All’inizio del Novecento, la marchesa Elena Guglielmi portò sull’Isola Maggiore nel lago Trasimeno la tecnica di lavorazione del merletto a punto Irlanda, ispirata alle tradizioni nate nei monasteri irlandesi alla fine del XIX secolo, secondo l’antica arte dei merletti di Venezia.

Invece di essere realizzato con ago e fuselli, la particolarità di questo merletto viene creato a uncinetto utilizzando un filato estremamente sottile. La lungimiranza della Marchesa, fu anche quella di portare da Torino, un’insegnante che potesse trasmettere l’arte del merletto a quella che fu poi la prima maestra isolana, Elvira Tosetti, alla quale fu affidata anche la fondazione e la direzione della scuola di merletto sull’isola per le giovani donne, figlie di pescatori, che sino ad allora svolgevano varie attività durante il giorno senza però percepire alcun pagamento. La scuola diede loro la possibilità e l’opportunità di ricevere una formazione professionale, imparando diverse tecniche per la creazione di tovaglie, lenzuola, vestiti, fazzolettini, guanti etc, una certa indipendenza economica (nel primo anno il loro guadagno fu di circa 390 lire, il secondo anno di circa 2300 lire) e consentire loro di contribuire alle spese familiari.

Le si vedevano sedute sull’uscio di casa dedite all’uncinetto e alle confezioni di trine. Queste fanciulle e le loro creazioni divennero ben presto stimane dalle nobil donne, clienti abituali della scuola.

Ben presto, i manufatti vennero esposti alla mostra mercato permanente delle Arti Decorative Italiane di Perugia e i campionari inviati alle Industrie Femminili Italiane di Roma, per essere venduti poi in tutta Italia e all’estero. Le trine d’Irlanda dell’Isola Maggiore divennero famose e molto apprezzate e richieste dal settore dell’alta moda, contribuendo positivamente all’economia dell’isola, specialmente in periodi di crisi della pesca.

In seguito, negli anni Trenta, con il cambio dello stile della moda e con le influenze che cominciarono ad arrivare dall’America, il merletto d’Irlanda non fu più di moda e la scuola fu costretta a chiudere.
Le donne isolane, continuarono a lavorare il merletto per il proprio corredo personale e come eredità.

Nel 1963, l‘isolana Maria Vittoria Semolesti riavviò l’attività fondando una cooperativa di merlettaie per la vendita del merletto d’Irlanda. Anche se la cooperativa chiuse nel 1975, le merlettaie continuarono a lavorare individualmente. È così che via Guglielmi, con le sue merlettaie, divenne una delle attrazioni dell’isola, attirando turisti che ammiravano il processo di creazione delle trine. Ancora oggi, è possibile trovare qualche merlettaia che lavora sull’uscio di casa.

Le ultime merlettaie dell’Isola Maggiore, tutte discendenti dalla scuola di Maria Vittoria Semolesti, operano ancora oggi. Nel centro dell’isola, nel palazzo che un tempo ospitava la confraternita di Santa Maria dei Disciplinati, è stato istituito il Museo del Merletto, che espone i lavori realizzati dalle donne dell’Isola Maggiore dal 1904 alla fine del XX secolo.

On the occasion of March 8th, International Women’s Day, we want to celebrate it with some of the female figures who symbolize Umbria, a land rich in history, art, culture, and spirituality. Luisa Spagnoli, Marchioness Elena Guglielmi, Maria Vittoria Semolesti, Saint Clare of Assisi, and Saint Rita of Cascia… Women symbols of entrepreneurial spirit, faith and devotion, and still universal values of strength, courage, and independence, which continue to inspire women and men all over the world.

