Saturday, May 30, 2015

Estense Embroidery in Inspirations Magazine

The latest issue of the Australian embroidery magazine Inspirations is out and it is a really, REALLY nice one. Among the other beautiful projects in this issue are two little Estense Embroidery items from Elisabetta Holzer of Ferrara, Italy.

Elisabetta Holzer's Estense Embroidery projects from the latest Inspirations.

A thimble holder and a small bell-shaped ornament done in the characteristic colours of Estense Embroidery. I translated the instructions and did some stitch diagrams and I have to say it looks wonderful and I am so proud to have been a part of this! Inspirations really is the world's most beautiful embroidery magazine.

As you already know, I absolutely love Estense Embroidery so I jumped at the chance to help make this happen. I had such a good time stitching the projects (I always test out my translations if I can by making the project I'm translating or at least trying out the stitches to ensure that what I've written in English makes sense). I had never assembled something like this before but always admired those little thimble holders.

My own attempt at the thimble holder project.

There was something very enjoyable about putting these together that made me notice and miss that I haven't had much stitching time lately.

I really only needed to check the assembly instructions for the bell so mine is not as ornately embroidered as the one in Inspirations, but I like it all the same.

There is even a little book review of Elisabetta's latest manual:

If you haven't take a look at Inspirations for awhile this is definitely an issue to treasure, it is packed with so many interesting historical articles and the projects are outstanding. You can get a digital subscription or just buy one digital issue from Zinio instead of waiting for the mail.

Wednesday, May 13, 2015

Giuliana ricama - new needlework magazine

Last June I received an excited email from a friend in Verona with news that very soon a brand new embroidery magazine was about to come out with their first issue. My friend had met with and liked the people involved and was writing to tell me that she was sending me a copy.

There was much excited buzz online about this new magazine when the first issue was released. It was different from all its predecessors and distributed only through needlework schools. Issue "0" was free of charge!

Issue "0" of Giuliana ricama, June 2014.

Even before I received my copy I had lots of emails from Italian embroiderers asking if I knew about it, if I'd seen it yet, what did I think? Reviews were mixed. Some people were very enthusiastic, some less so. What I did hear loud and clear was that it was different from what people were used to - in every way. Change is good. The magazine had gotten people's attention and they were talking about it.

Italian embroidery magazines have traditionally tended to be beautiful. High-glossy pages full of breathtakingly beautiful masterpieces. Sparse on instructions, mostly eye-candy.

When my copy of Giuliana ricama arrived I tried to be impartial as I wanted to do a review on my blog. Large format (9 1/2" x 11 7/8") with perfect binding and a heavy card cover, it has semi-gloss paper inside and just over 100 pages. It's too big to fit in my scanner so I have to give you cropped cover pics.

The macramé beach accessories on the cover interested me. The first page inside the cover had an advertisement that promised digital download for your smart phone or tablet, this also interested me.

The letter from the editor asked for feedback, collaboration and ideas.

There was a wide variety of projects: traditional embroidery, drawn-thread work, cross-stitch, macrame, crochet, bobbin lace, trapunto, reticello, punto antico, cutwork, huck-weaving, sicilian filet lace. Traditional projects like bed linens as well as fun things like t-shirt embellishment. Relatively simple projects, nothing that seemed like years of work. The magazine seemed to me to be aimed at young women or perhaps women with younger children.

Personally, (and you know I'm interested in Italian needlework almost exclusively) while there were some Italian-needlework specific projects, I didn't think it would be a magazine for me mainly because of the level of simplicity and that I felt the projects were too "young" for me.

However, when issue No. 1 came out and I saw the cover art online with Sardinian Punt'e nù embroidery, I was curious enough to ask a friend to send me a copy. I was delighted to find that this new issue had a number of historical articles and an interview with one of the masters of Italian needlework.

Issue no. 1 of Giuliana ricama, November 2014.

I started to hear good things about the staff of the magazine from people who were meeting them at the various textile fairs and shows in Italy.

