Download - information for visitors · information for visitors MAV is a mountain museum organized with a few vitrines and a great simplicity that allow the visitors to walk fully free around

information for visitorsMAV is a mountain museum organized with a few vitrines and a great simplicity that allow the visitors to walk fully free around the spaces to watch the products. The museum gives a lot of importance to the artefacts and work chain that led to their creation from the raw materials. Every object you see in the cases is a unique piece. Some of them are very old and fragile and come from the following collections: IVAT - Valdostan Institute of Traditional Handicraft, RAVA Collection (Autonomous Region of Aosta Valley) - Department of Education and Culture and Department responsible of Cultural Heritage and Activities, Turin Palazzo Madama - Public Museum of Ancient Art and Foundation Palazzo Madama Turin Museums, Private collectors. This exhibition does not pretend to be exhaustive. The traditional valdostan handicraft world is vast and diversified; MAV becomes a source of inspiration as for the richness of matters and shapes. Museum is divided into large areas dedicated to materials, indoors, outdoor, social, poetry and temporary exhibitions (for a limited time). These areas are by turns divided into different exhibition showcases. The name of each case is connected to house, courtyard and village considered as space for collecting and using objects. To better understand the significance of the objects, visitors can read visit sheets in different languages (IT-FR-EN) written with the EasyReading ® font that is highly comprehensible for dyslexic people and very efficient for any kind of public.

Card prepared with a simplified language

The informational material is divided into three types: • Room card: they are written with a simplified language developed by Institute of the Deaf in Turin. They consist of an introductory section that summarizes the contents of the showcase and present a picture of the objects. Every product owns a description that reports the most important information and dimensions. Measures are determined in centimeters; • Technical sheets: they are dedicated to crafts techniques, specific objects and use of tools; • Outfitting texts: they are placed in the areas and individual showcases of the Museum. They consist of recreating the context life of the specific areas and describe habits and pieces.• Images: projected in height are a kind of background animated with people, objects and activities and allow to drum up a great interest. Introduction videos are a «zoom» on the objects and different types of processing connected to the visit areas. Do not touch the objects. No photographs please.

We hope you enjoy your visit!

MAV SymbolLittle man with three legs is MAV symbol. He represents a shepherd, lo berdjì, with his walking stick while bringing animals to pasture. This symbol proves this craftsmanship is still alive. This object describes with simple and essential lines the true substance of the craft that joins utility and aesthetic beauty.

• Lo berdjì is symbol and guardian of MAV: outside the building you can see the big Dorino Ouvrier’s sculpture, craftsman of Cogne, who gave his work at the Museum. The wood used to create this work comes from an elm of Saint-Marcel that the «Regional Forest Service» chose, cut and transported to Cogne to be carved.

•The little man with three legs exhibited in the museum is a piece of Brocherel’s Collection (Palazzo Madama Turin); it is an object dated from the beginning of the nineteenth century.

The little man is a table lamp holder: we hung the oil lamp on the right arm (in the special groove).

Lamp holderUnknownXIXth century - ValtournencheWood31 height; 36 width; 11 depthBrocherel’s CollectionPalazzo Madama Torino

Cardpreparedwithasimplifiedlanguage

stoneSoapstone In the showcase there are samples (fragments and semi-finished products) of soapstone. They are formed by chloritoschists (rocks composed of chlorite and various minerals) that change colour (from light green to dark green), grain (from fine to coarse) and schistosity (stone is divided into thin layers).

MillstoneIt is a stone used for constructing grinders. It contains very hard minerals useful to grind the grains (wheat, rye, barley). In Valmérianaz we built millstones directly into the quarry, that we loaded then on sleighs and carried in the valley to store and prepare them for sale. The road connecting Alpe Valmérianaz (Pontey) and Bellecombe (Châtillon) is named the “sun road” because we can find there some remains of ancient millstones carved into the rock in the shape of the sun.

It is possible to touch and get a sniff to the objects on display.It is important to know the raw material of every product.In the showcases we can see the first stages of the “work chain” (from the raw material to the semi-processed and processed matter).

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10. Semi-processed samplePetit-Rosier (Champorcher)Soapstone

11. Semi-processed sampleLaveussé (Valtournenche)Soapstone

2. FragmentValmérianaz (Pontey)Soapstone with garnet particles

5. FragmentValmérianaz (Pontey)Soapstone with small magnetite particles


4. FragmentOrsio (Gressoney-la-Trinité)Soapstone


1. FragmentGressanSoapstone

7. Semi-processed sampleGressanSoapstone

3. FragmentValle d’AostaSoapstone with small magnetite particles

6. Semi-processed sampleValmérianaz (Pontey)Soapstone with garnet and chlorite particles



14. FragmentValmérianaz (Pontey)Millstone

soapstone

Soapstone is a generally green rock with important chemical and physical characteristics: unalterable to atmospheric factors and foods, high refractoriness capacity and thermal resistance to temperature leaps (slow build up and slow return of the heat), very low porosity and hardness, useful for easy manufacturing (manual or lathe) with metal tools. Name of Ollare derives from the Latin olla or pot. The stone has been used since prehistoric times to make receptacles for fire or containers for food, everyday objects such as inkpots, small boxes, spindle whorls, loom weights, lamps, bracelets, nativity scene figurines, stoves, moulds for weapons, urns, water bowls, statues and architectural elements.

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Term "soapstone" has not a specific petrographic connotation, but only a commercial meaning; in the Alps we identified indeed soapstone with very different mineral composition, colour and grain. In Aosta Valley soapstone has rather a homogeneous composition with a colours range that varies in every green shades, and consists mainly of two varieties of chlorite schists: the first one with fine-grained chlorite inclusions and small granules mainly represented by magnetite and garnet; the second one with more coarse-grained chlorite matched with granules of large size like chlorite, garnet and amphibole.In our region, soapstone mining had a particular importance in the past and affected both rocky outcrops with true quarries and specific boulders belonging to accumulate debris or moraine. We observe traces of these activities sometimes at very high altitudes (2,000m/2,600meters), particularly in the valleys of Ayas, Valtournenche, Gressoney and municipalities of Fénis, Pontey, Champdepraz and Champorcher.Nowadays no active quarries of soapstone exist in Aosta Valley. The numerous artisans collect it occasionally and in a non-professional way to work, engrave or turn it. Paolo Castello, a geologist from Aosta and Roberto Zavattaro, a craftsman from Fénis, carried out the showcase and scientific texts.

legnoIn Aosta Valley there are many types of woods.Artisans are very acquainted with the characteristics of each one and know how to choose the best one to achieve the various objects.This case contains all kinds of woods (walnut, maple, arolla pine, birch…) used to produce the artefacts displayed in the museum.

It is possible to touch and get a sniff to the objects on display.It is important to know the raw material of every product.In the cases we can see the first stages of the “work chain” (from the raw material to the semi-processed and processed matter).

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10. AshwoodLeafed

11. Juniper woodConifer

2. Fir tree wood Resinous

5. Walnut wood Leafed

8. Birch wood Leafed

4. Poplar wood Leafed

9. Boxwood Leafed

1. Larchwood Resinous

7. Maple woodLeafed

3. Arolla pinewoodResinous

6. Cherry woodLeafed

12. Hazel woodLeafed

13. Sample processingInterlocking with mortise andtenon techniqueArolla pinewood

14. Sample processingInterlocking with dovetail techniqueArolla pinewood

15. Two samples processingInternal and external turningApple wood

wood productionForestOnce the relationship between man and wood was based on respect. Men considered forest as a key element of the landscape and subjected it to periodic maintenance. Forest was an important resource to protect the village and a source of valuable material not to waste: wood. It was unthinkable for instance to cut plants down and use them as combustible; they collected the twigs in the brushwood to burn them in the stoves. They used forests only to extract the basic necessities and for the realization of many objects they resorted to unproductive fruit trees that grew in the lawn close to house, verdjé. It was not exploitation, but a well-adjusted association commanded by customs and rules. Consortia of forest management are a good example; these "historical" and very common systems in Aosta Valley financed collective works such as new buildings for the village, supports to schools and so on with the benefit of selling timber.

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CuttingObservation and experience led to strengthen concepts and practices partially "authenticated" by modern science. The connection between the movement of stars and comportment of wild fauna and flora is a clear example. Nowadays, artisan, farmer and winegrower still respect carefully the lunar calendar based on the Moon cycle that turns in a sidereal month (27 days and a half) around the Earth and passes through the 12 constellations of our zodiac. As for the wood some true and auspicious dates to cut plants down for specific uses are correlated to ascending or descending phases that Moon produces when it encounters definite zodiac signs. The waxing crescent moon that runs from Sagittarius to Taurus helps sap to climb towards the top of the plants; the waning crescent moon that runs from Gemini to Scorpio helps roots to grow. Specifically for lumber, the plants should be cut in the first eight days after the new moon of December (when Moon is in Aquarius or Pisces) or in general the waxing crescent moon under the sign of Pisces. In the late autumn/end of winter it is not necessary to choose the period according to the moon as the sap does not circulate at this time, the wood does not work and therefore the plant does not break up during the drying and preserves its volume. For wood to carve it suits to choose specific days in March, November and December; on these dates material does not break or crack. (References: Forest calendar 2005, Gottfried Briemie).

ExtractionNowadays, wood collecting practices are automated; once we used environment and in this case the slope of the forests. Men created true passageways within the forest, le tsablo, to get the logs down in the valley; in these natural cavities they made the logs sliding one after another to the village. Little noise, little effort... It was necessary to keep these passages perfect and clean.

In the sawmillThe logs are sifted through to value diameter, the "line" (straight trunk), number of nodes... Qualities and defects of each plant are gauged in order to decide the final destination that firstly is divided between beams or transformation in boards.

Drying Drying is loss of humidity of the plant, which decreases in contact with the dry air outside. The practice requires that the number of drying years correspond to the thickness of the planks of wood, le loppe, ranging from five to twelve inches thick. Drying is and must be a slow operation, the only way to avoid tensions within the material.

SeasoningMineralization is a natural process that begins "on the plant". Minerals contained in sap are deposited in the pores, a phenomenon that modifies the chemical and physical characteristics of wood, so as to make it change color. It is difficult to recognize a wood grain then after a couple of centuries: mineralization is a process that continues over time.

Wood yesterday - today The past generations used a great number of species as they used all types of wood available. Wood of fruit trees is compact and heavier because the plant grows more slowly than the resinous trees. In old times, wooden objects were carved in almond and plum trees. Nowadays, the range has been greatly reduced. Modern fruit cultivation modified the structure of plants, decreasing the average height of the plant. It is difficult to use the trunk and variety of treated wood has been progressively reduced. In general, the raw material used in Aosta Valley comes almost exclusively from outside. The forest now lives for itself. Shrubs invaded the passageways for logs transport and consortia cut down the plant for those who still want to use firewood for stoves and boilers.

Ezio Thomasset, craftsman of Saint-Pierre carries out the showcase and scientific texts.

Scheda elaborata con un linguaggio semplificato

fabricsI tessuti possono essere fatti di lana (origine animale) o di canapa (origine vegetale).Dalla lavorazione della lana grezza e della canapa si possono creare bellissime stoffe e calde coperte.

Gli oggetti esposti si possono toccare ed annusare. È importante conoscere la materia prima di tutti gli oggetti.Dentro ogni teca si possono vedere le prime fasi della “filiera lavorativa” (dalla materia grezza alla materia semi-lavorata e lavorata).

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2. Two spoolsThread of wool from Rosset sheep

5. HankChamporcherHemp

4. Fibers to combChamporcherHemp

1. Raw wool Rosset sheep wool of white and black color This wool has been sheared in October 2008

7. Semi-processed fabricChamporcherHemp70 heigth; 500 length

3. Sample of fabrics worked on loomValgrisencheRosset sheep wool(warp made with the gray thread and weft made with the brown thread)

6. Sample of clothChamporcherHemp70 height; 50 length

fabricWool processing workWool was a prized raw material to manufacture clothes in our mountains; a reliable partner against the long and cold winters; a warm nest for premature babies; a solution for painful back and throat. Practice of sheep farming was very widespread to meet needs of alpine life. We sheared sheep starting by legs, continuing on belly and ending on back. We removed wool from legs and belly, as it is shorter and dirty. The resulting raw material was firstly washed with warm water without any soap, then rinsed with cold water and carded and spun. Once we spun the unwashed wool (lan-a crua or grassa). It was a better technique even if it was hard and difficult because when washing the spun wool, dirt is removed and we obtained a fine yarn of high quality and easy to weave. We used the spindle or spinning wheel to spin wool. Spinning was a long job that required a lot of patience and a great manual skill. From eight to ten days are necessary to spin a pound of wool...

TECHNICAL SHEET

When all the wool has been spun, we twisted it by joining three yarns together to make a skein. We mixed wool from black and white sheep during the carding work to get a grey yarn. Once the ball was ready, we finally proceeded to work it with knitting needles or wooden weaving loom. Nowadays, Cooperative Les Tisserands from Valgrisenche carries on still to use the manual-weaving loom to produce rough duffel (drap).Since 2002 AREV (Association Régionale des Éleveurs Valdôtains) has been starting up a project aiming to identify the indigenous Rosset race sheep in way of extinction, and collect the wool from their shearing that happens once a year in autumn when the fleece is thicker and cleaner than in spring. Thanks to this initiative a small part of the final product is wool 100% of valdostan origin.

Hemp processing workEvery single inch of hemp fibre is the result of a long process that starts from earth and passes through water, air and sun. The first phase is the plants cultivation, then sheaves are macerated for a "right" time, not too long as "rotted hemp does not canvas" nor too short otherwise the fibre will not detach from the bark. When plants are dry, we peeled them off with a wooden tool (teuillì) that is used for "beating" the bark of hemp to separate the fibre. The resulting fibre is combed and selected. Hemp of top quality coming from the male plants gives a much finer thread and is called rita. It is used to produce fabrics. The leftover called etoppa is used for sewing shoes, mattresses, sheets for hay, and so on. Before moving to the weaving process, we proceed to the very delicate work of spinning. Coils should be then washed to make the fibres softer. Once we used boiling water and ash poplar to achieve this special washing. The raw material is finally ready to be machined on the weaving loom driven by synchronizing hands and feet pressures. The final product is a fabric (tèila) that constitutes the raw material of trousseau.

In Aosta Valley hemp cultivation was widespread especially along the central valley that was a very water-rich area but the fields were developed up to 1,000 meters and in the sunniest areas reached 1,200-1,300 meters. It was one of the first crops to be given up in the first half of the twentieth century due to the substantial transformation of the fields in grassland.Presently, Cooperative Lou Dzeut of Champorcher keeps on using the antique wooden looms to weave hemp fibres and produce fabrics. This old tradition has always been one of the main activities of the community. Every family wove the teila hemp for their own needs or other families. This work allowed to increase the agricultural income. Cooperatives Les Tisserands (Valgrisenche) and Lou Dzeut (Champorcher) in collaboration with Celestino Marguerettaz and the Sheep and Goats Sector of AREV (Association Régionale Éleveurs Valdôtains) carried out the showcase and scientific texts.

ironIn Aosta Valley the presence of numerous mines changed a lot the economical and social life of the inhabitants in the course of the centuries.The most important mines were situated in the Valley of Cogne.

It is possible to touch and get a sniff to the objects on display.It is important to know the raw material of every product.In the cases we can see the first stages of the “work chain” (from the raw material to the semi-processed and processed matter).

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2. Fusion testIron and Steel Plant of Aosta Iron6.5 height; 16 width;14 depth

5. Two gutter supportsFrom a building of 1642IronThe smallest: 2.5 width;33.5 length; 7 depthThe biggest: 4.5 width;54.5 length; 4.5 depth

4. Three rough nailsFrom a building of 1642IronThe shortest: 4 width; 21.5 lengthThe longest: 3.3 width;30.5 length

1. FragmentsCogne MineMagnetitePrivate Collection

6. AnvilIron40.5 height; 55 width; 9 depth

3. Three rough nailsFrom a building of 1642IronThe shortest: 3 width; 13 lengthThe longest: 2.5 width; 21 length

iron

MagnetiteSerpentinite of Aosta Valley contains magnetite, an iron oxide with a metallic look and black colour. Magnetite concentrates sometimes and results in mineralization documented in Aosta Valley since the fifteenth century; their exploitation was intense and articulated in a myriad of crops, some of them substantial and valuable, others poor as far as quantity, quality and location are concerned. Following the crisis in the steel industry in the region around 1850, almost all the crops were abandoned. Several associated factors generated the decline: depletion of forest resources almost exclusively caused by the use of charcoal as fuel in ironworks, high cost of production due to the unfortunate location of the deposits, inadequate development of the roads network, outdated technique of steel treatment and reduction of duties on foreign iron.

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MinesThe most important mines are situated in Cogne Valley (Liconi-Colonna mines and Larsinaz mine), whose mining operation has been documented since 1425 although it presumably dates back to more ancient times. Modern mining began in the early decades of the twentieth century and matched with the construction of the steel mills of Aosta. It ended in 1979 with a whole production of magnetite estimated at 25 million of tons.Mining iron ore at Liconi in Cogne continued until the nineteenth century with open excavations and tunnels located at an altitude of about 2,500 meters; mineral was transported down in the valley along abrupt tracks with sledges then melted in the numerous smelting plants of Aosta Valley. In the twentieth century, we began to dig from Colonna level. It was conveyed through wells, trucks, rail cars and cable cars to the crushing plant and magnetic separation site in the capital of Cogne. From there it was loaded on a train that moved to the locality Acque Fredde in Gressan and finally by a further cable car arrived to the steel plant of the National Society Cogne in Aosta.Some other mines were developed in the municipalities Fénis, Chambave, Pontey, Châtillon (these mines located near the castle of Ussel were already mentioned in 1415), Champdepraz (the Lac Gelé mine located at 2,600 meters has been operated since 1693) and Champorcher. Some iron mines composed mainly of siderite and hematite (iron oxides and carbonates) were also operated in the Courmayeur, Sarre and Saint-Rhémy-en-Bosses areas. In this latter place Mont-Flassin mine could only be operated four months a year because of the altitude (2,600-2,700 meters).

Paolo Castello, a geologist of Aosta, in collaboration with Osvaldo Ruffier, Bruno Zanivan of Cogne, Livio and Silvio Charbonnier of Aosta and Joseph Bethaz of Saint-Marcel carried out scientific texts and showcase.

mèizónLa mèizón di fouà is the typical valdostan kitchen where we work milk, cook food for the family and animals, melt butter and fat, roast the coffee. You can find there the objects used to hold, store and prepare food (salt boxes, mortars, dishes, pepper pots) as well as somewrought-iron and withstand fire objects such as fireplace instruments, andirons, barley roaster and various cooking products as spoons, ladles and skimmers.These wooden or stone artefacts are robust (strong, resistant) and large with different sizes. Some of them arewood-lathed. All of them were used in everyday life (daily).

