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Today we completed the first two games and created wooden spinning tops that color, made of the leftovers of the second game. To finish the started project of last week we sanded the entire structure of the Hollabyrinth from the wooden bases, to the holes drilled with the drill bit, through the help of a string and fastening hooks we proceeded to make the play tool where the ball moves to play the game.The whole thing was assembled and put into operation with excellent results. With the plywood circles obtained from cutting wood to make the hollabyrinth, we made wooden spinning tops that color.We sanded the circles, glued the circles into a sharpened colored pencil and the play tool is ready. We made a spinning top that colors.

Today we started making a game invented by Alexander called Hollabirinto. The game consists of a path of holes made in a wooden plank placed vertically where a marble has to manage to make it all the way through without falling into the holes, a game that relates mental and manual skills. We made the base of the game by nailing a wooden plank of plywood onto a square rectangular base. Alexander explained how to properly use a drill to bore wood and especially the use of drill bits, an essential tool for making precise circular holes of different sizes. Several holes were drilled with the hole drill to create the path of the labyrinth, a wooden stand was then created to hold the previously created labyrinth vertically.

In this workshop we learned the history of Comb Ceramic type of pottery. In the hands-on process we first chose the type and colour of the clay. In ancient times the clay was dark red or brown, depending on the heat of the fire and the type of the clay.   First, we learned how to prepare (wedge) the clay. This means kneading it, kind of like kneading dough, to get rid of air bubbles and make it nice and smooth, because if there are air bubbles, the clay could crack when it’s fired. Next step is shaping the pot. There are a few ways to do it. One way is to start with a ball of clay and use the thumb to make a dent in the middle, then pinch the sides to make the walls of the pot. Another option is to roll the clay into long, thin ropes, and then coil them on top of each other to build up the walls.   Exciting part is creating the comb pattern. We used actual combs and other tools with teeth or edges that can make interesting marks in the clay by pressing the tools into the soft clay to create lines, zigzags, or other designs. Experimenting with different pressures and angles will make different unique patterns. Next step is to let the pots dry. This is very important. If the clay is too wet, it could crack when it’s fired. The final step is firing the pot in a kiln, which is like a very hot oven. This hardens the clay and makes it into ceramic. This is a step that is usually done by the teachers, due to the high temperatures involved. Learning about ancient pottery helps us understand how people lived long ago. The Comb Ceramic culture, also known as Pit-Comb Ware was widely distributed in Estonia, already from 3900–1750 BC. Pottery from that time often had pointed or rounded bottoms, perfect for storing food and liquids. For decoration, comb-like tools were historically used for decoration. The patterned decoration, or “writing,” may have been intended to ward off evil and protect food. Families or communities had different patterns and also represented the wealth of the family or tribe.  Children enjoyed the workshop and found it a calming and relaxing process combined with fascinating stories from the past traditions.    

In the workshop, we learned how to craft a roof from natural wood shingles. The children got to try their hand at cutting and installing shingles themselves. The instructor demonstrated how to place the shingles at the correct angle to make the roof watertight. We used traditional tools like hammers and nails to securely fasten the shingles. Each child built a small model roof that they could take home. We learned which types of wood are best suited for a shingle roof. We talked about how a shingle roof changes over time and what maintenance it requires. Through a fun game, we learned the different parts of a roof and their names. Together, we admired the beauty and naturalness of the finished shingle roof. The children left the workshop with new skills and knowledge of traditional crafts. In Estonia, shingle roofs have a long history, being a traditional roofing material, especially in rural areas. The skills of building shingle roofs have been passed down from generation to generation, thereby preserving a valuable cultural heritage.  

Alexander proposed the realization of the game of 15 which is a classic puzzle game created in 1874 by Noyes Palmer Chapman, a letter carrier on duty in Canastosa, and popularized in 1891 by samuel Loyd.The game consists of a square-shaped board, usually made of plastic or wood, divided into four rows and four columns (thus sixteen positions), on which are placed fifteen square tiles, numbered progressively from 1. The tiles can slide horizontally or vertically, but their movement is limited by the existence of a single blank space. The aim of the game is to rearrange the tiles after “shuffling” them randomly; the position to be reached is the one with the number 1 at the top left and the other numbers following from left to right and from top to bottom, up to 15 followed by the empty square. The children began by squaring the wood to be cut through the use of a carpenter’s square and marked with pencil all the dowel cuts needed for the game. Afterwards, Alexander explained and showed the correct use of the hand saw with which all the boys cut the 15 dowels. After cutting, the dowels were sanded with sandpaper of different weights, first a larger weight was used to remove impurities from the larger cut wood and then finished with a much finer weight. At this point we got 15 squares sanded and ready to be painted by the children, each with their own imagination, where the numbers one to fifteen were made. Same procedure to make the game frame, first they did the cutting, then the sanding and finally the painting. We prepared all the materials needed to assemble the game and put them together. 

