofthe hills, we can visit theimposing remains of the II

century A.D. Roman Thermae.In the heart of Villa Comunalethere is Palazzo Frigerj, seat tothe National ArchaeologicalMuseum of Abruzzo, where themost precious archaeologicalfinds from all over the regionare on display, such as theWarrior from Capestrano(Guerriero di Capestrano) andsimilar sculptures that come

from other places such asGuardiagrele, Ercole Curino fromSulmona, a large number ofRoman statues, some reallycolossal marble heads fromRoman times, vases, bronzes,splendid funeral adornmentsfrom Italic tombs such atCampovalano (TE) and Alfadena(AQ), a private donation by aXIX century collector and anoteworthy collection of coins.In the historic centre numerousbuildings of worship are thereto be admired among which,without doubt, the mostimposing is the cathedral ofSan Giustino, built during theMiddle Ages on the ruins of anancient temple and then re-consecrated in the XI century.An extraordinary day to visitChieti is Good Friday when astunning procession recalls thePassion of Christ accompaniedby the confraternities, cantorsand musicians that play themoving melody of the Miserere,composed in the XVIII centuryby Saverio Selecchy who wasthe maestro of the cathedralchapel. In the same squarethere is the Palazzo Comunale(Town Hall) with its XVIcentury origins and a Roman

On this page: cathedral of SanGiustino and interior.

On right: church of San Francesco.


column that supports thestatue of Achilles on horseback,symbol of the city, the Palazzodi Giustizia (Law Courts) andthe Palazzo Mezzanotte, bothfrom the 1800’s. Going down

the high street we come to thesplendid late 1800’s stairway ofthe church of San Francescodella Scarpa with XIII centuryorigins but radically changed inthe 1600’s. Inside there areXVII century canvases to see byGiovanni Battista Spinelli andthose XVIII century ones byErcole Graziani. On CorsoMarrucino there are numerouselegant buildings of greatprestige and architectonicworth such as the 1800’s DeLellis-Carusi and De Sanctis-Ricciardone. Whereas PalazzoToppi can be found in via degliAgostiniani and stands outamong the other houses due toits XIV century tower withmerlons and the 1600’s portalthat faces onto via dei Tintori.On the side opens Porta Pescaradating back to the XIII centuryand is the only one of thecity’s gates surviving. Theancient and characteristic‘Pescheria’ is curious with itstheatre form where the

traditional fish market is held.Nearby, Palazzo Santuccione,built between the XVII andXVIII centuries, is famous notonly for its splendid stairwayon via Arniense, but because infront of this there was thefinishing line for the so-called‘Palio dei Berberi’, an emotionalhorse race, without riders,which was held in Chieti untilthe 30’s. Talking aboutchurches, it is worth visitingthe one dedicated toSant’Agostino, built in the1400’s and rebuilt mid- XVIIIcentury, and Santa Chiara,inside of which there arepaintings of Giovanni BattistaSpinelli (XVII century) andSeverino Galanti (XVIII). Inlargo Valignani we can find thebeautiful Teatro Marrucino, aXIX century architectural gemthat is still today a culturallandmark for the city and offersa quality theatre and musicseason. Apart from the twoarchaeological museums, at

Chieti we can visit the Artmuseum named afterCostantino Barbella, a well-known local sculptor (1852-1925), set up in the rooms ofthe prestigious PalazzoMartinetti-Bianchi that was aJesuit College. On display thereare paintings, sculptures,majolica and furniture datingback to a period that goes fromthe XIV century to the XXcentury, works by artists mainlyfrom Abruzzo. The so-calledcivil architecture, or rather thepublic buildings that are notconnected with religion, offeran interesting viewing. Anexample of major interest iscertainly Palazzo Majo, alongcorso Marrucino, the result ofvarious restorations carried outover the centuries on what wasoriginally a Renaissancebuilding. Extremely interestingis the stone portal with itsmarble busts, the pagoda withoriental forms that stands outon the roof, the stunning steps

and wide garden, rich in rareplants. Other noteworthybuildings are the Palazzetto delTeatro Vecchio (the old theatre)which, during the First WorldWar, was seat to the militarydistrict of Venice, and PalazzoDurini with two interiorcourtyards, one from the 1500’swith a beautiful stone well, theother with wide steps and a

very unusual well-curb. Thechurch of San Domenico Nuovo,consecrated in 1672 with thename of Sant’Anna degliScolopi, houses XVIII centurycanvases by Giacomo Farelliand a Diocesan Museum ofSacred Art. Along the line ofcivil buildings, it is worthpointing out that Chieti offersa wide panorama of XX century

On this page: National ArchaeologicalMuseum of Villa Frigerj; at bottom: ‘LaCivitella’ Archaeological Museum.

On opposite page: Marrucino theatre;the so-called Tempietti, Romanremains in the centre.


architecture, that includesPalazzo della Camera diCommercio (Chambers ofCommerce building), the oldseat of the Corporations, andthe seat of the Opera NazionaleDopolavoro, which then becameENAL. The book collection is ofgreat interest, some being very,very old and valuable,conserved in the prestigious A.C. De Meis library. Out of thehistoric centre it is possible tovisit the church of San Gaetanodi Thiene, from the order of the

Teatini, opened for worship in1655 and rebuilt at the end ofthe century. The stuccodecoration is of great worthcreated by the XVII centuryLombard masters, as are thefrescos in the dome byGiuseppe Lamberti da Ferraradating back to the same period.The church dedicated to SantaMaria della Civitella wasfounded in the 1300’s but wasgreatly changed between 1677and 1684 conserving though,on the façade, the medieval

portal, beautiful creation bythe master, Nicola Mancinofrom Ortona. Moving to thenearby piazza Trento e Triestewe find the beautiful church ofthe Santissima Trinità. Ratherunusual is the church that is inthe area of Tricalle, obviouslycalled the little temple of SantaMaria del Tricalle, built at theend of the 1500’s with acurious and rare octagonalshape and a half-sphere dome.Chieti boasts a long, solidcultural tradition that has beenrenewed over recent yearsthanks to the building of thepraiseworthy university complexthat rotates around the campusand the health area of theClinic Hospital. Inside theuniversity area the Museum ofBiomedical Sciences has beenset up that divulges thebiologic and medical aspectsconnected to thearchaeological research but alsoto the paleontological.

Page 34 On left: stele from PennaSant’Andrea with Italic inscription inthe National Archaeological Museumof Villa Frigerj.

At bottom: remains of Romanamphitheatre.

On left: church of Tricalle with itsoctagonal shape.

On opposite page: main altar of thechurch of San Giovanni, totally inwood engraved by master carverscalled Marangoni.

routes for the workshop of artistic craft in the province of Chieti 37routes for the workshop of artistic craft in the province of Chieti36

The historic centre ofVasto dominates thecoast from the top of a

cliff looking over a wide baycreating an amazing naturalscenario. Its origins are veryold and was certainly in theItalic period an importantcentre for the Frentanipopulation. Vasto was thenconquered by Rome andbecame the municipium ofHistonium of which remainstoday important evidencealthough many old Romanbuildings have been destroyedover the centuries orincorporated in laterconstructions. The main square, dedicated tothe poet and patriot of Vasto,Gabriele Rossetti, has acurious ellipse shape because

it arose on the area occupiedonce upon a time by anamphitheatre, the principlemonument of the Roman city,built between the end of the Iand halfway through the IIcentury A.D., and must havebeen one of the mostimportant in the whole ofcentral Italy. Some traces ofthe city walls can be seentoday in the cellars of Caldoracastle, on the east side of thesquare, next to the tower ofBassano, and inside a shop.Heading south along viaCavour we come to the highestpart of what once was the oldcity. Where there are theremains of the large cisternsof Santa Chiara that collectedwater from the old aqueductof Luci. The big rectangular

rooms in brick with barrelvaults are today incorporatedin the foundations and in thehouses in via Cavour, piazzaMarconi, piazza Santa Chiaraand vico Moschetto. Frompiazza del Popolo there is thearea on the east side,devastated in 1956 by adisastrous landslide thatbrought to light though theremains of the old city visibletoday by going along thepanoramic walk that descendsto the Adriatic sea. Along thisroute we can admire theimpressive façade of themedieval church of San Pietrowith its praiseworthy portal,the only part that survived thelandslide. Moving on we reachthe Roman thermae, animportant archaeological area


VastoOn left: Archaeological Museum ofPalazzo d’Avalos: Decorative bronzedetail with an eagle shape.

At bottom: female bust of a woman,Roman period; small terracotta flask;glass balsam phial from Roman period;crowning of candelabrum with form ofstatue of a knight (V century B.C.)perhaps imported from Etruria.

On this page: courtyard of Palazzod’Avalos and bronze statue from Italicperiod depicting Hercules.

routes for the workshop of artistic craft in the province of Chietiroutes for the workshop of artistic craft in the province of Chieti38

recently put into order andopened to the public after along archaeological excavationand a demanding restoration.The thermae date back to theII century A.D. and were builton various levels creatingterraces along the hillsidewhere today we can find thechurches of Sant’Antonio andSanta Maria delle Grazie.Excavated for the first time inthe 70’s, with the discovery ofsome mosaics, in 1994 thethermae presented to Abruzzothe great emotion of thefinding of a fabulous mosaic

floor with mythological figuresincluding the famous Neptunewith the trident. Next to himare four other mythologicalfigures, the Nereids, two onhorseback, one on a dragonand the last on a seahorse. In1997 the areas of acalidarium, the structure of apraefurnium were brought tolight and the furnace thatwarmed these areas. Followingthe archaeological theme,along corso Palazzi we cometo via Laccetti below which, ina corner, there are some smallcisterns, one of which is still

conserved today, with barrelvaults and was supplied fromthe Murello aqueduct. In thenearby Trinity church the leftwall conserves an old Romanwall with a height of over twometres. The majority of thefinds from Italic and Romanperiods brought to light inVasto and surroundings aretoday on display in theinteresting ArchaeologicalMuseum set up on the groundfloor of Palazzo d’Avalos. Themost famous monument ofVasto is a fortress, themagnificent Caldora castle

that now dominates theentrance to the historiccentre. Its present shape,made up from a rectangularcourtyard surrounded by walls,on the inside of which,buildings to serve the castlewere built, and singularbastions, conserves very littleof the original. Its featureshave been heavily modified byextension work and alterationscarried out around the secondhalf of the XIX century. Theformer structure, square withcylindrical towers at eachcorner (today only two are

well-conserved) incorporated atall keep, also cylindrical, anddates back to the XIV or XVcentury. The castle was thentransformed in 1439 byGiacomo Caldora, the localfeudatory, who followed thelatest military buildingtechniques of that period. Itwas later devastated by therioting of the population ofVasto and partly demolished.Towards the end of the XVcentury it became a fortressunder the government ofInnico d’Avalos and probablyon that occasion the originalfortification was strengthenedwith new walls and thecurious almond-shapedbastions that can be seentoday on the corners (onlyone is missing). Varioustowers, circular with part ofthe old walls conserved at thebase, like the one at Bassano,were built as a form ofdefense along the perimeter ofthe old city centre from themedieval and Renaissanceperiods facing impressivelyonto piazza Rossetti. Anotherarchitectonic treasure in Vastois Palazzo d’Avalos which, aswe have already mentioned,houses the ArchaeologicalMuseum where there are twoprecious Roman gold coins ondisplay. In the east and westwings there is the CivicPicture Gallery with importantcanvases on exhibition fromthe Palizzi dynasty (born inVasto). Finally in the attic ofthe north wing there is theMuseum of Period Costumeswith elements that date back

On opposite page, at top: Caldoracastle.

At bottom: scenographic spatiality ofpiazza Rossetti.

On this page, at top: Neptunediscovered among the mosaics ofRoman thermae; here, during therecovery stage.