Giuliana Ricama was not distributed on newsstands but through Italian embroidery schools. If you wanted a subscription, you had to do it through your local needlework school. I liked this idea, it meant that only those who were interested had exposure to it. The down-side to this of course is that all those people who embroider at home without attending schools don't see it on the racks of their local supermarket. But really, how often do you see needlework magazines on the racks anymore? Unfortunately this also meant that those of us outside of Italy could not subscribe. I was very lucky to have a friend gift me with a subscription but I feel incredibly guilty at the cost of overseas shipping every time I receive a new issue and imagine that my friend has other things to spend her money on, but I'm grateful nonetheless that she is making it possible for me to see this magazine.

One thing I noticed immediately in this issue was that the ad promising future digital support was gone and I have since learned that they have decided not to pursue the digital subscription option.

Issue No. 2 arrived and I was happy to see that the historical articles and interviews seemed to now be regular features. The range of ideas for projects was widening, this time there were things for those people who like to do historical re-enactment costuming. Step by step photos of stitch instructions were more elaborate and numerous than previous issues. There were some more-involved and technically-advanced projects too, not just simple quickies anymore, though small projects were still offered as well.

Issue no. 2 of Giuliana ricama, February 2015.

I have to say, having seen the cover art online, I couldn't wait for Issue No. 3 to arrive. This time I was inspired to stitch more than one of the projects. There was a subscription form in this issue which meant that if you lived in Italy, you could now get your issues delivered to your home instead of your local embroidery school. The letter from the editor continued to ask for feedback and collaboration and to point out that they were implementing reader suggestions in an effort to improve the magazine with each issue. I think they are doing just that - improving with every new issue. I saw the collaboration of various embroidery schools who seemed to be abundantly submitting projects. I for one, am looking forward to seeing what the next issue holds - changed my tune, didn't I?

Issue no. 3 of Giuliana ricama, April 2015.

When I was in Italy this past April, I went to their offices to meet with the editor-in-chief Marco and the sales manager Nicoletta. We sat in a room full of boxes of needlework that had been sent to the magazine for future issue projects. I may have peaked, but I'll never tell!

The staff are very dedicated to the magazine and very much in need of support from anyone who is willing to submit projects, ideas and/or articles. Their interest is not limited to Italian needlework so this means that you can support them with any idea that you might have. Contact them here. They really do want to hear from you!

Just so I've said it, the text of the magazine is in Italian.

Giuliana Ricama website:
Giuliana Ricama Facebook page:

Saturday, May 2, 2015

Valsesian Puncetto

I was recently gifted a flight to Italy and as you can imagine, dropped everything and went. I spent Easter in Rome then travelled to Verona, Florence, Prato, Bologna and on to the Valsesia region in the north eastern part of Piedmont, at the foot of the Italian Alps.

I had never been to this region and knew it only by reputation of the beautiful Puncetto needle lace so I was very excited to be offered the chance to drive up there with a couple of friends. I immediately contacted Paola Scarrone of the Scuola di Puncetto Valsesiano in Varallo to see if I could take advantage of their program "Puncetto whenever you want" which, aside from their other didactic programs, offers you the chance of lessons when you happen to be in the area.

I had recently been in contact with Paola as she and her association were kind enough to provide photography for my latest historical article on Puncetto in the May/June 2015 issue of Piecework magazine. We set up a lesson with Angela Stefanutto who I had previously studied with at Italia Invita in 2011.

We arrived at the historic Albergo Italia in Varallo where the lesson took place and were delighted to find not only Angela but the hotel owner's wife Ornella Marchi was also a lover of Puncetto. In the hotel lobby are some framed pieces as well as wood cut designs which imitate the lace and the dining room curtains all had inserts of Puncetto, each one different from all the others.

Different Puncetto motifs in coloured thread in the lobby of the Albergo Italia.

Wooden post with magnifying glass and Puncetto in the knob at the Albergo Italia.

We spent a delightful couple of hours together and Angela kindly corrected my mistakes and misconceptions and tirelessly showed me examples of all kinds of different situations. I wish I lived closer to her so I could go to her on a regular basis. She is the very best teacher!

