Risultati di ricerca

Licia, tra arte e impegno politico: il 2 giugno del 1946 Parteciparono alle operazioni di voto, votarono, furono elette: le donne del 2 giugno 1946… anche ad Umbertide più di 4000 donne esercitarono finalmente un diritto e contribuirono al cambiamento. Questa è la storia di Licia. (a cura di Francesco Deplanu) Licia, nata senza padre nel 1915, “Licia Rometti…di Assunta” come si legge nei, documenti dell’Archivio storico Comunale di Umbertide, nel plico delle elezioni del 2 giugno 1946, al contrario della citazione canonica che riportava sempre e solo il nome del genitore di sesso maschile. Una delle poche scrutatrici di genere femminile presente nei 13 seggi del Comune di Umbertide; alle “sezione n. 2” di via Garibaldi, una scuola, l’asilo d’infanzia, dove venne allestito uno dei seggi cittadini. Forse per questa mancanza del padre, con solo la madre di mestiere “levatrice”, era cresciuta libera, necessariamente coraggiosa anche nel seguire la propria inclinazione e nel perseguire la sua creatività; prima come ceramista, poi dipingendo quadri, che descrivono giovani visi, elementi naturali, riproduzione e varianti di soggetti religiosi che ancora possiamo vedere e mostriamo. Diventò poi insegnate di arte a quanto riferì l’uomo, più giovane di 9 anni che sposò. Lei trentenne e lui, Lamberto, appena maggiorenne, andando tutte e due contro le consuetudini sociali. Creativa, anticonformista, emancipata e con forte senso civile, tanto da presentarsi con il partito Repubblicano come “scrutatore” alle elezioni più importanti. Le prime nelle quali lei a 30 anni, e tutte le italiane a partire dai 21 anni, poterono finalmente votare per vivere in una Monarchia o in una Repubblica (e immaginiamo come Licia si espresse…); votò anche la scheda che avrebbe indicato gli eletti all’Assemblea Costituente dei vari Partiti politici. Dal lavoro di questa Assemblea nacque la nostra Costituzione entrata in vigore il 1 gennaio del 1948. In quelle elezione nel XIX Collegio elettorale “Perugia-Terni-Rieti” vennero eletti 6 “costituenti”, due di genere femminile: Elettra Pollastrini, rietina, con il PCI in terza posizione nella sua lista, mentre Maria Federici, aquilana, venne eletta con la DC anche essa in terza posizione. La Federici fu tra le sole 5 donne che parteciparono al gruppo ristretto dei “75” che dibatté e scrisse materialmente la nostra Costituzione. Il verbale del seggio n. 2 del Comune di Umbertide ci riporta la firma di Licia in ogni pagina e sappiamo che la “sorte” la scelse per la distribuzione delle schede: “Lo scrutatore Sig…. Rometti Licia…, designato dalla sorte, estrae successivamente ciascuna scheda dall'urna destinata a ricevere le schede per l'elezione dei Deputati all'Assemblea Costituente, dopo l'espressione del voto, la spiega e la consegna al Presidente, il quale enuncia ad alta voce il contrassegno ed, ove occorra, il numero progressivo della lista per la quale è dato il voto ed il cognome dei candidati ai quali è attribuita la preferenza od il numero del candidato stesso nella rispettiva lista secondo l'ordine di presentazione e passa la scheda ad un altro scrutatore che, insieme con il segretario, prende nota separatamente sugli appositi prospetti di scrutinio del numero dei voti di ciascuna lista e dei voti di preferenza.” Una donna determinata e amante degli animali, non ebbe figli e si ammalò ancor giovane, poi morì nel 1973. La sua sensibilità e dolcezza però è rimasta visibile alla comunità umbertidese dagli anni ‘70 fino ad oggi: chi non è entrato dal cancello del cimitero monumentale e, fatti pochi passi, non ha visto una statua bronzea di giovane donna che sembra con dolcezza offrire un fiore? È il tributo a Licia Rometti di Lamberto Beatini. Approfondimento dati sulle elezioni del 2 giugno del 1946 per l'Assemblea Costituente Comune di Umbertide Nelle elezioni del 1946 ad Umbertide si ebbe una vittoria per la scelta della Repubblica di 6840 voti a 1541, ebbero diritto al voto 4438 donne e 4460 uomini. Nelle schede per l’Assemblea Costituente si votò invece per 10 partiti: PCI = Partito Comunista italiano 4975 voti : DC = Democrazia cristiana 1242; PRI = Partito Repubblicano 147 voti; Pd'A = Partito d’Azione 88 voti; MNR = Movimento Nazionale per la Ricostruzione 67 voti; PNM = Partito Nazionale Monarchico 91 voti; U.O. = Uomo Qualunque 283 voti; U.D. = Unione Democratici 92 voti; C.S. = Cristiano sociali 161 voti ; Partito Socialista 1225 voti. Segnaliamo un dato particolare probabilmente dovuto alla tipologia delle schede. I voti “nulli” per la scelta istituzionale furono solamente 4, furono più di 500 per l’Assemblea Costituente. Voti a livello nazionale Vediamo che a livello nazionale la situazione tra i maggiori partiti rappresentati si modifica nettamente rispetto al Comune di Umbertide che aveva visto un successo notevole del Partito Comunista. A livello Nazionale il partito della DC con il 35% e i Socialisti (PSIUP), con il 20,68% superarono il PCI che ebbe il 18,93 %, al contraria del 59,2% cittadino: Alcuni partiti non risultarono essere presenti nella Circoscrizione "Perugia-Terni-Rieti", come il Partito Sardo d'Azione, e questi furono i risultati finali in Italia e il confronto non è "perfetto", indichiamo qua, voti, percentuale e seggi: Fonti ed immagini: Faldone “Elezioni del 2 giugno 1946” presso l’Archivio Storico del Comune di Umbertide (ASCU). Si ringrazia per la gentilezza e la disponibilità la Dirigente dell’Archivio Storico Comunale. Decreto Legislativo Luogotenenziale n. 23 del 1 febbraio 1945 Opuscolo “Le Madri Costituenti” , Provincia Perugia, 2025 Dati elezioni nazionali e per Circoscrizione: https://elezionistorico.interno.gov.it/index.php?tpel=A&dtel=02/06/1946&es0=S&tpa=I&lev0=0&levsut0=0&ms=S&tpe=A Fonti orali: Isotta Bottaccioli, Anna Beatini e Laura Beatini Immagini dei quadri di Licia Rometti su concessione di Isotta Bottaccioli, Anna Beatini e Laura Beatini. Fotografie ed elaborazione dati: Francesco Deplanu

La vita durante il ventennio fascista ad Umbertide. Memoria della vita di Aristide. Aristide and the twenty years curated by Francesco Deplanu Aristide Guardabassi, the first on the left in the photo was born in 1912, became an adult during the Fascist period. After the military started in 1931, participated in the "Ethiopian enterprise" from 1935 to '36, the era of the "great consensus", then he was recalled in 1941 in the military battalions of the "shirts." black " and died in 1942 at the "mouths of Cattaro" together with a commissioner, Massetti, from Città di Castello affected from "friendly" batteries. The remains of his body were tracked down by the Maggior Suppa of the Italian army only after twenty years and brought back to a now democratic and pacified Umbertide. His funeral, in a very cold March 1960, with the banner of the Municipality in front, climbed on foot to the cemetery with all the citizens in tow, after having crossed a plain that still showed the promiscuous culture of the vine, the last landscape of an ancient world. He had reached the "sixth" elementary and so on long years of military service and then as a "black shirt", volunteer for the AOI and recalled for the Second World War, he had a very long correspondence with his wife, Olinda Guardabassi. Linda, as she was called, responded less to difficulties between work as a "tobacconist" and other jobs to be able to live and raise the little daughter; moreover, like many girls before the war, he was prevented from finishing elementary school because he was "a woman". After the second class, in fact, it had been held home to provide for family needs ... his writing was therefore more tiring. In addition to many documents of the time among the many letters left, where they are substantially absent i references to the "enemy" e to war, there are affections, memories and common life as in an "escape" from a present that is difficult to live and tell. Linda kept everything she had left in her wooden barber box: her compass and sewing supplies, letters, postcards, some documents, the metal plate found with the remains of her body, the newspaper with the 'announcement of death and some letters from friends to alleviate his loss. The barber's box contained about 300 letters, 144 postcards, filled for almost all the space available, and some telegrams written in the decade 1932-42. Almost all the letters are by Aristide some by Linda. The letters are concentrated above all in the second year of the war, as many as 110 letters, when he was recalled and left for the conflict, and in 1942, third year of the war, 52 letters before dying. In particular 68 letters were kept during his military service and 10 postcards; between 1934 and 1936, during the African campaign, 66 letters, 1 telegram and 29 postcards remain; 170 letters, 105 postcards and 3 telegrams remain for the period of the World War: 1932 - 4 letters, 1933 - 61 letters from Vercelli, 10 postcards, 4 edelweiss, 1934 - 3 missives, 1935 - 38 missives 1 telegram and 29 postcards, 1936 - 25 letters, 1939 - 2 telegrams and 15 postcards, 1941 - 110 missives 2 post card, 2 telegrams 70 postcards, 1942 - 59 missives 4 postcards 1 telegram 35 postcards and 1 letter from Alberto Burri to his wife Linda after her death. Interno della cassetta da barbiere In addition, many personal photos were kept in the box, 30 photos of the funeral that took place in the post-war period in Umbertide, various personal and time documents, "Various materials" including, a compass used in the AOI, a needle holder and wooden thread, a branded cigarette holder with still some cigarettes inside, a small santino di Sant'Antonio kept inside a small bussolotto, the identification plate kept in a green canvas bag with the personal data, the flag with which the small chest with the remains of Aristide was displayed in the Collegiate Church for the funeral about twenty years after his death; Linda after many years used to say that only at that moment, when the remains were brought back in a small box, did she really stop hoping for his return ... A decade of alternating correspondence for a few years, after the "unlimited leave" from military service, first from the "African enterprise" and then from the outbreak of the conflict. A very long correspondence in which Aristide wrote almost exclusively of love, affection and everyday life; an aspect that goes hand in hand with the historical moments in which he writes, writes from Vercelli and Biella to the compulsory service of the state, writes from the "steamer" that takes him to Africa for the Empire, sends postcards where the propaganda phrases of the "Fascism" as he greets his Lindina, postcards that have as their theme the geographical map of the AOI or busts of beautiful African girls that the regime shows as trophies, he writes more and more often when he is sent to the coasts of Albania and present-day Montenegro . He wrote from Podgorica, from the "very Italian" Boka Kotorska, until his death at the hands of his own army in an Italy that soon will be divided in two, with the central part and its Umbertide that from that moment will live another story: drama and liberation. In addition to the correspondence, the preserved documents tell us about that moment: the cards of the fascist, workers and women's organizations, the lists of members of the Umbertidese militias of the "black shirts", the recall orders for the lack of behavior of these Umbertidesi militiamen on the part of the Perugian nucleus, an internal propaganda theme made to write to the daughter for the return of the father who will never return ... A remarkable material to be investigated at another time because it is too vast. The affections for the young Linda, first girlfriend then wife and mother of a child seem to be almost the exclusive subject to communicate. Here are some examples as a soldier of Leva in 1933 and then as a husband in '39 and on the day of his death in July '42: "Biella 04/21/1933 - IX EF ("Fascist year and period" Ed.) I reply to yours ("letter" Ed.) With a little nervousness caused by your silence. Lindina you will never imagine how I desire one of yours ("letter" Ed), and not receiving it, the saddest thoughts assault my brain, and the most phantasmagoric visions come before my eyes making me see who knows how many times you that you no longer think of me, that you do not love me, and who knows how many other bad things that my miserable language cannot pronounce ... " "Sora 16-7-39 - VII" ("fascist year" Ed.) Dearest love, with the greatest joy, I reply to your dear letter, which has reached me today. Lindina you will want to excuse me if sometimes in my letters I am a little impulsive, but you must understand, that it is the love I have towards you that makes me insane. Not a minute of the day goes by, that my thoughts are not turned towards you, and I remember all our talks, all our walks, every intimate we had with you and I wonder: what will my Linda do now without me? Maybe he will think of his distant love? And my heart answers yes. " "(Place not present for military reasons) - 29/07/1942 - XX ... I really liked the two conchigline I found in the letter of the 22nd from Imperia. Do you think Linda wanted to be a little bird, and see our daughter how he looked for them, and what he told you when he gave them to you to send them to me. I think of you how happy you will be, that you see Imperia growing like a flower, and that you guide it, and you look at it as you look at an angel. But for my part, I am happy all the same, because when it is joy for you, it is happiness for me too. Perhaps you will be even more worried than me, as despite being happy you have the constant thought for me, and who knows how many times you will repeat a name that with the help of our good God, will return safe and sound. "... He died immediately after the last letter together with his friend Massetti from Città di Castello, the other Umbertidesi present with him in Podgorica buried him. We insert here some images of 1933-34, the love letters and the envelope that Linda carefully preserved with the 6 edelweiss that Aristide had sent him; the letter of departure for the AOI; postcards, front and back from Eritrea with images that are racist and sexist in our eyes today; sheets for the symbols of the 1: 25000 tablets of the IGM, the patriotic propaganda theme made to write in class to the daughter ... 