On right: solitary coast lookout tower,Punta Penna.

Following double page: view over bayof Vasto with marine facilities fortourists.

routes for the workshop of artistic craft in the province of Chieti 41routes for the workshop of artistic craft in the province of Chieti40

to the end of the 1800’s tothe beginning of the 1900’s.Founded in the XV century,rebuilt in the followingcentury and extended betweenthe VIII and XIX centuries, itis still today richly decoratedand furnished. Then aboutmidway through the XVIII

century Palazzo d’Avalosbecame the seat to a truenoble court. In the piazzanamed after Lucio ValerioPudente there is the cathedralof San Giuseppe with medievalorigins but it was totallytransformed at the end of the800’s. Of the original XIV

century church, dedicated toSanta Margherita and burnt byTurkish pirates in 1566, thereremains only the façade andportal. The church of SantaMaria Maggiore is alsoimportant with its ancientorigins but this too wastransformed, rebuilt in 1785

with baroque forms. It housesthe Sacred Thorn, a famousrelic that tradition tells usthat it is from the crown ofthorns worn by Jesus duringthe crucifixion and isconserved in a crystal casemounted in a stupendoussilver reliquary. On Good

Friday, during a particularlysuggestive revocation of thePassion of Christ, the relic iscarried in procession throughthe streets of the town. Around Vasto too, on offer areinteresting places to visit.Along the coast we can findthe tower of Punta Penna, a

classical, fortified look-outpoint or defense built in midXVI century in a strategicposition in order to controlthe inlet that today holds theport of Vasto. In the vicinitythere is the small butimpressive church of theMadonna of Punta Penna.

routes for the workshop of artistic craft in the province of Chieti 43

If the working of stone byman has origins during theprehistory from the

necessity to create weaponsand utensils with the only rawmaterial they knew how tohandle, its evolution thencame about through a purposeof construction anddecorations. Simple, rough,large stones were collected infields and used to erect walls,shelters and fortresses duringthe Italic period. Through timethese became squared, smoothblocks, a constituent elementof buildings and temples inRoman times even though theywere used more and morealongside brick which, due toits cheap cost, was destined tomore humble and commonuses, reserving stone for morenoble buildings or statues,bas-reliefs and sarcophagi.From the thick ranks of simplestone-cutters capable of rough-hewing lumps of stone forbuilding blocks, steadily and

the stonemasters

Ancient bas-reliefs and coats of armsfrom centuries ago.

The master of stone uses a minutebrush for last touches to a sculpture.

slowly there emerged a myriadof craftsmen capable ofprogressing to shape thoseblocks into faces, capitals,figures and mythologicalscenes, inscriptions andanimals. In some of thesepersons, art’s inspiration wasso strong as to form realmasters or even artists whothen became famous in history.The advent of Christianity

symbolized the triumph ofstone in the construction ofchurches, both as a supportingstructure as well as a facing forbrickwork but, above all, in thesubstance for more importantdecorative details such asportals, altars, ciboria (thebaldachin structure that coversthe altar in medieval churches)or ambos (the pulpit fromwhere the priest reads the

scriptures). From the MiddleAges and mainly during theRenaissance, the capacity toexpress art in stone, creatingdecorative details, statues,friezes, and coats of arms wasabsorbed in civil architecturetoo and these details enteredby right into architects’projects of that period. Portals,fountains, façades, windows,arches, columns, stairways andeven tables, objects andstatues triumphed in largecities as in the smallesthamlets. From this tradition,with a direct ideal descent,technical and stylistic, we nowhave our modern masters ofstone.

GuardiagreleOur journey along the route ofthe masters of stone can onlystart at the foot of the Majella,mother mountain for the

people of Abruzzo and the onethat fascinated D’Annunzio somuch as to inspire some lyricsand to become the setting forhis work ‘Figlia di Iorio’ thatfound a suitable scenography inthe Grotta del Cavallone. In factit is this round mountainmassif, now entirely protectedby the National Park thatsupplies one of the fundamental

materials preferred by thestone-cutters of Chieti andothers. We are talking aboutthat candid white stone of theMajella, soft enough and easyto work that characterizes themajor part of the architecture ofthis area’s villages. Steps takenon our journey along the routefor artisans’ workshops whowork with stone move,symbolically and not by chance,from Guardiagrele, one of thethree capitals of craft in theChieti province. It is in fact animportant art town situatedright at the foot of the Majellaand enriched by monumentsbuilt out of its white stonesuch as the cathedral of SantaMaria Maggiore and the churchof San Francesco with itsannexe, splendid cloister. It isworth remembering that in theTown Hall that was created overvarious periods from the Middle

Ages to the Renaissance andlater, by novice stone-cutterswhose workmanship blossomedoften into the most authenticartistic vein, an interestingcollection of decorative detailsare conserved. Among thesefinds excels an unusual headwith three faces, a suggestivesymbology that appears oftenalso in other parts of Abruzzo.We are dealing mainly withdecorative details thatembellish churches andbuildings in Guardiagrele andits surroundings that now havecollapsed or been demolishedyears ago. Walking in thehistoric centre we can admiremany works by old stonemasters such as the twoportals of San Francesco nearto the town hall or the façade,the side porticos, the coat ofarms, the decorations andinterior altar of the Cathedral.

Pennapiedimonte From Guardiagrele follow theroad towards the mountainthat leads to the opening of adeep valley where we comeacross Bocca di Valle, apicturesque tourist area,famous due to the presence ofa majestic military memorialbuilt in honour of the deadduring the First World War. Inthe grotto, dug out at the footof the cliff face in 1923, liethe remains of LieutenantAndrea Bafile, one of the mostfamous soldiers from Abruzzokilled in the Great War. Theinside of the mausoleum isdecorated with excellent panelsmade up from ceramic tiles byBasilio and Tommaso Cascella.Carrying on for a fewkilometres along the road tothe south we ascend toPennapiedimonte in the heartof the National Park of the


At top: façade of church ofPennapiedimonte, in white Majellastone.

At bottom: balcony in stone ofconvent of Capuchins in Guardiagrele.

At top: view of the Majella.

At bottom: architectonic detail instone of curious figure with threeheads.

Napoleone Germanovia Marrucina 91GuardiagreleTel . 0871 / 80 11 75


Majella. The small town is on arocky spur that dominates theroad and valley as if keepingwatch over the opening of awide, suggestive valley calledTre Grotte which can beadmired in all its vastnessgoing up to the panoramicspot, Balzolo where there isalso the so-called garden ofstone. In the square we canvisit the XVIII century parishchurch dedicated to SanSilvestro and San Rocco, built,obviously, out of the localwhite stone. Inside a series ofcanvases by the painter NicolaRanieri (1749-1850) arehoused. Finally, in districtFontana there is a spectacularpublic fountain of medievalorigins created entirely fromlocal stone.

Nicola Carideovia CapocciatoPennapiedimonte (CH)Tel. 0871 / 89 74 74

LancianoGoing back throughGuardiagrele, follow the 363road towards the coast toreach Lanciano, another capitalof craft in the Chieti territory.The town is univocally famousfor its artistic richness due toits millenary history withdefinite Roman origins when itwas known as Anxanum. Evenif many of its monuments aremade out of brick, stone standsout everywhere in the historiccentre giving evidence to theskill of the old craftsmen andstone-cutters of Lanciano. Themajestic portals and delicate

rose windows of the famousmedieval church of Santa MariaMaggiore are an evidentsplendid testimony as areSant’Agostino and Santa Lucia.

La Mar di Giuseppe Di Nolavia per TreglioLanciano (CH)Tel. 0872 / 45 178

CrecchioThe final stop of this journeyleads to Crecchio which can bereached from Lanciano by aninteresting country road thattakes us through Frisa, or,going back towards the coast,

following the A14 motorway tothe Ortona exit, go inlandalong the 535 road for about12 kms. Situated in the gentleOrtona countryside, renownedfor its grape wine production,the town rises on a hill by theArielli river and is dominatedby the massive bulk of CastelloDucale visible from afar. Itnow houses the ArchaeologicalMuseum of Byzantine and EarlyMedieval Abruzzo. Thefortress has a squareshape with fourangular towers thatclose onto a smallcourtyard. Itsorigins aremedieval but ithas beenrestored andextended manytimes over thecenturies,greatly changingits exterior aspect.The two southerntowers, for example,

date back to the XV century,whereas the second floor to aneven later period. One of thetowers collapsed after anearthquake in 1881 to be thenalmost completely rebuilt in1904. It became a privateresidence and in September1943 the castle becamefamous for sheltering the royalfamily, who were fleeing Rome.

Seriously damaged bysubsequent

bombardments, itwas completelyrestored and

recovered in the70’s to then

become theMuseum in 1995.Todayimportantfinds foundduringexcavations ofa Romancountry villadiscoveredin the area

of Casino Vezzani-Vassarella, ashort distance from Crecchio,are on display. The fourmuseum rooms exhibitimported bowls, oil lamps andamphoras, jewels, bronze andpainted ceramic vases, butalso a wooden chair with afinely carved back. Theseexceptional discoveries haveallowed the discovery of howByzantine Abruzzo, that isbetween the VI and VIIcenturies, lived a period ofintense trading with the orientand in particular with Egyptand also a fervid productiveactivity since the ceramicsfound were definitely producedlocally, having a veryparticular decoration, uniquein its kind, defined by expertsas ‘the Crecchio type’.

Tonino Santeusanio Villa Tucci 193/194Crecchio (CH)0871 / 93 62 20

On this page: castle of Crecchio; in thearchaeological museum set up ininterior with the face of Christoutlined in stone(above); at bottom:modern sculpture in white Majellastone.

On opposite page: master of stone atwork in his studio; detail of thelunette of portal of Santa MariaMaggiore in Guardiagrele.


To talk about gold meansto talk about the mostprecious of metals,

symbol of richness. Itspopularity has never wanedsince the oldest of times or, forits rarity, for the difficulty inextracting it or for itsexceptional malleability andductility that allows an easyworking. It can be laid out inextremely thin layers or drawninto invisible threads. But theartisan’s workings of agoldsmith are also in silver, onits own or covered in gold leaf.Not very common with theItalic populations, gold becamemore popular with ancientRome where it was used tomake splendid necklaces,jewels and coins. In medievaltimes this use of gold remainedin fashion but this yellowmetal entered with real forcein the creation of particularobjects, symbols of power suchas crowns, spectres formonarchies, or of devotionsuch as crosses, chalices,monstrances and reliquaries forthe Christian world. From thebeginning of Roman timesexamples of tableware in silveror even gold, obviously forspecial occasions, were nevermissing from the table. In theRenaissance true and properexperts appeared on the scenewhose expertise exploded intoart: it is worth remembering

Careful eye of a master goldsmithexamines the working of a‘Presentosa’.

On this page: Roman gold coins fromArchaeological Museum of Palazzod’Avalos in Vasto; modern earring inchased gold according to tradition ofan antique engraving.

Nicola da Guardiagrele with hisabsolute sacred goldsmithmasterpieces and his school.Sulmona too had activated animportant school of artists inthis craft, capable of workingwith great skill preciousmetals, especially silver towhich they gave forms mainlysuch as processional crossesthat became famouseverywhere thanks to theirtrademark SUL engraved onevery single embossed lamella.Abruzzo is quite rich withevidence of the mastery ofgoldsmith workshops. Inmuseums there is in fact a vastamount of archaeological findsand objects of sacred artrelated to this typology ofworking. Naturally such adistribution of local artisan

schools, that then absorbedalso other typologies ofworking such as preciousstones or coral, stimulated atradition with techniques andforms that have remainedpractically unchanged up toour days and have establishedvirtuous roots in which ourcraftsmen of today base theirtraditional production,obviously supporting it withmodern research in styles andworkings.

the goldsmith’smasters

51

processional cross mostprobably chased by thestudents from his school. Acuriosity: the legend about theorigins of the town narratesthe existence of two hamlets,Ate and Tixa, separated by avalley where a dangerousdragon lived. San Leucio, thebishop of Brindisi, came tothese lands, managed to killthe dragon and so allowing thetwo hamlets to join togetherand create Atessa. In theCathedral dedicated to thebishop Saint tradition tells usthat a bone from the dragon isconserved but experts haveidentified it as a fossilizedbone from a prehistoric animal.