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1. MortarUnknownStone21 height; 32 width; 24.5 diameterBrocherel’s Collection Palazzo Madama Torino

2. LidUnknownSoapstone15 diameter; 2 thicknessBrocherel’s Collection Palazzo Madama Torino

3. ContainerUnknownSoapstone4 height; 9.8 diameterBrocherel’s Collection Palazzo Madama Torino

4. VaseUnknownSoapstone8 height; 12.5 diameterBrocherel’s Collection Palazzo Madama Torino

5. VaseUnknownSoapstone6.5 height; 9.5 diameterBrocherel’s Collection Palazzo Madama Torino

6. Salt boxUnknownWood 9 height 20 width; 16.5 diameterBrocherel’s Collection Palazzo Madama Torino

8. Salt boxUnknownWood 16 height; 32.5 width; 22 diameterBrocherel’s Collection Palazzo Madama Torino

7. Salt boxUnknownWood11 height; 11.5 width; 27 lengthBrocherel’s Collection Palazzo Madama Torino

9. Salt boxUnknownWood 15 height; 17 width; 41.5 lengthBrocherel’s Collection Palazzo Madama Torino

10. FlagonUnknownWood 27.5 height; 24 diameterBrocherel’s Collection Palazzo Madama Torino

12. Cheese dish UnknownWood 16 height; 40.5 diameterBrocherel’s Collection Palazzo Madama Torino

11. Pepper shakerUnknownWood 15 height; 7 diameterBrocherel’s Collection Palazzo Madama Torino

13. BottleUnknownWicker and glass 35 heignt; 14.8 diameterBrocherel’s Collection Palazzo Madama Torino

14. BasketFerdinando Vagneur (1905 - 2002)First half of the XXth century - NusWillow-wood28.5 height; 19.5 width;29 lengthIVAT Collection

15. Oval Container UnknownXIXth centuryWillow-wood15 height; 32 width; 40 lengthRAVA Collection

16. Coated bottle Unknown1860Willow-wood and glass33 height; 11.5 diameterRAVA Collection

17. Easter cake-mouldUnknownEnd of XIXth century -Gran San Bernardo ValleyElmwood13 height; 16.5 width;4.5 thicknessPrivate Collection

18. LighterUnknownXVth-XVIth centuryIron3.3 width; 7.7 length RAVA Collection

19. LighterUnknownXVIth-XVIIth centuryIron3.5 width; 7.7 length RAVA CollectionAnonimo

20. Pepper shakerUnknownBeginning of theXXth centuryWalnut wood18 height; 6.3 diameterRAVA Collection

21. Pepper shakerUnknownXIXth centuryWalnut wood13.2 height; 4.5 diameterRAVA Collection

22. Iron UnknownBeginning of the XIXth centurySoapstone9 height; 10 width; 17 lengthRAVA Collection

23. Iron UnknownXIXth centurySoapstone11 height; 9.2 width; 18 lengthRAVA Collection

24. Oil lampUnknownXVIIth centuryIron28 height; 9 width; 7.5 diameterIVAT Collection

25. Oil lanternUnknownXXth centuryMetal and glass16 height; 10 widthIVAT Collection

28. LadleUnknownXIXth-XXth centuryMaple wood6 height; 12 width; 27.5 lengthPrivate Collection

26. Oil lanternUnknownXIXth centuryMetal and glass19 height; 8 width; 9 depthIVAT Collection

27. SkimmerUnknownXIXth centuryMaple wood6 height; 4.5 width; 28.5 lengthPrivate Collection

29. Spoon with curved handleUnknownXXth centuryBeech-wood 28 length; 9 width; 6.5 depthIVAT Collection

30. SpoonUnknownXXth centuryMaple wood7.5 width; 16.5 length;4.5 thicknessIVAT Collection

31. SpoonUnknownXXth centuryMaple wood7 width; 14.5 length; 3.5 depthIVAT Collection

33. Fire tongsUnknownXIXth centuryIron50 height; 7 width; 6 thicknessIVAT Collection

32. Fire tongsUnknownXIXth centuryIron64 height; 14 width; 6 thicknessIVAT Collection

34. Pan for fireplace UnknownXVIth - XVIIth centuryIron122 length; 32 diameterRAVA Collection

35. Barley and coffee roasterUnknownEnd of the XVIIIth centuryIron84 height; 10 width; 14 diameterIVAT Collection

36. Barley and coffee roasterUnknownXIXth centuryIron76 height; 7 width; 14 diameterIVAT Collection

39. Bellows UnknownXXth centuryMetal and Beechwood19 width; 43 length; 3.5 depthIVAT Collection

38. Bread slicer with bladeUnknownXVIIth-XVIIIth centuryWalnut wood8.5 height; 57.5 width;56 lengthIVAT Collection

37. Barley and coffee roaster UnknownXIXth centuryIron67 height; 11 width; 13 diameterIVAT Collection

40. MortarUnknownXXth centuryMaple wood14 height; 23 width; 22.5 lengthIVAT Collection

41. MortarUnknownXIXth centuryMaple wood15.5 height; 15.3 diameterIVAT Collection

42. Double-bodied mortar UnknownXIXth centuryMaple wood20.5 height; 20.7 diameterIVAT Collection

43. Double-bodied mortarUnknownXIXth centuryWalnut wood24 height; 20.3 diameterIVAT Collection

44. MortarUnknownEnd of the XIXth centuryMaple wood12 height; 25.5 diameterIVAT Collection

45. MortarUnknownXVIth centuryStone19 height; 37.5 width;28.5 diameterRAVA Collection

47. Mortar with four handlesUnknownXVIIIth centuryStone11 height; 29.5 width;22.5 diameterIVAT Collection

48. MortarUnknownXIIIth–XIVth centuryStone18.5 height max; 38 width;28 diameterRAVA Collection

46. Five pestelsUnknownVarious woods and ironThe biggest: 27 length;The smallest: 20 lengthIVAT Collection

49. Double-bodied mortarUnknownXVIIth centuryStone18.5 height; 34 width;24.5 diameterRAVA Collection

50. Mortar with four handlesUnknownXVth centuryStone19 height; 36.5 width;28 diameterRAVA Collection

51. Mortar with four handles UnknownXVIIIth centuryStone10 height; 25.5 width;19.5 diameterIVAT Collection

52. Container with lid UnknownXVIIIth centuryArolla pinewood26 height; 40 diameterIVAT Collection

53. Container with lidUnknownXVIIth-XVIIIth centurySoapstone20.5 height; 35 diameterRAVA Collection

54. Container with lidUnknownXVIIth–XVIIIth centurySoapstone31.5 height; 49.5 diameterRAVA Collection

55. ChestUnknown1896 - ChamporcherFir tree wood70 height; 38 width; 103 lengthPrivate Collection

56. Chair UnknownXIXth centuryMaple wood71 height; 28 width; 30 depthIVAT Collection

food preservationIn the Alps the relevant times for food production are rather reduced and mountain people needed therefore to preserve food during the long months that separated the two crops.Tradition and experience taught mountain people various short and long-term techniques of conservation to meet needs fort food: salting, drying up, smoking, freezing, cooking, protection against air and light. Mountain people learned that time storage could increase by combining several techniques: salting the meat for example was already a good warranty, but drying up the salted meat extended significantly its shelf life.

TECHNICAL SHEET

In addition, it could be also put it away from drafts and light by suspending it in a large pantry or containers. Salted meat was often kept in large wooden or soapstone containers. Weights were placed on the lid, usually large stones, so as to press the contents until all the brine overlies meat. We used the same technique for bacon: in the container is deposited a layer of bacon, then a layer of herbs (thyme, garlic, salt, rosemary), and so on to fill the pot. The valdostan farmers also learned that some food could be kept for more than one year by processing them in an adequate manner: e.g. highly perishable milk and rye products, retained much longer if they are transformed respectively into cheese and bread. The latter was kept from year to another on large racks (ratélé) suspended from the ceiling. Often cellar was put underground and resulted absolutely the coolest place of the house. Those who had sufficient space converted a small part of the cellar in a freezer by filling it with ice in winter. In the lateral valleys above all, few natural caves not too remote from the villages could be used as freezer in that winter ice lasted until the summer. This made possible a better and longer conservation. The cellar away from light was also the perfect place for wine, cheese and fresh butter cleverly shaped like a ball and placed into a bucket of cold water. We dug large holes in the earth to keep potatoes: at 1,500 meters it was possible to keep them between one harvest to another by taking care to remove regrowth during the summer months. Some farmers had a storeroom, a sort of local less cold and less humid where food was stored for shorter periods: milk, fresh vegetables, summer fruits, leftovers.

Smoking foods was not particularly common in Aosta Valley, except in some German speaking villages of Lys Valley. However, cheese was often intentionally placed near the fireplace so that the smoke hardens them. They were then carried in the cellar with other cheese for refining.Some foods were cooked to extend the storage time: e.g. cabbage were cooked in salted water and then put in brine to transform them into sauerkraut and be able to eat during the winter. Butter was melted and then placed in special containers of glazed earthenware in the cellar. The drying up was done in the attic because this room was more spacious: foods that were usually hung to dry upon the beams were sausages, hams and salted meat.

decorations in ChamporcherFurniture is an important part of the valdostan craft production. It is one of the greatest expressions of the expertise coming from demands of live in the mountains. Formerly, houses owned very poor furniture that consisted of simple and functional elements made from local woods. Simplicity, lack of space and the necessities of daily life, however, did not rule out harmony and aesthetic component: furniture was often decorated with carvings achieved with knifepoint or carved panels. Engraving wood with knifepoint is the most traditional technique used in Aosta Valley. Champorcher Valley is however an exception of handicraft sector in that the most common decoration technique on furniture (from the nineteenth century) is painting with use of natural pigments applied directly to the wood without any plaster.

TECHNICAL SHEET

As regards to geographical and historical point of view, this special production is mainly located in Champorcher Valley from mid nineteenth to mid twentieth centuries.We do not have, however, definite answers about the development of this special technique, but as we know the precise time and place, we can advance some hypotheses. It is possible that a craftsman who migrated seasonally in Switzerland or France had the opportunity to see painted furniture according to the technique used in these areas already in the eighteenth century and back to Champorcher, this artisan has demonstrated a taste for these types of decoration and taught them to the others. Other events during the nineteenth century can lead to other assumptions. Between the beginning and the end of this century various restoration works were indeed carried out in the parish, church and several chapels. To make these works, we used a specialized labour outside Champorcher community. We can therefore infer that the work of some designer could inspire a master-artisan on the place and encourage him to use paint to embellish furniture, obtaining satisfactory results and some very nice effects. Pictorial decoration may have been assimilated and applied by local artisans for imitation at point of making their own this technique that became at the same time a specific way of working in this area. However, no documentary evidence of the presence of this skilled labour has been found so far on site.

Decorations and objectsIf we analyse the pictorial decorations of the furniture in Champorcher Valley, we deduce that the ornament is designed to give special importance and significance to these products of everyday life or connected to religious and social events such as weddings, baptisms, and engagements. The most frequent ornate elements are chests used for the trousseau and baptism cradles.

We must point out the polychrome decorations on the head of the central span of the roof of some houses. Nowadays, practice is to write the date of construction and owner’s initials. A series of symbols of traditional alpine culture are transmitted through many generations albeit with some variations and more. The decorative repertoire of the oldest furniture is mainly based on geometrical patterns. Rosette and wheels are the most common representations. The heart is another very frequent ornament often combined with vegetal elements or crosses. Some long series of saw tooth (wolf teeth) in single or opposed files, leaves, half circles, flowers and other patterns form stripes that frame, highlight and complete the decoration. The most frequently used colours are red, blue, green and black. In the whole decorations are simple and do not cover large portions of wood that proves their function of propitiatory and aesthetic symbols.The late nineteenth century pictorial production is also enriched in the figurative as well chromatic directory (vases with bouquets, elaborated rosettes, vegetal compositions, birds, arches supported by columns, stars). These units from times and styles related to the artistic world mingle with local handcrafted practices. The chromatic scale is expanding with the addition of yellow and white used pure or mixed with the usual colours (red-blue-green) making it possible to create infinite varieties of tones. Chests and cradles produced from the late nineteenth century and thereafter are so richly decorated to cover almost the entire wooden support.

From: L. Milanesi, C. Cossavella, Tesori nascosti. I mobili dipinti della valle di Champorcher, Musumeci, Aosta, 2008.

cupsWine cup changed over time in both shape and use. The cup was initially a kind of bowl used to eat (soups) or to drink (wine and milk). Later we added one or two handles. Sometimes the handles close inwards and form a cup with spouts. Cup with spouts is named the Friendship Cup and is one of the symbols of Aosta Valley. Formerly, it was used for drinking hot liquids. Today, we are using it to drink the famous valdostan coffee or spiced coffee with grappa. It is said, “boire à la ronde” that means you pass the cup along the person on your left by wishing luck (chance).

ROOM CARD


10. CupUnknownEnd of XIXth centuryMaple wood8 height; 18 diameterIVAT Collection

11. Cup with two handlesUnknownXXth century - ChamporcherMaple wood 6 height; 19 width; 15.5 diameterIVAT Collection

2. Cup with two handlesUnknown1920Maple wood6.5 height; 20 width; 16 diameterIVAT Collection

5. Cup with four handlesUnknownXIXth centuryMaple wood 6.5 height; 18 width;14.2 diameterRAVA Collection

8. CupUnknownXVIIIth–XIXth centuryMaple wood 8 height; 22.5 width;19.2 diameterRAVA Collection

4. Friendship CupAimé Brunodet (1917)XXth century - ValtournencheWalnut wood 22 height; 32.5 width; 28 diameterIVAT Collection

9. Friendship Cup Domenico Brunodet (1914–1997)XXth century - ValtournencheMaple wood 9 height; 23 width;21 diameterIVAT Collection

1. Friendship CupDomenico Brunodet (1914–1997)XXth century - ValtournencheMaple wood14.5 height; 28 width; 24 diameterIVAT Collection

7. CupUnknown1771Maple wood 8.3 height; 19.5 diameterRAVA Collection

3. CupUnknownXXth centuryWalnut wood9.5 height; 16 diameterIVAT Collection

6. Cup with four handlesUnknownBeginning of XXth century - ChamporcherÉrable 6 height; 15 diameterCollection IVAT

12. CupUnknownEnd of XIXth centuryMaple wood 9.5 height; 17.5 diameterIVAT Collection

16. Friendship CupDomenico Brunodet (1914–1997)1976 - ValtournencheWalnut wood 22 height; 27.3 width;24.5 diameterIVAT Collection

13. Cup with two handlesUnknownXXth century - ChamporcherMaple wood6 height; 18.5 width;14.5 diameterIVAT Collection

14. Friendship CupAimé Brunodet (1917)XXth century - ValtournencheMaple wood 13 height; 33.3 width;19.5 diameterIVAT Collection

15. CupUnknownXXth centuryMaple wood 8.5 height; 15.5 diameterIVAT Collection

turningTurning is a craftsmanship technique obtained by removal of material and characterized by the rotary motion (continuous or discontinuous) of the piece of wood while a stationary cutting tool penetrates the block to remove the leftover. Turning consists in obtaining from a solid piece a rounded shape (round, cylindrical, spherical); it requires to use lathe and tools of various shapes. The piece of wood is blocked between two mandrels (headstock and tailstock) and rotated at a variable speed; the tool pressure eliminates the excess wood bringing it to the desired shape.Versatility of the interactive movement between the piece to work and the cutting-edge allows to produce very different objects; it depends on how the piece is set down (longitudinal or transverse according to axis) and the work processing inside/outside the block.

TECHNICAL SHEET

The piece of wood to turn must be carefully chosen by avoiding the pieces with cracks and knots: these defects split the block during the processing phase because of the centrifugal force. We use currently the mechanical lathe in which the rotary movement of the piece is automated while historically turning was made with the so-called pole lathe or foot lathe. The pole lathe is a mechanism that runs on «human power» with intermittent rotary motion. It consists of two columns on which is mounted a crosspiece where the piece is inserted. Fundamental element is the rope, which is tied to a pedal or to a bracket and then passed around the piece to work (two revolutions keep it from slipping) while the other end is attached to a flexible pole fixed above the lathe. This technique greatly increases the power of rotation and has the advantage of letting the hands free during the processing.Most of the exhibits produced at the beginning of the twentieth century have been processed with this technique.

wood turning in ValtournencheName of Valtournenche derives from turning, a job deeply rooted in this area once called Vallée des tourneurs, Vallis Tornina, Valle tornenchia. The large quantities of soapstone and very easy to work wood like maple influenced undoubtedly the type of production of the valley: bowls, plates, cups exhibited at the Fair came almost exclusively from Valtournenche and compose the “Sant’Orso silverware”.Grolla is made from dry wood. Tradition uses apple, pear and maple woods. Apple wood is fresh and full of contrasts and grains, and suits perfectly to get special aesthetic effects on the surface to turn. Pear wood is excellent for turning and its reddish colour is really particular. In any case wood should be compact to “endure” the turning work. Maple wood widely used in Valtournenche is also a compact light-coloured wood suitable for making furniture and turned objects.

TECHNICAL SHEET

The precious walnut wood so appreciated by furniture-makers and sculptors is easy to work, polish and perfectly glaze. This wood can dry for a long time without too much risk of cracking and deformation.Presently a great number of grolla are made of walnut.It is not a functional, but only an aesthetic choice. Indeed, even if it is a very nice wood, it is not appropriate as container for drinks or food, in that it contains tannic acid, which gives an unpleasant taste and “attacks” substances in food. It is why formerly walnut wood was not used, but rather maple wood to achieve objects reserved to drinks and food.

grolleIn the showcase we can see the shape evolution of these objects issued from the handicraft of Aosta Valley. Chalice with a wide front foot, narrower shaped stem and large cup (where you drink) turned into a form where the foot remains wide, the neck becomes shorter and the cup becomes larger with a lid. Over the centuries decoration (engraved drawing) of these objects changed a lot: firstly the drawings showed linear rings then grew more complex (less simple), nicer and characterized by refined carved ornaments.Term grolla comes from the word graal that in Oïl language means chalice. The precious grolle exhibited here are part of the Brocherel’s collection.


