An itinerary where craftsmanship even becomes industrial, as history and culture merge into a single discovery
Garfagnana and the Mid Serchio Valley is home to a vast industrial heritage bordering on artisanal. The Mid Serchio Valley boasts of a truly ancient tradition related to Figurinai (figurine makers), excellent artisans who migrated to various parts of Europe and America to spread and be enriched by their creations of the ancient plaster figurines. Testifying to this history in an objectionable way is the Museum of Plaster Figurines and Emigration in Coreglia Antelminelli. Over time, this creation has even developed strongly from an industrial point of view. Today, one company in the area is particularly well known for the industrial-scale production of the famous “Statuine”.
Traveling through the Garfagnana, you will also find a number of mills testifying to the area’s historic connection with the chestnut, so much so that today the flour—known as Farina di Neccio della Garfagnana—boasts the DOP (Denominazione di Origine Protetta or Protected Designation of Origin) marking.
The route sets out from the Mulino di Menicone (Menicone Mill), located in the locality from which it takes its name and the only water mill that has remained intact among those in the municipality of Pescaglia. The building of the mill dates back to the 17ᵗʰ century and preserves the old structures that are still functioning to this day.
It was formerly part of the Palazzaccio farm, with a 16ᵗʰ-century Villa that belonged to the Orsetti counts of Lucca. Still present are all of the elements that, as early as the 19ᵗʰ century, enabled the milling of wheat, corn and chestnuts, given that the mill remained in operation until the 1980s. Some wooden gears have been replaced by iron ones but the tradition of this craft remains otherwise unchanged. Currently, you can visit the mill, including for various educational activities. By taking a tour of the facility, you can learn about the workings of the heavy stone millstones, the carefully-studied gears, the importance of the water supply through the millstreams and the inescapable relationship with nature which, in this activity more so than ever, inexorably dictates the timing of the production.
The route sets out from the Mulino di Menicone (Menicone Mill), located in the locality from which it takes its name and the only water mill that has remained intact among those in the municipality of Pescaglia. The building of the mill dates back to the 17ᵗʰ century and preserves the old structures that are still functioning to this day.
It was formerly part of the Palazzaccio farm, with a 16ᵗʰ-century Villa that belonged to the Orsetti counts of Lucca. Still present are all of the elements that, as early as the 19ᵗʰ century, enabled the milling of wheat, corn and chestnuts, given that the mill remained in operation until the 1980s. Some wooden gears have been replaced by iron ones but the tradition of this craft remains otherwise unchanged. Currently, you can visit the mill, including for various educational activities. By taking a tour of the facility, you can learn about the workings of the heavy stone millstones, the carefully-studied gears, the importance of the water supply through the millstreams and the inescapable relationship with nature which, in this activity more so than ever, inexorably dictates the timing of the production.
Although the difficulty of finding documentary sources makes the dating of the original structure uncertain (although it probably dates back to the early 1700s), subsequent extensions and modifications that transformed the mill into a paper mill are known. On the 1860 cadastral maps, the building is actually classified as such and the locality was already known as “Molin della Volpe.” The origin of this name lies in the gray area between history and legend. The appellation is thought to have referred to the original owner who, with much cunning, managed to create a complex series of canals to take advantage of even the smallest rivulet of water, able to keep the mill in operation also in periods of relative drought. The small hut in front was likewise lapped by one of the streams. The vaults found during restoration suggest that it was a second horizontal wheel mill, later decommissioned. In the main building, rather, the mechanism was a vertical wheel. Here today is one of the most renowned restaurants in the area, where you can dine in rooms where you can still admire the perfectly restored millstones.
Although the difficulty of finding documentary sources makes the dating of the original structure uncertain (although it probably dates back to the early 1700s), subsequent extensions and modifications that transformed the mill into a paper mill are known. On the 1860 cadastral maps, the building is actually classified as such and the locality was already known as “Molin della Volpe.” The origin of this name lies in the gray area between history and legend. The appellation is thought to have referred to the original owner who, with much cunning, managed to create a complex series of canals to take advantage of even the smallest rivulet of water, able to keep the mill in operation also in periods of relative drought. The small hut in front was likewise lapped by one of the streams. The vaults found during restoration suggest that it was a second horizontal wheel mill, later decommissioned. In the main building, rather, the mechanism was a vertical wheel. Here today is one of the most renowned restaurants in the area, where you can dine in rooms where you can still admire the perfectly restored millstones.