Giannino Taddeovia San Luca 49Atessa (CH)0872 89 70 48

LancianoFrom Atessa we move downtowards the river Sangro valleyto carry on in the direction ofthe mountains as far as ArchiStazione. Taking the 84 roadwe move up the north side ofthe valley to cross throughCastel Frentano to finally reachLanciano, one of the threecapitals of craft in the Chietiprovince. The old RomanAnxanum conserves in itsnumerous churches examples ofsplendid artistic craftwork ingold and silver such aschalices, monstrances andcrosses. Among these thereliquary of the EucharisticMiracle, the host that traditionsays changes into a portion ofheart from the miraculousevent, excels in its workingand notoriety.

medieval or Renaissance Vasto,extremely suggestive historicalperiods when the working ofgold and silver rose to be anart to chase above all precioussacred furnishings for theChurch and luxury articles forthe feudatories and the rich.These are the real masters ofthe land and mark it, forfriends and enemies, withhuge, exterior symbols –castles. The most famousmonument in Vasto is, in fact,

a fortress, the magnificentCaldora castle that todaydominates the entrance to thehistoric centre and greetsvisitors who wish to admire themarvels and discover the littleshops with their craftsmen.Still talking about the subjectof gold, it is important toremember that in theArchaeological Museum someprecious Roman gold coins ofgreat beauty and refinedworking are there to beadmired.

Michela Di LiborioVia Sant’Antonio Abate 2Vasto (CH)0873 36 68 16

Gold Art Studio di Remo PetrocelliCorso Garibaldi 52Vasto (CH)0873 36 31 44

AtessaFrom Vasto follow the Adriaticroad 16 to the north for a fewkilometres, turning then ontothe road 364 that goes throughCasalbordino, we arrive atAtessa. In the line of theartistic craft of precious metalsit is important to know that inthe Cathedral dedicated to SanLeucio, characterized by itsmonumental façade with itssplendid portal and aspectacular stairway, someextraordinary treasures ofsacred goldsmith’s art areconserved. We are talkingabout a monstrance created byNicola da Guardiagrele and a

Reliquary, in embossed silver, byNicola da Guardiagrele.

Aerial view of Vasto.

Vasto, portal of ruined church of SanPietro.

At top: coast near Punta Penna, atVasto.

Neptune from mosaic in Romanthermae in Vasto.

routes for the workshop of artistic craft in the province of Chieti routes for the workshop of artistic craft in the province of Chieti50

VastoThe first stage of this journeyin the magical world of craftworkshops where preciousmetals are worked is Vasto, aseaside town with origins thatgo back far in time, guarding ahistory truly millenary. We willexplore, though, the RomanHistonium in the itinerarydedicated to the masters ofglass. Talking about preciousmetals, it is more opportune toturn our attention to the

Arte Orafa di Stefania Battistella Corso Roma 104/A-BLanciano (CH)0872 71 76 92

Roberto PepeVia Ferro di Cavallo 42Lanciano (CH)0872 70 97 67

Gaspare GaetaVia per Treglio 127Lanciano (CH)0872 41 273 oppure 349 39 07 187


birthplace of the goldsmith’smaster Nicola da Guardiagrele,conserves important evidenceof the mastery of the craftsmenof precious metals. In theDiocesan Museum of sacred art,open below the cathedral ofSanta Maria Maggiore,fragments of an extraordinaryprocessional cross by Nicola daGuadiagrele are on display, amasterpiece unfortunatelystolen years ago and of whichonly small parts have beenretrieved. Therefore, at themoment, it is only possible toadmire the figure of Christ on

Debora Di MarcantonioVia Roma 6Guardiagrele (CH)0871 80 95 56

Maurizio D’Ottavio Via Roma 47Guardiagrele (CH)0871 80 06 16 oppure 338 89 50 356

CrecchioFrom Guardiagrele we movedown again towards the coastalong the 538 road, passingthrough Orsogna to reachCrecchio.

Arte Orafa di B. FerranteCorso Umberto ICrecchio (CH)0871 94 17 44

OrtonaIt is only a twenty minute tripthrough a peaceful countrysidespeckled with vineyards.Clinging to a promontory thatlooks as though it has justemerged from the sea, thetown boasts age-old origins ofwhich, despite the devastatingdestruction from the secondworld war, still conserves someimportant evidence. Itscommercial port is one of themost vital along the mid-Adriatic coastline anddefinitely the main one ofAbruzzo. The high rocky cliffsgive to certain sea resorts suchas Lido Riccio and Ripari diGiobbe a splendid landscape.Ortona was founded by theItalic people of the Frentani,

as was Vasto, and then becamean important landing place andRoman municipium calledOrtona Augusta. In the MiddleAges it passed under thedominion of the Normans thenbecame the feud of theSwabians and enjoyed a periodof great prosperity. In the XVcentury it was in the hands ofGiacomo Caldora who decidedto fortify the town surroundingit with strong walls. Thesewere decisive in making lifedifficult for the besiegingAlfonso D’Aragona who tried tocapture Ortona in 1442. It isthanks to this last man in armsthat the majestic castle,recently restored, was built in1452. The fortress wasseriously damaged by fightingthat lasted for many long

months in an exhausting houseto house battle during the lastwar. It was so bloody that itbecame infamously known asStalingrad of Abruzzo to whicha museum has been dedicated.In 1946 a vast landslide pulleddown a part of the defendingwalls of the castle into thesea. The artistic heart of thetown is the old cathedral SanTommaso, founded in the XIIcentury; it has housed therelics of the Apostle Saintsince 1258. It underwent manyalterations and restorationsbetween the XVI and XVIIcenturies as well as in the1700’s. After the second worldwar it was then totally rebuilt.The beautiful XIV portal wasreconstructed using the fewsurviving fragments and

On this page: master goldsmith atwork at his table; modern goldsmithcreations.

On opposite page: aerial view ofOrtona and castle.

GuardiagreleFrom Lanciano we go back toCastel Frentano and follow the363 road to come toGuardiagrele, another capital ofcraft and the next stage in ourdiscovery of goldsmithworkshops. This town too, the cross, the Creator sitting,

some of the embossed, gildedparts that are on the ends onboth sides of the cross showingsacred scenes and finally somedecorative silver tiles,engraved and decorated withcoloured enamel. All thesearticles are of extreme artisticvalue.

in our itinerary: Bucchianico,famous as the birthplace ofSan Camillo de Lellis (1550-1614). The origins of the townare medieval and for a longtime it was a feudal possessionof the Caracciolo family of SanBuono. The heart of thehistoric centre, although spoiltby a colossal reinforcedconcrete building that hastaken the place of the oldcastle, conserves beautifulrarities: the sanctuary of SanCamillo, founded in the XVIIcentury then modified, can befound right in the main squarewhere there is also the parishchurch of San Francescofounded in the XIII centuryand totally restored in theXVIII century. A short distanceaway is the convent of theClarisse, founded in the XIVcentury and still well conservedafter various restorations. Anideal day for visiting the townis when there are thecelebrations for the festival ofthe Banderesi, a historicrecalling of the legendaryvictory over the nearby Chietithanks to the miraculousintervention of Sant’Urbano.

Pape’ Oro di Simone TatascioreVia Vasari 4Bucchianico (CH)0871 38 11 92

ChietiThis is the capital of theprovince, the third of craft andlast stage of this journey alongthe road of master goldsmithworkshops.

Magie in Oro SrlLargo Carbonara 14Chieti0871 55 27 23 oppure 0871 40 39 24

Sirio SrlVia Lucio Camarra 21Chieti320 02 79 473


finds and medieval andRenaissance works of art. Ofgreat interest the church ofSanta Maria di Constantinopoli,medieval but rebuilt after thewar with beautiful canvasesfrom the late XVI centuryVenetian school and SantaCaterina with its beautifulportal and the interiordecorated with XVIII centurystuccoes and a spectacularfresco from the XIII century.The Music Museum of PalazzoCorvo, seat of the ‘IstitutoNazionale Tostiano’ named afterthe famous musician FrancescoPaolo Tosti (1846-1916), wherethere is a collection ofmanuscripts, scores,photographs, letters andalmost one thousandcompositions of musicians ofAbruzzo, makes a veryinteresting, unusual visit.

Mario Polidoro OrafoVia Francesco Paolo Cespa 69Ortona (CH)085 90 65 559

Francavilla al MareFrom Ortona, following thepanoramic Adriatic road 16 oron the A14 motorway we come

On this page: Ortona, castle; cathedralof San Tommaso, patron of city.

On left: Francavilla, splendid reliquaryof Nicola da Guardiagrele, in embossedsilver and enamel.

At bottom: modern goldsmithcreations.


integrating the missing. Insidethe canvas of San Tommaso byBasilio Cascella is there to beadmired as well as the majolicaby Tommaso Cascella. Nearbythere is the Diocesan Museumthat houses archaeologicalfinds, paintings and sculptures.One of the most well-knownstreets of Ortona is the east‘Passeggiata’ where the

majestic Palazzo Farnesestands, also called Palazzo diMargherita d’Austria, plannedby Giacomo della Porta but leftunfinished. Today it houses theCascella Picture Gallery wherethe collection donated by theCascella artist and of thesculptors Giuseppe Massari andGuido Costanzo and the CivicMuseum with archaeological

to Francavilla al Mare. Thetown, mainly modern, holds anexclusive work of goldsmith artof Abruzzo: the monstrance byNicola da Guardiagrele which ispart of the treasure of thechurch of San Franco.

Leonardo LandolfoViale Nettuno 46/BFrancavilla al Mare (CH)085 49 11 359 oppure 347 08 20 648

BucchianicoThe 649 road goes up the riverAlento valley and allows aquick arrival to the next stage


Nobody knows for certainhow glass came intobeing, a mixture of

silicates melted together athigh temperatures that possessthe extraordinary propertiesand characteristics that wewell know today, although it isthought to have origins inPhoenicia, the present dayLebanon. Plinio the Elder,Roman historian and scientist,tells of a legend that goesback to 2000 years before thecoming of Christ (4000 yearsago). A Phoenician ship with acargo of blocks of saltpetre wascaught in a storm in the seasof Asia Minor and, pushed bythe winds, went aground onthe beach. The survivors lookedfor a shelter for the night, lit agreat fire and used the blocksof saltpetre to balance the panwhere their food was cooking.In the morning they weresurprised to find strange pearlsamong the ashes, bright andtransparent: there, the originsof glass. Plinio’s tale isdifficult to believe since thetemperature of a wood firewould not be sufficient tocreate glass but all thecomponents are present withthe silica sea sand and thenitrate. The availability in thePhoenician land together withthe famous sea abilities of thispopulation would explain therapid distribution of glass in

all the Mediterranean wherethis production was born anddeveloped. The Italicpopulation did not know glasstechniques even though theywere probably fascinated tosuch a point as to import itfrom the productive countriesprobably through theEtruscans. In Abruzzo, forexample, glass bracelets andpendants have been found inthe necropolis in Campovalano(Campli) and above all,splendid small heads in glasspaste of Phoenician productionin Penna Sant’Andrea (Te). TheRomans rapidly became mastersof glass techniques, as in allother types of technology ofthat period, improving therefining of the basicsubstances and so moving fromglass paste, coloured butopaque, to clear, transparentglass and then evenintroducing extremely refinedtechniques such as gold leaf.Ornaments, jewellery, butmainly vases, phials forbalsams and oils, bottles andglasses came into everyday use

among the rich. We are talkingabout very fragile objects butthat have reached us often infairly good conditions ofconservation. The Romans wereeven capable of creating panesof glass, but their use would

Glass phials and balsam bottles fromRoman times, from Vasto.

