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Our Final Night in Bosa was the Festival of Our Lady of Regnos Altos

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What an incredible final night for our time in Bosa. The festival included a brass band, women dressed in medieval costume as well as the national costume of Sardinia. The festival started on Saturday night, with two brass bands, followed by locals carrying candles. Church members brought the statue of the Madonna from the large church in town to the Piazza della Consituzione where the fountain there was festooned in white lysianthus flowers and candles.

There is some of the handmade Sardinaina needle lace at the border of the draped fountain.

The following evening, just before the main event of the festival, the waiters and owner of one of the restaurants in the Piazza posed for a photo at this altarritos.

We ate at Don Carlo restaurant enough times tht every waiter knew us.

While I don’t understand the reason for this festival, I certainly enjoyed all the displays of lace. The story goes that a small Madonna figure was found in the small church that sits on top of the hill within the walls of Malaspina Castle, which was built in the 12th c and was in use for 800 years. To celebrate finding the little Madonna figure (found sometime in the 19th c), the large Madonna statue is taken from the main church down at the river and carried through the narrow, winding medieval streets of the historic Sa Costa area leading up to the castle.

The procession includes brothers from the church as well a local women dressed in medieval costumes and in the national costume of Sardinia. Somehow I missed all the women wearing the national costume.

What I noticed is that all along the Sa Costa cobbled streets women had made small altars (altarriti) that showcased their handmade lace, with copious amounts of flowers and candles and small Madonna figures. It was so impressive. Next to each of these altarritos women sat out on folding chairs talking to one another. It would have been wonderful to get photos of all the women, but it seemed invasive and inappropriate for a religious event. They were all happy to hear compliments on their lace and to have photos taken of their work.

Not all altars had handmade lace, but they were certainly impressive.

I had high hopes for finding the two lace makers I met in May on my first visit here. I was thrilled to find them, and after a few moments they remembered me when I told the story of not having enough cash to pay for the things I’d chosen. I asked where I might find an ATM, and or course, it was all the way back down near the river. I did not think I could make the trip up the winding streets twice that day in high heat, so I came back a day later, and the two women held my purchases aside for me.

On this visit Iearned how they start the needle lace. I had mistakenly thought that they must make the netting background on the frame, but this is not the case. They make the netting the same way the fisherman do it. They have the netting shuttle and make a length of lace. It grows on the diagonal from one corner to the other. I have no idea how they can tell how big to make the lace so that it will fit on the frame for the particular project they have in mind. If only I understood those words in Italian!

Walking back through Sa Costa at the end of the procession we saw lots of families eating together in large rooms with doors and windows open to the beautiful evening. Restaurants were open for dinner, and Bob and I found a charming place on a terrace overlooking a courtyard. There was a canopy of grape vines above us. It was magical, and the dinner was our best yet in Bosa. It was a wonderful way to end our time there.

Thank you to everyone in Bosa who showed us such hospitality!

Farewell to Bosa

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Tomorrow we will set sail and head south to some remote anchorages off the western coast of Sardinia, on our way to visit either Cagliari or some harbor nearby. We are hoping to connect with a couple of men we know from Essex, who always spend part of September on Sardinia. After spending some time on the south coast we will sail to Sicily. Bob has been working toward this for the entire two weeks since we’ve returned to Sardinia. There have been lots of boat problems. While that is the nature of blue water sailing, because crossing oceans is so hard on a boat, we did not expect getting services in Mediterranean to be so difficult. I guess it’s been easier to have repairs done in the Caribbean because there are enough English speaking cruisers there that English is generally well understood. In some of the islands, English is the main language, but even in the French islands it was easier to communicate repair needs than it has been in Spain or Sardinia. Bob wrote up his list of repairs, translated it into Italian, then photographed the things that needed attention and circling the important parts of the photos….but no luck…at all. Bob really climbed a steep learning curve to install a new inverter for our electrical system and a new alternator for the engine by himself. All I can say about this is he is persistent.

I loved being here. The people are friendly, and they’ve been quite patient with my fumbling Italian. In spite of several years of Duolingo Italian, I can barely compose a grammatical sentence. I have a large vocabulary, and that has worked well enough for me in spite of making rather nonsensical sentences.

If you should choose to visit Sardinia, I highly recommend spending some time in Bosa. It is a medieval city with a castle on the hill. It is well known for it’s colorful houses, and in spite of its charm, it is not a big tourist area. When we first arrived in May there were only locals. Now, at the tail end of the tourist season in the Med, there are only a few tourists. I’ve had wonderful opportunities to meet and even get to know a few locals. The high point for me is that there is a culture of fine craft here, from needle lace making to weaving and sewing, pottery, basket making, and so many other fine crafts.

