L’Aquila between faith, shepherds, and urban memory

Those who observe a city as a symbolic explorer look for objects that tell its story. They are not simply looking at souvenirs: they are searching for traces of local history.

In L’Aquila, many objects carry with them a specific story: the city’s medieval structure, the religious traditions linked to Celestino V, the artisanal work of the Apennine communities, and the long pastoral culture.

Through a few simple objects — a print, a piece of lace, a devotional object, and a cowbell — it is possible to reconstruct fundamental parts of the history of the L’Aquila area.

Related souvenir: Historical print or engraving of the city

Historical prints of L’Aquila show the city as it was before the earthquakes that struck it over the centuries, particularly those of 1703 and 2009.

Engravings produced between the 17th and 19th centuries often depicted: • the city walls • the Basilica of Santa Maria di Collemaggio • the system of squares • the city’s position among the Gran Sasso mountains

These images were produced by cartographers, artists, and travelers who documented Italian cities.

Today these representations have special value because they allow us to see the medieval urban layout of the city founded in the 13th century.

For this reason, prints and engravings of L’Aquila have become sought-after objects for visitors: they visually tell the story of the city’s urban history.

Related souvenir: Devotional objects from L’Aquila

Many religious items sold in L’Aquila are linked to the figure of Pope Celestine V.

In 1294 Celestine V was crowned pope in the Basilica of Collemaggio. On that occasion he established the Perdonanza Celestiniana, a celebration that grants plenary indulgence to pilgrims who visit the basilica between August 28 and 29.

This tradition continues to this day and is recognized as UNESCO Intangible Cultural Heritage.

For this reason, many religious souvenirs from L’Aquila depict: • Celestine V • the Basilica of Collemaggio • the Holy Door

These objects recall one of the oldest religious traditions still practiced in Europe.

Related souvenir: Bobbin lace

Bobbin lace is a traditional craft technique found in several towns of mountainous Abruzzo.

The work is carried out on a cylindrical cushion called a tombolo, on which the threads are pinned in place. The threads are then intertwined using small wooden bobbins until very intricate decorative patterns emerge.

This technique was practiced especially in mountain communities where agricultural work left free time during the winter months.

Lace was used to: • decorate traditional clothing • finish household linens • adorn religious vestments

Towns such as Pescocostanzo, in the L’Aquila area, are still known for this tradition today and host museums and schools dedicated to the tombolo technique.

Buying lace in this area means taking home an object connected to the history of domestic and artisanal work in Apennine communities.

Related souvenir: Pastoral cowbell

For centuries the economy of the L'Aquila Apennines has been tied to pastoralism.

Shepherds moved their flocks along the tratturi, wide grassy routes that connected the mountains of Abruzzo with the plains of Puglia. This system of seasonal migration is called transhumance.

The bell was hung around the neck of the lead animals of the flock.

It had several functions: • allowing the shepherd to locate the flock • keeping the group of animals together • helping manage grazing during the movements

Transhumance shaped the landscape and culture of Abruzzo for centuries and is now recognized as UNESCO Intangible Cultural Heritage.

For this reason, the bell is one of the most representative objects of L'Aquila’s pastoral culture.

Through these objects, several key elements of the history of L’Aquila emerge.

Historical prints recount the urban structure of the medieval city. Devotional objects recall the religious tradition linked to Celestine V. Bobbin lace bears witness to the artisanal work of the Apennine communities. The shepherd’s bell evokes the long-standing culture of transhumance.

Different objects, yet all tied to the same territory: a mountain city where urban history, faith, craftsmanship, and pastoral life have all contributed to shaping the local identity.