Workshop and products of a master ofartistic glass.

Complex construction work of a largeartistic window.

the glassmasters

LancianoFollowing the Adriatic road 16we now move onto the A14motorway, Vasto Nord to thenexit at Lanciano and so arriveat our second stop on theroute of the glass artisans’workshops.

Art/Vetro e Ferro di Michele Cianfrone Via S.Iorio 16/ALanciano (CH)0872 71 08 80

appear to have been limited.During the Middle Ages glasswas employed in theconstruction of partitions, usedartistically but also in everydayenvironments: famous arethose coloured and beautifullydecorated that light upcathedrals. Capacity andshrewdness in the workingincreased over the centuriesreaching levels of purity in thesubstance and refinement inthe working, both through thefusion and grinding to whichtoday we are accustomed.Superb examples of the oldestglass in Abruzzo can beadmired in the archaeologicalmuseums of Teramo and thoseof Chieti: the ‘Nazionale’ and‘La Civitella’ but, above all, inVasto. Here on display are

some marvellous funeralobjects: small glass phials andvases that belonged to a youngRoman girl. This is, of course,where our journey to thediscovery of the glass artisans’workshops starts.

VastoOur journey begins in thissplendid coastal town. Thehistoric centre dominates thecoast from the top of a clifflooking over a wide baycreating an amazing naturalscenario. Its ancient originsare easy to trace;archaeologists revealed that inthe Italic period Vasto wasalready an important centre forthe Frentani population. It wasthen conquered by Rome andbecame the municipium of

58

Three delicate, precious glass objectsdating back to Roman period,discovered in Vasto in the tomb of ayoung girl. These are a pan, a jug and asmall recipient for oils and cosmetics.

routes for the workshop of artistic craft in the province of Chieti routes for the workshop of artistic craft in the province of Chieti

Creations by masters of artistic glassof Abruzzo.

59

GuardiagreleFrom Lanciano, the 363 roadleads towards the Majellamountain range passingthrough Castel Frentanoarriving at Guardiagrele, one ofthe three capitals of craft inthe Chieti province.

Vetri Artistici Tatiana di Ornella CandeloroVia Caporosso 60Guardiagrele (CH)0871 84 332

Torrevecchia TeatinaOur journey finishes inTorrevecchia Teatina, a smallhamlet sitting on a hill northof the Alento river valley. FromGuardiagrele the fast road 81takes us to the historic centrewhere there is the old buildingof Marquis Federico Valignaniwho was the founder of theArcadia in 1720.

L’isola dei Riflessi di Gabriele SerraVia Roma 87Torrevecchia Teatina (CH)0871 36 12 32

Histonium of which remainstoday important evidenceeasily visible when strollingthrough the historic centrealthough many of the Romanbuildings have been destroyedover the years or incorporatedby later constructions. Themajority of the remains fromthe Italic and Roman periodsthat have come to light duringexcavations in the city andsurroundings are on display inthe interesting ArchaeologicalMuseum set up on the groundfloor in Palazzo d’Avalosincluding the famous glassobjects.

Vetrarte di Giuliano BasilicoVia delle Gardenie 16Vasto (CH)0873 37 85 14


Ceramic is one of the mostcommon substance in thehistory of mankind due to

its cheapness and because it isextremely easy to obtain andwork. It is produced, in fact,starting from simple naturalelements: clay, water and fire.It is worked by hand withgreat ease when it is soft andthen cooked to make it as hardas rock. Probably it was one ofthe first craft productsdiscovered by prehistoric man:fire, access to soft clay and inthe morning the earth washardened. The first objects interracotta go back toprehistoric times, to the periodwhen man, from being anomadic hunter, became asettled farmer and began tobuild hut villages. This broughthim to have the need ofobjects up to then unknown,such as vessels and containers.The oldest ones had verysimple shapes, only roughlyformed with the hands, themere necessities to havesomething functional. To beginwith, the clay used was whatwas found in the fields, coarseand full of impurities likepebbles and vegetablefragments so this made theobjects wrinkly and irregular.As time went by, the oldcraftsmen learnt how to refineand purify it to produce vaseswith smooth and regular

surfaces. Then,steadily and slowly,the working techniquewas refined, developingan idea of an embellishingdecoration; signs printed inthe clay with fingers, nails,sticks or shells as was done inthe Neolithic village of Ripoli(Corropoli, TE). From here topainting with ochre was ashort step and in Abruzzo, inCatignano (PE) we have anexcellent example of decorativestyle totally original.Approximately 1,000 yearsbefore Christ the Italic peoplehad already acquired a masteryreally noteworthy in thecraftwork of terracotta, givinglife not only to all sorts ofvessels with extraordinarydecorations but even toobjects such as parts of looms,pendants, decorative panels forbuildings, statues and votiveofferings. Many of theseobjects are on display in thearchaeological museums of theprovince, such as those inChieti, Vasto and in theantiquarian of Guardiagrele.The Roman world developedceramics reaching, on onehand, peaks of refinementcomparable, if not superior, tothose of the Greek world and,on the other, a production onalmost an industrial scale, withlines of throwaway productssuch as the amphoras or

the ceramicsmasters

The attentive look of a master ofceramics while shaping clay on thewheel.

Modern and old styles blend in theproductions of masters of ceramics ofAbruzzo.


decorated works in series suchas the so-called “sealed earth”vases of Arezzo. Techniques ofwaterproofing the vases

developed naturally so theywould hold liquids, like glazingthat substituted other systemsmore empirical like the old wayof spreading tar to fill in theporosity of terracotta. Abruzzoof the Byzantine period, welldocumented by the finds inthe Archaeological Museum ofCrecchio, developed evenproductions of decoratedceramics with an original styletypical of the area and, calledby the experts ‘the Crecchiotype’. From the Middle Agesonwards the evolution began,above all, to be stylistic, informs and decorations, up tothe triumphs of colour in theRenaissance and then thecurious baroque forms. Fromthe 1500’s in Abruzzo thegreat ceramic school in Castelli(TE) developed but, with thisone, today the most well-known, many other importantcentres of ceramic started upsuch as in Lanciano and

Rapino, that has rediscoveredover these past few years itsvocation in the craft sector.Therefore, it is only naturalthat from this village at thefoot of the Majella, our journeyalong the routes of theworkshops of ceramic craftshould begin.

RapinoIt arises on a hill near to thedepression of the Arsella,where the territory of the Italicpeople of the Marrucini was. Aswe enter the village, on theright, there is the big, light-coloured façade of the conventchurch of Sant’Antonio,founded in 1645 on which theportal of the ancient, medievalabbey of San Salvatore of theMajella was mounted. In theupper part of the village centrewe can find the new Museumof Ceramics that collects themost important works of localceramists among whom Fedele

Cappelletti (1847-1920). Animportant tradition in Rapinois the procession of the Virginswhen the young girls of thevillage, adorned with gold inprofusion, start off from theparish church of San Lorenzoand arrive at the sanctuary ofthe Madonna del Carpinetowhich is in the old quarter ofthe ceramists. The outskirts ofRapino are also of interest andrich in surprises. In fact, atthe foot of the mountain,there is Grotta del Colle, anatural shelter used in thepast as a place of worship bythe Italic communities thatlived in the area. It is a well-known place worldwidebecause in the 1800’s the‘Tavola di Rapino’ (The Table ofRapino) was found, a bronzeslab from the III century B.C.with an important sacredinscription engraved in Osco,the language used by theMarruccini. Its exceptional

On this page: traditional procession ofthe Virgins of Rapino (above) isdepicted in a majolica panel conservedin the village (below).

On opposite page: view of Rapino andthe Majella.

value lies in the fact that itmentions the words ‘toutaMarouca’ that identifies theMarrucini people, this namewith Italic origins indicatesstill today an area at shortdistance from the remains ofan ancient city wall made outof huge squared blocks thatenclosed a village to which the

nearby sanctuary wasconnected. Archaeologicalexcavations brought to lightmany finds amongst which asmall bronze statue depicting afemale divinity, the goddess ofRapino. Close to the grottothere is Torre del Colle, theremains of an old medievalfortification.

This page on left: view of Miglianico;at bottom; technique of mould usedto give life to miniature copies ofWarrior of Capestrano.


Giuliana Santovito Via Colle Cese 8Rapino (CH)0871 85 287

Giovannina Tasca Via XXIV Maggio 30Rapino (CH)0871 80 11 86

BucchianicoFrom Rapino follow the smoothquick 81 road to reachBucchianico in a few minutes,birthplace to San Camillo deLellis.

Glauco Urbanucci Via Piane, 61Bucchianico (CH)0871 38 12 82

VillamagnaThen we move towards thecoast on the 649 road as far asthe junction that goes up toVillamagna, a small hamlet onthe crest of hills that separatethe valley of the Alento riverfrom the Foro valley. In thehistoric centre it is worthvisiting the bishop’s building,built on an older building of

which the origins are unknown,and the parish churchdedicated to Santa MariaMaggiore, built in the 1700’sand embellished by elaboratestuccoes by Michele Clerici andCarlo Piazzoli, and painted byLudovico de Majo andAntonello Sarnelli. In Augustthe tradition of the miracle ofSanta Margherita is celebrated.It is said that the Saintdefended the village fromTurkish pirates.

Giuseppe Liberati Via Val di Foro 101/2Villamagna (CH)0871 30 07 50

Abruzzo territory. Both exhibita large number of finds interracotta and ceramics fromdifferent periods, from theprehistoric to the Romanworld. Museum Barbellaexhibits an importantcollection of majolica fromCastelli.

Ceramiche D’Arte di Domenico Cirulli Via G.C. Spatocco 375Chieti0871 40 32 70

San GiovanniTeatinoFrom Chieti we go downtowards the modern SanGiovanni Teatino, centre to thevibrant modern expansion ofcommercial and industrialactivities.

At top: majolica panel from Rapinodepicting the workshop of a master ofmajolica.

At bottom: decorating plates beforefiring.

Ivo Cacciagrano Via Aldo Moro 83San Giovanni Teatino (CH)085 4463222

Francavilla al MareThe A14 motorway brings usquickly to the nearbyFrancavilla al Mare, animportant seaside resort, easyto reach along different routes.

Bontempo Ceramiche di Amato BontempoViale Nettuno 114/BFrancavilla al Mare (CH)085 49 10 086

OrtonaTo reach Ortona, the nextstage of this long journeyalong the route of theceramics artisans’ workshops,we can choose the fast A14

MiglianicoCarrying on for a fewkilometres on the 263 roadwhich heads for the sea alongthe crest of the hillssurrounded by vineyards, wecome to the panoramic villageof Miglianico, built on highground at the confluence ofthe Dentolo torrent and theForo river. It is an importantfarming centre with a longtradition even though its nameis now associated with the golfcourse. In amongst the housesthe parish church of SanMichele Arcangelo stands out,its interior decorated withexceptional XVIII stuccoes,whereas the medieval castlewas damaged by the SecondWorld War bombings and wascompletely restored.