Angela also told me that the instructional book that she and her association had written in 2009: A Scuola di Puncetto Valsesiano had finally been reprinted and was now available for purchase (see below). I know that many of my readers had been frustrated with it's lack of availability so you will no doubt be happy to know that you can now find it.

Of the three books that they have written, this is the one you want for getting started.
After coffee, we went along to their shop the Bottega Dell'Artigianato at Corso Umberto, no. 1 in Varallo (a short walk from the hotel) where there are all kinds of local artisan items for sale including Puncetto needle lace pieces.

The shop Bottega Dell'Artigianato in Varallo.

Coloured Puncetto on the apron of a traditional costume in the Bottega Dell'Artigianato.

Puncetto collar and yoke on the blouse of a traditional costume in the Bottega Dell'Artigianato.

I purchased four small pieces of Puncetto lace and the reprint of the manual. It was so difficult to choose, there were so many beautiful things!

Back at our home base in Prato Sesia, our hostess gifted me with an exquisite framed piece of Puncetto which she had hanging in her home.

Wonderful framed Puncetto hanging on the wall in Prato Sesia before it was given to me.

You can purchase A Scuola di Puncetto Valsesiano from Tombolo Disegni.

Thank you to Bianca Rosa for the use of her photo!

Saturday, March 21, 2015

DMC Natura Just Cotton for tassel making

The last time I went to Italy in October of 2013, a friend from home asked me to get her some Lampo Cotone Povero yarn to make tassels. It proved to be a difficult task and I was unable to get her any.

We've talked about Cotone Povero before here on the blog. It is a 100% pure soft cotton yarn with a matte finish used in Italy to make tassels and for stitching Caterina de'Medici embroidery among other things. At one time in history it came in many colours but now I believe you can only get natural or white though ebay searches still turn up other colours from time to time. The balls are 50 grams at about $3.00 USD each and you can make a lot with one ball. The yarn is made up of 6 threads twisted together. It is available from various places online like Tombolo Disegni, Ricamiamo-Insieme, Bergamasco, etc. but I was unable to find it in any store I walked into in Rome, Florence or anywhere I was in Puglia. This is not to say it's not there, I just couldn't find it.

Upon returning home I was told by an Italian friend that DMC makes a soft cotton yarn which is a nice substitute called Natura Just Cotton. It comes in many colours and is available outside of Italy though not in North America that I could find at the time. I ordered mine from Sew and So in the UK.

The balls are 50 grams and the yarn is made up of 8 twisted threads. I see it is now listed on the DMC US website but internet searches for resellers still result in mostly UK sources. Price is about $4.00 USD.

Lampo Cotone Povero on the top, DMC Natura Just Cotton on the bottom.

Comparing the two yarns, they are not identical but I decided to go all the way through an experiment to see if I liked the Natura anyway. I'm not sure that you can see, but the Cotone Povero is ever-so-slightly thicker and it's hard to tell from the photo but the Natura is slightly less "matte" than the Cotone Povero.

While in Phoenix last October at the EGA National Seminar, I bought a Deruta ceramic fuserola bead that my daughter picked out for herself, she wanted a tassel to match her camera strap. I got DMC Natura in black and Sable to match the bead.

Battery operated cord twister we dubbed the "zip-zip".

Using my fantastic new favorite tool, a battery-operated cord twister developed by a lady in Assisi which we lovingly dubbed the "zip-zip" as it makes cording in a zip - I made many many twisted cords. I think the real secret to tassel-making is that when you think you have enough, make more. Tassels should be full and not skimpy.

Then the knotting process began and I knotted my cording until my fingers were beyond sore. Next step is to string the cut pieces onto yarn as you would when stringing beads, see this tutorial here. Odd numbers are best, so groups of 3, 5, 7 or 9.

7 "legs" are made up of 5 groups of 9 pieces.
There is a cluster at the top of solid Sable and I used Black to string everything together.

