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Gli umbertidesi del Gruppo di combattimento “Cremona” di Federico Ciarabelli 14 settembre 2014 Indice 1 - Costituzione del Gruppo 1 1.1 - Il Gruppo di Combattimento 1.1.1 - Militari e volontari 2 - L’elenco dei “Cremonini” 2.1 - Alcune note su Guido Cecchetti 2.2 - Un volontario non umbertidese 3 - La partenza dei volontari 4 - Decorazioni e riconoscimenti 8 4.1 - La decorazione di Guerriero Leonardi 4.2 - La decorazione di Rino Pucci 4.3 - Croci di Guerra al Valor Militare 4.4 - Altre decorazioni e riconoscimenti 5 - Il rientro delle salme 6 - I volontari umbertidesi in alcune pubblicazioni del primo dopoguerra 7 - Altri documenti 7.1 - Il “Club Cremona” Sommario Il testo riferisce su alcuni documenti conservati in archivi pubblici e privati riguardanti i combattenti del Gruppo di Combattimento “Cremona” che – nel gennaio/febbraio 1945 – partirono da Umbertide per il fronte ravennate. L’analisi delle fonti ha reso possibile stabilire l’elenco corretto, aggiornando quelli precedentemente pubblicati. Gli archivi consultati sono: Archivio di Stato di Perugia, Archivio storico del Comune di Umbertide, fondo Raffaele Mancini depositato presso la sezione Anpi di Umbertide, Archivio fotografico del PCI di Umbertide. 1 - Costituzione del Gruppo La Divisione “Cremona” – da cui ebbe origine il Gruppo di Combattimento – era impegnata in Corsica l’8 settembre 1943. Dopo un breve periodo in cui partecipò al conflitto contro i tedeschi al fianco dei maquisards e dell’esercito francese, fu da questo disarmata e inviata in Sardegna, dove rimase fino al settembre 1944. Venne quindi trasferita ad Altavilla Irpina (AV) e poi ad Ascoli Piceno. La Divisione giunta in Italia era ridotta decisamente male: disarmata, falcidiata dalla malaria e dal tifo, male attrezzata, malnutrita e a ranghi ridotti non costituiva più, di fatto, un elemento utile per contribuire alla liberazione del territorio nazionale. 1.1 - Il Gruppo di Combattimento Lo Stato Maggiore dell’Esercito decise – alla fine del 1944 – di riorganizzarlo costituendo il Gruppo di combattimento “Cremona” agli ordini del generale Clemente Primieri. Il Gruppo fu strutturato in tre Reggimenti: 21º, 22º Fanteria, 7º Artiglieria e delle unità di supporto (1), sul modello delle divisioni britanniche. Il Gruppo venne inquadrato nel 1º Corpo d’Armata canadese (VIII Armata Britannica); il raccordo con gli Alleati venne svolto attraverso il 51º B.L.U. (British Liaison Unit). In aggregazione alle forze Alleate, sullo stesso settore del fronte, combatté anche la 28ª Brigata Garibaldi “Mario Gordini”, comandata da Arrigo Boldrini (2). Il Gruppo entrò in linea sottodimensionato (3) – nonostante l’apporto dei volontari – sul tratto tra Ravenna e Alfonsine nei primi mesi del 1945. Il 2 e 3 marzo ebbe luogo la più cruenta azione tra quelle a cui partecipò. Al termine di quello scontro ci fu la conquista della località di Torre Primaro. Il conflitto continuò sul fiume Senio, superato il quale il Gruppo liberò Alfonsine (10 aprile 1945), quindi avanzò affrancando anche Cavarzere, Chioggia, Mestre e Venezia. Al termine della campagna militare le perdite registrate dalla “Cremona” furono: 234 morti (di cui 208 in combattimento), 614 feriti (di cui 608 in combattimento), 73 dispersi (4). 1.1.1 - Militari e volontari Il Gruppo di combattimento arruolò i volontari provenienti dalle zone liberate (principalmente da Toscana, Emilia-Romagna, Umbria e Marche). Essi avevano in molti casi già partecipato alla Resistenza o erano organizzati dai rinati partiti politici (5). La loro immissione determinò una condizione di complessa gestione per le gerarchie militari del Gruppo. Il Comando e gran parte degli ufficiali, infatti, erano fedeli alla monarchia sabauda e interessati ad assicurare a questa, grazie alla nuova collocazione delle truppe al fianco degli Alleati, una posizione un po’ più vantaggiosa in vista degli accordi di pace. Tale visione contrastava con le intenzioni e il pensiero dei volontari che, spesso, non riconobbero l’autorità degli ufficiali ubbidendo invece ai loro comandanti partigiani. In questo quadro – e in presenza di seri problemi legati alla disponibilità di divise e armamenti, scarsità di razioni, fenomeni di abbandono dei reparti – il Comando attuò delle iniziative per migliorare le condizioni di vita e instaurò un proficuo confronto con i capi dei volontari (6). Ma non sempre le tensioni si stemperarono. Una vera e propria protesta si verificò quando, in occasione della visita alle truppe di Umberto di Savoia nella sua qualità di luogotenente del Regno del Sud, la truppa subissò di fischi il corteo e al presentat’arm alcuni volontari rovesciarono la canna del fucile verso il basso. Altri coprirono il suono della banda musicale, che eseguiva la marcia reale, intonando la canzone (7): Già trema la casa Savoia Macchiata di fango e di sangue Si svegli il popol che langue Si svegli il popol che langue. In riferimento a questo episodio Orlando Ceccagnoli, in una testimonianza (8) resa per lo spettacolo teatrale messo in scena nel 1975 ad Umbertide in occasione delle celebrazioni del 30º anniversario delle vicende, raccontò che vari volontari – fra i quali Ceccagnoli stesso e Serafino Faloci – furono posti temporaneamente agli arresti per impedire loro di partecipare alle manifestazioni di protesta. 2 - L’elenco dei “Cremonini” Il primo elenco pubblicato fu riportato nel quadro realizzato poco tempo dopo gli eventi bellici. Si tratta di una composizione grafica costituita da disegni e un collage fotografico. La figura centrale venne presa dai diplomi rilasciati dall’Anpi ai partigiani (9). I ritratti fotografici furono collocati ponendo in posizione centrale Quirino Pucci, Giuseppe Rosati (caduti in combattimento) e Pasquale Ceccarelli, nella sua qualità di tenente comandante. Gli altri componenti vennero disposti su due file in ordine (quasi) alfabetico. Non di tutti i volontari vennero pubblicale foto e di quelli senza immagine furono riportati i nomi in un riquadro. Già questa lista dei combattenti (composta di 23 nomi) fu redatta con delle omissioni e imprecisioni: • si nota l’assenza di Orlando Ceccagnoli; • è sbagliata la scritta “Volontari umbertinesi”; • Guerriero Confini è indicato come Giovanni; • Trippelli è riportato come Trippella • Addo Gennari è rinominato Aldo. Nel quadro non venne elencato Leonello Galina, che non partecipò alle azioni belliche perché dovette rientrare a Umbertide (10). In successive pubblicazioni i Cremonini umbertidesi risultano essere 24 (11). In realtà i volontari furono 25, dei quali 24 combattenti. Dalla comparazione delle liste emerge che Guido Cecchetti fu citato solo nel quadro. 2.1 - Alcune note su Guido Cecchetti Guido Cecchetti era militare di carriera e dopo l’8 settembre 1943 rientrò ad Umbertide. Partecipò alla Resistenza nella Brigata proletaria d’urto San Faustino (12) tra febbraio e luglio 1944. Dopo lo scioglimento di questa formazione (luglio 1944), si presentò al 22º Reggimento Fanteria “Cremona” e fu poi assegnato al 7º Reggimento Artiglieria. Cecchetti era pienamente coinvolto nell’azione degli antifascisti umbertidesi. Già nel 1944, infatti, Raffaele Mancini lo propose (13) per la carica di segretario del Comitato dei Patrioti. Ecco il testo della lettera: Al Sindaco del Comune di Umbertide Rendo noto alla S.V. che il serg. mag. Cecchetti Guido sarebbe disposto ad assumere la segreteria del Comitato dei Patrioti di questo Comune. La prego volerlo prendere in considerazione dato che il mio attuale impegno non mi consente di poter oltre tenere tale incarico. Dal giorno di oggi do al suddetto le relative consegne. Con osservanza Raffaele Mancini Umbertide lì 29 novembre 1944 2.2 - Un volontario non umbertidese I documenti analizzati hanno permesso di identificare il volontario Veschi. A lui si fece riferimento negli elenchi con i nomi di Armando o Francesco, ma una lettera (14) del Sindaco Bellarosa ne riporta i dati anagrafici e, sebbene fosse indicato Bologna come luogo di nascita, da ulteriori ricerche è risultato che Romeo Veschi nacque a Maiolati (Ancona) (15) nel 1925. In altra missiva (16) il Sindaco dichiarò che Veschi – nel periodo di presenza a Umbertide – non ebbe fissa dimora e che non vi fossero parenti residenti nel Comune. 3 - La partenza dei volontari I documenti consultati forniscono notizie anche in relazione alla partenza dei volontari che – come già noto dal racconto dei reduci – avvenne in date diverse. Se il nucleo principale partì il 29 gennaio (dall’analisi dei fogli matricolari o delle testimonianze si può ipotizzare che fossero: Alboni, Bargelli, Beacci, Bruschi, Ceccagnoli, Ceccarelli, Caprini, Confini, Faloci, Galina, Loschi, Mola, Pucci, Rosati, F. Silvioni, G. Silvioni, Trippella, Veschi, perché risultano arruolati tra il 27 e il 30 gennaio 1945), altri anticiparono l’arruolamento (Lozzi 3 gennaio, Leonardi 14 gennaio, Cecchetti e Mariotti 20 gennaio) o lo posticiparono (Benito Silvioni 3 febbraio, Paneni 10 febbraio). La sera del 28 gennaio si svolse al Teacine di Umbertide (oggi Teatro dei Riuniti in piazza Fortebraccio) una festa per salutare i volontari in partenza. Alcune informazioni sullo svolgimento della serata sono state documentate nel lavoro teatrale di Roselletti (17). Testimonianza di Anna Ciarabelli: “Io me ricordo che la sera prima che ’sti ragazzi partissero era stata fatta ’na festa: se ballaa proprio perché doveono partì ’sti ragazzi de la “Cremona” tant’è vero che m’arcordo che io ci so’ vinuta dal Niccone. Adesso ’n m’arcordo né come né con chi. . . ma c’ero. E me ricordo ’l particolare che se ballaa con tanta allegria e io diceo: Ma devon partì ’sti ragazzi, devon partì ’sti fioli e ’n’ho capito la festa da ballo. E ’stu Rino l’avea preso tanto l’allegria e per 1u’ dovea esse proprio ’na gran festa perché ’l facea siguro pe ’n’ideale anche perché me sa che la famiglia. . . penso che ’n era tanto contenta. Ballaono tutta sorta de balli de danze , e ’stu Rino era ’n ragazzo robusto; ’n bel giovanottone. . . e facea anche ’n po’ effetto a vedello. . . se notava ’n somma. E pu ci n’erono tanti. . . c’eron tutti! Me ricordo anche ’l punto ’ndu ero che gni guardao perché Rino ballaa da solo ’n mezzo e noialtri giovani gn’aveime fatto ’l cerchio ’n po’ perché s’era messo a ballà a torso nudo come si facesse la danza del ventre e ’n po’ perché gni se volea bene tutti perché era l’amico degli amici; era l’amico de tutti. E diceo: Guarda stu giovanotto che spirito che cià. . . lu’ devesse proprio uno convinto perché sinnò tutte ’ste cose ’n le farebbe. . .”. Durante la serata furono fatti probabilmente anche dei discorsi. Orlando Ceccagnoli (18), infatti, così ricordò quella serata al Teacine: “Noi eravamo ad un veglione organizzato dal Fronte della Gioventù Comunista e venne un capitano a dicci: “Ragazzi, c’è bisogno de gente giovane che viene a combatte per salvà l’Italia”. Lu’ avea già segnato dei nomi s’un taccuino e noialtri aderimmo ’na ventina, fra i quali chiedemmo che venisse con noi un comandante e se presentò l’Avvocato Ramaccioni, alora era Sindaco di Umbertide ed era Ufficiale di marina e disse: “Vado via io con loro”. Senonché al mattino aspettammo ’l nostro comandante e non c’era. Si presentò alora un certo Ceccarelli, sottotenente dei paracadutisti, che facea ’l contabile ta n’a ditta che arfacea ’l ponte. Questo, quando vide che noi eravamo ’n po’ titubanti nel partire, visto che ’l comandante ’n c’era e che ci dispiacea, . . . non fece altro che abbandonare la borsa coi soldi che avea dentro, le fatture, i pagamenti, i libretti degli operai e disse alla Mariettina de Ragno che era la padrona del Bar de Piazza: “Tenete questa borsa consegnatela alla mamma mia, al babbo mio e fategli tanti abbracci e tanti saluti, e montò con noi. Noi se partì da la piazza, giù verso la Piaggiola perché ’l ponte era rotto, con il camion scoperto e se cantaa tutti allegri. La gente forsemnon se rendea conto. . . pensava forse che andaime a ’n’altra festa da ballo, forse. . . purtroppo ’nvece Umbertide ha subito quello ha subito.” Venne inoltre data lettura di una lettera scritta da Fernando Bernardini (19), indirizzata ai genitori residenti a Badia San Cassiano. La lettera giunse a destinazione con il contributo di un militare inglese a cui la Brigata Cacciatori delle Alpi, in cui militò Bernardini, dette assistenza per oltrepassare le linee nemiche. Il testo non viene riprodotto per rispettare la volontà dell’autore (20). Il copione dello spettacolo teatrale riporta altre due testimonianze relative alla partenza dei volontari. Rosa Capecci riferì (21): “M’arcordo che poco doppo che semo arrivate ’n piazza partirono ’sti ragazzi sopra ’n camion aperto tu ’l di dietro; e c’era Pretone (22) che era tra i più allegri e cantaa e scherzaa e pu, quando partirono cantarono tutti ’n coro “tornerai. . . ””. Dal racconto di Gina Confini (23): “Quello che per davvero me dispiace è che Umbertide a la partenza de ’sti freghi reagì con ’n certo assenteismo”. 4 - Decorazioni e riconoscimenti Nei testi pubblicati le informazioni presenti in relazione alle decorazioni ricevute dai combattenti non risultano complete. Infatti oltre alla Medaglia d’Argento al Valor Militare concessa a Guerriero Leonardi, va aggiunta quella di bronzo al Valor Militare (alla memoria) concessa a Pucci. Inoltre le Croci di Guerra al Valor Militare (24) assegnate sono due e non una sola. 4.1 - La decorazione di Guerriero Leonardi Leonardi è stato decorato con Medaglia d’Argento al Valore Militare con la seguente motivazione: Comandante di squadra fucilieri durante un contrattacco nemico sotto le raffiche di mitragliatrici, batteva la postazione, impegnava il fucile mitragliatore della sua squadra aprendo il fuoco sul nemico. Ferito da pallottola che gli amputava un dito, al Comandante di plotone che voleva avviarlo al posto di medicazione rispose: “Sig. Tenente, ho ancora nove dita per fare fuoco.” Impegnava quindi nuovamente l’arma e continuava l’azione, fino a contrattacco respinto. Lasciava il riparo soltanto al mattino dietro ordine perentorio del Comandante di Compagnia. Zona Po di Primaro (Ravenna) 3/3/1945 4.2 - La decorazione di Rino Pucci Pucci è stato insignito di Medaglia di Bronzo al Valore Militare (alla memoria). Qui di seguito se ne riporta la motivazione: Capogruppo fucilieri, durante un contrattacco tedesco malgrado le violente raffiche delle mitragliatrici avversarie, concorreva con il fuoco del moschetto automatico a respingere il tentativo. Successivamente, passato il suo reparto all’attacco, si sostituiva ad un tiratore di fucile mitragliatore rimasto ferito e, mentre fra i primi si dirigeva sull’obbiettivo, cadeva mortalmente ferito da raffiche di mitragliatrice. Zona Po Primaro 3/3/45 4.3 - Croci di Guerra al Valor Militare Le pubblicazioni riguardanti i volontari umbertidesi riportano la notizia che Benito Silvioni è stato decorato con la medaglia di questa classe. In realtà i decorati furono due e la medaglia non fu assegnata a Benito, bensì al fratello Fioravante. • Pasquale Ceccarelli • Fioravante Silvioni 4.4 - Altre decorazioni e riconoscimenti Queste sono le decorazioni (25) che risultano concesse ai volontari umbertidesi: • Antonio Bargelli, Croce al Merito di Guerra e Distintivo della Guerra di Liberazione, • Augusto Bruschi, Croce al Merito di Guerra per la partecipazione alla guerra di Liberazione, • Claudio Caprini, Distintivo della Guerra di Liberazione, • Orlando Ceccagnoli, Croce al Merito di Guerra, • Guido Cecchetti, Croce al Merito di Guerra e Distintivo della Guerra 1940-1943, • Serafino Faloci, Croce al Merito di Guerra e Distintivo della Guerra di Liberazione, • Francesco Loschi, Distintivo della Guerra di Liberazione, • Rolando Paneni, Croce al Merito di Guerra e Distintivo della Guerra di Liberazione, • Quirino Pucci, Distintivo della Guerra di Liberazione, • Benito Silvioni, Croce al Merito di Guerra (1940-45), • Guerriero Silvioni, Distintivo della Guerra (1941). Tutte le informazioni relative alle decorazioni sono state tratte dai fogli matricolari (26) e dal testo di Mastrobuono (27). 5 - Il rientro delle salme I funerali dei caduti umbertidesi sul Po di Primaro e di Giuseppe Starnini (28) si svolsero a Umbertide il 5 dicembre 1945. L’Archivio storico del Comune di Umbertide conserva alcuni documenti inerenti la traslazione delle salme. Il 16 maggio 1945 il Sindaco scrisse al Prefetto di Ravenna (29): “I familiari dei volontari suddetti [Pucci e Rosati] desiderano ora trasportare quì [sic] in Umbertide le salme dei loro cari. Ed è a mio mezzo che gli stessi chiedono a V.E. l’autorizzazione per il trasporto delle salme in parola dal Cimitero di Mezzano ad Umbertide, autorizzazione che invocano in assenza di tasse”. La Prefettura di Perugia (30) inviò al Sindaco – perché questi lo notificasse ai familiari del caduto – il decreto di autorizzazione al trasferimento della salma di Starnini da Firenze a Umbertide. Il Sindaco di Umbertide, il 29 novembre 1945, scrisse a quello di Ravenna per chiedere aiuto e l’appoggio poiché è desiderio vivissimo delle famiglie dei Caduti e della Sezione Partigiani d’Italia di Umbertide di effettuare la traslazione delle due Salme ad Umbertide e lo pregò di adoperarsi perché tale desiderio si potesse realizzare (31). Nell’Archivio umbertidese non vi è traccia di risposte da parte della Prefettura e del Comune di Ravenna. Probabilmente esse non vi furono dato che un gruppo di umbertidesi, rimasti sconosciuti, partì e trafugò le salme. In relazione ai funerali abbiamo la testimonianza di Gina Confini (32): “L’unica volta che gli umbertidesi l’hanno veramente sentita e hanno capito quello che ’sti ragazzi aveono fatto, è stato quando hanno riportato Rino e Rosati dal cimitero d’Alfonsine. . . (33) che pu’ ’n è stata ’na cosa semplice perché ’sti ragazzi rubarono addirittura i corpi. 6 - I volontari umbertidesi in alcune pubblicazioni del primo dopoguerra Le vicende dei Gruppi di combattimento (34) furono documentate fino dal primo dopoguerra. Il primo testo dedicato al “Cremona” (35) venne pubblicato a cura dell’Esercito italiano nel 1945. La citazione che segue è tratta da quel testo e descrive il momento dell’immissione dei volontari nelle file dell’esercito regolare: “Il Gruppo è autorizzato a reclutare volontari, traendoli dalle disponibilità della zona. La scelta cade su quelli che hanno già impugnato le armi contro i tedeschi, combattendo inquadrati in formazioni di patrioti. Sono elementi che anelano a continuare la guerra di liberazione da essi volontariamente intrapresa ed il cui spirito dimostra una ferma volontà di battersi e di vincere. Sono patrioti che giungono accompagnati dagli stessi capi agli ordini dei quali hanno operato e che ora, equipaggiati dal Gruppo, vengono a rinforzare le file degli anziani del «Cremona» che tanto dura lotta stanno combattendo. Sono patrioti delle zone di Perugia, Gualdo Tadino, Firenze, Città di Castello, Spoleto, Terni, Umbertide, Arezzo, Ancona. . . , patrioti di diverse regioni che hanno già combattuto per la stessa causa e che ora – incorporati in reparti regolari – si fondono con i fanti, gli artiglieri e i genieri del Gruppo. È il primo sintomo, il primo passo verso la costituzione di quello che dovrà essere il nuovo Esercito italiano. Gli umbertidesi furono inseriti nella 9ª Compagnia; Ceccarelli comandò il 2º plotone e quasi tutti gli altri servirono nel 3º plotone (36). Cecchetti fu destinato al 7ºArtiglieria”. Troviamo un riferimento alla Compagnia degli umbertidesi in Pierangeli Ricci (37) nelle pagine che raccontano la battaglia sul Po di Primaro. Alle prime luci dell’alba del 3 marzo il nuovo schieramento dei reparti è il seguente: Avanzate: 9ª compagnia del 22º a sinistra; 11ª compagnia del 22º a destra; Ambedue a circa 200 metri da Casa dei Venti. Rincalzo: 10ª compagnia del 22º fanteria nel bosco, all’altezza di un gruppo di case senza nome. 7 - Altri documenti L’Archivio storico del Comune di Umbertide conserva altri documenti relativi ad aspetti personali dei volontari. Ve ne sono di riferiti ad attività lavorative svolte prima della partenza per il fronte, altri connessi ad attività politiche: Addo Gennari, Claudio Caprini e Guerriero Silvioni furono presenti il 23 luglio 1944 all’assembla costitutiva del CLN di Umbertide, come risulta dall’atto di costituzione del CLN di Umbertide (38). Tra le attività di interesse pubblico attuate dopo il rientro a Umbertide, se ne segnalano alcune di Pasquale Ceccarelli e Claudio Caprini. Esse possono valere come esempio dell’impegno politico, sociale e culturale, nonché dell’attiva partecipazione alla vita comunitaria profuso dai Volontari. Pasquale Ceccarelli svolse per alcuni mesi del 1945 (da maggio a novembre 1945) la funzione di assessore supplente della Giunta comunale. Propose al Sindaco (39) - per conto di un gruppo di persone - l’istituzione di una scuola serale gratuita “Allo scopo di dare a chiunque la possibilità di potersi istruire ed emancipare”. Claudio Caprini fu il primo Presidente della sezione Anpi di Umbertide (40), partecipò all’assemblea costitutiva della società sportiva Tiberis (41) e promosse – per conto del gruppo dei volontari – la realizzazione del “Club Cremona”. In anni successivi, Serafino Faloci fu Sindaco di Umbertide dal 15 giugno 1952 al 26 novembre 1960. 7.1 - Il “Club Cremona” I documenti riferiti alla costituzione del Club conservati sono due: 1. la richiesta avanzata al Sindaco (42), 2. la risposta del Sindaco (43). Di seguito si riporta il testo della domanda: Egregio Sig. Sindaco I volontari del gruppo di combattimento “Cremona”, organizzati in Sezione Permanente, chiedono a codesta Amm. Com/le il permesso di poter usare la parte estrema del luogo così detto Mercato Vecchio, per organizzare un locale di trattenimenti all’aperto. Si garantisce che anche le abitazioni più vicine a detto luogo vanno esenti da eventuali disturbi acustici che la gestione del suddetto locale può provocare in ore notturne. Gli eventuali introiti della gestione, che prende il nome di “Club Cremona”, una volta rifusi i capitali impiegati nella costruzione, andranno a tutto beneficio di Istituti ed Enti di assistenza. Fiduciosi della V/a comprensione, fraternamente Vi salutiamo. Per i Volontari del “Club Cremona” F.to Caprini Claudio Ringraziamenti Debbo molti ringraziamenti a tutte le persone che hanno messo a disposizione la loro competenza e conoscenza per indirizzare questa attività ed in particolare al personale dell’Archivio di Stato di Perugia, dell’Ufficio anagrafe e all’Archivio storico del Comune di Umbertide. Grazie ad Achille Roselletti per avere messo a disposizione il copione dello suo spettacolo teatrale. Esso costituisce una preziosa fonte di informazioni e testimonianze dei diretti protagonisti. Acronimi AdSPG - Archivio di Stato di Perugia AsCU - Archivio storico del Comune di Umbertide Fonti delle immagini - Circolo Filatelico «V. Monti»di Alfonsine, Diario storico militare del Gruppo di Combattimento Cremona - Archivio della Sezione Anpi di Umbertide - Archivio fotografico PCI Umbertide - Archivio fotografico Comune di Umbertide Riferimenti bibliografici - Bernardini Fernando. «I miei ricordi di guerra : Realizzato nel 1966 a Siena, dopo oltre venti anni, grazie alla conservazione di alcuni appunti dell’epoca Partigiana, che rispecchiano fedelmente il susseguirsi di quegli epici eventi. Rilegato nel 1978, con l’aggiunta di materiale dell’epoca e di alcune, brevi, considerazioni finali.» 1978. - Bruschi Augusto, cur. 35 giorni con la “Cremona”: Testimonianze fra cronaca e storia tratte dal diario di Quirino Pucci, fante del 22º Regg.to Fanteria. s.e., s.l., s.d. - Circolo Filatelico «V. Monti» di Alfonsine, cur. Diario storico militare del Gruppo di Combattimento Cremona. Bacchilega Editore, Imola, 2009. - Consulta Comunale per le celebrazioni del 30º anniversario della Resistenza e della Liberazione Umbertide, cur. Rino Pucci : da San Faustino a Po di Primaro. Testimonianze. Supplemento al n. 11 di Quaderni Regione dell’Umbria. Regione dell’Umbria, Perugia, s.d. - Da Lio Nicolò. La guerra non è né bella né comoda : Il Gruppo di Combattimento “Cremona” nella guerra di Liberazione 1943-1946. Fondazione Bella Ciao di Ravenna : Istituto Storico della Resistenza e dell’Età Contemporanea in Ravenna e Provincia, Ravenna, 2012. - Divisione di Fanteria Cremona. Il Gruppo Cremona nella guerra di Liberazione. Edizioni Tipografia, Roma, 1945. - Ginestri Gianfranco e Janna Carioli. Il canzoniere ribelle dell’Emilia Romagna. Edizioni del Gruppo Free, Bologna, 1967. - Labanca Nicola. «Militari e Resistenza. Le svolte della storiografia». In: I Gruppi di combattimento : Studi, fonti, memorie (1944-1945). A cura di Nicola Labanca. Carocci editore, Roma, 2006. - Mancini Raffaele. A mezzanotte abbiamo scommesso sulla levata del sole: (San Faustino Sud). A cura di Sezioni Anpi e Volontari della Cremona di Umbertide. 2ª. Tipografia Caldari, Umbertide, 1977. / Lettera ad un amico: 25 aprile 1998. A cura di Comune di Umbertide. Tipolito Caldari, Umbertide, 1998. - Mariotti Fabio. «Caduti per la Libertà». In: Umbertide Cronache (1995). Bimestrale del Comune di Umbertide, anno XVIII, n. 1, 1º bimestre. - Mastrobuono Giuseppe. Il Gruppo di Combattimento “Cremona” nella guerra di Liberazione. 3ª ed. Centro studi e ricerche storiche sulla guerra di Liberazione, Roma, 2003. - Pierangeli Ricci Mario. Il 22º reggimento fanteria “Cremona” nella guerra di liberazione 1943-1945. Ed. Regionale, Roma, 1947. - Roselletti Achille. “Tebe dalle sette porte, chi la costruì?” Dattiloscritto.1975. NOTE 1. Le unità di supporto al Gruppo furono così definite: 54ª Sezione sanità, 84º Ospedale da campo, 33º Ospedale da campo, 44º Reparto trasporti e rifornimenti, Officine meccaniche, Parco mobile, 94ª Sezione carabinieri, 739ª Sezione carabinieri 2. Arrigo Boldrini, Ravenna 1915 - ivi 2008, nome di battaglia Bulow. È stato comandate partigiano, dirigente del PCI, senatore della Repubblica, Presidente dell’ANPI dalla fondazione al 2006, quando ne divenne Presidente onorario. Decorato con medaglia d’oro al valore militare il 4 febbraio 1945 sulla piazza di Ravenna dal generale Mac Creery, comandante dell’VIII Armata. 3. In Mastrobuono, Il Gruppo di Combattimento “Cremona” nella guerra di Liberazione, p. 34, si evidenzia come l’organico avrebbe dovuto essere costituito da 500 ufficiali e 8.500 uomini, mentre “il Gruppo entrò in linea con una deficienza complessiva di 2.500 uomini rispetto all’organico.” 4. Mastrobuono, Op. cit. p. 141 5. Per informazioni sulle complesse condizioni di inserimento dei volontari, si veda Pierangeli Ricci, Il 22º reggimento fanteria “Cremona” nella guerra di liberazione 1943-1945 , cap. V. 6. Uno studio approfondito della situazione e delle iniziative intraprese è riportato in Da Lio, La guerra non è né bella né comoda : Il Gruppo di Combattimento “Cremona” nella guerra di Liberazione 1943-1946. 7. Si tratta di una canzone popolare di cui esistono varie versioni. Una – parzialmente diversa da quella qui riportata – è stata pubblicata in Ginestri e Carioli, Il canzoniere ribelle dell’Emilia Romagna. 8. Roselletti, “Tebe dalle sette porte, chi la costruì?”, p. 27 9. Alcuni sono visibili sul sito web “Storia e memoria di Bologna”, http://memoriadibologna . comune.bologna.it/ 10. Bruschi, 35 giorni con la “Cremona”: Testimonianze fra cronaca e storia tratte dal diario di Quirino Pucci, fante del 22º Regg.to Fanteria, s.p., bollettino n. 20. Va per altro sottolineato che Galina fu considerato un volontario: lo vediamo presente in divisa con gli altri Cremonini sia ai funerali di Pucci, Rosati e Starnini, sia alla manifestazione del 1º maggio 1946 11. L’elenco dei Cremonini umbertidesi è stato pubblicato uguale in molte opere: Bruschi, Op. cit., s.p.; Mancini, A mezzanotte abbiamo scommesso sulla levata del sole : (San Faustino Sud), p. 81;, Mariotti, “Caduti per la Libertà”, p. 41. 12. Commissione regionale per il riconoscimento delle qualifiche partigiane, Allegato D n. 37, n. 2333, AsCU, fasc. Elenco partigiani 13. Lettera del 29 novembre 1944, AsCU, 1944, Fasc. VI-1-4 14. Comune di Umbertide, prot. 7099 del 25 ottobre 1945, AsCU, 1945, Fasc. I-5-4 15. Dal 1939 il comune ha assunto la denominazione di Maiolati Spontini 16. Comune di Umbertide, prot. 7462 dell’8 novembre 1945, AsCU, 1945, fasc. I-5-4 17. Roselletti, Op. cit. p. 10-11 18. Roselletti, Op. cit., p. 13-14 19. Bernardini, “I miei ricordi di guerra : Realizzato nel 1966 a Siena, dopo oltre venti anni, grazie alla conservazione di alcuni appunti dell’epoca Partigiana, che rispecchiano fedelmente il susseguirsi di quegli epici eventi. Rilegato nel 1978, con l’aggiunta di materiale dell’epoca e di alcune, brevi, considerazioni finali.”, p. 28. Fernando Bernardini, (Umbertide, 1925 - Siena, 1998), nome di battaglia Libertas, tenente, commissario di battaglione, croce al merito di guerra, cittadino onorario di Vittorio Veneto, ha combattuto nelle file della Brigata Cacciatori delle Alpi, Divisione d’assalto Garibaldi “Nino Nannetti” nella zona del Pian del Cansiglio (tra Veneto e Friuli-Venezia Giulia). 20. Si veda Mancini, Lettera ad un amico: 25 aprile 1998 21. Id., p. 11 22. Soprannome di Alfredo Bargelli 23. Id., p. 13 24. Le ricompense al Valor Militare sono assegnate per segnalare come degni di pubblico onore gli autori di atti di eroismo militare. La Croce di Guerra al Valor Militare è assegnata solo in caso di conflitto. 25. La Croce al Merito di Guerra è concessa a tutti i partecipanti ad un evento bellico. C’è da dire che non tutti quelli che ne avrebbero avuto diritto l’hanno effettivamente ricevuta. Del tutto analoga è l’assegnazione del Distintivo della Guerra di Liberazione. 26. Rubrica dei fogli matricolari, vari anni e matricole, AdSPG 27. Mastrobuono, Op. cit., p. 173 e p. 178 28 . Giuseppe Starnini, arruolato nel Gruppo di combattimento “Legnano”, morì il 30 aprile 1945 in seguito alle ferite riportate in battaglia nei pressi di Bologna. È stato decorato con la Medaglia d’Argento al Valore Militare e, su proposta del generale Utili comandante della Divisione “Legnano”, con la “Croce commemorativa di Montecassino”, onorificenza concessa dal Presidente della Repubblica Polacca (Comando 68º Reggimento Fanteria “Legnano”, prot. n. 1945/Op. del 7 giugno 1946, AsCU, 1946, fasc. I-2-2). 29. Comune di Umbertide, prot. n. 3096 del 16 maggio 1945, AsCU, 1945, fasc. VIII-2-2 30 . Prefettura di Perugia, prot. San 26108 del 2 ottobre 1945, AsCU, 1945, fasc. IV-6-3 31. Comune di Umbertide, prot. 7830 del 29 novembre 1945, AsCU, 1945, fasc. IV-6-3 32. Roselletti, Op. cit., p. 12-13 33. In realtà quello di Mezzeno, frazione di Ravenna. 34. Oltre al Cremona, esistevano i Gruppi di combattimento Friuli, Legnano e Folgore. 35. Divisione di Fanteria Cremona, Il Gruppo Cremona nella guerra di Liberazione 36. Bruschi, Op. cit., s.p., bollettino n. 21 37. Pierangeli Ricci, Op. cit., p. 87 38. Mancini 1977, Op. cit., p. 85 39. Lettera prot. 7875 del 9 settembre 1945, AsCU, 1945, fasc. IX-4-1 40. Documento prot. 7837 del 29 novembre 1945, AsCU, 1945, fasc. II-4-4 41. Verbale n. 1 del 5 maggio 1945 della Società sportiva Tiberis, AsCU, 1945, fasc. VI-2-3 42. Documento prot. n. 4740 del 25 luglio 1945, AsCU, fasc. III-4-3 43. Comune di Umbertide, prot. n. del 27 luglio 1945, AsCU, 1945, fasc. III-4-3 GALLERIA FOTOGRAFICA

Storia, memoria ed identità Umbertide. Il sito si propone di divulgare la storia, la cultura e la memoria di coloro che hanno abitato ad Umbertide (Pg) per contribuire alla costruzione di una identità culturale comune nel rispetto dei principi Costituzionali. Questa divulgazione è e resterà senza sc HISTORY AND MEMORY UMBERTIDE Virtual place of memory and identity in motion Who we are We are a group of history lovers and scholars who want to create a space for the transmission of documents, memories and traditions of our city. The aim is the development of a shared identity that is inclusive of those who lived and those who live in Umbertide. The cultural and economic aspects, together with the Second World War, over time they have shaped the city, with its architectural elements and its spaces, but also the rural territory which for centuries has maintained its characteristic of scattered "settlement" and polyculture. For about 70 years, the scenario has been rapidly evolving. We are convinced that knowing the past, or who we were, will help understand how the life of the population will be structured, that is who we will be. Knowing allows you to have "new eyes" to see ... and think. Approfondisci la "memoria" ad ottanta anni di distanza dal bombardamento del 1944... Visita "OTTANT'ANNI" la sezione dedicata al progetto pensato da Mario Tosti con UNITRE di Umbertide, CENTRO SOCIO-CULTURALE S. FRANCESCO, UMBERTIDESTORIA e con il Patrocinio del COMUNE DI UMBERTIDE. Il racconto del passaggio del fronte durante la seconda guerra mondiale ad Umbertide, per riattivare la memoria, riflettere e non dimenticare. Progetto nato in collaborazione con il Dipartimento di Filosofia, Scienze umane e Storia della scuola secondaria superiore “Campus da Vinci” di Umbertide, in funzione della trasmissione e crescita della memoria tra le giovani generazioni, che ha visto già diversi incontri con le classe terze dell’a.s. 2023-24. Azioni che hanno portato alla ricerca e sistemazione delle informazioni poi diventate libro e pagine web. OTTANT'ANNI Il 1944 In questa sezione il progetto "Ottantani" per il ricordo della tragedia che colpì la nostra città il 25 aprile 1944. Tragedia che si lega in modo più vasto al territorio dell'alta Umbria per il periodo del passaggio del fronte nel 1944. Un progetto che ha permesso la pubblicazione di un libro cartaceo e ora la versione digitale, nata per far crescere la memoria in maniera collettiva. Un progetto a cura di Mario Tosti, Unitre di Umbertide, Centro Culturale San Francesco, Umbertidestoria, con il Patrocinio del Comune di Umbertide; con la collaborazione di Pietro Taverniti, Massimo Pascolini, Sergio Bargelli, Corrado Baldoni, Francesco Deplanu, Sergio Magrini Alunno, Antonio Renzini, Luca Silvioni, Romano Vibi. Gennaio La situazione al 31 dicembre del 1943... Aprile APRILE 1944 - L’ Umbria ed Umbertide nel mirino degli aerei inglesi... Luglio Luglio... distruzione e liberazione... Ottobre 1° ottobre: è morto Fabio Fornaci combattendo con la RSI... Febbraio 4 febbraio: Nuovo bando di arruolamento. La RSI ordina la chiamata alle armi per le classi 1922/1923/1924... ... Maggio 1° maggio. Dovrebbe essere la festa dei lavoratori, ma non si festeggia niente... Agosto Agosto... Le condizioni a Umbertide migliorano nettamente... Novembre 2 novembre . Gli americani hanno sferrato un attacco aereo su Tokio... Marzo Umbertide, già sconvolta dalla guerra civile, sta per trovarsi nel cratere del fronte del fuoco che avanza... Giugno 4 giugno: Liberazione di Roma... passaggio del fronte in altotevere... Settembre 2 settembre: nomina del nuovo Sindaco... Dicembre 1° dicembre: Morti umbertidesi: Piccioloni, artigliere, soldato della RSI... Febbraio Marzo Settembre OTTANT'ANNI Il 1945 Continuiamo a raccontare, mese per mese, i piccoli fatti locali (ma coraggiosi e lungimiranti) che hanno caratterizzato il 1945, anno drammatico ed al tempo stesso esaltante, dopo la catastrofe della guerra in casa. Per superare le difficoltà è necessario rivitalizzare la forza con cui la comunità è riuscita, allora, a rinascere e prosperare in ottant’anni di pace. Gennaio Dopo il 6 luglio 1944, quando gli Alleati sono entrati a Umbertide, il nostro territorio passa formalmente dalla Repubblica Sociale Italiana (RSI), regime collaborazionista con la Germania nazista, al Regno d’Italia (cosiddetto Regno del Sud)... Aprile Il 24 aprile il sindaco Renato Ramaccioni comunica che, per ragioni di studio e di famiglia, dovrà assentarsi dalla sede per circa 20 giorni. Sentito il parere favorevole del locale Comitato di Liberazione e della Giunta comunale... Luglio Il sindaco Astorre Bellarosa, con la sua Giunta, non perde tempo per dare un forte segnale politico con l’intitolazione della Piazza a Giacomo Matteotti, simbolo dell’opposizione al fascismo... Settembre Il Comune concede gratuitamente un loculo al cimitero per la salma della medaglia d’argento Giuseppe Starnini, caduto combattendo nella guerra di liberazione il 30 aprile 1945. Il Sindaco mette a disposizione della società sportiva Tiberis quanto rimane dell’attrezzatura del gioco pallacanestro... Il 6 febbraio, Fausto Fornaci cade nel cielo di Thiene. Allontanatosi un po’ dalla sua formazione, è circondato da caccia americani. Dopo aver abbattuto uno degli avversari, viene attaccato da tutte le parti... Il 3 marzo muore Rino Pucci del “Gruppo di combattimento Cremona”. Giuseppe Rosati, rimasto gravemente ferito, spira il 5 marzo all'ospedale canadese di Ravenna. Con essi cade anche la loro mascotte, un ragazzo di 15 anni, Giuseppe Battiglia di Roma, colpito alla testa, il cranio svuotato... Maggio Dopo le dimissioni del sindaco Ramaccioni, si insedia la nuova Giunta, formata in gran parte da comunisti e socialisti: Astorre Bellarosa (il nuovo sindaco)... Giugno L’urgenza di affrontare le condizioni disastrose, lasciate dalla guerra, non impedisce di impostare la soluzione del problema della ricostruzione... Agosto La Giunta comunale, con il sindaco falegname e il vicesindaco meccanico, ha la sensibilità di perseguire l’apertura di un liceo scientifico, seppure in presenza di scuole senza vetri, distrutti dalle onde d’urto delle bombe, e senza sedie per gli insegnanti.... Novembre ... In costruzione Il Comune si trova a fronteggiare gravi situazioni di necessità ed assistenza per diversi soggetti. Prende in carico la retta di refezione, a favore di 10 bambini poveri, per i pasti forniti nel locale interrato dell’ala posteriore della scuola elementare di Via Garibaldi... Dicembre ... In costruzione Scopri le nostre pagine dinamiche Ogni pagina è un percorso, un grande contenitore dinamico, anche con decide di approfondimenti, sempre in possibile crescita perché la ricerca non deve avere una fine. Ogni pagina è un piccolo "sito" specifico all'interno di "Umbertidestoria". Pagine strutturate in modo da facilitare la navigabilità e quindi la fruizione. La Fratta di Carta Prima della progressiva standardizzazione della cartografia tra '700 ed '800 si sono prodotte rappresentazioni del territorio e di città mosse da diverse esigenze... Memoria e Tradizioni La sezione delle nostre tradizioni e della memoria da preservare, curata da Sergio Magrini Alunno... Ricordi umbertidesi Nuova pagina del sito nella quale intendiamo dare spazio a tutti coloro che vorranno condividere con noi i loro ricordi e i personaggi caratteristici nella Umbertide di una volta anche con documenti e foto d’epoca... Montecorona Sabbianiani Estratti a cura di Giuliano Sabbiniani sulla storia, vita e produzione della Tenuta di Montecorona dal suo libro “Montecorona – la Tenuta e la sua gente”, Gruppo editoriale locale, Digital Editor srl, Umbertide - 2021"... Video di Storia e Territorio Raccolta di pagine con video si luoghi storici architettonici e particolari fonti storiche della storia e del territorio di Umbertide... Fratta del Quattrocento Prima pagina dinamica che raccoglie i vari aspetti del sito su uno specifico periodo storico: il XV secolo dell'antica Fratta... Le storie di Pascolini Prima pagina dinamica che raccoglie i vari contributi con ricerche di archivio di Massimo Pascolini... .... o visita le nostre pagine tematiche di raccordo... ... o scopri le nostre pagine tematiche tradizionali , strutturate come raccordo degli articoli singoli, a volte ancora da sistemare, da dove puoi accedere a specifici approfondimenti.. Nel tempo sostituiremo le pagine tradizionali con quelle dinamiche... "work in progress"! STORIA vai alla pagina STORIA PER TEMI vai alla pagina MEMORIA vai alla pagina TRADIZIONI vai alla pagina ARRIVI E PARTENZE vai alla pagina CALENDARI vai alla pagina TESI DI LAUREA vai alla pagina ALBUM vai alla pagina The information from the birth of the first residential agglomerations to the first archive news, The rapid time of political changes from the Middle Ages to the history of the twentieth century, the architectural remains, our monuments and works of art, the slow pace of changes in the territory that have come to define our landscape, the structuring of traditions, family memory ... all this defines the identity of a place and of the people who live there. Please help us to remember by sending photos (with date and place if possible), reporting errors on our texts, suggesting improvements or writing your memoirs, possibly with historical and contemporary sources, to build a vision of our future. Those who choose to send us images can choose to do overwrite, with the "water mark" technique, your "name and surname" or "family archive ..." on your photos, this to prevent the images from being used once on the web beyond the cultural purposes that we aim. For the same reason we have applied the " umbertidestoria " watermark over the historical photos of Umbertide which have been on the web for some time and in various private archives; in this way we try to avoid that further disclosure on our part favors purposes that are not consonant with our intentions. We come out publicly with parts that are incomplete and to be improved. Ours is an ongoing project that needed to be shared in order to grow. For now, thank you ... Adil, Adriano, Alberto, Alessandro, Alessandro C., Andrea Levi, Anna, Anna Maria, Brunella, Diego, Dritan, Fabio, Federico, Francesco, Giovanna, Giovanni, Giulio, Imperia, Isotta, Mario, Miriam, Loredana, Kalida, Paola, Silvia, Simona, Tiziana, Valentina RV, Valentina P. and all those who have sent us photos or supported. Help us remember umbertidestoria@gmail.com EH Carr "Change is certain. Progress is not "

The traditions In this section you will find contributions on our traditions. In the subsections will be inserted the stories of the individual customs. For now you will find the subsections: on the "crosses in the fields", on the "Ciccicocco", on the "Baca", on the "Street Games" and on the "Kitchen". The new page also, "memory and traditions, curated by Sergio Magrini Alunno, is a connecting page of a large "subsection" dedicated to the world of the last century, especially in the mid-1900s, which saw the end of sharecropping and economic development rapidly changing the economic and social fabric of our country (actually of our entire country, or rather of Italy) and act as a watershed in memory. remembrance of customs and ways of life that we want to preserve. Photo of the large tree that was present in front of the Garibaldi elementary school in the "gardens". 1960s photos by unknown author. We temporarily insert our watermark until the right attribution. The "voices" are at the beginning, some little more than set but so let's begin our story. We look forward to growing with your help. Sources: - Photo: Francesco Deplanu - Photo: historical photos of Umbertide from the web and from various private archives to which we applied the " umbertidestoria " watermark in this way we try to avoid that further disclosure on our part favors purposes that are not consonant with our intentions exclusively social and cultural. Help us remember umbertidestoria@gmail.com

Luca Signorelli e la Deposizione della Croce Proponiamo dalla Tesi di Laurea della professoressa Ricci Vitiani Valentina su “LA COMMITTENZA DI LUCA SIGNORELLI IN UMBRIA: NUOVE INDAGINI E RICERCHE”, un sunto che inquadra la presenza e l’attività del pittore nelle nostre zone. The Deposition of the Cross Luca Signorelli and the Deposition of the Cross We propose from the Degree Thesis of Professor Ricci Vitiani Valentina on " THE COMMITTEE OF LUCA SIGNORELLI IN UMBRIA: NEW INVESTIGATIONS AND RESEARCH " , a summary of the initial setting that frames the presence and activity of the painter in our areas and we report in full the section on our" Deposition of the Cross ". The section with the explanatory documents and the bibliography used is reproduced here in its entirety. The complete degree thesis can be consulted in this section (under construction). Introduzione La Deposizione della Croce Appendice Documentaria Bibliografia Photo by Fabio Mariotti: The Deposition of the Cross by Luca Signorelli (edited by Valentina Ricci Vitiani) Introduction Luca Signorelli's experience in Florence suffered an abrupt interruption in 1492, with the death of the Magnifico. Moving away from the Tuscan capital, the painter will find himself busy in the suburbs, but always in a receptive and open environment and, moreover, historically in constant contact with the most advanced Medici court to which he had often shown loyalty and offered his help. Luca Signorelli's artistic activity in the Upper Tiber Valley was remarkable: the sources attest to the presence of numerous altarpieces licensed by the Cortonese, but also the private buildings housed the artist's works. In the Upper Tiber Valley the painter's production was concentrated in particular in Città di Castello, of which the artist in 1488 became an honorary citizen. In Città di Castello the copious activity of the Cortonese was therefore linked to the relations with the illustrious Vitelli family, with whom the painter played the role of true court artist. In the city the painter was already active starting from 1474, even if most of the works can be dated between 1493 and 1498. Subsequently, when the pictorial geography of the artist was reduced to the peripheral environments of the Cortona area, his works reached Morra, Montone, Umbertide. Perhaps the fame of the painter who worked in Montone gave the artist the allocation of the Deposition from the Cross by the Confraternity of S. Croce di Fratta, today's Umbertide: various considerations lead to a similar reflection, including the geographical proximity between the two centers and the chronological one of the execution of the two altarpieces. For Umbertide 's table, the investigation contributed effectively to clarify aspects that in the past, due to an incorrect interpretation of the known documents, have been misunderstood. In particular, it was possible to trace a new documentary source in the State Archives of Perugia, the first in chronological order concerning the project of the clients to entrust the execution of the panel to the Cortonese. It is a notarial deed stipulated on July 8, 1515 by the same Confraternity which contains the appointment of the prosecutors Orsino di Giovanni and Giacomo di Arcangelo, in charge of reaching agreements and obligations with master Luca, painter of Cortona and receiving promises from him " pro pingendo per ipsum unam tabulam sive cunam “, the document preceding the deed of assignment of the painting, unfortunately not yet found. The Perugian document was precious in correcting certain inaccurate information that in the past had been wanted to be read in some notarial papers of the time preserved in the Municipal Archives of Umbertide and known since the nineteenth century due to the transcription made by Gualandi. On the basis of incorrect interpretations of much of the material that has come to light, scholars have assumed for the Deposition the existence of a coping made by Luca Signorelli at the end of the large panel. In truth this part of the painting, theoretically a Pietà, is not documented, since the terms contained in the documents and which should have referred to this, have been corrected in their incorrect transcription and interpretation. IS It was also interesting to dwell on the references of the Umbertidese table to the local literature of the time, in particular with regard to the texts of the sacred representations set up by the disciplines of the Confraternity of Santa Croce centered on the theme of the Passion: it is above all with a text dating back to 1496 that the excited and theatrical Deposition from the Cross shows significant adherence in several details. Introduzione La Deposizione della Croce Appendice Documentaria Bibliografia THE CUSTOMER OF LUCA SIGNORELLI IN UMBRIA: NEW INVESTIGATIONS AND RESEARCH from Valentina Ricci Vitiani Deposition from the cross 1517 Umbertide, Museum of Santa Croce, Oil on board, cm. 198 x 147, main table; 17.5 x 184 cm, predella Signed and dated on the predella: LVCAS SIGNORELLVS DE CORTONA PICTOR PINGEBAT / MD / .XVI Inscription on the cross: INRI Provenance: Umbertide, church of Santa Croce. The episode in the foreground in the altarpiece is that of the Deposition from the Cross of the body of Christ: two men, on two stairs, carefully lower Him from the Wood; at the foot is the unconscious Virgin, the body dropped on the knees of the pious woman. They assist to episode la Magdalene, holding out her hand to collect the blood that still flows from the dead body of Christ, Mary of Cleopes and Salome; the female character in the foreground on the left, dressed in precious robes, was identified by Daniel Estivill with a symbolic figure "which could represent the Holy Church, in an attitude of contemplation before the mystery of the passion of the Son of God made man": for the scholar, the colors of her garments could allude to specific virtues, white to the purity of faith, red to charity, green to hope, virtues that "define the ideal of the life of the Church", while the character's halo it would indicate the note of holiness. In reality, such an interpretation does not seem too convincing; more likely the hypothesis that it could be St. Helena, mother of the Emperor Constantine, to whom we owe the discovery of the relic of the Holy Cross. In the group under the Cross there are also Cassius and St. John the Evangelist. Behind the main scene, in the landscape in the background, the episodes are depicted they precede and follow the Deposition: on the left the three crosses of Christ and the two thieves, on the right the stiffened body of the Savior is carried inside the tomb. The painter's signature can be seen in the small pillar that delimits the panel on the right; but the cryptography that appears on the sleeve of the female character on the left of the table is also interesting: one can in fact decipher a date, 1516, and some letters, certainly an L and a V. The predella, divided into three parts, contains five different stories: The defeat of Maxentius with the army of Constantine chasing the enemy; The invention of the Cross in the presence of the Empress Helen and the bishop of Jerusalem Maccarius, The miracle of the young man resurrected from contact with Wood and, more to the right, S. Elena crossing the river with the retinue of her ladies; The entry of the relic into Jerusalem. The colors are bright, metallic, the table is full of characters, tragedians with excited movements, whose gestures they produce a pressing and nervous rhythm: each expression is exasperated as in the representation of a drama on stage. The table is located behind the main altar of the church of Santa Croce in Umbertide (PG), now used as a museum. The Central Archives of Rome preserves some documents dating back to the last years of the nineteenth century and the beginning of the following century that testify to the will and the attempts by the Congregation of Charity of Rome, at the time owner of the Deposition, to sell the painting: it is the correspondence of the Prefect of Perugia, the National Gallery of Rome, the Ministry of Education in an attempt to prevent the Congregation from l alienation of the table, saved from the legislation of the time after having already risked migration in the period of the French requisitions. Until 1974 the painting therefore remained in its original location, to then be transported to the meeting room of the Civil Hospital of Umbertide, where it remained there for nine years in precarious conditions of conservation, until, in April 1983, it was sent to the Institute of Restoration of Rome. At the restoration, carried out after a long time, namely in the years 1993-1996, followed by the museumization of the table, placed again in its original location behind the main altar of the Church of Santa Croce. The preparatory drawing of the figure of Christ is kept in the Lugt collection in Paris (2538). The chronology of the table is certain: from the documents that I will later analyze in the study of the genesis of the work and its commission, we know that the table was completed around the middle of 1516. As can be seen from various documents, the panel was commissioned to Luca Signorelli by the Confraternity of Santa Croce di Fratta (ancient name of Umbertide), probably born between the end of the 13th and the beginning of the 14th century; the origin of the congregation is to be traced back to the spread, in the Perugian territory, of the related disciplinary movement to the proselytism of Raniero Fasani, a pious layman who in 1260 preached the expiation of sins through the practice of flagellation as a re-enactment of the Passion of Christ. It is probable that the Confraternity of S. Croce originated from one of these groups of flagellants, whose existence in Fratta is documented since the beginning of the fourteenth century with a privilege granted by Pietro di Rosso Gabrielli in 1337, in which there is talk of an indulgence of forty days for all those who had helped through alms the 'completion of the works for the construction of a hospital, run by the congregation itself. The Confraternity owned in Fratta and in the surrounding territories of various immovable structures, of a church and of the hospital mentioned above. The institution was regulated by a Statute that within certain limits it could be modified by the confreres if there had been a reason; the oldest copy of the Statute of the Confraternity that has come down to us dates back to 1567 and contains the regulation of all those practices to which the institute was dedicated. In addition to being a strong point of reference for the spirituality of the time, in the sixteenth century the brotherhood certainly had to represent a political, economic and social center of considerable importance. From the Statute we know what were the main tasks performed by this: the company took care of the hospital, welcoming the poor, distributing alms, providing gifts to girls from less well-off families and burying the dead when the latter could not provide for the transport of the deceased. Some news about the brotherhood and its history are given to us by Francesco Mavarelli in his Historical news and praise from the company of disciplines of Santa Maria Nuova and of Santa Croce in the Land of Fratta (Umbertide). From his studies we learn that the first name adopted by the congregation was that of S. Maria Nuova, from the small church where the brothers gathered to devote themselves to religious activities and the recitation of lauds. The church, built around the middle of the 13th century in the lower village of Fratta, was initially officiated by Augustinian monks; the position was compliant to the charitable activity of the order, always ready to offer his availability to travelers who, caught by the night, were forced to stay out of the city. However the relations between the Disciplinati of our Confraternity and the monks soon had to loosen, if already from 1341 the church was officiated by ecclesiastics of various religious orders or directly by the chaplain of the company; from the 16th century onwards, the carrying out of the sacred rites belonged to the friars of the adjacent Franciscan community and later to a chaplain compensated with 30 scudi who also had the task of teaching the young boys of the town. As early as 1338 the name of Santa Croce appears: in that year an indulgence of 40 days was granted to those who had visited the church and the hospital during certain days, including that of the dedication to Santa Croce: in a brief issued by the bishop of Gubbio the company is indicated as the Fraternity of the Disciplinati of S. Maria Nova and S. Croce. Canon Guerrini and Professor Lupattelli affirm that the Confraternity officially assumed the name of Compagnia di S. Croce in 1566, the year in which it joined the company of S. Girolamo della Carità in Rome. In the period from 1798 to 1814, i.e. in the years of the French occupation, the company will change its name to that of Compagnia del Sacramento in S. Croce to avoid deletion. From the analysis of the documents it is clear that the original church in which the brothers gathered must have measured about one third of the current one, equipped with a portico renovated in the year 1536 and demolished in 1556, when there was a first extension, for the which it was necessary to appropriate a wall belonging to the Franciscans. In 1606 there was a second extension, to carry out which permission was asked by the Confraternity to occupy the land of the Friars' lawn, the current Piazza San Francesco. The last works between the years 1635-1647: the building will take its present form. Of the relationships that existed between the painter and his clients we have in this case an interesting documentation, mostly contained in an important register of the sixteenth century in which the Confraternity noted all the income and expenses made in the period that interests us. Also refer to the Confraternity, to Luca Signorelli and to the table of the Deposition by Umbertide, some documents preserved in the State Archives of Perugia and in the Notarial Archives of Umbertide, some of which have remained unknown until now. In Perugia there is a previously unpublished act, drawn up by Berardino di Nicola di Costanzo di Fratta, with which the Confraternity elects Ursino di ser Giovanni and Iacopo Arcangeli procuratori "ad pasciendum et patos faciendum et obligationes et ad promittendum nomine dicte fraternitatis, obligandum et promissiones recipiendum to prefate magisterium Luca pro pingendo per ipsum unam tabulam sive cunam ad predictum promissionis instrumentum vel instrumenta locationis ad pingendum conferendum, celebrandum, cum pleno et sufficient mandate ... “. This is the first document drawn up for the Confraternity that mentions the panel, and the name of the painter who would soon start the work appears: it is July 8, 1515. The notarial deed, as well as for its importance of its content, confirms the correction of old transcriptions of documents already known but published according to a paleographic interpretation not too correct in some significant points of the text, interpretations which, we will see later, have contributed up to now to feed hypotheses for the which in fact documentary evidence is instead non-existent, or at least unknown: all this has been verified through a more correct transcription of clearly legible terms in the original Perugian text and which also recur in some subsequent documents, preserved in the Notarial Archives of Umbertide, below. Unfortunately it was not possible to trace the deed containing the agreement between the two parties regarding the realization of the table. However, we have the aforementioned series of records contained in the company's accounts, which informs us of the relationship between the painter and his clients. From the documents we know that in the years in which Signorelli is called to create the panel, the depositary of the Confraternity was the Censorium of Ser Giovanni: his is the task of noting the records of the payments made by the company to the painter. The first note found in the aforementioned Book of income and expenses of the Confraternity of S. Croce, containing the payments made to the Cortonese, refers to the expenses incurred to pay the notary who signed the contract; in fact, the Censorium of Ser John writes: - “Item, to the notary who made the contract of the table …… fio 0-4-0. " From the registration we know that the notary who drew up the commission of the table, whose identity is unfortunately unknown, was paid with four baiocchi. Further below we read: - “Item, I lent to the Fraternita doi Ducati which I paid to the pentor . . Fior. 3-36-0 ": not having cash in hand, the Confraternity borrowed two ducats from the depositary Censorio di ser John; it is the first deposit received by Luca Signorelli. So in the register we find written: - “To Renzo who is cum Berardino per mandallo cum a letter to Mastro Luca . Fio. 0-24-0 ": for the first time the name of Luca appears among the recordings of the book; in all probability he was in Cortona, considering the consistency of the expense made by the Confraternity to send to the painter the messenger with the letter. Subsequent registrations referable to Luca Signorelli and to table inform: - “Item for them…. to tan them for the pentor . . Fio. 0-7-0 " (unfortunately the missing term is indecipherable); - “Item in una soma de lengnie for the pentor . . Fio 0-2-6 "; - “Straw items and tallow candles for the pentor . . Fio.0-4-0 "; Wood, straw and sevo candles are bought for the painter who was working on the table; probably Luca Signorelli is in Umbertide; - “To mastro Luca pentore one florins Fior.1-0-0 "; it is obviously a deposit paid to the Cortonese; - “items for the boards for the capsa for the table Flower. 