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Bricco

Contents

I discovered by chance some news about a particular embroidery technique called Bricco”. It captured my attention with elegance and delicacy of its style, exactly as I’ve discovered it was for Countess Tarsilla Petitti about a century ago. I set out on its trail to discover what seemed to have been forgotten for decades. Nothing happens for more than 10 years, during which I tried, completely in vain, to reconstruct this story. When I had almost given up my hope, suddenly, my perseverance was rewarded and, by pure chance, everything was revealed, giving me a profound emotion. I found the alb on the bottom of a trunk in the church attic, balled up like a rag. It was THE alb, the one I'd been searching for for ten years, without success. Once recovered, I studied it extensively, and it's currently being restored at a cloistered monastery in Piedmont. 


I am very proud to say that the rediscovery of this technique is due to long and arduous research I conducted in the 1990s and 2000s. I’ve finally founded the mentioned alb, studied it very deeply for designs, style and stitches which, even if using blanket as main stitch, can create a delicate and stylish effect. 

About
About
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The blanket stitch is used in the opposite way to what we normally know and, combined with other simple stitches, such as the chain stitch, forms the main style of the designs, 


The execution relies primarily on blanket stitch, worked in all its variations: high, low, oblique, thick, and open. The application of open blanket stitch in the curls, in particular, characterizes Bricco embroidery. Alongside blanket stitch, other stitches include knots, grass, pasted, English, and several background nets, including the Rhodes stitch. 

History
History
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We due the name “Bricco” to Countess Tarsilla Petitti di Roreto who, living it in the small hamlet of Bricco, decided to start a production to give an earning chance to the girls. History of Bricco technique origin is fascinating. 


In the early 1900s, Countess Tarsilla Petitti di Roreto (1868–1937), great artistic talent and remarkable human qualities one, realized that the population of lower Piedmont, especially the Cherasco area in the province of Cuneo, primarily devoted to agriculture, was suffering from severe poverty and destitution. Young girls, confined to their homes and without education, were condemned to a life of work and ignorance. Tarsilla, aware of her privileged position as a wealthy and cultured woman, decided to help these young women and, with the collaboration of her mother Tommasina and her sisters Emilia, Maria, and Luisa, founded a school-workshop in 1913. They made their home, in Bricco de’ Faule, 


available for this initiative. They primarily taught the girls to read and write providing them with a basic general education. Such an opportunity represented an unexpected and unhoped-for opportunity for redemption of girls. They also ensure they had a chance to earn a modest income, which would allow them to become financially independent from their families—a rare and not particularly well-regarded skill at the time—Tarsilla decided to teach the girls the art of embroidery. The workers quickly specialized in embroidering the designs derived from the alb and were able to fulfil the first orders from wealthy benefactors. 


The embroideries from the Bricco de' Faule school-workshop were presented in more than one of the annual Exhibition-Sales held in Turin on those years and were registered with the "Industrie Femminili Italiane" in Rome, meeting with public acclaim. With the outbreak of World War I in 1915, with men leaving for the front, there was a shortage of labourers to work the land, and consequently, fewer embroiderers were needed, who had to return to farm work to replace the men. 


The school turned to nuns from convents and city ladies, impoverished by the rising cost of living. They quickly became the only embroiderers in the workshop. 

The school-workshop, despite periods of difficulty, achieved a reasonable level of production, especially in the 1920s and 1930s, providing employment for a good number of women. 

It was awarded a gold medal at the Agricultural-Industrial Exhibition of the City of Cherasco in 1923 and received numerous orders from the Industri Femminili Italiane, which, to demonstrate their appreciation for her work, awarded nine 100-lire prize shares to the best embroiderers. 


Tarsilla's death in 1937 at the age of 69 and, shortly thereafter, the outbreak of World War II, brought the School-workshop to an end and, consequently, the end of Bricco embroidery. 

Spread to Other Countries
Spread to Other Countries
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It seems that one of Tarsilla's ancestors received a finely crafted priestly alb as a gift from a princess of the House of Savoy. The dating of the work is uncertain, but it certainly dates to sometime between 1600 and 1700, a period during which Piedmont saw a strong growth in interest in the art of embroidery, with the birth, for example, of Bandera embroidery. The origin of the alb work is also uncertain: it may have been made by Poor Clare nuns at the princess's request, but given some of the embroidery's subjects, it could have originated in Eastern Europe, were Countess lived for some time, following her husband, who was a military general. 