Instead of writing on and on about this place, I’ll focus on showing images of Bosa. I hope you enjoy it.

When dusk falls and the lights illuminate the Malaspina Castle

Bosa is well known for its colorful houses that sit below the castle. My image is a little washed out due to the strong sunlight.

Bosa sits on both sides of the Temo River, and there are several bridges that connect both sides.

Bosa at night is spectacular! We would dinghy here and cross the bridge into the medieval part of the city for meals and museum visits–and shopping.

These are some of the colorful houses that are iconic for Bosa.

The entrance to a cafe right near our rended room
Our rented rooom in Alene Guest House, right in the midst of restarants around the Piazza Constituzione
These baskets are made from paper that has been rolled into tight coils. There is a bit of the famous Sardinia woven fabric in the middle. The baskets are finished with some kind of preservative that I did not understand. I said “varnish” and the woman who made these replied, “bio finish.” I then asked if she meant ‘natural finish,” and she said yes. I’ve no idea what that is exactly, and I did try a google search to find out more, but no luck there.

Here is the basket I chose. It was a hard decision.

These wonderful Sardinian fabrics are used everywhere, as valances on windows, table runners, bread baskets and larger containers, even little chickens.

Little chickens made into key chains or purse dangles, by Paola Porcu.

Bosa is well known for needle lace, and the whole town is festooned with it, especially the church.

My favorite part of our visit was the Tuesday market where I spent time looking through so many woven fabrics. I will never feel that I saw enough of them, or chose enough of them to bring home.

On our final day here there is a festival to the Virgin Mary. There seems to be a lot of these. Before we left in August I saw images of a festival to Madonna di Mare, where a statue of the Virgin was carried down to the river, amidst a mass of flowers. The flowers were thrown into the river, the statue was placed on a boat festooned in flowers, and I guess she blessed the fishing fleet and the bounty of the sea. Today the statue will be carried through the town and there will be displays of the needle lace made by many of the local women. I guess the Madonna will bless the lace and the women who make it. I am looking forward this, and won’t it be such an experience to end our time in Bosa!

The people of Bosa began the festival last night, while Bob and I had dinner near the Piazza Constituzione. The fountain was decorated with candles and white lisianthus bouquets. The statue was brought to the fountain along with a procession of a brass band playing hymns and people carrying candles. The Madonna was taken back to the church where an a capella men’s chorus sang a number of hymns followed by organ works. It was a beautiful celebration…and yet today will be the main event, so very likely even more impessive. I am excited!

This has been a memorable place to visit. I’ve loved every moment of it (except when we moved aboard Pandora before the repairs were completed). Can you tell how much I’m enjoying Bosa?

Farewell to this stunning and welcoming place. If our luck holds we’ll be back here in a few years as we begin the journey home.

Tote Bag Fetish

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It seems I might have a bag problem, as in too many. After years of collecting them I have now turned my attention to making them, and what fun that has been!

I recently came across a poem by Brian Bilston about someone who has a lot of bags. Naturally I thought he must be writing about a weaver. Somehow I thought it was only we weavers/spinners/knitters who can never resist the opportunity for yet another tote bag (okay, maybe also quilters). I was just about to write a comment on his poem when I saw that someone had already posted this:” I think you’ve been in my house!” There was no indication that she is a weaver/spinner/knitter, so maybe the predilection for tote collecting goes farther afield.

If you’ve never read Brian Bilston’s poetry before, you can find his poetry at https://brianbilston.com/ here. Or you can look for his books.

Bags

you have bags
of bags

collecting bags
with nothing in them
except bags,
inside of which are other bags,
full of bags

you have enough bags for life
for a hundred lifetimes–
if there was a prize for the total number of tote bags
you would totes have it
in the bag

don’t know why you need so many bags
when all you ever put in them
are other bags
— Brian Bilston

A couple of years ago, after I took a sakiori class with Janny Simpson, I continued to weave off my fabric. I used it as supplemental fabric on a denim ground to make a tote bag. I am smitten with it still, in spite of its lack of sewing skills.

I’ve bought plenty of tote bags over the years from places I love, like the Dovecot Studios in Edinburgh, a festival in Horta in the Açores, totebags from every weaving conference I’ve ever attended….the list goes on and on. Here’s the tote I bought in Nijar, Spain, in April after wishing I had bought it the year before, when I first saw it. I had to buy two so I could share the wonder with a friend.

Over the summer I used this tote bag from Spain to make another attempt at sewing one myself, with fabric I got in Sardinia in May. Do you remember how I asked a restaurant and vineyard owner to sell me this table runner right off one of the tables in his restaurant?