1-0-0 "; it is the implementation of the original frame of the table. The term capsa, previously transcribed as hood, with an incomprehensible meaning, is instead to be understood, according to a more correct transcription, as the containment apparatus of the painting. At this point there are two notarial deeds drawn up by two different notaries from Fratta, Berardino di Nicola di Costanzo and Marino Spunta: in their documents we read that the Confraternity, in need of money, sells some parts of land owned by him: June 26, 1516 it is sold to Bartolomeo Christians “Eminas duas […] of a tenimento terre posite in tenimento dicti castri Fratte in vocabulo Ranco Giorgio […] et plus et minus […] ut ascendant ad valorem florenorum quadraginta“; on the 26th day of the following month, the Confraternity sells an additional piece of land to Bartolomeo himself, “In the curia castri Montonis in Faldo vocabulo of the value this time of XX florins, money that “idem Ursinus prior habuit in cash with recourse magistro Luce de Cortonio pictori pro pictura tabule picte in altars Sante Crucis, videlicet pro rata. " So it is the following annotation of the aforementioned Book of entries and exits: - “To mastro Luca on the 29th of July in 1516 by reason of the table Fio. 70-0-0. " It is the registration of a new payment to Luca Signorelli, very substantial: the table must now have been finished. In the register follow the following notes: - “Item for tip to the boys of mastro Luca . . . Flor. 0-72-0 "; after paying the painter, the boys are also offered their tip; - “Item to Mastro Goro who put on the table . . Flower. 0-67-0. “; more or less at the end of July 1516, the panel is placed in the location for which it was intended, that is, behind the main altar of the church. - “To mastro Luca and for him to Pietro Paolo di Renzo . . Flower. 1-0-0. ". We are now the following year, 1517, and the payments to the painter continue: - “To mastro Lucha for the table… fio. 8-0-0 ". Other expenses then follow: - “In gold and glue for piety . . Flower. 0-35-6 "; It is the registration relating to the expense made by the Confraternity for the purchase of material to be used in the gilding of the original frame. From 1527 is a deed drawn up by the notary Marino Spunta di Fratta, with which the Confraternity returns thirty florins to Meo - Bartolomeo - Cristiani, "quos idem Meus mutuaverat gratia et amore dicte fraternitati et hominibus ipsius pro solvendo mercedem his magister Luce de Cortonio pictori pro pictura quam fecerat de tabula seu cuna capelle et fraternitatis Sancte Crucis in ecclesia predicta existente in maiori altars “. A different reading of the expression "seu cuna", erroneously transcribed "seu top", has contributed, as we shall see, to believe the hypothesis that the painter had created for the Confraternity, in addition to the panel with the Deposition, also a sort of its completion, a lunette with the Pietà; in reality, however, the discovery of the document of Perugia and above all the new paleographic investigation made it possible to correct the transcriptions of the documents relating to the table in some points, reaching conclusions contrary to those traditionally sustained: the expression "seu cuna" it appears already in the first document mentioned, where the two terms are really clearly legible, and refers to the entire altarpiece. The panel was placed on the wall of the main altar of the original church of Santa Croce. The elaborate intaglio work that still frames the table today was made in 1612, well suited to the sumptuous and rich taste of that era: it is the work of Giampietro Zuccari of S. Angelo in Vado, as the archival sources recall. As I mentioned, an incorrect interpretation of the sources gave rise to the idea that in addition to the realization of the table with the Deposition, a lunette with a Pietà was also created by Signorelli to be placed on the table. The first to support such a hypothesis was Guardabassi, who in his manuscript preserved in the Augusta Library in Perugia, speaking of the panel, hypothesizes its completion, consisting precisely in a lunette with the Pietà. The scholar derives the idea from the shape of the painting, almost square, and above all from that annotation contained in the mentioned Book of income and expenses, in which the expenditure of 35 soldi and 6 denari for gold and glue is noted " for the Pietà “. Girolamo Mancini was of the same opinion. The opinion of the canon Antonio Guerrini disagrees, and in his History of the land of Fratta writes: “But which Pietà? if it was restored in 1517, when in 1616 our distinguished artists Flori and Sermigni replaced in that altar a stone frame the grandiose exhibition of carved and gilded wood, which still exists today, they would certainly have in their wisdom, in their love for religiously respected (however reduced) art that interesting part of our classic painting! " The existence of the hypothetical completion lunette is also spoken of in the most recent studies, of a local nature, carried out on ours, to which I have now often referred. The new interpretation and transcription of the archival sources and the set of information derived from the new documents found, however, leads us to exclude the existence of the hypothetical coping, or at least to ascertain that in reality there is no reference to this in the sources mentioned. The use of the term Pietà refers to the content of the table, which depicts the Crucifixion of Christ and the robbers, the Deposition, the Lamentation or Pietà and the Transport of Christ's body to the Sepulcher. Pietà is the term used to indicate the large table and its contents in the 16th century. The theatrical character of the picture, which I have already highlighted, seems to recall the narrations staged by the various religious congregations of the time, including the Confraternity of Santa Croce. That of the Sacred Representations was a typical activity of these groups of flagellants, from their origins. That this type of sacred theater was also practiced by the Confraternity of Santa Croce di Fratta are proof of some texts of religious content handed down in writing and which were recited by the confreres on particular occasions and holidays, often with the aid of special scenographies. In an inventory of the company drawn up in 1341 it appears that "unum librum cartarem bombicinarum in quo sunt laudes" was ordered, unfortunately not received: the components of the collection focused on the theme of the Passion of Christ, subject of the large table ed expression of the penitent devotional spirit of the Disciplined. Some religious compositions were recited in procession. More often they were staged in the oratory; on these occasions some scenic devices were used, especially when the laude with univocal chant was replaced by the one with alternate chant and the narration by the dialogue between several characters. It is possible for us to hypothetically reconstruct the partial content of the ancient book that was lost thanks to the transcription by an unknown hand of the lines of a laude with a single song on the theme of the Passion of Jesus Christ and a dramatic representation with several characters that included the use of a special stage apparatus, the Rapresentacio sancte apolonie virginis. In the inventories of the Confraternity there are also objects and clothing used for the shows: Mavarelli writes about it: "In fact, among the other objects and tools necessary for the sacred shows, we find a" vesta de chamois " which evidently refers to a laude or representation having as its object the Passion of Jesus Christ and it is not to be assumed that in the not large collection there were more lauds dealing with the same subject ". In particular, the text that has come down to us focused on the Passion of Jesus Christ, dated 1496, which was staged by the confreres on the occasion of certain religious holidays and anniversaries, it begins like this: Christo's passion We cry with pain For us fo crucifixo Yeshu our lord Weep bitterly And don't forgive yourself The mourning virgin By god, you accompany her Yes you consider Pain that felt her When jl figluol vedea Die among doi latronj In the Deposition Luca Signorelli seems to have imprinted and blocked the drama of the event revived by the actors of the sacred representation: the fainting Virgin painted at the foot of the Cross is that of the text, which “He felt such great pain / Lo cor came less / down on the ground trangoscione”; and so the Christ who “… I am crowned / Of them cruel thorns / Bloody head. [...] Yeshu gets undressed / De tucti i vestimenti / Steva shameless / Among so many people [...] Li vestimenti de sotta / Tucti was pin de blood / havean made the crunch / tucti was pin de blood / That was the great pain / when the stripper / The wounds rinovaro / that dier them keystrokes ". The table seems to refer to the passage also in detail, such as for example in the nail taken from the feet of Christ that "Era si immeasurable", "Era si grande aguto". Thus the painter remains faithful to the description of the stiffened body of the Savior that appears in the passage. In general, most critics agree in judging the autograph work and often remember it as the masterpiece of the painter's old age. The intervention of the workshop, when identified, is mostly limited to the predella, which, however, most scholars praise as the best among his. Contrasting opinions on the table were expressed in the second half of the 19th century: Guardabassi describes it as one of the best works by Luca Signorelli, while Cavalcaselle and Morelli consider it to be inaccurate. While Cruttwell says she is convinced of the Signorellian authorship of the panel, Mancini does not consider the execution of the same too valuable, but appreciates with enthusiastic judgment the predella with the Stories of the True Cross. According to Venturi the work would go ascribed to Luca Signorelli together with the workshop. Unlike most of the critics, Morisani tends to identify Signorelli's hand mostly also in the predella; vice versa Lenzini Moriondo confirms a consistent intervention of the shop also in the main table. They favor the attribution to the master Salmi, Scarpellini and Pazzagli. The recent enthusiastic judgment of Kanter on the execution of some portions of the table, for the critic certainly by the hand of Signorelli; to be attributed to the master are undoubtedly the figure of the pious woman on the left, that of the dead Christ, the St. John the Evangelist; some passages of inferior quality, such as the scene of the Burial of Christ, suggest in the panel the intervention of a collaborator, identified by Kanter with Francesco Signorelli, who is also responsible for the predella which "does not reveal in the least the intervention of the safest hand and vigorous of Luca. " The last studies I have mentioned, from Kanter's comments to Henry's observations, have been conducted on the basis of already known documents, often incorrect in their interpretation, without the considerations allowed by the paleographic corrections together with the discovery of new documentary material. Regarding the possibility that the aids have intervened in the realization of the altarpiece, a topic most discussed by scholars, we believe that a partial collaboration of the master with the aids may be probable, considering the date of execution of the same, that is, being a work of late maturity of the artist, when he often found himself using the support of the workshop. In this regard, there is an unpublished document preserved in the State Archives of Perugia, a notarial deed drawn up by Berardino di Nicola di Costanzo di Fratta “in capella sive ecclesia Sancte Crucis“. The document concerns the appointment of a procurator by Ursino di ser Giovanni, prior of the Confraternity in the period in which Luca Signorelli was called to paint the table, dates back to 1516 and is drawn up in the presence of the painter Vittorio di Montone. This leads us to think that Vittorio Cirelli, a Montonese artist who started painting with Luca Signorelli, was able to collaborate in the execution of the panel, but also personally wanting to believe that in the Deposition the hand of the older master is in any case to be traced in most of the itself and that the aids were made to complete small portions of the entire work, of very valuable workmanship even in the narrative scenes of the predella. Sources: Bibliography: Mancini 1832, II, pp. 72-73; Gualandi 1845, pp. 36-38; Milanesi 1850, p. 154; Waagen 1850, pp. 568-569; Crowe and Cavalcaselle 1871, p. 32; Guardabassi 1872, pp. 354-355, 367; Waagen 1875, pp. 135-136; Vischer 1879, pp. 114, 270-271; Berenson 1897, p. 181; Magherini Graziani 1897, pp. 212-215; Crowe and Cavalcaselle 1898, pp. 481-494; Cruttwell 1899, pp. 14, 100-102, 139; Mancini 1903, pp. 207-211; Berenson 1909, pp. 251; anonymous 1909, p. 70; de Wyzewa 1910, pp. 335-343; Venturi 1913, pp. 301, 402-406; Crowe and Cavalcaselle (cur. Borenius) 1914, pp. 107, 109; Venturi 1921, p. 65; Psalms 1921, pp. 13-14; Dussler 1927, p. 209, pl. 141, 143-144; Berenson 1932, p. 533; van Marle 1937, pp. 90-92; Morisani 1942, pp. 31-32; Cortona / Florence 1953, pp. 111-113, nos. 58-59; Psalms 1953, pp. 35, 59, 66-67, 72; Psalms 1953 a, pp. 116, 118; Baldini 1964, p. 489; Scarpellini 1964, p. 125; Lenzini Moriondo 1966, p. 28; Berenson 1968, p. 400; Battisti 1971, I, p. 489, n.249 (ed. 1992, p. 376); Mancini and Scarpellini 1983, pp. 33-34; Kanter 1989, pp. 244-248; Lightbown 1992, p. 152; Codovini and Vispi 1994-1998, p. 1-19; Van Cleave 1995, pp. 156-157; Henry, Kanter, Testa, pp. 153-154, 239-240. DOCUMENTARY APPENDIX ... 60. 1514 February 13, Umbertide ASPg, Notarile, not. Berardino by Nicola di Costanzo, Bastardelli, 931, cc. 509r-510r Giovanni Francesco of the late Alberto di Umbertide and citizen of Perugia, mayor and procurator of the fraternity of S. Croce and Raniero di Giovanni, prior of the fraternity, sell to Matteo di Alberto of the said place, stipulating all rights for the heirs of Felice di Gentile di Perugia and share that the brotherhood has or may have in the future on three quarters of a piece of land located in the vicinity of the castle in the word Botani for the price of eighteen florins that they confess to have received and for which therefore they issue the payment receipt. 61. 1515 July 8, Umbertide ASPg, Notarile, not. Berardino by Nicola di Costanzo, Bastardelli, 932, cc. 407r- 408r Ser Censorio di ser Giovanni, Orsino di Giovanni, Piergentile di ser Giovanni, Giacomo di Arcangelo, Pierangelo di Giacomo, Ciono di Piero, Meo di Filippo, Raniero di Giovanni camerlengo, Meo, Cristoforo di Silvestro, gathered in the chapel of S. Croce name Orsino di Giovanni and Giacomo di Arcangelo as their own proxies, entrusting them with making agreements and obligations and promising in the name of the fraternity with master Luca painter of Cortona and receiving promises from him "pro pingendo per ipsum unam tabulam sive cunam" and to do with him the act of allocation of the same. 62. 1516 March 9, Umbertide Municipal Library of Umbertide, Notary Archive, not. Paolo quondam Cristoforo Martinelli, 76, c. 68v. Giovanni Francesco of the late Alberto di Andrea di Umbertide, as mayor and procurator of the fraternity and of the hospital of S. Croce of the said place, having a sufficient mandate, as shown by the acts of the notary from Umbria Ser Bernardino, and Orsino di Giovanni, prior of the fraternity and also Paolo di Sebastiano di Paolo, chamberlain sell to Francesco and Piermatteo del fu Giacomo Martinelli, of Umbertide, and to the notary, stipulating for their brother Renzo, a piece of land located near the said castle in the word Ranco Giorgio undivided for another fourth part with his brother Nicola for the price of thirty-one and a half florins, which they confess to having received in cash and in money numbered in gold and money, for which therefore they issue the receipt for payment. 63. 1516 June 26, Umbertide ASPg, Notarile, not. Berardino by Nicola di Costanzo, Bastardelli, 932, cc. 791v.-794v. Giovanni Francesco of the late Alberto di Umbertide and citizen of Perugia, mayor and procurator of the fraternity of S. Croce together with the prior Orsino di Giovanni, the chamberlain Raniero di Giovanni and the brothers ser Censorio di Giovanni, ser Marino di Domenico, Giacomo di Arcangelo and Piergentile of ser Giovanni sell to Bartolomeo Cristiani two mines of a piece of land located in the vicinity of Umbertide in the word Ranco Giorgio and more or less that rises to the value of forty florins, which they confess to have received and for which therefore they issue the receipt for payment . 64. 1516 July 26, Umbertide Municipal Library of Umbertide, Notarial Archive, not. Marino Spunta, prot. 105, 2nd quarter (numbering ad annum), c. 78v. Orsino del fu Giovanni di ser Orsino di Umbertide, prior of the fraternity of S. Croce in the same place, and ser Censorio di ser Giovanni, Giacomo di Arcangelo di Nicola and Antonio di Piero, officers and men of the said fraternity, having the authority to to do the things infrescribed by the general meeting of the brotherhood, forcing all the goods of the hospital and of the same fraternity, they sell to Bartolomeo del fu Tommaso Cristiani di Umbertide a piece of land located in the word Faldo in the district of Montone for the price of twenty florins or for the higher and lower price that will be estimated by two commonly elected men. Of which twenty florins the same Orsino prior confesses to having received in cash to pay "magister Luce de Cortonio pictori pro pictura tabule picte in altari Sancte Crucis, videlicet pro rata" with the agreement to be able to buy it back within ten years. 65. 1516 August 26, Umbertide ASPg, Notarile, not. Berardino by Nicola di Costanzo, Bastardelli, 932, c. 837v. Orsino di Giovanni di ser Orsino appoints Ser Giovanni's Censorium as procurator, instructing him to represent him in every litigation. The deed is made "in capella sive ecclesia Sancte Crucis" in the presence of the painter from Montone Vittorio. 66. 1527 April 6, Umbertide Municipal Library of Umbertide, Notarial Archive, not. Marino Spunta, prot. 105, 3 ° quinterno (numbering ad annum), c. 67v. Meo of the late Tommaso Cristiano alias Mascio di Umbertide confesses that he had received from Nardo of the late Mariotto di Giovanni di Meo, prior to the present of the brotherhood of S. Croce di Umbertide and stipulator for the said fraternity, thirty florins, which Meo had given "gratia and love dicte fraternitati et hominibus ipsius pro solvendo mercedem suam magistro Luce de Cortonio pictori pro pictura quam fecerat de tabula seu cuna capelle et fraternitatis Sancte Crucis in ecclesia predicta existente in altari maiori ”, as of this loan results from a deed drawn up by the notary of Umbertide ser Berardino di Nicola di Costanzo. Meo does this because he confesses to having received the money in this way, that is, twenty-eight florins from Giuliano di Angelo di Luca Fornari depositary of the fraternity and two florins from the notary himself, of which thirty florins thus received therefore issues a receipt for payment. 67. Christo's passion We cry with pain For us fo crucifixo Yeshu our lord Weep bitterly And don't forgive yourself The mourning virgin By god, you accompany her Yes you consider Pain that felt her When jl figluol vedea Die among doi latronj Time and to be resurged And cry with pain L annima comtemplare The sancta paxione That it lasts too long That we don't hear of it Since then we believe Jeshu will die for us What a god to die for us The story reconte Con tucto how much jl core I must think That you can't be enough Neither lengua nor scriptura The death I make lasts Of our Savior He came on Thursday evening Near a la paxione Yeshu made dinner Cum discipol sueie Tucti comunicoe And you can relieve the pious ones Yeshu turned to serve A traitor Judah Yeshu the turned to comfort Cum sweet parliament Who must leave them In great doubt That sappressava jl time Yeshu had to die We have to maintain En gran tribulatione Yeshu at the olive grove He went to oratione Menò giovanni and pietro And jacobo magiure Yeshu is scary Who had true flesh He sweated drops of blood It strongly nowva. The apostles sleep And christo while he was awake But little if they heard Of the punishment he carried His patre called him But he already didn't know In ante pure volea That he died for us And he is a traitor He came with a lot of people To betray the lord It came promptly That said the fraudulent Master god to save Then if you go ahead And in the mouth the bascione Here people came Cum many great lights And incontinent peter A coltel drew out The ear to a coupon And Christo tell them Coltel back in sheath that pleases your gentleman When Christo fo taken He took no breath To him the derieto Tightly tied together Yeshu fought himself Like a thief That they had abandoned him all your friends and friends And peter denies it Giovanni sen fugiva For us the abandonment Patro his heaven Christo son of god What fooled alone If I find any That he wanted to star cum him And peter painful Looking for Christo already I went to warm to the fire At anna pria's house An ancilla tell them You are de la su people He answered contentedly You never knew more Cum fine great fear If he began to ecuse it swear it then Cum mouth and cum your hands He says in truth I don't know who he is Never in my life You never saw him again The first evening came And the canton rooster And to himself Because he is arcordone I denied it my lord Three times I say it I don't know where I am Yes, I don't find him Yeshu fo introduced That he was a traitor Yeshu fo acused Cum false witnesses great noise faccialli saying undress undress Tie it to the column Tight cum the rope Cum tanto de dur scourge make him scourge he was so morbid tucto make him tremble Without pity Give them to the sever The whole meat alisa Pina de lividore All that evening I will give them the keystrokes L coperson in gl ochi door That he saw no light And for more honor In my face I spit them out The beard peeled them to give them more pain Tirravan their hair She gave them cheeks And those were the hitmen They were chosen Danvanli the bearded Et cum man cut D prophesies Who made you of us Yeshu fo crowned Of the cruel thorns Bloody head Corialli up to the pious The Jews laughed The head hit him Cum le rods the Feriano mocking him The virgin mary you havea great tremor what a tucta that evening there was a great noise Alore adimandone and said to an ancilla You know me you tell news Of my child Yeshune You figluolo and taken madonna in veritade And so hurt her What a tucto and full of wounds Lo tu figluol domane Sententato evening You will see him hanging En forca de thief Madonna did not pose And he found no place The apostles asked If they had seen him Whether I live or die Say it truthfully I can no longer carry That me if the core starts I speak john and peter And I talked to the mother Your son is taken Know it but n citade We cannot enter that the doors are closed doman give them death without any reason Madonna heard this He felt such pain The heart is less Down to earth trangoscione Say love son Not festi but sin You're imprisoned You weren't a thief Then came the question Get him out of prison Send him to judge That he was a criminal There was a great noise Say be cricifixo Dician be crucified Lassato be the thief Lassato be the thief Lassat sij Barabano And this sinner We condemn it all Up to Mount Calvary Fierli carry the cross Shouting out loud Be dead with pain When I am judged There was great existence The mouth of pilate Si de quilla sententia The third hour came Send him to hang De fuori de la citade Where the evildoers Fierli carry the cross It was a heavy burden Not if podia change He was so weakened The mother already de rieto Who wanted to help him He could not take them So much was a great noise There was a great noise De rietro them gian shouting She mocked him The lotus gian lying to him Givanlo spatassando Soon the voleanmenare Yeshu wanted to spoil And doi thief cum him His mother his taipina Yet he wanted to see him Pararse entered the street Where there was to revolve Nol podde support Christo when he sees it He was greatly distressed Than in strangoscione land When madonna il vedde On earth strangled He felt great pain What if you leave and breathe My figluol you were born To alarm me so much pain Now that I will do tarpina Yes don't see you You carry so much weight Sweet figluol pleasing Why you vie de rieto Figluol so many people O my grieving mother Don't ask me Menanme to hang Cum quisti doi ladronj Figluol I can not bring I know crucifixa with you Et where you turned Yes I will come to you When you will be open Nol podaro see Figluol let me die Ch I do not want to live more Then that I give to the place Where he must dress Undress him naked Without pity Now what was the mother doing When he saw him naked Say I'm a figluolo I cannot live longer Yeshu gets undressed De tucti i vestimenti Steva ashamed In among so many people They were obnoxious Cum villania tamanta What even the clothes of the leg They leave the robbers You dress them de sotta Tucti were pin de blood Havean crunched Tucti were pin de blood That was the great pain When I undress him The wounds renovate That will give them the keystrokes Tolser clothes them And misarce the fate Christo they said to each other Mourning the times (?) You are worthy of death Thief you go watching You are boasting of us You say you were sir Yeshu has taken off his clothes And set up in the wood And tightly bolted Cum three iron latches It was so cold When he keyed it Blood if it froze What a descurria di fuore Le man li chiavellaro Leave it spent Li piei li sopronaro I put the third chiuovo It was immeasurable He was so great aguto And so much fo beaten Not if vedea de fuore And so much the ironing The nerbora stendea The bones I schopparo them The flesh breaks The blood comes out It fell down to the earth O virgin polzella So much was your pain ... ... ... Help us remember umbertidestoria@gmail.com Photos: - Photo: Giulio Foiani - Photo: Fabio Mariotti BIBLIOGRAPHY Anon. 1909 Anon., Umbrian Art Review, I, (1909), p. 70. Baldini 1964 U Baldini, Luca Signorelli, in Universal Encyclopedia of Art, XII, Venice-Rome, 1964, pp. 487-491. Baptists 1971 E. Battisti, Piero della Francesca, Milan 1971, Milan 1992. Berenson 1897 B. Berenson, The Central Italian Painters of the Reinassance, London 1897. Berenson 1909 B. Berenson, The Central Italian Painters, London 1909. Berenson 1932 B. Berenson, Italian Pictures of the Reinassance, Oxford 1932. Berenson 1968 B. Berenson, Italian Pictures of the Reinassance, Central Italian and North Italian Schools, London 1968. Borenius 1929 T. Borenius, Dussler Review 1927, in "The Burlington Magazine" LIV (1929), pp. 41-42. Pigtails & Vispi 1994 R. Codovini & P. Vispi, Luca Signorelli's Paintings at Fratta Perugina, Rome 1994. Crowe & Cavalcaselle 1871 JA Crowe and GB Cavalcaselle, Geschichte der Italienischen Malerei, Leipzig 1871, vol. 4. Crowe & Cavalcaselle 1898 JACrowe and GBCavalcaselle, History of painting in Italy, Florence 1898, vol. VIII. Crowe & Cavalcaselle [cur. Borenius] 1914 JACrowe and GB Cavalcaselle, A History of Painting in Itali, vol. : Umbrian and Sienese Masters of the Fifteenth Century [cur. T. Borenius], London 1914 Cruttwel 1899 M. Cruttwel, Luca Signorelli, London 1899. Gualandi 1845 M. Gualandi, Original Italian memoirs concerning the beautiful atriums, Bologna, 1845. Down Guard 1872 M. Guardabassi, Index - Guide of Pagan and Christian Monuments… of Umbria, 1872. Downwinds M. Guardabassi, Notes on the church of Santa Croce in Umbertine, vol. 5, fasc. 2258, ms. preserved in the Augusti Library, Perugia. Guerrini 1883 A.Guerrini, History of the land of Fratta now Umbertide from its origins until the year 1845, Umbertide 1883. Henry, Kanter, Testa 2001 T. Henry, L. Kanter, G. Testa, Luca Signorelli, Milan 2001. Kanter 1989 L. Kanter, The Late Works of Luca Signorelli and His Followers, 1489-1559, PhD thesis, New York University 1989. Lenzini Moriondo 1966 M. Lenzini Moriondo, Signorelli 1966. Lightbown 1992 R. Lightbown, Piero della Francesca, New York, London- Paris 1992. Magherini Graziani 1897 G. Magherini Graziani, Art in Città di Castello, Città di Castello 1897. Mancini and Scarpellini 1983 Cur. FF Mancini and P. Scarpellini, Painting in Umbria between 1480 and 1540, Milan 1983. Mancini 1832 G.Mancini, Historical and pictorial instruction to visit the churches and palaces of Città di Castello, Perugia 1832. Mancini 1903 Girolamo Mancini, Life of Luca Signorelli, Florence 1903. Mavarelli / Porrozzi F.Mavarelli, Historical news and praises of the Company of disciplines of Santa Maria Nuova and Santa Croce, Umbertide…., Cur. B. Porrozzi, The work of Francesco Mavarelli, Città di Castello 1998. Milanese 1850 C. Milanesi, G. Milanesi, C. Pini, V. Marchese, Notes and commentary on the life of Luca Signorelli, in G. VasarLI, 1985.i, The Lives of the Most Excellent Architects, Painters and Sculptors, Florence [1568] , cur. C. Milanesi et al. Florence (14 vol. 1846-1870.) VI, 1850. pp. 136-158. Porrozzi 1983 B. Porrozzi, Umbertide and its territory, Città di Castello 1983. Porrozzi 1998 B. Porrozzi, The work of Francesco Mavarelli, Città di Castello 1998. Porrozzi 2001 B. Porrozzi, edited by, Statutes and Orders of the Fraternity of Santa Croce in Fratta (Umbertide) from 1567 to 1741, Città di Castello 2001. Psalms 1921 M. Salmi, Luca Signorelli, Florence 1921. Psalms 1953 M. Salmi, Luca Signorelli, Novara 1953. Psalms 1653 a M.Salmi, Chiosa signorelliana, in “Commentari”, IV, (1953), pp. 107-118. Van Cleave 1995 C. Van Cleave, Luca Signorelli as a Draughtsman, unpublished doctoral thesis, Oxford University 1995. Van Marle 1937 R. van Marle, The Development of the Italian Schools of Painting, XVI, The Hague 1937. Venturi 1913. A Venturi, History of Italian Art, VII. 2 Milan 1913. Venturi 1921 A. Venturi, Luca Signorelli, Florence 1921. Vischer 1879 R.Vischer, Luca Signorelli und die Italienische Reinassance Eine Kunsthistorische Monographie, Leipzig 1879. Waagen 1950 GF Waagen, Die Maler Andrea Mantegna und Luca Signorelli, in „H Istorisches TaschenbUch“ 3.1 (1850) PP. 473-594, spec. PP. 554-594. Waagen 1875 GF Waagen after A. Waagen, Uber Leber, Wirken und Werke der Maler Andrea Mantegna und Luca Signorelli, in Kleine Schriften von GF Waagen, Stuttgart 1875, pp. 80-144, in part. Pp. 128-144. de Wyzewa 1910 T. de Wyzewa, A propos de quelques dessinsi italiens: une „Descente de Croix“ by Luca Signorelli, in „Revue de l'Art Ancien et Moderne“, XXVII (1910), pp. 335-343. LIST OF ABBREVIATIONS SCC = Historic Archive of Città di Castello AS Pg. = State Archives of Perugia BCCC = Municipal Library of Città di Castello. BCM = Municipal Library of Montone BCU = Municipal Library of Umbertide

THE HISTORY OF UMBERTIDE AVIS FROM 1959 TO 1995 From the book by Roberto Sciurpa "The blood of Fratta" curated by Fabio Mariotti THE PIONEERS The founder In the summer of 1959 the topic under discussion in the city bars and other meeting places certainly centered on the trial of the year: the Fenaroli crime, committed in September '58, but whose sensational implications were coming to light. in that time. It was talked about all over Italy, with the usual alignments between innocentists and guilty parties, as always happens in sensational and circumstantial trials. But in Umbertide there was a reason for greater interest. If the killing of his wife is not a usual exercise, and therefore makes news on its own, a witness of Umbertian origin and resident in Rome intervened in decisive support of the accusatory thesis. So enigmatic was that trial, which ended with the life imprisonment of Fenaroli and Ghiani, that it had after-effects, to say the least disturbing, even in our days if the revelations reported by Antonio Padellaro, in his book "Do not open to murderers", had a reliable foundation. But there were also those who thought of other things. Mariano Migliorati , in addition to carrying out his activity as a physician led by the Municipality, worked at the local hospital as a surgeon and gynecologist. The hospital of Umbertide, already during Fascism, had been downgraded to an infirmary and this status was still in force. Not having, therefore, a staff of its own, it availed itself of the work of doctors conducted on the explicit and formal assignment of the Municipal Administration. Only in 1969 will it be reclassified to hospital status with the consequent preparation of its own staff and with the possibility of planning adjustments and expansions that are still visible today. Dr. Migliorati was a gruff type in appearance, but good-natured, helpful and generous in substance. He knew how to combine the calm and reflexivity of his character with a decision-making and operational capacity worthy of all respect. He listened patiently, as he peered with a penetrating and understanding gaze that never made one uncomfortable. For these human qualities, as well as for the professional ones of the highest level, he instilled trust and security and was appreciated by all the citizens of Umbria. Not surprisingly, immediately after the Liberation, he was appointed "Mayor" of the city: the first, after the Fascist era. The official document of the Allied Military Governor, who had jurisdiction over the area, is very hasty. It limits itself to saying that Mariano Migliorati was appointed in the first week following the Liberation of Umbertide, which took place on 5 July 1944. Therefore, his appointment and his installation take place between 6 and 12 July 1944. He was 32 years old; was born on September 9, 1912. He remained in office for only a few months and resigned on 2 September 1944 to hold the position of chief physician of surgery at the hospital of Umbertide, a function incompatible with that of mayor since, for the reasons already set out, he would have found himself in the position of controller and controlled. The Allied Military Governor writes verbatim that this task was conferred by the desire of the population. It is an eloquent expression that indicates three things: the choice of the thirty-two year old mayor was prudent, being a very popular and respected character; his resignation was not related to dissent; the young doctor enjoyed such professional appreciation that he was preferred in the irreplaceable role of surgeon, rather than in the alternate role of representative of the community. Migliorati showed no attachment to the armchair and chose, without hesitation, the professional activity, like all those who have a profession, love it and honor it. He will remain in the hospital for a long time, until it is reclassified in 1969. In the summer of 1959, realizing the absolute need for blood, thanks also to his profession, he promoted a committee to set up a first nucleus of donors that could face the emergencies of the Umbertide hospital. The members of the Committee, in addition to him who was its soul, were Raffaele Mancini , Lamberto Beatini , Marta Gandin and Aurelia Nocioni. At the beginning it was a difficult job, both in terms of proselytism and organization, as always happens in the creation of the new, but the tenacity and wisdom of Doctor Mario and his collaborators overcame every obstacle. Along the way, the idea of founding a real section whose aims went beyond local borders took on more and more substance. He worked hard on this project, until 29 October 1969, when, during a visit to one of his patients in Niccone, he realized that the sudden illness he felt would be lethal. Any attempt to rescue was in vain. He left quickly, without disturbing anyone, he who in life and in his profession had chosen to be disturbed. Of Mariano Migliorati, the first mayor of the city after the Liberation, an appreciated and well-liked doctor, a talented gynecologist, a surgeon imposed by the desire of the population, founder of the AVIS section, only the elderly are remembered, even for some of his quick and happy jokes, and among some year will be covered by total oblivion. The younger ones, through no fault of their own, don't know who he was. In the sudden and voluminous urban expansion of our city and in the wide repertoire of street toponymy that had to be imprinted, not an alleyway, not a flowerbed bears his name. (Ed - After the publication of this volume, a street was dedicated to him in the expansion area of the city towards the Fontanelle). The naming of the streets does not respond only to administrative and logistical criteria, much less are they used by the dead since they do not appear to make them a reason for pride or ostentation with others. They have a meaning for the living as a testimony of a value, a document of a reality, a message of perennial relevance, gratitude for a remarkable work. Therefore, it becomes difficult to understand the inspiring logic, at least of a part, of the street toponymy of Umbertide and of certain systematic and deliberate silences which, in a small community, are hardly justifiable and very eloquent. Seven streets are named after Italian regions (Umbria, Tuscany, Piedmont, Marche, Lazio, Lombardy and Calabria) and eleven by cities (Siena, Perugia, Bologna, Rome, Florence, Venice, Novara, Pisa, Genoa, Naples and Turin). Upon immediate reflection, a badly concealed predilection of the Umbertidese community for central and northern Italy would seem to transpire. The flowers (azaleas and geraniums) and the ordinal numbers (3rd - 5th - 23rd - 28th - 33rd - 50th street) have bothered, as in the American metropolises, large yes, but poor in history. I stop here. Doing so dries up the memory and neglects the dutiful and grateful union with those examples that must link the past to the present. Unless the people in charge of managing public affairs have the modesty and the certainty to believe that history begins with them. I did not know Bruto Boldrini, but he should have been a balanced and generous man, as well as a present, wise and appreciated administrator for being the only contemporary Umbertide to have a street named after his name. I am delighted, but the exception proves the rule. In one of the AVIS rooms, hanging on a wall, there is the framed photograph of Doctor Migliorati, with an expression that hints at a thin smile and with the usual serene and penetrating gaze. Every time I look at it, the lines of a poem by Trilussa written in 1942 and full of bitter irony about the society of the time come to mind. It is called Lómo useless and describes the feelings of the poet through the mouth of a fetus, in spirit, which has a hand attached to the nose: "But instead I am drento ar museum, I look at the people and I make marameo. ...". Doctor Mariano Migliorati was not useless, even if he is locked up in the museum of oblivion. The committee The committees have a provisional function, aimed at achieving an objective or establishing stable and definitive bodies that can pursue the established goals and set up the appropriate organizational structure. With this understanding, the Committee, set up by Mariano Migliorati, set to work in that summer of 1959. Its members were well-known and credible personalities in the city environment, engaged in a professional activity that had forced them to the attention and esteem of the population. Marta Gandin and Aurelia Nocioni were the two Principals, respectively of the "G. Pascoli" Middle School and of the "Mavarelli" Professional Training; Raffaele Mancini and Lamberto Beatini, two elementary teachers. Beatini was secretary of the first Umbertide Didactic Circle; Mancini will become one of the second, a few years later, as soon as it is established. Aurelia Nocioni, generous and capable, sensitive to social problems and available to the spirit of service, which she already practiced with the boys in her professional activity, lavished energy and passion in this work. Marta Gandin, determined and strong-willed, was no less, and in the rigor rich in humanity, combined with the strong sense of duty, which has always distinguished her, she re-proposed those family values that were already witnessed by her father's brother, that General Antonio Gandin , Gold Medal, Commander of the Acqui Division, who on 24 September 1943 was murdered by the Germans, together with five thousand soldiers, in the massacre of the island of Kefalonia. Lamberto Beatini, the gentle giant, represents historical continuity. He was present then, in the constitutive phase of AVIS, and is now present in the life of the section, as a member of the Board of Directors, of which he has always been a part since its establishment in various roles, including that of President. The AVIS will not get rid of him easily, fortunately, and we will meet him later. Raffaele Mancini was not only the secretary of the committee, but also the right hand of Doctor Migliorati, and at that time he held the position of councilor of the municipality and of the hospital. In the initial phase, his work was instrumental. It should be remembered that the Umbertide hospital had been downgraded to an infirmary and for its redevelopment to a third category hospital, a substantial strengthening of the two nursing departments (medicine and surgery) then existing was necessary, with the creation of auxiliary services, the increase in hospital stays and building extensions. This objective began to be pursued with great tenacity since 1952 with the Benedetto Guardabassi administration and then continued with that of Alessandro Renzini until 1969, when the coveted recognition was formally granted. The hospital and the citizens of Umbria owe a lot to Renzini, Guardabassi and Mancini because it was precisely to their insistence and their personal sacrifice that our hospital obtained the desired requalification. Naturally, as always happens among humans, once things have been done, everything appears easy, due and taken for granted and to put it in a very significant rural proverb, the cage is made, the bird is dead. Those who most of all had worked to reach the goal and whose docility had been hardened by the obstacles encountered and overcome, did not enjoy the success for long as they were set aside for opportune alternation. Among the auxiliary services to be activated, that of blood donors was also taken into consideration. Mancini aims at a twofold purpose: that of strengthening the hospital for the reasons set out above and the other of constituting in Umbertide a service of high social and human value that was extremely valuable for any hospital emergencies. I spoke at length with Mancini, who in addition to having a fresh memory of past events, also has a good personal archive on the administrative events of which he was the protagonist. And he tells: "Dr. Migliorati, who came from a serious experience in Milan, immediately understood the great importance that a nucleus of local donors could have and, therefore, set to work briskly. The Board of Directors of the institution (the hospital), in perfect agreement with the initiative, made its administrative secretariat available to Migliorati for the necessary bureaucratic acts and invited me to closely follow the interesting attempt. The doctor immediately referred me the most urgent problems to be addressed, such as: - the possibility of visiting the volunteers who wished to register in the hospital outpatient clinic; - a room where to keep the medical records and the register of visits; - the purchase of the necessary material for the bureaucratic formalities. Thus it was that, with the approval of the President and the Council, they too understood the enormous importance of creating a group of donors available to our health facility (not only for the legal recognition of the hospital, but especially for the defense of citizens' health), I flanked, for the bureaucratic part of the work, Dr. Migliorati and his first collaborators: Maestro Lamberto Beatini, 1st Dean of the Middle School, Prof. Marta Gandin and the Dean of Vocational Training, Prof. . Aurelia Nocioni and some other willing people whose name escapes me now. I placed myself at the doctor's complete disposal to perform the functions of secretary and to draw up the first donor records. I had a small room adapted in the mezzanine of the hospital where the folders and other material relating to the nascent service were kept. Thus, the first nucleus of Volunteers was born spontaneously, but marked by great seriousness, which was to give life, then, to the AVIS Section of Umbertide, whose importance and availability are still cited today as a model of solidarity and altruism in the time of need, and also as a model of organizational efficiency. I believe I can affirm that, if in 1969 the Umbertide infirmary could be reclassified as a third category hospital, this is also due to the creation of our AVIS, as a support body of primary importance to the health unit ". The logistical and bureaucratic support, therefore, for the first years, is ensured by Mancini in the name and on behalf of the hospital administration, while the other members of the Committee carried out proselytizing work for a kind of voluntary service that was not so well known and widespread. as it is today. In the fatigue of the first moments, there are also some pleasant episodes. I mention one. During the thorough and meticulous examination, Dr. Migliorati asked an would-be donor if he had ever had mumps. The person concerned, who was unfamiliar with medical terminology because he was a typographer, asked what the mumps were and the doctor made it clear that it was the mumps. The typographer, known for having not really reduced auricles, replied promptly: "Ah, I was born with those!". The seed was now sown, and in fertile soil. This small group of bourgeois, to use a terminology then more in vogue than now, had created the premises for one of the most urgent and indispensable voluntary associations to help life and nourish hope. It must be acknowledged that the school world is in the front row. This school, like a karst river, appears only in moments of acute social crisis as accused of omissions and insensitivity, which generally belong to others, but it is always present in a happy and creative way even when, hidden and silent, it runs through its course. At the end of that year there were seven AVIS members. The magnificent seven The Committee began the search for volunteers starting from the known people who resided in Umbertide, following a centrifugal path. Do not forget the demographic and social situation of the city and its surroundings, described above, because the history of AVIS is closely linked to the evolution of that factor. As the capital of the municipality expands, so does the number of memberships and donations. The phenomenon recurs even today, in the youth sector, in the sense that the settlements of high schools, factories and services, appropriately reached by the AVIS propaganda, have determined a considerable influx of young and very young donors, more tiring in the fragmented reality of a time. The first adhesions, therefore, are those of volunteers close to the members of the Committee or their friends. At the head is Lamberto Beatini who affirmed his Avisian faith not only as an organizer, but also as an active member (he is the only member-donor of the Committee) who periodically underwent regular withdrawals over the following years, until the statutory provisions, relating to age limits, have allowed this. Followed by Bruschi Fernando, a veterinarian, who for professional reasons has left the city to visit it every now and then. Gambucci Luigi is the third, among the first to be called and among the most present and active in the daily life of the Section, even today. Gigetto is one of the pillars of AVIS, alongside a few others, and without his presence and his commitment, perhaps I would not be here writing this story. He works a lot, with dedication and competence, not only now that he is retired, but also before, when he was employed and then director of the local Post Office. Benedetto Guardabassi, the good and combative professor, could not miss it, just as he never missed any appointment in which something had to be built for Umbertide. He too represents a good piece of history, not so much of AVIS because his participatory state, through no fault of his own, did not last long, but of the post-war Umbertide reality. Rondini Aldo, a calm and taciturn traffic policeman, immediately boarded that Avisian train, making an important contribution as the only representative of the municipal employees in the group of seven. Silvestri Francesco, an elementary teacher, fully honored his choice and the always punctual response to the call for withdrawals demonstrates this abundantly. The last of the seven is Valdambrini Mario, an elementary teacher, who with generosity and enthusiasm answered the first call. Also in this case the school world offered strong signals of presence, implementing in practice the values of civic solidarity that in the classrooms it transmitted, in theory, to the pupils. By now the Committee was facilitated in its work, since these first seven donors became, in turn, the best external persuaders to increase the adhesions to the new initiative. And they were also ready in replying to the call for withdrawal if at the end of that year, according to what the individual files tell us, they managed to make a total of ten donations in just a few months. Not only that, but their avisian longevity demonstrates that the initial adhesions were not dictated by short-lived outbursts of enthusiasm if three of them were awarded the gold medal for the fifty donations achieved (Beatini, Gambucci and Silvestri). It is worth mentioning a few other characters who, at this starting point, had an important role, even if they were on the other side of the needle. He was a bleeder and not a donor. I refer to Staccini Mario (Mariolino) and to Lotti Italo. They were the pickers and, very often, also the authors of the donor calls. On the other hand, their work as technicians within the hospital placed them in a privileged observatory in terms of recording emergencies. They too were, in their own way, spreaders of the AVIS novelty and some good bottles of blood will have come out smiling when hearing Mariolino's jokes, to the benefit of the patient's depression. Valuable help was also offered by Franco Natali, the first collaborator of AVIS (1960), who worked generously for the affirmation of the Avisian voluntary service. His popular work continues today within the section. I pionieri La crescita I donatori I pionieri GROWTH Fervor and industriousness After the initial impulse, in 1960 there was a situation of worrying stagnation. The adhesions did not rise according to the hoped rhythm and throughout that year there was only one, that of Mario Cerrini. Donations also suffered a halt: only nine over the entire year, compared to ten in the last part of 1959. It was a physiological phenomenon, typical of the introduction of every novelty and linked to the difficulty in finding information tools for adequate propaganda, to the mental reserves with respect to a form of voluntary work, such as that of the gift of blood, which had not entered the common culture, waiting for the majority, who wanted to realize the following received. This state of affairs continued into the following years as well. In fact, 1961 did not yet allow the leap in quality. There were only two new members, Alpini Mario and Valdambrini Maria, with an evident drop in donations: seven overall, with an average of less than one for each donor. The situation did not improve in 1962 with only one new presence, that of Norberto Conti. On the other hand, donations increased slightly and reached the number of twelve. A sign of recovery occurs in 1963 with four inscriptions (Baldoni Domenico, Foni Raffaele, Sonaglia Luigi and Tognellini Rolando) and 14 samples. With Rolando Tognellini, from Pierantonio, the world of hamlets enters the group. The initiative was not in decline, but its growth was struggling and it was now clear that the difficulties were inherent in the organizational structure. The Committee had carried out its task very well and could not be asked for more, in addition to the promotional launch already given. The fervor and enthusiasm were not subsided, but alone they were not enough to pass from the avant-garde to the system. It was a question of asking for inclusion within the National Association of Blood Volunteers, to have an explicit and formal recognition by the provincial AVIS, to acquire the official Statute and to establish the governing collegial bodies. Among other things, there was to settle all the previous paperwork that went from the regularization of the membership, to the periodic call for withdrawals and the timely registration of the same. In the Garibaldi phase of the beginning, there was limited to the essential: visits to donors, the preparation of their folders and a provisional registration of donations. It also seems obvious to me that he acted like this. It was important to reach the goal and not get lost in the maze of procedures. But, by now, the time had come to take a reflective pause and from it emerged the not inconsiderable element that an efficient Board of Directors, in terms of external visibility and propaganda, would have been much more valid and appropriate than a spontaneous Committee that had operated with merit, but also exhausted the propulsive charge of the initial moment. These aspects were carefully evaluated by the members and Dr. Migliorati himself, meanwhile delegate of the provincial president of AVIS, Mr. Vincenzo Innocenti, was indicating the path that should be taken. Which then was only one and consisted in the preparation of all the requirements to have the recognition as a municipal section. The adhesions reached were not exceptional, just 15 in just over three years, but there was a lot of passion, combined with the desire to go forward in the certainty, not unfounded, of giving life to a Sodality that could reach remarkable levels. The awareness of the goodness of the purpose and the knowledge of the soul of the people of Umbertide, who never back down in times of need and solidarity, moved the intentions of the first donors, who had clearly seen the path to take. On the other hand, the experience and prestige of Doctor Mario, the founding doctor, instilled courage and confidence. Therefore, the time had come to make the qualitative leap, urgent and indispensable. We are moving towards the foundation of the AVIS Section of Umbertide. The birth of the section Foligno has always been at the forefront in the promotion of humanitarian initiatives and the coordination of the provincial AVIS, in 1963, was based in the city of San Feliciano where the President Vincenzo Innocenti resided. The same thing happened for AIDO (Italian Association of Organ Donors). In this regard, there is an episode that is worth remembering. In the autumn of 1977, the provincial councilor Hans Schoen, of Foligno, asked me to receive a person in my capacity as councilor for health of the province. "He is worthy of esteem.", He said to me, "He is a priest. Listen to him, then you will tell me." And he added no more. A few days later a priest showed up, already over the years, but still vigorous in appearance, his face with marked features and hollowed out by deep wrinkles. He told me his name was Don Pietro Arcangeli and to take care of the coordination of AIDO on behalf of the Bergamo headquarters. After having illustrated the aims and characteristics of the Association, he solicited my interest in a more stable organizational structure at the provincial level. And we talked about something else. The meeting and subsequent contacts with Don Pietro were a reason for reflection and interior enrichment. His generous humanity and willingness to serve suffering did not arise only from the pastoral mission he had chosen or from the reading and practice of the Gospel, but also from the profound knowledge of another book of the New Testament: the Apocalypse of the Mathausen concentration camp, from which he had had the rare privilege of coming out tried, but alive. Shortly after, the AIDO di Umbertide municipal group was formed and, later, also the provincial AIDO, based in Perugia. Don Pietro left us, giving us the work he had carried out on his own. Hans too is gone and his untimely and unexpected death took away from his family an exemplary father and from politics an intelligent and capable, open and honest servant. But let's get back to our topic. The Perugins arrived later, with the important contribution of the organization and the greater diffusion of the associative image, also due to their proximity to the buildings that count. The first nucleus of Umbertide donors, therefore, made contact with Foligno and in particular with Vincenzo Innocenti, the provincial president of AVIS. On June 2, 1963, the General Assembly of Members was convened at 8.30 at the hospital premises. Vincenzo Innocenti was also present, who assumed the presidency of the Assembly, convened to discuss three items on the agenda: the report by the delegate Dr. Mariano Migliorati, the constitution of the AVIS municipal section of Umbertide, the appointment of the Board of Directors and other corporate offices. Raffaele Mancini, appointed secretary, recorded the progress of the work in a detailed and precise manner. At the opening of the session, the President officially declared the UMBERTIDE MUNICIPAL SECTION AVIS and addressed words of applause to the donor members and thanks to dr. Mariano Migliorati and the members of the promoting committee, who had given life to the Association. Migliorati took the floor and reported on the activity carried out by the Committee, referred to the posters posted in 1961 and the consents and concrete contributions that followed, so much so that he could allow the opening of a postal current account with 125,850 lire, partly already spent for propaganda, the competition held in schools and insurance for members. The organizational situation was also described in detail: 44 the applications presented, 27 the diagnostic tests performed and 17 to be performed, the suitable 19, the unsuitable 8. The balance sheet was somewhat spartan: AVIS only had a refrigerator, donated by the Presidency of the Council of Ministers and a wooden cabinet, donated by the Hospital of Umbertide. The report was unanimously approved. It was necessary to proceed to the election of the statutory bodies and here arose the first obstacle that Innocenti solved with intelligent speed. The statutes are made for the established bodies and not for those to be established and, according to the literal application of the rules, it would have been necessary to appoint an electoral commission to prepare for the holding of regular elections, with the loss of other precious time. Being a new institution, Innocenti unified the procedures. The commission was appointed (Cerrini Mario, Silvestri Francesco and Silvestrelli Antonio) which, on the spot, started the electoral operations, after having established that the Board of Directors would consist of five members. Silvestri Francesco, chairman of the commission, directed the voting operations. The Assembly was attended by 17 members, but only 15 voted because Dr. Migliorati and Raffaele Mancini, the only two present on the organizing committee, abstained. I report the names of the seventeen participants in the Assembly and, in parentheses, the votes obtained. It should be noted that, in addition to the presence of Raffaele Mancini as a collaborator, there are some donors who had already undergone the suitability visit with a positive outcome, but were not yet formally registered. It is the practice of the Section, in fact, to start the registration not from the moment of the presentation of the application, but from that of the acquisition of the active participatory status, which begins with the first donation. Present were: Migliorati Mariano, Mancini Raffaele (10), Alpini Mario (2), Beatini Lamberto (12), Cappanna Alberto (6), Ceccagnoli Orlando, Cerrini Mario (4), Faloci Serafino (7), Foni Raffaello, Gambucci Luigi (3), Guardabassi Benedetto (8), Pucci Angelo, Rondini Aldo, Silvestri Francesco (4), Silvestrelli Antonio (5), Sonaglia Celestino (2), Tacconi Mario (7). The five most voted members were elected: Beatini Lamberto, Mancini Raffaele, Guardabassi Benedetto, Faloci Serafino and Tacconi Mario. Another vote and another ballot for the election of the Auditors, with the following results: standing auditors: Alpini Mario, Cerrini Mario and Gambucci Luigi; Alternate auditors: Baldoni Domenico and Silvestrelli Antonio. Without proceeding to vote, the board of arbitrators was appointed by acclamation, consisting of the Mayor of Umbertide, Cavalaglio Umberto, the President of the IRB Celestino Filippi and the Director of the Cassa di Risparmio di Perugia, Umbertide branch, Carlo Bufalari. Again by acclamation, Doctor Mariano Migliorati was given the position of Medical Director. All the elected bodies would remain in office until the end of the year, since the Statute at the time provided for an annual and not a three-year duration for the corporate offices. The Board of Directors met immediately after the closing of the Assembly for the distribution of offices within it and agreed, without many dividing preambles, that Beatini Lamberto was the President, Mancini Raffaele the Secretary and Tacconi Mario the Bursar. From that Sunday of 2 June 1963, the anniversary of the proclamation of the Republic, Umbertide had its AVIS Section, with all the statutory bodies elected and animated by a great operational will, the banner and the Members, who represented the true capital of the newly formed Association. Beatini and his friends on the Board began to work with great determination, especially in the propaganda sector. The results were seen very quickly because the number of members of the Association, from that year onwards, increased dramatically. On the more strictly bureaucratic and administrative