I'm pretty happy with the result and I like the fact that DMC Natura comes in so many colours. For tassel-making I think it is a fine substitute for Cotone Povero. Next task will be to do some experiments in using it for Caterina de'Medici embroidery. I'm a little concerned that it may be too thin for the Buratto fabric and that the coverage won't be as good, but that's for another time.

Do you know of a soft, matte finish cotton yarn available in North America that I could investigate as a substitute for Cotone Povero? If so, please leave a comment below!

Saturday, February 14, 2015

Protagonists of Italian Needlework Crossword Puzzle

A lady from my chapter of the Embroiderers Association of Canada made a crossword puzzle out of needlework clues and I thought it would be fun to do one involving a few names from the history of Italian needlework.

Most answers can be found by searching my blog, I tried not to be too obscure in the clues. Post a comment with your email addy if you'd like the answers sent to you.

I hope this is as fun to do as it was to make! Click on the puzzle for a closer look.

Thursday, February 5, 2015

Deruta Drawn Thread Work - new book!

There is an ever-growing, never-diminishing stack of books on the floor beside my desk that I refuse to put away in my bookshelves because I want to tell you about them. I am woefully behind due to many projects that have more demanding deadlines but today I find myself with a few minutes and I want to tell you about a book which is filled with exquisite Deruta Drawn Thread Work embroidery or Deruta Sfilato as it's called in Italian.

This book actually came out last September and is the second for Maria Elide Melani of Ago, Aga e Fantasia on this beautiful and delicate Italian needlework technique. You can read about the first book here.

I've translated the book introduction for you:

The forgotten history, the tradition of a lost embroidery that I rediscovered retakes shape and transforms, leaving room for imagination in the creation of small, simple masterpieces.
Passing the time to recover the memory, studying old trousseaux and taking inspiration from the designs of many years ago, I felt the need to give a new utility to this embroidery.
The fragile cloth is intertwined with needle and thread, faithful to traditional motifs, but here ideas and new colours are born with unusual designs.
Purses and pillows in the colours of spring take form together with small lampshades, a delicate little dress which makes you think of a big party, not to mention the color red that offers many ideas for Christmas and many other pieces, outside of tradition and unthinkable until only a few years ago.
The simplicity of the execution is accompanied by instructions and photos which illustrate the various stages of the work, making it easy even for less experienced stitchers.
I wanted to introduce this book with only a few words because my intent is to let the embroideries and patterns "speak" and, with a personal touch, they can be perfectly adapted to any embroiderer.
Happy Stitching!

The book is 60 pages long with many large full-colour photos. The text is in Italian but step-by-step photos guide you along the preparation of the fabric, the mounting of the fabric into the frame, the series of stitches used in this technique and how to execute the various motifs. The only thing you'll really have to spend some time translating (use Google!) are the six sentences about care and washing when you're done. There are 22 patterns for the most exquisite projects: a handbag and workbasket, dress hemline and table runners, several stitching project bags, table centres, towel borders, lampshades, pillows, curtains, Christmas tree decorations and tablecloths. You can see a preview by clicking on the larger photo of the book on this page here.

The book is available directly from the publisher Nuova S1 - they accept PayPal, or through Tombolo Disegni - send an email to order; or from Lacis in the US.

Friday, December 26, 2014

Puncetto article translated

In doing some research lately, I had translated an article on Puncetto from an old Italian monthly magazine: Vita Femminile Italiana [Italian Women's Life] from 1907. It occurred to me that perhaps you might like to read it as it is not something you would normally come across. Any errors in translation are my own.

Clorinda Favro's Diploma from the Genoa Italian Exposition of Women's Work, 1903.

Valle Vogna and Puncetto
by Modesta dell’Oro Hermil. Vita Femminile Italiana, 1907.