My sewing construction for this bag was much better. It helps to have a good tote bag as an example, along with help from my sewing friend Emily, and all the YouTube videos available. In these digital times there is always a solution to finding information. I love carrying this bag. Now that I’m back in Bosa (Sardinia) I have bought more of this fabric to share with friends. And of course I stopped by the restaurant to show the owner how I used his table runner.

And since I love to see what other weavers make wherever I travel, I was thrilled to find women here in Bosa who also sew with these fabrics, I’ve bought three more bags, but only two of them are mine! I just got the two that are shown together hanging on a door knob recently. All of these were made by a local woman, Paola Porcu, who sews lots of interesting items out of these traditional fabrics. The two I bought are lined with handwoven fabric that looks like Swedish canvas lace (that I just finished weaving myself in 40/2 linen as shawls!). That fabric was woven by Paola’s mother. What a treasure! How could I resist, and how could I just choose one of these stunning bags. They are HUGE, as you can tell in the top photo. I plan to showcase lots of yarns in these bags, and showcase the bags themselves by having them out for viewing near my favorite chair for knitting.

Before we headed home last June we stopped in Alghero, a little further up the western coast of Sardinia from Bosa. I found this man’s weaving studio, where he also makes tote bags, among other things.

Not all sewing projects turn out well on the first attempt. This tote bag is waiting at home for my return when I will try to figure out what on earth went wrong!! It’s made with fabric I love–made on a day spent with my good friend Jody who does wonderful work with botanical print dyeing. She guided me through this attempt, and I have a lovely raw silk scarf now. But I’m actually more intrigued with the cotton flannel fabric we used for an iron blanket on our scarves. I decided to use the cotton flannel botanical print for a hand bag. The sewing went well, using the pattern “Mini Poppins” by Aunties Two, but when I finished the bag by inserting metal stays to shape the bag something went terribly wrong. I hope I can fix whatever is wrong. It would be a wonderful bag to carry in fall and winter.

Tote bags are SO useful, and also beautiful. They hold memories of events attended, travels, and the gathering of so many rich experiences. The materials for making them provide a grounding time of creating and sewing the bag. How can I possibly resist them? Yet the poet Brian Bilson is also correct that many of my tote bags hang on hooks and are filled to the brim with other tote bags.

Gathering, then Making

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Do you ever get the sense that you cannot work fast enough? That ideas are flowing but your hands cannot keep up with the ideas? Frankly, I always feel this way, and it’s no fun. This summer seemed filled with obligations (fun) and too many doctor appointments and medical tests (no fun). At some point I got quite annoyed with all the time I was missing from creating.

Over the past couple of weeks I’ve felt better about what I’ve managed to accomplish over the past almost-three months. I know it’s not a good attitude to have– judging myself on output, but it does seem like a good attitude to be happy with the things I’ve tried that have stretched my skills. I have wanted to be a better ‘sewist’ for years. You can’t get better at anything without putting in the time to practice. With so many weaving projects calling to me, sweaters to knit. braids to make to enhance other projects, it’s really hard to make to time to sew. But I did it, and the skills were hard to learn. Really, I haven’t mastered them yet, but I also did manage to make some things that are moderately successful. Just don’t look too closely!

I made two fitted shirts! The first was a pattern from Modern Sewing Company. I bought the workshop rather than just the pattern to make a “Classic Shirt.” The workshop included several videos, and learning to add a bust dart to a plain front was the best instruction I’ve ever had on this skill. I’ve tried a few in the past, but since this was a video I just watched/paused/executed over and over. The blouse fits well. The challenges, after the darts, were the collar stand, the cuff plackets, and the cuffs. All done pretty well–not perfect.

Then I made a second shirt. This time no cuffs and no collar stand. It did have front darts, and two small darts in the back of the neck. What drew me to make this pattern was the Peter Pan collar. I just love them!–there is something so feminine and innocently sweet about them. The pattern is from Wardrobe by Me. The downside was that all the inside seams are serged rather than beautifully finished with French seams as the previous shirt was. Oh well. I love the shirt and the fabric I finally used that I bought years ago in a wonderful French fabric shop in Fort de France, Martinique. In both cases it is kind of a downer to have to print so many pages of pattern pieces and tape them together. That process takes a full day for me.

Then I also tried my hand at this pattern for a tunic or dress. It’s called the “Sunset Shift,” by Studio M. I saw this made up in this very fabric at a quilt shop near me, and I thought it was adorable!–summery and happy. That is not at all how I feel wearing it. It probably will never leave the house. Maybe I should have made it a bit longer? At any rate, it was a good experience to once again make something that fits, even though I don’t care for how I look in it! That is three successful sewing projects in a row, which has never happened for me before.