level, very little could be done because the lack of an adequate location will prevent, for some time yet, the complete deployment of the available energies. On January 19, 1964, just six months after the first, the Shareholders' Meeting met to proceed with the renewal of the offices. Already the Donors had reached the number of forty and twenty-five of them were present at the meeting. The statutory provisions on the electoral procedure, even in this circumstance, were opportunely disregarded. There was no need to set in motion secret voting mechanisms for the renewal of a Council that had been installed six months earlier and which needed a longer period of time to carry out the announced programs. Antonio Silvestrelli, therefore, proposed the reconfirmation of all the positions assigned by acclamation and the Assembly stood up clapping his hands, while the President, Mr. Adriano Pasquarelli, Vice President of the provincial AVIS, twisting his mouth, timidly made a present that the procedure was not quite regular but, since it was a particular situation, an exception could be made. Headquarters Even after the constitution of the section, the logistical reference was that of the mezzanine at the hospital. There was no better and more the hospital administrators could not offer. A different, even if not definitive, arrangement was necessary. It was not possible to manage a sodality in evident growth and in defense of vital emergencies, with only a refrigerator and a wardrobe. It needed an easily accessible address, a minimum of furniture, a telephone. Until then, the first partners had also fulfilled the commitment of domestic availability, calling each other in case of need. From the very first meetings, therefore, the Board raised the problem of the seat. The situation did not improve when, after leaving the hospital, the section found accommodation in via Leopoldo Grilli, in the building of Mario Codovini, which was used as the headquarters of the ECA. I say accommodation just to be clear and certainly not why it was so in reality. The space reserved for AVIS consisted of a passage corridor and, given the use of the ECA, one can imagine that the traffic was intense, creating evident operational difficulties. The urgency of an adequate and definitive solution is gaining momentum. And both the oral history, narrated by the protagonists, and the documentary one, described in the minutes of the meetings of the time, indicate with what commitment and tenacity this objective was pursued. The problems were twofold: the economic one of finding resources and the functional one, relating to the structural characteristics and location of the headquarters. In terms of economic resources, Beatini and the other members of the Board worked hard on all fronts, soliciting contributions and making savings. In the session of 1 July 1965, the Board decided not to make the social trip to set aside an economy to be allocated to the headquarters. The decision was ratified by the Extraordinary Shareholders' Meeting of the following 25 July. The argument was resumed at the Ordinary Assembly of November 4, 1965 and the need was argued to seek every way to increase the capital of the section (subscriptions, parties, limitation of any superfluous expenditure) in order to be able, by the end of next year , put in concrete terms the problem of the purchase of the registered office. As we can see, following an ancient and healthy popular wisdom, among the sources of income (subscriptions and parties) there is also the limitation of expenses, according to the ineluctable logic that, if the revenues are important, the prudence of the their use. With these criteria, the section will go ahead in an agreement and without hesitation whatsoever. On the other hand, the orientation regarding the structure and location of the headquarters was more vague, at least in this first moment. In the aforementioned Assembly there is talk of purchase and the expression clearly indicates that the intention was to buy a building that already exists and is available on the market. It is no coincidence that in the meeting of the Board of Directors on October 14, 1966, the problem was re-proposed in concrete and more explicit terms. President Beatini, after having communicated that 1,761,940 lire was available, pointed out that in via IV Novembre there was an apartment for sale at the price of 2,500,000 lire negotiable. The building was a little out of the way, but it could have done with us. The Council took note and undertook to submit the proposal to the Assembly. The following November 4, the Assembly was confronted with the problem of the apartment of four rooms which, with the demolition of a base, would become three, obtaining, in compensation, a room of m. 4x9 (little more than a dining room) for meetings. Any other solution would have been more expensive. The Assembly gave a mandate to negotiate, but no one negotiated. Tacconi, the bursar, did not express himself in the circumstance. Obviously, the purchase of the building did not convince anyone for reasons of location and scarcity of surface, much less Tacconi, who was thinking about different solutions. Mario Tacconi, who entered the first Board of Directors and has always been reconfirmed to date, was the soul and mind of AVIS in all circumstances, dividing himself between the position of head of public works of the Municipality and the activity of Avis volunteer. Even now that he is retired and with some health problems, he does not spare himself and his presence and his contribution are decisive for the life of the section. It is an irreplaceable pillar of AVIS. The organizational and functional explosion of the Umbertian Sodality is due to him and a few other executives. Tacconi, therefore, did not express himself at that meeting, because the solution did not convince him. Instead, he will express himself in that of the Board of Directors of 9 February 1967 in which he proposed the construction of a new headquarters, rather than the purchase of an inadequate structure. It was decided to call the Assembly immediately on the 19th of the same month to discuss the proposal. On that occasion, Beatini illustrated the hypothesis of choosing an area in the very central area of the old market, the opportunity of a tailor-made venue, and the like. Then Tacconi intervened who, having seen the building land, as a good surveyor, already had the project in mind. The report says: Tacconi goes on to illustrate, in its general lines, what would be the construction to be carried out and the possible savings that could be realized during the course of the work (to be carried out in economy), taking into account the current of sympathy among the population and the possibility that building contractors, transporters, skilled workers, unskilled workers, etc. can give free services, thus significantly reducing the costs that will be incurred for the construction, up to the coverage of the building. The building itself, which may have a size of m. 12x14, will consist of a hall on the ground floor, several rooms on the upper floor and, taking into account that the land used forms a certain depression with respect to the street level, carrying out the construction so that the floor of the aforementioned hall rises from the floor. of countryside of about m. 2.50, the lower part can be used as a warehouse, or for the heating system in the event that one day this system becomes necessary. In his capacity as financial director, he informed the Assembly that the financial situation of the section was as follows: postal current account 521,545 lire, deposit at the Cassa di Risparmio lire 600,000, deposit at Monte dei Paschi lire 631,360, deposit given to the seller of the land 400,000 lire and so for a total of 2,152,000 lire. He also pointed out that during the course of the work it was possible that the public bodies, given the good performance of the same, decided to intervene with extraordinary contributions. As you can see, the site is meticulously described in its current structure. The Assembly approved the proposal and gave a broad mandate to the Board to proceed with the utmost promptness. The subsequent formalities followed one another with enviable speed, considering the bureaucratic slowness of our public apparatuses. Architect Narciso Mariotti was commissioned to prepare the project, which saw the light in a very short time and, confirming the contributions provided by Tacconi, the professional offered his work completely free of charge. On 6 June 1967, the notary Mario Donati Guerrieri drew up the deed (Repertoire n.76519) with which the owners of the land, Wanda and Giacomina Rosini and Pierina Guardabassi widow Rosini, donated the building area to the AVIS section of Umbertide, whose value was calculated in 400,000 lire. On June 8, 1967, the building permit was granted (F. 59 - P 82) by the Municipality. The excavation work began and on Sunday 23 July 1967, with a solemn ceremony, in the presence of civil authorities (the mayor Cavalaglio) and religious, members and numerous citizens, the first stone was laid. The solidarity competition was unleashed by transporters, companies, workers to the point that a loan was drawn up with the Cassa di Risparmio of only two million which, together with the accumulated savings, allowed the coverage of construction costs . The attachment of the people of Umbria to their Avis section, as well as for reasons of solidarity and culture, is linked to the history of participation, involvement and legitimate pride that began here. The following year there was the official inauguration. It was May 26, 1968. In ten months the work had been completed! The ceremony was solemn and was celebrated in the presence of national and regional AVIS authorities, civilians, religious, and a large presence of citizens who, after Holy Mass, concluded the rite at the table. The headquarters were built, central, beautiful and functional. The furnishings were missing. And the solidarity competition continued with two talented artisans from Pierantonio, Giuseppe Ugolini and Rolando Sonaglia, who offered their free work to create the excellent and robust full-wall wooden shelving, which are visible and appreciable in the premises of the section. A few years later, for the needs of custody of various and voluminous materials, necessary for the planned activities (charity fishing, equipment for stands, etc.), the SEAS company granted the section a large basement of a new building for use, located in via Roma. In 1994, the section became the owner of it for twenty years with the consent of SEAS, the disinterested contribution of the surveyor Gilberto Pazzi and of the lawyer Vittorio Betti, who promoted and followed the issuance of the sentence of misappropriation by the Judicial Authority , renouncing their fees. Starting from the initial refrigerator and wardrobe, generously donated, AVIS now has a heritage worthy of respect, which belongs to all the citizens of Umbria. The affirmation The verification of the affirmation of a Sodality has two parameters of measurement: the number of members and the consensus enjoyed within the territory. The latter, in particular, is crucial in not making it appear an elitist phenomenon, entrusted to enlightened avant-gardes. There is no doubt that the voluntary service of blood donation soon entered the consensus and sympathy of the people of Umbria, who have always supported it in a generous and concrete way. The initial balls, the bicycle ride, the charity fishing, the donor's dinner, the social outing, have always recorded a massive participation of several hundred people, testifying to an attachment that is not episodic and occasional, but the result of a deep conviction and a widespread culture, which has made its way around the drop of blood. The economic contributions that the families of Umbertide pay to AVIS, through the bulletin attached to the Christmas newspaper, are not only the confirmation of a consolidated solidarity, but also the vital food that allows the deployment of initiatives and does not make the volunteers who work there every day. The annual budget of the section, approximately 40,000,000, is made up of three basic items: the proceeds of donations by the ULSS, the voluntary contributions of supporters and benefactors and the proceeds of some initiatives, such as charity fishing. While the former represent, in theory, certain and predictable income, the other two are entrusted to a magnanimity that may not always be certain and predictable. A real paradox occurs in Umbertide: certain entrances become uncertain, certain uncertainties. To be more explicit, it is good to remember that the regional contributions to be paid to the AVIS sections, through the territorial ULSS, established by a formal agreement with the Region in 13,100 lire for each bottle of blood and 17,100 of plasma, are far from timely, and considerable arrears accumulate. While understanding the economic difficulties faced by health care in general, this practice speaks volumes about the exaltation of a voluntary service, much acclaimed in words, but little honored in deeds. And to think that the blood drug, obtained free of charge, represents a considerable economic income in the regional and national health budget, so much so that the Region of Umbria has stipulated an agreement with the SCLAVO company of Siena, to which it entrusts, for a fee, the bottles exceeding the requirements or not usable by the expiration date, for the separation of the various blood products. It is an alarming phenomenon, which does not encourage volunteering, even if it seems consistent with the law of the market economy, which is so fashionable today, and according to which what is free it is worth little, it is due, and, in any case, it does not claim bills. If it depended on the expected and coveted contributions, the AVIS sections would be like Christmas lights, they would work intermittently with long and irregular intervals, to turn off definitively, after the party. It is a bitter observation, but also a solicitation addressed to those in charge, so that the commitments towards the Avisian volunteering, which produces resources, are among the first to be honored. On the other hand, it is a dutiful recognition to the people of Umbria and to their Municipal Administration, without whose substitute role the life of the Association would be difficult. Thanks to this support, the AVIS headquarters are open every weekday, from 3 to 7 pm to deal with emergencies and daily administrative work. This is a considerable amount of time, considering the voluntary nature of the commitment. In the beginning, when operating at the ECA headquarters, the opening hours were only Tuesdays and Thursdays, from 6 to 7 pm. Since November 18, 1963, the section of Umbertide extended its sphere of propaganda and proselytism to the municipalities of Montone and Pietralunga (which has only recently become autonomous) and informed the respective mayors by letter, based on territorial divisions decided by the Council Provincial of AVIS. The territory became increasingly vast and the adhesions more numerous. Therefore, the need arose for a systematic contact between the section and the members, which could not be entrusted to the traditional letter, for economic reasons and lack of personnel. Hence the idea of the bimonthly magazine VITA AVIS which, since 1982, has never failed in appointments, with its 13,000 copies a year, produced in an artisanal way. The reports on the activities carried out, the proposals on the working hypotheses, the invitations for the many types of initiatives, the meeting calls take place through the columns of this modest information tool which, in its simplicity, has proved useful and appropriate in terms of effectiveness and savings. In a world that was becoming computerized, AVIS could not remain tied to the uncertain amanuensis exercises. An adjustment was required to make the whole mechanism of internal procedures faster and safer. The donor cards, the calls for collection, their registration, the achievement of the merit quota, the statistics are entrusted to the electronic system of a software that two talented and willing young people, Luca Inghirami and Fabrizio Bagiacchi of STOA, have elaborated and customized, free of charge, for the needs of the section. Thus the computer has become a precious and faithful collaborator, which anticipates and controls the various work plans. A very happy idea of the Avisian management was that of setting up the library. It does not appear rich in the field of fiction, but it was not, and is not, the intent of anyone the bibliographic enhancement of this literary genre, easily available elsewhere. Instead, it collects the entire series of UTET classics, which ranges from literature to science, from religion to economics. It is a valuable heritage in terms of quality and value, open to all those who need to consult. The TRECCANI Encyclopedia, now increasingly rare, and other encyclopedic works complete the book frame of this pearl of the section. The new headquarters, the consensus received, the clarification of the organizational structure and the provision of complementary subsidies, went hand in hand with the conspicuous increase in donor members. I do not dwell on the analysis, however boring and sterile, of this aspect. I prefer to let the following table speak for itself, which I think is more useful and immediate than any other consideration. The organisms The AVIS has an organization and a structure governed by precise statutory rules that derive from the institutive law n. 49 of February 20, 1950 with which the Association was recognized as a juridical body of law with humanitarian and moral purposes. The regional and provincial, district and section councils refer to the central promotion and coordination body, represented by the National Council and its internal functional divisions. It is a pyramidal organization, necessary to ensure that the apparatus of the Sodality mirrors the political-institutional structure of the territory. The need for contacts, planning and collaboration with Local Authorities is vital for the Association whose operational contents cannot disregard, for example, the situation of the hospital structures and, even more precisely, that of the immunotransfusion services, in charge of medical checks and blood samples. Mirroring, therefore, responds to criteria of functionality and referential parallelism. It is no coincidence that the district councils were born only recently, when, not only in Umbria but also in other regions of the country, the health organization of the territory largely coincided with the size of the districts themselves. The detailed analysis of the skills and work of all the bodies indicated does not fall within the scope of this work. I will limit myself only to saying that the Umbertide section has expressed its representation in each of them, including the highest level, the National Council of AVIS, of which Mario Tacconi was an alternate member for two three-year periods from 1987 to 1992. Systematic, on the other hand, is the presence in the regional and provincial councils, while the presence in the district council is very active which, from its birth onwards (1983), saw Mario Tacconi and Rolando Tognellini alternate as presidents. For our needs it is interesting a review of all the Boards of Directors of the section, which have followed one another from the foundation onwards, not only for a historical reconstruction which, with the passage of time could be more difficult, but also for a dutiful tribute to all those who have lavished energy in a spirit of solidarity and service. YEAR 1963 SHAREHOLDERS 'MEETING of 2 June 1963. PRESENT n. 17, VOTERS n. 15. BOARD OF DIRECTORS: Beatini Lamberto (President), Mancini Raffaele (Secretary), Tacconi Mario (Treasurer), Guardabassi Benedetto (Director), Faloci Serafino (Director). AUDITORS: Alpini Mario (effective), Cerrini Mario (effective), Gambucci Luigi (effective), Baldoni Domenico (alternate), Silvestrelli Antonio (alternate). PROBIVIRI: Cavalaglio Umberto, Filippi Celestino, Bufalari Carlo. HEALTH DIRECTOR: Migliorati Mariano. YEAR 1964 SHAREHOLDERS 'MEETING of January 19, 1964. PRESENT n. 25, VOTERS n. 25. By acclamation, all those elected in their respective bodies are reconfirmed in office. TWO YEARS 1965/1966 SHAREHOLDERS 'MEETING of 4 November 1964. PRESENT n. 30, VOTERS n. 30. Following statutory changes, all bodies have a two-year duration. BOARD OF DIRECTORS: Beatini Lamberto (President), Mancini Raffaele (Secretary), Tacconi Mario (Administrative Secretary), Bruni Giancarlo (Director), Alpini Mario (Director). AUDITORS: Luigi Gambucci, Mario Cerrini, Benedetto Guardabassi. PROBIVIRI: there is no mention in the relative report. HEALTH DIRECTOR: Migliorati Mariano. TWO YEARS 1967/1968 SHAREHOLDERS 'MEETING of 4 November 1966. PRESENT n. 36, VOTERS n. 36. BOARD OF DIRECTORS: Beatini Lamberto (President), Bruni Giancarlo (Vice President), Tacconi Mario (Administrative Secretary), Natali Franco (Secretary), Tosti Mario (Public relations). AUDITORS: Pistoletti Boris, Chicchioni Giuseppe, Dario Dario. PROBIVIRI: Cavalaglio Umberto, Renzini Alessandro, Palazzetti Candido. HEALTH DIRECTOR: Migliorati Mariano. THREE YEARS 1969/1970/1971 SHAREHOLDERS 'MEETING of November 17, 1968. PRESENT n. 26, VOTERS n. 26. Following statutory changes, all the bodies have a three-year duration. BOARD OF DIRECTORS: Beatini Lamberto (President), Bruni Giancarlo (Vice President), Tacconi Mario (Administrative Secretary), Natali Franco (Secretary), Gambucci Luigi (Public relations). AUDITORS: Giuseppe Chicchioni, Boris Pistoletti, Dario Destroyed. PROBIVIRI: Palazzetti Candido, Cavalaglio Umberto, Renzini Alessandro. HEALTH DIRECTOR: Migliorati Mariano. THREE YEARS 1972/1973/1974 ELECTIONS of February 20, 1972. VOTERS n. 79. Considering the high number of members (204), the renewal of corporate offices no longer takes place in the meeting of the ordinary Assembly, but after regular voting, after setting up the polling station which remains open for the whole day. The members of the Board of Directors are raised from five to seven following a regular shareholders' resolution. BOARD OF DIRECTORS: Beatini Lamberto (Chairman), Gambucci Luigi (Deputy Chairman), Tacconi Mario (Administrative Secretary), Natali Franco (Secretary), Tognellini Rolando (Director), Tosti Gualtiero (Director), Mariotti Adriano (Director). AUDITORS: Lisetti Renato, Chicchioni Giuseppe, Pistoletti Boris. PROBIVIRI: Palazzetti Candido, Cavalaglio Umberto, Renzini Alessandro. HEALTH DIRECTOR: Bruni Giancarlo. THREE YEARS 1975/1976/1977 ELECTIONS of 22 February 1975. VOTERS n. 82. BOARD OF DIRECTORS: Beatini Lamberto (Chairman), Luigi Gambucci (Deputy Chairman), Tacconi Mario (Administrative Secretary), Natali Franco (Secretary), Mariotti Adriano (Director), Bei Alberto (Director), Tognellini Rolando (Director). AUDITORS: Lisetti Renato, Chicchioni Giuseppe, Pistoletti Boris. PROBIVIRI: Palazzetti Candido, Cavalaglio Umberto, Renzini Alessandro. HEALTH DIRECTOR: Bruni Giancarlo. THREE YEARS 1978/1979/1980 ELECTIONS of 5 February 1978. VOTERS n. 85. BOARD OF DIRECTORS: Beatini Lamberto (Chairman), Luigi Gambucci (Deputy Chairman), Tacconi Mario (Administrative Secretary), Natali Franco (Secretary), Tognellini Rolando (Director), Tosti Mario (Director), Bistoni Renato (Director). AUDITORS: Lisetti Renato, Chicchioni Giuseppe, Pistoletti Boris. PROBIVIRI: Palazzetti Candido, Renzini Alessandro, Cavalaglio Umberto. HEALTH DIRECTOR: Bruni Giancarlo. THREE YEARS 1981/1982/1983 ELECTIONS of 21 December 1980. Voters n. 275. BOARD OF DIRECTORS: Beatini Lamberto (President), Luigi Gambucci (Vice President), Tacconi Mario (Administrative Secretary), Natali Franco (Secretary), Tacconi Cinzia (Public relations), Tognellini Rolando (Director), Venturi Otello (Director). AUDITORS: Lisetti Renato, Chicchioni Giuseppe, Pistoletti Boris. PROBIVIRI: Palazzetti Candido, Renzini Alessandro, Cavalaglio Umberto. HEALTH DIRECTOR: Bruni Giancarlo. THREE YEARS 1984/1985/1986 ELECTIONS of January 29, 1984. VOTERS n. 82. The ordinary Assembly had previously resolved to raise the number of Directors from seven to nine. BOARD OF DIRECTORS: Beatini Lamberto (President), Gambucci Luigi (Vice President), Tacconi Mario (Administrative Secretary), Natali Franco (Secretary), Tacconi Cinzia (Public relations), Tognellini Rolando (Director), Lisetti Renato (Director), Venturi Otello (Director), Bistoni Renato (Director). AUDITORS: Sciurpa Roberto, Rubolini Renato, Pistoletti Boris. PROBIVIRI: Palazzetti Candido, Cavalaglio Umberto, Montanucci Giuseppe. HEALTH DIRECTOR: Bruni Giancarlo. THREE YEARS 1987/1988/1989 ELECTIONS of 8 February 1987. VOTERS n. ninety two BOARD OF DIRECTORS: Tacconi Mario (President), Tognellini Rolando (Vice President), Gambucci Luigi (Administrative Secretary), Beatini Lamberto (Secretary), Tacconi Cinzia (Press and Propaganda), Bendini Giancarlo (Organization and Development), Venturi Otello (Organization and Development), Bistoni Renato (Director), Lisetti Renato (Director). AUDITORS: Codini Orfeo, Rubolini Renato, Sciurpa Roberto. PROBIVIRI: Broggi Umberto, Cavalaglio Umberto, Palazzetti Candido. HEALTH DIRECTOR: Bruni Giancarlo. THREE YEARS 1990/1991/1992 ELECTIONS of 25 February 1990. VOTERS n. 57. BOARD OF DIRECTORS: Tacconi Mario (President), Tognellini Rolando (Vice President), Gambucci Luigi (Administrative Secretary), Beatini Lamberto (Secretary), Venturi Otello (Propaganda), Bendini Giancarlo (Propaganda), Gianfranceschi Graziano (Propaganda), Bistoni Renato ( Director), Lisetti Renato (Director). AUDITORS: Codini Orfeo, Sciurpa Roberto, Rubolini Renato. PROBIVIRI: Broggi Umberto, Cavalaglio Umberto, Palazzetti Candido. HEALTH DIRECTOR: Bruni Giancarlo. THREE YEARS 1993/1994/1995 ELECTIONS of December 20, 1992. VOTERS n. 288 The Ordinary Shareholders' Meeting had previously resolved to raise the number of Directors from nine to thirteen. BOARD OF DIRECTORS: Tacconi Mario (President), Tognellini Rolando (Vice President), Gambucci Luigi (Administrative Secretary), Beatini Lamberto (Secretary), Sciurpa Roberto (Press and Propaganda), Mariotti Walter (Recreational activities), Tognaccini Marco (Recreational activities) , Venturi Otello (Director), Lisetti Renato (Director), Bendini Giancarlo (Director), Gianfranceschi Graziano (Director), Magrini Sergio (Director), Tosti Paolo (Director). AUDITORS: Codini Orfeo, Bazzarri Luciano, Baldoni Domenico. PROBIVIRI: Broggi Umberto, Cavalaglio Umberto, Palazzetti Candido. HEALTH DIRECTOR: Bruni Giancarlo. La crescita DONORS Solidarity without a name Those who, for various reasons, are involved in the AVIS volunteer work hope to represent the moment. pioneer of the Association and hopes that scientific research, applied to the production of a blood substitute, will soon see his efforts crowned. Not because the practice of Avisin solidarity weighs on the choice of donors, but because it is desirable that a laboratory product is available more immediately and eliminates any possible area of risk that may be inherent in the methods, albeit scrupulous, of current sampling. Unfortunately, the prospect of the production of artificial blood, like any other human organ, is still very far away, the faintest horizons are not seen, and the practice followed today will remain in force for many years. The voluntary service of the donation therefore takes on very particular characteristics. Unlike any other kind of service based on solidarity and civic commitment, it is characterized by its essentiality and indispensability, aimed at life. It is a choice of life, for life; it is a silent pact whereby part of oneself is offered for the survival of others; it is a hidden bond that binds the donor to an ideal of the highest moral and civil profile and not to the recipient. Indeed, the most absolute anonymity must exist between the two. The donor knows this and has made his choice for this reason as well. The ostentation of merit and the solicitation of gratitude for the work done are attitudes that belong to other sectors and to other characters, certainly not to those who give blood with total disinterest. Thus, at the scheduled deadlines and for a lifetime, the generous, heroic volunteer receives the invitation to be taken from the section and fulfills the commitment, honoring a choice made at the time, without disaffection or second thoughts. The reader will be able to see on the following tables, how the average avisine longevity is very high, a sign of a strong ideal, alive and not weakened by the repetitiveness of the routine that flattens life in every field. It is difficult to make an identikit of the donor: it has no face, nor a particular physiognomy. It belongs to every possible social class, to every type of ideology and religious conviction; he chose to serve. Stop. In moments of crisis, such as those that our country is going through, the first values to be overwhelmed are those of support and altruism, the first subjects to suffer are the weak and the marginalized. In Umbertide, AVIS denies this trend line and reaffirms the meaning of human solidarity as a social cement and a lofty message of civilization, which does justice to any convenient individualistic utilitarianism. In this path many meet, over a thousand. And it is comforting, and full of hope, the observation that the young and the very young stand out, alongside numerous representatives of the female sex who, following the example of the first woman from Umbertide (Valdambrini Maria, 1961), have strengthened the ranks that wind behind the banner of the drop of blood. The happy island of Umbertide The title is neither boastful nor triumphal. The data speaks volumes. Every year in Italy about 2,000,000 units of whole blood are donated with a national per capita ratio of 0.03 (3%). In Umbertide, as can be seen from the following tables, the ratio is 0.09 (9%), three times higher than the national average. The more than 25,000 total donations made from the birth of the section to today, based on an average sample quantity of 350 cl, total 9,000 liters of blood. For those who like weight measurements, instead of capacity ones, I point out that it is about 90 quintals. The donations of the section, in the last decade, have been around 1200 on average every year, with a contribution of about 420 liters of blood. For our territory these are significant figures, that if they were extended nationally, we would not have problems with blood imports. Our country, poor in raw materials and therefore dependent on foreign countries for many aspects of its economy, is forced to import solidarity as well! It is a bitter and disheartening observation because it refers to a product that should abound in the Center of Christianity. Blood donations cover only two thirds of the national needs and for about one third it is necessary to resort to foreign support, with the relative fee. In Umbria, the situation is very comforting: self-sufficiency has been achieved on the blood side (red blood cells) and we are rapidly moving towards self-sufficiency on the plasma side. The donation index (donor / donation ratio) is also very good and stands at around 2.06, compared to 1.7 for the national figure. In Europe only France, Germany and Holland equal it, while Portugal surpasses it. The Umbertide Avis has lavished his generosity in many neighboring municipalities and also in distant areas of the national territory. He went where help was needed, as can be seen from the second table. Also in Arabia and Libya there is a trace of Umbertidese blood, following the presence of members who were in those countries for work reasons. At this point I would like to clarify the meaning of a terminology, already used several times. I have repeatedly used expressions such as "avisini umbertidesi", "donatori umbertidesi" and so on. I would like to clarify that these are synthetic lexical conveniences to indicate all the members who refer to the Umbertide section. I am well aware that some donors belong to other municipalities (Montone, Perugia, Lisciano Niccone) and I apologize to them, but I am sure they will understand the technical reasons of linguistics and synthesis to which the writer is subjected. The AVIS COURIER n. 3 of April / May 1995, reports the report given by Dr. Anna Lucia Massaro, Director of the AVIS Center in Turin, in a congress held in Rome at the end of April. The report is full of statistics. I use two that are very significant and show the most recent data on donations and donors. The numbers in the first row indicate the resident population with the relative percentage of the total national population. The numbers in the second row indicate the donations made and the relative percentages with respect to the total of them. The data in the third row indicate the ratio of donations for every 1000 units of the resident population. If the same method were applied to the Umbertide section, in 1994 (1385 donations) the index would be higher than 90. In the following table we can see the increase in the number of donors in the last three years and the tripling of those who have chosen the donation in apheresis. At the same time, a decline in the donation rate of the U.15 is clear. The increase in volunteers has, in any case, compensated for the slight reduction in the donation index which is very important in itself, but not to the point of preferring an increase in the solidarity of a few, instead of its extension to the greatest possible number of citizens. THE COLLABORATORS There are few moments of pause in the life of the section. As soon as you have finished working for one initiative, you begin to trade for the next one. Alongside the statutory obligations, which absorb a considerable amount of time, some demanding and consolidated appointments are now recurring. The donor's dinner, the social outing, the bike ride, the charity fishing and the newspaper are the main ones. Behind each of these deadlines, the purposes of which will be dealt with in another chapter, there is an intense and little-known work, which is well known. The members of the Board of Directors, or rather some of them, dedicate themselves almost full time and with the utmost self-denial to Avis volunteer work, but in some circumstances even their availability would not be sufficient to meet the needs, if not there was the precious contribution of the collaborators. Some of them are former donors, now emeritus, others have never been and contribute with the work performed to the needs of the Sodality. The dinner and the excursion require presence, availability and patience in collecting the memberships, registering the wishes of the participants about the group of friends not to be separated at the table or on the bus, dealing with the restaurant manager or the travel agency. Sometimes it is difficult to please everyone, since we are in the order of a few hundred people (dinner always records 5/600, the trip a little less) and some discontent escapes us, with relative protest. By now in the section we are used to and endure everything with great stoicism, even if some futility could be done without. The bike ride requires a stressful and concentrated effort in a few hours in the preparation of the refreshment baskets, in the assembly of the stand, in the preparation of the lunch at the Pineta Ranieri and so on. Also in this case it is good to keep an eye on some figures to understand the quality and quantity of the work. Participants are never less than seven hundred and the pasta being cooked exceeds two quintals. Charity fishing is the most laborious initiative. It begins in July with the mischief of 20,000 tickets and their housing in the broth ring. We continue with the procurement of prizes and the setting up of the structure to arrive at the most visible phase which consists of the drawing and delivery of prizes. The need for collaboration is essential to be attentive to requests during fishing, to supply the various sectors with prizes and to organize night surveillance shifts. The stand, which was originally set up more in the center, between the Collegiata and the Coletti Bar, has recently been moved (1986) to the square adjacent to the headquarters, precisely for reasons of functionality and speed of service. Even the newspaper, punctual to the scheduled deadlines, requires a lot of work. Drafting and printing are the simplest and most immediate tasks. Then there is the photocopy reproduction (1700 copies every two months and 7000 at Christmas), the folding, the set of addresses, the sorting by destination. I wanted to recall only some of the Avisian obligations and I apologize for having provided a sterile and boring list, but it was necessary to solicit, once again, a wider collaboration also on the part of those who have never been donors and want to be useful, in somehow, for AVIS. Fortunately, there has been no shortage of collaborators in the history of the section and they are the sixteen listed in the following table. At present, there are only 11 assets left, as can be seen. Among these, some offer occasional but timely and important services, such as the assembly of the various stands, others are present on a daily basis and are involved in all sectors. The problem of staff mobility, at AVIS, has been solved for some time and without grumbling. Lisetti Renato belongs to the latter category. He is always present and knows how to do everything, with unique precision and tenacity. He hasn't built eyes on fleas yet, just because he hasn't had a chance. In the Extraordinary Assembly of Christmas 1994 he was awarded the Silver Drop. LEISURE The focus on free time and the proactive role of related initiatives were a constant feature of the section. The logic that inspired this orientation is not competitive with other subjects, more qualified for similar tasks, nor the post-working one to satisfy the needs of the workers. Much more simply, it is the natural and necessary logic of an Association that intends to achieve its objectives. The first is that of the diffusion of nature and tasks. It is a propaganda requirement. In the society of commercials, one can easily grasp the importance of this aspect, which is not linked to the marketing of a visible and perhaps even useful product, which recurs on its own, but to a choice that is not very visible and which, referring to the solidarity, could be considered a problem of others, like the altruist of jokes who, engaged in powerful reflections on the evils of the time, bitterly concluded: "How selfish the world is! Everyone thinks of himself, only I think of me". In truth, the diffusion of the associative image, its indispensability and its tasks should also take place for other channels with greater audiens, such as those of a state television, paid for with the contribution of all. But in a corporate conception of life, based on costs and revenues, there is not much room for these utopias and you have to fend for yourself. For a very short period and on the initiative of the national AVIS, a beautiful and effective television advertisement on Avis volunteering was broadcast. Then nothing more. But AVIS is also the Association of Hope that confidently awaits some Minister of Health who, counting in hand, may realize that donors, after all, are also an investment. In the meantime, we do it alone, organizing those moments of associative life that best respond to the characteristics and requests of a specific territory and witnessing the practice of essential volunteering. The second is connected to the typical needs of each association, which must also look internally and prepare opportunities for meeting between its members and their respective families to strengthen the association ties. The characteristics of our reality have meant that this aspect has never been pursued in a restricted way and the initiatives of the section have always been proposed and open to all, so as not to give the impression of a reserved club. In general, the obsessive attention to the internal dynamics of any type of group, provided that it strengthens its vitality, always goes to the detriment of the consensus and sympathies that must be sought from the outside. Finally, some initiatives aim at creating economic resources, even if modest and marginal, which are essential for normal functioning. This key has already been touched previously. Rather than complaining about the delays of others or pitying around paralyzing difficulties, Avisian creativity has always placed itself in the forefront to overcome arduous obstacles and widespread institutional negligence, finding, among the people, consensus and concrete answers to its appeals. Consistently with the associative nature, which lives to give, it has aimed at its statutory duties, rather than at the rights sanctioned by complementary agreements, albeit important, which it is to be hoped that they will be respected with greater punctuality. Thus, since its inception, the section has organized parties, very fashionable at the time, today a little less so that they have gone into disuse, charity fishing and more. The fruits have been seen and are seen. Not only was the headquarters built, but the vitality of the Sodality is in good health. The party Leafing through the old archive papers gives off a subtle smooth smell. The notes chase each other quickly and the dance steps of the fans embroidering the floor can be glimpsed. Going into more detail, there are those who really dance and those who, arranging themselves as best they can, just squeeze. All around, attentive and inquiring eyes, they analyze clothes and attitudes, commenting on the party. It is the show within the show. The AVIS series of balls is quite long. To be exact, it has 23 editions. Begun in 1964, it was repeated until 1986 with punctual regularity. Inside, two phases can be distinguished: that of TEACINE and that of the PEOPLE'S HOUSE. There are also attempts to replicate Pierantonio (three veglioni) and Montone (one), but they don't last long. Clear sign that organizational investment did not find adequate participation responses. The Teacine phase runs from 1964 to 1979. For the first three years (1964/66), the archive is not of great support. The dates of the parties, the indication of the orchestras and the number of participants are missing. In a separate note, as well as on the relative report, the 1965 collection, equal to 412,000 lire, is reported. More details can be found in subsequent editions. In 1967 the party took place on February 4 with the presence of the singer Maria Doris, accompanied by the pianist Cappellari and the I RILEVATI orchestra. The animator of the party was Tonj Bani who successfully entertained the 420 people present at the Teacine. The two years that followed saw the same PINUCCIO orchestra and the MORITATs and the women's ensemble LE NAIADI on stage. The attendances on February 3, 1968 were 520, while those of January 25 of the following year dropped to 451. In 1970 the participation registered a further decline, despite the presence of a famous orchestra LA BANDA DI DON BACKY with the singer Bruna Lelli. Only 380 were present on that evening of January 24th. The following four years marks the era of LOS TROVADORES with the singer Eliana. It seems that the musical group has received a good approval rating to be reconfirmed four times. Participation also remained high, constant and loyal: 430 present on 1/30/71, 420 on 1/22/72, 480 on 1/7/27 and 575 on 2/23/74. On 3 March 1973 Pierantonio also made his debut with his first AVIS party. Things did not go badly. 410 people participated, cheered by the complex THE NEW FORMULA. Even two years later (8/2/75), the second Pierantoniese edition held up enough with 320 participants. But the following year (21/2/76) the organizers were disappointed by the 190 appearances alone. And the experience closed. Pierantonio ends and Montone tries. On 11 January 1975, there was the only Montonese edition of the AVIS party with 215 admissions. Too few. It is right to give blood for others, but not in all fields! The twelfth Umbertide edition took place on January 25, 1975, with the MARIOTTINI orchestra and 430 participants. The same orchestra will also be present in the 14th with 520 participants, on January 29, 1977. In the interlude (29/1/76) the Teacine hosted a complex with an interesting and fashionable name, the LIVING CROUP, which attracted 510 people. The series of the first phase is closed by the I MONELLI orchestra which on 28/1/78 and 10/2/79 was followed by 520 and 410 people respectively. By now the construction of the Casa del Popolo was finished. For the very young who will read these pages in a few years and will no longer find the building, I remember that it stood next to the Sports Hall, in the area currently occupied by the COOP, whose needs have left the people homeless. The AVIS section aims at a qualitative leap in the organization of the party. The new structure not only offered much larger spaces than those of the Teacine, but also allowed the possibility of restaurant service. From 1980 onwards there will be a party with dinner (based on fish). The mechanism worked, if we take into account that on March 15, 1980 the participants in the party were 2,070. Even if the call of the Goggi sisters, who animated the evening, was decisive, it alone does not explain the participatory success. The novelty factor also played a role. But it was the beginning of the end. Subsequent editions, prepared with care, maximum commitment and with the hiring of famous names, recorded a constant and worrying decline in attendance. On 17/2/81 with Ivan Graziani, there are 1,645 participants. The following year (13/2/82), with the PIERONI orchestra only 1,030 presences. By now the trend was downward and in the following years there will be a three-digit participation: 930 on 29/1/83, 759 on 4/2/84, 926 on 2/2/85 and 525 on 2/2 / 86. The preparation work was enormous and in remittance, despite the contribution of a massive volunteer, and it was appropriate to suspend the initiative. The last party, which closed the series and the story, was the 23rd, that of February 2, 1986. Tastes were evolving, nightclubs were in full swing, and television was offering competing shows. In this overall picture, the younger Avis people preferred other haunts and the older ones were getting a taste for slippers. The donor's dinner The dance ended, but dinner remained. From 1988 onwards, AVIS organizes this moment of meeting between donors, their families and friends, at carnival, during the month of February each year. It is a real opportunity to be together and in solidarity, without other reasons. From an economic point of view, in consideration of the symbolic price charged to donors, it represents a significant burden for the section's finances. The circumstance always attracts many people, equal to that recorded in the last party, between 500 and 600 people. Such participation posed various organizational problems and required adequate choice solutions, such as the search for a large restaurant, a not too sophisticated menu, quick table service and an affordable price. For now these characteristics have been found at FARO ROSSO, the Montanaldo restaurant in the municipality of Gubbio, which has always given satisfactory answers to the needs represented. The only problem is the distance from Umbertide, but there seem to be no better alternatives and once a year, it is worth facing the inconvenience. Charity fishing The first days of September are those in which the Umbertidese community finds itself, or at least found itself in the recent past, to rediscover its roots. In that period is the Nativity of the Madonna (8 September), Patroness of the town, and around the religious event, recreational and recreational events with an ancient popular flavor have flourished which, framing the Sacred Rites, re-propose ancestral uses. This happens almost everywhere on the feast of the patron saint. But even this dimension of authenticity is disappearing, under the banner of a mercantile and false triduum, represented by the Fairs which, moreover, give abundant signs of tiredness and decline. Among the customs that have remained there is only the bingo in the square and the charity fishing of AVIS, one of the first initiatives of the section that has happily survived since 1964. Its location among the celebratory events of the patron saint wanted to represent a modest but significant contribution of presence and involvement and, in a market season, it remains the only beneficial opportunity. And if luck helps you win something you like, so much the better. AVIS does not skimp in the selection of prizes to be offered, as the history of recent years can confirm. Thus charity fishing is becoming one of the few remaining traditions, despite its youthful thirty years of life. When the location of the structure was changed, from the Collegiata to the square adjacent to the headquarters (1986), serious fears emerged because the Fairs had moved the epicenter of the turnout to another part of the city, while moving further away from the transit area. . The fears turned out to be unfounded and the request and the exhaustion of tickets, with the same timeliness of the past, give hope that the Avisina proposal has become commonplace. It is a hope on which the AVIS counts a lot because fishing represents a source of contribution, even if limited, directed towards the self-financing of the section. The calculation is transparent and within everyone's reach. There are 20,000 tickets and knowing the price, you can establish the collection. According to the provisions in force on the subject and the practice generously followed, the value of the prizes is always much higher than half of the planned revenues. In each edition the net profit exists only thanks to the contribution, never lacking, of a significant number of volunteers and commendable quality. The contribution of the very young of both sexes is very significant, who, instead of going up and down the fairs, lend a hand in the distribution of prizes. The cycling walk The penultimate Sunday of June each year (the last, in case of bad weather), is dedicated to cycling. The event is truly spectacular and sees hundreds of cyclists with the AVIS insignia wind their way along the established route. There is everything: men, women, young people and boys. There are entire families who face the path according to the available energy. It's a walk, not a race, and there are no winners or losers. The organization is accurate with lots of relays, security staff, checkpoints and refreshment points. The vehicles that collect the participants in crisis and the medical ambulance close the colorful serpentine, as in all competitions worthy of respect. The itineraries, in general, are those of the city center and the outskirts of the Municipality for a length of about 20/30 kilometers. Twice the walk crossed its own territorial limits, in 1980 and 1982. In the first case it started from Città di Castello, after having mobilized the Umbrian Central, which transferred participants and bicycles to the Tifernate capital. In the second, the departure took place from Gubbio where the cyclists were transported by bus and the two wheels aboard the four trucks. The event is a good opportunity to make the presence of AVIS visible in the area and to stimulate curiosity and interest, but it is also a valid associative moment that enlivens interpersonal relationships between those who participate in it. The first moment of fatigue is followed by that of relaxation represented by the lunch at the Pineta Ranieri, set up by the AVIS volunteers, and by the musical show in the afternoon. The participation, always high, indicates the goodness of the choice and the growing satisfaction contributes to making the event an Avisian tradition, which has been repeated since 1979. Amateur sports groups Under the banner of AVIS, amateur sports groups have arisen which have contributed to spreading the associative image and its role. The sporting commitment, especially at the level of amateurs, is linked to passion, a little sacrifice and above all to age. When any of these requirements fade, the disintegration of the group is the natural consequence. This is what happened for the AVIS PODISTIC GROUP , founded in 1980 with excellent intentions and interesting initiatives. It remained active only for three years and from 25 April 1982 all traces disappeared. In 1993 the Umbertide AVIS CYCLING GROUP was born, equipped with a regular and lively sporty outfit with the colors and the symbol of the Association and animated by a great desire to do. The Board of Directors has deliberated the initiative with pleasure, with the hope that its presence and its activity will have long and happy results. The social outing The organization of trips for recreational purposes is quite common in all associations. In that of Avis the attention to free time is even greater because it is an important vehicle for the dissemination of voluntary blood work and propaganda, urged on several occasions by the statutory and regulatory provisions. In Umbertide the reminder was collected and also the trips, together with all the other initiatives previously described, became part of the associative practice. The social outing has the charm of escape, of curiosity for a new experience, of cultural and human interest in aspects of the world that are not directly known or not very usual in the flow of our existence. Furthermore, "traveling" realizes a natural necessity in every phase of life and in every epoch of history (Ulysses) because it interprets one of the intimate characteristics of the human soul, the desire for discovery and the thirst for knowledge. A little for these reasons and a little because the AVIS trip has entered the deadlines to be met, the request is always numerous and the participation is high. In some cases, and when it was possible, contact was made with other avisine sections of the areas visited, with the possibility of reciprocal exchange, which allowed a useful and constructive comparison of ideas and experiences. Even the trip, like the other events, is a familiar attraction and it is not always easy to reconcile the individual costs with their global impact within a nucleus that intends to participate fully. In the Extraordinary Christmas Assembly this aspect is the most debated to make the proposed itineraries compatible with the expected costs. The history of Avisi travels has already turned 125 and has allowed the numerous groups of participants to visit interesting cities, landscapes and monuments of our country, with a few trips abroad, as can be seen in the summary table below. All the AVIS trips, with the exception of the first two in 1970, were organized by the TUTTOTURISMO agency of Perugia with competence, high professionalism and general satisfaction of the participants. The Avisini and the Pope The trip that seventy Avisini from Umberto I made to Rome on Saturday 26 April 1980 was quite different. On that day the Holy Father, Pope John Paul II, had set a special audience reserved for blood donors, in the Nervi room. The section did not desert the appointment. I apologize to those who consider it inappropriate to mention the event in this chapter, but the others lent themselves even less. On the other hand, free time is also a dimension of the spirit. AVIS AND THE SCHOOL Blood volunteering is not a missionary choice, but a civic commitment of solidarity on which, moreover, every form of social coexistence is based. It therefore affects the level of culture and education and directly calls into question the school, as a privileged place in which educational processes develop in an intentional and systematic way. The same Statute of AVIS, in article 6, explicitly reaffirms this concept and recurring agreements between the National Headquarters and the Minister of Public Education have planned various interventions in the school field. In Umbertide, the section was very prompt in collecting the proposal and schools of all levels have always offered the maximum availability and the widest collaboration. The first initiative addressed to the world of schools took place in 1961, by the Organizing Committee. The section wasn't there yet. Little is known about this "competition", the traces of which appear on a simple sheet of notes (the outline of the intervention of Doctor Mariano Migliorati at the founding Assembly of the section, June 12, 1963) and any type of material produced is missing. More documentation we will have later. It should be noted that the meeting with the school takes place on two tracks with different but convergent and complementary contents. In the first there is the direct relationship with the students, held by some members of the Board and above all by the Health Director, Dr. Giancarlo Bruni, to illustrate the association's purposes and the specific problems of blood. It is a fertile and constructive moment in which the interventions of the pupils enrich and personalize the debate, while building, on the inner level, the conviction of a noble and attractive objective to be kept in mind at the right time. The youthful age, charged with rigorous and disinterested ideal impulses, lends itself very much to a proposal of altruism and self-denial. And there is a sequel. It has been the practice of the section, for many years now, to send wishes for the completion of the eighteenth year of age, to all the young people of the Municipality. The letter, one of the first or the only one, that the recipients find in their hands on the day they come of age, also refreshes the seed thrown in the school desks. It is a kind and very fruitful initiative, if only in terms of human contact. The second consists in announcing drawing competitions or free compositions that stimulate youth creativity and end with the award ceremony for the best works. This sector is well cared for by the district management and in particular by its President, Tognellini Rolando, who dedicates a lot of energy and a lot of passion to it. In truth, Tognellini is also dynamic in the relations of the section (of which he is Vice President) with the outside world, both institutional and private. The second competition was launched in 1966. It was a free composition and there was a large participation. The works judged the best and awarded were those of Riccardini Graziella (class 3 ° B Middle School "F. Mavarelli"), of Boldrini Maura (class 1 ° B Middle School "G. Pascoli") and of Galeati Rita (class 4th Institute Professional for Commerce). It is a pleasure, after many years, to rediscover a piece of history from the past and I propose the compositions in the full text. “Why was this Association born? Why is everything done to spread it among men? These are questions that can only be answered: love of neighbor. By giving only a little of our blood we can give life back to a person who, although unknown, belongs to us because he is part of a large family: Humanity ". Boldrini Maura, 1st B “Who are you illustrious unknown, creator of AVIS? I don't know your name, but I can appreciate you, understanding how important the work that blood donors do. Where and how do you get the idea of such a beneficial initiative for humanity? Perhaps they were scenes of pain similar to those that inspired the well-deserving French officer who, on the fields of San Martino and Solferino, had the idea of founding that noble institution called the Red Cross? Now the white ambulances arrive in the most distant countries of the world to bring help to those who suffer, defying dangers of all kinds. Alongside this work, I place that of blood donors because they too, committed to the defense of human life, run right where life struggles most severely with death. I admire them and, if I can, I will also want to imitate them. It will be the best way to give thanks to God for making me strong. Bloodless bodies abandoned on white hospital beds pass before the eyes of my imagination, I imagine people anxious at those beds and I can therefore understand what satisfaction the blood donor will feel, if he helps to revive those who were about to die. I read in my anthology a phrase that made me meditate: "There is no more sacred good than life" and therefore I feel that it is admirable who runs where life launches its desperate SOS. At the ceremony held in my country in honor of blood donors, next Sunday, I would like all citizens to participate united in a true spirit of brotherhood and understanding for the great pains that illnesses and serious road accidents cause, so that we can all be hit ". Riccardini Graziella, 3rd B “There are particular moments in life when we need to feel close to our neighbor to hear the immeasurable value of a word of comfort, a good gesture, a smile. It is amazing, however, how easily we forget who has lent us a hand. It makes us wonder if altruism still exists or if it was the invention of some unrepentant idealist. No, altruism still exists because there are those who believe in love, in generosity, in neighbor. Our fault, if we can define it that way, is to live in the world, isolated from the world. We are used to looking at what happens outside our family, our environment, with a detached, foreign eye, participating only for pure exteriority in universal pain, without reflecting that there is someone who needs a word, of affection. Perhaps the fault lies with modern society, the frenetic evolution of progress, the intense rhythm with which the hours of our day, always full, are marked. But let's be honest, it's our fault too. We do not seek, as usual, a justification; we admit that we have dried up, that we have become socialists, opportunists, selfish and have forgotten the just, the true human values; we have distanced ourselves from those who suffer without thinking of finding ourselves at any moment in a hospital ward, looking for a friendly look, even just with our eyes, a reassuring and understanding smile. We expect a lot from others, but what do we do? Looking at the question from a religious point of view, the solution is at hand. “Love your neighbor as yourself”; the rest is peaceful. We know this too, but let's not lift a finger. When we are scrupulous we look around in search of a good work to do, but we never find it, perhaps because when something is uncomfortable, we prefer not to see it. This is reality, the worst side of reality, but fortunately there are still those who feel human pain and sacrifice themselves to relieve it. Is it possible to give back to a mother her own dying child, to save a life, a family? Yes, it would be enough for us to feel more human, more alive, more real. It would be enough for us to strengthen those bonds of brotherly love that unite us Christianly and make us feel a part of humanity. Have we ever thought about donating our blood, a part of ourselves to those who need it? Maybe yes, but we considered it almost absurd, beautiful, so beautiful as to make us feel heroes, but absurd. We have all experienced the anguish, the fear of losing a loved one. Amidst tears, with despair in the heart, it is too spontaneous to say to the Lord: "I offer you my life in exchange for his". This is not absurd, it is love, love that knows no selfish limits and repressed generosity, it is love in the evangelical sense of the word. We all have a heart, perhaps we don't listen to it often, because we could find what we are anxiously looking for all our life in a simple, very sweet smile of gratitude from an unknown person. Galeati Rita, 4th Institute Prof. There were numerous similar initiatives in the following years. The last was from 1995 on the theme AVIS, LIFE and the language chosen by the participants was that of drawing. The jury found itself in the embarrassment of having to choose one, because all the works presented were of a high level, both in the expressive technique and in the quality of the contents. The award ceremony took place in solemn form in the "S. Francesco" room on June 3, 1995 and one of the first prizes was awarded to Marcucci Maura (3rd class "F. Mavarelli" Middle School in Pierantonio) for the drawing that is reproduced . The world of school, a privileged sector of the Avisian attention, did not prevent a broader view and in 1967, a poetry competition was launched open to all on the theme MY VALLEY: MEN AND THINGS, PROBLEMS AND ASPIRATIONS. The copy of the announcement, due to the interest and participation it obtained, is reproduced here and the three poems that obtained the first prize ex aequo are also reported. They are by Roselletti Achille , Tosti Mario and Cancian Antonio . THE ABSENT Sooner or later it happens to everyone to wage the last battle of life, the one that no one has ever won. Those who have supplied considerable troops to the battles of others and after a generous militancy, suddenly misses the call, also undergoes this ineluctable fate. It is difficult to closely follow the personal stories of each donor. The number is high, the places of residence are more disparate, the sectional presence of volunteers employed only in the afternoon. It happens, then, that some mournful event becomes known in untimely circumstances to externalize a formal act of condolence. The subject has been debated for a long time and for some time, in the various Directors. On the one hand, systematic silence, even if innocent for failure to communicate the event, could appear as a symptom of indifference and insensitivity, inconsistent with the associative purposes. On the other hand, external participation in pain only in the cases of which we know, could be interpreted as discriminatory attention for some particular partner. The prevailing and practiced orientation is that of not resorting to any formalities, in cases of mourning involving the shareholders. But the Avisian family is not insensitive to a disappearance that also affects it directly and wanted to make a more lasting gesture than a simple crown of flowers. In the city cemetery a stone was erected, three travertine steles of unequal height, the DONOR'S CLIP . The names of the emeritus and active members, of the collaborators and of the founder who left us, are all there, engraved in bronze, and exposed to gratitude and memory. The list is already long and frames many other names of that strip of land where love and hatred, vainglory and humility, generosity and avarice end. The cippus, in its simplicity and harmonious composure, wants to be, in death, the emblem of the life of the avisino. It was conceived and edited by the architect Bazzarri Luciano . The inauguration took place in a solemn form on June 24, 1990. Many will remember that on that Sunday the cycling tour took place, which started after Mass at the Cemetery and the short inaugural ceremony, in the presence of numerous participants already in their starting clothes. . COMMIATO And the story continues. It belongs less and less to the elderly person who writes it and more and more to the young person who reads it. It is natural that this is the case, to reaffirm life with its burdensome commitments, sacrifices, pains, joys and hopes. It is a bit like the physical law of ice formation in the polar cold, which if they were not lighter than the underlying liquid that originates them, they would settle without the possibility of life on earth. The founders of AVIS found those who supported them and then replaced them in their daily organizational work; the first donors were joined by a large group of young people who grabbed the baton to pass it on to others, in the interminable relay race of solidarity. This will also be the case in the future, because the choice of volunteering from Avis has become connatural to the people of Umbria, testifying to the solid roots of human sensitivity and high civicism, not yet completely contaminated by the contemporary categories of prevailing individualism. In giving this modest work to the press, I feel the duty to thank those who gave me a hand: Luigi Gambucc who, with solicitude and concern, provided me with all the archive data, checking them with scrupulous diligence and with the competence of those who the history of AVIS has it in mind. Without his help, these pages would have come to light much later. So much gratitude also to the Publisher, the GESP of Città di Castello and to its owner Paoloni Sandro who, as a good Avisino, wanted to contribute with the utmost generosity by offering the section the free printing of the book, with the participation of Mrs. Franchi Roberta and the Mr. Ascani Ascanio. But I have to thank, in particular, all the people from Umberto I whose hidden and silent effort was a high teaching for me, which made mine lighter. Precisely to contribute, in a minimal part, to the concrete testimony of solidarity that is usually practiced at AVIS, I assign all the copyrights inherent in this volume, except for the right to modify its content, to the AVIS SECTION OF UBERTIDE which, with the offers obtained from its diffusion, it will be able to better meet the economic needs of its many initiatives. I donatori