In the last meeting of the Erasmus Plus HAND! project, held at the Albero della Tuscia Libertarian School in Farnese (VT), elementary school children concluded the course on Etruscan crafts by making a plaque pendant depicting the Etruscan Chimera.Before beginning the hands-on activity, the children learned about the history and significance of the Chimera, a mythological creature depicted with a lion’s body, a goat’s head on its back and a snake-like tail. Among the most famous depictions was shown the Chimera of Arezzo, a fifth-century B.C. bronze sculpture found in 1553 and now housed in the National Archaeological Museum in Florence.In Greek mythology, the Chimera is a symbol of chaotic and destructive forces, but in Etruscan art it may also have taken on a meaning of protection and divine power. Its connection with the otherworldly world and its depiction on votive objects suggest a connection with the spirituality and religious beliefs of the Etruscans.After the introductory part, the children began the creation of their pendant, following the techniques learned in the previous meetings and using the technique of embossing on metal. To make the process accessible to all, the children were given a stylized, line drawing of the Chimera, which they transferred to the copper plate by overlapping the sheet and tracing the outlines with a pen. This first etching was then finished with burins to accentuate details and create a more pronounced three-dimensional effect. Once the design was complete, they cut out the shape of the pendant, beveled the edges, and, to make the pendant safer and more comfortable to wear, a thin layer of hot glue was applied to the back, which softened the reliefs and covered any sharp edges. Finally, with the help of jewelry pliers, the children drilled a hole in the plaque and inserted a connecting ring, finishing it off with a lanyard.This activity allowed the children to approach history through manual dexterity and creativity. Working with metal with their own hands, they were able to experience ancient techniques and discover the symbolic value of Etruscan artifacts. Each pendant, although starting from the same design, took on different nuances, thus becoming a unique and personal piece. This meeting closed the journey with a tangible memento of the work done, transforming knowledge into a concrete lived experience.

The third meeting of the Erasmus Plus HAND! project, held at the Albero della Tuscia Libertarian School in Farnese (VT), guided children to discover another fascinating artifact of Etruscan goldsmithing: earrings. This jewelry, beloved and worn by Etruscan women, came in different forms, from large plaque earrings, which could reach 7 cm in diameter, to pendants embellished with stones and fine details.After a historical introduction on the types of earrings used by the Etruscans, the children chose to make a pendant model, inspired by ancient jewelry but reinterpreted with a personal touch. For the workmanship, the technique of embossing on copper sheets was used, through which the spiral symbol was engraved. This motif recurs frequently in Etruscan art and symbolizes the continuous cycle of life, growth, transformation and the connection between the earthly and spiritual worlds.After transferring the design to the metal plate, the children engraved the spirals using burins and embossing tools, working carefully to achieve a well-defined relief. The resulting plaque was then personalized by adding a stone of their choice, inspired by the Etruscan custom of embellishing jewelry with precious and colorful materials. To ensure safety and comfort, a thin layer of hot glue was applied to the back, which softened the reliefs and covered any sharp edges. Next, through the use of jewelry pliers, the children assembled their earring, inserting the linking rings and completing it with the monachella, the hook that allows it to be worn.This workshop, too, offered children an immersive, hands-on experience, allowing them to explore Etruscan culture through craftsmanship and art. Working with metal, engraving ancient symbols and assembling a real piece of jewelry turned history into a hands-on experience, leaving them with not only an object to wear, but also an awareness of the artistic and symbolic value of jewelry from the past.

After the exciting discovery of Etruscan jewelry during the first meeting, the children of the Libertarian School “Albero della Tuscia” in Farnese (VT) continued their journey into the world of goldsmithing, experimenting with new techniques for making two types of rings: a band ring and a plate to be applied on a ring base.Also in this meeting, guided by Marianna Iurlo, the children worked with the embossing technique, choosing between copper plates or silver-plated bases, depending on their aesthetic preferences. The band ring was decorated with a design made freehand, then traced using burins to create a well-defined relief. Someone also applied black corallines to further embellish and personalize the work.The plate of the second ring, on the other hand, was obtained by tracing the relief motif of a jewel depicting a Spiral, a recurring symbol in Etruscan art. This motif was particularly significant to the Etruscans because it represented the cycle of life, fertility and prosperity, as explained in the previous meeting.Once the relief was imprinted on the slab, the piece was treated with hot glue to stabilize the workmanship and finally glued to the base of the ring, thus completing the creation. The meeting allowed the boys and girls to hone their manual skills and deepen their understanding of the symbolic value of Etruscan goldsmithing, transforming learning into a practical and creative experience. Through craftsmanship, they were able to experience firsthand the attention to detail and precision required for jewelry making, while developing a deeper connection to the history and art of antiquity.