I have also had a weaving project going this summer. I saw it last winter on Jane Stafford’s website, and it’s called “linen Swedish canvas weave shawl.” It uses 40/2 linen which I ordered as a kit for this project. I even ordered the color that the shawl is shown in on the website–lavender. It was an easy project to warp and dress the loom and to weave! Being me, I could not fathom making the second shawl exactly like the first. I went diving into my linen stash and found a cone of blended silk and linen in a handpainted colorway of blue and natural. This yarn has slubs in it, likely from where the silk did not completely blend with the linen. It made a very different looking shawl, and is suprisingly stiffer than the all linen shawl. I love them both. I will keep one and gift the other–but which one will I keep??

And then there is knitting, and there are handbags! I’ve got two sweaters going at the moment. Neither is finished although one is getting close. It’s Kate Davies’ “Yorlin” cardigan. I think I’ll be wearing it as soon as the weather changes at home in New England. I am currently working on it in Sardinia, where Bob and I have returned to Pandora to sail for late summer and early fall. The other sweater came as an impulse purchase when I visited Harrisville Designs in mid-August. It’s called the Carlina pullover and it’s made with two colors of Harrisville Shetland. We had a tour of the spinning facility, a lovely lunch across the street at the general store, and a fun time shopping at Harrisville Designs. “We” are a tapestry group I am involved with, and we had a weaving retreat together and added the trip to Harrisville as part of our retreat. It was a marvelous week, and I have some new ideas about tapestry weaving. There is a stunning tapestry by James Kohler that hangs in the shop at HD. It’s been so long since I’ve been there I hadn’t seen this work before.

I have a bit to say about making (and loving) handbags and totebags, which i’ll save for another post! I am finishing this post from Sardinia, although I started it at home before I left. As you might imagine, if I’m traveling again it means I’m gathering again, both material goods and ideas. Hopefully my new treasures will become projects that will bring me a lot of enjoyment. I’ll stop here with a photo of the wonderful Sardinian fabrics that are always at the Tuesday Market in Bosa.

Perugia: Per Aspera ad Astra

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Recently I was asked to write something about the weaving museum and workshop in Perugia that I have now visited twice. It needed to be just enough info and images to be made into a poster. Here it is, mostly because I want to remember what I wrote.

A most unusual tradition in Perugia during the Middle Ages is that women did the professional weaving that was mostly done by men during that time in Europe.  The women wove altar cloths for churches throughout Italy and northern Europe, without male dominated guilds to dictate their work.  Starting in the 12th c. these women designed elaborate woven patterns that they picked by hand as well as simpler patterns that could be woven on their rudimentary harness looms.

  
While very few of the actual textiles from this period have survived, they are well documented in the paintings by famous artists of the period, such as Giotto, Ghirlandaio, and da Vinci.  Over time, due to wars and economic situations, this tradition became less and less prominent.  By the 16th c. very few weavers were making these textiles.  Weaving survived in the homes of women in hill country of Umbria, outside Perugia. 

In the early 20th c. a wealthy Perugian woman, Giuditta Brozzetti, decided to start a business rekindling this tradition.  She collected 18th and 19th c. manual Jacquard looms, which could be “programmed” to weave quite complex patterns.  She gathered information about the traditional patterns that the women of the Middle Ages had woven. She hired local women who had a background in these traditional patterns and taught them how to use the more modern looms. Four generations later, her great granddaughter, Marta Cucchia, is continuing this business.  Marta is the first of the women in this family to be a weaver herself.  She understands the various jacquard looms, which are all quite different and challenging to use.  She has studied the medieval patterns and translated them to the punch cards that are used by jacquard looms. 

 Her most challenging study was to decipher the patterns that Leonardo da Vince depicted in his fresco “The Last Supper.”  That tablecloth is quite elaborate; even the white background fabric is heavily patterned.  Marta has also documented many fabrics depicted by other artists who painted images of the Madonna and Child.  The infant Jesus was often shown wrapped in a traditional Perugian woven textile.


In 1995 Marta moved the workshop/museum to a 12th c church outside the medieval walls of Perugia.  This building was the first church built for St. Francis of Assissi.  Over the years other, larger churches were built in St. Francis’ honor, including the enormous cathedral in nearby Orvieto.  The little chapel in Perugia was sold to the Benedictines early in its history and used as a convent. During the 19th c it was used briefly as a spinning mill.  It is a glorious environment to house the antique “modern” looms that now weave the traditional fabrics of Perugia.


The motto for the city of Pergia is “Per Aspera ad Astra,”  literally “from hope to the stars.”  Perugia suffered many setbacks during the Middle Ages and Renaissance, and this motto demonstrates the Perugians’ endurance and creativity.
More info check out the website.

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