The alb remained in the Petitti family's private chapel, inside the parish church of Bricco de' Faule, for many decades, until Tarsilla discovered it in the early 1900s and was extremely impressed by the beauty of the design, the refinement of the embroidery, and the uniqueness of the subjects. 

Techniques
Techniques
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Type of Stitches
Type of Stitches
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In addition to all the traditional embroidery stitches and the making of household linens, Tarsilla taught the girls Bricco embroidery, a technique she created inspired by an ancient and precious priestly alb, using mainly blanket and stem stitch, in different combinations. Reverse blanket is used for lines, as well as long and covering for filled figures, stem one for some lines.

Style of Patterns
Style of Patterns

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The embroidery that decorates the wide flounce of the alb and the high edges of the sleeves is highly distinctive for a religious habit: stylized and fantastical flowers and fruits resembling orchids, sunflowers, anemones, carnations, and pomegranates; scrolls, garlands, and curls; peacocks and graceful tiny birds; a coat of arms with a double-faced eagle (the emblem of many peoples and empires), and religious symbols, including the coat of arms of the Franciscan Order. 

Materials
Materials

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Tarsilla was captivated by the beauty of the garment and saw, in the richness of the design, a veritable goldmine of inspiration from which to draw endless combinations for the designs she would present to the students of her school. 


To make embroidery more modern and economical to make the girls' work easier, Tarsilla transferred the designs to rustic canvases hand-woven by the workers themselves and replaced the delicate threads with white or coloured cottons (especially blue and red), achieving a more rustic yet very pleasing result. 


It is the way we still use nowadays for many different works. 


Threads to use: perlé or retors d’Alsace nr. 8 and 5 

Fabrics: rustic and thick fabric are the best ones for this kind of embroidery 

Needles: sharped ones accorded to fabric and thread thickness 


Tools
Tools
Now a Days
Now a Days

Bricco is a still living style, which can be used for a many different purposes, from home decoration to garments, jeans and t-shirt. Due to its versatility, its recommended even for beginners, but don’t indulge to believe that it doesn’t require precise work. As for some others regional Italian typical techniques, it can be called Bricco only if it respects the original designs together with materials. However, we encourage you to use this style in any way you can think of, with the awareness that fashions change, as do tastes and needs, and to avoid letting a technique die out, it is important to update it and continue to use it. 

Conclusion
Conclusion

Knowledge of many techniques, their history and characteristics, the origin and present uses, is the best way to preserve and to transfer them to future generations. Never stop to study and compare this technique with others and my region traditional embroidery styles, have been and are my main aim. Even apparently simple stitches as blanket or stem one, can have a perfect stylish result, when correctly put together. Bricco style is a witness of it. 


I thank the former parish priest of Bricco, Don Massimo, Mrs. Agnese Favole, and especially the dead Engineer Emanuele Petitti and his daughter Adele for the information they provided to reconstruct Countess Tarsilla's work. T At the same time, I conducted research on Cavandoli, another Piedmonts technique: for Cavandoli too, 10 years of research, many disappointments, and an even more incredible ending. 


To prevent these two Piedmonts techniques from being forgotten again, and this time perhaps forever, I wrote the book "Bricco and Cavandoli: two tales on the tip of a needle," which contains detailed information on their history, technique, materials, and designs. 

References
References
  1. Gisella Tamagno “Bricco e Cavandoli, due favole in punta d’ago” – self publisher, Turin – Italy 2007 

  2. Amelia Brizzi Ramazzotti, “Il Ricamo di Bricco” publisher Bietti, Milan 

  3. Lucia Petrali Castaldi, “L’opre leggiadre – I lavori femminili nelle regioni italiane” publisher Antonio Vallardi, Milan Italy - 1940 

  4. Donatella Taverna, ”Quel ricamo d’armonia…” Editions Famjia Turineisa, publisher Piedmont Region, 1994 

  5. Elisa Ricci, “Ricami Italiani antichi e moderni” publisher Felice Le Monnier, Florence – Italy 1995 

  6. Various authors, “Manuale del cucito e del Ricamo” publisher Cucirini Cantoni Coats, Milan 

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