ROOM CARD

2. GrollaUnknownWood14 height; 8.7 diameter Brocherel’s CollectionPalazzo Madama Torino

4. GrollaUnknownWood12.5 height; 9 diameter Brocherel’s CollectionPalazzo Madama Torino

6. GobletUnknown1795Wood23 height; 12 diameter Brocherel’s CollectionPalazzo Madama Torino


5. GrollaUnknownWood32 height; 12 diameter Brocherel’s CollectionPalazzo Madama Torino

7. GobletUnknownWood21 height; 15 diameterBrocherel’s CollectionPalazzo Madama Torino

8. Grolla UnknownWood17.5 height; 13 diameter Brocherel’s CollectionPalazzo Madama Torino


9. GrollaUnknown1726Wood18 height; 14.5 diameterBrocherel’s CollectionPalazzo Madama Torino

10. GrollaUnknownWood16.5 height; 13 diameter Brocherel’s CollectionPalazzo Madama Torino



Alexis Julien (Jules) Brocherel(Courmayeur, November 24, 1871 - Aosta, January 1, 1954)

Since always known as Jules, this researcher distinguished in the valdostan intellectual sphere because of the multiplicity and diversity of his interests motivated by the objective of disseminating the cultural values of Aosta Valley. Progress marked by the advent of the railway transport, tourism development and passion for mountain climbing are the main aspects that affect his formation. In particular, when he was young, climbing practice led Brocherel to approach self-taught scientific disciplines related to alpinism such as botany, mineralogy, glaciology, and improved his collector’s nature that will accompany him throughout his life. In 1900, he took part in the expedition to the central Tien Chan organized by Prince Scipione Borghese in charge of finding scientific data from topographical maps drawing to botanical specimens discovery. During his trips he takes advantage of the photography and turns it into a scientific instrument that he applies to his research using it in a professional way. The extensive photographic documentation achieved by Brocherel and partially lost, depicted various subjects: from alpine landscapes to botanical species, traditions and customs in everyday objects. After the war, the industrial progress marked a great disequilibrium between rural and urban areas and influenced a lot his work. The intent of safeguarding the folk traditions without depreciating the evolution value gave birth in 1919 to the monthly publication «Augusta Praetoria» founded by a group of valdostan intellectuals.

TECHNICAL SHEET

Matters concerned issues of important relevance always in relation to the development and progress of Aosta Valley both at the material and cultural levels. The program ranges on various topics, such as French language defense as mother tongue and cultural development of people by suggesting the creation of a library and a museum as instruments to disseminate literacy, and practical training courses for youth. This magazine published from 1919 to 1927 and then from 1948 to 1953 is the most evident proof of the editorial and journalistic Brocherel’s talent. At the same time the revaluation policy of folk art, not only as a historical document about life and customs, but as a model of art, that looking at the origins preserves the characteristics interconnected with the territory and tradition, pushed Brocherel to approach ethnography. He will explore the many aspects so far as to propose a valdostan museum be created that will never be built. In this perspective since the 20s, Brocherel researches and collects numerous items of folk art, some of which are sold to the new constituent Civic Museum of Ancient Art in Turin when disappeared any possibility of creating a museum. From the correspondence undertaken with the Director of the Museum, Viale Vittorio, at the beginning of the 30s, we reached to a transition agreement that sees more than four hundred pieces of folk and ecclesiastical art joined Turin in 1932 in order to boost the folk section of the museum. A few years later, in 1937, took place in Rome the Folk Art of Aosta Valley exhibition, which marks the topmost of his activity in the ethnographic research field. Curator of the catalogue Brocherel provides the public with information about origin and use of the exhibited objects. The exhibition shows not only items sold to the Civic Museum of Turin, but also objects from private collectors who lent them for this occasion.The searcher will continue to look for artifacts of folk art, and sell them to different museums and collectors with whom he tightens both intellectual and economic relations.

Over the last few years he is involved in the implementation of the Regional Library the only project that Brocherel deals personally and sees the achievement. His life is devoted to studies, research and publications and gives him the opportunity to build up a personal library (Augustana Library) that he makes available to university students. His activities as a collector do not ever loose business acumen and he assigns some of these objects and texts for sale. As with his collection of folk art Brocherel’s intention is to develop the Library to a future public destination that will be realized in 1951 with the inauguration of the present Regional Library of Aosta, which melts the Brocherel’s Augustana Library and the Public Library in a single large public organization. Jules Brocherel dies suddenly of heart attack on January 1st, 1954. In 2000, nearly fifty years after his death, in collaboration with the Museum of Ancient Art and Palazzo Madama in Turin an exhibition is organized in Aosta: Valdostan Folk Art. Jules Brocherel’s collection from the Civic Museum of Turin. For this exhibition the objects are those that Brocherel sold to the Civic Museums in the 30s and presented in 1936 during the namesake exhibition. Since 2009, a part of the Brocherel collection has been dropped off at MAV on free loan for use from Museum of Ancient Art and Palazzo Madama in order to disseminate material culture of the territory. Through temporary exhibitions of some artifacts and an organization of guided tours about the collection as well as some promotion activities, Museum tried to divulge the significance of the collection itself. Presently, project of universal accessibility of culture reorganized the MAV layout with three important showcases entirely dedicated to Brocherel that display about a hundred artifacts exhibited in the collection to meet with the numerous requests of collectors and fans.

péilloPéillo is heated room, the most important of the house, a place for a break and meeting. Péillo identifies with the evening meeting, la veillà, when it is possible talking, laughing and joking. Kids play, but adults continue to work with their hands in rhythm of the wooden clock. Instruments for spinning wool (spinning wheels, distaffs) are in motion; in the coffers are kept spinning works. Men smoke placidly pipe full of tobacco prepared and crushed with a pestle in the mortar. A true ritual as evidenced by the presence of scented and decorated snuffboxes. On the table stand inkwells finely carved in soapstone. Antiques of Brocherel’s Collection tell us here the heated room.

ROOM CARD


1. ClockUnknown1829Wood, iron and rope32 height; 21.5 width; 25.5 depthBrocherel’s CollectionPalazzo Madama Torino

2. Drop-shaped watch holder UnknownWood14.5 height; 8.5 width; 5 depthBrocherel’s Collection Palazzo Madama Torino

3. Watch holder UnknownWood and iron13.6 height; 8 width; 5.3 depthBrocherel’s CollectionPalazzo Madama Torino

4. Watch holderUnknownWood26.7 height; 19 width; 14.5 depthBrocherel’s CollectionPalazzo Madama Torino

5. FontUnknownSoapstone29 height; 13 widthBrocherel’s Collection Palazzo Madama Torino

6. Virgin and ChildUnknownWood15.5 height; 9 width; 6 depthBrocherel’s CollectionPalazzo Madama Torino

8. DistaffUnknownWood114 height; 1.8 widthBrocherel’s CollectionPalazzo Madama Torino

7. CradleUnknown1749Wood27 height; 34 width; 67 lengthBrocherel’s Collection Palazzo Madama Torino

9. DistaffUnknownWood103 height; 1.8 widthBrocherel's CollectionPalazzo Madama Torino

10. DistaffUnknownXVIIIth centuryWood116.5 height; 2 widthBrocherel's Collection Palazzo Madama Torino

12. DistaffUnknownWood59 height; 2.7 widthBrocherel's Collection Palazzo Madama Torino

11. DistaffUnknownWood66.5 height; 2.7 widthBrocherel's Collection Palazzo Madama Torino

13. DistaffUnknown1913Wood70.5 height; 2.5 widthBrocherel's Collection Palazzo Madama Torino

14. Spinning wheelUnknownWood65 height; 71 width; 50 depthBrocherel's CollectionPalazzo Madama Torino

15. CasketUnknown1665Wood and iron13.7 height; 14 width;30.5 lengthBrocherel's Collection Palazzo Madama Torino

16. Case UnknownWood4.6 height; 6.5 width;16.5 lengthBrocherel's CollectionPalazzo Madama Torino

17. CaseUnknown1797Wood3.5 height; 5.8 width; 23 lengthBrocherel's Collection Palazzo Madama Torino

18. Needles holderUnknownWood 3 height; 2.5 width; 13 lengthBrocherel's CollectionPalazzo Madama Torino

19. Knitting needles holderUnknownWood3.5 height; 3 width; 40.5 widthBrocherel's Collection Palazzo Madama Torino

20. CaseUnknown1598Wood6.5 height; 10.5 width; 20 lengthBrocherel's Collection Palazzo Madama Torino

21. Oval boxUnknownBirch wood9 height; 12.7 width; 18 lengthBrocherel's CollectionPalazzo Madama Torino

22. Shopping basket Unknown1833Wood24.5 height; 21 width; 30 lengthBrocherel's Collection Palazzo Madama Torino

23. Shopping basket Unknown1589Wood31 height; 19.5 width; 32.3 lengthBrocherel's CollectionPalazzo Madama Torino

24. Bobbin lace holderUnknownWood79 height; 26 width; 29 depthBrocherel's Collection Palazzo Madama Torino

25. Casket with compartmentsUnknown1747Wood and iron8 height; 10 width; 20 lengthBrocherel's CollectionPalazzo Madama Torino

28. Pestle for tobaccoUnknownWood12.7 height; 4.3 width;2.4 diameterBrocherel's CollectionPalazzo Madama Torino

26. Snuff boxUnknown1870Boxwood and glass paste10.5 height; 4.5 width; 3.5 depthBrocherel's Collection Palazzo Madama Torino

27. Pestle for tobaccoUnknownWood and iron12 height; 2.5 diameter Brocherel's Collection Palazzo Madama Torino

29. Pestle for tobaccoUnknownWood 9.5 height; 3.7 diameterBrocherel's CollectionPalazzo Madama Torino

30. Pestle for tobaccoUnknownWood and iron13.3 height; 4.5 diameter Brocherel's Collection Palazzo Madama Torino

31. Pestle for tobaccoUnknown Wood and iron13.5 height; 4 diameter Brocherel's CollectionPalazzo Madama Torino

32. Pestle for tobaccoUnknownWood and iron10.3 height; 4 diameter Brocherel's Collection Palazzo Madama Torino

33. Unfinished pestle for tobaccoUnknown1857Boxwood and iron6 height; 4 width; 3 depthBrocherel's Collection Palazzo Madama Torino

34. PipeUnknownEnd of XIXth – beginning ofXXth centuryWood and iron10 height; 5.5 width; 10.5 depthBrocherel's CollectionPalazzo Madama Torino

35. Snuff box UnknownWood 5.7 height; 3.8 width; 6.3 lengthBrocherel's Collection Palazzo Madama Torino

36. CasketUnknown1665Wood and iron13.7 height; 14 width;30.5 lengthBrocherel's CollectionPalazzo Madama Torino

39. Shopping basketUnknownWood e iron29.5 height; 33.5 width;34.5 lengthBrocherel's Collection Palazzo Madama Torino

38. Monoxyle casket Unknown1703Wood11.5 height; 15.2 width;21.5 lengthBrocherel's Collection Palazzo Madama Torino

37. CasketUnknownWood and iron20.5 height; 17 width; 35.3 lengthBrocherel's Collection Palazzo Madama Torino

40. Shopping basket UnknownWood20 height; 37.5 width; 32 depthBrocherel's Collection Palazzo Madama Torino

41. Shopping basket UnknownXVIIth centuryWood29 height; 32 width; 41 lengthBrocherel's Collection Palazzo Madama Torino

42. StickUnknown1904 Wood and iron103 height; 4.7 widthBrocherel's CollectionPalazzo Madama Torino

43. StickUnknownWood, leather and iron85 height; 5.5 widthBrocherel's Collection Palazzo Madama Torino

44. StickUnknownWood89 height; 10 widthBrocherel's Collection Palazzo Madama Torino

45. StickUnknownWood and iron92.5 height; 4 widthBrocherel's Collection Palazzo Madama Torino

47. StickUnknownWood and iron75 height; 13.5 widthBrocherel's Collection Palazzo Madama Torino

48. StickUnknown1901Wood81.5 height; 13 widthBrocherel's CollectionPalazzo Madama Torino

46. StickUnknown1900Wood80.5 height; 5 widthBrocherel's Collection Palazzo Madama Torino

49. StickUnknown1885Wood and iron97.2 height; 13 widthBrocherel's Collection Palazzo Madama Torino

50. StickUnknownWood102.3 height; 6 widthBrocherel's Collection Palazzo Madama Torino

1. InkwellUnknownSoapstone13 height; 9 width; 13.6 lengthBrocherel's CollectionPalazzo Madama Torino

2. InkwellUnknown1776Soapstone6.5 height; 8 width; 6.5 diameterBrocherel's Collection Palazzo Madama Torino

3. InkwellUnknownSoapstone9 height; 16 width;18 lengthBrocherel's Collection Palazzo Madama Torino

5. InkwellUnknownSoapstone and glass8 height; 9 width; 9 lenghtBrocherel's Collection Palazzo Madama Torino

4. InkwellUnknown1884Soapstone5.7 height; 12 width; 18 lengthBrocherel's Collection Palazzo Madama Torino

6. InkwellUnknown1723Soapstone9.5 height; 10.5 width; 22 lengthBrocherel's Collection Palazzo Madama Torino

7. InkwellUnknownSoapstone9 height; 8.5 width; 12 lengthBrocherel's CollectionPalazzo Madama Torino

9. InkwellUnknownSoapstone5.3 height; 8 width; 9 lengthBrocherel's Collection Palazzo Madama Torino

8. InkwellUnknownSoapstone6 height; 11.5 width; 21.5 lengthBrocherel's Collection Palazzo Madama Torino

10. InkwellUnknown1884Soapstone5 height; 21 width; 16.5 diameterBrocherel's Collection Palazzo Madama Torino

11. InkwellUnknownSoapstone6.5 height; 15.7 width; 14 lengthBrocherel's Collection Palazzo Madama Torino

12. InkwellUnknownSoapstone10.5 height; 13.5 width;16 lengthBrocherel's CollectionPalazzo Madama Torino

It is very important for valdostan craftsmen characterise (do) crucifixion with various techniques and materials: stone, wood and roots. We can find crucifixes fixed on the fronts of the houses above the console tables and house altars (home), close to sculptures of Virgins or Saints. Each family placed his patron saint or the village patron saint on the altar.

crucifixesROOM CARD


3. Table crucifix UnknownXVIth centuryArolla pinewood41 height; 22.5 width; 8.8 depthIVAT Collection

1. Crucifix Livio (Silvio) Meynet (1936)Second half of XXth century - ValtournencheSoapstone42 height; 32 widthIVAT Collection

2. CrucifixArmando Laurent (1925 - 2011)Second half of XXth century - GabyJuniper wood94 height; 65 width; 26.5 depthIVAT Collection

4. Table crucifixHans Savoye (1901 – 1966)Second half of XXth century -Pré-Saint-DidierWalnut wood52 height; 21 width; 13 depthIVAT Collection

5. CrucifixUnknownWood65 height; 32.5 width; 18 depthBrocherel’s CollectionPalazzo Madama Torino

6. Christ on the crossUnknownWood33 height; 30 width; 6 depthBrocherel’s CollectionPalazzo Madama Torino

7. CrucifixUnknownWood72 height; 41 width Brocherel’s CollectionPalazzo Madama Torino

8. CrucifixUnknownWood78.7 height; 51.8 width;8.5 depthBrocherel’s CollectionPalazzo Madama Torino

religious sentimentReligious sentiment is deeply rooted in the mountain man. This is why religious symbols are ubiquitous in objects of everyday life. Not always it is possible to go to church, especially when the fieldworks have priority. Craftsman then begins to shape virgins and saints he places in niches and small altars located inside or outside the house. Many valdostan families prayed in front of the little domestic altar, a kind of shrine in which were placed images of the most revered saints.In almost all the Aosta Valley during the solemn feast of Corpus Christi (one of the main celebrations of the liturgical year of the Catholic Church that takes place on Sunday following the Solemnity of the Holy Trinity), along the path of the procession, it was customary to put in front of the house a table covered with the most beautiful tablecloth on which paintings and sacred statues and paintings, religious images of family worship, saints associated to beliefs in miraculous healings or even saints with the name of family members.

TECHNICAL SHEET

toysFormerly, children played and worked both inside and outside the house often in a corner without disturbing others.Children lived with the animals and adults and imitated gestures and words. Toys were mainly wooden animals: rocking horses or carousels, horses that could pull a small cart or horses (Tatà), ibex, chamois, goats, sheep and rams, mules with or without wheels or small wagon with load on the saddle.There were also cows of different shapes and sizes, roosters, hens and other poultry or wild animals. Children can see these animals every day in the barn (lo baou), in the courtyard (la cor) or in the meadows.