1/1 Linda also replied, although less frequently, moreover only a few letters have survived, those reported in the few licenses by Aristide. The writing is more tiring and with spelling errors that we decided to leave to remember the female condition of the time where compulsory schooling was not respected especially for girls. The last letter visible in the images inserted above was from Linda but he returned only later with the remains of Aristide in 1960; it was probably kept in its uniform. "Arille" was the affectionate way in which he called Aristide, and as usual the family affections dominate the thoughts of the two but the letter also briefly describes the situation of rationing during the war in Umbertide "nothing is found" and the solidarity between women with the wife of another "recalled" who brought food to their little daughter. “Recalled” indicates those who, like Aristide, had obtained “unlimited leave” but were “recalled” to arms with the worsening of the conflict; condition according to Linda suffered by Aristide and the other young people from Umbertide who left in '41. Linda also used to tell how the conflict led Aristide to moments of despair and that once, returning from leave, he seriously asked her to throw all three under the train nearby. "Umbertide 3-5-942 My dearest Aristide For a few days, I have not heard from you, the last of yours on the 22nd, Rille my thoughts vague, that again you will be moved, for another action, this is the thought that does not give me peace, Arille with a contracted heart , and full of hope I never tire of praying our good God, who is so good and merciful, will always watch over you, to make you return as soon as possible to your home, which is always full of your memories, where Imperia remembers its father a hundred, but a hundred times a day, your caresses, your sweet little words, full of fatherly love, Arille when our little one reminds me of your compliments, a knot tightens my tears, my heart no longer knows how to fight it has this great pain, of this your distance, that I do not know what I would give just to let me pass by in a moment to see you, and see the state you are in, Arille in these days that are without news from you the saddest thoughts assail me and make me suffer so much, Arille mirror everything as long as I get a line of comfort from you and relief, explaining the delay of this post. Arillino days ago I sent you the photo Imperia I hope it has reached you. Arille as I told you, indeed you will know, that times are difficult now and nothing can be found, but I tell you that our Imperia has lacked for nothing up to now, because there are the wives of those recalled who are with you that every so much they bring me eggs and flour, today Gigino di Dalai's wife came and brought Imperia 10 eggs and flour, dear kisses Linda and Imperia. " Linda young and still beautiful, with her darker and lighter eyes, peculiarity given by a benign neoplasm to the eye, found herself facing a life in poverty with a small daughter but with great strength and courage; with the bombing of Umbertide he welcomed Pompeo who was one year older than his daughter, who was orphaned by his whole family. They grew up as brothers until he had to send them far away to give them the future by making them come back whenever possible. Linda didn't want to anymore no one close to him waiting secretly and irrationally, in his heart, that Aristide's death had been communicated by mistake; conviction that ended at the return of the petty cash with what remained of his body. In addition to the family story, Aristide's documents tell us about our local history. Among the various documents that you can see in the gallery above, for example, there is one that can shed light, although it is undated, on the composition and structuring of the "umbertidesi fasci" system, part of history for obvious reasons not much in-depth since the war. up to the present day. In the typed document, with the caption "FEDERATION OF THE COMBAT BANDS OF PERUGIA" at the head, continuing underneath with the words "BAND OF UMBERTIDE", the distinction of the city is evident in at least five sectors, since this was the fifth. This "sector" concerned the area of Piazza S. Francesco, Via Secoli, Via Soli, Via Spoletini, Via Stella, Via Cesare Battisti. There was the "head of the sector": Ramaccioni Gino e 3 "nuclei". At the "head" of the first "nucleus" there was just Guardabassi Aristide with the particularity of being registered without the reference to be a "(CN)", or a black shirt. This writing instead appears next to the names of the "head" of the "II nucleus", Ramaccioni Dino, and of the "III nucleus", Pucci Carlo. Thus the list seems to have been written before the '' African enterprise, when Aristide was certainly a "Black Shirt" but was also used later ( 1935-'38) seen that in pencil you can read next to various names of the components of the "nuclei" the military destination of some: Bologna, Africa, Milan, Albania. However the components of this list are 17 in first “nucleus”, 17 the second and 23 the third. Overall, the "V sector" alone therefore counted on 61 belonging to the "Fasci di Umbertide". Here are the names present in the document relating to the "V sector" of the "Fascio di Umbertide": V sector (Piazza S. Francesco - Via Secoli - Via Soli - Via Spoletini - Via Stella - Via Cesare Battisti) Head of Sector - Ramaccioni Gino I Nucleus Head of core Guardabassi Aristide Burzigotti Eugenio Cardinals John Marine limestones Bebi Carlo Bebi Fausto Bico Antonio Cingolani Beetle Martini Adolfo Panzarola Nello Pini Giulio Ramaccioni Fortunato Ramaccioni Silvio Reggiani Francesco Santini Giovanni Tarragoni Ginetto pupils Tarragoni Students Enrico Zurli Arnaldo II Core Head of nucleus Ramaccioni Dino (CN) Alberti Alvaro Alberti Quintilio Angeletti Giuseppe Oreste children Baldelli Dante Ciocchetti Oliviero Corradi Anteo Fiorucci Thales Jets Decio Mancini Carlo Mancini Giuseppe Domenico Pucci Puletti Calisto Ramaccioni Ramiro Renzini Alessandro Renzini Pietro Renzini Oberdan III Core Head of Core Pucci Carlo (CN) Tullini Elmo students Anastasi Amedeo Bartoccini Pietro Becchetti Tito Giuseppe Becchetti Caldari Bruno Andrea Cecchetti Cerrini Renzo Ghisalberti Adolfo Lucaccioni Riccardo Lucaccioni Antonio Mariotti Ettore Giuseppe screeds Palazzetti Nazzareno Paoletti Antonio Paoletti Natale Rondini Aldo Rossi Vincenzo Starnini Warrior Serafino Fiorentino Tosti Quintilio Tognaccini Romeo Other letters speak to us, however, of historical events of national significance such as the departure for the AOI when he writes from from the ship Princess Giovanna: "Sender: Aristide Guardabassi Black Shirt, First Division CC. NN. March 23 202 th Legion, First BTG Second company, East Africa. 08/28/1939 - XIII EF ("Fascist Year and Epoch" Ed.) Dear Linda, first of all, I extend my affection to you, with the best wishes for a goodbye soon (before it is possible). Linda as she announces by telegram that you left on Sunday evening, the last 25th, with the ship Principessa Giovanna, and indeed it was. Our ship has lifted the anchors to head to Massawa in Eritrea, at 5 and 45 minutes, and we will arrive on 2 September the same day. Linda when the ship left the quay, to head towards the East, the immense crowd that filled the port, gave us a warm show of sympathy and affection, (and some faces were covered with tears) that you cannot imagine ... " An analysis of the long correspondence in search of historical elements as well as affective ones could reveal further information on the modalities of life during Fascism in the upper Tiber Valley and in our country. The correspondence is interrupted with the life of Aristide, just a end of July 1942, after 18 years his remains will return to Umbertide. A red envelope Linda kept inside the wooden box contained the last one missive written by Aristide, one page newspaper with the news of the death and the letter from her friend, Alberto Burri, written to Linda at the time of the news of the killing in July 1942. Burri, 3 years younger, was captured in Tunisia the following year, on 8 May 1943, and after several trips he was taken to the concentration camps of the United States . This is the text of the letter: " Dear Madam, You know how great our friendship was and you can understand how I too suffer for the loss of dear Aristide. However, the knowledge that he has left us in fulfilling all his duty as an Italian and a Fascist must help you and help us to bear this pain. He will always be alive in our memory with his eternally smiling face and with his good humor that increased with the difficulties of the moment. He was an excellent soldier and an excellent father, and little Imperia can be proud of him. You like mine Madam best regards. Alberto Burri " alberto burri 1 alberto burri 2 alberto burri 1 1/2 Aristide was one of the 93 dead or missing in the war of our country, but in addition to them the toll of lives for this war was very conspicuous because 70 died under the bombing of 1944 people, 22 were killed in retaliation (in Penetola, Serra Partucci, Civitella Ranieri and Montecastelli), 34 people died as a result of the war, 1 in prison camps and 2 at the front after 8 September as partisans. For those wishing to see their complete list, you can read the precious text by Mario Tosti " Beautiful works. Information, documents, testimonies and images on life and death events that took place in the Municipality of Umbertide during the Second World War ." Municipality of Umbertide, 25 April 1995. In total, therefore, a good two hundred and eighty-two Umbertidesi died during this conflict. Source: - Family archive of the Micucci-Guardabassi family - Oral source Fam. Guardabassi-Deplanu - Mario Tosti: " Beautiful works. Information, documents, testimonies and images on life and death events that occurred in the Municipality of Umbertide during the Second World War . Edited by Mario Tosti. Municipality of Umbertide, 25 April 1995. - Photo: Family archive of the Micucci-Guardabassi family

LA STORIA DI ANTONIO PICISTRELLI Giovane umbertidese ucciso a Roma il 1º Maggio 1891 di Federico Ciarabelli Tra le tante vicende che riguardano le persone del nostro territorio ce n'è una poco conosciuta: quella di Antonio Picistrelli. Alcuni nostri concittadini, tra la fine dell'800 e i primi del `900 l'hanno raccontata e hanno cercato di tramandarla attraverso varie iniziative, tra cui l'apposizione di una lapide sulla casa natale di Antonio, in via Spoletini. Il testo non ci fornisce indicazioni sulle ragioni per le quali fu collocata e non dà chiare spiegazioni, rimandando a futuri "giorni più liberi" la possibilità di fare luce. Della vita umbertidese della famiglia Picistrelli è possibile ricostruire solo pochi elementi: Giovanni Picistrelli, carrettiere, sposò, nel 1863, Alunna Rinaldi e dal loro matrimonio nacquero nove figli: Clotilde, Silvio, Alfredo, Antonio (2 ottobre 1870), Lavinia, Lorenzo, Leopoldo, Piero e Gaetano. Anche se i genitori erano analfabeti fecero studiare tutti, figli e figlie. Antonio seguì il padre nel lavoro, diventando anch'egli carrettiere. Il 18 marzo 1886 i Picistrelli lasciarono la nostra cittadina alla volta di Roma, attratti dalle opportunità di lavoro che la nuova capitale offriva. In quegli anni, però, cominciavano a farsi sentire con maggiore intensità gli effetti della crisi economica generata dalla speculazione edilizia. Le numerose imprese operanti a Roma sfruttavano pesantemente i lavoratori e impiegavano una consistente manodopera femminile e giovanile, che veniva retribuita con salari inferiori a quelli degli uomini. A questa condizione precaria si aggiunse, a peggiorare drammaticamente le condizioni di vita dei ceti popolari, una profonda crisi finanziaria che portò molte aziende al fallimento. È dunque in questo ambiente che a Roma i lavoratori si organizzarono per la riuscita della manifestazione del 1° maggio 1891, seconda edizione della Festa dei Lavoratori; le intenzioni degli organizzatori furono indirizzate a far svolgere la manifestazione in forma pacifica e per la rivendicazione di migliori condizioni di lavoro, a partire dalla giornata lavorativa di otto ore. Antonio Picistrelli, anche se non è certo che fosse iscritto a qualche organizzazione politica, vi partecipò assieme al suo futuro cognato Eugenio Santerini, un attivista socialista che militava nel "Circolo Tiburtino" di via dei Sardi. Le associazioni organizzatrici dettero appuntamento ai partecipanti alle 15 in piazza Santa Croce in Gerusalemme. Il clima generale era di forte tensione anche perché la piazza