In 1930, Giovacchino Marchi, after having traveled the world to sell plaster figures, founded the Ditta Marchi. After World War II, together with his four sons, he then formed the company Cav. G Marchi & Figli, specializing in the production of papier-mâché nativity figures that stood from around 1 inch to 12 inches (3 to 30 centimeters). This production continues to this day thanks to the traditional hand-painted product that is sold all over the world. In the 1960s, production of plastic nativity figures began. On the wave of economic development, the Marchi brothers founded Isas, today the company Euromarchi, coming from a merger of the two companies.
Euromarchi produces nativity figures in multiple materials and finishes, plastic and polyurethane mirrors, religious items and even angels, in seeking to safeguard traditional production. In addition are the many accessories needed to create a nativity scene, with the very extensive range being recognized as such around the world. Skilled sculptors make all models in wax first of all, from which the steel mold is produced. Each product is then hand-painted.
In 1930, Giovacchino Marchi, after having traveled the world to sell plaster figures, founded the Ditta Marchi. After World War II, together with his four sons, he then formed the company Cav. G Marchi & Figli, specializing in the production of papier-mâché nativity figures that stood from around 1 inch to 12 inches (3 to 30 centimeters). This production continues to this day thanks to the traditional hand-painted product that is sold all over the world. In the 1960s, production of plastic nativity figures began. On the wave of economic development, the Marchi brothers founded Isas, today the company Euromarchi, coming from a merger of the two companies.
Euromarchi produces nativity figures in multiple materials and finishes, plastic and polyurethane mirrors, religious items and even angels, in seeking to safeguard traditional production. In addition are the many accessories needed to create a nativity scene, with the very extensive range being recognized as such around the world. Skilled sculptors make all models in wax first of all, from which the steel mold is produced. Each product is then hand-painted.
The unique museum is housed in the Palazzo that once belonged to Baron Charles Vanni, a figurine-maker who lived in the Austro-Hungarian Empire for many years. Spread over three floors, the collection includes plaster casts dating back to the 18ᵗʰ and 19ᵗʰ centuries, documentation on methods for working with plaster and the history of emigrants, along with the permanent exhibition of the nativity scene. The plaster specimens on display, of fine workmanship and profound social historical significance, represent that particular migratory phenomenon that took place between the 1700s and 1900s, based on the manufacture and itinerant sale of plaster figurines. The museum’s current exhibit consists of 1,300 plaster specimens ranging from 18ᵗʰ-century kittens blackened with candle smoke, the funeral mask of Count Camillo Benso di Cavour and busts made from lost wax. The specimens preserved in the museum come largely from the Carlo Vanni School of Drawing and Plastic Art and from the donation of Remo Molinari (1883–1973), a descendant of a family that ran a historic figurine workshop. Numerous private individuals, particularly from Coreglia, contributed to enriching the collection. The museum also serves as a permanent study center and workshop through which, by appointment, you can witness the creation of plaster figurines.
The unique museum is housed in the Palazzo that once belonged to Baron Charles Vanni, a figurine-maker who lived in the Austro-Hungarian Empire for many years. Spread over three floors, the collection includes plaster casts dating back to the 18ᵗʰ and 19ᵗʰ centuries, documentation on methods for working with plaster and the history of emigrants, along with the permanent exhibition of the nativity scene. The plaster specimens on display, of fine workmanship and profound social historical significance, represent that particular migratory phenomenon that took place between the 1700s and 1900s, based on the manufacture and itinerant sale of plaster figurines. The museum’s current exhibit consists of 1,300 plaster specimens ranging from 18ᵗʰ-century kittens blackened with candle smoke, the funeral mask of Count Camillo Benso di Cavour and busts made from lost wax. The specimens preserved in the museum come largely from the Carlo Vanni School of Drawing and Plastic Art and from the donation of Remo Molinari (1883–1973), a descendant of a family that ran a historic figurine workshop. Numerous private individuals, particularly from Coreglia, contributed to enriching the collection. The museum also serves as a permanent study center and workshop through which, by appointment, you can witness the creation of plaster figurines.