ROOM CARD


4. Horse with wheelsDaniele MaquignazXXth centuryWood (probably maple wood)18 height; 10 width; 32 lengthIVAT Collection

2. Horse with wheelsAimé Brunodet (1917)XXth century - ValtournencheMaple wood42 height; 19 width; 52 lengthIVAT Collection

1. Horse with wheelsAimé Brunodet (1917)XXth century - ValtournencheMaple wood45.5 height; 19 width; 46 lengthIVAT Collection

7. Painted cowJean-Baptiste Hérin (1890 – 1971)XXth century - ValtournencheMaple wood8.7 height; 4 width; 17.5 lengthIVAT Collection

6. BullDaniele Champion (1908–1997)XXth century - Saint-MarcelWalnut wood9.7 height; 5 width; 18 lengthIVAT Collection

8. MuleFederico Jordaney (1918 – 1995)XXth century – ValpellineWalnut wood16.5 height; 10.5 width; 40 lengthIVAT Collection

3. Horse with wheelsMarcello Brunodet (1898 – 1967)XXth century - ValtournencheMaple wood19.5 height; 12 width; 22 lengthIVAT Collection

5. Stylized cowAimé Brunodet (1917)XXth century - ValtournencheWillow-wood7 height; 6 width; 39 lengthIVAT Collection

9. Horse with wheels Maurizio Bussi (1926 – 1989)XXth century - AostaWalnut wood and leather 18.8 height; 15.5 width;19.5 lengthIVAT Collection

10. Spinning topXXth centuryBoxwood10 height; 6.5 diametrerRAVA Collection

11. Group of stylized cowsUnknownWoodMax measures: 5 height;7 width; 11 lengthBrocherel’s CollectionPalazzo Madama Torino

12. Two manUnknownWood6.5 height; 2 width; 2.3 depthBrocherel’s CollectionPalazzo Madama Torino

16. Stylized muleUnknownWood9 height; 5 width; 13 lenghhBrocherel’s CollectionPalazzo Madama Torino

14. MuccaUnknownWood10 height; 6.5 width;29.5 lengthBrocherel’s CollectionPalazzo Madama Torino

13. Stylized muleUnknownWood8.5 height; 7.5 width;21 lengthBrocherel’s CollectionPalazzo Madama Torino

18. Stylized dogUnknownWood3.5 height; 3 width; 14.5 lengthBrocherel’s CollectionPalazzo Madama Torino

15. HorseUnknownXVIIIth century - CogneWood13 height; 4.5 width; 22.5 lengthBrocherel’s CollectionPalazzo Madama Torino

17. RamUnknownWood3.5 height; 4 width; 9 lengthBrocherel’s CollectionPalazzo Madama Torino

22. IbexUnknownValtournencheWood11 height; 5 width; 15.5 lengthBrocherel’s CollectionPalazzo Madama Torino

20. Horse with wheelsUnknownWood13.5 height; 8 width; 11.5 lengthBrocherel’s CollectionPalazzo Madama Torino

19. MuleUnknownWood6.5 height; 3 width; 11.5 lengthBrocherel’s CollectionPalazzo Madama Torino

24. MuleUnknownXVIIIth century –Rhêmes Notre DameWood15 height; 5 width; 23 length Brocherel’s Collection

21. Stylized muleUnknownWood15 height; 5.5 width; 19 lengthBrocherel’s CollectionPalazzo Madama Torino

23. AnimalUnknownWood5.5 height; 4.5 width; 16.5 lengthBrocherel’s CollectionPalazzo Madama Torino

28. Group of six stylized cowsUnknownWoodMax measures: 1.5 height;3.8 width; 5.5 lengthBrocherel’s CollectionPalazzo Madama Torino

26. HorseUnknownWood18 height; 4.5 width; 16.5 lengthBrocherel’s CollectionPalazzo Madama Torino

25. Mule with sleighTeotista FavreBionazWood12 height; 5 width; 19 lengthBrocherel’s CollectionPalazzo Madama Torino

30. Stylized ibex UnknownWood4 height; 3 width; 10 lengthBrocherel’s CollectionPalazzo Madama Torino

27. Group of six animalsUnknownWoodMax measures: 3 height; 1 width;5 lengthBrocherel’s CollectionPalazzo Madama Torino

29. Group of three ibexUnknownWoodMax measures: 7 height;2 width; 10.5 lengthBrocherel’s CollectionPalazzo Madama Torino

34. CockUnknownWood18.5 height; 5.5 width; 14 lengthBrocherel’s CollectionPalazzo Madama Torino

32. Group of twenty-on hensUnknownWoodMax measures: 8.5 height;3.5 width; 8.5 lengthBrocherel’s CollectionPalazzo Madama Torino

31. Group of six dairyman toolsUnknownWoodMax measures: 8 height;4.5 width; 3 depthBrocherel’s CollectionPalazzo Madama Torino

36. Little man with three legs UnknownBionazWood17 height; 8.5 width; 11.3 depthBrocherel’s CollectionPalazzo Madama Torino

33. HenUnknownWood12 height; 4.5 width; 18.5 lengthBrocherel’s CollectionPalazzo Madama Torino

35. Group of three little men with three legsUnknownWoodMax measures: 14 height;11.5 width; 7.5 depthBrocherel’s CollectionPalazzo Madama Torino

38. Two menUnknownWoodMax measures: 10.5 height;5 width; 4.5 depthCollezione BrocherelPalazzo Madama Torino

37. Group of little men withthree legsUnknownBionazWoodMax measures: 12.5 height;5 width; 6 depthCollezione Brocherel

39. Group of stylized cowsMarco (1996) e Matteo (1991) Nelva Stellio, Ivan Landry (1998),Joël Chenal (1995)2008 – OyaceThe smallest: 3 width; 8.5 lengthThe biggest: 10 width; 19 lengthIVAT Collection

traditional toysSmall Wooden horses on wheels – TatàTatà is a wooden toy in the shape of a mule or wheeled horse and spread like traditional toy of the valdostan children. The name seems to derive from the childish expression « ta- ta», to imitate the noise of the wheels on the wooden floor of the houses. This object is still present in the current artisanal production, but has lost its original toy function to become a real and finely decorated sculpture.

Stylized cows - Cornailles Stylized cows are made from a forked branch. The horns are the fundamental element of the object because the children used to play fight of cows (bataille di vatse) by pushing cows against each other (the cow that overturned on itself lost the fight). And, just to make them more similar to real cows (rèine fight in the arena) the horns were carefully modelled in the most effective way: ring (boclla), raised (levaye), trident-shaped (a trén). Obviously they should be sharp.

TECHNICAL SHEET

The rest of the body is much coarser: usually there is no tail or paws because cornailles should slide smoothly. The «spine» is left unchanged or scraped depending on the coat we want to get: spotted, solid or also sculpted to create the effect of the hair. The cornailles belly is always peeled to write the name of the cow. The toy size depends obviously on the piece of wood used initially; usually we use pine, birch or hazel woods, all easy species to work and find. Once created the herd (troupé), cows are measured to determine the categories, as in the real regional playoffs of the fights of rèine. We can then start to play, but not only to fight: cows go to pasture in Indian file or not and then returned to the barn... Four young artisans of Oyace involved in the Sant’Orso Fair since 2007 achieved the cornailles exhibited here.

Spinning Tops - Borioule Spinning top is a simple game that has always fascinated children. Wooden toy are turned mainly with hardwoods, conical shape whose lower end has a metal tip. Around the top rope is wound to form a spiral that runs from the tip of metal part to the highest and larger part that allows to rotate the spinner during the launch. The boys played true competitions to see who managed to rotate the longer.

cradles

In Valdostan dialect the term cradle refers to the word arm (bré). Cradle reminds the mummy’s arms.It is a light object easy to move with knobs and holes to fasten the baby and put him to sleep with a rocking movement. Cradles can be used every day or just for the baptism ceremony. In this case cradles are carved and richly ornamented with natural colors. Sometimes a carved arch bridges over the cradle to sustain a voile to protect the newborn child’s head.

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4. CradleUnknownXIXth century - ChamporcherSpruce pine34 height; 48 width; 75 lengthPrivate Collection

2. Cradle archUnknownXXth centuryPoplar wood35 height; 10 width;90 developmentRAVA Collection

1. Baptismal cradleUnknown1883Wood (probably scots pine)29.5 height; 33 width; 71 lengthRAVA Collection

7. CradleUnknownWood26 height; 30.5 width; 72 lenghtBrocherel’s CollectionPalazzo Madama Torino

6. CradleUnknown1814Wood28 height; 37 width; 69 lengthBrocherel’s CollectionPalazzo Madama Torino

3. CradleUnknownXVIIIth centuryWood (probably scots pine)24 height; 38 width;74 lengthRAVA Collection

5. CradleUnknown1610Wood27.5 height; 29.5 width;57.5 lengthBrocherel’s CollectionPalazzo Madama Torino

cradlesIn every family cradle was carefully preserved and handed down from one generation to the next; it was surely the most appreciated among the newlyweds’ gifts.Cradle is a piece of furniture with little dimensions, but owns a great value in the family life; even the most rudimentary are indeed manufactured with the utmost care and decorated with grace and harmony. The classic construction consists of flared sides and back panels that fit on turned protruding uprights set down on rocking skates. On the upper sides turned stuck knobs are used to interlacing ribbons the function of which is to block the new born inside the cradle; alternatively, holes in the shape of a half-moon can play this function. The back is shaped and has a central hole often in the form of stylized heart. Some specimens are enriched with rounded elements inserted into the backside length. The various components are assembled with tenon joints blocked by pegs.

TECHNICAL SHEET

The bottom almost always has holes arranged to form the shape of a cross. To complete the ensemble a small wooden arch can optionally be inserted into the sides of a wooden bow (the bow cradle) used for placing a veil to protect the head of the new born.Traditionally cradles were prepared by prospective fathers or given away from those who were called to serve as godfathers. Custom indeed plans to bring the new-born to baptism in a cradle carved and/or painted with geometric, floral, abstract themes, religious symbols and inscriptions that bring luck. These so richly decorated cradles are true artistic masterpieces where the symbolic repertoire and fantasy blend into a harmonious whole. Production of cradles spread throughout the region, but Cogne area distinguishes by the rich polychrome decorations made on the sides.Obviously, not all the families owned a cradle and among the poorest ones, child was brought to the church for baptism by godparents in a simple wicker basket usually used to transport wood or potatoes. For the occasion, the basket was padded inside to make the trip more comfortable and protect the baby from cold.

baou-corInside the stall we find objects made for the breeder’s work (milking stools, shepherd headrests) and his animals (chains, bells). Close to these tools some sculptures characterise animals and stall works. Goat collars are very significant objects embellished (made more beautiful) with abstract (invented) and polychrome (with different natural colours) designs. In addition to be very useful they were also a beauty mark for animals. Indeed, goats were vital for the families’ maintenance (because they produced milk). This is why people looked after them with a great care and provided to decorate them.

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1. Saint AnthonyOscar Brocard (1926–2006)XXth century - SarreArolla pinewood107 height; 32 width; 40 depthIVAT Collection

2. Cow with bellErnesto Bornaz (1923)XXth century - GressanMaple wood26 height; 39 width;10 thicknessIVAT Collection

3. Man with muleFederico Jordaney (1918–1995)XXth century – ValpellineWalnut wood24 height; 8 width; 47.5 lengthIVAT Collection

4. Alps with cows, shepherds and IbexHans Savoye (1901–1966)XXth century - Pré-Saint-DidierWalnut wood25 height; 32.5 width; 60 lengthIVAT Collection

5. HenUnknownXXth centuryArolla pinewood35 height; 17 length; 14 widthIVAT Collection

6. CockAdolfo ChentreXXth centuryFir tree wood59 height; 11 width; 29 lengthIVAT Collection

7. HenVenanzio Coquillard (1920–1981)XXth century – Aosta (Excenex)Maple wood35 height; 18 width; 40.5 lengthIVAT Collection

8. Shepherd with a dog andtwo sheep Vittorio Vuillermoz (1883–1962)XXth century - ValtournencheMaple wood28 height; 31 diameter basisIVAT Collection

9. Hen with chickenGiulio Vuillermoz (1935)XXth century - ValtournencheMaple wood21 height; 18.5 width;26.5 lengthIVAT Collection

10. Card Unknown1822 – Sarre (Lalex)Walnut and poplar wood (handle)29 length; 27 widthPrivate Collection

11. Card Unknown1822 – Sarre (Lalex)Beech and poplarwood (handle)32 length; 26 widthPrivate Collection

12. Shears for woolUnknownXVIIth centuryIron19 length; 5 width; 1 thicknessRAVA Collection

13. Shears for woolUnknownXVIIth centuryIron20 length; 5 width; 1.7 thicknessRAVA Collection

14. Stool for milking Unknown1899Fir tree wood37.5 height; 30 width; 9 depthIVAT Collection

15. Stool for milkingTobie Deval (1920–1998)XXth century - BrissogneAlder wood33.5 height; 31.5 width; 20 depthIVAT Collection

16. Stool for milkingHans Savoye (1901–1966)XXth century - Pré-Saint-DidierWalnut wood40 height; 38 width; 18.5 depthIVAT Collection

17. Cock with five headsCarlo Gadin (1943)XXth century - Saint-NicolasWalnut wood23 height; 12.5 width; 10 depthIVAT Collection

18. Old woman with a basketGiuseppe Favre (1935–1990)XXth century - ArnadWalnut wood26.5 height; 9 width; 9.5 depthIVAT Collection

19. Group of hensVenanzio Coquillard (1920–1981)XXth century – Aosta (Excenex)Maple woodDimensions max: 11 height;5 width; 9.5 lengthIVAT Collection

20. Shepherd basketUnknownEnd of XVIIIth centuryArolla pinewood and willow-wood9.5 height; 22.5 diameterIVAT Collection

21. Shepherd basketUnknownXIXth centuryFir tree and willow wood10 height; 20.5 diameterIVAT Collection

22. Shepherd basketUnknownEnd of XVIIIth centuryFir tree and willow wood (roots)10 height; 20 diameterIVAT Collection

23. Headrest Unknown1852Arolla pinewood10 height; 9.5 width; 27 lengthIVAT Collection

24. Headrest Unknown1797Maple wood10 height; 9.5 width; 33 lengthIVAT Collection

25. Headrest Unknown1852 – Gran San Bernardo ValleyMaple wood11.5 height; 11 width;30.5 lengthIVAT Collection

26. Milker with stool and bucket Renato Champrétavy (1927)XXth century - Saint-NicolasMaple wood76 height; 34 width; 48 depthIVAT Collection

27. Man with stool and shovelAlfonso Laurent (1881–1968)XXth century -Gressoney-Saint-JeanBirch wood and bark 70 height; 23 width; 29 depthIVAT Collection

28. Bell RibolaBrothers RibolaXIXth century - FénisIron22.5 height; 22 width;14 thicknessPrivate Collection

29. BellUnknownXVIIth centuryIron17.5 height; 15 width;13 thicknessRAVA Collection

30. BellUnknownXVIIIth centuryIron14.5 height; 12 width;5 thicknessRAVA Collection

31. Four cow chains UnknownChamporcherIronThe shortest: 51.5 lengthThe longest: 90 lengthIVAT Collection

32. Goat collarUnknownXIXth – XXth centuryWalnut wood20 height; 11 width; 45.5 growthRAVA Collection

33. Goat collarPerruchon1958 - ChamporcherWalnut wood19 height; 11 width; 43 growthRAVA Collection

34. Goat collarUnknownXXth centuryWalnut wood19.5 height; 9 width; 44.5 growthRAVA Collection

35. Goat collarUnknownXIXth centuryMaple wood17.5 height; 10 width; 41 growthRAVA Collection

36. Goat collarUnknownXIXth – XXth centuryWalnut wood16.5 height; 9 width; 39 growthRAVA Collection

37. Goat collarUnknown1874 - ArnadMaple wood20 height; 14.5 width; 45 growthIVAT Collection

38. Goat collarUnknownXIXth – XXth centuryWalnut wood23 height; 14.5 width; 55 growthRAVA Collection

39. Goat collarUnknownXIXth – XXth centuryWalnut wood13 height; 5 width; 30.5 growthIVAT Collection

40. Goat collarPietro Paolo D’Hérin (1905–1992)XXth century - ChampdeprazMaple wood23 height; 12 width; 52 growthIVAT Collection

41. Goat collarPietro Paolo D’Hérin (1905–1992)XXth century - ChampdeprazMaple wood20.5 height; 9.5 width; 50 growthIVAT Collection

42. Goat collarPietro Paolo D’Hérin (1905–1992)XXth century – ChampdeprazMaple wood21 height; 9.5 width; 48 growthIVAT Collection

43. Goat collarSelve Crétaz (1909–1991)XXth century - PerlozMaple wood22 height; 11.5 width;52.5 growthIVAT Collection

44. Goat collarUnknown1941Hackberry wood23 height; 12.5 width; 52 growthRAVA Collection

45. Goat collarUnknownXXth centuryWalnut wood21.5 height; 12.5 width;49.5 growthRAVA Collection

46. Goat collarUnknownXXth centuryHackberry wood22 height; 14.5 width;49.5 growthRAVA Collection

47. Goat collarUnknownXXth centuryWood (probably poplar)22 height; 18 width; 52 growthRAVA Collection

48. Goat collarUnknownWood and leather17 height; 12 width;7.8 depth; 39.5 growthBrocherel’s CollectionPalazzo Madama Torino

49. Goat collarUnknownWood and leather17.5 height; 14 width;10 depth; 41 growthBrocherel’s CollectionPalazzo Madama Torino

50. Goat collarUnknownWood17 height; 12 width; 7 depth;40.5 growthBrocherel’s CollectionPalazzo Madama Torino

51. Goat collarUnknownWood and leather22.5 height; 13 width; 9 depth;54 growthBrocherel’s CollectionPalazzo Madama Torino

52. Goat collarUnknownWood15 height; 10.5 width; 5.3 depth; 33.5 growth Brocherel’s CollectionPalazzo Madama Torino

53. Goat collarUnknownWood and leather18.5 height; 13 width; 8.5 depth; 43 growthBrocherel’s CollectionPalazzo Madama Torino

54. Goat collarUnknownWood and leather26 height; 16 width;6 depth; 56.5 growthBrocherel’s CollectionPalazzo Madama Torino

cocksCock sculptures in the valdostan history of crafts are not particularly old tradition. Indeed, the artisans-farmers represented both domestic and wild animals existing in their daily life such as roosters, hens, ducks, horses, donkeys, goats, chamois, foxes, and so on… This kind of representation goes back to about 50 years, when some craftsmen began to create cocks of various dimensions. From the early 60s the composition of the traditional image of the cock is booming thanks to Brunodet brothers, Aimé and Dominique. Both artisans develop indeed a new and attractive style of cock giving it a proud look with an eagle’s beak, while retaining its popularity and simplicity.Works of the brothers of Valtournenche made with the traditional lathe they were real masters slowly turned towards the production of increasingly large cocks.

TECHNICAL SHEET

Change happens probably to compensate the large reduction in purchases of commonly used products. Indeed, from the 60s interest and use of wood for domestic objects are declining while increases the desire to buy aesthetic objects that show a strong identity production. Rooster is an inexpensive object and then entered the craft market. So, it quickly invaded the collective imagination as an object of tradition. As for the wooden cows, the cornaille, size of the cocks depends on the piece of wood used initially and in this case a forked branch. Wattles, crest and tail are usually colored red while the eyes are black. Equipped with a base for stability, cocks represent actually the old courtyard where roosters and hens frolicked freely.

Aimé Brunodet (1917), an artisan of Valtournenche, involved in the Sant’Orso Fair since 1932, produced the exhibited cock.

remizaRemiza is the room to put the tools away when we do not use them any more. There are big and small tools from various shapes and different materials. In the showcase you can actually see a sculpture that illustrates a woman trying to get a break like the tools in the remiza.