Feeling di Edoardo TuminiVia Roma, 78Miglianico (CH)0871 95 07 13

ChietiGoing down towards the valleyof the Alento we go past RipaTeatina to then go up againtowards Chieti, one of the craftcapitals of this province. Inthe historic centre there aretwo important archaeologicalmuseums, ‘La Civitella’,dedicated to the history ofancient Teate, and the‘Nazionale’ of Villa Frigerj thathouses the most precious findscoming from all over the

routes for the workshop of artistic craft in the province of Chieti66

GissiFrom Lanciano, returning tothe A14 motorway tollgate, wego as far as the Vasto Nordexit where a panoramic road,immersed in the countryside,takes us, in some parts quickly,to Gissi. The village sits on topof a high hill surrounded bygreenery, between the Ferratotorrent and the Morgitella thatflow into the nearby Sinelloriver. The ancient nucleus ofthe village is around the parishchurch that conserves thebeautiful XVII century woodencase of an organ. Among thehouses one of the old entrancegates stands out and somebuildings with strikingdecorations from the XVIII andXIX centuries.

Gioeste di Giovanni Di Rocco Via dello Stadio 22Gissi (CH)0873 94 40 71

VastoTurning towards the coast wefollow on southerly along theroad 16 to then move up toVasto, last stage of our journeyto discover the masters ofceramics. It is worthremembering that theArchaeological Museum, set upinside the monumental Palazzod’Avalos, exhibits hundreds ofarchaeological finds from theItalic and Roman period, fromthe ancient Histonium and,from the territory, many ofwhich are in ceramic.

Creta Rossa di Giuseppe BuonoPiazza del Tomolo 3Vasto (CH)0873 58492

67

motorway or the panoramic,but chaotic road 16. Tenkilometres inland, we findCrecchio where it is possible tovisit the Byzantine and EarlyMiddle Ages AchaeologicalMuseum where famousceramics such as ‘the Crecchiotype’ are on display.

Teddy di Donatella D’Arielli Via G. De Lectis 10Ortona (CH)085 90 63 738

LancianoReturning on the motorway, orroad 16, travelling south forapproximately ten kilometres,as far as San Vito Chietinowhere we carry on along the84 road to reach Lanciano,another capital of craft on theChieti territory.

Giovina Lazzari Via Veneto 20Lanciano (CH)0872 71 59 85

Aldo Taddeo Contrada Martelli 321/MLanciano (CH)0872 71 65 98 oppure 0872 49 439

Riccardo Ferrara Via dei Funai s.n.c.Lanciano (CH)

At top: four stages of forming lump ofclay on wheel, to form vase; on right:fired ceramic is decorated last of allwith gold line.

On right: decoration of ceramic beforefiring; at bottom: splendid antiqueexample of ceramic from Rapino.

At top: aerial view of Gissi.

Below: Port of Ortona at sunset.



The acquiring of thecapacity of workingmetals was so important

and decisive for the evolutionof mankind that scholarsdecided the passages betweenthe various periods, prehistoricand historic, basing preciselyon these events. Indeed wepass from the Stone Age to theCopper Age, called Aeneolithic,to then reach the Bronze Ageand finally the Iron Age.Copper is a metal with elevatedmalleability and ductility thatpermits the transformation intoleaves and threads. It melts atapproximately 1,100 degreesand can be found easily innature under the form ofvarious minerals of which inItaly there are numerousdeposits. It can be worked byhand with great simplicity andthe easy binomial hammer-anvil is sufficient to createcomplex forms such as basinsand vases. Bronze is an alloyof copper and tin and is used

mainly to make objects withthe technique of fusion such asstatues and decorations. Ironis the best metal for working,melting at 1,500 degrees, it isharder and more difficult towork than copper. It offersthough more resistance andtoughness, above all, if usedfor weapons, tools andutensils. Working it with ahammer requires a continuousheating of the piece in thefurnace to make it malleable.Evidence suggests that the firstto use iron were the Sumeriansand the ancient Egyptians who,already 6,000 years ago, usedit to model points for lancesand for jewels; this metal camefrom meteorites fallen toearth. Some linguists put forththe hypothesis that the Englishword ‘iron’, used in many otherlanguages of northwest Europe,is derived from the Etruscanterm ‘aisar’ that means ‘thegods’, to signify exactly that –a gift from the heavens. InAbruzzo the first traces ofworked copper were discoveredin a prehistoric excavation inFossacesia. It came to our areain the third millennium beforeChrist in the wake ofmigrations of nomadic groups,who perhaps came to know ofit in the lands of the MiddleEast where it was alreadywidespread and gave life to areal revolution. Copper was

the ironand coppermasters

The traditional copper vessel withladle.

An ancient Italic sword in bronze withsheath. At the moment of discoveryand then in museum after restoration.

The decisive strike of master ofwrought iron forging the red hotmetal.

immediately used to makevessels, utensils and, of course,weapons. The same occurredfor bronze that, thanks to itsbest characteristics, started tofind its place around 2,300before Christ. About 1,300years later, therefore more than3,000 years, iron makes itsappearance to, slowly andsteadily, take over from bronzein all sectors. Its betterresistance and toughness is awinner and so weapons andutensils ‘in primis’. In the Italicperiod both iron and bronzewere employed, the former forweapons and utensils, thelatter for vessels, jewels andlittle statues of variousvenerated divinities amongwhich Hercules who is the mostcommon. In decorative objectsand statues, bronze remains infashion, whether it be for thelow expense or for themaximum facility of use due to

its fusion at lowertemperatures. In the Italicperiod the Etruscans becametrue masters in its working butmainly in extracting iron fromthe mines of Elba, exporting iteverywhere. The Romansintroduced new techniques inthe working and production ona vast scale. All this is told tous by the archaeologicalexcavations, even thoughunfortunately old iron isconserved in soil much lessthan bronze. In the NationalArchaeological Museum of VillaFrigerj at Chieti there are ondisplay the most diverseobjects in bronze such as thesmall splendid Roman statuesof Ercole Curino, armour disksand Italic vases and coins fromall ages. Over the followingcenturies too, up to recenttimes, priority use of metals isfor weapons and in thedefending of these: lances,swords, armour and shields andthen, after the invention ofgunpowder, for cannons andrifles as well. But likewise,gates and locks guide theevolution of these materialsand techniques up to our days.Referring to the use of iron in


Filippo Scioli Via Occidentale 21Guardiagrele (CH)0871 80 05 41

Domenico Di Sciascio Via MarrucinaGuardiagrele (CH)0871 83 011

Fara Filiorum PetriApproximately ten kilometresfrom Guardiagrele we find theold hamlet of Fara FiliorumPetri, whose name clearlyreveals its Longobard origins.The parish church of SanSalvatore merits a visit to seethe processional cross in silverplate from the Guardiagreleschool and has inherited theportal of the church of

Sant’Agata, dating back to theXIV century but now destroyed.For the festival of Sant’Antoniothat falls on January 16th thetraditional ‘farchie’, twelveenormous towers of dry canes,one for each ‘contrada’(quarter), are set alight at duskin front of the small church ofSant’Antonio Abate.

Ferro Battuto Di PrinzioS.r.l.Via Sant’Eufemia s.n.c.Fara Filiorum Petri (Ch)0871 70 172

PretoroA few kilometres brings us toanother interesting village,Pretoro whose notoriety is tiedto the tradition of wood craft.Amongst the houses, still

evident today are medievaltraces that lend attractiveglimpses to the village. In thechurch of San Nicola, abeautiful XVI century sculptureof the ‘Pietà’ is kept. Everyfirst Sunday of May theprocession of San DomenicoAbate is held in the village,accompanied by a festival ofserpents, similar to the oneheld in Cocullo, and isconcluded with therepresentation of the miracleof San Domenico and the wolf.


Farchie (tall canes bound together) ofFara Filiorum Petri.

The interesting workshop of a masterof wrought iron.

An artistic rose in iron.

On left: ancient balcony in wroughtiron from a church in Palena.

At bottom: an audacious cyclist inwrought iron.

the Middle Ages andRenaissance, we may rememberthe picturesque butuncomfortable armour toprotect infantry, knights andeven horses, and the greatvariety of weapons. In recenttimes in our region thesemillennia of tradition inmetallurgy have been madesolid in generations ofcraftsmen specialized in theartistic working of copper andiron. In the province of Chietithese are found in towns likeAltino but, above all,Guardiagrele. It is thereforeonly natural that our journeyto discover the workshops ofmaster metalworkers startsfrom this old town at the footof the Majella.

GuardiagreleAlong the city walls that wingthe suggestive entrance gateto the town there arenumerous craft workshops,heirs of generations ofcraftsmen and still active,dedicated to the working ofiron and copper. The historiccentre is rich with architecturaldetails made in wrought ironsuch as gates and balconyrailings, some dating back tothe XIX century.

Nicolino Dell’Oso Località Caporosso 175Guardiagrele (CH)0871 83 823

routes for the workshop of artistic craft in the province of Chieti72

Argenferro di Fosco Roque Via CerraniPretoro (CH)0871 89 82 76

CasoliReturning to Guardiagrele, wefollow the 81 road to Casoli, asuggestive village situated ona hill dominating the valley ofthe Aventino river. Theattractive historic centre hasnumerous monuments amongwhich the castle and,overlooking the hill and stilltoday visible from afar, theparish church of Santa MariaMaggiore built in 1455 on theportico ‘Arco del Purgatorio’,the old entrance to the castle,stand out. On the bell-towerand walls, friezes of engravedstone are mounted. Insidethere are kept various canvasesamongst which a ‘Madonna delRosario’ from 1572, a ‘Madonnadel Carmine’, a ‘Madonna colBambino’, ‘San Giacinto’ and‘San Domenico’ by F. M. DeBenedictis in 1848, and a ‘SanGilberto’ from 1797 byPasquale Bellonio of Ortona.The church of Santa Reparatawas destroyed by bombing in1943 and was completelyrebuilt with a modern aspectbut it houses splendid works ofart such as the Renaissancemain altar, the XVIII smallstatue of Santa Reparata, atriptych from 1506 portraying

with origins as a fortifiedvillage around the old churchof San Martino. At the foot ofthe village we can find thesplendid grotto-sanctuarydedicated to San MicheleArcangelo that, on May 8th isanimated by a greatpilgrimage.

Vincenzo Antonio Lucci Via Fontana, 53Liscia (CH)0873 93 02 22

LancianoThis fascinating journey alongthe route of master craftsmenof iron and copper finishes, ofcourse, in one of the threecapitals of craft in the Chietiterritory, that is, Lanciano, richeverywhere in superb examplesof wrought iron.

Tonino Ciccocioppo Via Nasuti 162Lanciano (CH)0872 71 02 82

Santa Reparata and two angelsby Antonio di Francesco diTommaso of Fossombrone. Thenumerous residences of noblefamilies such as Tilli, DeVincentiis, De Cinque, Ramondoand Ricci are of interest. Alongthe road that goes down fromGuardiagrele we come acrossthe Casina di Capoposta, animpressive rural nobleresidence from the late half ofthe XIX century, made up fromthe master building and achurch of eclectic taste.

Mario Pietropaolo Contrada Laroma, 46/ACasoli (Ch)0872 98 26 10

AltinoFrom Casoli to Altino it is onlya short ride. The medievalhamlet was originally fortifiedand now offers interestingstarting points for a culturalvisit beginning at the parishchurch of Santa Maria delPopolo, already mentioned indocuments from the XVIII andXIX centuries. The road thatruns there takes us to thepiazza where there is the oldfortified garrison and today we

can admire the baronialbuilding. The church of theMadonna delle Grazie, on theroad to Roccascalegna, holdsfrescos from the XVI centuryand an excellent image of theVirgin painted on a woodenboard and dating back to 1335.

Michele Petitti Via Nazionale Selva, 242Altino (Ch)0872 98 31 79 oppure 349 74 63 198

LisciaNow we carry on for asuggestive trip to thehighlands of Vasto that takesus to cross through Atessa andGissi to reach Liscia, on theslopes of Colle San Giovanni onthe left of the river Treste,

On left: view of Pretoro.