Historical characters from the nineteenth century to antiquity In this subsection we propose the biographies of some characters who played a role in the history of the city in the period from the nineteenth century to antiquity. Pietro Burelli Domenico Bruni Zelmirina Agnolucci Filippo Alberti Ernesto Freguglia Giuseppe Savelli Antonio Guerrini Annibale Mariotti Pietro G. Petrogalli Francesco Mavarelli San Savino di Fratta Alessandro Magi Spinetti Giuliano Bovicelli Luigi Vibi I Cibo di Fratta Cesare Bartolelli - Cristoforo Petrogalli Giovanni Tommaso Pao(u)lucci Fabrizio Stella Giovan Battista Spoletini Orazio Mancini La famiglia Spunta di Fratta Filippo e Giovan Battista Fracassini Giovanni Mauri Bernardino Sermigni Giovanni Pachino - Cintio Paulucci Lavinio Magi - P. Paolo Cristiani Cherubino Martelli - Felice Remeri La famiglia Soli - Sante Pellicciari Costantino Magi - Angelo Martinelli - Francesco Spinetti Bernardino Magi - Muzio Flori Lodovico Flori Massimo Martinelli Leopoldo Grilli Pietro Burelli Pietro Burelli Military engineer in the service of the Serenissima curated by Fabio Mariotti Pietro Burelli, son of Tommaso "distinguished scholar", was born in Fratta in 1584. From a very young age he showed great talent and a marked aptitude for mathematical sciences. The historian Antonio Guerini, in his work " History of the land of Fratta, now Umbertide - 1883 " says that " civil and military architecture was preferably his main passion in order to open up a more splendid field on the streets of honor, he gave himself totally to a career in arms ". For this he went to Spain, then engaged in a bloody war with the Turks, where he reached the rank of captain. He became particularly adept at building countryside fortifications that resisted the assault of cavalry and infantry. For this reason, when he returned to Italy, he put himself at the service of the Most Serene Venetian Republic, recommended to Doge Niccolò Donatuti by the General Superintendent in Terra Ferma Benedetto Moro, with a very rich commission of 800 scudi a year. In this on activity in the Veneto region he undertook the restoration and restructuring of the bastions of Palmanova and the grandiose project of the fortress of Verona, a city in which, surprised by a serious illness, he died in 1642 at the age of 58. Article published in the December 2019 issue of " Local Information ". Il 18 dicembre 1960, 59 anni fa, l’amministrazione comunale intitolò una via a Pietro Burelli. Chi era questo personaggio ritenuto degno del titolo di una via e quanti umbertidesi oggi conoscono la sua storia? Per approfondire la storia di Pietro Burelli, di cui trattò nella sua opera il Guerini, è stata fondamentale la ricerca storica del Col. Pilota dott. Giuseppe Cozzari presso l’archivio storico della città di Venezia, con la preziosa collaborazione dello storico Renato Codovini per la trascizione dei testi. Oltre ad alcune lettere che testimoniano l’iter per l’assunzione del nostro antenato come ingegnere militare esperto in fortificazioni difensive, il Cozzari ha ritrovato anche un manoscritto originale che illustra in maniera dettagliata, anche con precise immagini, il funzionamento di una nuova arma da guerra, il “Trabucco”, ideata dal Burelli. Sources: Fabio Mariotti. The documentation was found in the historical archive of the Municipality of Venice by Dr. Giuseppe Cozzari and transcribed from the vernacular by the historian Renato Codovini. DOMENICO BRUNI Great opera singer curated by Fabio Mariotti Domenico Bruni He was born in Fratta on February 28, 1758, to Pietro, the master mason, and Francesca Brischi. Already at an early age he showed a good disposition to singing. Domenico's father belonged to the Compagnia della S. Croce. It is therefore probable that the young man learned the first rudiments of music in the school of the Company, starting from 1764. Bruni's debut at Fratta, with a soprano voice, is in 1772, at the age of 14. At the age of 15, according to a cruel custom of that time, often adopted by poor families who had children particularly gifted in singing, Domenico was emasculated. This made him one of the most important emasculated singers of the time. His first performance in a large theater, the Alibert in Rome, dates back to 1776. From 1780 to 1787 he sang in some of the most important Italian theaters and his fame began to cross national borders. In 1787 he was called to the court of Catherine II of Russia, where he arrived after a long and adventurous journey and where he remained until 1790. The most important years of his career go from 1791 to 1796. In this period he was also called to London where he performed in 1793. The debut as a professional singer in his city is dated 8 September 1795, during the Feast of the Madonna della Reggia, probably in the Collegiate Church. After his career, Bruni returned in 1797 to Fratta where, in consideration of the fame he had achieved and despite the opposition of the rich local notables who did not want to accept him among themselves, he was elected Prior of the Confraternity of San Bernardino. This important task was entrusted to him again from 1805 to 1807, while in 1804 and from 1816 to 1818 he was appointed Depositary (today we would say cashier) of the same Confraternity. Relations with the Compagnia della SS Concezione date back to 1795. In 1814 he was elected Prior, while in 1812 and from 1819 to 1821, the year of his death, he was appointed Depositary. Bruni's deep ties with the local Confraternities are also demonstrated by the will, where he asked for his body to be buried in the church of San Bernardino and left an annual legacy of 10 scudi to the Confraternity. Domenico Bruni's name is also inextricably linked to the Theater. On 4 August 1808, in fact, he was appointed president of the Accademia dei Riuniti. During that meeting the municipality was asked the possibility of using the entire building where the theater room was located in order to create a real theater, what is still called Teatro dei Riuniti, whose works were completed in 1814. . Sources: - Nicola Lucarelli: "Domenico Bruni (1758 - 1821) - Biography of an emasculated singer" - Ed. Municipality of Umbertide, 1992 - Text published in the "Calendar of Umbertide 1998" - Ed. Municipality of Umbertide, 1998 Zelmirina Agnolucci ZELMIRINA AGNOLUCCI Popular opera singer SINGING FOR THE Czar OF RUSSIA NICHOLAS II by Amedeo Massetti She bore the name of her grandmother, Zelmirina, her maternal grandmother Zelmira Savelli (1) , wife of Gabriele Santini, whose homonymous grandson would become internationally renowned conductor (2) . The mother, Maria Santini, fifth of the seven children of Gabriele and Zelmira, born in 1848 (3) , had married Francesco Agnolucci, 1851, great young violinist director, from 1871 to 1875, of the school municipal music of Umbertide, teacher of many children. He will also conduct, highly esteemed, many philharmonic and musical bands in various cities of Italy. Zelmirina was born in Umbertide in 1879. She had breathed the notes since she was a child listening to the sweet melodies played by her father in their large country house. She had studied singing, graduating as a soprano with Pietro Mascagni at the “G. Rossini ”in Pesaro (4) , where he went twice a month in a horse-drawn carriage. The first performance in the theater in Umbertide We find it for the first time on the evening of April 4, 1898 at the “Teatro dei Signori Riuniti” in a show of some importance that deserved the honors of the chronicles (5). Everything was organized "for the benefit of the sightless singer Emilia Giannuzzi", passing through Umbertide, who performed in front of a large and passionate audience. The theater, in fact, despite the rain for many days and the weather discouraging the evening outings, was crowded, "the boxes overflowed with representatives of the gentle sex". This in spite of a humid Lent evening, a Monday that began Holy Week. But Giannuzzi was a good soprano and they sang next to her the Umbertidesi Zelmirina Agnolucci, occasionally in the role of contralto, “very admired”, and Giulio Santini, known and appreciated baritone (6). A great local musician, Massimo Martinelli, director of the Municipal Concert, always present in important musical events, accompanied them on the piano. Zelmirina had performed several times at the Morlacchi theater in Perugia as a dramatic soprano, starting a demanding career that had already given her various satisfactions (7). He then began his artistic career by singing in companies of national level. His Mimì in the "Bohème" at the prestigious "Coccia" of Novara (8) during the 1899 Carnival (9) is memorable and the interpretation, in the same theater, of the "Devil's Trill" by Stanislao Falchi (10), in the splendid stage costumes. The tour in Russia But the first major tour of his life was the one he undertook at the beginning of the twentieth century: he would take her to St. Petersburg, to sing for Tsar Nicholas II. The girl, twenty-one, she left with her father Francesco Agnolucci, after signing a contract with the impresario for exhibitions in various cities on the long way to the capital of the Russian empire. We find her in this adventurous artistic journey, in March 1900, at the Grand Theater of Vilna (11) where he sings in the "Cavalleria Rusticana" together with Luisa De Sirianna, Carolina Zawner, Federico Percopo (tenor), Giuseppe Pimazzoni and Ignazio Pompa (12). The next stop was the Theater Riga National (13), in May 1900, together with Ernesto Pettinari and again with the baritone Ignazio Pompa (14). Great success at the Imperial Theater in St. Petersburg But the most important performance was at the Imperial Theater in St. Petersburg, where Tsar Nicholas II sat in the audience (15). It was a great success and the young soprano impressed with her skill and beauty Wassili Elisiewch Lithewsky, noble councilor of the Tsar (galavà), governor of Vitebsk, now a city of Belarus. During Zelmira's stay in St. Petersburg there was an intense acquaintance between the two which resulted in the Russian noble's request for marriage. The girl's father agreed, and had to pay the entrepreneur a large sum to compensate for the commitments that Zelmira would have to fulfill upon his return. Marriage with the Russian nobleman Wassili E. Lithewsky The wedding was celebrated in Vitebsk after not a few difficulties: Wassili even spent a few days locked up in a military fortress for not having asked the Tsar for permission to marry, as was prescribed for officers; but the impetus to marry the young soprano had made him forget every procedure of his role. Wassili was born in Ekaterinodar (16), on the Black Sea, in 1860 and was almost twenty years older than the girl, a charismatic and charming forty-year-old. The couple settled in the city ruled by their husband and began a happy life together. Two children were born soon: Boris in 1901 and Elena in 1904. Wassili was so in love that he built a theater in their sumptuous palace in Vitebsk where his wife put on shows in which she performed in the singing roles. A large adjoining room housed a specimen of every musical instrument existing at the time: incomparable, precious furnishings, desired by Wassili, by his love for Zelmira, by his artistic sensitivity (17). Francesco Agnolucci stayed for some time in Russia close to his daughter, then returned to Italy. He died in 1917 in his house in Rio, on the border between the towns of Montone and Umbertide, at the age of 66 (18). The return to Italy with her husband and two children In 1914 Zelmirina left with Wassili for Italy to introduce her mother Maria and the Agnolucci family to her husband and children. The Lithewskys stayed for a few months but Wassili, after the First World War broke out, being an official of the Tsar, had to return to Russia; his wife and children remained at home; Boris and Elena completed their studies in Italy. "Stay here" - Wassili had told them - "when the war ends I will come and pick you up". After the Russian Revolution, Wassili was forced into hiding But in October 1917, in the middle of the world conflict, the Bolshevik revolution broke out in Russia. All classes of the nobility were legally abolished. Wassili had to hide to escape arrest and was forced to live in hiding for a long time, aided by his own farmers. Her relatives had been killed with summary executions, without trial, including the two sisters Barbara and Alessandra, schoolmates of Elena of Montenegro, who later became the wife of Vittorio Emanuele III of Savoy. Only nine years later, in November 1926, "General Lithewsky" managed to get in touch with the Italian foreign ministry through official diplomatic channels. Through the consulate in Odessa, in present day Ukraine, he obtained a passport with relative visa; for a moment the darkness seemed to clear but the operation was not successful and the former Tsar's officer had to go back into hiding. In 1929 he managed to send his family a photo of him, addressed with affection to "dear Lolina", his daughter Elena. In Italy, in 1918, due to the great "Spanish flu" which killed 20 million people all over the world, the eldest son Boris had died when he was only seventeen years old. The loss of her son had upset Zelmirina. Wassili Lithewsky spent very hard times in Russia: for almost ten years his relatives in Italy had not been able to receive news. Amid enormous difficulties, he went clandestinely in various parts of the territory, fleeing into the deserts of Central Asia, supported only by the desire to see his owners again. In the early thirties of the twentieth century, the climate calmed a little, the family research began: the son-in-law, Dr. Carlo Alberto Angelini, husband of Elena, knew well and contacted the Italian ambassador in Moscow, Bernardo Attolico; he also asked for the intervention of the Red Cross. Even the engineer Adolfo Ghisalberti, grandson of Maria Santini (19) got involved in the research. Finally he was able to find him in the Gobi desert, in Mongolia, and to organize his return: in the summer of 1932 Wassili was able to leave for Italy. Carlo Alberto Angelini went to pick him up at the port of Genoa. His physique was very weak: several times it was necessary to support him during the transfers of the trip. After countless ups and downs, the return to the family When the Tsar's adviser arrived in Umbertide, on his way to the country house in Rio, hollow face, white lace, almond-shaped eyes, many people noticed the rich dress of a Russian nobleman which gave his tall and majestic figure an aura of charm and mystery. . Zelmirina, despite her joy, suffered a great shock upon the arrival of her husband whom she had had to leave a long time ago. The second child, Elena, who saw him again after 15 years, stopped breastfeeding her daughter Viola due to the trauma (20). Wassili finally settled in the large house of the Agnolucci family. An avid smoker, he slept with the light of a candle on the bedside table because when he woke up he had an urgent need to light a cigarette. But the elderly aristocrat will not be able to enjoy the warmth of the newly found family for long because he died of pulmonary emphysema only three months later (21). Zelmirina's death on 5 July 1944 Zelmirina, bent by the adversities of life, suffering in her youth (22) from a viral form of lethargic encephalitis (23), fell ill with Parkinson's disease and spent the last few years in suffering. She was lovingly assisted in her illness by her son-in-law, Carlo Alberto Angelini, doctor, husband of his daughter Elena. He died on 5 July 1944, the day of Umbertide's Liberation (24), invoking his beloved son Boris, at the "Palazzo della Tramontana", the current villa owned by Cozzari along the road leading to Migianella (25), then owned by Agnolucci . 30th September 2013 Sources: Historical research by Amedeo Massetti Published in March 2014 on n.52 of "Altotiberine Pages" by the Historical Association of the Upper Tiber Valley. Reduced text published in the "Calendar of Umbertide 2015" - Ed. Municipality of Umbertide 2015 Notes to the text: 1 Zelmira, born in Umbertide in 1820, belonged to the Savelli family, living in via Stella; she was the sister of Giuseppe Savelli, mayor of Umbertide several times from 1863 to 1880, and of Don Flaviano, canon and archpriest of the Collegiate Church of S. Maria della Reggia. Zelmira Savelli will die in 1875. 2 Gabriele Santini was born on January 20, 1886; the father was Pio Santini, the mother Carmela Nolaschi. He studied at the “F. Morlacchi ”cello and piano and later moved to the GB Martini Conservatory of Bologna where he completed his composition studies with G. Minguzzi and P. Micci. He began his career as a conductor as early as 1904 and devoted himself almost exclusively to the operatic genre. After a first period at the Teatro Costanzi in Rome (now the Opera Theater), he was hired by various theaters in Latin America. He stayed for eight seasons at the Colon Theater in Buenos Aires and later at the Municipal Theater in Rio de Janeiro, at the Lyric Opera in Chicago and at the Manhattan Theater in New York. From 1925 to 1929 he was called to the Alla Scala theater in Milan as assistant to maestro Arturo Toscanini. He came back then at the Rome Opera where he remained permanently until 1933 and from 1944 to 1947 he held the position of director here artistic. In 1951 he directed the company of S. Carlo di Napoli in the tour in Paris, for the celebrations of Verdi's fiftieth anniversary. He directed several seasons at the Teatro alla Scala in Milan in 1946 and from 1960 to 1964, the year of his death (From N. LUCARELLI, Gabriele Santini, illustrious from Umbertide, in "Umbertide Cronache", bimonthly periodical of the Municipality of Umbertide, n. 1- 2002, p. 42). 3 A. MASSETTI, Two centuries on the march, Umbertide and the band, Città di Castello, Petruzzi, 2008, p. 139. 4 Testimony of the granddaughter Fiore Angelini. 5 The Liberal Union, April 5, 1998, p. 2. 6 In the second half of the 19th century the baritone voice of Giulio Santini came to the attention of the lyrical mode. In 1872 he was hired as first baritone at the Fermo theater. From here he moved to Sansepolcro and in 1874 he sang at the Teatro Nuovo in Florence as the first absolute baritone, where he collected sensational successes. During his long stay in this city, he also performed in the Bellincioni Hall, in via delle Belle Donne. At the concert, performed on January 30, 1875, Santini participated incognito, perhaps for reasons imposed by his relationship with the new theater. Leaving Florence, he performed for a long time first in Siena, then in Perugia, where he performed 12 performances of Donizetti's “La Favorita”. In February 1879, Santini sang in Verdi's “Luisa Miller” at the Città di Castello theater. The news about him they end with 1880, the year in which he was hired by the Arezzo Theater. Throughout his career he received certificates of esteem and profound appreciation for his professional performances from the entrepreneurs. (R. CODOVINI - R. SCIURPA, Umbertide in the 19th century, Città di Castello, GESP, 2001, p. 307). 7 Testimony of the granddaughter Fiore Angelini. 8 The “Coccia” theater in Novara, one of the major traditional Italian theaters, was inaugurated on 21 January 1888 with the opera “Gli Ugonotti” by Giacomo Meyarbeer, directed by Arturo Tscanini. It is named after Carlo Coccia, chapel master of the Chapter of the Novara cathedral. 9 Documents now in the possession of the niece Viola Angelini. 10 Stanislao Falchi, born in Terni on January 29, 1851, was a pupil of C. Maggi and S. Meluzzi, who started him on the study of composition. In order to achieve a more in-depth preparation, he moved to Rome, where musical studies experienced a lively revival in the climate of cultural renewal in the years following the unification of Italy. In 1877 the musical high school of S. Cecilia was inaugurated, divided into numerous courses: Falchi received the post of teacher of choral singing and in 1882 of normal singing, appointments that gave him particular prestige. He will then be director of choral singing in various schools in Rome from 1883, crowning a splendid didactic career; he will have the chair of counterpoint, fugue and composition in 1890 in the conservatory of S. Cecilia (Biographical Dictionary of the Italians Treccani). 11 Today's Vilnius, then a Russian city, now the state of Lithuania. 12 The baritone Ignazio Pompa, born in Rome in 1860, studied both in Milan and in his city. Success was not long in coming come. Over thirty, he entered various theater companies, from the Castellano Company to Labruna, Granzini, Dazig and sang in important European theaters, from Paris to Le Havre, from Ostend to Liege, to Poltava. He also sang in Smyrna, Athens, Constantinople, Cairo, Alexandria in Egypt. His presence in Russian and Ukrainian theaters, from Smolensk, where he married in 1899, to Wilnius, from St. Petersburg to Minsk, Kursk, Jekaterinoslav, Theodosia, Molitopoli, Kerck, and other Russian and Ukrainian cities, was successfully noticed. He died in London in 1909 (www.museoparigino.org ). 13 Riga, then a Russian city, is now the capital of the Baltic state of Latvia. 14 Ibid. 15 The current Mariinsky Theater, in St. Petersburg. It owes its name to Princess Maria Aleksandrovna and in the past it had, in Soviet times, the name of Kirov Theater, (in honor of Sergej Kirov) and National Academy of Opera and Ballet and, in Tsarist times, Imperial Theater of San Petersburg. 16 The city, since December 1920, has been renamed Krasnodar. 17 Testimony of the niece Viola Angelini. 18 He is buried in the Savelli chapel, in the left hemicycle of the Umbertide cemetery. On his gravestone is the following critta: He dedicated his beautiful art, his illicit industrious life to his wife and his children who with infinite reverent love venerate the tearful memory. 19 Testimony of his daughter Paola Ghisalberti. 20 Testimony of the niece Viola Angelini. 21 Wassili Lithwsky is also buried in the Umbertide cemetery, in the Savelli chapel. 22 The husband had disappeared in the chaos of the Russian revolution and they had not even been able to write to each other anymore. 23 The father of ladies Fiore and Viola, Carlo Alberto Angelini, a doctor, also had contact with Queen Elena who had promoted and funded studies on this disease. 24 On 5 July 1944 Umberttde was liberated by soldiers of the British 8th Army. 25 The villa to the left of those who climb towards Migianella, which is accessed along a path bordered by maritime pines. In the 1930s it belonged to the Agnolucci family. The singer with her son Boris Tsar Nicholas II Zelmirina with her husband Wassili Singer with some of the clothes used on stage FILIPPO ALBERTI Literate and poet curated by Fabio Mariotti He was born on March 26, 1548 in Fratta, to Luca Antonio Alberti and Ippolita Petrogalli. He spent his childhood and adolescence in severe studies and in his early twenties he was elected "coadjutor" of the chancellor of the municipality of Perugia. He soon acquired a reputation as a talented poet. His rhymes had, while he was still alive, two different editions and many of them saw the light in valuable collections of other important and illustrious writers of the time, including the valuable "nine sonnets", written by Our for the "Conversion of Saint Mary Magdalene". He wrote various highly praised works: a book of poems entitled "Rime di Filippo Alberti" printed in Rome and Venice; a beautiful song over the cicada; a tragedy entitled "Cestio Macedonico" whose protagonist was a certain Cestio citizen of Perugia, who having fought with the Romans in the war of Macedonians and in that having been reported for generous actions, he deserved the nickname of Macedonico. Not all of his works were published and many went missing - although we have news and titles - following his long illness and death. Filippo Alberti was held in high regard by personalities of the time such as Alfonso d'Este, Duke of Ferrara, Cardinals Bonifacio Bevilacqua and Domenico Pinelli and the Marquis Ascanio della Cornia. It was held in honor by men of letters such as the illustrious humanist Marco Antonio Bonciari, Scipione Tolomei, Cesare Crispolti senior, Giovan Battista Lauri, Cesare Caporali, Claudio Contuli and Cesare Alessi. But the main boast for Alberti was the friendship that Torquato Tasso professed to him; friendship based on the esteem that the great poet had for the man of letters from Fratta. Alberti tells us about his acquaintance with Tasso in Ferrara, cultivated through an affectionate correspondence with our Filippo, to whom he also dedicated a sonnet, and did not disdain to ask him for advice on the "Gerusalemme Liberata" and, if he had any, to follow them. Alberti was also a good prose writer (there are praises of illustrious men, still unpublished, preserved in the Augusta library in Perugia). Some of these works were not completed, others remained unpublished both for the envy of the powerful of the time, as confirmed by Lauri and Oldoino, and for his poor health. The literary merits and the love he brought to Fratta and Perugia lead us to believe that it would have been very interesting to have a volume of his lost "Historical Memories of Perugia", written by him when the Roman Carlo Conti was governor of the city of the Grifo. , he who under Pope Clement VIII "was tempted to make the Church of Perugia archipiscopal". His studies did not remove Alberti from public offices and he, who in 1573 had been elected "Coadjutor" of the chancellor of the municipality of Perugia, was called to take over the direction of the prioral chancellery, an office to which distinguished men were always assigned for prudence and by doctrine. Friends and admirers had to mourn his death when he was not yet old. He was 64 when he retired to live in Fratta and ended his days there, on 12 September 1612. He is buried in the church of San Domenico in Perugia. The street where his house was located, in the historic center, now bears the name of "via Alberti". Some poems by Filippo Alberti It turns out more not to love I said, you were my good And my life, Orsella More than the sun wanders, and beautiful. Hor I unsubscribe, and 'the song I address the blame, a l'ire I loved you, I hate you just as much. And out of troubles, and pains Behold, I too am mine To God, perfidious, to God. Treats that the women of Perugia, past one certain age, they should wear black Ouch, foolish is he who believes What a woman in a black dress May it seem less beautiful, and less haughty. the nigga the beautiful does not take away, And Law cake is that That only others grant Color, which always announces or deaths, or pains, It thunders, and the sky flashes when it is darkest, Negra serpe has more tosco. Omen of the beauty of a girl Green apple six Vague girl, and with beautiful outward eyes Sol virginelle gratitude and still breathe; But Cupid is already sharpening the guilty darts, Already in the man the face has removed, To turn it on then in your beautiful face. Sources: Historical calendar of Umbertide 2002 - Ed. Municipality of Umbertide - 2002 Arcangelo Chelli - “The illustrious men of Umbertide” - Ed. Tipografia Tiberina - 1888 Via Alberti Ernesto Freguglia ERNESTO FREGUGLIA The story of an adopted Umbertidese painter by Amedeo Massetti Filippo Alberti Ernesto Freguglia (1875). The Foro Boario, today Piazza del Mercato The large oil painting with oxen, which stands out on the wall of the mayor's office, was painted in 1875 by Ernesto Freguglia. Known painter at that time, but unknown to Umbertide today. Yet Freguglia lived in our city for twenty-five years, moving there from Rome in 1874. He lived first in via Cibo, then in via Petrogalli which then skirted the village of San Giovanni and finally in via Cavour, at number 64, where the last aged 74 died. day of 1899. He is buried in our cemetery. The good artist was born in Sabbionello di Copparo, in the municipality of Ferrara, on December 20, 1825. A pupil of the Ferrarese painter Guseppe Tamarozzi, he had studied at the school of drawing and figure in the university of his city. He had therefore been in Florence where we find him in 1853 among the various copyists of the Uffizi (here he reproduced a “landscape by Jean Baptiste Fierce de Roven”). He then moved to Rome, in 1856, entering the studio of the painter and restorer Alessandro Mantovani, also from Ferrara (some of his valuable works are in the Quirinal Palace). In the 1860s, Freguglia was still active in Rome where he participated in the complete renovation of the decorations, between 1863 and 1867, of the church of Santa Lucia del Gonfalone in via dei Banchi Vecchi, together with Salvatore Rotani, under the direction by the well-known Roman painter Cesare Mariani. Between 1870 and 1876, he collaborated with Alessandro Mantovani in the decoration of the Nuova Loggia Pia in the Vatican, giving "proof of uncommon skill in following Raphaelesque concepts". In 1876 he donated one of his paintings to the municipality of Ferrara. He exhibited in this city in 1875, 1877 and 1899. A couple of his suggestive romantic landscapes, in harmony with the canons of the Roman landscape school, are in the Scutellari collection of the Este city. Freguglia is a painter of a good level and his works denote profound technical knowledge and a refined taste that goes far beyond the representations of the manner of authors of his period. It is affected by the contemporaneity with the Macchiaioli movement even if, while lingering in fresh play of lights and colors, he does not neglect to use precise brushstrokes, creating almost photographic representations. The painting on the wall of the mayor's office, to which we have mentioned, "The cattle market in Fratta", in addition to offering us an extraordinary document of nineteenth-century life - the animated day of the market - provides architectural details of the ancient city that have now disappeared or transformed. In fact, the views of the bridge over the Palace and the open space in front of the Rocca are different, not yet leveled with backfill (a partial restoration of the original conditions was carried out with the recent works in the Park of the Reggia and Piazza del Mercato). Likewise, the Guardabassi post hotel (to the right of the Collegiate Church) no longer exists and was demolished to widen the entrance road to the Piazza. And finally, the Mavarelli palace has a different structure, now also raised in the wing towards the center of the town. Ernesto Freguglia (1874). The Tiber in the "Mulinaccio" area The other painting we know of, belonging to the Scagnetti collection, in which Ernesto Freguglia depicts a different glimpse of Umbertide is also of great documentary value. The canvas, dated 1874, has the usual delicate line and the richness of details typical of the painter and represents the view from the west side of the castle of Fratta. In the center of the painting, on the edge of the walls, you can see the base of the defense tower which collapsed in the flood of the Tiber in 1610. On the left side you can see some architectural details that have now disappeared. At the bottom right you can see the artificial canal that carried the water of the Carpina, after passing through the Mulinello and the Fornace, to activate the "Mulinaccio" (recently swept away by the flood) under the walls. The area still has this name. Finally, washerwomen, fishermen and people bathing in crystal clear water are represented. Ernesto Freguglia, an Emilian painter who became Umbertide, loved our city and chose it to live there for a quarter of a century, until his death. From the careful glimpses in which he depicts it, from the care he takes to the most typical details, a relationship of warm familiarity transpires. Bre 2019 of The article was published in the November issue of "Local Information" Sources: Historical archive research by Amedeo Massetti Registry card of Ernesto Freguglia at the Municipality of Umbertide Giuseppe Savelli GIUSEPPE SAVELLI The Mayor of the passage from Fratta to Umbertide by Amedeo Massetti The ceramic bust of Giuseppe Savelli was placed in the town council hall in 1894, when the room was renovated with the installation of new wooden stalls made by all the carpenters of Umbertide. It was placed on a wooden base overhanging the wall at a height of two meters, to the right of the bench of the Giunta, flanked, on the left, by the bust of Antonio Guerrini. The old furniture in the council chamber, used for 90 years, was replaced by the current one in 1984, when the town hall was renovated. The bust was restored free of charge in 2011 by the Umbertidese artist Antonello Renzini and was relocated in the room adjacent to the City Council. Doctor Giuseppe Savelli was born in Umbertide on May 16, 1824. Owner, he lived in via Stella at n. 11. He also had a house in Via Diritta (now Via Cibo at no. 13), a house in Rome, and a country residence in Rio on the border between the municipalities of Umbertide and Montone where his studio is still located. its library. From 1861 he held the position of municipal councilor. From 1863 he will be appointed Mayor. He was mayor of Umbertide several times from 1863 to 1880. Doctor Savelli was a patriot; during the revolt of the Umbrian populations to the papal government in 1859, he was appointed governor of the provisional administration of Fratta, with the approval of the government of Perugia. In 1861, as a municipal councilor, he worked with extraordinary commitment for the reconstitution of the musical band, of which he was a member and later very active and authoritative president. He wrote a memorable letter in this regard. Dr. Giuseppe Savelli was elected Mayor in 1863 (he was therefore the first citizen who ferried Fratta to Umbertide) and will hold this office until May 18, 1868. Then for the whole of 1871 and 1872 he was again mayor. In 1873, for a period, he still appears as mayor. In his capacity as head of the administration, he worked with sensitivity and foresight to give the municipality, which emerged from the inadequacy of the papal administration, a modern and efficient structure. In 1872 he approved the first public hygiene regulation and the first urban police regulation, which deeply affected the socio-sanitary situation of the time and remain milestones for their relevance. Giuseppe Savelli died in Umbertide on 6 July 1886. He is buried in the last chapel of the hemicycle left of the Umbertide cemetery, where there are also the tombs of the Santini family (his wife was Rosa Santini, daughter of Giuseppe, and his sister Zemira Savelli had married Gabriele Santini, grandfather of the internationally renowned conductor of the same name). His brother, Don Flaviano Savelli, was canon and archpriest of the Collegiate. Giuseppe Savelli is the author of a manuscript history (unfortunately partially destroyed) of the Savelli family which also includes a pope, Honorius III, who approved the Rule of St. Francis. Sources: Historical research by Amedeo Massetti 1975. Establishment of the City Council. In high, on the right of the Giunta, the bust by Giuseppe Savelli Mayor Savelli's signature on the poster announcing the name change A. Massetti at the presentation of an edition of the historical calendar of Umbertide The family crest on the house in Rio ANTONIO GUERRINI Canon of the Collegiate, professor of rhetoric and local historian curated by Fabio Mariotti Antonio Guerrini had the education and upbringing of youth very much at heart, for which he dedicated his entire life. He was born in Fratta in 1779 by Giovan Battista Guerrini and Anna Maria Cassoni. From his earliest years he showed the beautiful qualities of his soul. His first teachers were two former Spanish Jesuits, Father Sebastiano Re and Father Gabriele Villalunga. Of a good and honest nature, to better benefit his fellow citizens he embraced the ecclesiastical life, in which he distinguished himself for truly evangelical knowledge and charity. At the age of fifteen he was designated canon of the Collegiate church, while completing his theological studies in the seminary of Gubbio. At the age of twenty-five he was appointed professor of rhetoric in the public schools of our country. He taught for more than forty years until the last days of his life, with tireless zeal and with great love. Twice he was called to Perugia, first to exercise the office of rector and moderator of studies in the "Piano Collegio", then to teach philosophy; but both times he refused, thus giving very clear proof of his predilection for his native land. Antonio Guerrini worked constantly to improve teaching methods in the schools entrusted to him. He compiled a geography accompanied by historical information, designing and building a large terrestrial globe to facilitate its teaching. He also made a large map of Europe, also with indications of the main historical facts. He cooperated in the formation of the town band, in the erection of a theater (what later became the "Teatro dei Riuniti") and in the establishment of a society of dramatic declamation for the benefit of the poor in need. The cover of the book on the history of Fratta and Umbertide (Anastatic copy on the original of 1883 made by the "Gruppo Local Editorial "by Digital Editor Umbertide - September 2009) He wrote a much praised work, a "Theory of Oratory Art and Versification of Tuscany" of which, a summary, was included in the Parisian Journal of the year 1810 and which earned the author a mention by the famous Degerando who, writing in about Mr. Count Giovanni Spada, Deputy Prefect, revealed to him his desire that such a teaching method be adopted by all the universities of the Empire. He also left many Latin and Italian poems. He was very involved in the research of homeland memories, of which he left a copious collection. His major work "History of the Land of Fratta now Umbertide from its origins until the year 1845" was completed by the nephew Genesio Perugini printed at the Tipografia Tiberina and published at the expense of the Municipality of Umbertide in 1883. Antonio Guerrini died on January 21, 1845, at the age of sixty-five. He was buried in the church of Santa Maria della Reggia (Collegiata) where, to perpetuate his memory, the Town Hall placed a marble plaque between the orchestra and the main west door which reads as follows: "Don Antonio Guerrini for virtue of science, the town hall highly admired - XXI Gennaro MDCCCXXXXV". The municipal administration dedicated a street to him on January 22, 1880. Sources: - "The illustrious men of Umbertide" by A. Chelli - Umbertide, Tipografia Tiberina - 1888 - "The man in toponymy" by B. Porrozzi - Ed. Pro-loco - 1992 - Biography of prof. Antonio Mezzanotte - Bartelli Typography, Perugia 1845. Interior of the Collegiate where Don Antonio Guerrini was buried. Below, on the left, the plaque commemorating him. Antonio Guerrini ANNIBALE MARIOTTI Distinguished doctor and scholar of the second half of the 18th century curated by Fabio Mariotti Annibale Mariotti was born on 13 September 1738 in Perugia, where his father Prospero, professor of medicine and botany at the local university, had recently moved from Fratta with his already pregnant wife Maddalena Eleonori. He completed his literary and scientific studies in Perugia and at just sixteen he obtained a doctorate in medicine and philosophy. Shortly afterwards he went to Rome to study physics and mathematics under the guidance of great tutors such as Iaquier and Le-Seur, without neglecting to perfect himself in medical science with the lessons of Saliceti and Gianneschi and in chemistry with Voyole. Returning to Perugia in 1757, at the age of only nineteen, he was appointed professor of medicine but the desire to enrich his cultural background led him to leave Perugia again. It was in Bologna, where he took advantage of the classical schools of Beccari, Molinelli and Monte; in Padua where he enriched his already rich knowledge by making friends with the very learned Quirini, Morgagni and other renowned professors, then also in Pisa, admired everywhere for his great erudition. He was offered professorships from Pisa, Pavia and from the same studio in Padua, which he refused for the sake of his native place. 1930s. The post office in piazza Umberto I (now piazza Matteotti) The entrance on via Mariotti Such was by now his fame as a man with great knowledge that he often asked his vote in the most profound medical disputes from the most renowned Colleges of Italy and Count Roberti, writing to Bianconi, said: "Enough to inspire Perugia to remember me that the highly literate Mariotti is its citizen! " He had relations with the most brilliant geniuses of his time and the most renowned Academies were honored to have him as a partner, such as the Etruscans of Cortona, the Arcadi Augusti, the Leopoldini of Germany and others. He was even called by the Dresden Court as his doctor, but the call of his native land was too strong for him so he returned to Perugia where, in 1760, he was given again the chair of medicine to which, in 1768, was added that of botany, which had already belonged to her deceased parent. Annibale Mariotti lived in difficult times but, among the honors and humiliations that he had to bear, he always managed to keep the goodness and kindness of his generous soul. Proclaimed, on February 5, 1798, the French republic in Perugia, Hannibal was one of the fifteen who formed the provisional government and had the honor, with Dr. Gian Angelo Cocchi, to represent the city in Rome, at the banning of the constitution of the Roman Republic . On his return to Perugia he was elected "consular prefect" of the Trasimeno Department. He used authority and knowledge for the benefit of his fellow citizens, working for the release of some nobles imprisoned by the government of the republic and taken to Ancona. After the fall of the Roman republic, eighteen months after its proclamation, it was the object of slanderous accusations by its enemies. For this he was arrested by the Austro-Arezzo soldiers and taken to Arezzo as a criminal. After some time, the accusations found to be false, he was released, but the harshness of his imprisonment soon contributed to reducing him to death. Death came on June 10, 1801, after a serious illness of six months. Perugia reserved solemn honors for him and the funeral oration was read by Dr. Luigi Santi, his loyal disciple. He was buried in the church of S. Angelo in Porta Eburnea, where an epigraph recalls his virtues and his knowledge. Annibale Mariotti wrote about 60 works, including the "History of Perugian literature" and "Perugian pictorial letters" printed in 1788. He also left a manuscript of historical memories of all the places under the ancient dominion of Perugia. Umbertide, after 1863, dedicated to him the street (formerly vicolo del Pomo) that connects today's Piazza Matteotti with Piazza XXV Aprile. The old photos are from the historical photographic archive of the Municipality of Umbertide Sources: - "History of the land of Fratta now Umbertide" by A. Guerrini (completed by G. Perugini) - Umbertide, Tipografia Tiberina - 1883 - "The illustrious men of Umbertide" by A. Chelli - Umbertide, Tipografia Tiberina - 1888 - "The man in toponymy" by B. Porrozzi - Ed. Pro-loco - 1992 Via Mariotti today from piazza XXV aprile The plaque of the illustrious personage Annibale Mariotti Alessandro Magi Spinetti PIETRO GIACOMO PETROGALLI Man of arms of the second half of the sixteenth century famous for his courage curated by Fabio Mariotti Pietro Giacomo Petrogalli was born in 1554, from one of the best families in the country. From a young age he showed great courage and firmness of character. One day, while he was having fun fishing on the Tiber, just below the castle of Montalto, he was insulted by the Perugian Sforza degli Alessandri who, not happy with this, also had him beaten with a stick by one of his agents. Peter could not bear the insult and swore to take his revenge. Alessandri often came to Fratta, bringing with him an escort of warriors. Pietro not being able to suffer so much insolence, after the insult he received, presented himself in front of him and fired a pistol shot on his chest, leaving him dead on the ground. Then, armed with a hatchet, he made his way through the men of arms and managed to get to safety. However, he did not escape the penalty of the ban to which he was condemned, and in April 1580 he was forced to leave his native land. At first he took refuge in France and took up service in the militias of that country. He immediately distinguished himself for many and beautiful actions of value, for which he received the admiration of the soldiers and had the rank of lieutenant colonel. From France he returned to Italy, placing himself at the service of the Grand Duke of Tuscany Ferdinand I and left with the Italian troops who went to Hungary to fight with the emperor, against the Turks. Also on this occasion he proved himself worthy of his name by fighting hard and, after the capture of Chiavarino in which he covered himself with glory, he was appointed captain of a large Italian company, on October 15, 1594. He was also once again in Hungary paid by the Church, in the expedition commanded by Francesco of the Marquises Del Monte, remaining there until the end of the war, in which he sustained many wounds. It was then that, ill in health and very weak from a lot of blood shed, he expressed the desire to return to breathe the native air and the pope, with a special pardon of July 26, 1596, not only allowed him to return to his country , but he called him back from the ban and condoned all punishment, although he had not obtained peace from the Alessandri family. After some time, having recovered in health, he returned to Tuscany and was by the Grand Duke Ferdinando appointed lieutenant of the Pistoia fortress, then sergeant major of the Livorno garrison and then castellan of the same city. In 1607 he participated in the capture of the city of Bona in Barberia with the rank of battle sergeant. When Ferdinand I died in 1609, he was succeeded in the government by Cosimo II who, having also learned of his expertise and loyalty, on 15 May 1612 appointed him Governor in Valdelsa and sergeant major of all the Tuscan infantry, succeeding the knight Francesco Tucci , also giving it the rich income of Poggio Imperiale. He also held many other important offices including that of Castellano and Governor of the Fortress of San Miniato. In 1622 he returned to Fratta again, staying there for a short time, however, because Princess Maddalena, regent of the Grand Duchy of Tuscany, called him to assist Cardinal De 'Medici on the occasion of the Conclave for the election of the new Pope after the death of Gregory XV. Subsequently in 1628 Ferdinando II, Cosimo's son and successor, called him back to the court to occupy the high office of Councilor of State. And that year was fatal to him because one day, while he was leaving the council, he was seized by an aneurysm for which he died at the age of 74. In ancient times via Petrogalli (formerly via San Giovanni) was located in the so-called Borgo San Giovanni destroyed in the terrible bombing of 25 April 1944. For this reason the city council on 18 December 1960 approved the assignment to Petrogalli of a new road, the crossroad that gives via XX September ends up in via Andreani. Sources: - "History of the land of Fratta now Umbertide" by A. Guerrini (completed by G. Perugini) - Umbertide, Tipografia Tiberina - 1883 - "The illustrious men of Umbertide" by A. Chelli - Umbertide, Tipografia Tiberina - 1888 - "The man in toponymy" by B. Porrozzi - Ed. Pro-loco - 1992 FRANCESCO MAVARELLI Mayor of Umbertide from 1892 to 1898 and author some valuable texts on the history of Fratta curated by Fabio Mariotti Francesco Mavarelli was born in Cagli on January 3, 1870 to Vincenzo and Angela Calai. He spent his childhood in the Marche town where his parents had some properties, but the most considerable group of his assets was in Umbertide and consisted of the magnificent palace in via Stella and numerous farms scattered in the surrounding countryside. His first friendships were born along the Via Flaminia, between Cagli and Fossombrone, just twenty kilometers away from each other and divided by the Furlo massif. Here he established sincere and lasting relationships with the most prominent families of the place such as the Vernarecci, the Chiavarelli and others. He spent the years of childhood and adolescence with his brother Giuseppe born five years before him, but then, on June 14, 1891, the two separated because Giuseppe decided to marry Luigia Menghini and went to live on his own. We do not know the exact date on which Francesco left Cagli to settle in Umbertide. The personal data sheet only notes that he moved there "as a child". With certainty in Umbertide he completed the cycle of elementary and middle school, and then entered the Collegio della Quercia in Florence where he completed the course of classical studies and graduated in law. He did not practice his profession, absorbed as he was by the administration of his assets and by numerous other commitments. During the holidays he often went to his native places to visit old friends and gladly stopped in Fossombrone at the Chiavarelli family where Marina, who was born on 7 July 1875 and had seen a child, was getting a beautiful girl. A brilliant and open young man, supported by robust and thoughtful studies, he also faced the political and administrative commitment with great success. In the partial municipal elections of 26 July 1891 he was elected councilor with 110 votes out of 171 voters, while in the general elections of 27 November 1892 and 23 June 1895 he was the first of those elected, respectively with 455 out of 490 voters and 650 votes out of 695 voters. He held the office of mayor of Umbertide for six years, from 4 December 1892 to 3 December 1898. He was municipal councilor, provincial councilor of the district and president of the Congregation of Charity. A life full of work and responsibility, considering that the young Mavarelli was in his early twenties. To this must be added the intense historical and literary commitment on some aspects of city life conducted with scrupulous balance and profound competence, confirming a school education approached with seriousness and conviction. "Historical news and praise on the Company of disciplines of Santa Maria Nuova and Santa Croce in the Land of Fratta", was his first work published in 1899 and dedicated to his wife. Professor Augusto Vernarecci, Fossombrone's friend, informs us that the work was examined and praised by a competent and severe judge such as Giuseppe Mazzatinti. The second historical commitment was that of "The Art of Blacksmiths in the Land of Fratta", published posthumously in 1901. The family members entrusted its publication to Vernarecci who accompanied the work with a touching premise that we report in its entirety. On 31 August 1896 he married Marina, the girl from Fossombrone to whom he was now tied by a deep affection. The wedding was celebrated in the Marche city and on the same day the young landowner moved to the building in via Stella di Umbertide, where Francesco performed the functions of mayor. Then came the children. The first was Zenaide (23 October 1898) and the second Angiola Maria (28 November 1899). The third, Francesca, will be born on 12 December 1900 when her father had been gone for five months. Suddenly, that Friday evening of 20 July 1900, a gunshot froze the affections, aspirations and projects: Francesco had killed himself. The dramatic event preceded the regicide of Monza by nine days and this was enough to unleash the strangest assumptions about the motive for the gesture, the result of a Homeric epic fantasy. The mirrored customs and transparency of behavior of Francesco did not offer space for gossipy inferences. Thus, the whispers that circulated from alley to alley inside the town and that every day were colored more and more with lively colors and curious details, no less wanted the unfortunate young man to be linked to a Perugian anarchist group within the which his name would have been extracted to assassinate Umberto I. The task would not have been pleasing to the lottery and hence the fatal choice of suicide. Evidently, those who spread the fable of the failed regicide knew very little about anarchy, contrary to any form of institutional collaboration and any bond, including that of marriage, which represented a limitation to the sacred freedom of the individual. The religion of anarchy was identified only with revolutionary methodology. Francesco, on the other hand, was a man of the institutions, within which he had carried out important functions such as that of mayor and provincial councilor; he had also been awarded the title of knight and his whole life showed respect for the rules and the practice of civil coexistence. No, the story of an alleged anarchist membership definitely does not hold up, if only because in a few days the alternate to kill a king is not found, but it offers us some food for thought. The elegance of mind of the last Mavarelli; the profound culture that allowed him to dig into the historical past of his people by choosing the two typical strands of existence: religion (historical news and Laudi) and work (The art of blacksmiths); the high prestige gained in the exercise of political offices made him a different character from many of his peers. The hard college life based on tolerance and respect for others, passionate and assimilated study did not belong to youthful parentheses to be thrown into oblivion, but had become a way of life. In a difficult and conflictual period in which many agrarians responded to the spread of the socialist party and the peasant leagues with the expulsion of the colonists from their farms, the sensitivity and convictions of the agrarian Mavarelli were certainly oriented towards different attitudes that did not coincide