Luisa Spagnoli
A name that immediately evokes images of refined fashion and chocolaty delights. However, her legacy goes far beyond catwalks and delicacies. After the devastations of World War II, Luisa Spagnoli became passionate about Angora rabbits, not only starting to collect them but also discovering a secret that would revolutionize the world of fashion: the art of combing, rather than shearing, these animals. A gentle gesture that allowed for a yarn of unprecedented softness, a fabric that caressed the skin like no other. And what about her delicious chocolates? The Bacio Perugina is a name known all over the world, but there’s another bar that bears her name, a creation some Perugians affectionately call “Carrarmato” (“Tank”), perhaps as a tribute to her tenacity and strength of spirit.

Saint Chiara of Assisi
Born in Assisi in 1194, Chiara Offreduccio degli Scifi, better known as Saint Clare, was a revolutionary figure of her time. A friend and follower of Saint Francis, Clare renounced her comfortable life to embrace a life of poverty and service. The founder of the Order of Poor Clares, she placed prayer and dedication to others at the center of her existence, becoming a model of inner strength and determination.

Saint Rita of Cascia
Saint Rita, born Margherita Lotti in Roccaporena, near Cascia, in 1381, is known all over the world as the saint of impossible cases. Her life was marked by great suffering and challenges, from her youth, when she was forced to marry against her will, to the death of her sons and her husband’s illness. Despite the adversities, Saint Rita found refuge in the Augustinian monastery of Cascia, where she lived until her death in 1457. Her tomb, located in the Sanctuary of Saint Rita of Cascia, attracts thousands of faithful and visitors every year, testifying to the power of hope and perseverance even in the most desperate situations.

Elena Guglielmi and Maria Vittoria Semolesti
At the beginning of the 20th century, Marchioness Elena Guglielmi brought the technique of Irish lace making to Isola Maggiore in Lake Trasimeno, inspired by the traditions born in Irish monasteries at the end of the 19th century, according to the ancient art of Venetian lace. Instead of being made with needle and bobbins, the peculiarity of this lace is created with a crochet hook using an extremely thin yarn. In 1963, the islander Maria Vittoria Semolesti restarted the activity by founding a cooperative of lace makers for the sale of Irish lace.

Photo credits by:
Cittàdelladomenica.it
NestlèItalia.it

Umbria, with its picturesque hilly landscapes, medieval villages, and deep spiritual roots, is one of Italy’s gems. Among the numerous attractions this region has to offer, the Sanctuary of Collevalenza stands out as a place of devotion, hope, and reflection.

Located just a few kilometers from Todi, the Sanctuary of Collevalenza was founded at the behest of Mother Hope and built by the Spanish architect Julio Lafuente in 1951, with the intent of creating a place that represented and expressed God’s Mercy for all the faithful who had committed a sin and were seeking forgiveness and spiritual comfort.

An Enchanting Architecture
Beyond its spiritual significance, the Sanctuary also captivates visitors from an architectural standpoint: it has a circular plan with two large sacred halls, the crypt, and the upper church, which converge into a single architectural entity.

The Sanctuary creates a serene, welcoming, and bright atmosphere, thanks to a huge concave glass window.

Pilgrims visiting this sacred place are greeted with genuine smiles and a kindness typical of Umbrian hospitality. They can always confess, in the name of the same Mercy that the Sanctuary represents.

The Message of Water and the Famous Pools
Since March 1, 1979, the Water of the Sanctuary, coming from a nearby well, has been flowing into the pools (separated for men and women) and open to pilgrims or for the immersion of the sick, who could immerse themselves during the “Liturgy of the Waters” by the priests of the Sanctuary.

Currently, the “Liturgies of the Waters” are still active, while due to post-pandemic restrictions, immersions have been temporarily suspended, but at the same time, pilgrims who go to the Sanctuary and participate in the liturgy will be accompanied by the priest to the feet of the statue of Mary the Mediatrix to drink from the small fountains while reciting the prayer of the proper use of the Water and its spiritual meanings as “refreshment to the body and health to the soul and renewal of wonders for healings,” as always said by Mother Hope.

The Water of the Sanctuary is still considered a sign of Grace and an instrument of the Lord’s Mercy.