At bottom: curious stool for workingcalled ‘little horse’, used by masters ofbeaten copper.

Aerial view of Altino.

Tradition of San Michele in Lisciawants the miraculous water to bedrawn with a copper ladle.



The handicraft capacity ofman, and specificallyfrom Abruzzo, to give

shape to objects useful orsimply decorative, does notapply only to substances suchas iron, wood or glass but alsotakes on different rolesaccording to the context, evenlocal. It invests productionfields always new or retrievesthe outdated giving it newlife, vital lymph, by means ofinnovative technology orsimply by introducing newstylistic expressions. And socandles, paper, soap, material,wool become basic products tocreate thousands of differentobjects. Recycled materials aremixed, giving life to incrediblycurious shapes with strikingappearances, almost borderingon modern art. It is this craft

sector, so multi-coloured andversatile, so mixed due to theraw materials utilized and forthe products obtained, andprecisely for this reason,fascinating and innovative. Itranges from soap productsmade following traditionalmethods but with modernforms, to artistic candles, realmasterpieces handmade one byone, destined to disappear inone evening; from therestoration of paintings andframes to the production offurnishings in cloth, wool,recyclable materials. There arecraft laboratories that workwith paper creating copies ofantique prints using the samemethods from centuries ago,drawing up examples that havenothing to envy of theoriginals if not only the signs

of time. Finally there are thedecorators, capable oftransforming pieces of oldfurniture and flaking doorsinto attractive andextemporary masterpieces forthe home, of restoringdiscarded frames but also otherobjects and even the walls ofthe house giving them a newlease of life and colour.

the paperand

decorationsmasters

Illumination on parchment from anantique Renaissance book.

Old wooden casket, decorated andpainted.

The careful hand of an expert artisanthat shapes the warm wax of adecorative candle.

ChietiOur journey in the colourfulworld of decorative craft beginsin the province’s capital, a citythat has always been thecreative and productive source ofthe territory and as such boastsa great many craft workshopsactive in various sectors.

Abracadabra di Azzurra Matteucci Via dei Frentani 12Chieti0871 34 71 19 oppure 329 60 31 345

Restauro Dipinti di Cornelia DittmarStrada di Colle San Paolo 40Chieti0871 34 71 45

Lucia Del Ponte Via Arniense 88Chieti0871 346232

Francavilla al mareFrom Chieti to Francavilla it isa short ride. From thebeginning of the XIX centurythe seaside town could alreadyboast about being well-known.Its economic and urbangrowth has been rocketingover the last decades and nowFrancavilla can boast a qualitypresence concerning craft, inparticular in the goldsmithand decorative sectors. Art,indeed, is at home in thesequarters since it was in theso-called convent church ofSanta Maria del Gesù that thefamous artistic literary clique

of Michetti was founded. Theex-convent, originallydedicated to San Giacomo andbuilt in the XV century, wasthen given the name of SantaMaria del Gesù in 1548.Abandoned by the religiouscommunities, it becameproperty of the local councilwhich sold it in 1883 to theAbruzzo painter FrancescoPaolo Michetti. He welcomedthere one of the most livelyand unconventional artisticcommunities of the late XIXcentury. It shortly became atrue artistic-literary cliquewhose frequenters were, apartfrom Michetti himself, VIPssuch as the sculptorCostantino Barbella, themusician from Ortona,Francesco Paolo Tosti, Gabriele

D’Annunzio, Edoardo Scarfoglioand Matilde Serao. Another ex-convent, one belonging to theDominicans in piazza SanDomenico, was renovated andthe museum named afterFrancesco Paolo Michetti,shortened to MuMi was set up.

Michele Scafetta Via Adriatica Sud 86/AFrancavilla al Mare (CH)085 81 64 80

LancianoWe carry on along the Adriaticroad 16, or on the A14motorway to Lanciano, one ofthe capitals of craft on theChieti territory, a town withage-old origins and millenarytraditions, strong from a longcraft tradition in all productivesectors. Therefore it is notsurprising that in thealleyways of its attractivehistoric centre, amongchurches and buildings of all

periods, various masters’workshops have arisen mainlyin the sector of the creationcandles.

Arts Laboratory di Patrizia D’AmicoVia dei Bastioni 85Lanciano (CH)0872 71 74 49

Manufattivia Tesauri 12Lanciano (CH)0872 44 944

Cereria Eredi Vincenzo De Rosa di Assunta De Rosa Via dei Tribunali 53Lanciano (CH)0872 71 51 49

BorrelloOur journey continues on theA14 motorway in a southerndirection as far as the Val di

Sangro tollgate where we turnonto the valley road headingfor the mountains to reachBorrelli. Situated on apromontory halfway up, in asuitable position to dominatethe river Sangro valley below,the village has a very oldhistory. Its original nucleuswas perched on a cliff, takingadvantage of the sheerness asa natural defense. The villagewas obviously fortified andthe entrance was possible onlythrough the characteristicPorta Saraceni of which todaythere are few traces. There isthe baronial building which isnow the offices of the localcouncil, and perhaps anancient castle and the churchof Sant’Egidio. The village wasseriously damaged by theearthquake in 1933 and fromthe fighting during the SecondWorld War. The Museum ofPeasant Art (Museo dell’ArteContadina), set up near the

This page: curious globe created byknowledgeable hands of a master ofdecorations; shaping of decorativecandles is obtained by subsequentsoaking in coloured waxes.

Following page cloths and threads arethe basic material for decorativeobjects.



Frentania Stamperia d’Arte di Pier Giorgio Di Giacomo Via Brigata Iulia 35Atessa (CH)349 76 29 943

San SalvoThe last stage of this journeyamongst the craft masters ofdecoration is San Salvo, on theextreme border of the regiontowards Molise. It is easy toreach thanks to the A14motorway tollgate, Vasto Sud-San Salvo. The town is mainlymodern, rebuilt after the war

following the devastationcaused by bombardments. Itstill has an interesting historiccentre in the higher part,around the church of SanGiuseppe, built on a moreancient medieval abbey. Recentexcavations have brought tolight how the piazza in frontwas really the interiorcourtyard of a fortifiedquadrilateral, built onbuildings from the Romanperiod. Today Porta della Terragives access to the Piazza andalso the Civic Museum, aninteresting underground route

in the antique secrets of SanSalvo. San Salvo Marina is abusy seaside resort.

Giovanni Cipolla Via Bramante 4San Salvo (CH)


Decorated andpersonalized boxes by thehands of a craftsman.

Decorated fountain with classicalAbruzzo basin in Borrello.

Below: Rio Verde waterfall in Borrello.

Above left: The archaeological Museumof Quadrilatero in San Salvo.

Above right: San Salvo, the church ofSan Giuseppe.

Below: Painting on paper is often thebase to realize sohpisticateddecorations.

town hall, and the waterfall ofthe Verde river, the highestnatural waterfall of theApennine range, protected bya Regional Nature Reserve.

I Saponi di Nicola Ascanio Di GironimoVia Silvio Spaventa 22Borrello (CH)0872 94 59 60

AtessaReturning to the Sangro valleyroad, quick and smooth, we goback to the coast and then upto Atessa. Seen from afar whilegoing up to the village, it canbe immediately seen how thevillage was born from theuniting of two hamlets originallyseparated by a deep gorge. Quiteimpressive are the numerous

gates that open still today andthat once upon a time allowedentry to the centre, fortified andprotected by walls. Porta SanNicola, also called Arco Adriano,today can be appreciated withits luxurious aspect acquiredafter work carried out in theXVIII century; whereas Porta SanGiuseppe shows its medievalorigins, while the more modestis Porta santa Giusta. Finally,Porta Santa Margherita is still infine condition on the west sideof the hamlet. In the area of theancient gorge, the place ofseparation between the twooriginal hamlets, there is nowthe town hall and the splendidchurch of San Leucio, alreadymentioned in official documentsfrom the IX century. To be seenare Palazzo Spaventa from 1875,Palazzo Ferri-Coccia, the churchof San Domenico, built at theend of the XVI century with abeautiful portal in marble fromthe XVII century and finally, thechurch of San Rocco with itssingle nave and baroquedecoration. Inside there is acanvas from 1603 that depictsthe Madonna del Carmine, aninteresting work of art of thelocal artist Felice Ciccarelli.


Most likely the firstclothes that prehistoricman tried to cover

himself with were animal skinswrapped around the body andheld in place by vegetable tiesor animal tendons. Steadily andslowly human intelligenceurged on the dexterity in howto improve the workingtechniques such as thecleaning of the skins withblades of sharpened flint,tanning with natural productsand not just simply dryingthem under the sun, and withthe cutting and sewing bymeans of needles of bone. Thecoming of agriculture andsheep-farming, a consequenceof the transformation of nomadtribes into settlers, broughtforth the discovery of naturalfibres and wool. In tombs dating back tothousands of years ago beforeChrist there were alreadydetails of terracotta such aswhorls that formed frames forweaving, a sign that already3,000 years ago the Italicpeople used textiles and cloth.Leather, too, had reached agood degree of working andtherefore a great amount ofarticles were moulded such asfootwear, horse tackle, shieldsand belts with bronze buckles,the sort found at Campovalano(Te) and Comino nearGuardiagrele (Ch).

The Romans then gave a strongimpulse to sheep farming andsources tell us of sheeptranshumance of flocks of tensof thousands from which therich owners obtained enormousquantities of wool. The strong productive imprintcharacterizing the Roman worldbrought to a high level ofquality and quantity both theworking of leather used forfootwear, armour, shields, bagsand many other everydayobjects and decorations plusthat used from ships’ sails togreat tents to shelter theatrespectators, from clothes tohome linen. The Romans introduced inmassive dimensions the vogueof colouring materials, thewell-known purple obtainedfrom shells, so much so thatthere were artisans’ workshopscalled ‘fullonicae’, forerunnersto the modern dry cleaner’s. Inthis period silk from China wasalready well-known but itsdiffusion came about only after550 when the breeding ofsilkworms was started in thewest too. In the Middle Ages someaspects of the working of thesematerials were developed

further but also the decoratingwith embroidery andinterventions in the designduring weaving, such as in thefamous tapestries, exploded inall their magnificence at theend of this historic period andthe following Renaissance. The necessity to produce evenricher and more extravagantmaterials for the clothes of theélite and the major prelatesbrought about the introductionof extremely refined techniquessuch as working with goldthreads that feature investments for the ceremonieswith great pomp. Examples ofthese sacred clothes may beadmired in almost all the oldestchurches in the province ofChieti but in particular in theMuseum of the Cathedral ofGuardiagrele and the Diocesanof Lanciano. The introduction of machineryand the consequentindustrialization of theproductive activities radicallychanged the sector of thetextile and leather production,diversifying the products fromthose mass-produced and thehandmade. Nowadays,obviously, no craftsman wouldtan the skins by hand or weave

the leather, textilesand

embroiderymasters

Expert hands of a master of textilesworking precious materials.

Refined decoration of antiquevestments.


threads to create fabrics. Theirqualified handiwork isconcentrated in the creation ofthe models, the cutting, sewingand the finish of the products

that remain however exclusive.It is exactly this minute detailthat reveals the profounddifference that distinguishesthem from the industrialarticles. In Abruzzo as in otherItalian regions, embroiderydeserves particular attention,being one of the mosttraditional activities of ourland. It is a real and proper artthat among the country folkwas handed down from motherto daughter and now it islearnt in workshops likeapprentices of centuries ago.Decorative techniques such aspillow lace and tatting are partof the genetic heritage ofAbruzzo craft, representing themost excellent proposals inarticles typical to many historiccentres over the territory.

Francavilla al MareOur journey along the route ofthe master leather and textilescraftsmen starts fromFrancavilla al Mare, a seasidetown with an economy basedon tourism and, of course,qualified productions fromworkshops.