with the crude and provocative authoritarianism of the law of the strongest practiced by some of his friends. On the other hand, for many men of the extreme left, the revolution was just around the corner and Gaetano Bresci's threat to the carabinieri who translated him to the prison of Santo Stefano and silenced him because he asked too many questions is symptomatic: " guys like you who should never talk! But soon the revolution will sweep you all away ”. According to the most accredited opinion in the agrarian world, these people had to be answered with the harshest methods, there was no middle ground. Mavarelli lived intensely the political unease of his time at the crossroads between reaction and revolution, which was, moreover, the unease and embarrassment of all European culture between the end of the nineteenth and the beginning of the twentieth century, in search of new models of expression and vigorous sources of inspiration and which in very generic terms took the name of Decadentism. This different way of being and feeling that harbored in the soul of Francis, for the popular imagination that has always loved shortcuts, extremisms and baseless analogies, was enough to make him an anarchist, while he was an enlightened liberal. who would feel at ease a few years later with the policy adopted by Giovanni Giolitti's government. But in 1900 Dronero's deputy was still the politician involved, rightly or wrongly, in the scandal of the Banca Romana and not the leader of the Italy of the "Belle Epoque" (the vile Italy of the vate D'Annunzio) in which the lira he favored gold and in which the most urgent reforms in the social field were under way, so much so that the astute Giolitti boasted "of having relegated Marx to the attic". The profound sensitivity of Francesco Mavarelli made him feel the contrast between the times and his beliefs in a nagging way, giving him the feeling of being born in a wrong period or of being a man out of time. Of course the discomfort deriving from this state of affairs was not a reason for taking one's life, even if the gesture would have been consistent for a certain fringe of Decadents, but it certainly determined the climate in which the secret anguish that had tormented Francis for some time matured. . The expression is used by Vernarecci in the preface to Dell'Arte dei Fabbri, already mentioned above, and it certainly came from the mouths of his closest family members, his wife and mother, who intended to firmly exclude any form of depression of their joint. A person's secret anguish belongs to the mystery of life and death which must be treated with the utmost respect. We will never know the triggering reason for suicide, nor are we interested in knowing it. Five months later Francesca was born who, at least in the name, revived the memory of her father. The figure and work of Francesco Mavarelli were publicly commemorated in the session of the City Council on 23 September 1900. Unanimously the councilors decided to parry in mourning for a month the presidency desk which for six years had been occupied by their unfortunate colleague, to name the town's technical school after Francesco Mavarelli, to suspend the session as a sign of sorrow for the serious loss and solidarity towards family members . Today the first grade secondary school of Umbertide, what was once the middle school, is named after F. Mavarelli, together with G. Pascoli. In 1998 the prof. Bruno Porrozzi has published a volume, edited by the Pro-Loco Umbertide, with the anastatic copy of the works of Francesco Mavarelli. Sources: “Umbertide in the 20th century 1900 - 1946” by Roberto Sciurpa - Municipality of Umbertide, 2006 SAN SAVINO DI FRATTA Monk at the Abbey of San Salvatore di Monte Acuto curated by Fabio Mariotti San Savino, born in Fratta, the current Umbertide, although a citizen of Perugia, as Umbertide has always been the land of the city of Perugia, can be counted among the Saints of the Diocese since Umbertide has always been part of our Church. This without detracting from the Perugian church which - according to Lancellotti in the manuscript Annals of Perugia - counts him among its saints. Savino was therefore a monk at the Abbey of San Salvatore di Monte Corona, once known as Monte Acuto and a hermit in this monastery, he died in 1190 after a holy life adorned with heroic virtues that made him consider him already a saint in life. The most remote written testimonies, apart from the ancient Camaldolese martyrologists, were the commemorative inscriptions of his prodigies, which could be read in a chapel erected in his honor in 1480 on the provincial road towards Perugia, in the locality of Citerna, on a farm that had belonged to the del Santo family, a farm which until today is still called San Savino. Unfortunately, there is no longer any trace of this chapel and one of its frescoes is also lost, which flanked a Madonna in Maestà, just outside the city, in a place once called Fonte Santa, on the border with the word Sant'Ubaldo. Di Savino remains famous for the miracle of the cloak, in fact, since it is impossible to ford the Tiber to return to the convent together with two other friars, due to a flood of the river, he spread his cloak - just like the prophet Elijah or the more famous St. Francesco di Paola in the Strait of Messina - and, having climbed over it like a raft with his companions, he was able to return to the monastery. His body was buried in a chapel erected on the road that leads from the monastery of San Salvatore to the place where, several centuries later, the Hermitage of Monte Corona will be built, in the same place that had seen him isolated in hermitage for long periods. However, wars and suppressions, first the Napoleonic one and then that of the new unitary state, ruined the chapel, which is currently incorporated into the walls of a villa, completely unrecognizable. Only the toponym, San Savino, still indicates the site of the saint's tomb. Nothing is known of the fate that his relics may have made, almost certainly translated before the ruin of the building. The Camaldolese celebrated the memory of Savino, with the title of Saint, on 18 May. The city of Umbertide preserves an ideal portrait of the Saint in the collection of the Illustrious Men of the city and it is also depicted in the large altarpiece of the Transfiguration attributed to Pomarancio, located in the drum of the dome of the Collegiate Church of Santa Maria della Reggia. Sources: “Hagiographic Profiles - The Saints, Blessed, Venerable and Servants of God of the Eugubine Church " by Pietro Vispi - Gubbio, 2008 ALESSANDRO MAGI SPINETTI Benefactor, friend of the poor curated by Fabio Mariotti Alessandro Magi Spinetti, son of Francesco and Vincenza Mazzaforti, was born in Fratta in 1811. He was the descendant of one of the most important families in our city and dedicated his entire life to doing good works. He was one of the most assiduous supporters of the Congregation of Charity, "friend of all, men, animals and plants". He lived in via Spoletini until 1887, when he moved his residence to Città di Castello. He was one of the greatest supporters of the construction of the new hospital in Umbertide for which he donated 1,982 lire in 1883 and 12,848 lire and 55 cents in 1889 for the total sum of 14,830 lire and 55 cents, an enormous sum for those times. Suffice it to say that the Cassa di Risparmio donated 14,200 lire and the Municipality of Umbertide only 431 lire and 82 cents in three payments. These figures are reported, together with the names of all the benefactors, on the marble plaque placed in the entrance of the old hospital. Alessandro died on April 20, 1890 and at his funeral there was a choral participation of the city in gratitude for the numerous charitable activities carried out. The mayor Francesco Andreani also arranged for the presence at the funeral of the newly reconstituted town band directed by Maestro Massimo Martinelli . His remains rest in the city cemetery just past the main gate, a left, in a travertine sarcophagus that reports this epitaph: “Here lies Alessandro Magi Spinetti friend of the poor born on the 24th April 1811. The Congregation of Charity grateful. Died on 20th April 1890 " The municipal administration he dedicated a street to him on March 27, 1951. Sources: - “The man in toponymy” by Bruno Porrozzi - Pro-Loco Association Umbertide, 1992 - "Two centuries on the march - Umbertide and the band" by Amedeo Massetti - Petruzzi publisher - Città di Castello, 2008 Pietro G. Petrogalli Francesco Mavarelli San Savino di Fratta GIULIANO BOVICELLI A close collaborator of Pope Benedict XIII, he wrote the original "Istoria delle Perucche" and contributed to the birth of the "Monte Frumentario" to help the poor of Fratta curated by Fabio Mariotti Giuliano Bovicelli was born in Fratta around the mid-1600s. He embraced an ecclesiastical career with commitment and conviction and linked his name to the establishment and financing of Monte Frumentario , which went into full operation in 1724, when Don Giuliano died. He embellished the church of San Bernardino with rich furnishings and a beautiful statue of the saint. In his will, with deed of July 27, 1724 by Gabrielli Notaro Romano, he left all his patrimony to the Confraternity of San Bernardino, of which he was a brother, to offer concrete help to the poor of the town, precisely through that Monte Frumentario that he tenaciously wanted. His ingenuity drew him to the attention of Cardinal Pier Francesco Orsini of Rome, who chose him as his secretary and took him to Benevento, when he was appointed Archbishop of that city "and that he was there in the tearful catastrophe of June 5 1688. A horrible earthquake among so many devastations overturned a large part of the Archbishop's Palace. The Cardinal was thrown from the second floor to the ground. Where, falling, some woods crossing each other saved him from death. A gentleman, who was following him, was horribly crushed; and our Giuliano, it is not known how life escaped! (Antonio Guerrini). Having become Pope, with the name of Benedict XIII , Orsini retained Don Giuliano at the Roman Curia with important positions, such as that of Prior of the Basilica of San Bartolomeo and Apostolic Protonotary. It was during his stay in Benevento that Bovicelli wrote his " Istoria delle Perucche ", and the first publication took place in 1722 in that city. It is a work carried out with the utmost commitment and with a rigorous scruple of research that ranges from the ancient testimonies on this ornament, found among the oriental peoples, up to the early years of the 18th century. The author's aim, however, is not that of a technical, aesthetic or social examination of the wig in general, but more simply a full-bodied reflection on the awkwardness of the wigs that ecclesiastics wore. From the very first lines of his work, Bovicelli explains its aims: “History of the perucche in which their origin, form, abuse and irregularity of those of the Ecclesiastics are shown”. Vanity must have taken the hand of many monsignors, if in the preface the author immediately enters the subject with these expressions: “Today there are so many Ecclesiastics who wear the perucca; that I have great reason to believe that they are persuaded, at least for the most part, that this foreign ornament is forbidden to them, and that it has nothing in itself that suits the decency of their profession. In order to portray them, therefore, from their error, I have undertaken this work by the stimulus of some people who are firmly pious and truly zealous in the discipline of the Church; ... it is bad to see that those of the Ecclesiastics are damned by the rules of the Church; and having shown how irregular and monstrous are those of the monks, I answer the objections which the clergymen and monks who adorn themselves may attach. I end up proposing the ways that can be employed to stop the course of this disorder and absolutely remove it from the Church ”. The preface summarizes the content of the work which had a remarkable success, so much so that two years later, in 1724, an edition was printed also in Milan (1) . The exquisite sensitivity of the author realizes that the arguments against the use of wigs by the clergy were also valid for those with which the laity adorned themselves and seems almost to apologize by appealing to the tranquility and serenity of mind of the readers: "Since Most of the proofs of which I am sifting through to combat the proofs of the Ecclesiastics can quite rightly be applied to those of the Laity, and they will easily judge that it is scarcely more permissible for lay people than for ecclesiastics to wear the perucca. However that may be, I pray to God with the language of Tertullian that the peace and grace of Jesus our Lord will fall in abundance on the people who will read this Story with tranquility of mind and who will prefer truth to custom: Haec cum bona pace legentibus, veritatem. consuetudini praeponentibus, pax et gratia a Domino nostra Iesu redundet ”(May the peace and grace of God fall on those who read these lines with serenity and put truth before custom). In the specific theme, Don Giuliano was aware of the sense of modernity which he helped to anticipate, even if the landing on this shore was not offered to him by a progressive vision, typical of the Enlightenment, but by the ridicule of the anachronistic and continuous carnival that masks exalted. After 1863 a street was dedicated to him in the historic center of Umbertide, the one that is still called “Il Bocaiolo” today. Note: 1) Two copies of the book are available at the Vatican Library. One, the one published in Benevento, in the General History Collection - Vol. 6360; the other, the one published in Milan, in CICOGNARA III - pos. 1602. Sources: - "Umbertide in the XVIII century" by Renato Codovini and Roberto Sciurpa - Municipality of Umbertide, 2003 - "History of the Land of Fratta now Umbertide" by Antonio Guerrini, completed by Genesio Perugini - Tipografia Tiberina, Umbertide 1883 (Anastatic copy by the "Local Publishing Group" of Digital Editor srl - Umbertide - 2009). Giuliano Bovicelli Cesare Bartolelli - Cristoforo Petrogalli I Cibo di Fratta Luigi Vibi LUIGI VIBI Liberal of Fratta who died in 1849 in defense of the "Roman Republic" edited by Fabio Mariotti Luigi Vibi (1) , son of the notary Lorenzo, was born in Fratta in 1807. He attended high school in Perugia where he met Luigi Bonazzi and the actor Gustavo Modena with whom he maintained a good friendship. After high school he enrolled in the faculty of law and graduated in law. He was ill in health, but gifted with a brilliant intelligence which attracted the attention of an old noble from Fratta, Costantino Magi Spinetti, of liberal faith and enrolled in Freemasonry. The old Freemason and the young graduate spent many hours together discussing liberalism and the French Revolution of which, at that time, partisan versions were given both from books and from ecclesiastical tutors. The riots of 1831 found immediate response in Perugia, which arose on February 14 of that year. The city, through its Provisional Government Committee (2) , declared the Papal Government lapsed to the great amazement of the Apostolic Delegate Mons. Ferri (3). The riots found the twenty-four year old Luigi Vibi already politically deployed and the Provisional Committee that had formed in Perugia had to know him well if just two days after taking office, on February 16, it entrusted him and Petronio Reggiani (4) with the task of going in Città di Castello (5) to establish a Provisional Government Committee in that city as well. Fratta's two sons immediately set to work by bringing together the Municipal Council of that city on February 17 to proceed with the establishment of the Provisional Committee. The trust that the Perugian liberals had in the young Vibi testifies to his political trust and the validity of the school of the old master and Freemason. The generous impulses of our patriots did not last long because they were cut short by the unfavorable trend of political events. The tricolor flags hoisted everywhere, including one on the roof of Vibi's house (6) , were soon withdrawn in anticipation of better times. The ensuing repression forced many to seek safe shelter. Lorenzo Vibi, for example, Luigi's nephew took refuge in Mercatale, in Tuscany in the land of the Grand Duchy. They were actively looking for him to arrest him because, in those days, he had pushed a priest down the stairs and broke his leg. The connection with the fugitives was maintained by a certain Fiordo Bettoni who walked the approximately 25 kilometers away almost every day to bring them food, news and everything they needed. In the first months of 1849 Luigi Vibi carried out all the activities he was capable of in favor of the Roman Republic and was one of those who reorganized the Civic Guard at Fratta. He managed to raise voluntary funds among the citizens to improve the conditions of the company of which he had become captain commander. His letter of reminder of the economic commitment signed in favor of the Civic or Citizen Guard is dated 20 April 1849. "... I therefore find it necessary to invite you, citizen, to the payment already overdue of what you have signed, to which you are obliged in the aforementioned program, which you will pay within eight days from this date in the hands of this municipal debt collector in charge of this requirement ; anticipating that in case of non-compliance I will see myself, in spite of myself, bound to prevail over legal remedies ". Below is the list of people to whom this circular letter was addressed and the list sees Sebastiano Vibi with 10 shields in the front row, followed by Gaetano Migliorati with 6 shields and by the old friend Costantino Spinetti. The letter testifies that on April 20 Vibi was at Fratta, but still for a little while. On 30 April the Roman volunteers sustained the first victorious fight against the French of General Oudinot at the Janiculum and the news of the siege of Rome by the French led him to go and fight for his defense alongside Garibaldi (7) . He left on May 5 under the command of other volunteers grouped in the "Legion of Umbria". The information we have available tells us that he was employed in the extreme southern sector of the Garibaldi array, at Porta Portese (8) , where he was seriously injured on 18 June. On 21 June, the day of St. Louis, his name day, he stopped living for his injuries, at the Pellegrini hospital. He was 42 years old. His remains rest in the Ossario Garibaldino erected on the Janiculum and the plaque commemorating him is clearly visible because it is located immediately above that of Goffredo Mameli. The funeral to Luigi Vibi (9) took place in Rome, in the church of S. Andrea delle Fratte which for the occasion was paved with many inscriptions praising his virtues and value. One of these, placed right at the entrance to the temple, said: “Magnanimous contempt for domestic wealth and of the honors which he was awarded in the city legion very rare careless in times when many foolishly yearn for it mocking his vile age and bodily sickness captain Luigi Vibi da Fratta of Perugia forty-two he fearlessly raised the arms of the last soldier on May 5, 1849 and within the sacred city on the breach and the barricades amidst the lightning of the bullets with ardent valor fighting ouch homeland love! the night of June 21 ended so precious life pierced by igneous lead than to the homeland, to relatives, to friends, to the beneficiaries more vivid ray of sunshine forever darkened but which he added unknowingly to the bliss of the heavens a new child which the name-day saint protector from afar the affectionate paternal right hand stretched out ". The events of Luigi Vibi had a sequel in 1871. Filippo Natali, an Umbertidese employed in the Municipality of Magione, wrote to the Mayor asking that the ashes of the young republican be brought back to the cemetery of Umbertide, from that of S. Spirito, also known as the " One hundred and five ”, where they were. An interminable discussion began within the Municipal Council which recalled other Umbertidesi who died in similar circumstances, such as Giuseppe Mastriforti in Condino in 1866 and Giovan Battista Igi in Mentana in 1867. The discussion continued for a few months. Meanwhile, a kind letter was sent to Filippo Natali expressing "feelings of gratitude for the patriotic inspiration" and the ashes remained where they were. The fruit of the long discussion was a stone, placed in our cemetery, with the following inscription: "Memory to Luigi Vibi of Umbertide honored citizen of proven political faith than fighting for the independence of Italy it fell in Rome on the 21st of June MDCCCXLIX Il Patrio Municipio ". The tombstone does everything possible to make the figure of Luigi Vibi anonymous, dull and neutral. It would have been better to keep quiet. In the fifties, in memory of our heroic fellow citizen, the municipal administration entitled "Largo L. Vibi" the space where his house existed before it was destroyed by the bombing of 25 April 1944. Note: 1. The news was kindly provided by Mr. Giancarlo Vibi di Umbertide, now resident in Perugia. 2. It was formed by Antonio Monadi, Antonio Canci, Giuseppe Rosa, Luigi Batoli, Luigi Menicucci, Tiberio Borgia. 3. This version of the "amazement" does not agree with that supported by the historian Luigi Bonazzi according to which there was a tacit consent on the part of Mons. Ferri. 4. Petronio Reggiani was also from Fratta. On this occasion he also had the task of establishing the Provisional Government in San Giustino, which Reggiani did by appointing the Tifernate Dr. Pietro Dini as Commissioner of that place (Giuseppe Amizie, Storia di Città di Castello in the 19th century - Edit. S . Lapi - year 1902). The Reggiani family gave valid patriots to the Italian Risorgimento, including Petronius, mentioned above. There was also Aristide who participated in the Risorgimento wars and Francesco di Gaetano who took part in the Perugian insurrection of 1859 and was then persecuted until September 1860, that is, until the arrival of the Italian troops (National Register of Noble Families of the Italian State listed below the historical profile - Ass. Historiae Fides, Milan - Edit. Graphics by S. Angelo, by Cesano Boscone - Year 1974, in the library of Dr. Angelo Zeno Reggiani). 5. G. Friendship, Op. Cit. 6. The house near the bridge over the Tiber (now Largo Vibi) was destroyed by the bombing of 25 April 1944. 7. Garibaldi spent the night in Umbertide with the Vibi family. A large walnut bed with columns was placed at his disposal. He said he felt calm because he was in the house of trusted friends and left, leaving as thanks a telescope covered in mahogany and brass, now in the possession of Mr. Giancarlo Vibi (Luigi's great-grandson) who gave us this testimony, without being able to specify the date. Reconstructing the series of events and carefully rereading the book of his Memoirs, it appears that on November 15, 1848, after the unfortunate events of Custoza and Novara, Garibaldi was in Ravenna with a handful of volunteers, waiting to embark to run to the aid of Venice. . But on that very day the assassination of Pellegrino Rossi and the revolt in the Papal State took place. Plans changed. Garibaldi went to Cesena, where he left his volunteers, and went to Rome "to make contact with the Minister of War so that he would put an end, once and for all, to our wandering existence" (from the Memoirs of Garibaldi). Probably on the occasion of this trip to Rome, between the end of November and the beginning of December 1848, Garibaldi passed through the upper Tiber valley and stopped at the Vibi house. In fact, other presences of the hero in Foligno and Cascia also date back to the same period. 8. Porta Portese, or Portuense, as it is next to the river port of old Rome (Ripa Grande). It is located on the right bank of the Tiber. 9. On the terrace of the Pincio, a few tens of meters from the balustrade, a marble bust of Luigi Vibi can still be seen today. Sources: "Umbertide nel Secolo XIX" by Renato Codovini and Roberto Sciurpa - Municipality of Umbertide, 2001 I FOOD OF FRATTA Several "characters" of the noble Cibo family were born in Fratta: Andrea, doctor and professor at the University of Perugia; the lawyer Alessandro, son of Andrea and the jurist Girolamo, a profound and distinguished man of letters. Andrea Cibo Andrea Cibo was born in 1493. He studied medicine and, still very young, taught with great praise at the University of Perugia. Pope, Clement VII, who had achieved the fame of Andrea's great knowledge, called him to Rome and appointed him his doctor, with a large salary and annual income for himself and for his heirs. He was also highly esteemed by the Supreme Pontiff Paul III Farnese, who in the trip he made to Nice, wanted him with him, and in the Pope's meeting with the Emperor Charles V and with Francis I, King of France where the truce of ten years, he was the only one invited to attend the banquet given to those great potentates. He was also a companion of the same Pope on the other solemn journey of Busseto, as shown in a letter written by Carlo Gualterozzi to Bembo on June 18, 1543. letter present in a Code of the Barberini Library. In another letter of October 1553 Aretino calls Andrea Cibo "Safe health of the sick". However, Andrea had so much love for his Fratta that in 1537 he had a hotel built at his expense for the convenience of all those who passed through to go to Perugia and Tuscany. After having served as a doctor for two other Popes, Julius III and Marcellus II, in 1557 he returned to Perugia where he stayed for five years. In 1562 he was recalled to Rome by Pope Pius IV who appointed the general proto-doctor of the health college in Rome. After the death of Pius IV he settled in Perugia where he lived very honorably until his death, which took place on May 17, 1576, at the serious age of eighty-three. The funeral honors dedicated to him by every city order were grandiose and Orazio Cardaneti da Montone, illustrious rhetorician of the 16th century, read a very forbitious and learned prayer. From Guerrini we also know that "He was buried in the Cathedral Church of S. Lorenzo (N, dr of Perugia), where three years before he had placed this modest memory by himself: 1574 ANDREA CIBO AAE 80 POSUIT He left a certain Lucrezia a widow, with whom he had several children, including Lavinia, who in the year 1579 she married Alessandro Degli Oddi. Another son of his was Alexander , who was a great success esteem in legal disciplines. He often lived in Fratta, and in 1610 he stayed there for a long time he retained with Adriana Amerigi the gentlewoman of Perugina his wife for health reasons. Poor Adriana on 21 September of the same year unfortunately had to go there succumb; and was buried in the Church of San Francesco, where still to the right of the entrance main reading is the funerary inscription, which the sad husband placed there ". After 1863, one of the most important streets of the historic center was dedicated to Andrea, formerly via Diritta or Reaale, and today considered somewhat the Corso of our city. * * * * * * Mauro Cibo Mauro Cibo, whose date of birth is unknown, as Guerrini recalls in his History of the land of Fratta, “was another scion of the noble and illustrious Cibo family. From his earliest age he showed a sweetness of character, an unabashedness of morals, an indefatigable love for divine things that finally, after having completed his career with immense profit, decided to retire from the lure of the world. In 1570 he was received as a novice among the Camaldolese hermits in the Sacred Hermitage of Monte Corona. A man of very exemplary, austere life and profound doctrine, he soon acquired the esteem and veneration of all his confreres, so that four times, by the General Chapter, he deserved to be raised to the supreme degree of Major of the whole Order. He always worked for the growth of the Congregation and obtained many privileges and advantages from various popes, Paul V - Clement VIII - Leo XI. He died in Monte Corona in the year 1604. Cesare Crispolti in his "Perugia Augusta", Lancellotti, Jacobilli, all record the praises of the venerable Hermit! " * * * * * * Pompey Food The date of birth of Pompeo Cibo, another illustrious character of this family from Fratta, is unknown. According to Antonio Guerrini “he was a man endowed with nobility of heart, of supreme wisdom and doctrine, teacher and example of all citizen virtues. He was decorated for non-liar merits of the St. Stephen's Cross (1) ; then honorably aggregated to the Perugian nobility. He lived a long life esteemed and loved by all and in February 26, 1641 he passed to eternal peace sincerely mourned by all ”. 1. The Order of Santo Stefano was established on March 15, 1562 by Cosimo I of Tuscany, who was its first grand master. It was named after Santo Stefano I pope and martyr, because on its anniversary (2 August) the Medici troops had achieved two important victories: that of Scannagallo (1554) and that of Montemurlo (1559). The emblem of the Order was the red cross on a white background. It was suppressed by the French in 1809, reconstituted in 1817 and definitively abolished by the provisional government of 1859. (The photo of the symbol of the Order is taken from the site “Santo Stefano Pope and Martyr and his Knights). The photos are from the photographic archive of the Municipality of Umbertide and Fabio Mariotti Sources: - "History of the land of Fratta now Umbertide" by Antonio Guerrini (completed by Genesio Perugini) - Typography Tiberina Umbertide - 1883 - "Umbertide - Man in toponymy" by Bruno Porrozzi - Pro Loco Umbertide Association - 1992 CESARE BARTOLELLI - CRISTOFORO PETROGALLI Two characters from illustrious families of ancient Fratta from the first half of the 1600s. Both played important roles, in different sectors, in the employ of some of the protagonists of the political and ecclesiastical life of the time Cesare Bartolelli Originally from Fratta from a distinguished family, as a young man he waited with great love for the study of civil and canonical laws at the University of Perugia, and in both he obtained a doctoral degree. He was first in Città di Castello as judge where he exercised this office with such prudence and rectitude, as to receive the applause and admiration of the best citizens. Leaving Città di Castello, he went to Rome where for his knowledge and singular merits he was appointed Auditor to Cardinal Pietro Aldobrandini, then General Superintendent of all the possessions of this house, soon managing to achieve the highest honors, up to to that of governor of Rome. Pope Clement VIII, who had the highest esteem for him, sent him twice as extraordinary ambassador to Prague to negotiate important negotiations with the Austrian emperor. In 1602, as a reward for his dedication, he was appointed bishop of Forlì. He held that church for thirty-two years, all spent for the good of the population entrusted to his pastoral care. He spent a life of irreproachable customs, all aimed at charity, as a truly apostolic man. He founded the Chapel of the Crucifix in San Salvatore in Perugia and in Fratta he had the Chapel of San Rocco built in an elegant architectural form in our church of San Francesco, with one of the statue of the Saint. Also enriching it with staves and valuable paintings. On the arch of the chapel, surmounted by the noble coat of arms, you can still read his name, a clear demonstration of the affection he always had towards this homeland of his. He died in Forlì on 7 January 1634. * * * * * * CRISTOFORO PETROGALLI Cristoforo Petrogalli was educated to the hard labors of the field by his illustrious uncle Pietro Giacomo Petrogalli, with whom he found himself participating in many feats of arms and in the capture of the fortress of Bona in Barberia where he proved his valor and his courage by saving the insignia of the company of the Perugian captain Carlo della Penna who, due to the death of the standard bearer, would have fallen into the hands of the enemy. For his many merits, Cristoforo was very well received at the court of Tuscany. Francesco de 'Medici, before dying, honored him with his sword and his jacket or chain mail in the shape of a bodice, which warriors wore in battles. He also assigned him a salary of 19 piastres a month and a noble apartment. On 6 October 1637 he was appointed by Cardinal Carlo de 'Medici captain of the broken spears (Ed. In the 16th and 17th centuries , the chosen soldiers, both infantry and cavalry, were called broken spears, who assisted the corporals and sometimes the sergeants in their various Duties. Broken spear was also the name of various militias in the service of sovereigns or high-ranking personalities). Grand Duke Cosimo II, who knew very well the military prowess of this captain of ours, on 21 September 1642 entrusted him with the command of a company of 200 infantry and in the following year, on 23 November, promoted him to the rank of sergeant major in the third of Field Master Count Angelo Maria Stufa. Finally, for his singular merits, from the kind Florence he had the great honor of being enrolled, on January 10, 1644, in the register of his fellow citizens. He died in Florence in 1648. - The photos of Fratta's characters are part of the Gallery of paintings of historical characters of the Municipality of Umbertide - The photos of the church of San Francesco are by Fabio Mariotti - The other photos are taken from "Wikimedia Commons - Wikipedia" Sources: - "History of the land of Fratta now Umbertide" by Antonio Guerrini (completed by Genesio Perugini) - Typography Tiberina Umbertide - 1883 Giovanni Mauri Filippo e Giovan Battista Fracassini Orazio Mancini Giovan Battista Spoletini Fabrizio Stella Giovanni Tommaso Pao(u)lucci GIOVANNI TOMMASO PAO (U) LUCCI Great man of letters from Fratta in the service of the Papacy curated by Fabio Mariotti Antonio Guerrini, in his work "History of the land of Fratta now Umbertide", tells us that "In 1542 Gio. Tommaso Paolucci was born in Fratta. He advanced so much in the study of the Fine Letters, that he was subsequently Secretary of the Cardinals Fulvio della Corgna, Ottavio Acquaviva and Gio. Vincenti Gonzaga. He was also very versed (also) in Mathematics, in Histories, in Greek and Latin Letters. Finally giving himself to the study of Canonical and Civil Laws, he made an admirable profit in them; and in Rome in 1585 he was redeemed (crowned ) of Doctoral Degree in both law. He was tutor of Greek letters to Monsignor Matteo Barberini, who later became pope with the name of Urban VIII. He always continued in the esteem and love of the aforementioned cardinals so that Gonzaga beyond he wanted to raise him to dignity with a large pension, appointing him with a license sent on February 6, 1580 canon of the Church of San Gregorio in Velabro. Later he was conferred the Archpriesthood of Santa Maria in Cosmedin , otherwise known as of the Greek School, with a license sent by the same Cardinal on June 8, 1585 under the pontificate of Sixtus V, that bruised and shy old man, who as soon as he was proclaimed Pope threw down his stick and boldly curled his head! Gio. Thomas wrote to give to the print various works, "Five Volumes of Selected Letters" directed to various rulers, cardinals, Distinguished Prelates, Prelates and Knights; a “Treatise on public things and policies "; a “Summary of political warnings "; various comments on the “Annals and Histories of the Prince of the political writers, Cornelio Tacito ", which remained unpublished in the hands of the heirs. His merit went so much beyond that Clement VIII made him his secretary of the Latin letters, to which honorable officio unfortunately did not come because overwhelmed prematurely by death on 1st December 1599, fifty-seventh year of his age. It was public rumor that out of courtesan envy he was poisoned in S. Maria Maggiore in celebrating the S. Sacrifice. His body was buried in Rome in the Church of S. Maria in Cosmedin, as shown in the Book of the Dead of the said Parish p. 25, aforementioned year ". The municipal administration dedicated the central street of the Fontanelle district to him on 18 December 1960. Sources: - "History of the land of Fratta now Umbertide" by Antonio Guerrini (completed by Genesio Perugini) - Typography Tiberina Umbertide, 1883 FABRIZIO STELLA Distinguished jurist from Fratta between the second half of the 1500s and the first half of the 1600s He was born in Fratta in 1565 distinguishing himself in the legal disciplines. Due to his undoubted abilities he was called to hold administrative positions in various important cities, often disengaging himself in "foreign embassies". Guerrini, in his "History of the land of Fratta", tells that the lawyer Fabrizio Stella was particularly dear to many eminent personalities, including Cardinal Bevilacqua of Ferrara (he was apostolic legate of Umbria and Perugia, who elected him protector of the city and honorary citizen, from 1600 to 1606 - Ed), as shown by many family letters written to him kept by his heirs. The King of Portugal John IV, founder of the Braganza dynasty, decorated it with the Cross of St. James of Lusitania giving it many privileges, as emerges from the relative diploma. Returning to his homeland at the age of 79, he paid the supreme debt to nature on January 15, 1644 and was buried in the Church of the Conventual Fathers of this land, leaving his descendants legacies of honors and riches, but his family was soon extinct with the death of the three married women Paolucci, Mazzaforti and Savelli. In 1880 the municipal administration dedicated what was once via dell'ologio to Fabrizio Stella. Sources: - "History of the land of Fratta now Umbertide" by Antonio Guerrini (completed by Genesio Perugini) - Typography Tiberina Umbertide - 1883 - "Umbertide - Man in toponymy" by Bruno Porrozzi - Pro Loco Umbertide Association - 1992 GIOVAN BATTISTA SPOLETINI Distinguished jurist, governor of many cities of the Papal State, celebrated in Fratta for his many merits as Father of the Fatherland Giovan Battista Spoletini, a man of great ingenuity and supreme integrity, was born in Fratta in 1557. He graduated in the legal disciplines for which he was profoundly versed; for this he undertook a government career and was appointed by the S. Consulta Governor of the ancient city of Sutri in the year 1592, of Piperno in 1593, of Napi in 1595; then of Acquapendente, Veroli and others. Returning to his homeland, from the height of his wisdom and doctrine, he constantly worked for his good, especially in the circumstance of the ruin of the two arches of the bridge over the Tiber which occurred in the year 1610. They poured the inhabitants of Fratta into the most fierce consternation as their trade languished due to the difficulty of transit to Città di Castello and Tuscany and because with their limited economic resources they saw no hope of being able to reactivate it. It was Spoletini who, inflamed with homeland love, went to Rome several times, with the protection of the distinguished prelates, his ancient acquaintances, eloquently exposing the difficult situation in which his homeland was, obtaining from Paul V Borghese, a shrewd and enterprising Pope , that the Congregation of the Good Government provided for the rebuilding of our bridge, since, by good luck, this Pope knew well the land of Fratta, Perugia, Città di Castello, Montone, Citerna. And since in the allotment made by Monsignor Marini apostolic commissioner in Perugia, Fratta was heavily taxed by a quarter of the total expenditure, our Spoletini went again to Rome and from the Congregation of the Good Government he obtained a different allotment, that is, that divided the total expenditure in twelve ounces, nine were borne by Perugia and its countryside, two by Città di Castello, and the other part for two thirds to Fratta and one third to Montone. One cannot imagine how many oppositions were made by the aforementioned municipalities, and especially by that of Città di Castello, to the point of planning the construction of a wooden bridge; but by the industriousness, wisdom and influence of Spoletini everything was overcome and in 1614 the construction of the bridge with only two arches was contracted out for a cost of seven thousand scudi. The work was quite advanced that a terrible flood occurred which unfortunately devastated what had been carried out! Then new and fiercer oppositions arose and many appeals were made against the contractors, as well as the Spoletini himself who had been appointed Superintendent of the work. Envy and wickedness barbarously joined in slandering Spoletini as a participant in the fraud of bad workmanship so that, in June 1615, an arrest order was issued for him and for the contractors. Spoletini was treated with all due regard to his condition and was confined to a room in the Palazzo Priorale in Perugia with the exhibition of a security of one thousand scudi. In the end, his innocence and honesty were recognized and he was then honorably reinstated not only in his primitive qualification of Over-standing the factory, but for the damage suffered he was decreed an indemnity of 100 scudi to be paid half by the Municipality of Fratta, half from the other Municipalities subject to the Consortium, an indemnity that Spoletini generously did not accept. The contract for the three-arch bridge was therefore renewed for the sum of 6,500 scudi, and in 1619, perfectly completed, it was made passable. Despite the persecution unjustly suffered, Spoletini continued to always be the protector and benefactor of this land, to the point that he was assigned the glorious name of Pater Patriae. His home was in via del Piano. In 1634 Giovan Battista Spoletini ceased to live at the age of 77. All generally mourned for him, because when enmities and envy were cooled above the grave, men are judged without lies there as they really were. With great solemnity he was buried in our Church of San Francesco, where to the right of the Presbytery there is a sepulchral plaque dedicated to him where you can still read the following inscription which recalls the merits and important activities carried out during his life: DOM "Jo Baptista de Spoletinis LVD. Ac Civi Perusino de Fracta, here sub Clemente VIII Pont. Max Civitates Sutrína, Nepesina, Anxuris, et Monti Falisci, Terram Priverni, et Aquepend. Gubernavit et demum in Patriam neglessus, Pontem collapsum summo animi, corporisque labore, summaque vigilantia, oppugnatis contrariis in pristinum restit. curavit Deoq. Jovi obtinuit. Jo Maria filius ad memoriam laborum sui Patris iam septugenarii posuit Ann. Dm. 1637. " After 1863 the street where he lived was dedicated to him, the ancient via del piano which at the time was the main road to go to Perugia. Sources: - "History of the land of Fratta now Umbertide" by Antonio Guerrini (completed by Genesio Perugini) - Typography Tiberina Umbertide - 1883 - "Umbertide - Man in toponymy" by Bruno Porrozzi - Pro Loco Umbertide Association - 1992 - “The talking stones” by Pietro Vispi - Local publishing group - Digital Editor Srl, Umbertide 2021 ORAZIO MANCINI Fratta prelate and diplomat of the second half of the sixteenth century Abbot Mancini was born in Fratta as honest and wealthy parents in the year 1546. As a young boy he completed a full course of studies at the University of Bologna and then went to Rome where, having proved his uncommon talent, he remained for fifty years he was employed as Secretary to the Most Eminent Caraffa, S. Severino and Doria, and with this important office he had the opportunity to attend as many as seven Conclaves. He had very important shops entrusted to him by Philip III, King of Spain, from whom he was remunerated with an annual pension of one thousand scudi a thousand on the rich Archbishopric of Taranto and that of Seville, in addition to six thousand Castilian scudi that the Duke of Lerma, supreme minister, he donated in the name of the King. At the same time he was offered the Bishopric of Cefalù and Girgenti and other large cities of Sicily, which our Mancini modestly gave up. It was also very well accepted by various Supreme Pontiffs and Princes of Italy, especially Ferdinand II, Grand Duke of Tuscany and Duke Charles of Savoy, of whom he was requested as a gentleman and diner of Cardinal Maurizio, his son. At an advanced age and tired from the many hardships sustained, he retired to Perugia where, together with Father Sozio Sozi, he founded the Congregation of the Oratory of San Filippo Neri (1) , starting the construction of the house and the magnificent temple called Chiesa Nuova or Church of San Filippo Neri, the greatest example of the Baroque in Perugia, built between 1627 and 1665 under the direction of the Roman architect Paolo Maruscelli, for the construction of which he employed large revenues from abbeys, pensions and all his patrimonial assets. He died in Perugia in the year 1629, at the age of 86. In a painting that was in the Church of San Giovanni di questo Terra, representing the name of Jesus, one could read at the bottom this writing: "Oratius Mancinus fieri fecit, et donavit Anno 1598." Its name replaced the old denomination of via Porta Nuova after 1863. Note: 1. The Congregation of the oratory originated from community of secular priests gathered in Rome around San Filippo Neri, first at the church of San Girolamo della Carità (1551) and then near that of San Giovanni dei Fiorentini (1564); was erected canonically in 1575 by Pope Gregory XIII, who donated to the oratorians the church of Santa Maria in Vallicella, and its constitutions were approved by Pope Paul V in 1612. Sources: - "History of the land of Fratta now Umbertide" by Antonio Guerrini (completed by Genesio Perugini) - Typography Tiberina Umbertide - 1883 - "Umbertide - Man in toponymy" by Bruno Porrozzi - Pro Loco Umbertide Association - 1992 La famiglia Spunta di Fratta THE SPUNTA DI FRATTA FAMILY The conspicuous family of the Spunta had many characters who, between the 1500s and the mid 1600s, gave prestige and ornament to our city both for skill in arms and in legal and literary matters. The most remote news that has come down to us reminds us of Marino, notary; Paolo, Marino's nephew, official of the Papal State; Francesco, son of Paul, also an official of the Papal State; Alfonso, son of Paolo, man of letters. Marino Check Son of Domenico Spunta, he was born in Fratta in 1480. He was highly indoctrinated especially in the legal disciplines. He worked as a notary public and his deeds are kept in the historic municipal archive of our city in twenty-nine voluminous protocols ranging from 1507 to 1545. "There are few Offices - says an important Jurisconsult - that require such a great set of honesty, knowledge and conciliatory spirit as that of the Notariat". Thirty-eight years of honorable practice in such a delicate and important career, the handling of great and jealous interests concerning the most important village and foreign families are the indubitable testimony of Marino Spunta's mirrored honesty and profound wisdom. The ancient statutes of our community dating back to 1362 were extremely disfigured and damaged by time and long use, for which the General Council recognized the need for them to be reformed and partly renewed "also because the new age from antiquity in many different things , he continually wishes to promote a new rite ». Among the many distinguished men who presided over public shops at that time, Angelo di Antonio Cibo, Antonio di Ser Orsino, Simone de Speranza and Bentivenga di Antonio Dell'Uomo, defenders of the Castle, Ser Paolo di Cristofero Martinelli, public notary and extremely person circumspect, "not that many other virtuous men of the Castle, of good, honest and political amateurs", entrusted our Spunta with the direction of this important work that he successfully completed on February 22, 1521 and which was extensively approved. The date of death of Marino Spunta is not known while it seems that he had a son named Antonio , also a public notary, who exercised from 1538 to 1558 as we can find in the public archives of this Municipality in the twenty-three protocols he left. Paolo Spunta Grandson of Marino, he was born in Fratta on the decline of the 16th century. He was the husband of Madama Orsolina and had many children, including Francesco and Alfonso of whom we will speak later. Paolo by natural inclination dedicated himself to military art and in 1627 he had already risen to the rank of Loco-Lieutenant, conferred on him by Carlo Barberini, General of the Pontifical Troops. Then for the skills demonstrated he passed to the rank of Captain with the appointment of Cardinal Camillo Panfili, General Superintendent of the State Militias. At the same time he occupied many prestigious positions and, among others, by Ottaviano Carafa, general commissioner, was appointed under commissioner for army commissions in the province of Umbria. All this can be found in authentic documents existing in the Mazzaforti family and in their other heirs. Francesco Spunta Even Francesco, son of Paolo, following in his father's footsteps, was very capable in politics and an intrepid and valiant soldier. At a young age he was already appointed standard bearer of his company by Cardinal Camillo Panfili. In the war between Urban VIII and the Florentines he distinguished himself by strenuously defending the Castles of Montalto, Polgeto and Montacuto, repelling the assailants several times and making a good number of prisoners, as can be seen from very extensive documents issued by his Excellency Gio. Battista Bono Governor General of the Weapons in this land. He had frequent times to carry out with his soldiers various expeditions under the command of Mr. Duca Savelli, Lieutenant General of S. Chiesa. Then militating under the Austrian flags, by the Commander Mr. Tommaso Mengrahell he was raised to the distinguished post of Regimental Standard Bearer. Alfonso Check Alfonso, another son of Paul, eclipsed any other for his high merits, especially in Latin literature. He was employed in various Courts and his Majesty Queen Christina Alexandra of Sweden appointed him tutor and secretary of Latin Literature. Cristina, daughter of Gustavo Adolfo and Eleonora Princess of Brandenburg, after the death of her father in Lutzen in 1632, fighting against the Austrians, was proclaimed Queen at the tender age of six. However, it remained for a long time under the tutelage of severe Regents, who, in order to educate it worthily and according to the paternal dispositions, surrounded it with the most renowned tutors of Europe. It is believed that the study of languages was the predominant passion of that young queen. Pierre Bayle, the great philosopher of Carlat, asserts that every day she read some original pages of Tacitus. Therefore our Alfonso being called as tutor and secretary in that magnificent court is the sure proof of his profound doctrine. There he was a companion and friend of the famous S almasio di Semur, of Vossio, Boschart, René Deschartes (Descartes) and of other great ones. The delightful and erudite Cristina devoted entirely to literature and sciences, annoyed by what she called the "splendid servitude of the throne", on June 16, 1654 and at the flourishing age of 28, decided to abdicate the heroic Crown of the Vasa. Our Alfonso spent another five years revered and honored in that splendid Palace, disengaging important embassies; but finally due to his poor health and the turbulence of the Kingdom, with a Diploma of King Charles X of 10 April 1659 he was returned to his homeland, where a year later he ceased to live and where he had extraordinary funeral honors and the lamented general. To Marino Spunta, and ideally to all the other members of the family, what once was dedicated it was via delle Petresche, in the historic center. The photos of the ancient characters are taken from Wikipedia. Sources: - "History of the land of Fratta now Umbertide" by Antonio Guerrini (completed Genesio Perugini) - Typography Tiberina Umbertide - 1883 - “Umbertide - Man in toponymy” by Bruno Porrozzi - Pro Loco Umbertide Association - 1992 FILIPPO AND GIOVAN BATTISTA FRACASSINI The Fracassini family, originally from Monte Acuto, had two important personalities in 1600 who honored the land of Fratta. Filippo, master mason, who made his great skills available for architectural works that we can still admire today. Giovan Battista, distinguished lawyer, judge and governor of important cities of that time. Filippo Fracassini The exact dates of the birth and death of this important descendant of the Fracassini family are not known. In the first half of the seventeenth century Filippo Fracassini was a famous operator in the art of architecture, not so much comforted by science but by his natural talent and passionate exercise. There was no great undertaking in Fratta in those times that was not entrusted to Fracassini. He, together with the master builders Ercolano da Civitella and Francesco Valentini, rebuilt the two arches of the bridge over the Tiber which was demolished by the extraordinary flood of 1610. He was director of the factory of the new Church of Santa Croce, which was erected between the years 1610 and 1647. He reformed the grandiose Temple of the Reggia on the design and direction of another worthy Frattegiano, Bernardino Sermigni, and executed many other works of no less importance, all with a happy outcome. The very learned D. Silvio Fidanza wrote the following epigraph in praise of Fracassini: "DEO CRUCI VIRGINI PHILIPPHUS DE FRACASSINIS SINE LITERIS NUMERIS DISERTISSIMUS PONTEM INFECTUM ARTE REFECIT POST DILUVIUM TRIA MILIA NONGENTA DECEM PRIDIE NONAS SEPTEMBRIS SACRAS AEDES SANCTAE CRUCIS A CRISTI AREE MORTE MARY 1649 JUBILEE 1645 ". On 18 December 1960 the road leading to Preggio was named after him. Giovan Battista Fracassini This distinguished citizen of Fratta, after having obtained a degree in philosophical and legal studies at the University of Perugia, moved to Rome to exercise the office of defender in that Supreme Curia for a long time and with excellent profit. With licenses from the S. Consulta he ruled the government of many important towns and cities, in particular Norcia and Camerino, until in 1680 by Monsignor Ghisleri he was recalled to Norcia as Lieutenant General of the Prefecture. Despite the exercise of these important offices, he never ceased to occupy himself in the functions of lawyer, as can be seen from many cases entrusted to him by Franchetti and brilliantly resolved, by the multiplicity of his writings, reports and votes that were published for the prints. He was Judge in Foligno, Vicar General in S. Sepolcro and Città di Castello. But finding himself at a very advanced age and unable to bear so many hard labors, he returned to his native land where, in the arms of his relatives who loved him so much and friends who greatly esteemed him, he gave his soul back to God in the year 1689. . Sources: - "History of the land of Fratta now Umbertide" by Antonio Guerrini (completed by Genesio Perugini) - Typography Tiberina Umbertide - 1883 - "Umbertide - Man in toponymy" by Bruno Porrozzi - Pro Loco Umbertide Association - 1992 GIOVANNI MAURI In the first half of the 1600s he was, among other things, master of the Order of Minor Conventual Fathers and bishop of Nusco The biography is taken from Guerrini's book, fully preserving the Italian of the time, from the late nineteenth century. Giovanni Mauri was born in this land in 1566. As a young man he professed among the Frs. MM . (Minor Fathers) Conventuals of St. Francis and for the tireless study and continued exercise of the most splendid virtues he became Master of that Holy Order and occupied the most luminous offices there. In the year 1626 he was already Procurator General in Rome; in 1629 Apostolic Commissioner and Visitor in Sardinia; in 1634 Inquisitor in Siena and Florence; in 1638 Consultor of the Holy Office in Rome; then Patriarchal Vicar in Constantinople. Famous in preaching, he trod the most distinguished Pergams (Ed. In architecture sacred, a kind of balcony (also called pulpit) which is usually found in churches inside, now leaning against the walls or with columns or pillars, now isolated and supported by small but richly decorated architectural elements, from which the preacher addresses the faithful) of Italy, and was marvelous for his immense erudition and for his robust facondia. Gentle verse, profound mathematician, Master of sweet melodies, and sublime Organist, he often rapt in ecstasy Amuirath IV called the Valiant, who wished to sing and play in his presence above the proud Minarets, gracefully towering on the enchanted shores of the Bosphorus. And he received precious gifts, which on his return to Rome were surprised by Pontiff Barberini himself, to whom Mauri was present with a rich fur coat and an exquisite inestimable work coat. After the highly praised exercise of such delicate and important offices, Urban VIII in 1641 consecrated Mauri as Bishop of Nusco, Principality-Further in the Neapolitan area, where after just four years with the peace of the just, with the sanctity of example, with the blessing of all the His people, who loved him as their Father, fell asleep in the Lord on November 1, 1644. Sources: - "History of the land of Fratta now Umbertide" by Antonio Guerrini (completed by Genesio Perugini) - Typography Tiberina Umbertide - 1883 Giovanni Pachino - Cintio Paulucci Bernardino Sermigni BERNARDINO SERMIGNI Great honor had Fratta from having given birth in 1600 to the architect Bernardino Sermigni, descendant of an ancient and titled family In the year 1640, seeing the dome of the Church of the Reggia at risk of collapse, he immediately set to work, together with Flori , to avert this tragic event. After consulting the architect of the Grand Duke and other corresponding artists, it was finally decided to completely renew the internal order giving it a more noble form, also following the advice of Pietro Burelli , another talented engineer from Fratta. This Temple has an octagonal plan on the outside, circular inside with a diameter of twenty meters; and its height twice the diameter. When you enter the church you are immediately struck by the boldness of the great dome, as if thrown into the air, by the elegant, majestic harmony of the whole. The buttresses of the primitive construction did not oppose vigorous resistance to the considerable thrust of the structure, so it was necessary to strengthen them. And here is the genius of our artist not to stop among the only remedies of arid solidity but also trying to combine this with aesthetics to draw the most pleasant benefit from it. Around the internal walls there is a complete order of sixteen columns, somewhat detached from the wall, on which the exhibits of the corresponding pillars are shown. The intercolumns (Ed. Space between two columns) are odd. In the largest, which is an aerospace (Ed. Temple in which the intercolumniation had a width greater than three diameters) , eight large round arches well decorated with cornices and stuccoes, and with their large recess they make magnificence and convenient to the altars , the orchestra and the two main entrances. The other intercolumniation is somewhat narrower, all divided up by niches, divided between them by the continuing frame of the side shutters. These various intercolumns make up admirably separate groups of coupled columns, which present at the same time speed and the most graceful movement. The order of the colonnade is Doric and has a remarkable height of 9.60 meters. How much philosophy of art in the choice of this order! Our columns, which here support such a laborious office, had to be characterized by the constant character of the most severe robustness. The slight streaks in the large stems have also been suppressed and short grooves indicated only in the collar of the Capitals. The primeval robust height of the architrave has been preserved and the most sensible parsimony in the limbs (Ed. Horizontal Membrature placed in conjunction with columns) . And for this artistic criterion and also to avoid the inconveniences in the cornice mostly resulting from the coupling of the columns, triglyphs are suppressed (Ed. The triglyph is an architectural element of the Doric order frieze of Greek and Roman architecture. stone tile, decorated with vertical grooves) and modiglioni (Ed. The modiglione, also called modione, is a sculpted shelf that supports the upper protruding part of the frame) , following the example of the Farnesina del Peruzzi (Ed. Villa Farnesina in Rome built around the 1505 on a project by the architect Baldassarre Peruzzi) and of the Palazzo Stoppani by Raffaele (Ed. Palazzo Stoppani in Bergamo in 1500). Above the described entablature (Ed. Architectural structure, including the horizontal element of the trilithic system, of the Greek-Roman architectural orders and consists of architrave, frieze and cornice ), which with the right alignment circumscribes the whole Temple, stands the large drum della Cupola shaped as a sumptuous attic. Above each column we see repeated as many pillars, to which the proportional projection of an elegant frame with all purity of art composes the ornament of the relative capitals. In the intermediate spaces there are stupid arches for grandiose windows; various collections for bas-reliefs and paintings. Then, a little higher, another frame, so that the adorned nut, which is created between these frames, constitutes a graceful base for the great dome, which boldly develops elliptically at the top. Here four large windows send streams of light inside. Here ribs that arise from the subordinate orders adorn the grandiose curve of the structure and converging at the top rejoin to raise a lantern, which the magnificent building elegantly crowns. On the outside, the internal architecture is repeated with all simplicity. It was thought for greater beauty to leave the dome naked outside, encrusted with lead, but the seriousness of the expense did not allow it. The construction of the walls is brick, the bands and stucco decorations, the architectural orders are all in pietra serena and executed with the most exquisite stereotomic ( Ed Stereotomìa is the set of geometric knowledge and traditional techniques relating to the tracing and cutting of the blocks and of freestone segments and their assembly and use in complex structures related to architectural constructions) cleanliness. Shortly after 1647 this great Temple was completed again, which are classics artists consider among the most beautiful of the Umbrian districts and that it certifies brightly the valentia of our architect. Sermigni died in 1670, at the age of 70. Sources: - “History of the land of Fratta now Umbertide” by Antonio Guerrini (completed Genesio Perugini) - Typography Tiberina Umbertide - 1883 GIOVANNI PACHINO and CINTIO PAULUCCI Two characters of ancient Fratta who distinguished themselves, the first in the legal disciplines, the second in military art Giovanni Pachino Distinguished jurist, in the first half of the 1400s he was Grand Master of the income of the Duke of Milan Filippo Maria Visconti Giovanni Pachino (or Paghino) was born in Fratta towards the end of the 14th century. I started very young to study and then deepen the legal disciplines, so much so that I earned the nickname of "Splendor of Italian Jurisprudence". He traveled extensively in even distant regions for the desire to know, study and deepen the different customs and customs of other peoples and their laws. Pachino, for his experiences and for his doctrine, was called to the service of authoritative princes and personalities of his time, who repaid him with honors and riches. Shortly before the middle of the 15th century he was called to Milan, to the important court of Filippo Maria Visconti who, for the trust and esteem he had in our fellow citizen, also entrusted him with the prestigious position of Grand Master of all the ducal income. He had a large family. It is probable that, in consideration of a possible dynastic change in Milan, Pachino asked and obtained permission from the Visconti to be able to return to Umbria. This is how he settled in Perugia in 1443, where he became an honorary citizen. In the Perugian Annals of the year 1443 he was defined as “De Castro Fractae Filiorum Umberti egregius et famosissimus legum doctor”. He died in Perugia in 1444. A street was named after Giovanni Pachino, a crossroads of Via Roma. Cintio Paulucci Valent man of arms, he knew how to honor himself by fighting for the Venetian Republic Towards the end of the 16th century, shortly after the formidable battles in Cyprus where Pietro Giacomo Petrogalli worked wonders of great value, another brave warrior of our land was fighting in the employ of the invincible Venice. Cintio Paulucci, a man of perspicacious talent and particularly expert in military art, inspired by the genius of the times, fearlessly threw himself where battles both against Muslims and the most indomitable piracy often raged. Not surprisingly, with a license dated July 27, 1628, he was promoted by the Venetian Republic (1) to the rank of Captain of the Halberdiers (2) . In the year 1632 he was sent to Dalmatia, in Sibenik, as commander of the Italian Company to be then assigned, with another license of 6 June 1636, as Major and Commander General, to Zakynthos (3) , one of the most important islands of the Ionian sea where shortly after he ceased to live full of merits and glory. Tall stature, pleasant appearance, severe eye, spacious forehead, ringed hair, steel armor, halberd in hand, coat of arms with eagle on a red background: this is how Cintio Paulucci was represented in a portrait of his time that unfortunately has not reached us. . Note: 1. The Venetian Republic, starting from the seventeenth century Most Serene Republic of Venice, was a maritime republic with Venice as its capital. Founded according to tradition in 697 by Paoluccio Anafesto, in the course of its one thousand hundred years of history it established itself as one of the major European commercial and naval powers. Initially extended in the area of the Do g ado (a territory currently comparable to the metropolitan city of Venice) in the course of its history it annexed much of north-eastern Italy, Istria, Dalmatia, the coasts of present-day Montenegro and Albania as well as numerous islands in the Adriatic and eastern Ionian seas. At the height of its expansion, between the 13th and 16th centuries, it also ruled the Peloponnese, Crete and most of the Greek islands, as well as several cities and ports in the eastern Mediterranean . 