era circondata da forze dell'ordine e da reparti armati di esercito e cavalleria. Altre guardie erano mescolate fra i partecipanti. I manifestanti organizzati dalla Società dei Muratori entrando in piazza salutarono i militari schierati al grido di: "Viva l'esercito italiano, viva i nostri fratelli armati!"; da alcuni gruppi anarchici si inneggiava alla rivoluzione e all'esercito rivoluzionario. Confluiti tutti i cortei in piazza, alle 16 iniziarono i discorsi. Stando a quanto riferito nel rapporto del questore, dopo i primi oratori, alcuni dei quali più moderati e altri più accesi, la piazza si andava sempre più scaldando. Non si può però escludere che la tensione sia stata accentuata per la presenza di infiltrati e provocatori tra la folla. Salì quindi sul palco un oratore non previsto, Galileo Palla, e dopo il suo intervento, secondo il rapporto del questore, si sarebbe generato uno scompiglio generale e gli agenti disposti intorno al palco sarebbero stati circondati dalla folla di anarchici minacciosi. Si accesero degli scontri, nel corso dei quali furono sparati colpi di rivoltella, vennero usati pugnali, coltelli e lunghi chiodi. In questa situazione alcuni rimasero feriti e una guardia, Carmelo Raco, fu uccisa con una pugnalata. Gli scontri continuarono e intervenne la cavalleria che, da diverse parti, si diresse sulla folla per disperderla. Dalla piazza e dalle case cominciò allora il lancio di pietre, oggetti, mattoni contro i militari. I manifestanti si spostarono nelle vie circostanti. In via Emanuele Filiberto venne tentata la formazione di una barricata con dei carretti, ma senza successo. Quindi altri si indirizzarono verso Villa Altieri, all'epoca adibita a carcere femminile. Qui le sentinelle poste a guardia spararono: Antonio Picistrelli, raggiunto alla testa da un colpo di fucile, restò ferito. Venne trasportato all'ospedale, dove morì. Ma la storia non finisce qui. Inseme a una discussione parlamentare, un grande processo e una campagna di stampa, venne attuata dal governo un'intensa opera allo scopo di celare i fatti. Le cronache dei giornali non diedero risalto alla sua morte, nonostante la gravità dei fatti, due giorni di dibattito parlamentare e la pressione politica esercitata dalle organizzazioni dei lavoratori. Le commemorazione furono anzi oggetto di repressione: i1 5 luglio 1891 il questore di Roma scrisse al ministro dell'interno che la polizia "sorvegliando mosse circolo Tiburtino, [...], ha potuto trovarsi presente alle 4 pom. alla deposizione sulla tomba di Picistrelli di un gruppo metallico con edera, corona e fiori artificiali portante in placca zinco la seguente citazione alla vittima del 1° maggio 1891 Antonio Picistrelli che inoffensivo, inerme trovava immeritata morte il circolo Tiburtino questo ricordo fece". Il questore ne dispose il sequestro e rispose che quelle "parole suonano apologia di delitto, offesa alle nostre istituzioni e principalmente esercito e nell'insieme costituiscono istigazione a commettere reati". Stessa sorte toccò al tentativo di ricordo promosso dai compagni di Picistrelli che, dal carcere dove erano rinchiusi, vollero ricordarne la figura e, addirittura, a quello dei famigliari. In Umbria la proposta di realizzare una lapide fu avanzata da Francesco Andreani a Perugia il 1° maggio 1892. Ma il progetto non poté essere realizzato, continuando ad essere osteggiato ogni tributo al carrettiere e dovettero passare ben 9 anni prima che, su iniziativa della sezione socialista di Umbertide, venisse rilanciata la proposta di una lapide per Picistrelli. Nel 1901 fu costituito il comitato promotore di cui facevano parte: il Presidente della società operaia, Ramaccioni Astorre consigliere di detta società, l'avv. Francesco Andreani, Willelmo Ramaccioni del circolo repubblicano, Michele Belardi e Torquato Bucci per la sezione socialista, Macario Maccarelli per i reduci volontari della patrie battaglie, Americo Censi muratore, Guerriero Becchetti falegname, Alfonso Mazzanti fabbro, Luigi Filippi vasaio, Gaetano Bassi Gaetano cappellaio, Casimiro Montagnini calzolaio, Luigi Bartoccini sarto, Paolo Rometti fornaio, Angelo Gargagli lavorante in traverse, Giuseppe Guardabassi, commerciante. Il comitato cercò di organizzare una manifestazione di notevole rilievo e ciò ebbe l'effetto di accrescere le preoccupazioni delle autorità governative, al punto che si rese necessario far intervenire l'on. Bissolati presso il Ministero dell'Interno per sbloccare la situazione. Nel dicembre 1902 venne data l'autorizzazione alla realizzazione della lapide, ottenuta però a caro prezzo: il testo fu censurato (definito una "miseria" dai socialisti) e diceva: "Ad ANTONIO PICISTRELLI morto il 1° Maggio 1891 in Roma la democrazia Umbertidese volle consacrare questo modesto ricordo nella casa ove nacque 1902". Il Comitato decise di realizzare la lapide con il testo imposto dal governo, ma non si arrese all'arbitrio. Venne così commissionata una lapide speciale: da una parte il testo mutilato e dall'altro quello scritto da Andreani. Si giunse finalmente alla sua inaugurazione, fissata per domenica 6 settembre 1903, alle ore 10. La partecipazione popolare fu modesta, ma numerosa fu la presenza delle associazioni locali (con le loro bandiere) e dei Circoli socialisti e repubblicani di città vicine. Erano presenti tre fratelli di Picistrelli (espressamente venuti da Roma) ed altri parenti. Si iniziò deponendo le varie corone e quindi fu scoperta la lapide al suono dell'inno di Garibaldi. Giuseppe Guardabassi dette quindi lettura di una commovente lettera del padre della vittima e delle molte adesioni, tra le quali quelle dell'on. Andrea Costa, di Amilcare Cipriani. Presero la parola gli oratori ufficiali: Miliocchi (repubblicano) e Bocconi (socialista). In occasione della manifestazione i giovani del circolo repubblicano fecero una pubblicazione dal titolo “In memoriam”, che fu rapidamente esaurita. Sarà mai possibile esporre la faccia della lapide con il testo voluto dagli umbertidesi? Io mi auguro di sì. Articolo pubblicato in due parti sui numeri di Novembre e Dicembre di “Informazione locale”

TEXTS and LINKS to CONSULT In this section you will find the references to the printed texts published and to the online resources of Umbertide history. Like the whole site, this list is also up for grabs. Please let us know about new or escaped "resources" to be included in "Bibliography" and "Sitography". BIBLIOGRAPHY 1. Antonio Guerrini: History of the land of Fratta now Umbertide from its origins to the year 1845 (for Antonio Guerrini completed by Genesio Perugini) - Tip. Tiberina Umbertide, 1883 2. Francesco Mavarelli: Historical information and praise from the Company of Disciplinati of S. Maria Nuova and S. Croce in the Land of Fratta (Umbertide) - Stab. Tipografico Tiberino, 1899 3. Francesco Mavarelli: On the art of blacksmiths in the land of Fratta (Umbertide) - Memories and documents - Stab. Tipografico Tiberino, 1903 4. Umberto Pesci: History of Umbertide - Tip. R. Fruttini, Gualdo Tadino, 1932 5. Giulio Briziarelli: Umbertide and Umbertidesi in history - Unione Arti Grafiche, Città di Castello, 1959 6. Bruno Porrozzi: Our Castles - History and legend - Ed. Italian Red Cross, Subcommittee of Umbertide, 1959 7. Bruno Porrozzi: Umbertide in images from the 16th century to the present day - Ed. Pro Loco, Umbertide, 1977 8. Bruno Porrozzi: Statutes of the Fratta dei Figliuoli di Uberto (Umbertide) of 1521 - Ed. Pro Loco Umbertide, 1980 9. Bruno Porrozzi: Umbertide and its territory: history and images - Ed. Pro Loco, Umbertide, 1983 10. Bruno Porrozzi: Umbria, city region - Ed. Politecnico Perugino, Umbertide, 1986 11. Bruno Porrozzi: Umbertide - Origin and aspects of socio-health services - Ed. Mavarelli Middle School, Umbertide, 1988 12. Controstudio: Recovery and Restoration Project of the Teatro dei Riuniti in Umbertide - Ed. Tema, 1990 13. Bruno Porrozzi: Umbertide - Man in toponymy - Ed. Pro Loco, Urnbertide, 1992 14. Nicola Lucarelli: Domenico Bruni (1758 - 1821) - Biography of an emasculated singer - Ed. Municipality of Umbertide, 1992 15. Bruno Porrozzi: Umbertide - Rights of the former Preggio hospital - Ed. Pro Loco, Umbertide, 1993 16. Raffaele Mancini: ... At midnight we bet on the rising of the sun (San Faustino south) - Ed. Nuova Phromos, Città di Castello, 1993 17. Walter Orebaugh - Carol Jose: The Consul (An American diplomat joins the Italian Resistance) - Ed. Centro Socio Culturale S. Francesco Umbertide, Nuova Prhomos Città di Castello, 1994 18. Renato Codovini - Pietro Vispi: Luca Signorelli's paintings at Fratta Perugina - Polyglot Printing House of the Pontifical Gregorian University, Rome, 1994 19. Mario Tosti: Beautiful works! (Information, documents, testimonies and images on life and death events that occurred in the Municipality of Umbertide during the Second World War) - Ed. Municipality of Umbertide, 1995 20. Bruno Porrozzi: Umbertide - The Middle School from 1860 to today - E. Pro Loco, Umbertide, 1995 21. Mario Tosti: Five cypresses - June 24, 1944 Retaliation in Serra Partucci - Local publishing group, 2013 22. Maria Cecilia Moretti - Lorena Beneduce Filippini - Fausto Minciarelli: The Tiber and Umbertide (edited by Sestilio Polimanti) - Tipolitografìa Petruzzi, Città di Castello, 1995 23. Renato Codovini - Pietro Víspi: The living room and the work of Pico della Mirandola in Umbertide 24. Gian Luca Radicchia: The Sacred Hermitage of Monte Corona - Ed. Guerra, Perugia, 1997 25. Bruno Porrozzi: Umbertide - The work of Francesco Mavarelli - Ed. Pro Loco, Umbertide, 1998 26. Simona Bellucci: Le Tabacchine (A city, a factory: the Umbertide plant) - Ed. Municipality of Umbertide, 1998 27. Bruno Porrozzi: Umbertide - Me ne sgulìno (Essential vocabulary, idioms, nicknames, sayings, proverbs, aphorisms and ... more in the Umbertidese dialect) - Ed. Pro Loco, Umbertide, 1999 28. Pietro Bottaccíoli, Luigi Marioli - Anna Rita Vagnarelli: Pilgrims on the roads of Romualdo and Francesco - Ed. GESP, Città di Castello, 1999 29. Bruno Porrozzi: Statutes and Orders of the Fraternity of Santa Croce in Fratta (Umbertide) from 1567 to 1741 - Ed. Pro Loco, Umbertide, 2001 30. Roberto Sciurpa: Umbertide from the origins to the sixteenth century - Petruzzi Editore, Città di Castello, 2007 31. Renato Codovini - Roberto Sciurpa: Umbertide in the 17th century - Ed. GESP, Città di Castello, 2004 32. Renato Codovini - Roberto Sciurpa: Umbertide in the XVIII century - Ed. GESP, Città di Castello, 2003 33. Renato Codovini - Roberto Sciurpa: Umbertide in the 19th century - Ed. GESP, Città di Castello, 2001 34. Roberto Sciurpa: Umbertide in the 20th century 1900 - 1946 - Ed. GESP, Città di Castello, 2005 35. Roberto Sciurpa: Avis - Solidarity citizenship 36. Giovanni Bottaccioli: Penetola, not all the dead die - Municipality of Umbertide, 2005 37. Marilena De Vecchi Ranieri: Civitella Ranieri - a thousand years of history, by the "Uguccione Ranieri di Sorbello Foundation" 38. Between memory and history - the allies in Perugia and Umbria - Perugia, 1998 a edited by the "Uguccione Ranieri di Sorbello Foundation" 39. Giuseppe Cozzari: The Burelli family of Umbertide 40. Raffaele Mancini: Letter to a brother - Municipality of Umbertide, 1998 41. Edited by Luana Cenciaioli: Umbrians and Etruscans - border people in Monte Acuto and in the territory of Umbertide - Municipality of Umbertide, 1998 42. Angelo Boldrini: My diary (edited by his daughter Roberta) - Nuova Phromos, 1992 43. Alberto Briganti: Beyond the clouds, the serene - Nuovo Studio Tecna - Rome, 1994 44. Alessandro Cancian: Umbertide 1944 - 1946 - Municipality of Umbertide, 1994 45. Bruno Guerri - Giulio Pieroni: Proposal for the recovery of the historic core - Municipality of Umbertide, 1994 46. Luca Bruni: Letters from the Russian front - Municipality of Umbertide, 1994 47. By Prof. Claudia Picottini and class III A 2004-05 of the middle school “Mavarelli-Pascoli: Grandfather, tell me about the war - Municipality of Umbertide, 2005 48. Simona Bellucci: Tobacco and tobacconists - Tobacco Museum - San Giustino, 2009 49. Giovanni Cornolò - Giuseppe Severi: The Umbrian Central Railway - Arcipelago Edizioni - Milan, 2004 50. Umbria Research Agency: Umbertide. Economy and society: the municipality and the territory - Perugia, 2008 51. Angelo Galmacci: Verna - between history and legend ... - Municipality of Umbertide 52. Edda Corgnolini: I'll tell you, I've told you, I'll tell you again - Municipality of Umbertide, 2004 53. M. Enrica Sacchi De Angelis: The castles of Santa Giuliana .... - University of Perugia, 1984 54. Francesco Alunni Pierucci: Socialism in Umbria (1860-1920) - Perugia, 1960 55. Luca Sportellini: The Sanctuary of Maria Santissima Assunta in Rasina - Fabrizio Fabbri Editore, 2011 56. Renato Codovini: Jewish presence in Fratta Perugina in the 14th and 15th centuries - Local Publishing Group, 2011 57. Renato Codovini: The Conventual Franciscan friars of Fratta Perugina - Umbertide 2011 58. Renato Codovini: Study of a Lombard military surveillance tower and a house annexed to it in the eighth century - Umbertide, 2012 59. Pietro Vispi: The Collegiate Church of Santa Maria della Reggia - Umbertide, 2001 60. Simona Bellucci, The incomplete modernization. Farmers and owners of Umbertide between the nineteenth and twentieth centuries, Edimont, Vittà di Castello, 2004. 