Atelier Sole Luna di Benedetta Tocco Via Nazionale Adr. N. 84/CFrancavilla al Mare (CH)328 45 94 775

San GiovanniTeatinoTake advantage of the A14motorway, exit at PescaraOvest-Chieti or carry on alongthe state road to reach SanGiovanni Teatino, the oldForcabobolina, situated on ahill that dominates the Pescarariver valley. The modern townhas developed over recentdecades growing around theindustrial area of Sambucetoalong the ancient Romanconsular road Tiburtina Valeria.It is possible to visit the XIXcentury parish church and theNatural Science Museum.

Moda In di Marcella MenichiniVia Mazzini 3San Giovanni Teatino (CH)338 27 05 493

Drago di Beniamino FortunaVia P. Nenni 2San Giovanni Teatino (CH)085 44 62 264

ChietiAnd so we move up to Chieti,capital of the province and oneof the craft centres in theChieti territory. A city ofancient origins and a longentrepreneurial tradition thatboasts the presence over theterritory of numerous artisanworkshops, many of whichactive in the leather, textileand embroidery sectors.

Eva e Maria TatascioreViale Amendola 9Chieti0871 34 74 88

Antonietta Barbarossa Via dei Frentani 152Chieti0871 34 71 56

Casa del Cuoio di Miriam RecchiaVia Arniense 46Chieti320 94 50 620

GuardiagreleThe nearby Guardiagrele, thatcan be reached quickly thanksto the fast 81 road, is one ofthe other three capitals ofcraft in Chieti. It also boasts a strongtradition in the embroiderysector and the working oftextiles.

Lilianatelier Sposadi Liliana Sabia RisoVia San Biase 34Guardiagrele (CH)0871 83 264

MiglianicoTurning back to the coast onthe 263 road to visit thepanoramic village of Miglianicothat sits on a hill near theconfluence between theDentolo torrent and the riverForo, surrounded by asuggestive panorama of hillsand cultivations. The village isthe centre of a very important

At top: yellow hoods and black tunicsof the Brothers that animate thecelebrations of Good Friday in Chieti.

At bottom: antique leather pack-saddle in Costume Museum inGuardiagrele.

At top: aerial view of Francavilla.

At top right and at bottom: twostages of working of hides. Cut andpunching.


farming production and isdominated by the profile of theparish church dedicated to SanMichele Arcangelo and canboast an interior decorated bysplendid XVIII centurystuccoes. In the old days thevillage rose around a medieval

castle unfortunately damagedby second world warbombardments. It is a pity thatthe rebuilding, after the war,completely changed its originalaspect. Every year in thevillage a festival in the honourof San Pantaleone iscelebrated; this inspired somuch the painter FrancescoPaolo Michetti that he used itas an idea for his painting ‘IlVoto’ (the Vow) and GabrieleD’Annunzio mentioned it in hisnovel ‘Novelle della Pescara’.

come to Lanciano, the third andlast capital of craft on theChieti territory.

Eleonora PomponioCorso Bandiera 72/ALanciano (CH)0872 71 44 23

AtessaLast stage of this enthusiasticitinerary to discover workshopswhere leather and materials arestill worked by hand is Atessa.From Lanciano, it is easy toreach on the A14 motorway, exitat Val di Sangro and then followthe smooth valley floor road. InMay the town is animated up bya fascinating sacred rite whichis the ‘ntorcia’ of San Martinowhere the devoted start off fromAtessa carrying a huge waxtorch and they head towards thedistant Fara San Martino. Thepilgrims move up the valleys ofthe Sangro, Aventino and finally

the Verde to reach the gorge ofSanto Spirito where there arethe ruins of the monastery ofSan Martino in Valle. On theroad from Atessa to Tornorecciowe can visit the convent of SanPasquale and the church ofSanta Maria in Vallaspra. Theywere built in the XV century andthe church was then extendedover the following centurieswith the addition of an aisle onthe right. Not to be missed isthe impressive cloister of theconvent in the middle of whichis the so-called ‘well of miracles’.

The story goes that the year1709 was exceptionally dry andthis had caused a drought thatwas bringing agriculture to itsknees. The Saint, evoked by thepeople’s prayers, made watermiraculously gush from the well.

DCR di Rita del ConteContrada SalettiAtessa (CH)0872 89 70 42

At top: salvaged old loom in CostumeMuseum in Guardiagrele.

Below: belts of various fashions frommodern craft production.

Opposite page, at top: aerial view ofAtessa.

Below: working of traditional Taranta,warm wool cover from the village ofTaranta at the foot of the Majella.

Simonetta PorziVia Montupoli - Foro 8/AMiglianico (CH)

OrtonaMoving down to the sea passingthrough Tollo to then reachOrtona with its beautiful castleand the panoramic promenadethat opens onto the sight ofthe large commercial port.

Danilo GiancristofaroVia Sapienza 69Ortona (CH)085 90 65 952

LancianoThe Adriatic road 18 takes us ona suggestive, panoramic routethat twists and turns along thehigh rocky coast. Going throughMarina di San Vito, a seasideextension to San Vito Chietino,a small, suggestive town, we


Wood is, together withstone, one of the mostcommon natural raw

materials. It is thereforeobvious that these were thefirst resources of prehistoricman. We know a lot about stonebut a lot less about wood sinceit rarely conserves whenfinishing underground. This iswhy, compared to other organicsubstances, in ancient tombsthere is no trace. Every now andthen we come across traces ofwhat were wooden objects andthis leaves important data. Onlyin clay and muddy soil, or inpeat, wood can be betterconserved: in the area of Paludidi Celano, on the banks of whatonce was Fucino lake, trunkshave been found dug out bypopulations who lived in thisarea more than 3,000 years ago.They were used as coffins forburial on palafittes not far fromtheir village. Wooden sticksmade from branches were thefirst hunting weapons ofprimitive man and the handlesof rudimentary stone axes andlances were made of wood.Branches and logs were used forframes for tents for nomadicpopulations then for huts forthe first groups of farmers andstock-breeders settled in oneplace. In Italic and Romantimes, when houses made out ofstone, mud or brick were firstmade, wood was used for

beams, roofs, doors, windows,stairs, partitions and floors but,above all, for furniture whichwas though rather poor andbare, also in terms of typology,compared to ours. In housesthis was widespread and so,together with the vast use ofoil lamps, explains the largeamounts of fires. The Romansused enormous quantities ofwood for ships, war machinery,shields, chariots and bigae butalso for scaffolding and buildingmachinery. Wood has

Hammer and chisel are the only toolsthe master carver uses to give form towood.

Delicate inlay in wood carved by handof antique altar.

An antique bust relic box in carvedwood, painted and gilded.

the woodmasters

routes for the workshop of artistic craft in the province of Chieti routes for the workshop of artistic craft in the province of Chieti 89

from the France of MariaAntonietta, from thefloorboards in Roman housesto the tiled parquet in the XIXcentury noble residences. Acertain continuity is to benoticed, in certain areas ofAbruzzo for example, in thedecorative styles. Imaginaryanimals, graphic symbols,monograms, stylized faces havepractically remained unchangedfrom Italic times to presentday passing almost intactthrough the filters of history.The same goes for everydayarticles such as spoons, largeforks, hair clasps, pestles andsmall furnishings and for toolsused on the land or in sheep-farming. The shapes mouldedtoday by the hands of themodern craftsman recall thosein use centuries and centuriesago. The Museum of the Gentid’Abruzzo in Pescara offers aninteresting cross-section ofthese articles, as do thevarious museums of populartraditions amongst which thewell-supplied one inGuardiagrele.

ChietiThe journey in the fascinatingworld of the master craftsmenof wood starts in the capitalthat, due to its role as thelandmark city of the territoryand its long millenary history,boasts a tradition rich in thissector too.

Claudio Di RoccoStrada Villaggio delFanciullo 61 - Chieti0871 34 65 35

At top: little statue in wood fromantique altar.

At bottom: modern craft decoration inengraved wood then gilded, pestlesand mortars to crush salt, fromCostume Museum in Guardiagrele.

Laboratorio D’Arte di Franco Di VirgilioVia Marrucino 56Casacanditella (CH)0871 80 73 30

PretoroNow down to Fara FiliorumPetri then up to Pretoro that

Arte Legno di Camillo Cocco & C. SncVia Piane 13Bucchianico (CH)0871 38 20 11 oppure 0871 38 29 65

CasacanditellaWe go down towards Val di Foroand climb the opposite side tocome to Casacanditella, a smallfarming village where asuggestive tradition curiouslyconnected to wood is evoked.The festival of Santa MariaAssunta, also called theMadonna della Quercia, iscelebrated on 15th August everyyear in honour of the VirginMary who, according to folklore,miraculously appeared in an oak.In this place today’s sanctuarywas built and to honour theVirgin a splendid processiontakes place with floats decoratedwith wheat and various gifts.

could be defined as the capitalof woodcraft, such is thetradition in this sector and sogreat the mastery of the artistsand the number of workshopsstill active.

Antonio FilosoVia CaserePretoro (CH)0871 89 85 05

Cav. Silvino FilosoVia OspedalePretoro (CH)0871 89 81 12

CO.Pi.Scale di Pierino Pietro ColasanteVia CerraniPretoro (CH)0871 89 82 44

Fernando MarcantonioVia Purgatorio 7Pretoro (CH)0871 89 81 19

RoccamontepianoA short trip takes us toRoccamontepiano, a rathercurious village since it is reallya numerous group of farmhousesscattered over the slopes ofMonte Piano. The originalvillage arose higher up than thepresent one but was destroyedby a landslide in 1765. Nearbyis a convent of the CaraccioliniFathers that dates back to theXVIII century, and the remains

At top: view of Casacanditella.

Above: products from workshop of amaster of wood in Pretoro.

At bottom: old jointer plane from lastcentury.

maintained more or less thesame kind of use in the MiddleAges and in the followingcenturies up to our times.What has definitely increasedover the centuries is thedegree of refinement in theworking and in the quality ofdecorations. From the simplekitchen table in the house of apoor peasant of the MiddleAges, we have come to theincredibly elaborate dressers

Walter ZuccariniVia A. NicolodiChieti0871 34 63 67

Il Tarlo di Marco Di MuzioVia G.e B.D’ Andrea 15Chieti347 29 54 437

Melanino OrlandiVia Pianell 15Chieti0871 66 891

Alberto Del RosarioVia S. Baroncini 1Chieti0871 61 361 oppure 347 78 53 487

BucchianicoFrom Chieti, crossing throughthe Alento river valley, wecome to Bucchianico.

routes for the workshop of artistic craft in the province of Chieti90 routes for the workshop of artistic craft in the province of Chieti

of the monastery of San Pietroof the Majella.

Jolly Arreda di Nicola Buffone & C.Via Salara 7Roccamontepiano (CH)0871 77 164

OrsognaThe itinerary through the worldof woodcraft workshops carrieson going back to Pretoro,through Guardigrele to thenfollow the 538 road as far asOrsogna, a modern countryvillage that arose on one of the

most important sheep tracks inthe area. Orsogna is mainlymodern because it wascompletely destroyed during thelast world war. One of thesurviving monuments is theparish church, San Nicola built ina baroque style in 1780 followingthe project of Giovanni AntonioFontana, only finished after 1810by Aniello Francia, and thefaçade was completed after themid XIX century. In the near‘L’Annunziata’ Equipped Territorial

Park it is possible to visit thebeautiful Convent observant ofthe Annunziata; in the refectoryXVII century frescos can beadmired. On the Tuesday afterEaster the famous ‘Talami’ paradethrough the streets of the village,a procession of floats with groupsof young people acting outbiblical scenes.