2. Towards the end of the Middle Ages, the European armies increasingly equipped themselves with units of halberdiers, a body of heavy infantry armed with halberds. This was a long shaft that ended in a two-edged blade and, just below, an ax blade was engaged on one side and a large hook on the other. The halberdiers also wore particular helmets called morions, similar to helmets with a rigid and upward-curved brim, pointed at the front and at the back. The most popular models had a crest or ended with a sharp cusp. 3. Zakynthos is a Greek island (405 km²) with a population of approximately 40,000 inhabitants. The island is located in the Ionian Sea, near the coasts of the Peloponnese and is part of the archipelago of the Ionian islands. Zakynthos was at the center of the Spartan-Athenian battles; it was then one of the Ionian islands under Venetian rule, during which the poet Ugo Foscolo was born, who dedicated the sonnet “A Zacinto” to it; in 1953 it was devastated by a disastrous earthquake. Sources: - "History of the land of Fratta now Umbertide" by Antonio Guerrini (completed by Genesio Perugini) - Typography Tiberina Umbertide - 1883 Filippo Maria Visconti, Duke of Milan The coat of arms of the Duchy The Sforzesco Castle Costantino Magi - Angelo Martinelli - Francesco Spinetti La famiglia Soli - Sante Pellicciari Cherubino Martelli - Felice Remeri Lavinio Magi - P. Paolo Cristiani LAVINIO MAGI and PIETRO PAOLO CRISTIANI They both chose ecclesiastical careers and were at the helm at different times of the church of Sant'Agata in via dei Priori, one of the oldest churches in Perugia Lavinio Magi Priest of exemplary and pious customs; rich in doctrine, especially in the theological sciences, in the sacred canons and in the liturgy. He was born in Fratta in 1579 from an honorable family. He studied in the Seminary of Città di Castello under the famous Marcantonio Bonciario, distinguished orator called "The Homer of Italy" by Giusto Lipsio, the most profound critic and the most learned polygraph of those times. Lancellotti in the "Perugian History" tells us that the Magi enjoyed the affection of the very learned bishop Napoleone Comitoli (1) , of Cardinals Torres and Baldeschi, who used his work and his wise men in the most delicate matters of their Sacred Ministry advice. He was elected parish priest of the Church of S. Agata in Perugia by Camitoli, a benefit to which the most deserving subjects of the clergy were nominated. He was Master of Ecclesiastical Liturgy of which he wrote a highly appreciated volume. Several times he had the office of Diocesan Visitor (2) , Synodal Examiner (3) and President of the Congregation of Christian Doctrine, whose constitutions he wisely reformed in 1626. He was ecclesiastical superior of the Hospital of Perugia elected with full suffrages, a position he held for six years with much advantage of the Pious Place, especially in the arrangement of all the important ancient and modern writings contained in that voluminous Archive. He was also a very accurate reorganizer of the other no less important Archive of the Noble Collegio della Mercanzia, where ancient and precious memories were found. After many hardships in favor of civil and religious society, at the age of 61, he died of a heart attack on May 31, 1640. Note: 1. He was compared to S. Carlo Borromeo for having been able to bring the renewals of the Council of Trent into the physical and moral structures of the diocese of Perugia with strength and dedication. A man of high principles and of considerable depth, the great artistic and urban development achieved under his episcopate is proof of the energy lavished on the city, such as the complete restoration desired for the church of Sant'Ercolano. He studied canon law and civil law at the University of Bologna , made numerous pastoral visits, was heard in various synods and did his utmost to improve the dioceses of the region. Jurist of the Sacra Rota, he died in Perugia in 1624. 2. In the Catholic Church , an apostolic or diocesan visitor is an ecclesiastical representative with the transitory mission of making a canonical visit of a relatively short duration. The visitor is instructed to investigate a particular circumstance in a diocese or country and to submit a report to the Holy See at the conclusion of the investigation. 3. Within the Catholic curia there is also the so-called "synodal examiner", a theologian appointed by the diocesan prelate to evaluate those who have been selected for sacred orders and to work with parish ministries and preachers. Pietro Paolo Cristiani He was born in Fratta from a wealthy and distinguished family. From an early age he devoted himself to studies with great profit. He graduated in Sacred Sciences having chosen to pursue an ecclesiastical career. For his integrity and doctrine he was appointed Rector of the parish church of S. Agata (1) in Perugia (where Lavinio Magi, another illustrious fellow citizen of ours, had resided about a century earlier) and for 30 years he supported this ministry with great praise. At the same time he was one of the most renowned professors of the University of Perugia, occupying the Chair of Dogmatic Theology. For many years he held the position of Librarian in the city library, arranging it in a more orderly and elegant form. He was synodal examiner of the eminent Ansidei and of Monsignor Fornari and finally Consultor of the Tribunal of the Holy Office. He was the author of many learned literary works, of a famous dialogue entitled "The Grammatico" (taken from an unknown author of 1557) printed in Perugia in 1717 and of some homeland memories existing in the Mariotti Library. Giacinto Visconti, a talented writer of the eighteenth century, sent a letter to P. Calogerà on the works and life of our fellow citizen, a letter that can be found in the library of San Michele in Murano. Pietro Paolo Cristiani died in the year 1737. Note: 1. The church of Sant'Agata, built seven centuries ago around 1317, is located at the beginning of the very central Via dei Priori, arriving there from Corso Vannucci, known by many faithful and lovers of art history as one of the "caskets" more precious than the Franciscan Gothic style present in Umbria. Inside the church, restored and reopened for worship in February 2015, on the walls and vault there are fresco decorations of considerable historical and artistic interest, from the Umbrian-Sienese school. The restoration work made it possible to find significant pictorial parts on the walls such as the image of St. Francis receiving the stigmata, above the well-known and original face of the "Triform Christ", in front of the right side entrance, and of two saints fathers of the Church painted on the lunettes of the vault above the altar. Sources: - "History of the land of Fratta now Umbertide" by Antonio Guerrini (completed by Genesio Perugini) - Typography Tiberina Umbertide - 1883 CHERUBINO MARTELLI and FELICE REMERI Two Franciscan fathers of Fratta who held prestigious positions, the first as Bishop of Spiga, an ancient city of the Hellespont, the second as Guardian in the Sacred Convent of Jerusalem and Guardian of the Sepulcher of Jesus Christ. Cherubino Martelli News of this illustrious fellow citizen of ours, whose date of birth is unknown, was provided by the Perugian father Ottavio Lancellotti in his memoirs entitled "Scorta Sagra" (1) . He was a Father among the Minor Observants of St. Francis and due to the integrity and breadth of his doctrine he occupied the most important offices of that Congregation until the moment when the eminent Cardinal Andrea della Valle, bishop of Malta, wanted him as his theologian. The fame of his profound science and his mirrored virtues quickly reached the Vatican and Pope Leo X, the great "Patron of the Scholars", awarded him the title of Episcopal of Spiga, an ancient city of Hellespont (2) . He died in Cetona (3), land of Tuscany, in 1520 in the odor of holiness. His body was buried in a modest tomb (4) in that church of S. Francesco but (as a chronicle of that place tells us) due to the many prodigies worked towards him the devotion of the faithful increased immensely so that, after exhuming his body and found intact, it was solemnly placed under the main altar in an elegant urn. Note: 1. 2-volume paper manuscript left with will at the Augusta Library in 1654. 2. The Hellespont, today Dardanelli, is the strait that divides the Aegean Sea from the Black Sea. 3. Pretty village in the province of Siena between the Val d'Orcia and the Val di Chiana. In 1418 Cetona was conquered by Braccio Fortebraccio da Montone. 4. Sarcophagus for the dead. Felice Remeri His date of birth is unknown, it is known that he was the son of Bernardino Remeri dalla Fratta and brother of a Luca Remeri, notary of the venerable Apostolic Chamber. Felice from his youth devoted himself to the study of the sacred sciences and became a religious of the Observance of San Francesco. Here he distinguished himself as a supreme theologian and as an exemplary Father, to the point of holding the most important offices of his Congregation. Clement VII (Giulio de 'Medici) with a special Brief (1) appointed him to the prestigious office of Guardian in the Sacred Convent of Jerusalem (2) , where the Sepulcher is kept of Jesus Christ. The notary Benedetto De Sanctis, an 87-year old man of integrity, said and our fellow citizen, who when Father Felice threw himself at the feet of Clement VII for to have the blessing of farewell, so exclaimed the inspired Pontiff "Please God, Friar Felice, may we together with you receive the palm tree in that blessed land of Martyrdom! " Full of sacred fervor he left Italy and after having sailed for a long time in the stormy sea between Candia and Cyprus, he landed in Acre and went to Jerusalem. Crispolti and Jacobilli narrate that “as soon as he arrived there, he stayed four continuous days at the Holy Sepulcher absorbed in the most profound contemplation, and which diluted so in hot tears, little was missing there would not remain lifeless ". Having then fulfilled with the most fervent zeal all the needs relating to his expedition and to his ministry always giving a shining example of illicitness, of moderation, of piety and all other brighter virtues, in the year 1595, many months after his arrival in Jerusalem passed away in the odor of Holiness (3) . His body is still preserved in that Church with great veneration and many are told about it wonders received from God through his intercession. The name of Felice Remeri is therefore found deservedly counted among the other saints of Umbria. Note: 1. Pontifical document with normative value, lower than the papal bull. 2. The Custody of the Holy Land is a priory of Jerusalem , founded as a Province of the Holy Land in 1217 by Saint Francis of Assisi, who had also founded the Franciscan Order in 1209. In 1342 the Franciscans were declared with two papal bulls as custodians officers of the Holy Places on behalf of the Catholic Church. The headquarters of the Custody are located in the Monastery of San Salvatore, a 16th-century Franciscan convent near the New Gate in the Old City of Jerusalem. The heart of the old city of Jerusalem for Christians is the basilica of the Holy Sepulcher, known by the locals as the "church of the resurrection": inside it is found the Calvary, place of the crucifixion and death of Jesus, and the Tomb of Christ, from which the Son of God resurrected on the third day. The two Holy Places are interrelated and inseparable, as is the paschal mystery of the death and resurrection of Jesus Christ which was fulfilled there and is continually fulfilled. For eight hundred years the Franciscan friars of the Order of Friars Minor have been the custodians of the Holy Sepulcher, on behalf of the Catholic Church, and have shared ownership of the basilica with the Greek Orthodox Church and the Armenian Apostolic Church. 3. Felice Ranieri (Remeri) from Fratta was the 73rd Guardian of the Sacred Sepulcher from 1593 to 1595 (from Wikipedia). Sources: - "History of the land of Fratta now Umbertide" by Antonio Guerrini (completed by Genesio Perugini) - Typography Tiberina Umbertide - 1883 THE SOLI DI FRATTA FAMILY and SANTE PELLICCIARI Illustrious families of the Fratta of the sixteenth century Giovanni Paolo and Francesco Maria Soli The Soli family was one of the most illustrious and wealthy families in our area. Their building was in via Cibo. They had another more sumptuous one on the Piaggia di Metula (Romeggio area) which was set on fire, with those of other lords of the time, by order of Captain Pallavicino when in 1643 the army of the Grand Duke of Tuscany, during the war against Urban VIII, tried to take over our territory by putting the Castle of Fratta under siege. Giovanni Paolo and Francesco Maria, for their honesty and the virtuous actions were both ascribed by the Reale House of Savoy in the Knightly Order of St. Maurice and Lazarus (1) . With various assets they owned at this land, just east of the Temple of the Royal Palace, they had a Commenda built which on the death of Francesco Maria, without successors, fell back to Religion of those Knights and which was therefore conferred to the noble Bourbon family of Sorbello. John Paul instituted one in his last will Chapel to be officiated in the Collegiate Church and in that of Ponte, now joined to the Prepositure (2) , for which there was a capital of 400 scudi amidst the bishopric of Gubbio, who paid the respective interest. Francesco Maria ceased to live on December 27, 1599 a few years after the death of his brother and thus this noble and generous lineage remained extinct. A street has been named after the Soli brothers in what was once the Borgo Inferiore, the area of today's Piazza San Francesco. Note: 1. The Order of Saints Maurice and Lazarus (also known as the Mauritian Order) is a chivalric order born from the merger of the Chivalric and Religious Order of St. Maurice and the Order for Assistance to the Lepers of St. Lazarus in 1572. With the XIV Transitional and Final Provision of the Italian Constitution, the Mauritian Order ceases to be a dynastic order but is kept as a hospital institution, with the functions and order established by the constitutional law of November 1962. 2. It is a term that designates the office of a parish priest, or provost (provost or provost) with special privileges in a parish. Sante Pellicciari He held important administrative positions in the second half of the sixteenth century at the orders of the General Council of Decemvirs (Priors) of the city of Perugia This compatriot of ours was a man of great ingenuity and proven probity. He was celebrated by Pellini in his "Storia Perugina", where he calls him "Writer of great gravity". He was Secretary of the Decemvirs (1) of the City of Perugia. After many years of honorable service, after having procured many advantages to that illustrious community, after having skillfully disengaged the most difficult tasks in very difficult circumstances, he obtained a rich pension and in addition he was spontaneously decreed by the General Council the privilege of adding the Half Griffin (2) to his noble armies. The same privilege on June 25, 1607 was assigned, in continuity with the father, to his sons Pietro Paolo, Lodovico and Silvestro, faithful imitators of the paternal virtues. The office of Secretary of the Community of Perugia was conferred on the proposal of Pellicciari to another of our no less famous compatriot, Filippo Alberti, his nephew. Full of honors, our saint retired to Fratta, settling in a delightful estate on the eastern slope of the Colle di Romeggio, or Piaggia di Metula, with a garden and a palace of noble architecture, where Francesco de 'Medici stayed on his return from Loreto to Florence. This Prince was treated sumptuously by Sante Pellicciari Junior, grandson of our Sante, who was given a very rich gold necklace as a sign of gratitude for the welcome received. In 1607 Sante Senior ceased to live in Perugia between the late general and his descendants lasted until 1814, becoming extinct with Dr. Luca Pellicciari, professor emeritus of experimental physics at the Perugino University. Note: 1. Also called Priors. Ten magistrates who held the city government in the Middle Ages until the early eighteenth century. 2. Tradition tells that it was the Etruscans, an ancient people also present in Umbria, who brought the griffin to Italy: its myth is in fact represented on urns, sarcophagi and bas-reliefs found in the finds. This symbol was then assumed by the Municipality of Perugia since the Middle Ages, through the members of the Corporations of Arts and Crafts who had the consent to use it in their coats of arms. Sources: - "History of the land of Fratta now Umbertide" by Antonio Guerrini (completed by Genesio Perugini) - Typography Tiberina Umbertide - 1883 COSTANTINO MAGI - ANGELO MARTINELLI - FRANCESCO SPINETTI Three characters who lived in Fratta between the 1600s and the early 1700s and who have proven themselves in various disciplines Constantine Magi Man of distinguished reputation in Fine Arts and in Philosophy. Accredited doctor and rare example of love for one's neighbor. The Magi, provided with sufficient wealth, never left Fratta to practice his art, which indeed for many years in a row and whenever necessary he served his fellow citizens for free, leaving the salary written in the Municipal Table always available. of the poorest and putting at their disposal what else they needed of his patrimony. After the loss of his wife, whom he had loved so much, he decided to embrace an ecclesiastical career. Having become a priest, he always led an exemplary and holy life. He wrote precious memories of his homeland, which for the most part were unfortunately lost due to the neglect of the descendants. In the year 1710, amid the blessings of the people, he died peacefully in the Lord. Angelo Martinelli Angelo Martinelli was born in Fratta on 29 September 1630. His father was Maurizio Martinelli and Fiora Corinti the mother. He became a priest and was parish priest in the Church of S. Luca (1) and Confessor of the Capuchins in Perugia and then of Monastery of S. Maria Nuova i n Fratta, where finally he fixed his abode. He was charitable in the name of the poor of Jesus Christ, so much so that he himself often remained deprived of clothing and food to help them. The exemplarity of his life, the sublimity of his virtues made him so grateful to the Lord who granted him the priceless gift of foreshadowing the future, as he did precisely for his death, as reported in a chronicle of that time. On March 19 of the year 1721, as predicted by him, passed placidly to eternal life. The funeral was solemn and all classes of people. His body was secretly buried enters double chest in the Parish Church of S. Erasmo in Cornu Evangelii (2) . Note: 1. The church of San Luca was built in 1586, on the site of one medieval church, commissioned by Bino Sozi of the Order of the Knights of Malta. It has a sober facade embellished with a beautiful entrance door embellished by materials stone and in particular from a truncated tympanum below which there are beautiful friezes of a religious nature. The interior, articulated in a nave with three spans separated by pillars of Doric style, it preserves a canvas by Giovanni Antonio Scaramuccia and the Madonna delle Grazie, a 15th century fresco. 2. The side of the gospel (in cornu Evangelii in Latin ) is an area of the Western Christian churches. It takes its name from the place where the reading of the gospel takes place in the liturgy. Compared to the high altar, it is located on the left side. Francesco Spinetti Francesco Spinetti, a man of great doctrine in the legal faculties, was born in our land in 1660. After having completed his studies in Rome, where he graduated in law, he also obtained the distinguished degree of Rotal Lawyer. By the Government, connoisseur of his merits, he was appointed Governor of the City of Foligno and then to other important positions. In old age he returned to his homeland with a good pension and stopped living there in the year 1724. Not having a direct succession, he left his consort Lucrezia Beni alone, a woman of singular piety, who had the Oratory of S. Filippo Neri called the New Church built near her house and at her own expense, then suppressed and reduced to home. The lawyer Francesco Spinetti, in addition to a magnificent library, left various manuscripts and especially an elaborate repertory of legal texts, divided into several volumes, which the surviving grandchildren recklessly dispersed. Sources: - "History of the land of Fratta now Umbertide" by Antonio Guerrini (completed by Genesio Perugini) - Typography Tiberina Umbertide - 1883 On the left, the house built on the remains of the church of Sant'Erasmo in the 40s and today Bernardino Magi The works are the mirror of the author's soul. A wise observer investigates the character, the custom, the passions, the character of the writer, and rarely deceives himself. The inert harmony of our elders, which not even a line has left on our famous painter Bernardino Magi, requires an exact observation of his paintings, in order to detect the character of the author, the school to which he belonged, the time in which he painted and the merit of the artist. Bernardino was born in Fratta over the middle of the 16th century from the ancient, conspicuous and wealthy Magi family, as evidenced by the grandiose mansion in the Piazza del Comune, where his descendants lived for a long time. From an early age he showed himself to be inclined to the art of painting. Objects of his meditation were always delightful things, inspiring sweet emotions, sweetness, graces, naturalness and above all beauty, towards which he was enraptured by an irrepressible transport. Either he admired it in the starry sky or in the rising dawn, or in the trembling groves struck by the sun, or in the gray hills where herds and shepherds swarm, or in the laughing prairies, wherever they appeared to him as an object of enchantment. He abhorred only melancholy, fatal, frightening objects. In this he conformed to an affable, sweet, mannered custom, led to love everyone and with equal affection to be paid for it. The parents, having known the inclination of their son and his genius, sent him to Urbino where the name of Federico Barocci (1) resounded high, as the most famous painter of that century. It was Barocci of a frank, kind and courteous character; such the disciple, so that great was the affection, unspeakable the commitment, and tireless study in order to satisfy the desires of the tutor. Hence that exact correction in the drawing, those pleasant attitudes, those figures so well posed, those heads of virgins, those nudes of children of a sweetness that enchant, those compositions of a simplicity and naturalness that fall in love. With what favor he waited to imitate the magical color of the tutor his paintings testify. Frederick did everything to emulate Correggio (2) , making him the most gracious, most agreeable, most lovable painter of the Roman School. Barocci was able to give harmony, a brightness, a truth to his paintings, which arouse wonder. Magi imitated the master so clearly that he was sometimes mistaken for him. For this there is an anecdote concerning the Magi. In the aftermath of the imperial government, the famous artist Agostino Tofanelli, Director of the Academy of Fine Arts, was sent to make a choice of Painting Heads to be transported to the capital. In the Church of S. Maria di Fratta ( Ed. It is probably the small church of S. Maria dei Rimedi which was located in the Mercatale Superiore area, the current end of Piaggiola and Piazza Marconi) observing the painting of Magi placed in his altar noble, considered it original by Barocci and as such had it transported to Rome. This results from the documents of that government and from the testimony of Mr. Giambattista Burelli who was then the Town Hall Secretary. It is true, however, that this painting, when examined better, was judged to belong to the school, not to the hand of Barocci. The painting was recovered by the Magi family and rearranged in the altar to the left of the main entrance. It is a rectangular canvas, 2.20 meters high, 1.60 meters wide. At the top there is the Holy Virgin above an arch of clouds slightly refracted by an area of light, which spreads from the divine head and which flows admirably to give life to the underlying countryside. The Madonna is dressed in a silky pink robe, cloaked in a blue cloth whose edges seem to be jokingly waved by the zephyrs of Heaven. Posing the face with dignified modesty, with the right hand in the act of dispensing a glorious palm, it seems to disengage a great decree of the Eternal. And he supports the Child Jesus with his left arm, who, covering his very delicate naked limbs with a white veil, tightens himself tenderly to the Divine Mother's neck in the eyes, in the horsehair, in the graceful lips. Three Seraphim masterfully arranged around, absorbed in blessed veneration, compose a glory in the style of the great Correggio. At the bottom of the picture there is a varied field of degrading hills well adorned with landscapes, woods, streams, rivers, the most delightful scenes of nature. To the right of the beholder is the profile of the Magdalene, a very charming young man, richly dressed, with her long hair on her shoulders dissolved, with her right knee bent in reverence and offering to Mary that jar of mysterious ointments which deserved the miracle of her conversion. On the left is St. Lawrence, kneeling, with his arms crossed at his breast, dressed in a diaconal tunic, who in the act of receiving the longed-for palm from the Queen of Martyrs, expresses in his animated face all the sacred joy that invades him. In front of the Saint, like a victory trophy, the iron painful grill stands on the ground; and alongside an old prelate (subject of the Magi family!) is about to crown him with the glorious diadem. Distances of admirably true positions, characteristic variety of complexions where the blood flows; a choice of very vague forms; a very pure correction of drawing; a freshness of color that enchants, an overall harmony that captivates. Under the figure of S. Lorenzo there is written by the same brush 1597. In a folder on the frame of the same Altar there is sculpted MDLXXXXII. On the sides of the side columns "RD Luduvicus de Magis". And in the dice of the pedestals on both sides of the Altar the noble weapon of the Magi family, consisting of two hands clasped in faith with a Comet above. In the lateral parts of the High Altar of the same Church there were two tables of the Magi, one copied by the Master, representing Christ on the Cross, St. John and the Virgin; the other a beautiful nativity scene. In the Sacristy there is also a S. Lorenzo and a S. Francesco. In the Church of the Good Death he painted the canvas of S. Antonio Abate. This canvas 2.48 m high, 4.40 wide is located in the altar to the left of the entrance. It is made up of four main figures. On one side we see the Holy Abbot Antonio in pontifical robes, all adorned with graceful golden embroidery. His right knee is bent with dignity to the ground, and all intent on a sacred legend, he opens his lips in the thick of a very soft beard to a smile of holy complacency. On the other side, St. Paul, a venerable old man, kneeling under a poor habit and on a curved stick, praying devoutly in the rosary of Mary. The gaunt tanned face, the absorbed furrowed eyelashes, the bald wrinkled forehead, all express the penitent effects of his religious solitude. Next to it you can see St. John the Baptist in the appearance of a dear young man, who with the gracefulness of the forms, with the floridity of the complexion harmonizes the effect of the most beautiful pictorial antithesis. Then, as seated among very limpid clouds, Mary rises up, who with folded hands holds the Baby Jesus to her breast between a white linen. She has a pink and white robe, a purplish mantle gracefully ruffled by the hand of the Angels. In the lips, in the eyes, in the compassionate attitude, how the divine tenderness transpires, which he feels for his delight! The latter, all joyful, with very vague pupils, almost fixed in an ecstasy of harmless abstraction, carries all the celestial maternal features on his face, charmingly repeated. Twelve Seraphim in splendid various rounds finally crown the glory of the Queen of Heaven. In the rear frame we can read Bernardino Magi painted the year 1596. From this we can deduce the age of his works. In the noble Oratory attached to his home he had repeated the Madonna in the picture of S. Maria in large scale and his apartments were full of his paintings. Bernardino did not want to abandon his beloved Preceptor even in death. He was missing from the living in perhaps not senile age in 1612, in the same year in which the master Federico was kidnapped to the Fine Arts. Note: 1. Federico Barocci, known as Fiori, was born in Urbino between 1528 and 1535. His elegant style makes him considered an important exponent of Italian Mannerism and the art of the Counter-Reformation between Correggio and Caravaggio and is also considered one of the precursors of the Baroque. 2. Antonio Allegri, known as Corréggio, was one of the most important Renaissance painters of the Parma school. He was the son of a merchant who lived in Correggio, the small town where Antonio was born in 1489 and died in 1534, and from which he took his name. Sources: - "History of the land of Fratta now Umbertide" by Antonio Guerrini (completed by Genesio Perugini) - Typography Tiberina Umbertide - 1883 Bernardino Magi - Muzio Flori Leopoldo Grilli Lodovico Flori LODOVICO FLORI Il gesuita ragioniere di Fratta che proseguì con successo gli studi di contabilità sulla partita doppia intrapresi cento anni prima dal frate toscano Luca Pacioli Lodovico Flori nacque a Fratta il 26 dicembre 1579 da famiglia benestante sebbene di rango modesto. Da giovinetto si dedicò allo studio delle leggi conseguendo il dottorato. All’età di 31 anni, il 25 marzo 1610, entrò nel noviziato della Compagnia di Gesù a Roma dopo i suoi studi di filosofia, teologia e diritto. Concluso il biennio da novizio, nel 1612 si trasferì a Messina dove, nel 1614, fu ordinato sacerdote. Il 1° gennaio 1625 emise i voti solenni e diventò così “coadiutore spirituale” (1) . Non emettendo il quarto voto solenne dei gesuiti, non sarà un “professo” (2) . Fu nominato procuratore della Provincia sicula della Compagnia dal 1617 al 1632, quando lasciò la carica per occuparsi dell’amministrazione della Casa Professa di Palermo dove morì il 24 settembre 1647. Nonostante gli importanti e impegnativi incarichi amministrativi che rivestiva all’interno della Compagnia, Flori continuò a dedicarsi allo studio degli antichi codici e dei 60mila volumi del Collegio Massimo dove abitava. Frutto di tutto ciò furono 18 opere che ci ha lasciato, in parte da lui composte, in parte da lui tradotte, opere che si ritrovano nell’elenco pubblicato dal prof. Vermiglioli nella sua “Biografia degli scrittori perugini”. Tuttavia l’opera più importante del nostro illustre concittadino è senza dubbio il “Trattato del modo di tenere il libro doppio domestico col suo esemplare composto” , trattato per uso delle case e dei collegi della medesima compagnia nel Regno di Sicilia (stampato a Palermo nel 1636 da Decio Cirillo), opera ancora oggi citata, analizzata e studiata. “Fu ai primi del ’600, col sopravvenire della grande crisi, che i dirigenti gesuitici dovettero preoccuparsi seriamente della situazione economica dell’ordine divenuta drammatica e allarmante. Furono perciò promosse inchieste, studi e ricerche nell’intento di stabilire quali mezzi fossero i più idonei per fronteggiare i paurosi disavanzi della gestione patrimoniale” (F. Renda, Bernardo Tanucci e i beni dei gesuiti in Sicilia, 1974, p. 65). Fu in questo clima che i superiori nel 1631, poco prima che lasciasse la carica di procuratore della Provincia, incaricarono Flori di “voler fare una breve instruttione da tenere i libri de i Conti per uso delle nostre Case, e Collegij in questo Regno di Sicilia”. Non sappiamo dove egli abbia appreso la materia contabile, “si può ipotizzare che acquisisca le sue conoscenze all’Università di Perugia, in quello stesso ateneo che più di un secolo prima ha insignito Luca Pacioli del ruolo di docente” (C. Cavazzoni e F. Santini, L’attualità del percorso scientifico di Lodovico Flori […], 2011, p. 605). L’autore avverte che “la buona cura de’ beni temporali è tanto necessaria a chiunque giustamente le possiede, e massime alle Religioni, che dependendo da essa il necessario sostentamento de’ Religiosi, se l’amministratione della robba non va bene, oltre la perdita, e deteroratione di beni, ne seguono infiniti altri inconvenienti». Flori è consapevole che il suo libro descrive una materia non facilmente assimilabile da tutti. “Chi leggerà questo libro, vedrà che in esso si procede a modo di scienza pratica, e che i termini, i principi, le conclusioni e le cose che in esso si deducono sono talmente tra di loro congiunte, che non si possono bene intendere né capire le ultime senza la cognizione delle prime. Chiunque vuole intendere bene questo modo, habbia patienza di leggere da principio tutto il libro”. Il quale si compone di tre parti: la prima ha per titolo “Del modo di formare le partite in Giornale, e riferirle al Libro”; la seconda “Come si debba disporre e ordinare il Libro per ottenerne l’intento che si pretende” e la terza “Dell’uso e Comodità del Libro disposto e ordinato al modo suddetto”. Per la sua opera il Flori rivolge particolare attenzione sia al lavoro del monaco benedettino Angelo Monaco, di cui “si pone ad erede e prosecutore”, che ha adeguato la partita doppia alla realtà operativa dei Collegi del Suo Ordine, sia al “Tractatus de computis et scripturis” della “Summa de Arithmetica, Geometria, Proportioni et Proportionalita” di Luca Pacioli, nel quale il padre francescano “fa uscire il metodo della partita doppia dalla bottega del mercante, lo rielabora in modo astratto e sintetico secondo le sue concezioni di matematico e lo fa assurgere a modello scientifico, rendendolo così “immortale” nel tempo e nello spazio”. Il Pacioli, infatti, considera le aziende centri del progresso economico e sociale che per le loro finalità, devono tenere una ordinata contabilità utilizzando il lavoro di un competente ragioniere e di un computista per tenere correttamente i libri ed i registri contabili per poter misurare la consistenza patrimoniale e le sue variazioni. Utilizzando la codificazione dei suoi principi contabili per risolvere le necessità pratiche richieste dalle aziende e per impostare con corretti ragionamenti la loro conduzione, il Flori ne estende il campo di applicazione alle corporazioni religiose, le cui attività sono ispirate da un comune interesse umano e spinte da uno stesso modo di intendere la realtà operativa. Il 25 giugno 2016 si è svolto a Santa Croce un convegno di studi dedicato a Lodovico Flori, il gesuita ragioniere di Fratta, organizzato dal Centro Studi Mario Pancrazi e da Digital Editor Srl in collaborazione con il Comune e l’Università di Perugia. Nel corso dell’evento è stata presentata la copia anastatica dell’opera del Flori stampata dalla Digital Editor Srl di Umbertide. Note: 1. I “coadiutori spirituali” erano i preti che prendevano i voti semplici, non solenni, e che non pronunciavano il quarto voto al papa. 2. I “professi” erano i preti che avevano pronunciato i tre voti solenni di povertà, castità, e obbedienza e avevano fatto uno speciale voto di ubbidienza al papa. Fonti: - “Storia della terra di Fratta, ora Umbertide” di Antonio Guerrini, completata da Genesio Perugini -Tipografia Tiberina 1883, Umbertide – copia anastatica a cura della Digital Editor Srl 2009 - Umbertide - “Studi su Lodovico Flori” a cura di Gianfranco Cavazzoni – Biblioteca del Centro Studi “Mario Pancrazi” – University Book – Stampa “Digital Editor Srl”, 2016 - Umbertide Massimo Martinelli Massimo Martinelli Fu il maestro della banda musicale di Umbertide, denominata allora “Società Giuseppe Verdi”, dal 1872 al 1898 di Amedeo Massetti Nonostante sia passato ben più di un secolo da quando Massimo Martinelli si dedicò anima e corpo alla banda e all'insegnamento della musica ai ragazzi di Umbertide, non si può non provare ammirazione e vivo affetto nello scoprire e rivivere le sue vicende umane e professionali. Come sempre accade a chi si dedica con entusiasmo ad una missione da cui si sente pervaso, anche al maestro Martinelli toccò subire inevitabili sacrifici e delusioni. La sua dedizione lo portò ad agire talvolta anche con ingenuità e imprudenza, fino a rasentare la sprovvedutezza, esponendolo allo sgomento di coinvolgere anche la famiglia, sprofondata nella povertà dopo un solido benessere. Per la sua candida generosità si è ben meritato il posto d'onore fra i maestri della banda. Ci piace regalargli questo riconoscimento simbolico nella convinzione di restituirgli un granello di quello che egli ci ha dato. Ventiseienne, già preparato musicista, non esitò nel 1872 ad assumere la responsabilità del nuovo Concerto dei giovani, dirigendo poi il gruppo bandistico umbertidese, tra alterne vicende, per 26 anni, fino al 1898. Qualche anziano ricorda che la sua memoria era ancora viva nella banda dei successivi anni Trenta (testimonianza di Eraldo Arcelli), e di aver suonato, negli anni Quaranta, brani musicali da lui composti (testimonianza di Luigi Gambucci). Massimo era nato il 12 marzo del 1846 da Antonio e Margherita Reggiani, in via di Castelnuovo (l'odierna via Cavour) al n. 33 dove aveva anche sede la rinomata attività del padre e dello zio Francesco, "fabricatori d'organi alla Fratta di Perugia". Probabilmente i Martinelli conobbero una notevole sicurezza economica, anche per la proprietà di alcuni terreni appartenenti a Margherita, moglie di Antonio, proveniente da una famiglia di possidenti. L'alta opera artigianale di Antonio e Francesco Martinelli aveva dotato molte chiese delle Marche, dell'Umbria, del Lazio e della Toscana di eccellenti strumenti, una quarantina in tutto, e la loro fabbrica organaria era diventata una delle più importanti e prestigiose dell'Italia centrale. Costruirono, tra gli altri, l'organo a due tastiere per la Cattedrale di San Rufino ad Assisi, quello della Cattedrale di Terni e il grande organo di Santa Maria in Aracoeli a Roma. Massimo frequentò da ragazzino la fabbrica del padre, acquistando abilità con il mestiere e familiarità con le tastiere degli strumenti che lì nascevano; imparò le prime nozioni di musica in famiglia dal genitore e dallo zio Francesco che, oltre ad essere bravi artigiani organari, conoscevano anche la musica e sapevano suonare gli strumenti che costruivano. Il giovane li seguì nei loro frequenti spostamenti e nei lunghi soggiorni di lavoro nelle Marche, potendo così studiare organo e composizione alla cappella musicale di Loreto, diretta da Roberto Amadei. Ebbe forse rapporti di studio anche con Agostino Mercuri, direttore del Civico Istituto Musicale di Perugia, pur se solo di sette anni più grande di lui". E probabile però che le prime nozioni sugli strumenti a fiato, in particolare quelle sul trombone, gli siano venute da Antonio Bernabei, maestro di cappella e direttore del Concerto municipale di Umbertide. È possibile anche che questi gli abbia insegnato i primi elementi di armonia, composizione e contrappunto. Nel 1867, a 21 anni, Massimo fu con Garibaldi a Mentana, dove si ritrovarono 31 giovani di Umbertide. Cinque di questi ragazzi, che divisero con lui l'esaltante esperienza, entreranno nel 1872 a far parte della sua banda appena costituita. Martinelli sposò Maria Censi, dalla quale, il 3 giugno 1874, ebbe una figlia, Chiara Gislena. L' 11 aprile 1876, trentenne, mentre era direttore della "Società Giuseppe Verdi" di Umbertide, inoltrò la domanda per essere ammesso all'Accademia Filarmonica di Bologna ed ottenere un diploma di quel prestigioso istituto. Presentò per questo due composizioni musicali che, nonostante intensamente impegnato alla direzione del Concerto e "al suono del pianoforte e del trombone", era riuscito a scrivere "nelle ore libere da quelle occupazioni". I due brani erano un Notturno concertato dal Flauto, Clarino, Tromba e Trombone con accompagnamento d'orchestra, e una Sinfonia per Flauto, Clarino, Viola e Pianoforte. Nonostante fossero stati da lui definiti "meschini", forse per quel gusto di schermirsi e per quell'eccesso di modestia tipici di certi stili epistolari dell'Ottocento, non erano poi tanto male se la commissione di tre musicisti che li esaminò (tra i quali Antonio Fabbri, direttore dell'Accademia Filarmonica) espresse un giudizio positivo sia sulla "perfetta" conoscenza degli strumenti per i quali erano stati composti, sia sulla struttura armonica delle composizioni. Le opere di Martinelli furono poi presentate all'intero corpo accademico insieme a quelle di altri musicisti che ugualmente avevano fatto richiesta di ammissione, e dopo due votazioni quasi unanimi Massimo, il 28 aprile 1876, venne "aggregato" all'Accademia come “Maestro Compositore Onorario”. Il giovane musicista, per questo esame, aveva esibito a sostegno delle sue capacità di compositore gli attestati di due musicisti famosi (bene cogniti): il professor Agostino Mercuri ed il maestro Roberto Amadei. Mercuri, il 17 dicembre 1872, in una dichiarazione ufficiale redatta su carta intestata del Civico Istituto Musicale di Perugia, scriveva: Il Signor Massimo Martinelli di Umbertide mi ha presentato ad esame alcune sue composizioni, e riduzioni per banda, allo scopo di avere da me un certificato per uso di Concorso. Posso pertanto documentare che dall'esame fatto di quelle partiture, si rileva come il Sig. Martinelli sia fornito di intelligenza, e di cognizioni sufficienti per potere con lode scrivere per Banda, e contemporaneamente dirigerla. Tanto depongo per la verità potendo il Signor Martinelli usare di questa mia dichiarazione in qualunque modo migliore possa giovargli. In fede Prof. Agostino Mercuri E Amadei, il 17 marzo 1873: Richiesto dal giovane Massimo Martinelli di Umbertide, certifico che questi è dotato delle qualità necessarie per dirigere una Banda, comporre e ridurre pezzi di musica per la medesima. Spero che questo mio documento possa essergli utile presso chi da ragione. Roberto Amadei Maestro Compositore e Direttore della Cappella di Loreto Massimo era la giovane guida e l'anima della Società "Verdi", ma all'impegno con cui si dedicava all'insegnamento e alla direzione della banda non corrispondeva un adeguato compenso da parte del Comune. Fu costretto così a lasciare il posto: ai primi di gennaio 1876 dovette lavorare fuori Umbertide, dove rimase probabilmente fino a quando non gli fu affidato il compito di direttore del Concerto municipale, con uno stipendio adeguato al ruolo. Dal 1878 al 1879, oltre che quella di Umbertide, diresse la banda di Montone curandone la scuola di musica, nominato come maestro da quella Società Filarmonica, la cui decisione sarà ratificata dal Consiglio comunale il 28 maggio successivo. Lavorò con professionalità e disinteresse: la Filarmonica montonese gli espresse la propria riconoscenza "e pel molto avanzamento in sì breve tempo della istruzione degli allievi e per la nessuna spesa incontrata dalla Società, essendosi il sig. Martinelli prestato gentilmente". Massimo, nonostante le non floride condizioni economiche, aveva svolto la sua opera gratuitamente. La Filarmonica Artigiana Braccio Fortebracci (o Fortebraccio) lo rielesse anche per l'anno successivo a maggioranza dei voti come maestro di musica, nonostante il montonese Celso Pasqui avesse presentato l'unica domanda per avere questo incarico e risultasse apparentemente il candidato favorito. Durante la direzione di Martinelli, (probabilmente su sua richiesta) il comune di Montone acquistò per la banda alcuni strumenti a percussione, "una Gran cassa con Piatti della più piccola dimensione". Agli inizi del 1883, dopo la crisi della banda di Umbertide, Massimo lavorò come maestro di musica a Foiano della Chiana. Partecipò anche ai concorsi per maestro delle bande di Città di Castello e di Marsciano. Nel 1884 riprese l'insegnamento della musica ad Umbertide per incarico del Comune e nel 1889, ricostituitasi la banda, fu riassunto come direttore. Oltre che alla direzione del gruppo bandistico, lo troviamo spesso anche come organista in importanti manifestazioni religiose in paese e fuori. Martinelli compose opere per banda, per pianoforte ed organo, molte delle quali pubblicate ed eseguite in varie parti d'Italia. E’ nota, tra le altre, “La caccia”, marcia caratteristica (manoscritta, Umbertide 1877). L'Editore De Giorgi, di Milano, pubblicò le sue composizioni “La povera”, polka per banda, e “Sulle rive del Tevere”, valzer per pianoforte a quattro mani che Massimo dedicò alle sorelle "Marietta e Franceschina" Zucchini di Umbertide; un pezzo di virtuosismo che probabilmente le ragazze erano in grado di suonare. Il 3 dicembre 1899 alle 17.30, a soli cinquantatre anni, Massimo Martinelloi si spense nella sua casa al n.33 di via Cavour, plausibilmente stroncato da una grave malattia polmonare. Lasciava la moglie Maria, la figlia Chiara Gislena e la mamma Margherita che cesserà di vivere tre anni dopo. Il giorno successivo si recarono in Comune per la dichiarazione di morte allo Stato Civile il cognato Americo Censi, muratore, e il clarinettista della banda Luigi Bartoccini, sarto. Dal libro di Amedeo Massetti “Due secoli in marcia – Umbertide e la banda” – Maggio 2008 GALLERIA FOTOGRAFICA LEOPOLDO GRILLI La storia di Leopoldo Grilli, figura di spicco dei mazziniani repubblicani umbertidesi, è stata raccontata da Federico Ciarabelli nel suo libro dedicato ai garibaldini locali. Anche se non è citato in alcuna lista come volontario umbertidese, è doveroso riportare alcune note sulla figura di Leopoldo Grilli. Personalità politicamente influente, godeva di grande stima e prestigio. Ebbe un ruolo importante nella costituzione dei primi nuclei delle organizzazioni operaie e democratiche e nel corso della sua vita, oltre a lavorare nella sua caffetteria, svolse un'intensa attività politica, ricoprendo incarichi pubblici tra i quali quello di consigliere comunale e assessore comunale, segretario della Società dei Reduci delle Patrie Battaglie, segretario della Società operaia di mutuo soccorso e consigliere dell'Unione Operaia di Umbertide. Dalle note che seguono, tratte da varie pubblicazioni, emerge chiaramente il suo ruolo sulla scena del movimento repubblicano. Nel Dizionario del Risorgimento Nazionale la voce (1) dedicata a Grilli ci dice che nacque nel 1848 (erroneamente indicando Umbertide come luogo di nascita) e che combatté nelle file garibaldine sui monti del Tirolo nel 1866 e nel 1867 a Mentana. Mazziniano convinto e ardente, soffrì lunghe persecuzioni, l'esilio e il carcere. Fu assessore comunale a Umbertide, membro della Congregazione di Carità e segretario-cassiere della società operaia di mutuo soccorso. Leopoldo Grilli nacque a Sigillo il 24 aprile 1848 da Antonio e Maria Polidori. Il suo trasferimento a Umbertide ebbe luogo nel 1870 dove, il 21 giugno 1874, sposò Francesca Natali (nata il 1° giugno 1853). Alcune informazioni sulle vicende di Grilli sono state pubblicate da Bistoni (2): oltre alle campagne italiane del 1866 e 1867 partecipò anche alla campagna di Garibaldi in Francia nel 1870. Dalla medesima fonte è possibile avere informazioni sul processo e il mandato di arresto che obbligò Grilli all'esilio a Lugano. La mattina dell'8 febbraio 1878 vennero trovati affissi sui muri di Umbertide dei manifesti che, come è scritto nel rapporto dei carabinieri, erano istiganti alla rivolta, alla guerra civile, all'odio contro la monarchia e il governo. Le indagini furono rivolte subito in direzione del Circolo Pensiero e Azione, di cui era presidente Leopoldo Grilli. Vennero spiccati mandati di cattura per varie persone e il 20 febbraio, con un grande dispiegamento di forze dell'ordine, furono avviate le attività per l'arresto simultaneo dei ricercati. Quasi tutti furono catturati facilmente, ma i guai per i carabinieri si verificarono nel tentativo di arrestare Grilli. Un carabiniere e una guardia, poco dopo le sei del mattino, si presentano alla caffetteria appena aperta. La moglie e la suocera di Grilli iniziarono a gridare e a chiedere aiuto. Si unirono allora altri carabinieri, ma un gruppo di operai che si recavano al lavoro, armati dei loro strumenti (pale, badili), risposero alle grida e gli scontri che ne seguirono consentirono a Grilli di sfuggire all'arresto e a dileguarsi. Dalle indagini successive si venne a sapere che Grilli, grazie all'aiuto di Ernesto Nathan (3), riuscì a riparare in Svizzera dove lavorò presso la farmacia Fontana di Lugano. Dell'esilio svizzero abbiamo informazioni attraverso un testo dedicato a Carlo Cafiero curato da Gian Carlo Maffei (4). Il nostro concittadino entrò a far parte del “gruppo di Lugano”, originariamente composto dal Cafiero (5) stesso, Egisto Marzoli. Filippo Boschiero, Florido Matteucci (6) e Gaetano Grassi (del gruppo facevano parte altri componenti di varie nazionalità). Grilli era giunto a Lugano il 20 febbraio 1880 e si era messo, come lui stesso afferma, in relazione amichevole con Cafiero. Nel mese di maggio 1881 le autorità ticinesi registrarono come ancora presenti a Lugano tre o quattro internazionalisti-anarchici e cioè Cafiero, Grilli e Apostolo Paolides. Il gruppo di Lugano aveva suscitato nelle autorità svizzere molte preoccupazioni, anche perché la prefettura di Milano comunicò di temere un'azione di quel gruppo volta a turbare l'ordine pubblico in occasione della esposizione nazionale nella città lombarda. Così nel maggio 1881 Cafiero, Paolides e Grilli vengono interrogati una prima volta. Le indagini e i controlli sul gruppo e sui movimenti di persone a loro legati si svolsero costantemente per tutti i mesi successivi, ma la situazione mutò a settembre 1881. A seguito dei ulteriori controlli le autorità, temendo che il gruppo, rinforzato da nuovi arrivi, fosse in procinto di compiere un attentato, alle 2:30 del mattino del 5 settembre procedettero all'arresto di Cafiero e di tutti coloro che si trovavano con lui. Ad alimentare la tensione si aggiunsero voci circa la preparazione di un attentato contro Umberto I, che allarmarono ancora di più le autorità svizzere. La loro preoccupazione salì quando a Lugano l'8 settembre, giunsero altre persone accolte alla stazione da Grilli e altri. I controlli e le indagini non ebbero conseguenze e tutti furono scagionati. La situazione a Lugano si era fatta però troppo pesante per questi personaggi e quindi Cafiero si spostò a Locarno e gli altri rientrarono in Italia. Per Grilli la situazione giudiziaria italiana si era conclusa il 3 maggio 1880 quando la camera di consiglio presso il tribunale di Perugia decise (in relazione ai fatti umbertidesi del 1878) di non procedere per insufficienza di indizi, revocando tutti gli ordini di cattura. Rientrato a Umbertide Grilli continuò le sue attività politiche, amministrative e sociali fino alla sua morte, avvenuta il 22 settembre 1912, che fu annunciata da alcuni organi di stampa. Da “Il Popolo” organo dei repubblicani umbro-sabini: Leopoldo Grilli Muoio nella fede di Giuseppe Mazzini: così, nelle sue ultime lettere, il vecchio e ardente Mazziniano. Il lutto degli amici di Umbertide è lutto dell'intero partito repubblicano dell'Umbria. Le nostre bandiere sia abbrunano ancora: dopo Domenico Benedetti Roncalli: Luigi Soleri; dopo Luigi Soleri: Leopoldo Grilli. Sono i validi soldati del vecchio partito d'azione che ci abbandonano. Leopoldo Grilli - tenace è immutato assertore della fede mazziniana - fu, nelle cospirazioni repubblicane e sui campi della patria, con Garibaldi, uomo di azione; e anima aperta: fiero, ribelle. Non conobbe i comodi opportunismi. Conobbe sacrifici, disillusioni, dolori. Fu contro il parlamentarismo; e tale rimase, senza piegure [sic] a blandizie di avversari o di amici: anche tutto solo, chiaro nella sua fede e nelle sue speranze. Educazione ed armi! In questo binomio riassunse gl'ideali della sua fede profonda. Alla memoria purissima del vecchio mazziniano, che mai ripiegò un lembo della bandiera adorata, va il nostro pensiero di dolore... ricordando ed augurando. E, soprattutto, promettendo (7). Da “La Democrazia”, quotidiano della provincia dell'Umbria: Nelle ore pomeridiane di ieri, si è spento, dopo breve malattia, in Umbertide nella ancor vegeta età di 64 anni LEOPOLDO GRILLI una delle più belle e caratteristiche figure della democrazia umbra. Repubblicano ardente e convinto, mantenne fede costante al suo ideale fino alla morte. Combatté giovanissimo nelle file garibaldine sui monti del Tirolo e a Mentana; partecipò poi a tutte le cospirazioni repubblicane che furono provocate ed alimentate dall'inconsulto spirito reazionario dei bigotti della monarchia, destri e sinistri, che, dal 1870 al 1898, più volte riuscirono a mettere in pericolo il trono. Fu anch'Esso ferocemente perseguitato, ed affrontò con indomita fermezza l'esilio e il carcere. Convinto che il parlamentarismo fosse un semplice strumento di corruzione, che le alleanze con gli altri partiti costituissero un pericolo di deviazione. Egli si mantenne fedele alla tattica intransigente, rimanendo completamente appartato da tutte le lotte politiche e amministrative combattutesi in questi 25 anni. La sua opera, che avrebbe potuto essere preziosa per il paese, andò quindi perduta in uno sterile isolamento; ma per la fermezza del suo carattere, per la sua proverbiale onestà, per l'integrità indiscussa e indiscutibile di tutta la sua vita laboriosa e semplice, Egli fu stimato e rispettato anche dagli avversari. Fu anzi col voto di questi eletto più volte a membro della Congregazione di Carità, unico uffizio che accettò, non senza riluttanza, e nel quale egli dette prova constante di premuroso zelo e di intelligente operosità. La sua morte apre un grande vuoto nelle file della democrazia umbertidese; poiché sparisce con Leopoldo Grilli un luminoso esempio di virtù e di carattere (8). Note: 1. Giustiniano degli Azzi Vitelleschi. “Grilli Leopoldo”. In Dizionario del Risorgimento Nazionale. Vol. 3, Le persone, E-Q Milano: Vallardi, 1933, pag.260. 2. Bistoni, Origini del movimento operaio nel Perugino, pp. 325-329. 3. Ernesto Nathan (Londra 1845 – Roma 1921), discepolo di Giuseppe Mazzini, fu Gran Maestro della Massoneria Italiana e nei primi anni del ‘900 sindaco di Roma. Altre informazioni su http://www.treccani.it/enciclopedia/ernesto-nathan (Dizionario-Biografico). 4. Carlo Cafiero. Dossier Cafiero. A cura di Gian Carlo Maffei. Con introd. Di Pier Carlo Masini. Bergamo: Biblioteca M. Nettlau, 1972. 5. Carlo Cafiero (Barletta 1846 – Nocera Inferiore 1892) di ricca famiglia pulgliese era diplomatico di carriera. E’ stato uomo politico socialista. Conobbe Marx ed Engels e si votò alla diffusione del socialismo rinunciando ai suoi beni. Tradusse e pubblicò un Compendio del Capitale di Marx divenendone così il primo divulgatore in Italia. Prese parte ai moti di Benevento del 1877 per cui scontò 18 mesi di carcere. Fu una figura preminente del socialismo anarchico. Per maggiori informazioni http://www.treccani.it/enciclopedia/ carlo-cafiero_ (Dizionario-Biografico)/ . 6. Florido Matteucci (Città di Castello 1858 – dopo il 1924) Anarchico, partecipò alla rivolta nel Matese. Fu presente a vari congressi degli anarchici e internazionalisti, sostenendo le tesi insurrezionaliste. Varie volte processato e condannato, fu attivo in Italia, Francia, Svizzera e in Egitto. Scrisse per molti giornali e riviste. Nel 1885 partì per l’Argentina dove fondò un giornale. Divenne massone e successivamente si ritirò dalla vita politica senza rinnegare le sue idee. Sono sconosciuti la data e il luogo di morte. 7. “Leopoldo Grilli”. In Il Popolo 597 (29 set. 1912). 8. “Necrologico Leopoldo Grilli”. In: La Democrazioa 218 (23 set. 1912). Dal libro di Federico Ciarabelli “Umbertidesi nel Risorgimento – Note su cento patrioti” Digital Editor Srl – Umbertide, Settembre 2021. Una lapide marmorea, posta sul muro esterno della sua casa in piazza Matteotti, dice: “In questa casa visse cospirò educò Leopoldo Grilli morto nella fede di Mazzini il 22 settembre 1912”. Il 18 dicembre 1960 l’Amministrazione comunale dedicò a Leopoldo Grilli l’attuale via, posta vicino alla sua casa natale. Dal libro di Bruno Porrozzi “L’uomo nella toponomastica” – Ass. Pro-Loco Umbertide, 1992.