It seems like a fairytale. Once upon a time in a valley far, far away… way up high up in the mountains, there were poor women, young and old, gathered in small huts buried in the snow. Their fathers, husbands, brothers far away in a foreign land to earn their bread. The women, alone in their miserable, difficult life. Finished the few brief tasks of their primitive family life, here they are in the light of the white snow reflected through small black narrow windows and in the evening in the light of the flame, here are the poor fingers that in summer are hardened by the harsh work in the fields, now in the break from the misery, become the nimble fingers of fairies. From those poor fingers blossoms lace, real Alpine flowers, real snowdrops of work, and the fine needle, shiny and patient, works and etches like an engraver.

And that strong brilliant work then adorns the shoulders of the workers and the lace supports the shoulder basket. Dear Italy, my beautiful homeland, where the light of art, a flower of beauty, emanates and is revealed even among the rocks, even among the poverty, even in the solitude, in the hardship.

And one day a lady, no, I mean the good fairy, passed by in the months in which the work bustles in the fields. Her expert and practised eye rested on those laces, true carved ivory. Her heart was touched by so much courageous poverty and rude work and the gaze of the artist was attracted to that form of feminine art.

And so it was that Mrs. Lynch, on a pilgrimage from Ireland, discovered the Valle Vogna and Puncetto.

Puncetto, the alpine stitch, the strong lace of the peasant women. The fundamental stitch is a double buttonhole stitch, that is: a second loop is made in the first and the two combined form a knot so that the lace can be cut without unraveling.

Puncetto is the word of the dialect of some valleys to the south of Monte Rosa for this lace that forms part of the local peasant costume. The seams of their blouses made of linen woven at home, are connected by the lines of incrustations of this lace.

Generally, women in the region are small, delicate, but they work harshly; they are the log splitters, the water bearers, cheese makers, shepherdesses, field workers; it is therefore necessary that every part of their dress can withstand the roughest jobs. “It is made for eternity” say they, and in fact it must be strong! In the summer those frail shoulders carry the trunks of the strangers who spend a few warm weeks at the only little hostelry of the valley.

A visitor to whom those weights seemed cruel said, “Send me a mule for my trunk. It is full of books, I do not want one of these girls to carry it.” He was told: “There is not one of them who would not regret the half lira that you will give for taking this trunk down to Riva, and a mule would cost more.” And they do it with gratitude.

Money is so scarce! And they take down and bring up those terrible weights on those rough roads, almost like staircases in parts. There are only women and children to struggle with the rocky soil. The picturesque slopes are rough to cultivate, almost only pendent edges, onto which frequently a layer of earth must first be brought and then carefully fenced, sheltered, supported, otherwise it would be washed away by rain and lost.

For a few weeks in the summer many women can earn some money by carrying huge weights on their shoulders, not only trunks, but also beams to the sawmill and staves to the Cooper, but how many times these small earnings are spent in anticipation!

Where and when was Puncetto first made?

The peasants who wear it, in Valsesia, Valle Vogna and the nearby valleys answer: “it is very old; it was old at the time of our grandmothers.”

The alpine women of Parrè in the Bergamo Alps produce a lace very similar to Puncetto and they associate it to the time of the plagues, saying that even then it was already an old authentic lace. At the time of the plague the women of Parrè vowed that neither they, nor their descendants would ever change their ancient costume, nor would they ever follow the dictates of fashion if only the plague were stayed. Outside the Sesia Valley, in other parts of the Alps, the same quality of lace is called “ivory stitch”, “saracen stitch”, “greek stitch” and “alpine stitch”. Saracen stitch could be the name given to anything in the days when the terrible pirates reigned terror down on the inhabitants. Towers, castles, hills, mountain passes, still carry the names of Saracens even when history shows no correlation between them and anything moorish.

The name “greek lace” may be supposed to be due to that many of the closest, tightest patterns of Puncetto have a distinct resemblance to the ancient handwoven linen used in the early pieces of Cutwork.

The oldest of all forms of lace was the Drawn-thread Work, the second, Cutwork and both forms flourished in Byzantium in the days of the Roman Empire. Puncetto, under its various names is only found in the Alps. A scholar of the history of lace expressed the theory that the Alpine stitch is the third age in the family of lace. We must not forget that Puncetto, although it is an authentic and beautiful lace is rather a kind of idealized macramé and not the soft spider webs of Honiton, Valenciennes, Point de Bruxelles, etc.