61. Mario Tosti: “Our ordeal” - Ed. Petruzzi - Città di Castello, 2005 62. Giovanna Benni: Castle and rural lordships in the Upper Tiber valley between the Early and Late Middle Ages. The territory of Umbertide (Perugia, Italy) Oxford, John and Erica Hedges 2006 pp. VIII-198 tables papers (British Archaeological Reports (BAR). International Series 1506. Notebooks on Medieval Topography. Documentary and Field Research 4), 2006. 63. Amedeo Massetti: Two centuries on the march - Umbertide and the band - Petruzzi Editore, Città di Castello, 2007 64. Mario and Menco. The doctors of the past ..., - Silvano Conti, Edimont, 2007 65. Paola Avorio: “Three walnuts” - Ed. Petruzzi - Città di Castello - 2011 66. Scortecci Donatella (edited by): The middle and upper valley of the Tiber from Antiquity to the Middle Ages: proceedings of the study day ; Umbertide, May 26, 2012 - Daidalos, 2014. Of this latest publication we insert specifically the internal sections that see several young Umbertidesi as authors: The historical-archaeological landscape of the Upper Tiber Valley between Antiquity and the Middle Ages Scortecci, Donatella. • p. 3-18 For an Archaeological Map of Umbria in the framework of the Regional Landscape Plan Ciarapica, Ambra • Manconi, Dorica. • p. 19-28 The centuriate landscape of Tifernum Tiberinum and Perusia: first considerations Waiters, Paolo • Mattioli, Tommaso. • p. 29-62 Settlement news from the Sansepolcro area. Population dynamics from the Paleolithic to the Early Middle Ages Laurenzi, Gian Piero. • p. 63-100 The ancient road system in the Upper Tiber valley Boldrini, Luca. • p. 101-143 Umbertide, the Tiber and the territory Cenciaioli, Luana. • p. 145-162 Old and new acquisitions in Umbertide: the testimonies from the territory and the excavation of Piazza del Mercato Occhilupo, Sergio. • p. 163-184 A small Villanovan burial ground in San Martino in Campo di Perugia near the Tiber Occhilupo, Sergio. • p. 185-196 The temple in loc. Caipicchi (Nogna) Fiorini, Lucio • Di Miceli, Andrea. • p. 197-216 The reuse of play buildings in post-Roman Umbria Marcattili, Francesco. • p. 217-236 The Upper Tiber Valley between the Early and Late Middle Ages: urban settlement and rural landscape. Benni, Giovanna. • p. 237-288 The castle of Certalto between written sources and material data Pascolini, Alessio. • p. 289-322 67. Sestilio Polimanti: "Vocabulary of the dialect of Umbertide and its territory. Collection of lexicons, proverbs, idioms, nicknames, stornelli and toponyms", Nuova Prhomos, 2018. 68. Simona Bellucci: Umbertide in the 20th century 1943-2000, Nuova Prhomos, 2018. 69. Angelo Angeletti: “If only the stones are left to speak”, Digital book Srl, Città di Castello, 2019. 70. Pietro Vispi (and photo by Paolo Ippoliti): "Talking stones." If they keep silent, the stones will cry. "., Local publishing group, Umbertide, 2021. NB: For the dissemination of the history of Umbertide, with an in-depth study of the popular traditions of our area, we recall the project with the 25 issues of the " Calendar of Umbertide ". Calendars published from 1992 to 2016 by Adriano Bottaccioli, Fabio Mariotti, Amedeo Massetti, Walter Rondoni, Mario Tosti. SITOGRAPHY Historic portal of the Municipality of Umbertide: http://www.umbertideturismo.it/Storia-History-Imphotos-e-video-Images-and-videos-Manifestazioni-Events-Musei-Museums-Monumenti-Monuments-Tevere-Tiber Umbertide GAAT website: http://www.netemedia.net/gaat/umbertide.htm Santa Croce Museum: https://www.sistemamuseo.it/ita/2/musei/54/umbertide-umbria-museo-comunale-di-santa-croce/ Historical Association of the Upper Tiber Valley: https://sites.google.com/site/altoteverestorica/Attivit SIUSA (Unified Information System for Archival Superintendencies) on Umbertide: http://siusa.archivi.beniculturali.it/cgi-bin/pagina.pl?TipoPag=prodente&Chiave=50311&RicProgetto=reg-umb&fbclid=IwAR2ydRABe1Uw3MxVbj3WkZrexe4eu0lBSPZe_991_1LwwGoww Ranieri di Sorbello Foundation: http://www.fondazioneranieri.org/it/la-fondazione/ Statutes of the Fratta : http://www.cemir.it/easyne2/Download.aspx?Code=CEMIR&filename=Archivi/CEMIR/PDF/0000/624.PDF NB: information on the Bibliography up to 2001 comes from from the site: http://www.umbertideturismo.it/content/download/238724/2541781/file/Libri%20sulla%20storia%20di%20Fratta%20-%20Umbertide.pdf Help us remember umbertidestoria@gmail.com EH Carr "Change is certain. Progress is not "

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 ... "

HISTORICAL NOTES OF THE UMBERTIDE MUSICAL BAND From the book by Amedeo Massetti "Two centuries on the march - Umbertide and the band" (Petruzzi Editore - May 2008) We dedicate this page of umbertidestoria to Amedeo Massetti who dedicated the last years of his life to local historical research with great passion and competence and of which he left us testimony with the beautiful and well documented book on the history of the city band. We propose here some excerpts, also considering that the story of the maestro Alessandro Franchi (a myth for the old musicians who knew him) is included in the page dedicated to the biographies of the twentieth century. It is clear that we refer to Amedeo's book all those who wish to deepen or know better this exciting story that continues even today. Curated by Fabio Mariotti The origins: music in Fratta The practice of singing during religious services, as is well known, was widely consolidated in medieval times. The first testimonies of musical performances in Fratta date back to the fourteenth century and are to be contextualized in the context of associative life linked to lay Confraternities. These Confraternities or Companies had their own headquarters and carried out their activity in some churches in the town, such as those of Santa Croce and San Francesco. They had their own regulations, their own administration and were under the control of the bishop. In the chapels, the Confraternities had the religious offices celebrated by a clergyman regularly paid by them, who also had the task of teaching music to some boy who then performed what he had learned in the liturgical ceremonies in the church. Hence, in Fratta the first approach to musical language consists of these simple performances of sacred and liturgical music which took place under the direction of the chaplain. In the Fratta of the seventeenth century, the teaching of music was entrusted to the teacher of the public school of the country - always a priest - managed by the Confraternity of Santa Croce. He instructed the young people of the most prominent families and being often an expert in music and organist in the church, he also took care of the parish choir. Even in the following centuries, musical education will find its natural and qualified seat in the oratories of the churches. The wealthiest Confraternities had always had a chapel master employed by them, usually a clergyman. He took care of the singing liturgy and gave music lessons to the children who attended the oratory and were part of the choir. In 1764 the chapel master of the parish of Santa Maria della Reggia, Silvestro Fanfani, received a (considerable) compensation of 76.33 scudi. Between the parishes and the various Confraternities "a competition of emulation was often unleashed to give religious events the character of grandiose solemnity, precisely through music and choral singing". For the feast of the Madonna, for example, on September 8, 1695, the parish of Santa Maria della Reggia spent 1.62 scudi for the musicians who performed lettanias, sung mass and solemn vespers. Even two years later, on 9 September 1697, Maurizio Savelli received 7 paoli for recognition of the music, that is, for the payment of the musicians who had solemnized the festivity with their work ". The rich Confraternities, such as that of Santa Croce, called foreign masters among the best and most famous of the time. These musicians had a salary of a few scudi a year, but they supplemented their income with other proceeds and lent their work in more Confraternities. In Fratta, there were never more than two or three, despite being the most numerous Confraternities. In a receipt of payment of 1704 to the master Galeazzi by the Confraternity of Santa Croce, we find this annotation: "Our Brotherhood has always been in the habit of keeping the Chapel Master of this land salaried with the annual salary of four scudi, with the obligation to make music for the feast of the Holy Cross, the Madonna and for the three evenings of the 'Exhibition of the Most Holy in Carnival, and other festivals such as at the Council of 21 November 1704 ”. In the minutes of the meeting of May 3, 1707, there is confirmation of the existence of a regular music course dedicated to children at the Oratory of Santa Croce and in it it is even proposed to give a salary to the youth who practice music by half paul for each time they will participate to sing for the feasts of our church. There was therefore a real music school, so much so that an economic incentive was deemed necessary for those less motivated young people, who perhaps preferred other amusements to the commitment of the choir. Even the Confraternity of San Bernardino, second in importance to that of Santa Croce, had its own Chapel Master, who in 1706 was Father Romanelli, a friar minor convent of Perugia, for the exercise of music in ecclesiastical functions and for the routing of young people. In some particularly important circumstances, musicians were brought in from outside, paying them high fees. In 1765, for example, for the construction of the Collegiate Church, 116 scudi and 31.5 baiocchi were spent on the new choir. The sum was considerable: in addition to the remuneration for the numerous musicians and the various transport costs, the sumptuous and delicious lunch was also very important, the main dish of which was the Sicilian maccaroni pie, prepared during the three days of the group's stay at Fratta. In 1795, the Confraternity of the Holy Conception, for the feast of the same name, brought ten professors of music and the chapel master of the cathedral of Città di Castello, for which ten scudi were spent, however, not considered Mr. Domenico Bruni who came to favor. Other expenses incurred for the payment of musicians can be found in the recordings of Santa Maria della Reggia, in the note of the gifts given to various attendants of this Collegiate on the occasion of Christmas, Easter and 8 September 1819. In addition to the chapel master , a remuneration was also paid to Dr. Burelli, GioBatta Spinetti, Bonaventura Spinetti (singer), and Antonio Manzini (tenor singer). "In that year at Santa Maria della Reggia there was still the chapel master Giovanni Manzini , who died a few years later; in 1824 the Collegiate Church paid a sum to Mariangela Manzini, widow of the choirmaster. Alongside the teaching linked to the ecclesiastical environment, there was a musical teaching that took place in the classic way of the time: the disciple stayed in the master's house in a kind of boarding school or boarding school for the years necessary to learn all the secrets of the art. . The relationship between the pupil's family and the teacher was regulated by a notarial deed, and the chapel masters often trained young people in music. In Fratta we find a first example of this in 1774: Clemente Ciangottini entrusted his son Mariano to Domenico Romeggini, from Lucca, who at that time was the chapel master of the Confraternity of Santa Croce. The boy would have had to stay with him for ten years, following the teacher in all his movements, and an annual fee would have been paid to this. But Mariano, two years before the expiration of the contract, ran away leaving his teacher and forcing his father to pay the teacher a large sum for damages. Photo: Historical photographic archive of the Municipality of Umbertide The first marching band The group with the characteristics of a musical band, in the sense that is given to this term today, was established in Fratta on September 1, 1833. It took life within that private company, not dependent on civil or religious institutions, freely created by a group of citizens associated with each other and music lovers, of which it has been said: the Philharmonic Society of Fratta . The founders of the association were almost all very young and belonged to the class of landowners, bourgeois, or to that of craftsmen, that is, artisans or artists. The group of twenty-two members, who were also called Academics, because the Philharmonic Societies also had the name of Philharmonic Academies, was made up of Domenico Agostini, Giuseppe Agostini, Ruggero Burelli, Macrobio Brischi, Niceforo Cambiotti, Luigi Carelli, Domenico Carotini, Pasquale Chimenti , Giovanni Gigli, Lelio Lazzarini, Luigi Magi Spinetti, Luigi Mariani, Alessandro Martinelli, Angelo Martinelli, Demofonte Mastriforti, Antonio Montagnini, Averardo Paulucci, Cipriano Santini, Francesco Santini, Luigi Savelli, Luigi Vescarelli, and Antonio Vibi. We have news of almost all of them in the municipal historical archive. - Domenico Agostini , employee of the Municipality, in charge of "road maintenance assistant"; - Giuseppe Agostini , born in Fratta on 21 August 1817, landowner, lived in via Dritta (now via Cibo); he will carry out the functions of Prior and will participate in the first war of independence ''; - Ruggero Burelli , born in Fratta on 25 June 1803, landowner and notary; municipal secretary, a position he held for many years; lived in via del Teatro (now via Alberti); - Macrobius Brischi , "artiere" (craftsman), blacksmith; - Niceforo Cambiotti , miller: his family practiced this trade already in the 17th