La Bottega dell’Artigiano di Francesco CarulloVia R. Paolucci 40Orsogna (CH)0871 86 687 oppure 335 63 77 340

AriTurning back for a shortdistance on the 538 road, weturn towards Filetto to reachAri, a picturesque hamletsitting on the crest of hillssurrounded by vineyards andorchards, where we can admirethe baronial building from thesixteenth century and thechurch of the Madonna delleGrazie, with its beautifulstatue of the Madonna withChild in wood from medievaltimes.

FAL.CO di Mauro CostantiniVia Sant’Antonio 105Ari (CH)0871 71 85 44

TolloImmersed in the samecountryside landscape, after ashort car trip, we reach Tollo, atown of traditions, well-known

for its excellent wineproduction and superb ediblegrapes. It is possible to visitsome of the numerousvineyards in the area to eitherpurchase bottles to replenishyour cellar or to admire thehuge wooden barrels used inthe production of wine.

Paolo TenagliaViale Principe di Piemonte21Tollo (CH)0871 96 11 94 oppure 328 88 70 020

OrtonaFrom Tollo we go down toOrtona, the most importantcommercial port in the region,a centre for exchange andtrading including various kindsof national and foreign timberthat take advantage ofshipping cargoes as aneconomic way of delivery.

La Bottega dell’Artigiano di Raffaello PacaccioContrada ForoOrtona (CH)085 90 66 290 oppure 347 34 51 131

Osvaldo GalardiVilla San TommasoOrtona (CH)

FrisaFrom the coastline we moveinland once again towards thecountryside, travelling alongthe crest of the hills thatseparate the valleys of theMoro and Feltrino torrents andso reaching Frisa. Here,important traces of the pastare conserved such as the oldbaronial building and thechurch of Santa Maria delPopolo, built in the XVIIcentury along a sheep track.Inside there is a baroque altarwith a painting by PietroAnnigoni that portrays theMadonna with Child. Thisunfortunately substitutes asixteenth century painting

91

Moment of the working of wood.

Aerial view of Tollo.

Fine example of modern craftfurniture.

View of Orsogna.

Incredible quantity of different chiselsused by masters of wood.

routes for the workshop of artistic craft in the province of Chieti routes for the workshop of artistic craft in the province of Chieti 93

A town with a millenary historyand rich in ancient traditions inall sectors of craft. Itsnumerous churches are filledwith splendid examples ofreally true art in the working ofwood such as portals, statuesand decorations. A few of thesetreasures are housed in theDiocesan Museum near to wherethere is the church of SantaGiovina with a splendid organ.

Gabriele AmorosoVia Iconicella 186Lanciano (CH)0872 45 098

TreglioThe road that goes down to theA14 motorway tollgate leads toTreglio, a small town centrethat arises in a truly panoramicposition within sight of theFeltrino torrent valley. Here wecan stop to visit the parishchurch and the old bishop’sresidence that dates back tothe eighteenth century.

Vincenzina Antonietta CeceContrada San Giorgio 85Treglio (CH)0872 54 248

CasoliTo continue in this long,fascinating journey in theChieti territory it is a goodidea to get onto the motorway,heading south, and exiting atthe next tollgate Val di Sangro.We then travel along thesmooth Sangro valley floorroad as far as the junction forAltino and so move easily upto Casoli.

Angelina TetiCorso Vittorio Emanuele 30Casoli (CH)0872 98 17 83

PalenaLeaving Casoli behind us weventure towards the mothermountain, the Majella thatbewitched D’Annunzio with herage-old spell. We travel alongthe beautiful road that crossesthrough Lama dei Peligni and,accompanied by a breathtakingpanorama, takes us to Palena.It has really old origins butvery little evidence is leftsince during the last war thevillage was crossed over by theGustav line, last defense of theretreating Germans. In spite of

the bombardments’devastation, the historiccentre still offers elements ofartistic merit with portals ofnoble buildings and the XVIIIcentury fountain thatwelcomes visitors at theentrance of the medieval heartof Palena. The old ducal castlecalled Castel Forte shows therecent restorations and housesthe Geopalaeontologic AltoAventino Museum, a collectionof fossils cared for by theenthusiastic Erminio Di Carlo.In the church of the Madonnadel Rosario a sculpture inwood of the Madonna withChild dating back to thebeginning of the XVI century,various incredibly beautifulwooden furnishings and twoaltar-pieces. In the old days

the church had a woodenorgan delicately engraved andgilded by the famous artist ofPalena Ferdinando Mosca, butall that remains today is onlythe case. Close by is thesanctuary Madonna dell’Altarebuilt in the XIV century on analmost inaccessible cliff,extending an age-oldhermitage of Celestino V.

Antonio Domenico Pulsinelli Via Frentana 41 bisPalena (CH)0872 91 87 26

ArchiReturning to Casoli, we crossthrough the Sangro river valleyand go up to Archi, an ancienthamlet perched on a hill anddominated by the ruins of theLannutti castle and the outlineof the Church of Santa Caterina.Porta Cieri is the only remainingdefense wall of the village thatoffers a visit to the parishchurch of Santa Maria dell’Olmo,that holds a splendid Madonnadell’Olmo, a painting on woodfrom the XV century and awooden crucifix by the sculptorGioacchino Pellicciotti ofPerano.

Gabriele IovacchiniContrada Caduna s.n.c.Archi (CH)0872 89 61 75

At top: view of historic centre of Archiwith castle; below: Bomba lake fromthe plane.

Above on left: castle of Casoli.

Above on right: historic centre ofPalena.

At bottom: polishing of craft furniture.

stolen many years ago. InBadia there is the church ofSanta Giovina that stillconserves the remains of a XIIIcentury painting concealed inthe attic.

Guglielmo GalardiVia per Lanciano 27Frisa (CH)0872 58 268

LancianoIt is quick to reach Lancianofrom Frisa, one of the capitalsof craft on the Chieti territory.


beautiful side portal in 1742and a panoramic parvis. Theinterior offers the viewing of amajestic walnut choir andconfessionals, the work ofDomenico De Simone ofAgnone and the splendidcanvases by the Neapolitanpainter Ludovico De Maio. Inthe historic centre we can seePalazzo Spaventa, residence tothe family of the famousbrothers Silvio, well-knownpolitician and patriot andBertrando, philosopher, born inBomba. It is worth visiting theEthnographic Museum and the

sanctuary of San Mauro,founded in the XVII century,destroyed during the secondworld war and rebuilt in theVallecupa area. It houses theXVII century statue of theSaint in painted terracotta,worshipped in all the valleybecause it is believed that hewas the author of miraculouscures of bone disease.

Domenico PagliaroneVia Roma 72/aBomba (CH)0872 86 03 35 oppure 328 47 68 099

Castiglione Messer MarinoWe go to Colledimezzo to thenfollow on to Castiglione MesserMarino, feud of the Caracciolofamily since the XV century.Porta Sant’Angelo is to beadmired with its evidence ofancient city walls, nobleresidences of the familiesChinni and Lonzi and theparish church of San MicheleArcangelo. Out of the centrewe can find the rural church ofthe Madonna del Monte,annexe to a convent.Thevillage is famous for itscarnival, animated by therecurrent mask of Punch.

Lino VitulloVia VallancelloCastiglione Messer Marino (CH)0873 97 88 66

AtessaReturning along the Sangrovalley road we go down towardsthe sea to reach Atessa, animportant town rich in history

and art, but characterized inrecent years by the rapiddevelopment of an imposingindustrial area that has not,though, wiped out the age-oldflavours of traditional workingsby the local craftsmen.

I.L.M.E.A. SrlContrada SalettiAtessa (CH)0872 89 78 91

GissiFrom Atessa a winding butpanoramic road takes us toGissi into the heart of theVasto highlands, a village withancient origins and solid crafttraditions.

Giustino CappellaVia C. Battisti 14Gissi (CH)0873 93 76 23

CupelloLast stage of this enthusiasticjourney to discover theartisans of wood is in Cupello,a village behind Vasto. It can

be reached by following the 86road from Gissi or crossing atthe foot of the castle ofMonteodorisio. Cupello wentthrough its maximumdevelopment at the end of theeighteenth century whenPalazzo Boschetti was built andthen between the end of theXIX century and the beginningof the following. Along the wayfor Monteodorisio, we can seethe Travaglini-Fiori, Di Stefano-Muzii houses and the villa andpark of the King.

Artigianlegno di Giuliano Del NegroZona Industriale - ContradaPolercia - Cupello (CH)0873 31 82 76

At top: Castiglione Messer Marino.

At bottom: slowly and steadily thechisel engraves rough wood andshapes decorations.

This page, at top: aerial view ofBomba; at bottom: modern tools helpcraftsmen in working of furniture,masters of wood give shape to everykind of object for the house.

BombaThe road along the Sangrovalley takes us rapidly to ournext stop, Bomba, apicturesque village on theslopes of Monte Pallanolooking over its artificial lake.This village is a well-knownsummer resort dominated by animportant parish church ofSanta Maria del Popolo, rebuiltin the XVIII century with a

Iron and non-precious metalsAdriano Ferri Via del giardino 63, Guardiagrele0871 82091 - 0871 800405

Armando Marrone Via Satriana 5, Guardiagrele0871 85845- 0871800053

Giuseppe Milanese Contrada Vidorni 3, Casalbordino0873 907213

Jewellery and similarGabriella Cericola Via Italia, Gissi 0873 93323

Anna Ersilia Di Battista Via Nazionale 73, Castel Frentano 0872 569897

Lorenzo D’Onofrio Corso Marrucino 2, Chieti 0871 321664

Bruno Palucci Via Adriatica 390, Francavilla al Mare 085 4914509

StoneLeo Di Credico Via Fieramosca, Chieti 0871 349065

Nicola MarinucciContrada Fonte Grande 9, Villamagna0871 300255

Tonino Santeusanio Villa Tucci 193/4, Crecchio0871 936220

CeramicsAntonino Vitacolonna Via Madonna di Carpineto, Rapino 0871 84400

Wood and restorersArt Wood di Fernando D’Innocenzo & C. Contrada Sterpai, Pretoro 0871 898261

Vincenzo D’Angelo Via Cona 7, Pretoro 0871 898230

F.lli Pellegrini di Pellegrini Rodolfo & C. Via Del Mezzo, Pretoro 0871 898188

Giancristofaro Luigi Via Delle Speranze 50, Ortona 085 9063370

Tonia Tomassetti Contrada Colle Marcone 106, Bucchianico 0871 402363

Clothings and TextilesAstra di Adele Franceschini Via Marcianese 25, Lanciano 0872 43606

DCR di Rita Del Conte Contrada Saletti, Atessa 0872 897042

Rina De Iuliis Via Unità d’Italia 226/A, Chieti 0871 560540

Antonio Ferrara Via Madonna del Freddo 104, Chieti 0871 347589

Vera Pelle Italia di Paola Cocco Via dei Marsi 3, Castel Frentano0872 569501

Paper and decorationsGiovanni Cipolla Via Bramante 4, San Salvo

Other craftsmen of the provincie of Chieti

TextsGiovanni Lattanzi

Photographic ServiceGiovanni Lattanzi

Graphics and paginationAndreas WaiblWaibl & Di Luzio

Map of Province of ChietiMoby DickOrtona

Printing and preparationGrafiche Di PrinzioGuardiagrele (Ch)

10th october 2007

Translattion byA.P.VIAFAX traduzioni

Integration of iconographic materialArchivio Carsa EdizioniRoberto ColacioppoEdoardo MicatiMarco MinolitiRoberto MonasterioGiovanni Tavano

Gabriele AmorosoNicola CarideoFederico DeiddaMarco Di MuzioLeonardo LandolfoMagie in OroMario PolidoroAngelina TetiWalter Zuccarini

edited by giovanni lattanzi€¦ · innate intuition of the human race in evolution to dictate the...

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