These rich rigid substantial laces have their own special use, they are especially suitable for household linen and everywhere where an edging of fine passementerie or gimp would go nicely. Puncetto takes a long time to execute and can never therefore be done cheaply.

A former schoolteacher, during twenty-seven long years, taught the girls of Valle Vogna to use their needle as true artists during the long harsh winters. She sensed the opportunity, the benefits that the foundation of an industry of lace would offer to her pupils. No one better than she could understand the misery, the gloom of the long months of winter, when, ill-fed, ill-heated many of those girls did not even have the relief of work, but spent the long painful hours waiting for May.

The snow begins to fall generally in mid-October to melt, then fall again. At Michaelmas the cattle descend from the high Alps. Some go to fairs, others spend the winter at lower levels, others are installed in one of the divisions on the ground floor of the châlet, which becomes the living room. A solitary weaver said, “I stay here in the winter, my cow is such a nice companion!"

The husbands, the fathers, sons, brothers, boyfriends come back, if they want and if they can, from France with a small hoard to spend a few weeks in the brown châlets where they were born.

But a long and fierce winter has already passed before Christmas brings the men home and another still long and terrible one must pass before the return of spring. It is already late in the year before the field work can be restarted in the higher regions.

Poor, dear old teacher who kept that little flame of art and work alive, lit in the snow, in the silence, in the abandonment! And now from Ireland comes the intelligent and generous aid, and now that little flame has become the great fire of good industry, of well being that warms hearts and the small châlets. She had the satisfaction of seeing the lace industry launched and thriving before going to her final rest in death.

The story of the small Industry is a story of struggle. When Mrs. Lynch admired the lace, she thought it may offer a means to lift the extreme poverty of many of those women. She believed that when one can such produce a rare and artistic thing, one must find a market for the work. She gave, and conducted the introductions to give orders: collars, cuffs, borders for blouses, lace for lingerie. They were successful. Requests came for pillowcases, tea-table cloths, bedclothes. Gradually they found new uses for the strong lace; altar linens, work bags, etc. An American lady conceived a summer outfit with inserts of seven different lengths of Puncetto from Valle Vogna.

From poor Ireland came encouragement and invaluable assistance.

The Daily News of June 1897 announced: “Some of the curious and beautiful point lace of the Valle Vogna, (resembling Greek lace), is being mounted on Irish linen by the Irish Industries Association for Queen Margherita. It is to be offered to Her Majesty by some of her lace making peasant subjects. The Countess Bective has designed the royal crown for the different pieces. They can be seen at the Irish Depôt, Motcomb St., Belgrave Square.”

In the Queen newspaper of November 5, 1898: “The Val-Vognian Peasant’s Work. Last winter an Italian gentleman took to Rome, for presentation to Queen Margherita, a tea-table cloth, d’oyleys, and a cushion, trimmed with the handsome lace edgings and insertions made by the Val-Vognian peasants. Her Majesty has just sent, by the hand of the same Piedmontese gentleman 300 lire to be distributed among the workers. They are delighted at this Royal bounty. They never dreamt of reward beyond the honour of the Queen’s acceptance of their work. Now this gift will make a great difference in the lives of three or four poor châlets.”

So it began, laborious and ascending. Queen Margherita, whose private collection of lace is of great beauty and value, continued to buy. It was good - she is so surrounded by all the smiles and tears, as in all high art and the humble work of her people, and also Puncetto made from strong and patiently knotted threads in huts buried in the snow, now rigid and serene in the Royal Palace.

In the six or seven months of the winter reclusion they worked on a bedspread ordered by Her Majesty. It is copied from a pattern from about 400 years ago, the work of an Arab, probably a prisoner. The signature can be seen in the margin of the original piece. A pair of curtains of the same pattern were made at the request of the Italian Minister of Agriculture and Commerce and they go to the St. Louis Exposition. As a door curtain, curtains, etc., these embroideries are Arab-Val-Vognian - admirably suitable and highly artistic. Their true name is: Cutwork. One pair of these curtains gave work to five women over two years.