century; - Domenico Carotini , born in Fratta on 14 July 1805, maker of clay vases; lived in via di Castelnuovo (now via Cavour); in the municipal concert of 1862 he will play the "quartino"; - Pasquale Chimenti , ceramist; - Giovanni Gigli , born in Fratta on March 4, 1813, potter; he lived in Piazza del Mercato (today's Piazza Caduti del Lavoro); - Lelio Lazzarini , landowner, municipal councilor; from 1856 until September 1860, the year in which the temporal power of the Pope in Umbria, Prior of Fratta, ended; in December 1862, councilor acting as Mayor; - Luigi Magi Spinetti , owner; - Luigi Mariani , born in Fratta on September 6, 1807, "artiere", probably a blacksmith, lived in via San Francesco (now via Soli); in the municipal concert of 1862 he will blow the horn; - Angelo Martinelli , born in Fratta on 25 July 1805, potter and landowner; lived in via del Mercato (now via Magi Spinetti); he will be municipal councilor from 1838 to 1847; he played the bass (he will also play it in the 1862 concert); - Demofonte Mastriforti , born on June 28, 1813, lived in via Bremizia (now via Roma) at no. 24; "blacksmith-gilder, on 12 March 1849 he was elected municipal councilor"; - Antonio Montagnini , born in Fratta on May 31, 1815, shoemaker, lived in via Dritta (now via Cibo); in the 1862 Concerto he will play the clarinet; - Averardo Paulucci , born on 10 April 1810, cashier of the Philharmonic Society; landowner, he lived in via Cavour; he was also the contractor for the duty on the introduction of wood and other fuels; in the 1862 Concerto the piccolo will play: - Cipriano Santini , landowner, was among other things the owner of the farm in the Vocabolo "Fosso"; - Doctor Francesco Santini, born in Fratta on 24 May 1795, landowner, lived in Piazza San Francesco; municipal councilor; in 1840 and 1841, Prior; - Luigi Savelli , born in Fratta on November 22, 1800, landowner, lived in via Dritta (now via Cibo); from 1838, for some years, municipal tax collector; from 1 November 1817 until 1818 and from 1825 until 1860 teacher of reading, writing and numerics in the municipal school; - Luigi Vescarelli , born in Fratta on February 19, 1810, post officer; lived in via di Castelnuovo (now via Cavour); he will be elected city councilor on 12 March 1849. In a meeting following the establishment of the Philharmonic, on December 1, 1833, the Academicians drew up a regulation in which the organizational, financial and musical aspects of associative life were established. This Specification, which consists of 26 articles, is the oldest document found so far on our band, and places it among those with more distant origins, not only in Umbria, but also in Italy. The formal constitution deed of the Company made official the existence of a group that had already been aggregating in previous years. It was most likely some of these musicians who had performed Don Antonio Guerrini's Te Deum in the church of San Francesco six years earlier, on 10 June 1827, even though the instrumental group had been integrated with foreign elements. Guerrini himself, a man of great culture and promoter of important initiatives in the early nineteenth century Fratta had cooperated in the formation of the band, probably also teaching music to many of its members. It is interesting to note how the regulation, in 1833, highlights the presence also in Fratta, within the Philharmonic Society, of a Turkish band, that is, of a "specialized" section of the band, limited to a few instruments, probably only percussions ( the kick drum, the cymbals, the snare drum, etc.), which was convened only for special occasions and upon prior notice. In fact, it had to provide its service - reads the Specifications - only when it had received the prior notice. Let's see the rules that our academics had set themselves and how the Philharmonic Society of our country worked, whose urban center had 825 inhabitants in that year. Organizational and artistic aspect Two deputies dealt with the general economic aspect. Similar to the managing directors of our day, they were renewed every six months, by drawing (by lot) among all the members of the Company. Therefore the two top managerial functions were held in turn by all the shareholders; this criterion denotes a notable form of internal democracy, balanced however by the selective admission of members who, without class prejudices, must have been pleasing to the group of founders. In fact, it was difficult to enter the music association and the admission requirements make us think of a fairly closed group. The candidates had to submit a written request to the president who, after having ascertained the musical ability of the applicant, submitted it to the shareholders' meeting; the request was accepted only with a majority of 2/3 of the votes. However, if any of the shareholders were against it, he brought his reasons to the assembly, and if they were recognized as correct, he did not even proceed to the vote. Discipline, in a group of a fair number of people, was quite rigorous. Everyone had to submit to the authority of the music teacher, the band leader and the director, the most important operational roles in the association, who chose the pieces to be performed and also indicated those to be learned by heart. They could establish additional tests in addition to the usual Sunday tests. In fact, since the components were busy during the week in their work, being owners, employees and artisans, the rehearsals took place on Sunday, usually at two in the afternoon, in a room intended for this use, probably the theater, the only space then existing in the village for recreational activities. Only the Academicians attended, that is, the members of the Philharmonic Society, who had to behave in such a way as not to disturb education in the slightest part. The player could not show up late for rehearsals or music services. If he did so, after half an hour of tolerance, he was fined three baiocchi, and for each piece performed before his arrival he paid another baiocco, in addition to not receiving his share of the regalia, that is, the compensation received by the band for that performance. . No other reason was admitted, if not illness or urgent commitments, of which the director had to be notified in advance. Who notified the musicians of the date of the extraordinary rehearsals and of the services to be performed through the janitor, who probably also had the task of preparing and rearranging the registered office. Within 15 days of the assignment, a musician chosen by lot had to copy the scores with clear and correct writing. Everyone had to have some training and know how to write the music in beautiful handwriting, then distributed to the banders who had to read and play it. The music masters of the various instruments attributed to their students the place in the band and established their role in the instrumental ensemble. Alternatively, the attribution was the responsibility of the director, bearing in mind the boy's ability and talent. The teachers trained the young pupils in a way complete, providing them too (such as could do Antonio Guerrini , gifted with great musical preparation) notions of harmony, composition and counterpoint, in addition to those of reading of music and instrument technique. The Fratta Philharmonic Society included a set of wind instrument players (brass and woodwinds and strings (strings), and also a singer; depending on the type of service requested, he adapted the staff to the circumstance. The uniforms were not provided by the Company. But charged of each musician. The winter one, which was worn from autumn until March, it consisted of a black dress and black trousers; in spring and summer, however, he would wear black dress and white trousers. Failing that, it was recommended to wear the most decent clothing. Some, therefore, do not they possessed what was required and, on the occasion of the services of the band, wore the best clothes. The musicians had the obligation to jealously guard their instruments and repair any damage; at the end of each service they had to return them and deposit them in the gang room. They could also buy them, and in this case the gifts due to them were passed to the cashier until full payment. But the hit instruments, that is the bass drum, the tambourine, the cymbals and the triangle, even if purchased, had to remain in the band's room and, in case of absence, the player delegated to use a person he trusted. If he had not done so, the Society of the band would appoint the most suitable and responsible: the rhythmic instruments were considered essential in the performance and there always had to be someone to play them, like today. The musical group also performed services outside Fratta and could stay away even more than a day. He animated village festivals and gave concerts. The Philharmonic Society had an eminently civil and secular character (even if it participated in religious feasts and ceremonies), with a repertoire both sacred and profane. The deputies (managing directors) thought of providing the venue or space suitable for public performance. The amount of the donation payable by those requesting the musical services was determined by the deputies themselves. In the country, it could not be less than scudi 1.50; outside Fratta with scudi 2, in addition to transport, food and lodging. If a theatrical company required the intervention of banders for a show at the theater, the deputies established a preferential price with the manager so that the amount of it does not ruin the company and prevent the population from enjoying this entertainment. In this case, therefore, the local instrumentalists necessary for the theatrical performance played for a low fee, sometimes even symbolic, for the appreciable purpose of allowing the Frattisans to attend the theater performances of the passing companies ". The compulsory exits were those of Corpus Domini and of the Holy Conception (8 December), occasions in which probably the band, in addition to playing in the church, also accompanied the procession. Those who joined the band had to sign a specification for acceptance which established, among other things, the duration of the Society for a six-year period, which would end in August 1839. We do not know for certain whether at the natural expiry of the six years the Philharmonic Society of Fratta formally renewed his commitment; however it is certain that the brass and woodwind band continued to play regularly, and five years later, in 1844, at the height of its activity, it will serve in important celebrations in the country. Economic aspect A deputy, elected every two months, kept the register of the attendance of musicians at rehearsals and services, of delays and fines (puntature), which he himself applied by collecting the sanction, for unjustified absences. At the end of the mandate, he presented the statement, pouring the proceeds into the hands of the cashier. The cashier had to keep the cashier of the stakes and gifts: in essence, he paid the fees for the services of the band in the cashier, from which he took the bonuses for the players. The money from the stakes was reserved (when there was an adequate sum) for a recreation (convivial meeting, party) at a time chosen by the players, but, depending on their amount, they could also be reinvested in the Company for the purchase. of tools or other. In the event of expulsion, the musician was not entitled to the distribution of the gifts; the episodes of disagreement between the master, band leader or director with the banders were dealt with by the entire Society, convened to resolve the dispute. The musicians received an equal share, including the singers; the ringleader one and a half altitude, the low band half altitude. The latter was almost certainly the rhythm section of the group, that is, those who played the percussion instruments. In fact, we find that, in the Treviglio band (also from 1833), the term low band indicated the tamburone bass drum), the tamburella (snare drum), the sistro chinese and the cymbals. The players of these instruments were evidently thought to be a less educated and less skilled group and took half the others. The Philharmonic Society of Fratta, structured and regulated in this way, continued to exist until 1852 as a private association, independent from public institutions, even after the issue of Cardinal Gamberini's circular. Evidently the Statute respected the criteria established by the circular of 1835 if the Prior of Fratta, in 1852, reported to the Austrian Command of Perugia that the Philharmonic Society, even though it had not "asked for nor ... had any superior permission", had continued to operate . Photo: - Historical photographic archive of the Municipality of Umbertide - Amedeo Massetti (from the book on the history of the Umbertide band) The centenary party and the fanfare of the Civic Guard The Centenary Festival and the band A memorable performance by the Band of the Fratta Philharmonic Society took place in 1844, on the occasion of the great Centenary Festival which was celebrated for the second time, repeating that of 1744, a century earlier. An event was recalled whose echo, after two centuries, had not faded at all, but still profoundly marked the collective memory: the end of the war of the Grand Duke of 1644, which had also closely affected our small city on the Tiber, besieged by he Tuscan army which had put the Fratigians in serious danger, who had