ARRIVALS AND DEPARTURES In this section you will find demographics considerations of today and of the past of our territory; in the subsections the trend demographic over time and then the stories of who left and who arrived . We are convinced that knowing the past, or who we were, will help us try to understand how the population will evolve, who we will be. This led us to think about the need to create this section: "Arrivals and departures". The study was born with a double "track", a double perspective: demographic, based on arid "data" or historical sources, and of "life", of people who emigrated or arrived ... yesterday as today. The rural settlement system in the past, defined "Scattered", connected to the sharecropping system, and "centralized" from the postwar period onwards, they have always been connected to the economic system that characterized over time the territory of this valley. The emigration of the early twentieth century, which continued until the 1960s, led many Umbrians to seek their fortune elsewhere. In the last twenty years, many young people from Umbertide have taken the path of professional training to distant places. The last three, four decades have seen a considerable increase in the foreign population which today appears to be resident in Umbertide. Now the second and third generations of migrants from various countries of the world live here. We believe it is essential to become aware of all this in order to prepare a common ground, shared as much as possible, for the future of all the people of Umbria. Beyond the repressive political moments that give life to exile "volunteers", as during Fascism, we are convinced that economic history can help to clarify the consistent migratory and immigrant flows of departure and arrival in a territory. A territory "full" of population with respect to its ability to offer employment generates emigration, we believe this happened with the increase in population in the sharecropping system of the late nineteenth and early twentieth centuries, an "empty" territory of population compared to due to the new employment capacities, which occurred with the development of tobacco and activities related to mechanics, it attracts migratory flows. The historical economic and demographic perspectives are often intertwined. Our future And the future? If you look at the little ones you can see the future of Umbertide with a good approximation. We took a look at the PTOF of the nursery and primary schools of our country, First and Second Circle. There presence of foreign students in Italian schools is 9.4% while the regional average is 13.8% . The presence of immigrants from European and non-European countries in the first circle in Umbertide are 35% of the total students, in the second Circle (which also includes the Municipality of Lisciano Niccone) the average is 21% , with peaks of 30% . It follows for us that the definition of a common identity, as a basis for living all together, cannot ignore the awareness that we started from here to look for work in distant countries, that entrepreneurs from other regions of Italy, from Veneto and the Tuscany for example, they came to us because there was the possibility of setting up new businesses, that now prepared young people go abroad to study and work ... and people are looking for a better future in the same way as those who left 60 years or a century ago. Help us remember umbertidestoria@gmail.com Cipriano Piccolpasso " The men of this country are diligent, ingenious and solicitous and prudent because their little site for the continuous exercise makes it fruitful as a large countryside and a very large place ... "

THE RISORGIMENTO AND THE GARIBALDINI IN UMBERTIDE Edited by Fabio Mariotti The Risorgimento in Umbertide Ninety Umbertidesi volunteers participated to the battles for a united Italy by Amedeo Massetti The enthralling charm of Garibaldi's fame, especially among the republican and liberal ranks, also spread to Fratta and many young people followed him with passion and attachment for about twenty years, from the first to the last hour, from the defense of republican Rome in 1849, to the attempt to overthrow the papal government in Mentana in 1867. With Captain Luigi Vibi , on the walls of Rome there were twenty-six other young people from Fratta. In addition, another 28 Umbertidesi volunteers came in 1859 in the Second War of Independence and another 23 in 1866 in Condino and Bezzecca. In Mentana, in 1867, there were 31 boys from Umbertide. Three of them never returned: on 21 June 1849, Captain Luigi Vibi was shot to death at Porta di San Pancrazio on the walls of Rome; on July 16, 1866, corporal Giuseppe Mastriforti fell in Condino in the province of Trento; on November 3, 1867, Giovanni Battista Igi sacrificed himself in Mentana. The plaque in Piazza Matteotti shows the names of the 90 volunteers who contributed to the achievement of National Unity. They are listed in alphabetical order, without distinction of the campaigns carried out. Some of them were present in more than one Garibaldi campaign. Among those who lost their lives in those events, it is necessary to remember Berlicche ( Cipriano Angioloni ). He was from Città di Castello, but was shot by the Austrians in the open space at the beginning of Via Secoli after the public wash houses. They called him Berlicche, like one of the devils, because he was a great blasphemer whom he had followed Garibaldi up to two days earlier. Giuseppe Bertanzi, in a letter written to his friend Giuseppe Amizie from Città di Castello, tells us that he possessed exceptional body agility. He was arrested between Mercatale and Cortona by an Austrian column and almost certainly the Angioloni must have been a ring of the Trafila. The Trafila consisted of a capillary chain of secret informers, widespread in the territory of the Papal State, who helped Garibaldi in all his travels. It was thanks to the Trafila that, in Sant'Angelo in Vado, he was informed that an Austrian column was climbing up the Metauro Valley to attack it and he avoided it by heading to San Marino for the Foglia Valley. It was the 28th of July and Cipriano Angioloni was shot on the 30th. A few days later, Anita died in the pine forest of Ravenna, the fugitive hero managed to avoid the tight grip of the Austrian patrols who hunted him closely thanks to the efficiency of the Trafila. The ninety young people who followed Garibaldi belonged mainly to the artisan class (blacksmiths, carpenters, tailors), to that of merchants, landowners, clerks and culture. The same social distribution, moreover, is found in the enterprise of the Thousand (see document below). The events of June 20 in Perugia in 1859 lacked 800 young people who had left volunteers for the north where the Second War of Independence was being fought. They belonged to the same classes. In the third, in Condino and Bezzecca, the same script was repeated and among the Perugians there were also Annibale Brugnoli and Zefferino Faina along with 23 people from Umbria. Reflection on these data leads us to clarify the statement of some authoritative historians who define the Resistance of 1943-45 a second Risorgimento, with the difference that it registered a mass participation, while the first was only the work of an elite. This judgment is based on a hasty transposition of the concept of "mass" in the two events. If on the sociological level the mass is made up of all the people who form a community, on the political level the conscious, motivated and participating element in the life of civil society is the "people". Towards the middle of the nineteenth century, the mass of peasants did not enjoy any rights and was a stranger and passive spectator to small and large events that did not affect them in the least. The working class was still in the early stage of its birth. A hundred years later, things had changed and the people of the fields and factories also participated in political life, were organized into parties and had given themselves their own trade unions. It is logical that those social classes that were not present in the struggles of the Risorgimento also militated in the ranks of the Resistance. On the basis of these considerations, the lashes that Garibaldi himself in his Memoirs trims at the absence of the peasant people among his ranks appear ungenerous. The Umbertidese community offered its best youth energies to the national Risorgimento and to Garibaldi in particular (its "mass" - many were just over sixteen years old -) belonging to those classes (craftsmen, landowners, traders, clerks, men of culture) who they had the privilege of participation and awareness. The town of Umbertide in that period had 900 inhabitants and 90 Garibaldi fighters represent 10% of the total. A high figure if we consider that it was not the result of a conscription precept, but of a voluntary choice. The end of the struggles of the Risorgimento left a profound mark on the Umbertidese community. The fraternal union, experienced in the battlefields, had a sequel in the Society of Veterans of the Patrie Battaglie, a numerous and lively Association founded on October 17, 1882. Article 2 of the Statute established its purpose, which was that of "mutual assistance, moral and physical education and any other means that conspire to the well-being of the institution and the liberal ideas it advocates ”. It was not an ante litteram party, but a supportive, open and progressive group that opposed the conservatism and nostalgia of the local agrarian nobility. The Board of Directors was made up, in fact, of leading liberal and republican elements such as: Giuseppe Utili, president Filippo Natali, vice president Aristide Reggiani, councilor Eugenio Vincenti, councilor Lorenzo Reali, councilor Alpinolo Sbarra, councilor Angelo Rometti, cashier Leopoldo Grilli, secretary. In particular, the secretary Leopoldo Grilli, to whom a street has been dedicated, was the tireless soul of Umbertide's republican movement. He was born on April 24, 1848 in Sigillo and Mazzini's ideals soon fascinated him, so much so that in 1866 and 1867 he joined the Garibaldian ranks in Condino and Mentana. It does not appear in the tombstone of the nineties since at that time he was a citizen of Sigillo. In fact, he moved to Umbertide in 1870 and on 21 June 1874 he married Francesca Natali. He was the first left angry in the city and was persecuted, accused and forced to flee in exile to Switzerland. Acquitted by the accusations he returned, and was elected for numerous legislatures in the City Council. These were hard times for the republicans who were in every way opposed by the liberal and monarchical majority who occupied the palaces of power and in the specific case of Umbertide the Town Hall. One episode is very telling. In 1871, Filippo Natali, then an official of the Municipality of Magione, wrote to the mayor asking that the ashes of Luigi Vibi be brought back to the Cemetery of Umbertide, from that of Santo Spirito, called dei Centocinque, where they were. An endless discussion arose within the Council, as always happens when you don't want to do things. To bring back the ashes of Vibi alone would have been an offense to Giovan Battista Igi and Giuseppe Mastriforti, it was said, who had fallen for the same ideals. So instead of extending the treatment to the other two as well, it was deemed wiser to do nothing for anyone. After many speeches, an anonymous and dull stone was placed in the memory of Vibi in the city cemetery where it was said that the Garibaldi captain, "of proven political faith", had fallen fighting for the independence of Italy. The word "republican" does not appear nor the fact that he fought in defense of a republic born in place of the Papal State. On the other hand, such a thing was about to happen in Perugia in 1887 when the Republican Committee decided to erect the monument to Giuseppe Garibaldi in the eightieth anniversary of his birth. There were those who argued that the monuments had to be two, one to Perugino and the other to Baldo degli Ubaldi, the jurist, because the fame of Garibaldi who knows if it would have lasted. On May 16, 1892 Leopoldo Grilli was proposed as mayor, but he did not accept the position in order not to take an oath of loyalty to the King. He was "acting" mayor only for a few months and handed over the baton received by Francesco Andreani to Francesco Mavarelli. He ran a bar in via Cibo and died on 22 September 1912. In this context it is also necessary to remember the figure of Giuseppe Bertanzi. He was born in Umbertide on 6 March 1837 to Paolo and Angelica Vibi. He inherited the homeland love from his maternal uncle, that Luigi Vibi of whom we have spoken. An enlightened and committed liberal, his life was not directly intertwined with Garibaldi's events, but was equally a prestigious and leading protagonist in the events of the Perugian Risorgimento. On the walls of the Frontone, on 20 June 1859, he was also there, in the 3rd company commanded by Raffaele Omicini and on that sad evening he was among the last to flee the city through the Bulagaio Gate with Francesco Guardabassi and Zefferino Faina. A year later, he will be the guide to the Piedmontese troops of Fanti, who had passed through Umbertide, along the steep slopes that climbed to Perugia, on 14 September 1860. He will become a close collaborator of Pepoli and secretary of Filippo Gualterio, first prefect of Perugia. He was a direct witness, and in part also a protagonist, considering his role, in the close diplomatic battle between Cavour, Pepoli and Gualterio on the one hand, and Napoleon III (who defended the interests of the Pope) on the other so that Orvieto and Viterbo could enter part of Italy and did not remain in the patrimony of San Pietro, now reduced to only Lazio. As is known, Orvieto, the city of Gualterio, was assigned to Italy, while Viterbo remained with Rome. When Italy was made, the boys from Umbertide, many of whom were not yet twenty years old, flocked to the roll call. Historical research by Amedeo Massetti Sources: - Historical archive - Umbrian Risorgimento (1796 - 1870) founded by Giuseppe prof. Mazzatinti and directed by Giustiniano dott. Degli Azzi - Angelo dott. Fani / Year II - Issue II, Perugia - Cooperative Typographical Union - 1906 - Umbertide in the XIX century by Renato Codovini and Roberto Sciurpa - Municipality of Umbertide - Ed. Gesp - 2001 - Calendar of Umbertide 2009 - Ed. Municipality of Umbertide - 2009 The plaque in the atrium of the Town Hall in memory by Luigi Vibi, Giuseppe Mastriforti and Giovanni Battista Igi Busts of Garibaldi and the King on the facade of the Town Hall In 1884 the Municipality wanted to remember the most significant figures of the Italian Risorgimento: Vittorio Emanuele II and Giuseppe Garibaldi. He ordered two marble busts to be placed on the outside of the Bourbon palace on the sides of the entrance door, from the Perugian sculptor Raffaele Angeletti for the price of three hundred lire each. At the end of the year the work was ready, but the portraits were placed where they are currently only on the morning of February 22, 1885, at 10 am, as can be seen from the particular notice printed by the Tiberina printer and sent to the personalities of the town. The plaque commemorating the killing of Cipriano Angioloni (Berlicche) in via Secoli, in the area where the shooting took place by the Austrians The town hall of Umbertide. The busts of Garibaldi and of King Vittorio Emanuele II are placed on both sides of the main entrance door. The plaque in Piazza Matteotti that he remembers the 90 volunteers from Umbria Il soggiorno di Garibaldi a Fratta Il Risorgimento ad Umbertide I Garibaldini di Umbertide The Garibaldini of Umbertide Commemoration of the Bicentenary of the birth of Giuseppe Garibaldi Museum of Santa Croce - June 21, 2007 by Roberto Sciurpa No man in Italy has achieved greater popularity and ignited deep passions like Giuseppe Garibaldi. His fame spread to the most remote places and among the simplest people, when the means of information were scarce and illiteracy reached high peaks. Edoardo Ferravilla, Milanese playwright, between the end of the nineteenth century and the beginning of the twentieth century, created a characteristic character of the Milanese theater, called Tecoppa, rogue, swindler, lover of the strangest expedients and almost always in court for legal disputes. When he found himself in a bad way in the face of the disputes of his misdeeds, he hurled at the accusers an insinuation that became famous: "He said ill about Garibaldi!", And the parties were overturned; Tecoppa from being accused became accuser believed by the judges. Beyond the theatrical fiction, the episode testifies to the halo of legend and the sacredness that surrounded the hero of the two worlds. Yet, at least around 1848, Garibaldi had not done great things in Italy. He had left Nice in 1834 with a death sentence on his head for having participated in the riots in Savoy. The year before he had met Mazzini in Marseille and had joined the Giovine Italia under the pseudonym of Borel. After various vicissitudes, at the end of 1835 and the beginning of 1836, he fled into exile in South America, between Brazil and Uruguay, and remained there for twelve years, performing memorable deeds for the redemption of those peoples from the dictatorship. He returned to Nice on 23 June 1848 accompanied by a fame that the clandestine papers of the republicans had opportunely magnified. The first War of Independence was underway when he returned to Italy and the death sentence still hung over his head, never revoked. In spite of this, he was received by King Charles Albert on July 5, an evident sign that the work of unofficial diplomacy had been in motion for some time to welcome the legendary warrior and put him in contact with the government that had sentenced him to death. He only got cold and distrustful attention from the Piedmontese ministers, aware that Garibaldi was a useful man, but to be used with caution and to be kept on the sidelines of important scenarios, not only for his republican sympathies, which are very wavering after all, but for his scarce docility to any form of rules and orders. In America he had performed heroic deeds, but in Italy it was not a question of conducting guerrilla actions, as in the Rio Grande and Uruguay, but of collaborating with other units of the regular army, within military plans and strategies decided by others. . For this reason, the minister of war of Carlo Alberto did not want him among his own and in order to have him available but far away, he proposed that he go to the rescue of the people of Venice in revolt. Garibaldi immediately showed his lack of docility to orders, and refused the minister's suggestion by accepting the request for help from the Milanese provisional government, chaired by Casati. He arrived in Milan on July 14, 1848, just ten days before the defeat of Custoza and the ominous conclusion of the first War of Independence. After the period of understandable confusion after Custoza's disappointment, Garibaldi decided to go to Venice to help the patriots who still defended the precarious Republic. He was in Ravenna to embark with his volunteers, when the news reached him of the killing of Pellegrino Rossi, the flight of Pope Pius IX to Gaeta and the proclamation of the Roman Republic. His plans changed and he decided to run to the aid of the Roman Republic which represented the brightest symbol of the Italian patriotic struggle. He did not send delegations, but went personally to Rome to decide what to do. On this occasion he passed through the Fratta and spent the night in the Vibi house, leaving in memory his telescope, jealously guarded by the great-grandchildren of the family. A reasonable reconstruction of the events allows us to establish that Garibaldi on November 15 (the day of the assassination of Pellegrino Rossi) was in Ravenna waiting to embark for Venice. He decided, as we have mentioned, to go to Rome "to make contact with the Minister of War so that he would put an end, once and for all, to our wandering existence" (Memoirs) and will quarter his volunteers in Cesena. In the second half of November, therefore, Garibaldi set off for Rome and went down to Fratta through the Verghereto pass. In fact, other presences in Foligno and Cascia date back to the same period. He arrived in Rome on 12 December, as evidenced by a leaflet circulated by the Roman republicans the next day. The enthralling charm of his fame, especially among the republican and liberal ranks, also spread to Fratta and many young people followed him with passion and attachment for about twenty years, from the first to the last hour, from the defense of republican Rome in 1849 to the attempt to overthrow the papal government in Mentana in 1867. It should be remembered that with Captain Luigi Vibi, on the walls of Rome there were twenty-six other young people from Fratta. It should also be remembered that another 28 Umbertidesi volunteers came in 1859 in the Second War of Independence and another 23 in 1866 in Condino and Bezzecca. In Mentana, in 1867, there were 31 boys from Umbertide. Three of them never returned: on 21 June 1849, Captain Luigi Vibi was shot to death at Porta di San Pancrazio on the walls of Rome; on July 16, 1866, corporal Giuseppe Mastriforti fell in Condino in the province of Trento; on November 3, 1867, Giovanni Battista Igi sacrificed himself in Mentana. The plaque that we honored a little while ago in Piazza Matteotti shows the names of the 90 generous volunteers who contributed to the achievement of National Unity. They are listed in alphabetical order, without distinction of the campaigns carried out. Some of them were present in more than one Garibaldi campaign. Among those who lost their lives in those events, Berlicche must be remembered. Cipriano Angioloni was from Città di Castello, but was shot by the Austrians in the clearing we visited a little while ago. They called him Berlicche, like one of the devils, because he was a refined and creative blasphemer who had followed Garibaldi until two days earlier. Giuseppe Bertanzi, in a letter written to his friend Giuseppe Amizie from Città di Castello, tells us that he possessed exceptional body agility. He was arrested between Mercatale and Cortona by an Austrian column and almost certainly the Angioloni must have been a ring of the Trafila. The Trafila consisted of a capillary chain of secret informers, widespread in the territory of the Papal State, who helped Garibaldi in all his travels. It was thanks to the Trafila that in Sant'Angelo in Vado, he was informed that an Austrian column was going up through the Metauro Valley to attack it and he avoided it by heading to San Marino for the Foglia Valley. It was July 28th and Cipriano Angioloni was shot on the 30th. A few days later, Anita died in the Ravenna pine forest, the fugitive hero managed to avoid the grip of the Austrian patrols who hunted him closely thanks to the efficiency of the Trafila. The ninety young people who followed Garibaldi belonged mainly to the artisan class (blacksmiths, carpenters, tailors), to that of merchants, landowners, clerks and culture. The same social distribution, moreover, is found in the enterprise of the Thousand (see document below). The events of June 20 in 1859 in Perugia, whose anniversary was celebrated yesterday, were missing 800 young people who had volunteered for the north where the Second War of Independence was fought. They belonged to the same classes. In the third, in Condino and Bezzecca, the same script was repeated and among the Perugians there were also Annibale Brugnoli and Zefferino Faina along with 23 people from Umbria. The reflection on these data leads us to clarify the statement of some authoritative historians who define the Resistance of 1943-45 a second Risorgimento, with the difference that it registered a mass participation, while the first was only the work of an elite. This judgment is based on a hasty transposition of the concept of "mass" in the two events. If on the sociological level the mass is made up of all the people who form a community, on the political level the conscious, motivated and participating element in the life of civil society is the "people". Towards the middle of the nineteenth century, the mass of peasants did not enjoy any rights and was a stranger and passive spectator to small and large events that did not affect them in the least. The working class was still in the early stage of its birth. A hundred years later, things had changed and the people of the fields and factories also participated in political life, were organized into parties and had given themselves their own trade unions. It is logical that those social classes that were not present in the struggles of the Risorgimento also militated in the ranks of the Resistance. On the basis of these considerations, the lashes that Garibaldi himself in his Memoirs trims at the absence of the peasant people among his ranks appear ungenerous. The Umbertidese community offered its best youth energies to the national Risorgimento and to Garibaldi in particular (its "mass" - many were just over sixteen -) belonging to those classes (craftsmen, landowners, traders, clerks, men of culture) who they had the privilege of participation and awareness. The town of Umbertide in that period had 900 inhabitants and 90 Garibaldi fighters represent 10% of the total. A high figure if we consider that it was not the result of a conscription precept, but of a voluntary choice. The end of the struggles of the Risorgimento left a profound mark on the Umbertidese community. The fraternal union experienced in the battlefields had a sequel in the Society of Veterans of the Patrie Battaglie , a numerous and lively Association founded on October 17, 1882. Article 2 of the Statute established its purpose which was that of "mutual assistance, moral and physical education and any other means that combine with the well-being of the institution and the liberal ideas it advocates ". It was not an ante litteram party, but a supportive, open and progressive group that opposed the conservatism and nostalgia of the local agrarian nobility. The Board of Directors was made up, in fact, of leading liberal and republican elements such as: - Giuseppe Utili, president - Filippo Natali, vice president - Aristide Reggiani, councilor - Eugenio Vincenti, councilor - Lorenzo Reali, councilor - Alpinolo Sbarra, councilor - Angelo Rometti, cashier - Leopoldo Grilli, secretary. In particular, the secretary Leopoldo Grilli , to whom the street we visited was dedicated, was the tireless soul of Umbertide's republican movement. He was born on April 24, 1848 in Sigillo and Mazzini's ideals soon fascinated him, so much so that in 1866 and 1867 he joined the Garibaldian ranks in Condino and Mentana. It does not appear in the tombstone of the nineties since at that time he was a citizen of Sigillo. In fact, he moved to Umbertide in 1870 and on 21 June 1874 he married Francesca Natali. He was the first left angry in the city and was persecuted, accused and forced to flee in exile to Switzerland. Acquitted by the accusations he returned to us and was elected for numerous legislatures in the City Council. These were hard times for the republicans who were in every way opposed by the liberal and monarchical majority who occupied the palaces of power and in the specific case of Umbertide the Town Hall. One episode is very telling. In 1871, Filippo Natali, then an official of the Municipality of Magione, wrote to the mayor asking that the ashes of Luigi Vibi be brought back to the Cemetery of Umbertide, from that of Santo Spirito, called dei Centocinque, where they were. An endless discussion arose within the Council, as always happens when you don't want to do things. To bring back the ashes of Vibi alone would have been an offense to Giovan Battista Igi and Giuseppe Mastriforti, it was said, who had fallen for the same ideals. So instead of extending the treatment to the other two as well, it was deemed wiser to do nothing for anyone. After many speeches, an anonymous and dull stone was placed in the memory of Vibi in the city cemetery where it was said that the Garibaldi captain, "of proven political faith", had fallen fighting for the independence of Italy. The word "republican" does not appear nor the fact that he fought in defense of a republic born in place of the Papal State. On the other hand, such a thing was about to happen in Perugia in 1887 when the Republican Committee decided to erect the monument to Giuseppe Garibaldi in the eightieth anniversary of his birth. There were those who argued that the monuments had to be two, one to Perugino and the other to Baldo degli Ubaldi, the jurist, because the fame of Garibaldi who knows if it would have lasted. On May 16, 1892 Leopoldo Grilli was proposed as mayor, but he did not accept the position in order not to take an oath of loyalty to the King. He was "acting" mayor only for a few months and handed over the baton received by Francesco Andreani to Francesco Mavarelli. He ran a bar in via Cibo and died on 22 September 1912. In this context, I believe it is only right to recall the figure of Giuseppe Bertanzi. He was born in Umbertide on 6 March 1837 to Paolo and Angelica Vibi. He inherited the homeland love from his maternal uncle, that Luigi Vibi of whom we have spoken. An enlightened and committed liberal, his life was not directly intertwined with Garibaldi's events, but was equally a prestigious and leading protagonist in the events of the Perugian Risorgimento. On the walls of the Frontone, on 20 June 1859, he too was in the 3rd company commanded by Raffaele Omicini and on that sad evening he was among the last to flee the city through the Bulagaio Gate with Francesco Guardabassi and Zefferino Faina. A year later, it will be he who will guide the Piedmontese troops of Fanti, who had passed through Umbertide, along the steep slopes that climbed to Perugia, on 14 September 1860. He will become a close collaborator of Pepoli and secretary of Filippo Gualterio, first prefect of Perugia. He was a direct witness, and in part also a protagonist, considering his role, in the close diplomatic battle between Cavour, Pepoli and Gualterio on the one hand, and Napoleon III (who defended the interests of the Pope) on the other so that Orvieto and Viterbo could enter part of Italy and did not remain in the patrimony of San Pietro, now reduced to only Lazio. As is known, Orvieto, the city of Gualterio, was assigned to Italy, while Viterbo remained with Rome. When Italy was made, the boys from Umbertide, many of whom were not yet twenty years old, flocked to the roll call. DOCUMENTS 1848-49: FIRST WAR OF INDEPENDENCE AND DEFENSE OF THE ROMAN REPUBLIC YOUNG UMBERTIDESI PRESENT 1. Agostini Giuseppe, captain in Venice and Rome 2. Giovanni Banelli 3. Baldacci Luigi 4. Benedetti Antonio 5. Benedetti Settimio 6. Domenico Bettoni 7. Baracchini Domenico, (Garibaldi legion) 8. Cencini Filippo, (Garibaldi legion) 9. Cristoferi Angelo Antonio 10. Giovanni Domenico porters 11. Faticoni Alessandro, (Roselli legion) 12. Igi Domenico 13. Igi John the Baptist 14. Iotti Antonio 15. Iotti Carlo 16. Iotti Domenico 17. Livi Gabriele 18. Mastriforti Domenico 19. Mercanti Francesco, (Zambianchi Column) 20. Pasquali Antonio 21. Romitelli Fioravante 22. Luigi Romitelli 23. Romitelli Tito, (in 1831 he had participated in the riots in Rimini) 24. Ruined Giuseppe 25. Tonanni Settimio 26. Vibi Luigi, (Captain, died in Rome), graduate landowner 1859: SECOND WAR OF INDEPENDENCE - YOUNG UMBERTIDESI PRESENT 1. Baldacci Domenico 2. Barcaroli Domenico, (20th Reg.) 3. Bastianelli Mauro 4. Giovanni Boldrini 5. Baracchini Giovanni, (20th Reg. 6. Serafino baby carrots 7. Censi Amerigo 8. Ciangottini Bartolomeo, (20th Reg. 9. Cristoferi Angelo Antonio 10. Faticoni Alessandro 11. Garognoli Giovanni Battista, (20th Regiment) 12. Giappichelli Genesio, (corporal of the genius), blacksmith born July 11, 1841 13. Igi Domenico 14. Igi John the Baptist 15. Igi Giuseppe was Antonio 16. Igi Septimius 17. Manganelli Agostino 18. Mencarelli Gervasio 19. Natali Filippo, (corporal 38th Reg.to) 20. Polidori Luigi, (44th Reg.to) 21. Enrico Porrini 22. Reggiani Aristide, (major corporal of the 38th Reg.to), merchant landowner born in 1840 23. Santini Giuseppe 24. Santini Leopoldo 25. Giovanni Valdambrini 26. Valeri Luigi 27. Vespucci Americo, craftsman 28. Vibi Gervasio 1866: THIRD WAR OF INDEPENDENCE - YOUNG UMBERTIDESI PRESENT 1. Barattini Mariano 2. Barcaroli Domenico 3. Benedetti Odoardo 4. Bertanzi Giuseppe 5. Alessandro Burelli 6. Caneschi Tommaso 7. Censi Americo 8. Ciangottini Bartolomeo 9. Nazarene Chrysostomes 10. Valerian Friars 11. Gili Silvio 12. Igi Giuseppe by Giovanni Battista, (corporal) 13. Maccarelli Maccario, (prisoner in Condino) 14. Magi Spinetti Lavinio 15. Masciarri Paolo 16. Mastriforti Giuseppe, (corporal who died in Condino) 17. Mastriforti Ruggero 18. Morelli Giovanni Battista 19. Polidori Luigi 20. Santini Giuseppe 21. Santini Pio 22. Luigi texts 23. Giovanni Valdambrini 1867: MENTANA - YOUNG UMBERTIDESI PRESENT 1. Barattini Mariano 2. Barcaroli Domenico, (prisoner) 3. Bartoccini Sante 4. Giacomo Bellezzi 5. Benedetti Odoardo born on 13 July 1847 6. Alessandro Burelli, (second lieutenant pharmacist) 7. Caneschi Pericles 8. Caneschi Tommaso 9. Checconi Luigi, (prisoner) 10. Ciangottini Michelangelo 11. Fornaci Salvatore, blacksmith born on 22 June 1850 12. Fratini Giuseppe 13. Giappichelli Genesio 14. Gili Silvio 15. Igi Giovanni Battista (died in Mentana) 16. Dairy Retinal 17. Maccarelli Maccario, carpenter born on 7 April 1847 18. Maccarelli Torello, tailor born on May 15, 1850 19. Martinelli Massimo, musician born on 12 March 1846 20. Improve John 21. Morelli Giovanni Battista 22. Polidori Luigi 23. Porrini Domenico, a municipal donzello born on 11 August 1848 24. Rometti Septimius 25. Giuseppe ruined 26. Santini Pio (lieutenant) 27. Luigi texts 28. Tonanni Agostino 29. Julian thrones 30. Giovanni Valdambrini 31. Vespucci Americo FROM THE PREVIOUS LISTS THE NAMES OF THE VOLUNTEERS WHO HAVE PARTICIPATED IN MORE THAN ONE CAMPAIGN WITH THE RELEVANT INDICATION ARE EXTRACTED PARTICIPANTS IN THREE CAMPAIGNS 1. Barcaroli Domenico 1859 1866 1867 2. Igi Giovanni Battista 1849 1859 1867 died in Mentana 3. Polidori Luigi 1859 1866 1867 4. Valdambrini Giovanni 1859 1866 1867 PARTICIPANTS IN TWO CAMPAIGNS 1. Burelli Alessandro 1866 1867 2. Caneschi Pericle 1866 1867 3. Censi Amerigo 1859 1866 4. Ciangottini Bartolomeo 1859 1866 5. Cristoferi Angelo Antonio 1849 1859 6. Faticoni Alessandro 1849 1859 7 Giappichelli Genesio 1859 1867 8. Gili Silvio 1866 1867 9. Maccarelli Maccario 1866 1867 10. Morelli Giovanni Battista 1866 1867 11. Santini Giuseppe 1859 1866 12. Santini Pio 1866 1867 13. Texts Louis 1866 1867 14. Vespucci Amerigo 1859 1867 Source: Historical Archive of the Risorgimento, vol. II - State Archives of Perugia - Location: Umbria Gen. 2-2 pp. 132 et seq. GEOGRAPHICAL DISTRIBUTION OF THE THOUSAND REGION OF BELONGING - 443 from Lombardy - 160 Venetians - 157 Ligurians - 80 Tuscans - 45 Sicilians - 38 Emilians - 30 Piedmontese - 20 Friulians - 20 Calabrians - 19 bells - 14 from Trentino - 11 marchigiani - 10 from Lazio - 5 from Puglia - 4 Umbrians - 3 Nice - 3 Sardinians - the Lucanian - 1 South Tyrolean - the Savoyan - 1 Abruzzese - 8 born abroad - 4 Hungarians - 2 Swiss - 1 course TOTAL 1091. The 79.15% are Po Valley and only 10.6% belong to the other regions SOCIAL DISTRIBUTION OF THE THOUSAND - 253 intellectuals - 321 artisans or traders - 203 owners - 203 military (of which 15 will become generals) - 20 workers - 11 laborers - 9 farmers - 48 illiterate people - 10 Israelites - 8 former priests - 1 woman (Rosalia Montmasson, Crispi's girlfriend) Source: Gilberto Oneto: L'Iperitaliano, Il Cerchio Editoriale Initiatives, Rimini 2006, pp. 104 and 105. Sources: "A FREE MAN - Roberto Sciurpa, a passionate civil commitment" - by Federico Sciurpa - Petruzzi publisher, Città di Castello, June 2012 I Garibaldini di Umbertide Il Risorgimento ad Umbertide Il soggiorno di Garibaldi a Fratta GARIBALDI'S STAY IN FRATTA In November 1848 he was a guest of the Vibi family in the palace near the bridge over the Tiber destroyed by the air raid on 25 April 1944 by Roberto Sciurpa (From "Umbertide Cronache n.1 2002) Judging by the numerous tombstones that recall the places where Garibaldi slept, one could believe that the hero of the two worlds was more a priest of Morpheus than a man of action devoured by the passion for a united and independent Italy. In reality he did not have barracks where to quarter his soldiers, much less a stable house to spend the brief moments of pause between one military undertaking and another in the whirlwind of the events of the Italian Risorgimento. He slept wherever he happened to be during transfers from one location to another of the peninsula and when the demanding strategic did not claim his presence among the soldiers, he happened to be hosted by families who, like him, had unitary ideals at heart and sometimes even the republican ones. Then, as often happens, when the hero's exploits took over popularity and history, everyone went to great lengths to point out the traces of his presence. One of these nights, Garibaldi also spent in our land, guest of the Vibi Lords, a historic, wealthy and authoritative family in the Fratta of the time, where you could breathe a very pure republican air. One of his exponents, the valiant captain Luigi, will fall in defense of the Roman Republic on 21 June 1849, alongside Garibaldi. The Vibis owned an imposing palace that presided over the left bank of the Tiber and controlled the main access gates to the castle on the south side: the one on the Tiber bridge closest to the town, the S. Francesco gate and the door that led to the street. Straight (today via Cibo). The allied bombing of 1944 destroyed the building; only the area where it stood today bears witness to its memory (Largo Vibi). Giancarlo Vibi is the jealous custodian of family memories that are handed down from generation to generation with understandable pride and composed reserve, so much so that the event has never been given ostentatious publicity. He says that a large walnut bed decorated with fine workmanship columns was made available to the General, in the center of a large room furnished with sober elegance. The guest knew that he was among trusted friends who shared his ideals and it is likely, indeed almost certain, that on this occasion he had the opportunity to meet Luigi who a few months later would fall under his orders, as a subordinate officer, on the walls of Rome. . The next day, before leaving, as a thank you and a pledge of friendship, he left his telescope covered in mahogany and brass to his family, which is still kept today with loving care by Giancarlo. II Vibi is unable to specify the date of the event and we just have to retrace it Garibaldi's movements at that time, as he himself reconstructs them in his own Memories, to identify, with reasonable approximation, at least the period of his passage through the castle of Fratta. Based on this research criterion, we know for sure that November 15, 1848, when with the assassination of Pellegrino Rossi the republican revolt, Garibaldi, began in Rome he was in Ravenna, at the head of a handful of volunteers waiting to embark for Venice to give a hand to the resistance of the lagoon city. The facts of Rome they brought about a change of programs since the defense of the nascent republic Roman was a priority and emblematic political event that was supported by all costs, without saying that when it came to causing displeasure to the pope, Garibaldi he did not get prayed twice. He therefore decided to move to Cesena, where I will lodge his soldiers and then to go to Rome to make contact with the new political authorities and make yourself available to them. But alongside these reasons another human and understandable, candidly, peeps out confessed in the Memoirs, linked to the desire and the need to find a point of stable reference and perhaps also a definitive "classification" for its staff military, always short of economic resources. He states verbatim that he was going in Rome "to make contact with the Minister of War to put an end, once and for all, to our wandering existence". In this circumstance Garibaldi, accompanied by a very small escort, crossed the valley of the Savio and then that of the Tiber (the route of the current E 45) passing through the land of Fratta. The overnight stay in the Vibi house can therefore be placed between the end of November and the beginning of December 1848. At the beginning of January 1849, in fact, having concluded the agreements with the provisional government of Rome, Garibaldi met in Foligno with his volunteers, who had traveled the same way as him, and at their head he went to Macerata. Photo: Historical photographic archive of Municipality of Umbertide Sources: Article on "Umbertide Cronache" - n.1 2002 - Page 46

The crosses in the fields curated by Francesco Deplanu We are made of history ... of millenary traditions handed down from gesture to gesture ... One shot shows us a field at the end of the harvest in the southern area of Umbertide, in front of the so-called “Skyscraper”. If we look at this photo from an economic history perspective, we can see a productive world modified by mechanization. Change that we can immediately identify in the "round bales". Mechanization began well before, in the early 1900s and led to a sharp decrease in workers in the fields. This contributed to a radical change in the type of settlement: from scattered to centralized. Here it meant the beginning of a clear growth of the city settlement and also the extension of the inhabited area in a southerly direction, especially starting in the 60s ... up to "eating" the "fields" and the houses rural. If we place ourselves in the respective "immaterial culture", however, we also see a folkloristic-religious sign, of a simple religiosity that has been handed down for centuries: the " feast of the holy cross " or " Inventio Crucis ". A cross intertwined with blessed olive branches to protect the harvest, to "guarantee" one's life, manage the fear of the future to protect one's labors. In short, a propitiatory rite. The origin dates back to the recovery by the Emperor Heraclius of the "True Cross" from the hands of the Persians in 628 AD, but it is claimed that, with the celebration of this "recovery", a festivity of the spring period already present since the fourth century after Christ has definitively crystallized, in short, more than two centuries earlier. It was celebrated in May or September? In central-northern Italy, the "feast of the holy cross" is usually "celebrated" on May 3, although the religious feast is located in September. In fact, in the Gallican custom, starting from the 7th century AD. C., the feast of the Cross was held on May 3 but the feast in this month, already formally secondary to the Catholic rite, the Roman liturgical calendar was removed in 1960/1962, following the reforms of the "Missale Romanum" which took place with John XXIII. But it wasn't there the recovery of nature in September ... and in the countryside they continued to celebrate in May. These spring rituals, functional to propitiate the trend of agricultural life, took place during the period of the " Rogations ", or two holidays: the greater on April 25 and the lesser of three days in May, where with prayers and processions the deity was asked for clemency for the harvest. This is attested in different parts of Umbria, for example in Trevi, as well as in numerous areas of Italy. Today the processions of the " rogations " have completely disappeared ... however "the crosses in the fields" remain, even in our countryside. The current state of archival research it does not allow us to attest in what period the rituality of the "feast of the holy cross" was defined in a stable form in the area around Umbertide; there remains even the doubt that for the less recent past there may be a "secular" documentation that reports this aspect, because it belongs to the culture of the humble of those who could not write or had a "voice". Rather, the diocesan archive for past centuries should be investigated, as well as the secondary elements present in photographic sources from the early 1900s. and finally the oral sources. Fortunately, the memory remains by prof. Angeletti in his 2019 text " If only the stones speak " that fixed some moments of the "rogazioni" in Montemigiano, above Niccone, during the period of the world conflict. We are also certain that in the "Fratta" the rituality of the "rogations" existed for some time since in the period of French domination, and then specifically Napoleonic, the "Seminary", dependent on the Diocese of Gubbio, closed to celebrate the days dedicated to this holiday. Cesarina Giovannoni, in her unpublished graduation work “ Events of an Umbrian country in the French age. Fratta (now Umbertide) from 1796 to 1814 ", in fact, it lists these holiday periods. In a note, a "Table of holidays in the schools dependent on the Episcopal Seminary of Gubbio" appears, where it is indicated that the school was closed for the month of May for “ The three days of the Rogations, on the 15th eve of St. Ubaldo but only after lunch and for the feast of the saint, on the 26th for the feast of San Filippo Neri ”. In April the 25th of the month was already indicated as a holiday for the " Feast of San Marco Evangelista ". There persistence of the tradition of the "cross in the fields" is also visible in this other photo, near Niccone along the road that leads to Mercatale di Cortona, between the Niccone stream and the state road. Here we see how in a similar way the historical changes, that is, the cultivation of tobacco and modern irrigation technology, have not made this millennial custom disappear. The "holy cross" stands out on the hills with the Montalto castle in evidence. And then several crosses are visible in various plots that rise towards the Castle of Civitella Ranieri ... to propitiate the harvest of different types of crops. In the northern area of Umbertide known as the "Petrelle" it can be seen in the grasses ... and also in the first meters after the limit with the Municipality of Montone, at the crossroads of S. Lorenzo, you can see a cross between the fruit trees. But the custom is present throughout the territory as they are also found near the town of Spedalicchio di Umbertide, in the plain and at the beginning of the road that climbs towards S. Anna. Finally they can be seen again in the plain south of Umbertide, near the stadium and with Monte Corona in the background. But always observing in the perspective of "immaterial culture" we see how rites and traditions adapt, overwriting previous customs, even with deeply different cultural and religious systems. In fact, propitiating the divinity to protect the fruit of one's work is an action ancestral. In short, we are a complex stratification of "stories" ... Stories that have the common dominator in the connection between the material life and the spirituality of the men who have inhabited this territory, linked by the need to survive. In fact, ingratiating yourself with the divinity to protect the fruit of your work is not an urgent need that dates back only to the origins of Western Christianity: the " rogations " in fact incorporated the " Ambarvali " of the Roman period (a term that we can translate as "around the field ": etymology: from Latin ambarvalĭa, neutral term pl., comp. of the pref. ămb- 'around' and a derivative of ărvum 'field'). It was Pope Liberius in the fourth century after Christ who pushed to replace and incorporate in the Christian religious and ritual sentiment the festivities of the "Ambarvali" which continued to take place in the countryside on April 25 and early May. For the date of April 25 another Roman holiday is connectable and "superimposable" and was always linked to another "propitiation", that is a functional ritual to remove the scourge of rust: the Robigalia . This time, these rituals took place in a wood dedicated to the secondary divinity goddess with a double aspect of the “rust of wheat” (Robigus). Like most of the geniuses of vegetation and rustic life he was fatal and at the same time propitious, male or female. In this case, the sacrifice of animals was present in ancient Rome. In short, various propitiatory rites in the same period of the year and with the same dates, in the period of the "masses", date back to the Roman cultural system and refer to the same function. Detail of the inscription (also reachable by clicking on the image) from: https://commons.wikimedia.org/wiki/File:Inscrição_dos_sacerdotes_arvais.jpg What we can see is that even in the pre-existing "pagan" rites of the Roman world the request addressed to the deities was the dominant feature. We insert here a translation of the inscription relating to the "Ambarvali" in ancient Latin where you can see the request to the "cruel Mars" to "pass over", or to save the harvest. The Latin text of the above inscription can be found in several online sources, the Italian translation is taken, however, from the wikipedia page cited at the bottom, together with the image of the inscription of "carmen arvale" present only in the Portuguese wikipedia. « [...] enos Lases iuvate snow lue rue Marmar [si] ns incurrere in pleores Satur fu fere Mars limen sali sta berber. [sem] unis alternnei advocapit conctos enos Marmor iuvato. Triumpe triumpe triumpe "Oh Lari help us, do not allow Mars, that the ruin falls on many, Be sated, cruel Mars. Go beyond the threshold. Stand still there. Call upon all the gods of the harvest. Help us oh Mars. Triumph, triumph, triumph, triumph and triumph ! Similar invocations were also present in the "Rogations" which were still established liturgically until a few decades ago. In the "Blessing" of the Roman ritual of the CEI we can still read them among the "Other blessings for special occasions" (Appendix 1), specifically in the "supplications", to which they had to be answered every time "hear us Lord", the phrases: " Give us a forgiving season", "Give us the fruits of the earth", “Give everyone wisdom prosperity and health ". As far as we know during the Rogations in Monteleone di Orvieto the "invocations" for the blessing of the waters were declaimed ": " From lightning and storms, deliver us, O Lord; from the scourge of the earthquake, deliver us O Lord; from plague, hunger and war, deliver us O Lord; for the mystery of your holy Incarnation, deliver us O Lord. " This latest news comes by Fernando Corgna who wrote " Monteleone d'Orvieto: History of the town, of the churches and of social and religious life ". In Umbertide Prof. Angelo Angeletti tells some aspects related to the "invocations" that were recited during the processions between Montemigiano and Niccone when he was a child, in the period between the Second World War: << in spring the Rogations were made which had St. Vincent as patron saint, celebrated, honored and invoked to implore good harvests and to avert the many calamities that could put bread at risk; for this reason, in April, in the most delicate period for the countryside, the Rogations were recited ... >>. During the ceremonies, the men of the countryside listened to the Latin of the litanies and responded more heartily to what they heard precisely, that is the fear for the harvest, or that they really managed to understand in the language of the liturgy: << There were other things that left me perplexed: they were the litanies sung during the procession to which people responded in unison "Free nos Domine! " But when the priest sang "A plague, a fame et bello" the "Libera nos" dropped in pitch almost to become little more than a murmur because, after the invocation to keep away the plague and hunger on which everyone was dying. chord, that "beautiful" sounded somewhat out of tune; much clearer and more shared was the "Libera nos", when the priest sang "a fl agello terraemotus, a sudden death" and everyone, absolutely everyone, would have liked to respond a hundred times to the invocation "a folgore et storm": that was the prayer really important sung by men and women as they watched their fields and vineyards. >>. That deliver us from "beautiful", or rather from "war", was not understood, while it was well understood the reference to natural disasters. We are stratifications of stories ... always in our territory, in fact, we can see that the same need for propitiation of products by one's own work is easily traceable also in the previous agro-pastoral economy society of the period between the fifth and fourth centuries BC. Here the bronzes of the Umbrian-Etruscan world, found in Monte Acuto, in the shape of bovine, sheep and other animals served as " thanks and request for protection for the donor's breeding " Luana Cencaioli quotes, reporting the opinion of D. Monarchi in his work on the “ Votive bloodline of Grotta Bella ”. We conclude by showing below the entrance to the sanctuary of Monte Acuto seen from the south and from below. In the votive cabinet, the traces of which have been identified inside the "enclosure", immediately after the entrance highlighted in the photo, the votive statuettes now preserved in the Museum of Santa Croce in Umbertide were recovered. The need for "propitiation", or to invoke protection for the livestock that is found in the "bronzetti of Monte Acuto", belongs to that same need to protect ourselves from the uncertain and frightening future that has taken on different forms over time based on one's own religious reference system… and which we find in our “crosses of the fields”. PHOTOS: Francesco Deplanu, images taken between May and June 2020. SOURCES: - Roman Church Liturgy: http://www.liturgia.maranatha.it/Benedizione/a1/A2page.htm -Carmen Arvale: https://latin.packhum.org/loc/149/1/0#0 http://www.mikoflohr.org/data/texts/CIL_6_2104/ https://it.qwe.wiki/wiki/Carmen_Arvale https://commons.wikimedia.org/wiki/File:Inscrição_dos_sacerdotes_arvais.jpg -Rogations and Ambarvali: Angelo Angeletti: “If only the stones are left to speak”, Digital book Srl, Città di Castello, 2019 (pp. 54-55). https://www.garzantilinguistica.it/ricerca/?q=ambarvali http://www.treccani.it/encyclopedia/rogazioni_%28Encyclopedia-Italiana%29/ https://www.storiaromanaebizantina.it/ambarvali/ http://www.webdiocesi.chiesacattolica.it/cci_new/documenti_diocesi/207/2016-05/12-451/CAL_LIT_estrà_SULLE_ROGAZIONI_pag170_171.pdf https://storiediterritori.com/2020/05/18/un-tempo-questa-era-la-settimana-delle-rogazioni/ https://it.wikipedia.org/wiki/Tradizioni_di_Monteleone_d%27Orvieto Robigalia http://www.treccani.it/encyclopedia/robigalie_%28Encyclopedia-Italiana%29/ -Unpublished thesis by Cesarina Giovannoni: “ Events of an Umbrian town in the French age. Fratta (now Umbertide) from 1796 to 1814 ; "1968. (p. 38). - “ Umbrians and Etruscans. Border peoples in Monte Acuto and in the territory of Umbertide ”, edited by Luana Cenciaioli, Ministry for Cultural and Environmental Heritage Archaeological Superintendence for Umbria - Municipality of Umbertide, 1996; (p. 41-44). Help us remember umbertidestoria@gmail.com

INTERESTING INSIGHTS HISTORY OF MARIO TOSTI L'Enigma della Collegiata La grande diga sul Tevere La Meridiana della Piazza Grande della Fratta The great dam on the Tiber In 1983 a large number of poles came to light in the Tiber and were photographed by Renato Codovini. From the investigations of Mario, Marco and Matteo Tosti, it has been hypothesized that they formed the basis of the dam, born in the 12th century, up to 6 meters high, which enclosed the Fratta fortress in a basin. From a document of 1527, in fact, we have news of an artificial basin upstream of the bridge over the Tiber whose waters could form a "very clear lake", as it was described in 1565 by Piccolpasso. We leave the floor to the study of the engineers Mario, Marco and Matteo Tosti who have kindly allowed to report on this page. Study published in “L'Ingegnere Umbro” n. 43, December 2002 and reported to us by Alvaro Gragnoli. Photos added by Fabio Mariotti. (edited by Di Mario, Marco and Matteo Tosti) The discovery of a foundation piling. Dredging works on the Tiber bed in 1983 brought to light a large number of piles about 80 meters downstream of the bridge. It was Renato Codovini, unrivaled researcher of local history who noticed them, photographed them and understood their importance as the remains of the foundation of an ancient lock. A few years later, in their valuable thesis ("Discovery of the dam on the Tiber river, Umbertide in the province of Perugia", University of Florence, academic year 1987/1988), Alberto Crocioni and Roberto Codovini extensively documented the structure and the construction technique of the work, characterized by an original checkerboard foundation in oak planks and river stones. Thesis We wanted to deepen the subject, trying to bring engineering to the aid of history, intrigued by the imposing foundation piling in the direction of the river current, for an estimated length of at least 15 m: this clue suggested a huge investment, both financial and technical-organizational and, therefore, a purpose of great strategic importance. We tried to imagine what the clients intended, which could not only be to operate the blades of the nearby mill, which could have been built elsewhere with a much more modest barrier, perhaps on a small tributary of the Tiber. The most plausible and fascinating hypothesis was that the dam served to create a reservoir so large that it permanently flooded the moat all around the city walls; perhaps Cipriano Piccolpasso had not exaggerated in 1565 in using a superlative - “very clear lake” - at the sight of the Fratta river, which he described and represented in the oldest panorama of the place. And this is precisely the thesis we intend to demonstrate, reconstructing the history of the "great dam" and its structural and functional configuration. Archive news There is no direct and detailed information on this work, about which all the writers of local history have been silent. Only the military engineer Piccolpasso, in the aforementioned drawing, traced the structure of the dam, albeit with barely hinted lines, perhaps because at that time it had already lost its importance from a military point of view, which represented the topic of main interest for the author: commendable example of a good engineer who does not waste even an unnecessary pencil stroke. Or a sign of low satisfaction for the reimbursement of expenses requested in the parcel: "30 bajocchi for the horse from Castello alla Fratta, 30 bajocchi for dinner and dinner at Fratta, 10 bajocchi for those who will help me to measure, 30 bajocchi for the horse for Perugia ; and more 50 bajocchi made to give to the femeglia de messer Paulo, called messer Gherardo soldier of fortress for the fatigas of said messer Paolo ”. The surrounding tour of these last 50 bajocchi - delivered to a soldier to give to the family of Mr. Paolo who had struggled - arouses some suspicion, dear engineer Cipriano! Instead, there is indirect information on the existence of the barrier, the oldest of which dates back to a registration dated February 6, 1527, where the expression versus clusam molendini is used, in describing the activities carried out in the buildings adjacent to the barrier, at edge of the river, at the end of Piazza S. Francesco. In fact, in that area the dam made it possible to supply the necessary energy to various factories: the water, conveyed along a derivation canal, through the opening of the respective doors according to agreed shifts, operated the millstone of the Molino di Sant ' Erasmus; he made the wheels of the blacksmiths turn for the grinding of sickles and other irons (swords, spears…); he operated the wooden mallets in the fulling machine, to compress and firm the woolen cloth; it flowed into the public wash basin; finally it returned to the riverbed of the Tiber downstream of the dam. The lack of other more detailed information has prompted us to seek objective elements to find out more. Photo by Fabio Mariotti. La grande diga sul Tevere The simulation of the reservoir First of all, an attempt was made to estimate the extent of the reservoir. In a first phase, the configuration that would have today, in the event of restoration of the dam, was identified after evaluating the height of the dam: for this reason, the level of the floor of the ancient public washhouse of Caminella was taken as a fundamental reference, where in the 1960s the original tank was still visible, even if its use had been converted into a breeding leech for the pharmacy, using the stagnant surface water that was collected there. This reference is certain, as the share has remained unchanged with respect to the period of use; on the other hand, the presence - in the immediate vicinity and at the same level, of the other users of the dam just described, much more relevant - excludes the hypothesis that the wash house, with the abundance of the reservoir, used vein water. The height of the floor of the public wash house, which was equal to 238.25 m asl, can therefore be reasonably assumed as the overflow level of the reservoir, the contours of which have been defined on the basis of the corresponding level curve in the current configuration of the land. The boundaries as determined above were subsequently corrected on the basis of changes made by man and the river over the centuries, of which traces have remained. These elements reasonably lead to the conclusion that, in the period of maximum military efficiency of Fratta Perugina (15th century), the reservoir surrounded the entire islet of the historic center, which could only be accessed through the rampant bridge of the Piaggiala, the drawbridge. della Rocca and the bridge over the Tiber. The height of the barrage The difference between the overflow level at 238 m asl deduced above and the altitude (232 m asl) of the river bed area from which the foundation piles emerge today, allows us to estimate the height of the dam at about six meters: for those times the great Fratta dam was truly a gigantic work. Site plan in a drawing by the authors (1) Public wash house; (2) Molino di Sant'Erasmo; (3) Churches of Santa Croce, San Francesco and San Bernardino; (4) Great dam; (5) Tiber; (6) Bridge over the Tiber; (7) Regghia stream; (8) Rocca, with drawbridge and “calzo de fuora”; (9) The rampant bridge of the Piaggiola, the round tower and the Porta della Campana. The functions of the barrage The significant complexity of the project, the grandeur of the structure and the economic burden of its construction confirm the thesis of a military use of the large dam: its primary utility was to keep the moat around the walls constantly flooded, for safety. of the inhabitants of the castle, and to reduce the stresses on the foundation pillars of the bridge just upstream. The other benefits of an economic nature (supply of energy for production activities and taking fish from the weir), although more important for the well-being of the population, were collateral and irrelevant to the decision to build the work. The birth The non-existence of records relating to these works does not allow us to establish with certainty the period to which they date back. However, the hypothesis is likely that only after the passage to the dominion of Perugina (1189) did the conditions exist to build such an imposing work. Only a city like Perugia could have had the necessary economic capacity, technical-military knowledge and political motivations: this is precisely the period in which it pursued a strengthening as a Municipality, to consolidate its vital space among the great powers of the moment in the Center- Italy, capitalizing on the advantage of equidistance from Florence and Rome. On the contrary, in previous times there were no conditions to justify such a huge effort: at first - until the death of Matilde di Canossa - it was marginality, as a remote border place of the Marquisate of Tuscany, to discourage the investment. Then after the dismemberment of this in many territories dominated by small lords, it was the scarcity of economic resources that made the enterprise impracticable. The same lack of news relating to the construction of the dam, attributable to the disappearance of the Annals of Perugia - from 1190 to 1230 - relating precisely to the presumable period of construction, constitutes a confirmation clue of the thesis that is being supported, as it is not likely that such an impressive work no formal acts have been performed. It can be concluded by affirming that the construction of the great dam can be placed between 1189 (beginning of the dominion of Perugia over Fratta) and 1230 (availability of the Perugian Annals). The overall design system Let us now try to define other details of the dam and its functional organization. The reservoir was divided by a "central guardian", slightly inclined with respect to the flow direction of the river. Between this and the left bank - the western basin - the main current had to flow, which flowed downstream from the top of the dam perpendicular to the bank. The other segment, arranged obliquely so as to extend the length of the front of the jump, was perhaps of a higher height so as to contain the damage on the left bank, of great value for the presence of production activities: the mill, the blacksmiths, the fulling machine; in short, a kind of industrial area of the lower village. The capacity of the reservoir, considering the height of the dam equal to 6 m, the width 70 m and the length of the lake upstream of 1,200 m, was estimated at 250,000 m³. The maximum power obtainable, with a useful flow of the river assumed equal to 10 m ³ / s, has been estimated at 600 Kw, based on the following relationship: P = p Q g Δ H P = power; p = water density; Q = volumetric flow rate; Δ H = geodetic difference in height Assuming a width of the adduction channel to the mill equal to 1 m², a current speed of 2 m / s, a head of 3 m and a reasonable efficiency for those times, the order of magnitude of the useful power can be placed around 100 Kw. For a correct functionality of the military security system, precautions were also taken to prevent the ditch being buried due to the debris deposited by the floods of the Regghia, at the point where it flowed into the reservoir under the Rocca, slowing down its fury. We think that this was precisely the function of the “ … lock of the river of the Regghia alter dicta el Battifosso which is contiguous to the horto della Roccha and to the walls of the said castle… ”. The death Let us now try to clarify how and when the barrier ceased its function. In this regard it is known that on 20 October 1610 two arches of the bridge and the Mulinaccio tower collapsed at the corner of the walls along the river; the contemporaneity of the collapses, just upstream of the great dam, made us suspect that the disaster had originated - with a "domino effect" - from the deterioration of the dam. Archival records confirmed the hypothesis: as early as 1606, in fact, the barrage had shown the urgency of repairs. The question became the subject of a legal dispute on the occasion of another flood, in 1611; the tenant complained that the mill was " spotless and unsuccessful " and the dam had been " badly kept and badly restored ". The subjects called into question - the Bishopric of Gubbio and the Community of Fratta - tried to discharge each other the responsibility and the burden of reparation; the first claimed that the dam had been damaged by the collapse of the bridge; the second claimed the opposite thesis, attributing the expenses to the Bishop, as in fact " it had always been ". It seems to us that - Monsignor forgive us! - the Community was right, as it is really strange that the very heavy debris of the bridge, instead of lying on the bottom of the river, overwhelmed the barrier a hundred meters downstream. However, for our deductions, it is only interesting that the mill did not grind since that time, demonstrating that the dam had just collapsed. But there are many other confirmations: even the blacksmiths were forced to go to other mills in the vicinity that had suitable wheels; but the loss of those of Sant'Erasmo was incurable if, a few decades later (1647), four blacksmiths from Fratta brought 14,000 raw sickles to Rome (hammers were not yet produced in the red Umbria), entrusting the finishing to grinders of the capital . Therefore, even the wheels had finally stopped. Similarly, the activity of the fulling mill was moved to a similar factory, in Pian d'Assino, whose structure is still visible on the left bank of this stream, just upstream of the bridge that crosses it just before flowing into the Tiber. All these facts concur to confirm the dependence of the factories in Piazza San Francesco on the large barrage and the superimposition of their respective periods of operation (from about 1200 to 1611). In short, the dam was born when it was necessary to protect the safety of the castle with a lake and no one wanted to take care of its maintenance since these needs were overcome by the evolution of warfare. For all the time in which it was of military interest - and only for that - it was also a source of work and well-being, respecting a sad priority to which man has always had to submit. The death sentence of the Great Dam was issued for the opposite reason that led to its conception. Here below some photos with Mario Tosti and the Tiber river south of the bridge in the place of the "great dam"; photo compared with the 1565 drawing by Piccolpasso showing the position of the dam. Picture of by Fabio Mariotti. Sources: - " The Great Dam of Fratta Perugia ", by Mario Tosti, Marco Tosti and Matteo Tosti, in “ The Umbrian Engineer ” n. 43, December 2002 - Photos and original article drawings: Renato and Roberto Codovini, Mario, Marco and Matteo Tosti. - Photos added: Fabio Mariotti THE ENIGMA OF THE COLLEGIATE by Mario Tosti (taken from "Pagine Altotiberine" *, n. 45, 2011) * "Pagine Altotiberine" is a series of books published by the historical association Alta Valle del Tevere, which gathers members from our valley. The main objective of the Association is to provide citizens with the possibility of publishing texts on local history, without any charge for the author, who receives five copies of the book that contains his work free of charge. The association is financed by the members' fees, who receive the three books that are published every year for free. The history of the construction The history of the Collegiate Church has been the subject of research that has made it possible to know the events in an exhaustive way. In the first place, they were deepened in the monographic book by Monsignor Pietro Vispi (1) , from which we extracted a summary of the information regarding the origins and construction details of the church. We also submitted to Monsignor Pietro, who kindly made himself available, the thesis supported in these notes, to exclude that any additional information to his knowledge would dismantle some links in the logic of the deductions. The chronicles of the time tell that, on 14 September 1556, "A girl of 7 years old ... who was struppia [crippled] in a cossa [thigh], so that she could not walk without support, while she was praying in front of this image [Editor's note: the Majesty painted in a small chapel near the Collegiate building ], it is said that this spoke to him and incontinent found herself free and healthy, and walked frankly ". A few days later the bishop of Gubbio sent his vicar Cesare Sperelli, who "... visitevit ecclesiolam beate et gloriosa virginis marie vulgo called the madonna della regghia prope et juxta muros castri fratte ..." Therefore: the small church in which a miracle took place stood near the walls of Fratta, in the word "Madonna d ella Regghia". Out of thanks, it was decided to build a temple in the immediate vicinity. From the deed of sale of the land of 15 April 1559 we learn that the owners, Graziani of Perugia, "Give and concede for the Madona and the chapel in writing to the Comonità della Fratta all the reasons that they have above the Capella or true Oratory of the Madona de la regghia in front of the walls of said Castle and also above the houses in the said adjacent Chapel and such a quantity of land contiguous to the said chapel that it will be necessary for the construction of a church to be built in that place in Honore de Dio and Della Glorioss. Virgine Maria provided it does not exceed the containment of the garden contiguous to said Capella ... ". So: the church was surrounded by a group of houses and a vegetable garden. Shortly after, thanks to the copious alms of the people, the construction works of the temple began, with the contribution of various architects: Galeazzo Alessi, Giulio Danti, Bino Sizi, Mariotto da Cortona. A drawing by Piccolpasso shows that in 1565 the construction of La Madona had reached its first register and leads us to believe that the houses adjoining the chapel with the miraculous image, designed to the west of the church, towards the Regghia, were in the area of the current Reggiani palace. The Collegiate was completed in 1597-1599. After about twenty years, in 1619, the original dome showed a lesion: consequently it fell or, more likely, was demolished. Today you can get an idea of the primitive dome from the painting by Bernardino Magi kept in the church of San Bernardino. The reconstruction of the current dome, no longer with a lowered sixth but with a round sixth, with a smaller base diameter, was entrusted to Filippo Fracassini (until 1650) with the architects Rutilio, first, and Beniamino Sermigni, later. In order to consolidate the base of the vault, without compromising “The ornamentation of the interior ... the order of the beautiful columns, to whose transport is to be attributed one hundred and forty-one pairs of oxen were needed in 1623 ”. The lantern on top of the dome was finished in 1664, along with the wooden doors. The clues to the solution of the riddle The above information tells us everything about the reason for the location of the Collegiate Church, about the artists who built it, about its main events; but they do not reveal the reason why the church of the Patrona has been set up in the configuration from which, for over four centuries, it has scrutinized the life of the mortals who alternate around its bulk from the top of the lantern. By asking ourselves this question during a walk with friends around the octagonal church, the intuition emerged that the orientation had been chosen with the intention of offering the best scenery to the faithful who proceeded to the temple. The research that followed led to the emergence of several elements that seem to support this hypothesis, as we will try to demonstrate in the following pages. Starting from the assumption that the orientation of the church could not have been accidental, let us analyze the objective elements of knowledge currently available, from which a reasonable answer to the enigma can be deduced. For this we make constant reference to figure 1, where the essential elements of the church plan and the nearby buildings indicated by historical sources are shown. 