The lace done now in Valle Vogna is finer, more even, better designed than the Puncetto of eleven years ago. The industrious workers were given samples of the laces and embroideries of Greece, Bosnia, Hungary and they have copied almost every sort of complicated works of art. They make beautiful towels with knotted fringes that the Arabs introduced to the Mediterranean coasts. They collected photographs of the sculptures of Byzantine Ravenna beautifully suited for Puncetto patterns.

The dear alpine women like to give special names to their laces. The Mice Ladder for a mass of tiny thin bars. The Lattices of Alpe Motta - for a lace made of criss-crossing lines - Daisies - Rosettes - Lucia’s Pearls - Carolina’s Roses - Trefoils - I Give You Good Morrow - Forget-Me-Not, etc. So much unconscious poetry! In 1899, four women were occupied all day for each day of the week. In the winter of 1900-01 eighteen lacemakers were in constant employment and also the weavers found a market for their linen.

And they are so glad for each new order, their letters are so full of gratitude! “I must tell you something Signora; when I became too weak for field-labour and our only cow was dead, I said to myself: now my mother and I will perish from hunger. And then came the lace orders. It is as if the hope of work gave me courage and health. We are happy ever since.”

Lately Valle Vogna had the honour of a request to supply samples of Puncetto, Drawn-thread work and Cutwork from the Royal Museum of Brussels.

Collectors add samples of this special lace to their collections. In the winter Emily Holness’s store Valle Vogna Industry in San Remo at No. 8 Via Vittorio Emanuele sells pieces of Puncetto and in the summer in Ormea from the same Miss Holness. They can be found still from the Ghersi ladies at Courmayeur, Fräulein Huber’s shop in St. Moritz, from Frau Kniel in Davos-Platz.

In London Puncetto suitable for dress purposes is at Sheba’s in No. 15 Sloan Street, S.W. and the bigger pieces at Walcot’s, Moulton Street, W.

For any purchase or order or clarification or samples it is best to contact Signora Clorinda Favro, Casa Verso, Valle Vogna, Province of Novara. She is the Chief worker in the Industry. She won a gold medal at the Genoa Exhibition and a diploma from the Ministry of Agriculture, Industries and Commerce.

Land of misery and now land of cheerfulness.

The whole history of the Valley Vogna is contained in these words.

Poor dear old lady who’s death Mrs. Lynch saw as a blessing. She was believed the first director; she had never seen her do anything for nothing; the nothing - material that implies great spiritual wealth, continually. Then she understood that tenacious, patient, ardent goodness. And in the last hour she saw again the harsh work of summer, the long frozen winters, lonely, dark, like painful vegetating, not a life but a non-death; saw again the poor hands slowly working the Puncetto of home!

Then she saw the large group of happy and industrious workers, saw the flow of beautiful designs, beautiful antique laces, the multiplication of the work in the better-lit, better-heated huts, saw the poor Puncetto leave for distant countries, go to the Queen, go to museums. She saw a new light of prize-winning work, of intelligence, of emulation and closed her eyes - blessed in that vision and wished that the good old lady might be told that for her "a land of misery is now a land of cheerfulness.”

Dear little old lady of Valle Vogna!

How beautiful the word “cheerfulness" is. She didn’t say wealth or progress - cheerfulness - joy, the bloom of honest, appreciated work; the fruit of the labour, not only in money, but in moral development, in the well-being of the soul.

Kind ladies, make a place among the gauzy laces and soft silks, make a place for the strong Puncetto of Valle Vogna. When you go out in the summer sun, ascend to the mountains in fresh outfits of good linen, make a place for Alpine stitch. 

The soft laces of the living rooms in our artificial light; at the top, in the open air, is the Puncetto worked by hands that have reaped, tilled: the Puncetto worked in winter huts, that blossomed at the foot of the mountains like the edelweiss pure and strong.

- - - - - - - - - - - -

Many thanks to Bianca Rosa and Ivana!