built formidable fortifications on the walls and with great fear had prepared for the worst. The bicentenary became the occasion of grandiose celebrations that were concentrated particularly in the days of the traditional September festivities: from the 5th to the 8th of the month. The greatest expenses were borne by the Confraternities who, since January 1st, had formed deputations with the task of going around the country to collect funds. Printed tickets were sent to the owners of the houses to light them with torches, and on September 6 a balloon was raised. There was also a free horse race along the straight stretch of the road to Città di Castello, over the bridge over the Tiber, where, in the first hundred meters, a long embankment ran. And since a large turnout of people was expected, as in reality it was, a long wooden fence was built on both sides of the road to ensure the safety of the crowd. On the 7th and 8th of September, at nightfall, fireworks were launched at will; over a thousand mortars were purchased in Città di Castello and shot by the only Frattisan expert, Pietro Barafano. The houses, the town hall and the town gates were illuminated with wind torches, and the oil lamps were left on along the streets for all four nights. There were various performances at the theater and a service of the marching band. After those of 1835, 1837, 1839 and 1840, this is another important historical documented news of the performance of our city band complex in a specific public service. He had been called to animate the party by the Compagnia della SS.ma Concezione, from which he was also paid. Perhaps he had done months of rehearsals to prepare a repertoire worthy of this special occasion and he had probably never played in front of so many people. We imagine the skill of these musicians in obtaining harmonious notes from the instruments of the time, not as perfected and technologically advanced as the modern ones. The players probably wore the "black dress and white trousers", the summer uniform established by the regulation. Perhaps they will have performed in Piazza del Grano , also called del Marchese, which was smaller than today or perhaps, after having gathered in the space between the doors near the bridge, they will have pushed marching towards the Prato del Comune where there were so many people who attended the horse race. Or, more likely, they will have played in the Sant'Erasmo market or in the Piazza del Borgo Inferiore enough space for a stationary performance, surrounded by hundreds of festive people. In addition to all this, there were solemn religious functions with the participation of many players who came from Sant'Angelo in Vado, Città di Castello, Gubbio, Perugia and Foligno. The anniversary remained memorable. In this feast there was also another orchestra in Fratta made up of about twenty elements from outside, which had played in the various churches during the solemn religious functions. The components had been paid for separately, one by one, as shown by specific registrations and regular receipts. The band had therefore carried out a mainly civil service, of animation of the party, parading and playing among the crowded streets of the town, even if it is probable that it participated in some procession, which certainly did not fail for this event, given the devotion of the Friars to Madonna della Reggia to which they attributed the grace of having escaped, two centuries earlier, to the fury of the army of the Grand Duke of Tuscany. Dense of events, therefore, these festivals of September of 1844, and never repeated again. After this anniversary, for the celebrations in honor of the Madonna, everything fell within the usual limits. The fanfare of the Civic Guard Different from that of the band was the phenomenon of the fanfare of the Civic Guard in Fratta. In March 1848, on the occasion of the institution of the Civic Guard, the Municipal Council decided to bring together a concert for the Civic Guard with the obligation to also lend itself to the public sorties of the Magistrate [...] and it was approved. The proposal to organize a musical band within the City Corps came from the councilors Giuseppe Savelli and Angelo Martinelli , passionate musicians, both double bass players, whom we will find four years later as members of the Fratta Philharmonic Dilettanti and in 1861 active directors of the Concert Society. Probably, what was intended to be created and which was almost certainly established, was a fanfare: a small group of musicians from the band who were also part of the civic guard and gathered to play in public events and in the outings of the Magistrate for civil ceremonies. A military fanfare, in short, with instruments that were perhaps more suited to parades than to concerts. In these circumstances it was necessary to use a few more percussion instruments, at least two more drums. For the occasion it was said that he would have wanted to buy one, finding someone from outside, because Fratta's was not very capable. However, the question was resolved by sending the drummer Giacinto Tancredi to a specialization course in Perugia. The institution of the Civic Guard created in Fratta great enthusiasm, and probably the members of the fanfare were the best wind instrument players of the band, who had thus found another opportunity to express themselves and assumed a further commitment in their musical activity. Since no expense was spared for the equipment of this Corps, it is possible that new tools have been purchased. There is no other information on the activity of the fanfare which, however, probably had to lend its work to Fratta on several occasions. Photo: - Historical photographic archive of the Municipality of Umbertide - Theatrical poster from the book on the city band by Amedeo Massetti The teaching of music in Fratta The Collegiate Church and the choirmaster. Giuseppe Foraboschi While with the birth and development of the bands the music came out of the churches to spread into civil life, the music schools held by the chapel masters continued to be active in Fratta, who shared the alternating fortunes with the bands for a long time. From the music schools, in fact, the bands will draw the highest professionalism and the new generation of musicians. Up to now, the one who had been involved in teaching music in Fratta was the Collegiate Church. Together with the Compagnie (the Confraternities) that contributed to the expense, this provided for an annual sum of 70 scudi for the salary of the choirmaster. In 1810, the master was paid 54 scudi per year. A fabulous figure, considering the salaries of the time ", which always remained at high levels. This explains how many of the best musicians of the time aspired to come to our country to occupy that position. Among the most authoritative masters who had held this position. role had been the canon Antonio Guerrini, composer of Masses and other sacred pieces, such as a full orchestral Te Deum (1827), a Tantum Ergo a tenore (1830) and a Kyrie (1837?) in which only instruments were used for many years Guerrini exercised the office of chapel master of the Collegiata (the main church of his homeland) for many years without ever receiving any remuneration. From 1835 the Municipality of Fratta also contributed to this expense of the Collegiate, participating however in the choice of the teacher. In that year he had allocated a contribution of 25 scudi for the three-year period 1835-1837 and Giuseppe Foraboschi was commissioned, who was also supposed to teach music to young people. “Born in Montefiascone (Sabina) [in 1806, NdA] which later became Perugian, Foraboschi managed the chapel of the cathedral [of San Lorenzo] and the municipal school of Perugia in 1844-1846. Giuseppe Foraboschi of Perugia is named in the diploma of chapel master of the Academy of S. Cecilia, conferred on him on May 30, 1845, which was kept in the reception room of the Shelter he founded. Advisor and censor of the Accademia S. Cecilia, [he was] a pupil in Rome of Maestro Fioravanti, then a teacher in San Pietro. Finding himself in Corfu on the occasion of the passage of King Otto, he was appointed director of all the music of that city, where he replaced Maestro Battagel in the direction of the musical band of the 88th Regiment of His British Majesty, commanded by Colonel O 'Malley, direction that held for six years. From England he moved to Perugia, where he was appointed by the magistrate to succeed Tancioni in 1844 [...]. He attended with many other personalities of music at the funeral of Francesco Morlacchi, celebrated in the cathedral of Perugia on January 14, 1842. Giuseppe Foraboschi resided for a few years in Umbertide, where he married Blandina Agostini. He died in Perugia on June 22, 1878, in his house in via del Circo, at no. 5. Foraboschi distinguished himself for an extraordinary work: the creation of the "Shelter for poor music virtuosos of the Province of Umbria". The institute "originates from the holographic testament of Foraboschi dated January 15, 1883 and subsequent codicils deposited with the notary Benedetto Rates on June 25, 1887 and is governed by the rules laid down by the Law on Pious Works. The Shelter that bears his name was opened on July 12, 1891, and every year it was commemorated with gratitude by the inmates. According to the statute, only the virtuosos of music, excluding the instrument makers of the Province of Umbria who drew their source of income exclusively from the exercise of the musical art and that as they got older they could no longer exercise ". Foraboschi composed the Funeral Sonata (1841) for the funeral of Francesco Morlacchi. His symphony for orchestra, Il bivacco, was performed in Perugia in 1874. Other musical compositions and writings of his are known. The choirmaster Foraboschi certainly also had relations with the Philharmonic Society, because some of the boys who learned music from him then joined the band to play an instrument. Perhaps he was the brass teacher himself and it is very likely that for some time he was also the director of the band, since no names of other masters have been handed down. Giuseppe Foraboschi, however, did not stay long at the keyboard of the organ of the Collegiate and instructing the young people of the band in music. At the end of his three-year assignment (1837) he left Fratta, leaving the town without a choirmaster for many years. He must have been a truly excellent musician if, as we have seen, he later settled in the service of his British Majesty; then he went to Perugia as a music teacher. Francesco Colombati choirmaster and the musical band On 15 December 1849, when the expected specifications were drawn up with the Municipality and after the approval of the act by the pontifical commissioner, the chapel master in service, Professor Francesco Colombati di Pergola, was confirmed. Colombati, organist, graduated from the Philharmonic Academy of Bologna, was born in Sant'Elpidio a Mare in 1823 and came from an illustrious family of musicians. Two years later, on January 15, 1852, Francesco Colombati was re-affirmed by the Municipality; in that year he was also part of Fratta's Philharmonic Dilettanti of sound and song. Therefore, at this date, the Philharmonic Society operated under this new name. It is no coincidence that Colombati is in first place in the list of musicians and, most likely, was also in charge of the instruction and direction of the band, given that part of his annual remuneration was paid by the Municipality. Colombati's musical group played both in the theater and in the church, and also provided services in the village on the occasion of parties and public events. It rang, for example, for the celebrations organized on the occasion of the visit and stay in Fratta of Cardinal Giuseppe Pecci, bishop of Gubbio, on 9 May 1852. It was a great celebration and the Municipal Council, on the following 3 June, resolved the payment of ( huge) expenses, of 21 scudi and 43 baiocchi, for fireworks, refreshments and reconnaissance to the band, the reward, as a sign of "recognition" for the work done by the musical group. But in November 1852, the professor gave up his post and in December he left Fratta because he was appointed chapel master of the Cathedral of Gubbio. Colombati was married, had two children, Emanuele and Maria: the salary offered to him by the Gubbio Chapter was higher than that of the Collegiate Church and more suited to the needs of his family. From now on, for several years, we will see the events of our band intersect directly with those of the chapel master of the Collegiate. In Fratta, as happened in many other cities, the figures overlapped. This musician of ecclesiastical nomination, who was required to have a complete preparation, so much so that he also had to be a composer and teacher, was used by the Municipalities or by the Philharmonic for the training of young people who would be part of the band. In addition to accompanying religious ceremonies with the organ, he imparted the first rudiments of wind instruments and directed the band. The Fratta band was an autonomous entity, born from the Philharmonic Society; the Municipality, however, supported it indirectly by financing the Collegiate Church with a contribution for the salary of the choirmaster who, with his teaching, created the nursery for future musicians. Photo: From the book by Amedeo Massetti "Two centuries on the march - Umbertide and the band" - Petruzzi Editore, 2008 Le origini: la musica a Fratta La prima banda musicale La festa centenaria e la fanfara della Guardia Civica L'insegnamento della musica a Fratta La rinascita della banda dopo la Grande Guerra Il maestro Pietro Franceschini La banda di Pierantonio La banda di Preggio Le origini: la musica a Fratta La prima banda musicale La festa centenaria e la fanfara della Guardia Civica L'insegnamento della musica a Fratta The rebirth of the band and the feast of Santa Cecilia The band restarts after the Great War Maestro Franchi worked assiduously at the school with his uncommon didactic skills that he knew how to apply to the study of every instrument. "On May 27, 1920 he invited the old members of the Umbertide band to a meeting that would take place on May 30 at the headquarters of the music school, in the Nunzi house. The meeting would have prepared a meeting requested by the Prefectural Commissioner, Tacchi, who has recently taken over from the mayor Andreani. The interview with the Commissioner took place on 10 June at 9.30 pm, in the Town Hall. , for a total of 44 musicians. 