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5. WhetstoneUnknownGrindstone3 width; 23 length; 2 thicknessRAVA Collection

1. RakeMaurizio Martignon (1928)XXth century – FénisWood59 width; 192 length; 10 thicknessRAVA Collection

2. ClothespinsUnknownXXth centuryMaple wood62 height; 13 widthIVAT Collection

6. Whetstone holderUnknown1888Wood29 height; 7.5 width; 7 diameterRAVA Collection

3. CompassUnknownXXth centuryWalnut wood and iron56 height; 6.5 widthIVAT Collection

4. Sit womanUnknownXXth centuryArolla pinewood44 height; 22 width; 21 depthIVAT Collection

7. Whetstone holderUnknownEnd of XIXth centuryIbex horn and iron 30 height; 8.5 width; 6 thicknessPrivate Collection

8. Whetstone holderUnknownXXth centuryWood26 height; 10 width;8.5 diameterRAVA Collection

9. Whetstone holderUnknownWood26 height; 8.5 widthBrocherel’s CollectionPalazzo Madama Torino

10. Whetstone holderUnknown1854Wood22.5 height; 8 widthBrocherel’s CollectionPalazzo Madama Torino

11. BellowsUnknown1920Poplar wood, iron and leather 12.5 height; 23.5 width;50.5 lengthIVAT Collection

12. BellowsUnknownXIXth – XXth centuryMaple wood, iron and leather 19 height; 11 width; 29 lengthIVAT Collection

13. Left clog UnknownEnd of XIXth century – Chambave (Arlier) Fir tree wood10 height; 10 width; 27.5 lengthIVAT Collection

14. Left clog UnknownEnd of XIXth century - Chambave (Arlier)Fir tree wood12 height; 11 width; 31 lengthIVAT Collection

15. Couple clogs for womanLeandro Favre (1950)XXth century - AyasArolla pinewood12 height; 11.5 width; 31 lengthIVAT Collection

16. Couple of clogs for manLeandro Favre (1950)XXth century - AyasArolla pinewood14 height; 12.5 width; 35 lengthIVAT Collection

17. Couple of clogs for children Leandro Favre (1950) XXth century - AyasPoplar wood9.5 height; 8.5 width; 20.5 lengthIVAT Collection

18. Couple of clogs for children Leandro Favre (1950)XXth century - AyasPoplar wood9 height; 7.5 width; 19.5 lengthIVAT Collection

19. Conical wicker basketUnknownXIXth century - ChamporcherHazel wood with slats in other wood and leather (bands) 53 height; 45 width; 50 depthIVAT Collection

20. Conical wicker basketPietro Matteo Daudry (1915-2004)Half XXth century – Quart (Chetoz)Willow wood78 height; 56 width; 43 depthIVAT Collection

21. Conical wicker basketUnknownFirst half of XXth centuryHazel wood with larch wooden slats 54 height; 55 width; 47 depthIVAT Collection

sabotSabots (clogs) are robust wooden shoes typical of Ayas Valley. Their manufacturing goes back to very remote times and we own some concrete data regarding the other geographical areas of production such as Belgium and Holland, Jura areas, Pyrenees and more generally in northern France. Structure and form were obviously different, but manufacturing technique was the same. Purpose of these shoes remained unchanged overtime. It should protect the foot from water and mud and keep it warm. In Ayas Valley everybody wore clogs not because it was fashionable, but for necessity and convenience. Children and kids put also sabots on. They were opportunely fastened to the legs to not lose them in the woods and fields. They were slightly different from women’s shoes that were much finer with a higher heel and well decorated. According to tradition after the All Saints Day men began the long and laborious manufacturing of the shoes.

TECHNICAL SHEET

It was usual to work in pairs practicing the travài dévésà, one for the inner part and the other for the external part. Artisans could also go directly to customers to take measurement. Measures were approximated as we relied on the craftsman’s experience that distinguished large (grôsse), medium (mèdzane) and small (bachtardine) sizes. Two craftsmen were able to achieve as many as twelve pairs of clogs in a day; in some cases they could make fourteen or fifteen pairs. Forests that covered Ayas Valley were the main source of material for sabotiers (clog makers) that preferred arolla pinewood to scots pine because it could harm the feet. Forests of the valley proved very soon to be insufficient, so that many of them moved elsewhere to create new workshops. In Ayas clog maker’s job has always been transmitted from father to son through centuries and generations. Trading this product was a fundamental part of the economy of this area in past centuries. Sabot manufacturing spread widely in the large plain of Piedmont. At the end of the nineteenth century demand was so great that any other profession (glovers, sawyers) made way to the wooden clogs industry. Single craftsman did not attend classes or schools, pursue an apprenticeship in the most important atelier of the country, travel to learn the job that would have fed him for survival: knowledge, working methods, and even tools were provided by family and in the family.

Clog manufacturingOn a tripod (cartchôt), artisan cuts the trunk according to the desired length for the shoe. He gets two large pieces of wood that he matches to check the similarity then roughly hews with an axe (piolet). Subsequently he moves on the bench (banc di tsôque) where he continues to shape the shoe. This step is called échapolà. He goes next to work the inner part, which is considered the easiest work and often he entrusts apprentices to end up to hollow the front part of their first clogs.

It is used an auger with screw tip (travéla) that digs the inner of shoe with a twisting motion and a leaf-shaped scalpel (lénguetta) finishes the interior.We proceed then to realize the heel and toe by means of a knife. To better refine the shoe outside we use the incomparable two-handed knife (coutél dè dove man), a very special tool that also requires a special protection (pétsa), a simple piece of wood tied to the waist with a strip of leather, indispensable as sabot is held between knees in this finishing phase of work. The final stage consists of modelling the edges where foot slips on through a fixed blade knife (coutél dréit). With a special pencil (créyón di tsôque), we write a number on the new sabot; finally, we use a hacksaw (resséón di tsôque) to pass the wire in the entrance rim to make it more robust and durable. Today, cooperative Li Tsacolé d'Ayas carries on the old tradition of the clogs manufacturing.

grandzeGrandze is the barn, a room to store hay harvested during the summer from the first and second cuttings. In a corner of the barn we thresh wheat and store the tools used for haymaking (collect and dry hay) and harvesting (cut and collect wheat): robust and light objects such as woven baskets, containers, wooden keys to tie hay. In the showcase near the tools some sculptures illustrate how harvesting hay.

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4. Complete hay key UnknownXXth century - ChamporcherAspen wood and rope4.5 width; 18.5 length;2.5 thicknessIVAT Collection

5. Complete hay keyUnknownXXth century - ChamporcherAshwood and rope4.5 width; 17 length; 2.5 thicknessIVAT Collection

6. Hay keyUnknownXXth centuryWood3.2 width; 14.4 length;1.3 thicknessRAVA Collection

7. Hay keyUnknownXXth centuryHorn2.3 width; 10 length; 0.8 thicknessRAVA Collection

1. Scourge gripUnknownWood and metal95 height; 3 diameter maxBrocherel’s CollectionPalazzo Madama Torino

2. Sickle GripUnknownWood18 width; 125 lengthBrocherel’s CollectionPalazzo Madama Torino

3. Sickle GripUnknownWood17 width; 123 lengthBrocherel’s CollectionPalazzo Madama Torino

8. Man with hayrickQuirino Joly (1930 – 1976)1975 - ArnadWalnut wood30.5 height; 17 width; 8.5 depthIVAT Collection

9. Two men areharvesting hayGiulio Vuillermoz (1935)XXth century - ValtournencheMaple wood30 height; 25 length; 13.5 depthIVAT Collection

10. Man is mowingGino Thomasset (1922 - 2014)XXth century - Saint-NicolasArolla pinewood41 height; 21 width; 17 depthIVAT Collection

11. Quarter of EminaUnknownXIXth century - EtroublesWillow-wood 14.5 height; 40 width; 36 lengthPrivate Collection

12. Measures for cerealsUnknown1773Walnut and other woods19 height; 50 width; 44 diameterRAVA Collection

13. BasketUnknownXIXth centuryWillow-wood31 height; 39 width; 43 lengthIVAT Collection

14. Measures for cerealsUnknown1839Walnut and other woods 14.5 height; 44 width; 35 diameterRAVA Collection

15. Small basket for seedsUnknownXIXth century - MontovertWillow-wood17 height; 28 width; 40 lengthPrivate Collection

16. Basket for seedsUnknownXIXth century - VensWillow-wood32 height; 39 width; 20.5 depthPrivate Collection

17. SieveUnknownXIXth centuryWillow-wood with ribs of hazel wood23.5 height; 73 width; 69 depthRAVA Collection

18. SieveUnknownXIXth century - ValsavarencheWillow-wood with ribs of hazel wood26.5 height; 64.5 width; 62 depthPrivate Collection

vannerieWeaving art or basket making art, la vannerie, is an ancient and locally widespread craft technique. Materials used in Aosta Valley are small willow and white clematis vine twigs (vouablo). Willow harvesting begins in the fall after the falling leaves and ends in late winter before the rebirth of vegetation; black branches with bark are kept in cold, damp and poorly ventilated places. To work the white bark free willow it is necessary to gather it in April / May when bark can be easily removed. After harvesting and peeling, twigs are let to dry in the sun and store in a dry and ventilated area where we can keep them for several years. White clematis is collected at the first fall frosts. Only then wood becomes flexible and easy to work.

TECHNICAL SHEET

In the upper valleys where willows and white clematis are not present, we use hazel, chestnut and English oak woods that we cut into strips with a square or rectangular section. These kinds of wood are used to make the basket framework. Artisan works directly the raw material with his hands and initiates a direct contact with the wood without any intermission of instruments, by using only knife and shears to cut the branches. During the processing work the piece is clamped between his knees to get hands free to weave. Nowadays, we do not use wicker objects as formerly. Baskets are made of willow by using the traditional craft techniques and used as decorative elements.

measures for cerealsCereals were without doubt one of the most cultivated agricultural products in the past and one of the fundamental basis for people’s survival. Since the earliest times specific units of measurement have been adopted for both surfaces and quantities. They were so deeply rooted in minds that often people continued to use them even after their replacement in the late nineteenth century.Units of measurement used before implementation of metric system are not a problem very easy to solve. Even if we know the correct value, we must keep in mind that the same measure may have different values in distinct areas. For instance, cup used in a specified community may not be equal to the unit of measurement approved with the same name in another area.On the other hand, same units of measurement were both used as capacity and surface measurements. This depended on the fact that extent of the ground was expressed according to the quantity of seeds it was able to receive.

TECHNICAL SHEET

To measure cereals we used wooden containers similar to buckets of various sizes differently named according to the quantity of grain they were able to contain. If a measure for cereals had accidentally abounded with size it was possible to correct the capacity by adding a patch at the bottom that allowed modifying container capacity. Official measures for cereals were fire branded with indication of the extent of territory or reference province and date. Emina varied for example from one location to another from 7,30 to 34,82 liters. Measures for cereals referred generally to the corresponding measure in liters because it concerns capacity and not weight. So, weight corresponding to a specified measure was maybe approximate because depended essentially on the cereals to weigh (ie corn weighs less than wheat because corn grain is bigger and the gap between a grain and another is greater and consequently weight too, even in case of equivalent measure). Name of objects themselves expressed often the quantity: EMINA, 8 cups lt. 23,055 kg. 15,944 to 17,990HALF EMINA, 4 cups lt. 11,527 kg. 7,997 to 8,995 CUP, 24 spoons lt. 2,882 kg. 1,999 to 2,248HALF CUP, 12 spoons lt. 1,441 kg. 0,999 to 1,124SPOON, 192nd part of Emina lt. 0,120 kg. 0,083 to 0,094

Capacities here above listed refer to Piedmont area, historically reference territory for Aosta Valley.

crottaCrotta is the cellar that contains barrels and also cups used for drinking wine.The cups are turned on a lathe and grew dark due to the constant use and erosion of time. Nearby, we find waterbags useful containers to hold and transport liquids. There are also small barrels to carry wine and baskets for potatoes. Close to the utensils, some illustrations describe how using the objects in the everyday life.

ROOM CARD


9. Basket for potatoesUnknownXXth centuryVarious woods 40.5 height; 49.5 length; 28 widthRAVA Collection

10. Cup with two handlesUnknownXIXth centuryMaple wood6.8 height; 21 width; 16.5 diameterIVAT Collection

8. Man with flask and broomGiulio Vuillermoz (1935)XXth century - ValtournencheMaple wood44 height; 28 width; 12.8 depthIVAT Collection

7. Monoxyle small barrel UnknownXVIIIth centuryMaple wood27 height; 16 length; 17.5 diameterRAVA Collection

11. CupUnknownXXth centuryLarchwood8.5 height; 19.5 diameterIVAT Collection

12. Cup with two handlesUnknownXXth century - ChamporcherMaple wood5.5 height; 16 width; 13 diameterIVAT Collection

3.Small barrelUnknownWood7 height; 12 width; 25 lengthBrocherel’s CollectionPalazzo Madama Torino

2. Anthropomorphic Goblet UnknownWood11 height; 6.5 diameterBrocherel’s CollectionPalazzo Madama Torino

4. Small barrelUnknownWood7 height; 10 width; 20 lengthBrocherel’s CollectionPalazzo Madama Torino

6. Small barrel with bandsUnknownXVIIIth–XIXth centuryLarchwood17 height; 14 width; 12 lengthRAVA Collection

5. Two men are playing morra gameUnknownXXth centuryMaple wood13 height; 11 width; 13.5 lengthIVAT Collection

1. Small barrelUnknownWood14 height; 10 width; 10.5 depthBrocherel’s CollectionPalazzo Madama Torino

13. Cup with two handlesUnknownXXth century - ValtournencheMaple wood7 height; 19.5 width; 15 diameterIVAT Collection

17. Stone barrel UnknownStone, calcareous schist158 length; 109 diameterPrivate Collection

14. CupUnknownXXth centuryMaple wood8 height; 15.7 diameterIVAT Collection

15. WaterbagUnknownXVIIth – XVIIIth centuryLeather79 height; 84 width; 24 thicknessPrivate Collection

16. WaterbagUnknownXVIIth – XVIIIth centuryLeather72 height; 95 width; 17 thicknessPrivate Collection

diairy

In Aosta Valley at the end of thenineteenth century old social dairies extended over. Every farmer brought milk from his cows together with milk from other farmers to make butter, various kinds of cheese as well as Fontina (100 liters of milk to make a wheel ofcheese). Thanks to this organizationbased on equality each breeder couldproduce cheese that alone he was not able to do.According to the quantity of milk supplied each farmer had to prepare meal for the dairyman (man who makes cheese), clean the dairy and bring wood for the fire, and so on.The showcase contains sculptures that describe the dairy works.

ROOM CARD


1. Butter mouldUnknownXIXth centuryMaple wood15 width; 31.5 length;1.5 thicknessRAVA Collection

2. Butter mouldUnknown1852Walnut wood11 width; 32.2 length;2.2 thicknessRAVA Collection

3. Butter mouldUnknownXIXth centuryMaple wood13 width; 32 length; 2 thicknessRAVA Collection

12. Butter mouldUnknownXIXth centuryWalnut wood13 width; 31 length; 2.5 thicknessIVAT Collection

4. Butter mouldUnknownXIXth centuryLarch wood13.5 width; 30 length; 2 thicknessIVAT Collection

5. Butter mouldUnknownXIXth centuryMaple wood11 width; 24 length; 2 thicknessIVAT Collection

6. Butter mouldUnknownXIXth centuryWalnut wood11.5 width; 30 length; 2 thicknessRAVA Collection

8. Butter mouldUnknownXIXth–XXth century - FontainemoreWalnut wood12 width; 26 length; 3 thicknessRAVA Collection

7. Butter mouldUnknown1935Maple wood12.5 width; 30.5 length;2 thicknessRAVA Collection

9. Butter mouldUnknownBeginning of XXth centuryWalnut wood13.5 width; 19.5 length;6.7 thicknessRAVA Collection

10. Butter mouldUnknownBeginning of XXth centuryWalnut wood11.5 width; 15.5 length;8.5 thicknessRAVA Collection

11. Butter mouldUnknown1908Walnut wood15 width; 34 length; 2.5 thicknessIVAT Collection

13. Butter mouldUnknownXIXth centuryWalnut wood12.5 width; 31 length;2.5 thicknessIVAT Collection

15. Butter mouldUnknownXIXth centuryWalnut wood13.5 width; 27 length; 4 thicknessIVAT Collection

14. Butter mouldUnknownXIXth centuryLarch wood13.5 width; 30 length; 2 thicknessIVAT Collection

16. Butter mouldUnknownAyasWood9 width; 26 length; 3 thicknessBrocherel’s CollectionPalazzo Madama Torino

18. Butter mouldUnknownCourmayeurWood13 width; 29 length; 2 thicknessBrocherel’s CollectionPalazzo Madama Torino

17. Butter mouldUnknownWood9.5 width; 27.5 length;1.5 thicknessBrocherel’s CollectionPalazzo Madama Torino

19. Butter mouldUnknownWood10.5 width; 20 length;3.2 thicknessBrocherel’s CollectionPalazzo Madama Torino

21. Butter mouldUnknownWood10 width; 22.5 length;2.5 thicknessBrocherel’s CollectionPalazzo Madama Torino

20. Butter mouldUnknownWood10.5 width; 26.5 length;3.5 thicknessBrocherel’s CollectionPalazzo Madama Torino

23. DairymanAlfonso Laurent (1881 – 1968)XXth century -Gressoney-Saint-JeanMaple wood60.5 height; 42 width; 23 depthIVAT Collection

22. DairymanOsvaldo Milliery (1939)XXth century - ArvierArolla pinewood33 height; 21 width; 10 depthIVAT Collection

24. Container to carry milkUnknownXXth century - GressoneyFir tree and arollapinewood (lid)27 height; 26 diameterIVAT Collection

25. Milk separatorArmando Laurent (1925 – 2011)XXth century - GabyMaple wood13 height; 26 width; 35.5 lengthIVAT Collection

26. Milk separatorUnknown1857 – Gressoney ValleyMaple wood20 height; 22.5 width; 33 lengthIVAT Collection

28. TubUnknownXXth centuryPine and maple wood64.5 height; 29 width; 27 depthRAVA Collection

27. ChurnerUnknownXIXth century - CogneArolla pinewood98 height; 23 diameterRAVA Collection

29. Man with bucket and stickArmando Laurent (1925 – 2011)XXth century - GabyBark and birch wood 70 height; 43 width; 28 depthIVAT Collection

chapelFormerly the Montagnard (man who lived in the mountains) prayed to live in peace asking God and Saints to help him in the difficulties related to the alpine nature (of the mountain). Valdostan people prayed patron saints(as Saint Gratus and Saint Ursus) for specific aid (to heal men and animals, have good health, be protected from the dangers of nature, make more fertile the soil). Above the altars of oratories and chapels stood very simple antiquesculptures that represented the mountain man in front stance (front faced),standing recalling his calm and prudent attitude. Some sculptures of Saints look like the villagers.