1. "In the Italy of the fifteenth and early sixteenth centuries ... the formation of sanctuaries on places of miraculous events attributed to the Madonna ... There was also the trend, made known by the solution of the Sanctuary of Loreto (started in 1469 ), to incorporate the pre-existing chapel inside. " (2) 2. The small church outside the walls of Fratta with the miraculous image was adjacent to some buildings, as evidenced in the historical summary reported above. Therefore there were not even the practical conditions to incorporate it, unless the adjacent buildings were demolished. 3. "The attention to the astronomical orientation of places of worship, carefully researched in the Middle Ages, disappears in Renaissance buildings when the introduction of the compass and modern philosophical and scientific theories loosened the bonds of a mythical, magical, mysticism that united the men of the Middle Ages with the observation of the sky, favoring instead the positioning of the building in relation to the urban context. In the case of the Collegiate Church, some measurements were nevertheless carried out to verify the actual orientation of the building with respect to the astronomical cardinal points and to identify any related explanations. The results of the surveys, shown in figure 2, allow us to deduce some considerations. The eight-pointed decoration visible on the floor in the center of the church, similar in shape to the wind rose, is not related to the cardinal points, but is only a decorative element subordinated to the shape of the building, which in some way reflects. The particular historical methods of foundation of the octagonal buildings were also verified: " Generally the orientation of the octagon required that the cardinal directions pass through the vertices of the polygon, a rule that was not always respected during the construction of the baptisteries while it was respected, in the period around 1000, when several octagonal churches were built. " (3) In our case, the orientation of the octagon does not respect the criterion of cardinal points passing through two opposite edges. It would seem to be possible to say that the altar is oriented at the dawn of the winter solstice, with the sun rising behind the celebrant, but there are no openings in the wall that capture and highlight this phenomenon which, consequently, does not seem to have been priority in the plant of the building. In conclusion, it seems unlikely to attribute an astronomical explanation to the orientation of the church. " (4) 4. The sandstone portal to the north, consisting of two columns surmounted by a tympanum, projects perpendicularly to the wall face. Above the tympanum there is a round arch of unloading (platband), made of bricks in a radial arrangement, which is used above the architraves in order to reduce or eliminate the bending stress. 5. The west portal, apparently the twin of the north one, has several peculiarities: it protrudes from the wall facing in an oblique direction, with an angle of about 24 ° with respect to the perpendicular to the wall; the brick arch above the tympanum is not visible on the outside. 6. A panoramic drawing of Fratta (figure 3 shows the detail of the area in question), made in 1565 by the military engineer Cipriano Piccolpasso, does not seem to show the opening to the west of the Collegiate, although the church appears to have been erected until the first register: the signs on the left of the wall are not in the center of the side of the polygon and do not have a regular geometric shape, but seem similar to trees, such as those shown also on the right of the building. It should be noted that the design is to be considered very reliable, as evidenced by the accuracy of the details represented in the other more important buildings. The drawing highlights another important detail: the original path of the Regghia is moved, compared to today, towards the Rocca, confirming the subsequent movement of the river bed and, therefore, the need to build a new bridge, as documented in point 9 following. 7. The differences between the two portals exposed in the three previous points reasonably suggest that the one to the west was opened at a later time, after the construction of the first register. In any case, the anomaly highlighted in the west portal suggests that this had been considered in the alternative to the north one: therefore the importance of the latter must have been truly extraordinary if it had prevailed, for the purposes of choosing the orientation, with respect to to the alternative of enhancing the chapel which had even motivated the work. 8. At the time of the design of the church, the oldest and most important access inside the walls was undoubtedly that of the Porta della Campana, which showed the emblem of the castle (the ancient lily in bas-relief, an ancient weapon of Florentines (5 ) ) and allowed the people to enter the main road network of the valley: the "Strada del Piano", which connected Città di Castello to Perugia, along the left bank of the Tiber, across the bridge over the Carpina, the church of Santa Maria, the Collegiata (in fact), the Madonna del Moro and Ponte Felcino. Therefore, for the inhabitants of the castle of Fratta, the most important way to go to the Collegiata was the one leaving the Porta della Campana, which entered the “Strada del Piano” through the Piaggiola and Boccajolo. It was also the shortest way, because the possible alternative was to go down the Via Retta (the Corso), leave the walls towards Piazza San Francesco and go up to the Collegiate Church on Via Soli. So: for the people of the castle of Fratta it was natural to access the large church outside the walls from the "Strada del Piano". 9. There is news (6) of an old bridge over the Regghia starting from July 1632, from which it is deduced that it was probably composed of masonry heads where wooden beams rested for crossing. The continuous adjustments and renovations in the seventeenth century indicate how much it was subjected to wear. In particular, he had had to work overtime in absorbing the transit of heavy loads of materials coming from the furnaces of the Borgo Superiore, necessary precisely for the "factory" of the church of the Madonna della Regghia. Other consolidation works were carried out in 1726. Furthermore, the state of the bridge was a source of dangers, so the situation became increasingly unsustainable. Finally, in the meeting of April 4, 1770, the City Council took the question head-on: "Being that since some years ... several times thought by the Defenders and by the representatives of this Earth to obviate the dangers that have occurred and that can happen in the future in passing with horses slaughters and some over the bridge that passes over the river Palace under the church of the Most Holy Virgin, which being so narrow and without sides or parapet, it happened several times that horses and oxen were in danger of rushing with loads and wagons, and other hauls. " By cutting off the bull's head, it was decided to redo the now unsafe bridge from scratch, making it wider, with sturdy sides and suitable for bearing greater loads. In confirmation of this intention, the Chapter of the Collegiate gave the Municipality "land for the construction of the new bridge over the Royal Palace in the direction of Montone" (7) . The project was promptly carried out, if in the rough color plan of 1780 by Giuseppe Fabretti (8) (figure 4) the bridge is located in the new position and is connected through a twisted junction to the old route of the “Strada del piano”, which in the meantime had become less and less important, compared to the more recent road on the right bank of the Tiber. The road will only subsequently be rectified and enlarged, forming the current Via Veneto. The construction of the new bridge in a location other than the original one was also determined by the need to expand the square under the Rocca (9) , whose first modest works began in 1803, in order to solve a very old problem. At the end of 1846 the Judiciary of Fratta bought, for this purpose, another piece of land with these reasons: "... the need for this expansion [Editor's note: of the area for the livestock market] is making itself felt every more and openly demonstrated by the last Cattle Fair in which not only the current square was filled with oxen, but even though the adjoining road that leads to the house of Signor Mavarelli and a large part of the Collegiate field that would be occupied by the proposed extension ... ". It is reasonable to think that on that occasion it was decided to move the riverbed of the Regghia away from the tower. The refurbishment of the area was completed in 1880, with the construction of the retaining walls and the raising of the level of the market square. Ernesto Freguglia had just had time to paint the area (1875) in its original configuration, with the clearing still at the level of the bed along the river bank. In this year 2011, a suggestive realization has turned back the hands of time, restoring a condition similar to that of the seventeenth century, demonstrating how man does not disdain to emulate Penelope in adapting the environment to his variable needs. A hypothesis for solving the riddle On the basis of the objective information detailed above, it can be deduced that the configuration of the area of the Collegiate and the surrounding area in the year 1600 (immediately following the completion of the church) was that shown in figure 5, which can be compared with that of figure 6 , relating to the year 2000. For a more immediate perception of the changes undergone over the last four centuries, the situations indicated in the plans are replicated in the drawings of figure 7 - taking advantage of the prodigious pencil of Adriano Bottaccioli, used to photographing scenarios that have now disappeared from our castle - and in figure 8 , in which the changes that led to the current scenario are superimposed. At this point we can deduce a likely explanation for the enigma posed to us, which we set out below. Already in the positioning phase of the new church, it was decided not to incorporate the small chapel with the image of the Virgin, as was customary in that period (point 1), because it was too close to other valuable buildings existing nearby ( point 2). The church was originally conceived with the main entrance - and, initially, probably the only one - corresponding to the current north portal, aligned with the main access road from the castle, as shown in the drawing in figure 7. In this way the scenography that was presented to the faithful on their way to the church (point 8) was of the utmost spectacular. On this portal, at the same time as the construction of the wall, the discharge arch was created above the opening (point 4). It is probable that only later, during the construction of the church, did someone come up with the idea of "uniting" the old chapel and the large church in some way. The goal was achieved with the opening of a second access (not drawn in the overview of the Piccolpasso referred to in point 6) on the side facing the original aedicule, which was obtained by tearing apart the masonry. On the occasion, the platband was not built on the external face, for various possible reasons: either because the engineers were less scrupulous; or because it was more complicated to obtain an aesthetically acceptable result, having to inscribe the arch on an opening obtained by tearing. However, it cannot be excluded that the platband was built at a lower level, so as to be hidden by the sandstone tympanum. Jutting out from the wall, a twin portal to the existing one was built, but with an anomalous angle, in order to orient it towards the original chapel (point 5); in fact the land donated for the construction of the church was in fact "contiguous" to the chapel, as reported in the deed of sale of the land of 1559. The anomalous angle can have two different explanations, depending on whether the construction of the portal was started after or before having decided to demolish the chapel - perhaps due to the precarious state, such as not to justify its restoration - and to move the image of the Virgin inside the church. In the first case, in anticipation of the maintenance of the chapel, the new portal should perhaps have constituted one of the two ends of a portico connecting the new and old structure; faced with the decision to move the effigy and demolish the aedicule, the portico was no longer built, leaving the work unfinished, due to the unexpected disappearance of the final destination. In the hypothesis that the architects of the work were less fickle in their decisions, it seems more likely that the idea of building the anomalous portal was triggered after having decided to demolish the chapel, with the consequent necessary compensation by evoking it forever. in the imagination of the faithful. In any case, in all probability this architectural strangeness remains today to indicate the direction along which the ancient chapel with the Majesty must have been. The opening of the second portal will have involved the need to move the altar, placing it on the side of the octagon opposite the one between the two doors, in order to give a new symmetry to the temple. Conclusion If the one described was really the sequence of decisions and works, the enigma we tried to unravel was born, many decades after the completion of the Collegiate, following the decision to move the route of the "Strada del piano" and to replace the old bridge over the Regghia on the road to the upper Borgo with a new one, in a different position. There were two reasons: the state of decay and danger of the bridge; the need to expand the space around the fortress to be used for the livestock market, after having moved the riverbed of the Regghia and demolished the access ramp to the now obsolete drawbridge. Basically: the orientation of the temple and the presumed location of the original main access road to the church explain each other; with the modification introduced since, during the 18th century, the pre-existing bridge and road were moved to the north-east, the original scenography was canceled, creating the enigma for which this hypothesis of solution was proposed. PS In the recent restructuring of the area surrounding the Rocca, the opportunity was lost to restore the original scenography to the Collegiata, with the simple positioning of the new sidewalk along the route of the ancient Strada del Piano. * * * Thanks to Alvaro Gragnoli who, thanks to his intuition, started the research and to those who made their knowledge available: Giovanni Cangi, humanist engineer, as regards the engineering aspect; Francesco Rosi, architect, expert and passionate about archaeoastronomy; Monsignor Pietro Vispi, parish priest of the Collegiate, precious source of historical information, Adriano Bottaccioli, art director of communication and painter. Note: 1. PIETRO VISPI, The Collegiate Church of Santa Maria della Reggia, Radio Elettra & M SpA School, Città di Castello, 2001 2. LUCA SPORTELLINI, “The Sanctuary of Maria Santissima Assunta in Rasina”, Fabrizio Fabbri Editore, 2011, p. 24 3. A. GASPANI, Astronomy and geometry in the ancient Alpine churches, Priuli and Verlucca editori, 2000, Turin 4. Contribution by FRANCESCO ROSI 5. BELFORTI - MARIOTTI, History of Fratta, year 1780 6. CODOVINI - SCIURPA, Umbertide in the XVIII century, GESP, Città di Castello, 2003, p. 42 7. PIETRO VISPI, The Collegiate Church of Santa Maria della Reggia, Umbertide, 2001, note on p. 60 8. GIUSEPPE FABRETTI, News of the Land of Fratta, (ms BAP 2011) 9. RENATO CODOVINI - ROBERTO SCIURPA, Umbertide in the 19th century, 2001, GESP, Città di Castello, pp. 51, 122, 377. L'Enigma della Collegiata THE SUNDAY OF THE GRANDE PIAZZA DELLA FRATTA by Mario Tosti In the memory of Renato Codovini and Amedeo Massetti With the following notes I propose to shed light on the events of a sundial found in our historic center. I try to demonstrate the hypothesis that it represented the local reference for solar time: the time of Fratta, our local Greenwich mean time. For this mission, she lived in symbiosis with the clock of the Torre della Campana, which stood on top of the Piaggiola. His odyssey began on a window sill in front of the Rocca, on the first floor of the building that housed the headquarters of the Podestà and the hall of the municipal council, in Via Alberti. After a couple of centuries of honorable work, she was evicted and imprisoned under the plaster of the Garibaldi's room in Piazza Fortebraccio. Today he is enjoying his well-deserved retirement in the bucolic Umbrian countryside. For the sake of completeness, I have also tried to reconstruct the evolution of time measurement tools available to the community up to the present day. Let us hope that they continue to measure a time of peace and serenity. THE FINDING Around the middle of the twentieth century, in the course of renovations, a sundial was found under the plaster of the wall in front of the entrance to the room on the ground floor of the building at no. 9 of the current Fortebraccio square, in front of the Rocca (Figure 1). It was Rinaldo Giannelli, owner of the restaurant, who reported it to me, proposing to look for clues about the story. THE SEARCH FOR INFORMATION At first, I had come to a hypothesis that turned out to be incorrect after meeting Mauro Bifani who, together with Manlio Suvieri, was carrying out a research on the sundials of Umbria. I pointed out to him the existence of our find, which has become the subject of his expert analysis. In the book they subsequently published - The ancient hours, Sundials and Roman-style clocks in the municipalities of Umbria, Futura edizioni, 2017 - an entire chapter was dedicated to The sundial of Piazza Grande alla Fratta, in which I was able to integrate with my historical reconstruction of the results of their technical and functional research. STRUCTURAL AND FUNCTIONAL CHARACTERISTICS The small sundial (36 cm x 36 cm) of Fratta, in octagonal terracotta, at Italic hours, was designed to be used in a horizontal position. Several engravings are visible on its surface. At the top, the date of construction (1658) is engraved. A little below, a motto in Greek and another in Latin are engraved: “ΧΡΟΝΟΧ ΑΝΤΑΧΟ Υ ΑΝΕΜΕΙ” (Time resists winds). “AMBIGUIS ALIX LABILIS HORA VOLAT” (The fleeting hour flies on mysterious wings). In agreement with the authors of the book, I add a different translation reported by Mons. Pietro Vispi, also based on the identification of a Greek "p" partially canceled by a crack in the tile: "ΧΡΟΝΟΣ (Π) ΑΝΤΑΚΟΥ ΔΙΕΠΕΙ" (Time always arranges everything) “ΑΜΒΙGUIS ALIS LABILIS HORA VOLAT” (Time that passes flies with elusive wings). I gladly report the two translations, both fascinating, also to demonstrate the complexity in the interpretation of the thoughts handed down to us from the past. The inscription “AD ALTITUD GRAD 43” confirms that it was built for our latitude. The symbols of the four main zodiac signs are represented: Cancer, Capricorn, Aries and Libra. The names of the winds are engraved on the external frame: Mezzodì, Garbino (term used on the Adriatic coast to indicate the Libeccio wind), Ponente, Maestro, Tramontana, Greco, Levante, Scirocco. THE CLUES Hypotheses on the events of the sundial can be deduced starting from the information concerning the measurement of time in the castle of Fratta and the function of the existing buildings in the area of the discovery (Piazza Fortebraccio, Via Alberti, Piaggiola). A recording dated 1477 refers to a Porta della Campana (figure 2), open towards Montone in the north corner of the castle walls, at the top of the Piaggiola. Originally, a tower 22 meters high rose above the gate. In the 16th century it was raised with a wooden tower of 11 m, at the base of which a niche was obtained, with the painted image of the Madonna. At the top a small loggia was opened to house the public bell. The building became one of the main references for the people, so much so that the entire surrounding district took the name of Terziere della Campana. The donzello of the Municipality was in charge of ringing the big [bell] to signal, in addition to extraordinary events, the canonical hours: Lodi (at dawn), Prima (around 6), Terza (at 9), Sesta (at 12) , Nona (at 15), Vespers (at sunset) and Compline [sic], before going to bed. Where the bell was not within earshot, it was the position of the sun in the sky that marked the time or, if the sky was cloudy, the intensity of the light was enough to mark the slow life of our ancestors. Then, with the spread of mechanical clocks, one was installed below the bell. The task of supervising, maintaining and charging it passed to the moderator of the public clock [moderator: who knows if this name meant inviting the spheres not to be in too much of a hurry?]. It is likely that the imprecision of those first mechanisms made it necessary to put them back at the right time almost daily. This function, in the absence of today's time signals on the radio, could only be performed by a sundial. The symbiosis between the two instruments is confirmed by the coincidence of the presumable period of the installation of the mechanical clock (17th century) and the year (1658) engraved on the Fratta sundial. The room of the discovery (outlined in green in figures 3 and 4) is located on the southern edge of the fifth of buildings of the current Piazza Fortebraccio, originally "Piazza Grande del Comune", in front of the Rocca "(platea comunis dicti castri ante cassarum) . There are several documents that allow us to deduce the evolution of the buildings on the corner between Piazza Fortebraccio and Via Alberti. In the fourteenth century the building in which the sundial was found did not exist, but in its place there was an external ramp (figure 5), which was demolished (figure 6) when it became encumbered for the drawbridge that would lower towards the square from the Rocca under construction: in fact, among the works commissioned to Trocascio (27 May 1385) there was also that of demolishing it and rebuilding it inside ("Eo Trocascio I promise ... remove the staircase of the podesta's palace and remake it inside the said palace or elsewhere, so that it does not harm the cassaro [Rocca] "). Figures 5 and 6 show details regarding the rear building, towards the west, taken from deeds of the notary Nicola di Antonio. First of all it belonged to the Municipality, as shown in a document dated July 1443: "... in the square of said castle, in front of the Palazzo del Podestà and the Rocca (... in the stalls dicti castri ante palatium potestatis et arcem)" ...; in 1448, "in the Town Hall and residence of the said Podestà of the said Castle, in the upper room of the said palace (... in the palatio Communis et residentiae dicti potestatis dicti castri in the upper room dicti palatii) ..." (1). In another act of the following year we speak of the "lower room" (2). He refers to "upper room" in acts of 1464 and 1466 (3). It is therefore assumed that in the building there was a large room on the ground floor (current service entrance to the theater in Via Alberti, 22), which could be used for the meetings of the City Council, and an apartment on the first floor (with entrance at no.20 ) in use by the Podestà, which was accessed by an external staircase. Today the new staircase, whose intrados is visible just to the left of the entrance at no. 22, allows you to go up to the first floor from the entrance to n. 20 of Via Alberti. A map by Anonymous dating back to 1730 (figure 7) shows us that the building where the find was not yet existed. The same indication comes from a drawing by Fabretti of 1780 (see final note), which also highlights the existence of a chapel annexed to the Monastery of the Nuns of Castelvecchio, indicated in figure 4. THE DEDUCTIONS On the basis of the clues described above, I tried to reconstruct the events of our sundial. In the first place, it is presumable that it was not part of the religious complex adjacent to the site of the discovery. In fact, the monastery of the Nuns of S. Maria di Castelvecchio had been suppressed at the end of the fourteenth century, two centuries before the construction of the sundial. Furthermore, the hours engraved on the surface of the octagon - Italic hours for civil use, rather than Italic for bells used for bell towers - support the hypothesis of a civil use and exclude the religious one. A further trace: the small distance - a few tens of meters - of the room where the sundial was found from the civic tower of the Bell (and, later, of the Clock), suggests that the two systems of time measurement were in close symbiosis, confirmed by the coincidence of the respective construction periods. The adjacency to the hall of the municipal council and to the seat of the Podestà suggests that it was exhibited somewhere in the square. The window sill of the "upper room", on the first floor of via Alberti 20, was probably the ideal point (figure 8) on which to display it in the horizontal position for which it was conceived. In fact it was sunny and protected, within reach of the highest authority of the castle. Mauro Bifani confirmed the validity of this hypothesis, found in other situations: inside the Sperelliana library in Gubbio, the sundial originally exhibited on the window is preserved, where traces of the well-oriented seat in which it was positioned remain; also in the Marches there is another, still in its place, which makes a good impression on a window sill. The Platonic marriage between the solar instrument and the mechanical one, not consummated due to the distance of their respective residences, went into crisis in the nineteenth century, for various reasons. The signs of old age arrived for the bell tower: in 1815, due to a subsidence of the foundations, it had been shortened, but with poor results: in 1820 it was completely demolished. But the clock was too important for the inhabitants of Fratta to do without it: at the same time a new tower was built (figure 9) in the central square - Piazza del Grano - in front of the current Town Hall, which had become the new center of gravity of the country. But the purchase of a new watch resulted in the death sentence of the old one, already in bad shape due to worn and rusty wheels. The solution proved to be precarious because, after just half a century, in 1873 it was decided to enlarge the Piazza del Grano to give air to the current Piazza Mazzini; to make room, the fledgling tower was sentenced to death at the bitter age of 53. As can be seen, even in the past, not all choices were far-sighted. Even for the sundial, widowed, the end loomed. To put a load of eleven there was the construction of the building at number 9 of Piazza Fortebraccio, as shown by a plan of the Gregorian Cadastre (figure 10) dating back to the period 1830-1850. From that moment on, the area assumed its current shape. The new construction "blinded" the window of the upper room where the sundial had lived, depriving it of its function. As a result, she was fired and evicted. He found refuge in the room where it was found, downgraded to a simple decorative element, albeit with the advantage of protection from the elements. Subsequently it raged, segregating it under the plaster. In short: in addition to life, the solar instrument and the mechanical one also seemed united in the end. But there was a surprise for the sundial. THE FINAL REST Rediscovered in the third millennium, by the owner the sundial has been moved to its natural environment, outside a pleasant cottage in the sweet Umbrian countryside. Although hanged vertically - contrary to its nature to relax horizontally - and with a random orientation with respect to the cardinal points, it is very happy to have rejoined the sun, remaining an interesting testimony of the history of Fratta. THE HEIRS Since the appetite comes with eating, I was intrigued to know who took over the sundial and the clock her husband, in the task of marking the time of our community after the demolition in 1872 of the ephemeral tower in the square. Nobody could tell us better than Egino Villarini, who joined me at the PC keyboard. In November 1876 the works for the enlargement of the old Piazza del Grano were completed, decided by the Municipality due to the increase in the volume of commercial activities, the growth of the population and the fact that it "was in a cramped confined space. "; last but not least, "the not very decent appearance of the buildings" which impoverished the Sorbello palace, seat of the Municipality. The square (now Piazza Matteotti) took the name of Umberto I. A new bell clock was placed in the center of the building opposite the town hall (Figure 11). It was operated by large stone blocks which, hung from a chain, descended from the top floor to the ground, where the Post Office was located. In more recent times, the task of turning the crank to raise the weights could not fail to be entrusted to Gino Vannoni, watchmaker. It was the engineer Villarini himself who relieved him of his duty by automating the operation. In 1918, the primary school clock (Fig. 12) entered the life of the people of Umbria, with the task of informing the schoolchildren, at a quarter past 8, that it was time to set off and, at 8:30, that the it was closing. Today, clocks are everywhere - on the streets, in the squares, on everyone - to synchronize with the hasty rhythms of modern life. But it would be quite another sensation to respond, as yesterday, to the call from the voice of the school: a solemn rite of the community, testifying to the collective concern reserved for the process of integrating young people into the cycle of social life. Those familiar tolls were then perceived by everyone, thanks to the silence in the town and the concentration of the houses; today they would perhaps be suffocated by the noise of cars and muffled by the remoteness of the suburbs. Yet they could represent the symbol of a cohesive and harmonious community, sickened by decades of excessive individualism. They would be especially appropriate in these times of seclusion. NOTE Regarding the volume of Fabretti, I want to tell a singular detail. Together with Amedeo Massetti we were consulting it in the Augusta Library in Perugia, when we came across a map referring to “Fratta” (figure 13, left), but it appeared totally different from that of our country. We thought it was the result of an error, also likely due to the low quality of the drawing, attributable to a novice author. After various considerations, we discovered the dilemma: the image had been copied against the light on a window pane, but on the wrong side. It was enough to do the opposite operation - this time with the PC - to get the right drawing, but with the name “Fratta” inverted (figure 13, in the center). An enlargement of the plan (figure 13, right) reveals the lack of the building of the find. There is also an interesting detail: a small church is marked with a cross (barely perceptible) - indicating that it was still officiated - annexed to the adjacent monastery of the Nuns of S. Maria di Castelvecchio. NOTES TO THE TEXT: Arch. Notar. di Umbertide, Notary Nicola di Antonio, acts 1448 - 1450, cat. 276/74, card 11 / v Arch. Notar. di Umbertide, Notary Nicola di Antonio, acts 1448 - 1450, cat. 276/74, card 99 / Arch. Notar. di Umbertide, Notary Nicola di Antonio, acts 1464 - 1466, cat. 283/5, cards 10 / r, 120 / v, 225 / v THANKS For this little research, I have made extensive use of the work of friends: Renato Codovini, generous initiator and prompter for all researchers of local history, who exhumed historical documents otherwise destined to remain buried in the archives; Amedeo Massetti, unforgettable friend and perfect citizen; Egino Villarini, an inexhaustible source of the innovations introduced in the country, with the reliability and details of having been the protagonist; Adriano Bottaccioli, who imagined the missing pieces of our country from every point of view, reconstructing them with the artist's ability and with the affection of the ex-emigrant; Mauro Bifani and Manlio Suvieri, who provided the technical information necessary for the reconstruction of a plausible history for our sundial. Fabio Mariotti, who checked the text (once I relied on Amedeo), enriching it with images. La Meridiana della Piazza Grande della Fratta

GUIDUCCINO DELLA FRATTA An experienced Frattegian administrator vulgar language and fourteenth-century poetry curated by Fabio Mariotti Conference held in Umbertide in November 1974 by Prof. Ignazio Baldelli of the La Sapienza University of Rome on Guiduccino della Fratta (Transcription from the original recording) From a paper manuscript in the State Archives of Perugia, S. Maria Valdiponte 28. (1363-67) cc.125-132-1375-76 cc.166-182 I want to start with some general considerations. In recent years, Italian culture at the highest levels has taken a strong interest in the regional aspects of its components. An illustrious scholar, Carlo Dionisotti, recently published a fundamental book on the relationship between geography and culture (Ed: “Geography and history of Italian literature”). I am not saying that all this was unknown until recently, but it was certainly strongly overshadowed as the culture of each country is strongly related to social and political reality. In the past century, all the forces of Italian culture and reality tended to unity; it is natural that in such a perspective, the regional aspects were strongly overshadowed and the accent was placed on what united the Italians, on the common aspects and therefore on certain voices and on certain great movements that had meant linguistic unity and Italian culture. However, it is certain that only in the last decades, since 1930, in Italy has systematic attention been paid to the regional components of Italy, and there has been a growing interest in a composite unity, made up of notable regional traditions, of different aspects, even if often in the millenary history of Italy these different aspects have sometimes sought a common denominator. Undoubtedly, all this must be related to the best Italian regionalism. We know that in the Italian regions, even as a political institution, there are serious periods: at a certain moment it could happen that instead of just one mafia we could have many small mafias and this would be one of the biggest misfortunes for the Italian reality. But many men of culture have confidence. Such a perspective - our trust in the regions - looks towards the ancient and takes the right of contemporary society from the ancient. Since the pre-Roman origins there has been a composite Italian reality; literature and culture in the vernacular was not born as a unitary one but was born first in the great Benedictine abbeys of the center-south, then in the municipalities of the center-north. If we look with a minimum of attention to the Perugian or Florentine culture of the thirteenth or fourteenth century we are faced with very different manifestations, sometimes contrasting, always very lively. This liveliness of the literary and artistic culture of our cities and regions gives us hope for an active, lively and non-provincial future of the regions. In a perspective of this kind, what has been maturing in the conscience of the Italians, what is the position of Umbria? Umbria has its own unitary physiognomy albeit in this larger unit, in what the Spaniards call the small homeland, in comparison with the large homeland, or the small homeland in accordance with the large homeland. Does our small homeland have an interesting cultural and linguistic physiognomy in that larger reality that is Italy? We are sure so, but first another consideration is needed. At first glance, some might consider the claim to the region, to regionalism absurd at a time when we are talking about Europe. Instead this is in perfect agreement. When men unite or attempt to unite in larger units each one must seek strength, his identity in the most immediate, regional roots in the truest sense of the word. In this broad, motivated and composite perspective of the kind I have said, what is the position of Umbria? I would say a position of extreme interest as the most ancient Umbrian culture, of the thirteenth and fourteenth centuries, is characterized by a strongly popular tone. Certainly very different from the Tuscan refinement, from the pedagogical, teaching, wisely Ambrosian tone of Lombard culture, but a popular tone in the Franciscan sense of the word. I use the term "Franciscan" with perfect conscience. The most revolutionary, most active movement in Umbria is Franciscanism for what it has catalysed around it political, ideal and cultural forces. In Umbria the most interesting literary manifestation of the thirteenth and fourteenth centuries is the "lauda". That lauda of which today we are able to indicate various centers of active production, of different sign. A more revolutionary, Christocentric "lauda", as developed in Todi and Assisi, is contrasted by a more orthodox average "lauda". Perugia will espouse the interests of the Church for many decades in its expansion action beyond the Tiber, where Ghibelline traditions will be created, of rebellion against the Church, of rebellion against the bourgeoisie, of a popular character. All this produces a medium-popular type of literature: the "lauda" that chooses the ballad as a musical metric scheme makes a significant choice. Choosing the ballad among all the possible metric-musical schemes that the Italian and European culture offered at that time, means choosing the meter and the music of the most popular tone. Recalling Perugia, alongside the "lauda", we have the production of legal-administrative prose (the great municipal statute of Perugia was probably written in 1342 in the vernacular and is presented in one language, in a style that is attentive to the concrete reality of life daily); or a novel, the novel by Corciano and Perugia which offers us a medium-popular ideal. It is quite interesting to study such documents on a social and literary level. In this period there is an effort to recover classical traditions, especially French, translated on an actively democratic and popular level. The difficult equilibrium of Umbria, and of Perugia in particular, will tend to end rather tragically in 1370. Returning to the theme, it is of particular interest to refer to that family culture characteristic of the time. A "bastard" of accounts preserved in the State Archives of Perugia has handed down the accounting of a "gabelle" contractor, certain Guiduccino della Fratta (La Fratta was renamed, in the last century, Umbertide), which should not be seen as a naive and inexperienced minstrel. He was a man who handled considerable sums of money, having contracted out the municipalities of Montone, della Fratta, for a sum of 1000 florins, which, translated into lire, are currently 60-80 million. to be interested, with his partners, on a fairly conspicuous financial level: his actions, at a certain moment, went from Fratta to Marsciano. Guiduccino, therefore, was an important person even if he was not at the level of the great bankers of the fourteenth century. his accounting results in important payments even if we, on an anecdotal level, are more interested in the extreme care with which our Guiduccino treated his mount, the one he called his nag, which allowed him to travel between Montone, Romeggio, Fratta, Marsciano .... Here are some examples: ("Quisste sleep and the d. And the quail I Guiducino ò esspese. En prima espese a di xxx de November when I went to the Fracta wing for d. And to draw and put an iron of the ronccino and en j sheets of wine and en la provenda ii s. "). ("Item espese en lo trombadore when I el menaie to have the ordene of the dicta galbella of the casstello de Montone and dela Fracta and de Romeggio xxxii s. And vi d. Banned"). ("Item expended on the twelfth day of the dicto month in the arbergo d'Armanucciuo dala Resena x f.). (Item espese en vino to do honor to Fractegian cierte that I fommo ser Nicolò and I iiii s. "). ("Item paddles a day xviii of gienaio for the galbella de Montone won twelve gold florins of the quails had twelve of them from Sepolino de Luca and ten paddles of the d. Dele gallbelle caught xxii gold florins"). ("Item espese en axis, enn agute, elglie maiesstre that aconciaro the usscia and the fenesstre and 'l mangdoio, e' n palglia for the roncino, and the quail d. Espese Vagnuolo tavernaoio, and the quail d. Him die ser Pietro xxvi ll . iiii d. "). ("Item espese a di xxiii de marco en doie ferre nuova, en chiuov for the roncino and plump to make poltrilglia en glie pieie xxii s."). ("Item paddles in tormentina, in oil, in fat de casstrone to make the onhuento for the pies of the roncino xv s. (1)"). Note read: d. (to denare); ll (for livere); f. (for florins); s. (for solde). As can be deduced from certain peculiarities, the language used is that typical of the territory that goes from Perugia to Fratta. In the morphological system of ancient Perugia we note the presence of the neutral plural in "a", while the masculine plural in "i" does not exist; plural masculine and feminine, on the other hand, are united by the ending in "and". In the accounts of Guiduccino the vernacular is used and this constitutes a rather remarkable novelty as most of the accounts of this kind, throughout the century, are still kept in Latin. This means that Guiduccino - like many others - had a strong sense of the vernacular of his country, and therefore preferred it to Latin. Guiduccino, however, knew Latin, as evidenced by the transcription of "Adoro te devote", albeit in a somewhat approximate way. The choice of the vernacular is always a positive choice: Latin is the tradition, but men who have an interest for daily activity, they turn to the vulgar. Boccaccio's leading scholar has made a rather interesting observation; most of the codes that contain the "Decameron" have all passed through the hands of Italian bankers. We must not think of the "Decameron" as it appears to us from the cinema, but as a business book, the book that attracted bankers and the practical world of fourteenth-century Italy. Guiduccino is a small banker in the area and therefore has a very strong interest in the vulgar. But it is not only this that Guiduccino left in his account book, in his "bastardello": he also transcribed, if not composed, some poetic documents of considerable interest. Let me open a parenthesis. Many times some of the oldest documents of Italian poetry have been handed down to us through rather unusual roads. The literature in the vernacular is looked upon with a certain contempt by the university centers and by the men of the highest culture and therefore was not preserved from time with the same care given to the Latin texts. The book was a precious object, of very high cost: therefore the great ecclesiastical communities, princes, some notaries, universities could possess it. The parchment was used for important texts (St. Augustine, legal texts) while a work in vernacular written around the 11th-12th century was reported on some fragments of parchment, but in most cases it was not preserved or preserved. Then we find many of the most interesting texts of the origins of Italian culture and literature, from time to time, rather casually in certain half pages left blank. There is a codex by Gratian, a medieval jurist, in which when a chapter is finished, you go to a new page, leaving half a page blank. In this half page we come across a man of revolutionary culture who has a sense for the vulgar and hands down a text written in those centuries. Some of the most ancient rhythms of Italian poetry - Cassinese rhythm, Laurentian rhythm, Marche rhythm of S. Alessio - are handed down rather casually in this manner. Other documents were saved, just as casually, through the "guard" of the code, a large piece of parchment placed to protect the code itself. On these "guards" there are very important ancient texts. A notary from Umbertide must have had one of these codes at hand because he made a mess of it: there are 7-8 "bastardelli" linked by pages of the same 11th century code. The ways in which this ancient literature is handed down in the vernacular are casual to exceptional. I myself was lucky enough to discover the oldest existing Tuscan text in America, written at the end of the 11th century, in the "guard" of a codex of the Philadelphia library. There is a legal provision of the municipality of Bologna which prohibits notaries from leaving blank pages in documents to avoid tampering. And it is precisely in these blank pages that we find the most unexpected things in the study of ancient codes. The notaries of Bologna in the 13th century were men of particularly refined culture as the many pages that remained blank in the transcription of the documents were filled by them with extremely interesting copies of vernacular texts. In these Bolognese memorials - dated 1286 - there is a sonnet by Dante who was just over 20 years old in that year, but was so famous that a notary to fill a half blank page transcribes the sonnet of the Garisenda. And, if it was difficult for high-level vulgar texts to be saved, this was even more difficult for texts of a popular tone, considered negligible and therefore not transcribed. The Bolognese notaries have transcribed, along with songs by Jacopo da Lentini, even popular ballads. We said that Guiduccino was a man of good taste, he too had a blank page or two in his "bastardello" and he transcribed 4 ballads and a couple of prayers in Latin. The 4 ballads are not otherwise known and they are certainly all by the same author because they are united by a thematic element: loving fidelity. The ballads were written close to Umbertide since there are linguistic elements that certainly recall the region I was talking about before; and here they are: THE “You will never have pity cruel woman of me? and you know that 'l cur te de, and already do not aim at the time that was gone. If you thought about time how much is nobel thing, it is not yet in time to give your servant pose? and you are not flat and yet me dul de te that I brought you fe and tu en ver me always cruelty. Averaie tu maie pity Flee as much as you know that I too will follow you, that I love you more than never, and you do not want to suffer, say who you mean, and that I too will follow you and do not hope though that I abandone you that my heart goes away. Averaie you II My sweet lord, take merchandise of me who am subject to your faith. The annema, the body and my whole person to you donaie for the love I look at: if absentia foie, now forgive me, that I will obey you and never be late anymore, but this dart that is in my heart luie aial from me for love, faith. And the rays of light and your kindness I am taken to fall in love with your love, and in memory of the Danish faith I always contemplate in true color: to! dear my lord, your faith do not break it to me as others believe. Vague ballad, go to my lord And tell her to be firm and strong to me, and of his beautiful eyes and pious glance do not do my despect to no lover, but as a diamond keep faith to me who sees me for his love to die. III So that with close love I am for you, the annema is the heart always fo de you. He did not deserve, sir, so many ghuaie, because he loved you with 'perta fe, but I don't think he ever does that, star gientil, proceeded from you, but only he who never had fe with his and deceit he betrayed you and me. Giovene and beautiful, I don't want you to believe that it hurts me already being here for you, nor ancho de morir for quilla faith which you gave to me without error: donqua perfect love as a favor to you keeps el cor alegro towards me. Yes, as Arcita went down in prison What a podia Ymilia always see, maie huomo in the world had such a state that it seems I didn't think I had, but if near love were you assaie comfort doneresste to me. IV If he had been wise en ver de me, still possess my fe. Tu senca fe dolciecca deceived me, me who loved you more than anything else love, with your locenghe aie me more than robato how tender are the keys to my heart: I fell in the low sun for you, nor did you ever record more than me. But you do not look that your and deceive sleep known by those who use you, so that from outside what spreads within: the time that says mecho will pass, think for what your mala fe many will benefit by harming you. Sweet ballad is telling everyone who calls others to be wise and haughty and does not look at the pain with mocti thieves de who for robar others is so manero hold your purse tightly and your heart to yourself to what is not false fe. The elegant yet popular tone of the ballads is evident. It is an elegance that is revealed in the systematic nature of certain truncated rhymes, a usual element in poetic composition. The high cultural level is revealed in a truly amazing detail: the presence of an echo of a work by Boccaccio. This sonnet I am talking about was probably transcribed in Umbertide, in Montelabate, or in the territory between them, by Guiduccino della Fratta around 1363. Boccaccio is still alive and here there is a reference not to his major work, the "Decameron", which had already had a notable diffusion at the time, but at the "Teseida", an early work in eighth with very little diffusion in Italy. We are facing a local and regional culture, but not a provincial one. The region, however, has an active and cultural sense only if it is open to the reality of other countries and other regions. In the area we are talking about there is someone who cultivates poetry on a rather original level, even if it is not excellent poetry and is very attentive to the cultural reality of the largest centers, of the most notable poets. The reference to "Teseida" is when he says: "Sìcomme Arcita went down in prison / who can always see Ymilia see". Arcita and Palaemon are the two Theban prisoners in Athens prisons who fell in love with Emilia. I am not going to tell you about the "Teseida" but it is a story based on the love of two prisoners for a young girl who they see wandering around in the garden from a cell window. Here Guiduccino refers to the second part of the novel when Arcita, who has been allowed to leave Athens, comes back, with grave danger for his life, in order to see Emilia again. The interesting thing about these documents is the almost first-hand experience of the culture of a certain regional sign, actively present in what are the currents of the higher centers, for example by Boccaccio. These ballads, of notable poetic workmanship, were certainly written in the area we are talking about. What is the proof of this? The overwhelming proof is provided by the type of rhyme, which necessarily preserves the original aspect. We find in rhyme “enganne” with “spande” (In verses 9 and 11 of the ballad “Se saggio stato en ver de me”). We know that the ancient technique required perfect rhyme, while in this case there is no perfect rhyme. If we try to get a perfect rhyme in these two words we get "engenne", "spanne". You know that in most of Umbria "when" is said "quanno" (Foligno, for example). So evidently the poet of these ballads wrote "enganne" in rhyme with "spanne"; the copyist then changed "spans" and broke the rhyme. One might think that the ballads were written in southern Umbria; however, we cannot refer to the current situation, we must refer to the 14th century situation. Now it turns out that the consonant group "nd" was frequently found in the form "nn" in Gubbio. This means that this form extended far north than it is in today's dialects. In conclusion, we can say that these ballads were written in Umbria in an area not far from Guiduccino's homeland. The language of the above ballads and accounts roughly coincides with that of the Perugia theaters. However, there are two peculiarities that certainly recall Umbertide. To say "we went" we use the form "gemmo" and not "gimmo". "Gimmo" is the Perugian form; “Gemmo” is the northernmost form, almost castellana (and is the form used by Guiduccino della Fratta). Towards the area of Pierantonio there is still today a linguistic border of extreme interest: in that point passes one of the most important linguistic borders not only of Umbria, but even of Italy. From this point of view, those who are "Frattegiano" - how to say Guiduccino - use very different forms from those used, for example, in Ponte Valleceppi, that is, the sonorisation of the intervocalic "s". In the south of Italy the intervocalic "s" is always sonorous; north of the line I mentioned earlier we begin to find the sonic intervocalic "s". In the text reported above, in two or three cases, instead of the "s" our Guiduccino uses a "c", which in ancient texts was read as "z", for example in precedent, in chiecia, in piceglie (for "peas"). This form was used alluding to a sonorous "s": it is a hypothesis formulated by me at the time of the discovery of the texts, which I still confirm today. Even this land - I use "terra" with the medieval value of the term which means "walled land", "land surrounded by walls" - that is Umbertide had these interests towards the vulgar; interests towards a literary possibility with regional components (presence of the vulgar Perugian ) with some more local peculiarities (presence of probably "Frattegian" forms) or with a notable openness towards reality and larger centers (2). Note (2) See Ignazio Baldelli “Ballads and prayers in a book of accounts of the century. XIV - in idem, Vulgar Middle Ages from Montecassino to Umbria, Bari 1971, pp. 371-383. On 29 January 1980 the Umbertide City Council named a street in the area that was formerly called "Terziere Inferiore" or "Porta Nuova" (the current area of Piazza San Francesco and offshoots) after Guiduccino della Fratta. The professor. Carlo Dionisotti Via Guiduccino della Fratta

The Railway Bridge over the Tiber 1900 edited by Simona Bellucci After the unification of Italy, rail projects arose in abundance, also because the construction of the national network was in full swing and all the municipalities saw in the railway connections the possibility of getting out of isolation. In 1866 a Florence-Perugia-Rome railway was inaugurated, which placed Umbria on the main railway axis. It passed from Terontola to Umbertide and Perugia. It did not last long, because as early as 1875 a railway from Terontola to Chiusi was inaugurated that cut off Perugia and Terni from the main axis. From here began the disasters for the railways of the region, because that stretch was abandoned. Alongside the main lines, the government also financed the secondary ones, which is why in 1880 a consortium was formed in Arezzo between various municipalities for the construction of an Umbrian-Arezzo railway, of which the municipality of Città di Castello was diligent advocate, a commitment that gave the hoped-for results in a short time, as already in 1886 the section of the Arezzo-Fossato di Vico Central Apennine Railway was inaugurated with a length of 133 km. The narrow gauge railway that passed through Sansepolcro, Citta 'di Castello, Umbertide, Gubbio, fulfilled an important function of connection between the Tyrrhenian and the Adriatic. In fact, it was connected to the line for Florence on one side and for Ancona on the other, but the winding route with considerable slopes, meant that it was not so useful. However, it continued to carry out its function until it ceased its service during the Second World War due to the damage it suffered. Railway line in Umbertide in 1901 Umbertide, however, felt the need to connect also with the most important neighboring city and capital of his province: Perugia. The municipal council wanted to commit itself to this, also because interest was growing on the part of other centers, in fact Terni also wanted to connect with Perugia. In 1899 a conference was held in Terni on the project of a railway line up to Umbertide, passing through Perugia, after which a few years later in 1911 the construction of the railway began and on 12 July 1915 the line was inaugurated. From the initial steam traction, in 1920, we moved on to electri fi cation. Umbertide was an important connection center, because there was a coincidence between trains coming from Perugia and direct or towards Arezzo or towards Ancona. Railway station railway in Umbertide in about 1910 and construction of bridges and toll booth in Montecorona in about 1935. The two railway lines passing through Umbertide, the Arezzo-Fossato di Vico line and the Umbertide-Terni line, although not particularly efficient, especially the first, nevertheless fulfilled a fundamental function of connection. He became aware of this especially in the last phase of the war period, when both interrupted the connections due to the damage caused by the bombings carried out by the Allies, in order to make the retreat of the German army more difficult and for the collection of rolling stock. by both the Germans and the Allies. The rolling stock and sleepers were used to rebuild temporary bridges, to restore the minimum necessary connections. The two lines suffered different fate after their destruction. The whole railway from Umbertide to Terni had been damaged. The first section put back into operation was the southern one to connect Perugia with Terni and only later work was resumed for the northern section, that is from Perugia to Umbertide. However, the latter reopened quite early, in 1948, and once again fulfilled its important liaison function. What remains of the railway line in the section between Gubbio and Umbertide. There are two tunnels under the current route of the Statale: proceeding from Umbertide in the direction of Gubbio, immediately after the town of Camporeggiano, the first one you meet is on the orographic right of the Assino, then crossing the river on the pipeline bridge you meet the second on the orographic left. Photos and information: Eugenio Baldinelli lawyer In addition to the workers in the workshop, the people of Umbria also boasted a high rate of employment among the traveling staff and train drivers. The railway therefore represented an important and quality source of employment in the local context, with about 150 employees. The railway also had two dormitories at the terminus of Sansepolcro and Temi for the traveling personnel, in operation since the nineties. It played an undoubtedly modern factor in an area which, isolated from the motorway network, was unable to escape from its isolation even when a late construction of the E7 motorway was prepared. The company that took care of the railways was the FAC until the war period, after the war the "MUA", then it was replaced by the "FCU", then by "BUS Italia" and now it has passed to the "Rete Ferroviaria Italiana". Today the railway network is fully back in operation after the problems on the line of the last decade. In a difficult period, many came to hypothesize the possible disposal of part of the railway structure. A young architect from Umbertide, Alessandro Venturelli, worked on his degree thesis on the possible reuse of the railway workshops with internal technical tables at the time that it was feared for its disposal: “ City Market Museum of Umbertide. Restoration and reuse of an abandoned railway area ", academic year 2012/13 at the Faculty of Architecture of the University of Florence. The link refers to the thesis page. The image allows you to access the thesis with the tables that Alessandro has made available. https://www.umbertidestoria.net/tesi-di-laurea Sources: - Simona Bellucci: Umbertide in the 20th century 1943-2000, Nuova Prhomos, 2018. - https://www.trenidicarta.it/aperture.html - Umbria-Apennine Railway Photos and information - Avv. Eugenio Baldinelli - Photo: historical photos of Umbertide from the web and from various private archives to which we applied the " umbertidestoria " watermark in this way we try to avoid that the further disclosure on our part favors purposes not consonant with our intentions exclusively social and cultural. Help us remember umbertidestoria@gmail.com