1. Pucci Celestino, trombone accompaniment - 2. Guardabassi Gaetano, does not play - 3. Pucci Arnaldo, clarino - 4. Bebi Quadrio, clarino - 5. Cozzari Giovanni, bass Bb - 6. Lisarelli Eugenio, cornet - 7. Vibi Ovidio, bass F - 8. Alberti Quartilio, clarino - 9. Bettoni Raffaele, cornet - 10. Salciarini Raffaele, trombone accompaniment - 11. Bartolini Giovanni, bass or trombone - 12. Fucelli Galileo, clarino - 13. Melgradi Silvio, bass drum - 14. Melgradi Michele, flute - 15. Mariotti Celestino, quartino - 16. Villarini Domenico , trumpet accompaniment - 17. Rinaldi Giuseppe, genis - 18. Zurli Astorre, genis - 19. Fiorucci Amedeo, cornet - 20. Codovini Riego, bombardino - 21. Ivo Rossi, bombardino - 22. Barbagianni Giuseppe, trombone - 23. Barbagianni Angelo , trombone - 24. Ceccarelli Luigi, trombone - 25. Celestini Giovanni, genis - 26. Polveroni Giuseppe, clarino - 27. Villarini Mario, clarino ". There was a long discussion about the measures to be taken to reconstitute an efficient band. The speakers were very motivated and Franchi explained the situation thoroughly to the Commissioner, who was interested in the subject. He pointed out the numerous lack of tools, even if the staff was sufficient to start over, waiting for some other boy. In the end, also to start again on the most certain possible bases, it was decided to put pen to paper, to entrust to some people the compilation of a statute. The regulation commission was formed by Quadrio Bebi, Riego Codovini, Giovanni Cozzari, Giovanni Bartolini, Giuseppe Polveroni, Ivo Rossi and Gaetano Guardabassi ". The meeting bore fruit and the first measures in support of the gang began from the Municipality. On July 16, 1920 Commissioner Tacchi adopted a resolution to repair the instruments, in need of restoration, or for the long time in which they had been abandoned or for other "technical deficiencies". The owners, almost all workers "and therefore in very limited economic conditions", did not have the possibility of providing with their own means. Tacchi approved an expense of 801 lire, then added another 52.50 for the purchase of 35 "booklets for marce". And in that same month of July the musical group finally resumed activity. By the end of the summer, the gang was resurrected. Il Messaggero, published in the days close to the Solemnity of Our Lady, says that it had resumed functioning regularly and had been appreciated by the people of Umbria in the celebrations of 8 September 1920: "... It is in the religion of art, of good and of beauty , that Maestro Franchi, with a truly admirable work, managed to resurrect our Concerto which, made up of many young elements, promises a lot ... " (1) . It is also interesting to note the richness and solemnity of the religious celebrations, organized for the occasion by the young "diligent parish priest Don Luigi Cozzari " (2) , in which master Franchi also played a large part. The bishop of Città di Castello, monsignor Carlo Liviero , participated. The "Santa Cecilia Alarm Clock" is born On November 22, 1920, on the initiative of Maestro Franchi and president Gaetano Guardabassi , the feast of Santa Cecilia was celebrated for the first time. The band, "from early morning, walked the main streets of the town thus starting the nice party with a brilliant idea". The gang had inaugurated the "alarm clock" of Santa Cecilia. By parading and playing through the streets of the town in the early hours of the morning he had brought a pleasant musical awakening to the people of Umbria. Franchi and Guardabassi had a good idea, so much so that this tradition continues to this day. In the afternoon there was a concert prepared with all artistic diligence by our talented teacher prof. Alessandro Franchi who deserves the greatest credit for the revival of the city concert. And after the musical program, the traditional dinner. Il Messaggero of 28-29 November 1920 dedicates an article at the event: “… All the pieces, including two very successful compositions of the same master, received unanimous approval of citizenship that was wide of deserved applause for the overall success of the program and of the nice party. There was no lack of the traditional banquet during which the most cheerful and frank reigned enthusiasm of all the participants and there was no lack of it not even greeting speeches praising this beautiful such an effective institution, especially for culture music of the people and for life and brotherhood small town; and so that this new institution can worthily prosper, let us hope it gets moral and financial support, both from the Administration municipal and every single citizen. To the beloved Maestro Franchi, to the diligent president of the Band, Mr. Gaetano Guardabassi, and to all the musicians, go to satisfaction of the citizens of Umbria ". In addition to the students and the components of the concert, "they took part even the former musicians and became more fraternal alliance disparity of ideas and views, thus demonstrating how with joviality and moderation they can still be in similar circumstances unite in a good and friendly thought people who, unfortunately, well they often fight bitterly. "The dinner of Santa Cecilia she had managed to bring together politically minded people completely different, at a time when the victory of the socialists in the local elections of October 24 he had created forts oppositions and one began to feel the violent reaction of the first fascist organizations. The feast of the patron saint of musicians was therefore very successful in her familiarity, and unanimous gratitude was given to Maestro Franchi, "a young and good author and conductor who does so much good to the country both with having restored the city concert and for the perfect performance he gives very good trust for the future, both for the local Schola Cantorum of which he is the true soul ". Probably, however, there was a need for an adequate location, if in December the new mayor Settimio Rometti asked Count Emanuele Ranieri for a room in a house he owned in via Cavour. But the count replied that it was not possible to grant it because it was already occupied by the “Antonio Guerrini Youth Club”. Note: (1) Il Messaggero of 11 September 1920 also reports the description of other events that took place during the feast of 8 September 1920: "Our town, thanks to the tenacious and indefatigable work of a few young people, to whom partisan hatred does not it makes a veil and has not destroyed the love for its native place and for the fine arts, it has been enlivened by gracious celebrations for public benefit. ... The master Maccarelli revealed himself last night for a perfect artist, in the recitation of the "Gruff Beneficial", the very difficult work of Goldoni, together with the master Rondoni, Antonio Igi and Domenico Pauselli; the teacher Fornaci and Professor Garognoli are also very nice and perfect. The Charity Fair and the swimming competition on the Tiber were very successful and charming ... ". (2) Don Luigi Cozzari was born on February 4, 1982. In 1906 he was ordained a priest. Very active in Catholic organizations, he founded in Umbertide, together with Don Bosone Rossi, the Catholic club "Silvio Pellico" based in via Soli, annexed to the church of Santa Croce. He was parish priest of the Collegiate Church of San Giovanni Battista from 1911 to 1956, when Don Antonio Fanucci took over. He died in Umbertide on March 15, 1965. Photo: - Amedeo Massetti photographic archive - Corradi photographic archive - Photographic archive of Don Luigi Cozzari La rinascita della banda dopo la Grande Guerra The master Pietro Franceschini From favorite pupil of Maestro Franchi to the direction of the reconstituted musical band di Umbertide from 1966 to 1970, but above all an exceptional teacher and trainer of many young people Pietro Franceschini is a cornerstone in the history of the gang. And not just ours. There is no wind instrument player in Umbria who does not know him. His activity as a musician has intersected more or less directly with the history of all bands in the region for almost fifty years. He was born in Montecastrilli, in the province of Terni, on 10 December 1919. To follow the movements of his father, a railway worker, he arrived in Umbertide in September 1925 together with the brothers Dino and Goffredo (who will become in the band respectively a flutist and a clarinet player) and he settled with his family in Montecorona. At the age of nine he joined the band of Franks who taught him solfeggio and the first elements of the trumpet. The maestro understood that he had an exceptional natural talent in front of him and immediately included him in the staff by making him play in the band services. At the age of ten he was already performing in concerts in Piazza Umberto I, with a wooden box under his feet to be "up to par" with the others. Franchi had discovered a trumpet player of rare skill, became fond of the boy, took care of his musical training and entrusted him with increasingly important roles. Pietro, at the age of twelve, was already an appreciated instrumentalist and he was also called by the most famous dance orchestras in the area, such as that of “Palazzone”, “Pippo del Caporale”, and others. Franceschini will play in the Umbertide band for many years, attracting attention also in the surrounding area for his skill. Later he will be part of pop music orchestras and his trumpet will become legendary. In 1939 the winds of war began to blow and Franks, like a good father, worried about the boy's destiny. He knew well the director of the Presidential Band of the 81st Infantry Regiment of Rome, Edoardo Castrucci, and wrote to him asking him to include the young talent in order to avoid a possible call to the war zone. In fact Franceschini had already been subjected to a military visit and assigned to the Vº Bersaglieri Regiment of Siena: he was only waiting for the postcard to leave. The master of the Presidiaria, at the end of September 1939, immediately invited the young man to Rome to take a test, brilliantly passed, and the young recruit was drafted into the military band. He didn't even go home to get his personal effects and some documents, but he had the most urgent things sent by his family. Thus began his engagement with the military band of Rome, in which he performed many important services as a soloist in concerts often held at the Basilica of Maxentius and at the Pincio. He had as a colleague an “exceptional” cymbal player, Alberto Sordi, son of a well-known professional of the tuba bass, also recently enrolled in the band, perhaps helped by his father to avoid the front. The young Roman was already embarking on a career as an actor and was acting in prose shows at the Sistine Chapel and in avanspectacle theaters; he had also been the voice actor of Oliver Hardy. Franceschini often amused himself with the funny jokes that the budding actor improvised in the evening in his dormitory, without imagining that soon that cymbal player would become the national Albertone. His fellow musicians (including Professor Luigi Francavilla) looked at him with admiration and were amazed to learn that this talented trumpet player did not have a formal academic degree. The pressures for his enrollment at the Conservatory began, but Pietro remained undecided for a long time until one evening he witnessed his solos in a concert by Tullio Semproni, first trumpet of the Augusteo's orchestra who, after speaking with the master of the band, convinced the young man umbertidese to enroll in regular academic courses. Franceschini plunged into his studio, took private lessons in harmony and history of music, burned all the stages and in just three years, in September 1942, he graduated in trumpet at the “Santa Cecilia” Conservatory in Rome. In the summer of 1943 he will be joined in the band by a fraternal friend of Umbertide, Renato Radicchi, also an excellent trumpeter also sent by Franchi to Castrucci, who will happily share with him three months of military life and musical experience in the Presidency. in Rome not yet occupied by the Germans. After the war, Franceschini returned to Umbertide and began the profession of musician. On February 26, 1946 he won a national competition and began teaching at the Liceo Musicale Pareilato "Francesco Morlacchi" (since 1968 State Conservatory) in Perugia. The acquaintance with the famous conductor