ROOM CARD

1. Knight saintUnknownXIIIth- XVth century Wood 56 height; 18 width; 10 depth Brocherel’s CollectionPalazzo Madama Torino

2. Saint SebastianUnknownEnd of XVIIth – beginningof XVIIIth century Wood74.5 height; 20 width; 15 depthBrocherel’s CollectionPalazzo Madama Torino

3. Saint Louis Luigi GonzagaUnknownEnd of XVIIIth – beginningof XIXth centuryWood41.5 height; 17 width; 15 depthBrocherel’s CollectionPalazzo Madama Torino

4. Saint PeterUnknownXVIIIth century Wood51 height; 20 width; 9 depthBrocherel’s CollectionPalazzo Madama Torino

5. Ecce HomoUnknownXVIIth century Wood49 height; 27 width; 18 depthBrocherel’s CollectionPalazzo Madama Torino

6. Virgin of the Sacred Heart who step on the snakeUnknownSecond half of XIXth century Wood57.5 height; 23 width; 11 depthBrocherel’s CollectionPalazzo Madama Torino

7. Saint PaulUnknownXVIIIth century Wood56.5 height; 16 width; 11.5 depthBrocherel’s CollectionPalazzo Madama Torino

8. Virgin of EinsiedelnUnknownXVIIIth century Wood64 height; 39 widt; 10 depthBrocherel’s CollectionPalazzo Madama Torino

9. Saint PeterUnknown1844 Wood59.5 height; 21 width; 9.5 depthBrocherel’s CollectionPalazzo Madama Torino

10. Virgin with ChildUnknownEnd of XVIIth – beginningof XVIIIth centuryWood66 height; 22 width; 18 depthBrocherel’s CollectionPalazzo Madama Torino

11. Ecce HomoUnknownXVIIIth century Wood102 height; 30 width; 25 depthBrocherel’s CollectionPalazzo Madama Torino

12. VeronicaUnknownXVIth centuryArolla pinewood38 height; 24 width; 3 thicknessRAVA Collection

13. Saint LawrenceFranco Pellissier (1944)XXth century - AymavillesArolla pinewood66.5 height; 29 width; 12.5 depthIVAT Collection

14. Saint BrunoMaurizio Vagneur (1915 - 2002)XXth century – Saint-NicolasWalnut wood100 height; 25 width;26 depthIVAT Collection

15. Saint Bernard ofMenthon-ThônesAnselmino PessinXXth centuryArolla pinewood74 height; 20 width; 20 depthIVAT Collection

16. Saint AnthonyLivio (Silvio) Meynet (1936)XXth century – ValtournencheArolla pinewood80 height; 28 width; 2 depthIVAT Collection

22. SaintLucio Duc (1927 - 1977)XXth century - ArnadMaple wood60 height; 29 width; 20 depthIVAT Collection

17. Virgin with ChildRenato Champrétavy (1927)1960 – Saint-NicolasWalnut wood72 height; 37 width; 43 depthIVAT Collection

18. Entombment of ChristRenato Champrétavy (1927)XXth century – Saint-NicolasWalnut wood54 height; 31 width; 23 depthIVAT Collection

19. Saint Joseph with a childRino Diémoz (1930 - 1969)1974 - AlleinMaple wood65 height; 24 width; 22 depthIVAT Collection

21. Saint UrsusLuigi Meynet (1922 - 2012)XXth century – Antey-Saint-AndréWalnut wood46.5 height; 16.5 width;13 thicknessIVAT Collection

20. Saint UrsusPietro Giuseppe Perret (1919 - 2010)1962 – Saint-VincentPear tree wood56 height; 19.5 width; 12 depthIVAT Collection

27. SaintFranco Pellissier (1944)XXth century – AymavillesFir tree wood34 height; 14.5 width; 13.5 depthIVAT Collection

23. Saint LawrenceMaurizio Vagneur (1915 - 2002)XXth century – Saint-NicolasWalnut wood45 height; 20 width; 14 depthIVAT Collection

28. ChoirMarco Joly (1946)1981 - ArnadSoapstone11 height; 39.5 width;b7.5 depthIVAT Collection

34. Saint PeterAldo Vagneur (1928 - 1994)XXth century – Saint-NicolasWalnut wood84 height; 25 width; 24 depthIVAT Collection

26. Saint BonifaceHans Savoye (1901 - 1966)XXth century – Pré-Saint-DidierWalnut wood59 height; 15 width; 12 depthIVAT Collection

24. Saint UrsusGiovanni Thoux (1935)XXIth century - VerresWalnut wood65 height; 23.5 width; 14 depthPrivate Collection

25. Saint AugustineGiulio Vuillermoz (1935)XXth century - ValtournencheMaple wood44.5 height; 25.5 width;18.5 depthIVAT Collection

29. Virgin Mary with a child Brothers LaurentXXth century -Gressoney-Saint-JeanWalnut wood26 height; 10 width; 8 depthIVAT Collection

30. MonksMaurizio Vagneur (1915 - 2002)XXth century - Saint-NicolasWalnut wood32 height; 14 width; 10.5 depthIVAT Collection

31. Saint FrancisLuigi Meynet (1922 - 2012)XXth century – Antey-Saint-AndréWalnut wood122 height; 65 width; 35 depthIVAT Collection

32. Saint JucundusGino Thomasset (1922 - 2014)XXth century – Saint-NicolasWalnut wood34 height; 13.5 width; 8 depthIVAT Collection

33. Virgin with rosaryHans Savoye (1901 - 1966)XXth century – Pré-Saint-DidierMaple wood and bark62 height; 24 width; 13 depthIVAT Collection

39. RatchetUnknownXIXth centuryWalnut wood with birch handle53.5 height; 9 width; 33 lengthIVAT Collection

40.Saint GratusUnknown XVIIIth centuryWood22 height; 8 width; 4.5 thicknessRAVA Collection

43. Board with Passion symbolsUnknownXIXth century - ValsavarencheScots pine and other trees90.5 height; 57 width; 3.5 depthRAVA Collection

35. SaintMaurizio Vagneur (1915 - 2002)XXth century – Saint-NicolasWalnut wood34.5 height; 10 width; 9.5 depthIVAT Collection

36. SaintCarlo Gadin (1943)XXth century - Saint-NicolasLarchwood35 height; 10 width; 16 depthIVAT Collection

37. Mary Magdalene and JesusGiulio Vuillermoz (1935)XXth century - ValtournencheMaple wood33 height; 30 width; 25 depthIVAT Collection

38. RatchetHans Savoye (1901 - 1966)XXth century - Pré-Saint-DidierWalnut wood34 height; 5.5 width; 25 lengthIVAT Collection

41. Saint BonifaceUnknownXIXth centuryWood probably poplar23 height; 5.5 width;5.5 thicknessRAVA Collection

42. Saint BernardUnknownXIXth centuryArolla pinewood19 height; 15 width; 3.5 depthRAVA Collection

Saint UrsusUrsus of Aosta was a presbyter who lived between the fifth and eighth centuries. His mission was to preserve and celebrate Mass in the St. Peter church. He is depicted as a simple, sweet, humble, pacific and bighearted man. A «man of God» that combined continuous prayer and charity, visiting the sick, feeding the poor, comforting the afflicted and helping the oppressed, widows and orphans. Ursus dedicated himself to farm his little field to get the necessary food and divided in three parts what he could harvest: for himself, for the poor and for the birds. Regarding the birds, it is said that they were grateful and stayed affectionately on his head, shoulders and hands. In fact, iconography always portrays him with a small bird on his shoulder. We do not know his birth year, but we are sure of the day of his death, on February 1st that became later the anniversary of his liturgical feast.

TECHNICAL SHEET

Ursus never stood out for striking actions because his holiness sprang from love of neighbour, simplicity and humility, faithful line of duties as a guardian, testimony of his priestly ministry.The numerous miracles are useful to understand the symbols that characterize his iconography. Tradition tells that it had not rained for months and drought was ravaging the fields; it also began to run out the necessary water for the needs of his faithful; the holy man was really worried about them and so gushed out by means of a stick a spring from a rock in Busseyaz called «Fountain of Ursus». Nowadays, source carries on springing water once considered miraculous under the chapel built in 1649 and restored in the nineteenth century.It is said that the inhabitants of Aosta were able to realize how potent was Saint Ursus’ prayer when a terrible flood due to the Buthier overflowing threatened the city. The waters rose along the walls and flooded the surrounding area. After praying Ursus laid out on the water sign of the cross. Waters stopped and the city was save.Legend reports that he did not only work magic, but he also had a gift for prophecy and knew also how to enrage to defend the oppressed.Due to these legendary wonders Ursus is considered a protector against drought, livestock disease, weather, floods, abuses of the powerful, the difficult births, rheumatism and back pains. To preserve or recover from rheumatic or back pains, the faithful went into the crypt of the Collegiate and walked on all fours crossed the musset, a short tunnel opened into the base of the altar where once the Saint Ursus’ relics set down there passing from one side to the other side of the altar.

Saint Ursus is generally depicted with a stick in his hand as tradition tells that he instituted the Collegiate Church of St Peter and Ursus.The millennial exhibition that bears his name contributes to his fame. It takes place every year on January 30th and 31st the two days preceding his liturgical feast on February 1st. According to tradition the origin of this market must be connected to one of the charity practices of Ursus who distributed wooden shoes (sabots) to the poor.

Saint GratusAs for the patron saint of Aosta celebrated on September 7th, two sources exist that provide information about his existence, a historical one and another fictitious that originate the expansion of the saint worship outside Aosta Valley too.The historical grounds tell that Saint Gratus was a priest who collaborated with Eustasius the first bishop of Aosta. Both were of Greek origin and received their education and ecclesiastical formation in the famous monastery founded by Eusebius of Vercelli († 371), as Aosta diocese was included in the territory of this city. After Eustasius’ death, Gratus succeeded as headman of the new Aosta diocese and became the second bishop. We do not know the year of his death, but strangely only the burial day on September 7th, reported in the short epitaph engraved on the tombstone preserved in the parochial church of Saint-Christophe.

TECHNICAL SHEET

Gratus devoted himself to convert the destabilized Christians present in the Valley and especially the pagans still very active. He worked for wonders and spectacular miracles that convinced many pagans to convert. When Charlemagne heard that many of them defied Christianity, he sent the brave paladin Roland in Aosta Valley to fight against these infidels. Roland crossed the Alps, covered with snow and ice under the guide of an angel. Gratus intervened again with the pagans, and persuaded them to overcome confrontation and avoid any bloodshed. According to the fictitious account, Gratus obeyed a divine command and proceeded to the Holy Land with Saint Jucundus monk to find Saint John the Baptist’s head secretly concealed in the Herod Palace and never found so far. Gratus miraculously found it in the bottom of a deep well and with the help of an angel hid it under his mantle. Gratus saluted patriarch of Jerusalem without reporting the discovery, so that this one cannot claim it then returned to Rome. The legend of the discovery of Saint John the Baptist’s head inspired Saint Gratus iconography that is often depicted with John the Baptist’s head in his hand. Back to Rome, Pope welcomed Gratus who presented him John’s head; in doing so, the jawbone remained in Gratus’hand. This was interpreted as a sign, and Pope allowed him to carry the precious relic back to Aosta.

atelierAtelier is a craft workshop.Every village of Aosta Valley owned various kinds of atelier: carpenters (wood work), blacksmiths (iron work), shoemakers... In the showcase you can see the objects that blacksmith used and realized. He was very important for the village. Blacksmith achieved in his forge (a place where blacksmith melts and works iron): containers, chains for cattle, cow bells, irons, keys and locks, tools for the fireplace... products mainly dedicated to peasants and farmers.

ROOM CARD


1. Barred windowUnknown1604Larchwood and iron68 height; 100 width; 20 thicknessIVAT Collection

2. Candle scissorsUnknownIron5 width; 16 length Brocherel’s CollectionPalazzo Madama Torino

3. Candle scissorsUnknownIron5.3 width; 16.3 lengthBrocherel’s CollectionPalazzo Madama Torino

4. Candle scissorsUnknownIron5 width; 17 lengthBrocherel’s CollectionPalazzo Madama Torino

5. Candle scissorsUnknownIron5.5 width; 18 lengthBrocherel’s CollectionPalazzo Madama Torino

6. KeyUnknownIron5.5 width; 10.5 lengthBrocherel’s CollectionPalazzo Madama Torino


8. KeyUnknownIron3 width; 9 lengthBrocherel’s CollectionPalazzo Madama Torino



11. KeyUnknownIron5 width; 15.8 lengthBrocherel’s CollectionPalazzo Madama Torino

12. ChiaveAnonimoFerro4 width; 9.2 length Brocherel’s CollectionPalazzo Madama Torino

19. KeyUnknownXVIth centuryIron6 width; 19 lengthIVAT Collection

18. KeyUnknownXVth centuryIron5.5 width; 16 lengthRAVA Collection

20. KeyUnknownBeginning of XVIth centuryIron6 width; 16.5 lengthRAVA Collection

22. KeyUnknownXVIth centuryIron8.5 width; 22.5 lengthRAVA Collection

21. KeyUnknownXVIth centuryIron7.5 width; 19 length IVAT Collection

24. LockUnknown XVIIth centuryIron18.5 height; 21.5 width;8 thicknessIVAT Collection





17. Lock platesUnknownIronMax measures: 17 height;11.5 width; 0.2 thicknessBrocherel’s CollectionPalazzo Madama Torino

23. Group of picklocksUnknownXIXth centuryIronThe shorter one: 18 length;the longest one: 23.5 lengthRAVA Collection

26. Padlock with keyUnknownXVIIIth centuryIronPadlock: 23 height; 13 width;2 thicknessKey: 3 width; 10.5 lengthRAVA Collection

25. Lock with key and boltUnknownXVth centuryIronLock: 24 height; 34 width;4 thicknessKey: 6 width; 14 lengthRAVA Collection

schoolOnce in the Aosta Valley schools were small and open only a few months during the winter (4/6 months) when it was no more possible to work in the fields.The students themselves had to bring by turns pieces of wood to burn in the stove to warm up the class. They had few books and a few objects: folders, pencil-boxes and inkpots all of wood. The teacher’s rod, rulers and squares were also of wood.

ROOM CARD


1. Pencil caseUnknown Wood7 height; 9 width; 19 lengthBrocherel’s CollectionPalazzo Madama Torino

2. Pencil caseUnknown 1738Wood9 height; 12 width; 30 lengthBrocherel’s CollectionPalazzo Madama Torino

3. Pencil caseUnknown Wood8.5 height; 13 width; 35 lengthBrocherel’s CollectionPalazzo Madama Torino

4. Pencil caseUnknown Wood6 height; 9.5 width; 20 lengthBrocherel’s CollectionPalazzo Madama Torino

5. Pencil caseUnknown 1722Wood7 height; 10 width; 24 length Brocherel’s CollectionPalazzo Madama Torino

6. Pencil casaUnknown 1831Wood6 height; 6 width; 17 lengthBrocherel’s CollectionPalazzo Madama Torino

7. Pencil caseUnknown 1831Wood6.5 height; 8.5 width; 29.5 length Brocherel’s CollectionPalazzo Madama Torino

8. Pencil caseUnknown 1844Legno5 height; 5.5 width; 13 length Brocherel’s CollectionPalazzo Madama Torino

9. Pencil caseUnknown Wood5.5 height; 5 width; 17 lengthBrocherel’s CollectionPalazzo Madama Torino

10. Pencil caseUnknown 1818Wood 7 height; 15 width;35 length Brocherel’s CollectionPalazzo Madama Torino

village schoolsValdostan school goes back to the Middle Ages, but as from the very beginning religious institutions took charge of valdostan people’s instruction. At the end of the fifteenth century, valdostan clergy had a monopoly on public education, but at the beginning of the nineteenth century almost every village of Aosta Valley could take advantage of a place to teach children. We counted about 280 schools at the time. The village schools are the pride of the history of literacy in Aosta Valley. They are established in small accommodations that pastor or benefactor made available so that in winter the local children did not need to make long walks in the cold and snow to reach the county town. Teacher is often the priest himself or the vicar or people who have been able to study, a luxury that not everyone could afford. They were taught to read and write using the available books: prayers or songs books or some old Almanac.

TECHNICAL SHEET

We taught only the fundamental matters such as catechism and learning to add up. It was not so easy to teach in our Alpine region, because wages were lower than those of Piedmont area for instance and rural schools remained open for a few months. Indeed, with the «summer» arrival kids had to go to work and often to move to bring the cattle pasture. Laws related to education within unification of Italy and later fascism slowly «wore down» particularities and founding principles of these schools: firstly, with appointment of teachers from outside the community and then with obligation of not teaching French language. However, in many places of the Valley, children could read books written in French that remained in classrooms.

ovenIn Aosta Valley every village owned a community oven (used by everybody). Once a year at the beginning of winter, families got together to knead and bake rye bread (black bread). The oven was located in the village and its dimension depended on the quantity of bread to bake. There were few tools to make bread. They were simple as the shovels to collect flour or scrapers to pull out the dough. Stamps were very important and carved with care. They helped identify bread of each family through a special symbol imprinted on it.

ROOM CARD


1. Stamp for breadUnknownWood11 height; 5 width; 1 thicknessBrocherel’s CollectionPalazzo Madama Torino

2. Stamp for breadUnknownWood 8.3 height; 5 width; 2.5 thicknessBrocherel’s CollectionPalazzo Madama Torino

3. Stamp for breadUnknownWood10 height; 5.5 width; 5 thicknessBrocherel’s CollectionPalazzo Madama Torino

4. Stamp for breadUnknownWood4.5 height; 10.5 width; 4 thicknessBrocherel’s CollectionPalazzo Madama Torino

5. Stamp for breadUnknownWood5 width; 11 length; 2 thicknessBrocherel’s CollectionPalazzo Madama Torino

6. Stamp for breadUnknownWood6 width; 10 length; 6.5 thicknessBrocherel’s CollectionPalazzo Madama Torino

7. Stamp for breadUnknownWood7.6 diameter; 1.3 thickness Brocherel’s CollectionPalazzo Madama Torino

8. Stamp for breadUnknownWood5.5 height; 5 diameterBrocherel’s CollectionPalazzo Madama Torino

9. Stamp for breadUnknownWood6.6 width; 8.5 length; 3 thicknessBrocherel’s CollectionPalazzo Madama Torino

10. Stamp for breadUnknownWood6 width; 5.5 diameter; 3 thicknessBrocherel’s CollectionPalazzo Madama Torino

11. Stamp for breadUnknownWood5.5 diameter; 4 thicknessBrocherel’s CollectionPalazzo Madama Torino

12. Stamp for breadUnknownWood6.8 width; 12 length;3 thicknessBrocherel’s CollectionPalazzo Madama Torino

13. Stamp for breadUnknownWood6 width; 8.3 length;3.5 thicknessBrocherel’s CollectionPalazzo Madama Torino

14. Stamp for breadUnknownWood6.5 height; 6 width;4.8 depthBrocherel’s CollectionPalazzo Madama Torino

15. Stamp for breadUnknownWood5 height; 7 width; 14.5 lengthBrocherel’s CollectionPalazzo Madama Torino

16. Stamp for breadUnknownWood8 width; 15.5 length; 7.5 depthBrocherel’s CollectionPalazzo Madama Torino

17. Shopping basketUnknown1732Wood35 height; 33.5 width; 34 depthBrocherel’s CollectionPalazzo Madama Torino

18. Shopping basketUnknownWood24 height; 18 width; 36 lenghtBrocherel’s CollectionPalazzo Madama Torino

19. Shopping basketUnknown1858Wood31 height; 25.5 width; 30.5 depthBrocherel’s CollectionPalazzo Madama Torino

carnivalCarnival is a very significant event(party) for the little mountain communi-ties and everybody is still really excited to take part in it. Fashioning the costume (dress carnival) requires a great care: simple pieces of fabric can be turned into very beautiful costumes and bring to life fictional characters (old-man andold-woman, bear, devil, ...). It is very important that other people cannot identify you, so a wooden mask, vezadziye, covers the face. When carnival ends up we hang mask (stuck) on the wall of the house.

ROOM CARD


1. Masks compositionUnknownXXth centuryLarch bark 88 height; 35 width; 22 depthIVAT Collection

2. Little owl mask Cesarina Meynet (1948)XXth centuryMaple wood31 height; 26 width; 13 depthIVAT Collection

3. MaskFranco Savoye (1938)XXth century - CourmayeurLarchwood34 height; 31 width; 28.5 depthIVAT Collection

4. Devil maskDomenico Brunodet (1914–1997)XXth century – ValtournencheMaple wood24 height; 16 width; 14 depthIVAT Collection

5. Devil maskLuigi Meynet (1922 – 2012)XXth century - Antey-Saint-AndréWalnut wood53 height; 29 width; 16 depthIVAT Collection

6. Old-man maskGino Thomasset (1922 - 2014)XXth century - Saint-NicolasArolla pinewood26.5 height; 22 width; 11 depthIVAT Collection

7. MaskGiulio Vuillermoz (1935)XXth century - ValtournencheMaple wood26 height; 13 width; 7 depthIVAT Collection

8. MaskOscar Brocard (1926 – 2006)XXth century - SarreBirch bark 46 height; 30 width; 6 depthIVAT Collection

9. Masks compositionCarlo Gadin (1943)XXth century - Saint-NicolasLarchwood68 height; 20 width; 13.5 depthIVAT Collection

10. Old-woman maskMichele Porchiola (1954)XXth century - La SalleWalnut wood31.5 height; 17 width; 4.5 depthIVAT Collection

11. Owl mask Maurizio Vagneur (1915 – 2002)XXth century - Saint-NicolasWalnut wood24 height; 20 width; 11 depthIVAT Collection

12. MaskUnknownXXth centuryWalnut wood34 height; 16 width; 5 depthIVAT Collection

13. Masks compositionCarlo Gadin (1943)XXth century - Saint-NicolasLarchwood69 height; 19 width; 17 depthIVAT Collection

14. MaskOscar Brocard (1926 – 2006)XXth century - SarreBirch bark62 height; 27 width; 20 depthIVAT Collection

15. MaskJean Brunodet (1910 – 2006)XXth century - ValtournencheMaple wood24 height; 17.5 width; 10.5 depthIVAT Collection

16. MaskUnknownXXth centuryLarch bark 40 height; 22 width; 25 depthIVAT Collection

17. MaskLeopoldo Armand (1926 – 1994)1959 - Saint-NicolasLarch bark 59 height; 36 width; 10 depthIVAT Collection

18. King maskAugusto Porchiola (1927 – 1986)XXth century - La SalleWalnut wood34 height; 17 width; 7 depthIVAT Collection

19. Devil maskGiuseppe Armand (1910 – 1977)XXth century - Saint-NicolasLarchwood56 height; 42 width; 34 depthIVAT Collection

20. MaskUnknownXXth centuryLarch bark 42 height; 20 width; 6 depthIVAT Collection

21. Owl maskHans Savoye (1901 – 1966)XXth century -Pré-Saint-DidierMaple wood24.5 height; 28 width; 11 depthIVAT Collection

22. Old-woman maskCarlo Gadin (1943)XXth century - Saint-NicolasWalnut wood26.5 height; 16.5 width; 11 depthIVAT Collection

23. MaskMaurizio Vagneur (1915 – 2002)XXth century - Saint-NicolasWalnut wood25 height; 19.5 width; 10.5 depthIVAT Collection

24. Child mask with a fly on noseGiulio Vuillermoz (1935)XXth century - ValtournencheMaple wood23.5 height; 17.5 width; 11 depthIVAT Collection

25. Old-woman maskPietro Barailler (1935)XXth century - BionazArolla pinewood30 height; 17.5 width; 6.5 depthIVAT Collection

26. Carnival group ofAllein, Coumba FreidaRino Diémoz (1930 – 1979)XXth century - AlleinMaple wood31.5 maximum height IVAT Collection

27. Badoche of CourmayeurXXth century - Pré-Saint-DidierWalnut woodThe biggest one: 28 height;22 widthIVAT Collection

carnivalCarnival is a celebration still deep-rooted in several parts of Aosta Valley and represents an opportunity of get-together as well as a fun for the community. Pont-Saint-Martin recalls Salassi defeat, known as the first inhabitants of Aosta Valley by the Romans, considered the first «conquistadores», with the presence of Saint Martin and the Devil (according to a legend the elegant Roman bridge over the Lys would result from a ploy of the saint against evil). Verres, however, depicts a traditional carnival in the fortress that dominates the country with a bevy of noble vintage, that follow the «democratic» Lady of the Castle Caterina di Challant and her consort Pierre d’Introd. The celebration tells the countess dances with her subjects in the streets.

TECHNICAL SHEET

Carnival of Great Saint Bernard Valley (nicknamed Coumba Freida because of the cold blasts that blow down through the valley) is different. Some colourful groups invade literally villages and evoke the passage of the 40,000 Napoleon’s soldiers directed to the city of Aosta in May 1800. The so-called landzette - typical characters of these carnivals – wear in fact colourful costumes and hats that recall the uniforms worn by Napoleon’s forces. These expensive and entirely handmade costumes are adorned with beads, sequins and mirrors that reflect the light and ward off evil spirits. The old wooden masks (vezadziye) used in the past to cover the faces of the landzette are presently made of plastic. They carry the hair of a horse’s tail in their hands and wear a belt with a bell around their waists. These elements are interpreted as symbolic instruments used to banish evil spirits. Almost all the towns in the Valley have similar customs with more or less significant differences. Official parades take place on the last days of Carnival, but during the precedent weeks, small masked groups (patoille) visit the families that give them a warm welcome for drinking, eating, singing and joking.

Masks The history of masks has ancient origins. The main figures are closely related to the various local traditions: the Bear and his Guardian, the Devil, the Old man (toque) and the Old woman (tocca), the Smuggler and the Guard, Napoleon and his soldiers (in Great St. Bernard Valley). The wooden masks own small openings for the eyes. The true «artwork» of the craftsman is to look for a particular expression in the shape of the eyes and eyebrows, nose and chin, forehead wrinkles or through grimace of the mouth with tongue out. To beautify the mask or make it more grotesque, they add some accessories: hair or wool for a beard, sheets or boards for the teeth included with holes or nails.

poesyArtisans do not build more artefacts that used formerly to work, pray and restbecause every new object creatednowadays with materials (plastics and resins) and modern technology replaced them. You can see in this space some sculptures and bas-reliefs that havemerely an artistic function. Through these works of art reminiscent of the gone-by times, artisans represent life in thevillage, family, religion, wild anddomestic animals, hunting and breeding.Every product is unique as it has anindividual story and it is able to make livevarious emotions. Making poetry for craftsman means sculpt and engrave wood as a poet writes words, verses and rhymes on a sheet.

ROOM CARD


10. Table Spinning WheelUnknownWood19 height; 17 width; 38 lengthBrocherel’s CollectionPalazzo Madama Torino

12. UnravelerUnknown1892Wood34 height; 20 width; 15.5 depthBrocherel’s CollectionPalazzo Madama Torino

11. Ball of wool basket withbobbinsUnknownWicker, wood and wire6.5 height; 22 diameterBrocherel’s CollectionPalazzo Madama Torino

1. MaskLucio Duc (1927 – 1977)XXth century - ArnadBoxwood51 height; 20 width; 20 depthIVAT Collection

2. Skittish muleFederico Jordaney (1918 – 1995)XXth century - ValpellineMaple wood45 height; 38 width; 23.5 depthIVAT Collection

3. Two harvestersLuigi Meynet (1922 - 2012)XXth century - Antey-Saint-AndréWalnut wood99 height; 53 width; 22 depthIVAT Collection

4. Man climbing on a mule UnknownXXth centuryLarchwood28 height; 29 width; 34 lengthIVAT Collection

5. Stylized cowJean Brunodet (1910 – 2006)XXth century - ValtournencheMaple wood14 height; 10 width; 20.5 lengthIVAT Collection

6. Slice to skim Armando Laurent (1925 - 2011)XXth century – GabyMaple wood18 height; 29.5 width; 38 lengthIVAT Collection

7. Oval buttAlfonso Laurent (1881 – 1968)XXth century -Gressoney-Saint-JeanMaple wood25 height; 44.5 width; 132 lengthIVAT Collection

8. Big sliceAlfonso Laurent (1881 – 1968)XXth century -Gressoney-Saint-JeanMaple wood20 height; 44.5 width; 115 lengthIVAT Collection

9. Big spoonAlfonso Laurent (1881 – 1968)XXth century -Gressoney-Saint-JeanMaple wood10.5 height; 35 width; 258 lengthIVAT Collection

13. Lace pillow holderUnknownWood23.5 height; 25 width; 43 lengthBrocherel’s CollectionPalazzo Madama Torino

14. Lace pillow with lace and bob-binsUnknownWicker, fabrics, rope and wire13 width; 29 diameter Brocherel’s CollectionPalazzo Madama Torino

15. DiarymanLeonardo Perruquet XIXth century - Valtournenche Wood19.5 height; 8 width; 17 lengthBrocherel’s CollectionPalazzo Madama Torino

16. Two manPerruquet Leonardo XIXth century - Valtournenche Wood19 height; 7 width; 14.5 lengthBrocherel’s CollectionPalazzo Madama TorinoPalazzo Madama Torino

17. Woman with child and goatLeonardo PerruquetXIXth century - Valtournenche Wood23 height; 7 width; 18.5 lengthBrocherel’s CollectionPalazzo Madama Torino

18. Biting dogLeonardo Perruquet XIXth century - Valtournenche Wood17 height; 4 width; 13 lengthBrocherel’s CollectionPalazzo Madama Torino

19. MuleteerLeonardo Perruquet XIXth century - Valtournenche Wood21.5 height; 5.5 width;18.5 lengthBrocherel’s CollectionPalazzo Madama Torino20. Man with dogLeonardo PerruquetXIXth century - Valtournenche Wood15.5 height; 5.5 width; 8 lengthBrocherel’s CollectionPalazzo Madama Torino

21. Seated womanUnknownWood 13.5 height; 4.7 width; 7.5 depthBrocherel’s CollectionPalazzo Madama Torino

22. WomanLeonardo Perruquet XIXth century - Valtournenche Wood18 height; 6.5 width; 5 depthBrocherel’s CollectionPalazzo Madama Torino

23. Man with sleighLeonardo Perruquet XIXth century - Valtournenche Wood11.5 height; 5 width; 13 lengthBrocherel’s CollectionPalazzo Madama Torino

24. WalkingmanLeonardo Perruquet XIXth century - Valtournenche Wood15.5 height; 4 width; 6.5 lengthBrocherel’s CollectionPalazzo Madama Torino

25. Woman chestUnknownWood18 height; 15 width; 8 depthBrocherel’s CollectionPalazzo Madama Torino

28. HuntmanLeonardo Perruquet XIXth century - Valtournenche Wood16 height; 4.5 width; 23 lengthBrocherel’s CollectionPalazzo Madama Torino

26. Woman with backpackTeotista Favre1918 - BionazWood, fabrics and wire19 height; 6 width 8 depthBrocherel’s CollectionPalazzo Madama Torino

27. Sawing menLeonardo Perruquet XIXth century - Valtournenche Wood28.5 height; 7 width; 23.5 lengthBrocherel’s CollectionPalazzo Madama Torino

29. Milking womanLeonardo Perruquet XIXth century - Valtournenche Wood15.5 height; 4.5 width;13.5 lengthBrocherel’s CollectionPalazzo Madama Torino

30. Birds with nestLeonardo Perruquet XIXth century - Valtournenche Wood19.5 height; 4 width; 12.5 lengthBrocherel’s CollectionPalazzo Madama Torino

31.Pays down chamoisLeonardo Perruquet XIXth century - Valtournenche Wood14.5 height; 4.5 width;11.5 lengthBrocherel’s CollectionPalazzo Madama Torino

32. Man with mule Basilio CerlogneXIXth century – Saint Nicolas Wood14 height; 7.8 width; 19.5lengthBrocherel’s CollectionPalazzo Madama Torino

33. FamilySiro Viérin (1959)XXth century - Saint-OyenWalnut wood69.5 height; 60 width; 57 depthIVAT Collection

34. Big eagleRenato Champrétavy (1927)XXth century - Saint-NicolasArolla pinewood130 height; 90 width; 80 depth IVAT Collection

35. ShepherdCarlo Gadin (1943)1972 - Saint-NicolasWalnut wood71 height; 13 width; 12.5 depthIVAT Collection

36. ManIvano Laurent (1921 – 1997)XXth century - GabyBirch bark and wood 38 height; 18.5 width; 7 depthIVAT Collection

39. Stylized cowAimé Brunodet (1917)XXth century - ValtournencheMaple wood40 height; 46 width;86 lengthIVAT Collection

38. WomanIvano Laurent (1921 – 1997)XXth century - GabyBirch bark and wood 68 height; 36 width; 21 depthIVAT Collection

37. SaintIvano Laurent (1921 – 1997)XXth century - GabyBirch bark and wood58.5 height; 25.5 width; 15 depthIVAT Collection

40. Cow with bellErnesto Bornaz (1923)1975 – GressanWalnut wood32 height; 17 width; 51.5 depthIVAT Collection

41. DevilGrato Agostino Maquignaz(1910 -1970)XXth century - ValtournencheMaple wood48.5 height; 22.5 width;12 depthIVAT Collection

42. Regiment of SocquesEmilio Blanc (1945)XXth century - DouesArolla pinewood33 height; 103 length; 7 depthIVAT Collection

45. Ermetta, old womanwith walking stick and basketGino Thomasset (1922 - 2014)XXth century - Saint-NicolasWalnut wood34 height; 19.5 width; 8.3 depthIVAT Collection

48. ManDomenico Fonte (1922 – 1998)XXth century – Aosta (Porossan)Maple wood14.8 height; 6 width; 5 depthIVAT Collection

43. Woman with a childLivio Foretier (1936 – 1995)XXth century - QuartArolla pinewood28 height; 8 width; 6.5 depthIVAT Collection

44. MusiciansGino Anselmo Daguin (1935)2009 – HôneSoapstoneThe smallest:11.5 height;9.5 width; 18 lengthThe biggest: 15 height;9 width; 12 lengthIVAT Collection

47. Woman with umbrellaand conical wicker basketGiorgio Cornaz (1935)XXth century - MorgexWalnut wood31.5 height; 10 width;14.5 depthIVAT Collection

46. Man with a bundleGino Thomasset (1922 - 2014)XXth century - Saint-NicolasArolla pinewood32 height; 14 width; 16.3 depthIVAT Collection

52. SwingHans Savoye (1901 – 1966)XXth century - Pré-Saint-DidierBarberry wood39 height; 25 width; 62 lengthIVAT Collection

51. Winter landscapeGiulio Vuillermoz (1935)XXth century - ValtournencheMaple wood36 height; 48 width; 16.5 depthIVAT Collection

53. Group of three men on a sledUnknownXXth centuryMaple wood18.5 height; 7 width; 21 lengthIVAT Collection

54. WandererGiulio Vuillermoz (1935)XXth century - ValtournencheMaple wood28 height; 11.5 width; 18 depthIVAT Collection

55. Candleholder with VeillàcharactersMaurizio Vagneur (1915 – 2002)XXth century - Saint-NicolasWalnut wood39.5 height; 19 width; 24 depthIVAT Collection

56. Man and womanbringing hayGino Thomasset (1922 - 2014)XXth century - Saint-NicolasArolla pinewood27.5 height; 15 width; 38 lengthIVAT Collection

57. CrècheGiulio Vuillermoz (1935)XXth century - ValtournencheMaple wood36.5 height; 41 width; 28.5 depthIVAT Collection

49. HarvesterGiulio Vuillermoz (1935)XXth century - ValtournencheMaple wood47 height; 17 width; 26 depthIVAT Collection

50. Man with a dogMaurizio Vagneur (1915 – 2002)XXth century - Saint-NicolasWalnut wood35 height; 24.5 width; 10.3 depthIVAT Collection

1. Frammento di pizzo a 52 fuselliAnonimoGreca a mezzo punto, grecacontinua a mezzo punto a 8 fili, piccoli quadratini (torzet), buchi semplici. Al centro delle greche finestre di buchi e legami ditorzet. Punta a ventaglio.Lino 9 larghezza; 11.4 lunghezzaCollezione BrocherelPalazzo Madama Torino

2. Frammento di pizzo a 54 fuselliAnonimoBuchi semplici, piccoli ragnetti messi a rombi, rombo a mezzopunto con grande cipolla al cen-tro, foglie che collegano la punta a ventaglio.Lino 9 larghezza; 10.5 lunghezza Collezione BrocherelPalazzo Madama Torino

3. Frammento di pizzo a 48 fuselliAnonimoFiore con 8 foglie, losanga amezzo punto, punta arrotondata a fili incrociatiLino 7.5 larghezza; 8.5 lunghezza Collezione BrocherelPalazzo Madama Torino

5. Frammento di pizzo a 48 fuselliAnonimoDue losanghe diverse: mezzopunto intero e tre assi di quadro a mezzo puntoLino 6.5 larghezza; 13 lunghezza Collezione BrocherelPalazzo Madama Torino

4. Frammento di pizzo a 48 fuselliAnonimoBuchi semplici, rombo (asso di quadri) a mezzo punto, rombo con 12 torzet e al centro piccolo asso di quadri a mezzo punto, parte finale a punto tela con riccioloLino 4 larghezza; 15 lunghezza Collezione BrocherelPalazzo Madama Torino

6. Frammento di pizzo a 48 fuselliAnonimoBuchi semplici, greca a punto tela, cipolla grande e ventaglio a punto telaLino 6.7 larghezza; 9.5 lunghezzaCollezione BrocherelPalazzo Madama Torino

7. Frammento di pizzo a 36 fuselliAnonimoBuchi semplici, al centro catena dell’orologio ( tzeinetta de lamonta), punta a ventaglio a punto telaLino 6.5 larghezza; 11.5 lunghezzaCollezione BrocherelPalazzo Madama Torino

8. Frammento di pizzo a 48 fuselliAnonimoAlternanza di asso di quadri apunto tela e greca a mezzo punto, punta a punto tela con riccioloLino 6.3 larghezza; 12.5 lunghezza Collezione BrocherelPalazzo Madama Torino

les dentelles

9. Frammento di pizzo a 36 fuselliAnonimoBuchi semplici, asso di quadri a punto tela, greca a puntosemplice, parte finale conventaglio a mezza punta e cipollaLino 5.2 larghezza; 14 lunghezza Collezione BrocherelPalazzo Madama Torino

10. Frammento di pizzo a 48 fuselliAnonimoGreca di assi di quadri a mezzo punto e parte finale a “rat” (topo) e punta a punto telaLino6.8 larghezza; 11 lunghezzaCollezione BrocherelPalazzo Madama TorinoPalazzo Madama Torino

11. Frammento di pizzo a 38 fuselliAnonimoAlternanza di “bona camand” e “rat” (buco elegante e topo) eparte finale con bona camanda a tre riccioliLino 5.2 larghezza; 13 lunghezzaCollezione BrocherelPalazzo Madama Torino

13. Frammento di pizzo a 28 fuselliAnonimoBuchi semplici, asso di quadri amezzo punto, piccolo ventaglietto finaleLino 4.5 larghezza; 11 lunghezza Collezione BrocherelPalazzo Madama Torino

12. Frammento di pizzo a 48 fuselliAnonimoBuchi semplici, un torzet, rombi con greca a mezzo punto e asso diquadri a punto tela, al centrotorzet, piccolo asso di quadri finaleLino 6 larghezza; 11.7 lunghezza Collezione BrocherelPalazzo Madama Torino

14. Frammento di pizzo a 36 fuselliAnonimoBuchi semplici, rombo finale amezzo punto con riccioli (bonacaraje)Lino 4.8 larghezza; 11.8 lunghezza Collezione BrocherelPalazzo Madama Torino

15. Frammento di pizzo a 60 fuselliAnonimoBuchi semplici, doppi rombi a punto tela con ragnetto e ventaglio a punto telaLino 8.2 larghezza; 13.4 lunghezzaCollezione BrocherelPalazzo Madama Torino

16. Frammento di pizzo a 58 fuselliAnonimoBuchi semplici, losanga (greca)doppia a mezzo punto, losangacentrale di rat (topo) e ventaglio a punto tela.Lino 8 larghezza; 11.3 lunghezza Collezione BrocherelPalazzo Madama Torino

17. Frammento di pizzo a 52 fuselliAnonimoBuchi semplici, rombi a punto tela con “bona camand” detto“finestra”Lino 7.5 larghezza; 13 lunghezzaCollezione BrocherelPalazzo Madama Torino

18. Frammento di pizzo a 56 fuselliAnonimoBuchi semplici, rombo a mezzopunto con parte centrale a rat (topo) e ventaglio incrociato.Lino 7.2 larghezza; 10 lunghezza Collezione BrocherelPalazzo Madama Torino

19. Frammento di pizzo a 34 fuselliAnonimo Buchi semplici, rat (topo), rombo a mezzo punto e ventaglietto finaleLino 5 larghezza; 13 lunghezzaCollezione BrocherelPalazzo Madama Torino

21. Frammento di pizzo a 48 fuselliAnonimoBuchi semplici, catenadell’orologio,tris di torzet e punta a punto telaLino 6.8 larghezza; 11.7 lunghezza Collezione BrocherelPalazzo Madama Torino

20. Frammento di pizzo a 34 fuselliAnonimo Buchi semplici, rat (topo), rombo a mezzo punto e ventaglietto finaleLino 5 larghezza; 13 lunghezzaCollezione BrocherelPalazzo Madama Torino

22. Frammento di pizzo a 48 fuselliAnonimoAlternanza di rat e losanga a mezzo punto (teppa céra) per tre volte e ventagli etto incrociatoLino 7.5 larghezza; 9.5 lunghezza Collezione BrocherelPalazzo Madama Torino

23. Frammento di pizzo a 48 fuselliAnonimoBuchi semplici, mezzo asso di quadri, buchi eleganti, viola delpensiero, parte finale a punto tela (teppa tëuppa)Lino7.3 larghezza; 11.4 lunghezza Collezione BrocherelPalazzo Madama Torino

24. Frammento di pizzo a 52 fuselliAnonimoBuchi semplici Losanga di torzet,occhio di pernice (mezzo punto), punto tela finaleLino 6.8 larghezza; 10.5 lunghezza Collezione BrocherelPalazzo Madama Torino

25. Frammento di pizzo a 46 fuselliAnonimoBuchi semplici, losanga punto tela con ventagli ettoLino7.2 larghezza; 10 lunghezza Collezione BrocherelPalazzo Madama Torino

26. Frammento di pizzo a 56 fuselliBuchi semplici, ragnetto, losanga a punto tela, occhio di aquila(losanga), mezzo rombo a mezzo punto, parte finale con bucoelegante a due riccioliLino 7.3 larghezza; 11.7 lunghezza Collezione BrocherelPalazzo Madama Torino

27. Frammento di pizzo a 34 fuselliBuchi semplici, greca a punto tela, al centro quattro rat e parte finale a punti tela con riccioloLino4 larghezza; 12 lunghezza Collezione BrocherelPalazzo Madama Torino

29. Frammento di pizzo a 24 fuselliBuchi semplici, asso di quadri amezzo punto, piuta a punto telaLino 3.5 larghezza; 11.5 lunghezza Collezione BrocherelPalazzo Madama Torino

28. Frammento di pizzo a 34 fuselliBuchi semplici, piccolo rombo a mezzo punto con rat doppio, piuta (zampa di gallina) a punto telaLino 4.5 larghezza; 12.3 lunghezzaCollezione BrocherelPalazzo Madama Torino

30. Frammento di pizzo a 28 fuselliBuchi semplici, catena dell’orologio, piccolo ventaglio a un filoLino 3.2 larghezza; 10.4 lunghezzaCollezione BrocherelPalazzo Madama Torino

31. Frammento di pizzo a 26 fuselliBuchi semplici, greca a punto pieno che si ripete nella parte finaleLino 3.2 larghezza; 11.7 lunghezza Collezione BrocherelPalazzo Madama Torino

32. Frammento di pizzo a 24 fuselliBuchi semplici, tris di torzet e punto telaLino3.2 larghezza; 11.7 lunghezza Collezione BrocherelPalazzo Madama Torino

33. Frammento di pizzo a 16 fuselliPunte a farfallaLino 3.2 larghezza; 12 lunghezzaCollezione BrocherelPalazzo Madama Torino

34. Frammento di pizzo a 18 fuselliBuchi semplici e punta a punto tela con rat doppioLino 2.8 larghezza; 11.5 lunghezza Collezione BrocherelPalazzo Madama Torino

35. Frammento di pizzo a 24 fuselliPiccoli ragnetti e ventaglietto a punto telaLino 2.4 larghezza; 10.3 lunghezza Collezione BrocherelPalazzo Madama Torino

37. Frammento di pizzo a 16 fuselliFinestra e punta a punto telaLino 2.2 larghezza; 12 lunghezza Collezione BrocherelPalazzo Madama Torino

36. Frammento di pizzo a 20 fuselliPunta a zampa di gallinaLino 2.3 larghezza; 11 lunghezzaCollezione BrocherelPalazzo Madama Torino

38. Frammento di pizzo a 16 fuselliTorzet e punta a zampa di gallina piccolaLino2.3 larghezza; 11 lunghezza Collezione BrocherelPalazzo Madama Torino

39. Frammento di pizzo a 12 fuselliScaletta (buchi incrociati), partefinale a catena di orologioLino 1.9 larghezza; 10.7 lunghezzaCollezione BrocherelPalazzo Madama Torino

40. Frammento di pizzo a 12 fuselliUn buco semplice, ventaglietto a un filoLino 2.8 larghezza; 10 lunghezza Collezione BrocherelPalazzo Madama Torino

41. Frammento di pizzo a 12 fuselliVentaglio a punto telaLino 1.3 larghezza; 11.5 lunghezza Collezione BrocherelPalazzo Madama Torino

42. Frammento di pizzo a 12 fuselliTre buchi semplici, ventaglietto a punto telaLino 1 larghezza; 12 lunghezza Collezione BrocherelPalazzo Madama Torino

43. Frammento di pizzo a 8 fuselliIntreccio a due fili e fioccoLino 2 larghezza; 12.5 lunghezzaCollezione BrocherelPalazzo Madama Torino

45. Frammento di tramezzo a24 fuselliParte centrale con piccola greca a punto gettatoLino 3.4 larghezza; 9.2 lunghezza Collezione BrocherelPalazzo Madama Torino

44. Frammento di tramezzo a48 fuselliQuattro greche a punto telaLino 9.5 larghezza; 13 lunghezzaCollezione BrocherelPalazzo Madama Torino

46. Frammento di tramezzo a 40 fuselliPanseuLino 6.5 larghezza; 10.5 lunghezza Collezione BrocherelPalazzo Madama Torino

47. Frammento di tramezzo a48 fuselliLino 6 larghezza; 12.2 lunghezzaCollezione BrocherelPalazzo Madama Torino

48. Frammento di tramezzo a34 fuselli Buchi semplici, un torzet oquadratino a punto gettato, unagreca a buchi elegantiLino 5 larghezza; 11 lunghezzaCollezione BrocherelPalazzo Madama Torino

49. Frammento di tramezzo a34 fuselliRat e losanga a mezzo puntoLino 4 larghezza; 12 lunghezzaCollezione BrocherelPalazzo Madama Torino

50. Frammento di tramezzo a24 fuselliCatena dell’orologioLino 2.7 larghezza; 9.7 lunghezza Collezione BrocherelPalazzo Madama Torino

51. Frammento di tramezzo a24 fuselliBuchi semplici, Asso di quadri a mezzo puntoLino 3 larghezza; 12 lunghezzaCollezione BrocherelPalazzo Madama Torino

53. Frammento di tramezzo a12 fuselliTorzetLino 1.2 larghezza; 10.4 lunghezza Collezione BrocherelPalazzo Madama Torino

52. Frammento di tramezzo a12 fuselliTorzetLino 1.1 larghezza; 10 lunghezza Collezione BrocherelPalazzo Madama Torino

54. Frammento di tramezzo a32 fuselliBuchi semplici, asso di quadri apunto tela e buchi elegantLino 3.5 larghezza; 6.5 lunghezza Collezione BrocherelPalazzo Madama Torino

Sant’Orso FairThis age-old event takes place yearly on January 30th and 31st in the city of Aosta where artisans either by profession or passion exhibit their production. Its origins are lost in the mists of time. The very few ancient documents that stated its existence are, however, not able to fix its institution date which occurs well before the concession that Lord Edward of Savoy granted to Aosta on November 15th, 1326 for both May and All Saints Day Fairs that lasted three days. Tradition told that it began precisely in front of the church where Saint Ursus was used to dispense to the poor clothes and wooden shoes (clogs). Formerly, the area dedicated to the Fair was very limited: it only included Praetorian Doors and a few dozens of meters of present St. Anselm Street eastern. Only farm tools and household things were on sale.Fair slowly lost the fineness of old times because of the evolving presence of professional craftsmen who met local needs and the creation of many village fairs that avoided long trips to go to Aosta to buy foods and tools.

TECHNICAL SHEET

In the nineteenth century a new interest revived the event and forged the basis for its growing success so that the traditional event will become the best known and most popular of Aosta Valley, capable of attracting every year tens of thousands of visitors and buyers from all surrounding areas and further afield. A change in mentality due to the new Enlightenment ideas imported by emigrants in Aosta Valley and then Romanticism revitalized it. The first one introduced current interest for scientific research and the second one gave importance to nature and past, what pushed valdostan intellectuals to take care of antique and promote the local context in its various aspects.In 1857 Fair was reduced to a small market that took place in a matter of hours only in the morning of 31st January, because most of the merchants came from far away, Ayas, Torgnon, Valtournenche, and wished to go back home the same day for celebrating on the next day St. Ursus. The true renaissance of the Fair took place with the establishment of the Comice Agricole de l’Arrondissement d’Aoste (created in 1867), who understood value and economic opportunities that tourism development offered to the valdostan farmers through the implementation of crafts. The Comice Agricole worked to get the opening of a sculpture school in Aosta and to have the best exhibitors of St. Orso Fair rewarded.Today, Sant’Orso Fair is a great popular event dedicated to crafts, a celebration of creativity and industriousness of the mountain people. It is an opportunity for the exhibitors to present with pride and self-satisfaction the results of their work done with passion or as actual productive activity, but ever in a still purely old-style way.

Every traditional activities is present: sculpture andwood-carving, soapstone, wrought iron and leather, weaving cloth on ancient wooden looms (drap), lace (dentelles), wicker and domestic objects, wooden ladders, barrels. It is not only the commercial aspect that makes exhibitors to participate in the Fair, but the great desire to get out of the workshop and get in touch with an audience that knows how to appreciate quality work and creativity fruits of a centuries-old tradition.

sculptors of Vens"School" of Saint-NicolasIn Saint-Nicolas and especially in the hamlet of Vens, tradition of handcrafted sculpture is rooted in the generations. Over the years numerous artisans contributed to the local craftsmanship development, by identifying themselves almost with a "school" of artisans/artists coming closer from the same fabric of society.Their production is diversified and always linked to the rural world that each represents with his own techniqueand skill.

TECHNICAL SHEET

Basile Cerlogne (1864 – 1937)He is the first artisan-sculptor of Saint-Nicolas whose we traced works that are now a part of the Brocherel Collection in the Civic Museum of Turin. Brocherel himself praised him by admiring his spontaneity inspired by the country themes, subjects with which he was in everyday contact.

Zacharie Thomasset (1889 – 1968)Nephew of Basile Cerlogne and Charles Thomasset, both sculptors of Vens, Zacharie learns within families the first rudiments of sculpture. During the teenage years he gets interest in photography and will be able to open a photo studio some years later. His passion for sculpture guides him throughout his life as an expression of his emotions and regrets for a lifetime of farm working necessary to family. His subjects are drawn from the country world that surrounds him. His inspiration transformed and made them so expressive to the point of looking alive.

Maurice Léon Lavy (1890 – 1967)This furniture maker and sculptor is a self-taught man. His craft production was affected by his need to escape from the closed environment of Saint Nicolas, the consequential trip to Paris and the tragic experience of family grief further to his brother’s death on the front. His artistic production increases with local subjects that he achieves with a different technique from the traditional craftsmanship that reveals his search for refinement and quest of beauty.

Carlo Gadin (1943)Fatherless at 10 months he grew up between Cerlogne and Vens. In early childhood, this craftsman is particularly fond of working wood and attends the training lessons in the Châtillon Professional Institute. In the same period, he takes part in Zacharie Thomasset and Aldo Vagneur workshops in Vens. It is his cousin Léopold Armand who then feeds his passion for sculpture. His production shows an evolution that leads from traditional technique to the use of a softer line by turning the artisan into an artistand his figurative subjects in abstract sculptures.

Maurice Vagneur (1915 – 2002)Fatherless at sixteen, young Maurice has to provide for his family. He is called up in 1941 and injured with a mortar shot that deprived him of left arm. Maurice comes back to his native land at the end of the same year and once at home, he goes back to the normal life related to the country world to which he belongs. He gets married in 1951 and has three daughters. This encourages him to develop his production to sustain the family. His mutilation does not prevent him from making well-refined figures really true to life. He has a preference for walnut and pear woods.

Gino Thomasset (1922 – 2014)As Zacharie’s son, he gets interest in craftsmanship within the father teaching and starts to create everyday objects of common use that meet with the first needs of life. He is twenty years old when he is called up and immediately after the post-war period, already famous and appreciated, he teaches various sculpture classes. Unlike his father who works wood for pleasure, Gino carves for work. This choice characterizes his rich production of country subjects that show some homogeneous sizes of the pieces.

Aldo Vagneur (1928 – 1994)Brother of Maurice and also fatherless at a very early age, he has to support the family by taking part in the agricultural works and starts to get interest in sculpture. As a Zacharie Thomasset pupil, he develops his knowledge by enrolling a drawing and oil painting correspondence course. It prefers working walnut, larch and stone pinewood and in the nineties he opts for knotty roots already carved by nature

Léopold Armand (1926 – 1994)This artisan comes also into contact with woodworking at elementary schools and improves his technique by attending Zacharie's sculpture courses. He is one of the first to create masks in larch bark that receive a great success. He also develops a strong interest in photography and languages of his land.

Renato Champrétavy (1927)Friend and peer of Aldo Vagneur, he attends the sculpture courses held by Gino Thomasset. The subjects of his sculptures often represent mountain fauna, such as ibex and eagles fighting, as an expression of hardness in the action rather than a compliance with the volumes proportions.

pillow-lace of CogneHistoryAccording to the oral tradition, pillow-lace art was introduced in Aosta Valley in 1665, when a group of Benedictine nuns, who had run away from the Cluny monastery, took refuge in Saint-Nicolas under the cover of Bishop Filiberto Alberto di Bailly. Later written evidence states that Honorée Guichardaz, after a time spent with his brother Basile, vicar in Saint-Nicolas, initiated in 1853 in Cogne to teach women the pillow-lace art even reaching almost all the families. In 1905, only few girls and women don’t work lace. In support of this argument, dating confirms also that no bobbins structures date back earlier than 1860.Pillow-lace tradition is even today passed down from generation to generation thanks to the lace work teaching introduced in the elementary school in the years prior to 1930.

TECHNICAL SHEET

ToolsBobbins support of Cogne has a cylindrical shape with a diameter of about 22-24 cm and consists of several layers of materials made up of various woods and materials, elaborated according to a very specific pattern. The internal structure is made of arolla pine thick of about 5 mm, bent hot to get a circular shape. This is then covered with a layer of weaved rye straw coated in turn with a padding of 2-3 cm thick carded wool. These layers are lined with fabrics usually with a fantasy design with small squares and attached to the inner cylinder with cords. The padding enables to tighten the lace with pins and the canvas with small squares makes easier the execution of the pattern that is handed down to memory. Bobbins support is a wooden structure of about 80 cm high, which consists of two lateral shaped axes with feet at the base and holes in the upper ends, which allow to raise or lower the structure by means of small cylindrical slats. At about halfway up, there is a drawer with a sliding lid or a horizontal door to store the thread, pins and bobbins useful to work. The latter are made to the lathe with hard and compact wooden species such as apple, pear, cherry, ash and walnut and have a swollen end that enables to stretch the thread.While these tools are from native production, pins and threads are imported. The pins consist of a glass paste head and are more or less thick depending on the thread used. Formerly, they were made of copper or brass, metals that do not oxidize and therefore do not stain the lace. Presently, they are made of steel. As for yarn, it was originally produced in the region and was based on hemp, while flax has been used since the early 1920s.