Franco Ferrara dates back to this period. He immediately had the position of deputy director of the school, while he carried out an intense concert activity hired as an "adjunct" in the most famous orchestras: that of the Teatro dell'Opera di Roma (at which he won in 1947 the national competition for the position of second trumpet), the Philharmonic Orchestra of Santa Cecilia, the Orchestra of the Maggio Musicale Fiorentino, the Orchestra of Palazzo Pitti in Florence (with whom he toured for a month in Spain) and the Orchestra of the Festival dei Due Mondi in Spoleto . He also played with the Berlin Philharmonic Orchestra, conducted by Herbert Von Karajany, the Vienna Symphony Orchestra and the Krakow Radio Orchestra during repeated seasons of the Umbrian Music Festival. In his spare time he took care of the Umbrian bands, their reconstitution and musical direction: those of Ponte Felcino, Ponte San Giovanni, Spina, Cerqueto, Petrignano d'Assisi, Ponte Pattoli, Gubbio, Pietralunga, Piegaro. Many owe their current activities to Franceschini's professionalism and commitment. He also took care of the teaching of music and the training of students. He followed for the Umbria Region and for 1'Anbima (National Association of Italian Autonomous Musical Bands) numerous events and band competitions, of which he was often an esteemed member of the commission. The reconstitution of the town band and the creation of a music school In 1966, on behalf of Professor Bruno Porrozzi , president of the Pro Loco Umbertidese Association who together with Giuseppe Fiorucci was working on the reconstitution of the local band, he personally committed himself to revive a complex that had dissolved ten years earlier and which he will direct until 1970. At the same time he established a music school which immediately saw the influx of many young people. The musical teaching will continue even after the dissolution of the band, until 1989, and will form a large number of young people from Umberto I, many of whom will be initiated by him to the Conservatory and to a career as musicians. He held the position of director of the Perugia Conservatory from 1974 to 1975, crowning his academic commitment. Among the members of the Umbertide band there had never been a graduate musician, no one who had completed regular courses of study. His teaching was a tremendous incentive. Franceschini, taking them from the large nursery of his students, began to bring prominent elements to the Conservatory. This is a great merit that is unanimously recognized in the Umbertidese musical environment, and beyond. The role of exceptional teacher and trainer continued even after the period of his direction in the band, launching many young people on a musical career. Many have graduated from his school and many professionals have come out of his school. Many other boys (now ex boys) owe to him the only pleasure of playing an instrument and having fun with the music in the local band or orchestras. Franceschini also taught solfeggio to a great Umbertide musician, maestro Gerardo Balbi, making him continue his studies at the Conservatory where he graduated in piano, harpsichord and composition. Umbertide's first graduate was Galliano Cerrini, initially a pupil of the master Corsaro, then of Franceschini who had him enrolled in the Conservatory. An excellent teacher, he managed to bring out the best in anyone, professional or amateur, always paying great attention to detail. In early December 1999, on the occasion of his 80th birthday, he was celebrated with a concert in his honor in the auditorium of the Museum of Santa Croce in Umbertide, held by the "Ottoni di Perugia" group directed by maestro Massimo Bartoletti who he succeeded in the chair of trumpet at the “Francesco Morlacchi” Conservatory. Maestro Franceschini died in Umbertide on 4th August 2004. At his funeral there were many and authoritative exponents of the Umbrian musical environment. The string orchestra "I Solisti di Perugia" wanted to honor him by performing touching musical pieces during the religious ceremony celebrated by Don Gerardo Balbi, his old pupil, in the church of Santa Maria. The town band of Umbertide, integrated by musicians from other Umbrian bands, was waiting for him lined up under the arcades of the Franciscan convent. In an atmosphere full of emotion, under a pouring rain, he sang, at the exit of the coffin, the beautiful funeral march by Ugo Manfredi "Mother's cry". Photo: Amedeo Massetti photographic archive Il maestro Pietro Franceschini Pierantonio's band The "Pierantonio Concert Society" was born in 1886 The constitution of Pierantonio's band almost certainly dates back to 1886. The letter in which Giuseppe Mannocci, on 10 February 1920, asked for a subsidy in the name of the members and the president of the “Società del Concerto di Pierantonio, founded in purpose of entertainment since 1886 ". Mannocci wrote to the Commissioner of the Municipality of Umbertide, Tacchi, recalling that in the village “there are no other entertainments and the members of the band had been forced to give up on Maestro Franchi due to lack of funds. But that Pierantonio's band could already be active in 1886 we are also told by the fact that the musical group, directed by Maestro Massimo Martinelli, received in 1887 from the Municipality a "small annual subsidy" of about one hundred lire, increased to 125 over the years subsequent. However, in those last decades of the nineteenth century, as well as financial means, Pierantonio's gang also needed expert guidance. In fact, on 24 April 1889 Giuseppe Carlani wrote to the Mayor asking to insert in the specifications of the Umbertide band, for approval in those days, the obligation for the music teacher to go to Pierantonio once a week with expenses to be borne by the Pierantonio Concert . The clause was not included in the regulation. But the meeting of the City Council of 26 April established that Massimo Martinelli, conductor of the Umbertide Municipal Concert, for the duration of three years from May 1, 1889, had to go to Pierantonio every Friday for two hours, to "continue teaching music there and direct the relative rehearsals of that concert ". He would have been paid by that same band: five lire every time he went to the hamlet, the same for the "invention or reduction" of every piece of music that had been ordered by the directive commission of that concert. Finally, it was established that this condition was valid only for Pierantonio, excluding Preggio, another fraction of Umbertide in which there was a gang. The activity of the Pierantonio Concerto (probably directed by Massimo Martinelli from 1889 to 1897, albeit discontinuously) continued until the end of the century amid various economic difficulties, relying solely on the shares of the members, ready to self-tax to keep the musical group, much felt and loved. In 1900 he received from the Municipality of Umbertide a small subsidy, of about one hundred lire per year, insufficient to meet the expenses. And the constant lack of funds pushed the executives to appeal to the local administration every time. On November 22, 1906 Pompeo Fanelli wrote a letter asking for a contribution for the "Musical Society of the Village of Pierantonio", established for twenty years and always financed by the members: "The teacher pays the rent of the hall alone - underlined Fanelli - and it meets all other needs with its own means ". But the subsidy did not have to change if a few years later Fanelli was forced to repeat itself. On 22 October 1912 he requested an increase in financial support in the name of the Concerto: "Pierantonio's Concerto Society - he explained - has 25 years of activity and has supported with its own resources the costs of renting the venue, for the master and 'lighting". In exchange, the gang offered itself for any services requested by the Municipality. Finally, after so many questions, on 15 December 1912, the Municipality decided to increase the annual funding from 125 to 2001ire, allowing the gang to continue its activity more calmly. The contribution was even raised to 300 lire in 1913. Now the conditions existed for a profitable and lasting musical commitment, but the First World War was approaching and, starting from 1914, all young people of military age will be called up and sent to various fronts. The band activity thus suffered a long interruption. After the conflict, the musical group slowly resumed work. On October 18, 1919 Pietro Carlani communicated to the Mayor that "the Pierantonio Concert has been reconstituted for some time" and that the partners, wanting a "licensed" teacher, had requested the work of Alessandro Franchi di Umbertide. Carlani specified that the partners paid the rent for the rehearsal room, the maintenance of the instruments and all other small expenses. Therefore he asked the Municipality to intervene. Another letter for a loan will be sent on February 10, 1920 to Commissioner Tacchi, signed by Giuseppe Mannocci, on behalf of the shareholders and of the president for the Società del Concerto di Pierantonio, the owner Pietro Carlani. The Company - underlined Mannocci - had always supported itself with small municipal subsidies, which had been removed during the war period. In the absence of financial means, it was not possible to pay the remuneration to the master Franchi. Almost six months will pass before Mannocci's request is accepted and it will be the new commissioner Lino Molinari, who succeeded Tacchi, to grant a contribution of two hundred lire to the Società del Concerto with a provision of 23 July 1920. The following year, September 24, 1921, Pierantonio's gang again wrote to the Commissioner asking for an increase in the annual contribution. The new prefectural commissioner Angelelli tried to find out about the situation and the next day he replied to Carlo Carlani, head of the section of the Fascio di Pierantonio, asking him "some information on the foundation, purpose and political and financial direction of the local Concerto Society". On 19 October 1921 Carlani expressed a favorable opinion, and the Commissioner thus raised the contribution from two hundred to six hundred lire, starting from 1922, given that an increase of 2,200 lire had been granted to the Umbertide Concert. “We also consider the courage and enthusiasm of Pierantonio's small population - concluded Angelelli - who were able to put together over 20 elements to make up a musical body”. On November 28, 1921, a telegram from the president and the master of the band expressed Pierantonio's gratitude to the Commissioner. The band served on the occasion of civil and religious events or festivals in the town and in the countryside. But on November 4, 1921 he also played together with that of Umbertide in the imposing event in homage to the unknown soldier; memorable is the performance of the hymn of the Piave in Piazza San Francesco. And it often happened that on important occasions she was called to "reinforce" the Umbertidese group. On 10 June 1923, directed by Maestro Franchi, she went alone to La Bruna where the Parco delle Rimembranze was inaugurated. The mayor of Perugia, the Uccelli lawyer, was also present and a long procession, preceded by the band, paraded to honor the fallen by bringing flowers to the commemorative plaque. On 9 September 1923 Pierantonio's musical group played together with those of Montone and Umbertide at the inauguration of the monument to the fallen of the 1915-1918 war, in front of the elementary school building in via Garibaldi. And among the immense crowd, the three groups united managed to create a suggestive sound power. In 1925 the director was Alessandro Franchi. The rehearsals were usually entrusted to a band leader of Pierantonio, Severo Scapicchi, a former clarinet player. Scapicchi, however, only directed the preparation of simple repertoire pieces, such as marches or dances. If pieces of opera or complexes were to be set up, master Franchi from Umbertide would arrive. The gang leader then directed the services for processions or country festivals and his role also appeared from external signs on the uniform: two fillets on the cap unlike the banders who only had one. The band was made up of 30-35 elements, artisan workers, peasants, depending on the availability of each and any absences were due only to work commitments or illness. For the people of Pierantonio, who always stayed in the village in the evening, the band was one of the few diversions. In some particularly large farming families, even two or three members played in the band. The band members included: Sestilio Marcucci (first clarinet) Sigilfredo Valentini (first clarinet) Eliseo Valentini (tenor flugelhorn) Domenico Medici (baritone flugelhorn) Riccardo Fanelli (tenor flugelhorn) Rolando Fanelli (second clarinet) Enrico Arcelli (flugelhorn in E b - pistoncino) Pierino Bistoni (second trumpet) Enrico Ragni (first trumpet) Igino Tosti (second soprano flugelhorn) Giuseppe Scapicchi (first soprano flugelhorn) Pietro Scapicchi (small clarinet in Eb - quart) Fidenzo Mannocci (second clarinet) Ninetto Mannocci (alto flugelhorn) Eraldo Arcelli (second clarinet) Luigi Mannocci (horn) Luigi Giulianelli (trombone) Aldo Giulianelli (alto flugelhorn) Luigi Briziarelli (bass drum) Paris Marcucci (cymbals) Renato Martinelli (horn) Lorenzo Rosini (Eb bass) Pompilio Lazzarini (Bb bass ) Bettino [?] (Solo clarinet) Dante Fanelli (flute) Guerriero Marcucci (second clarinet) Pompeo Fanelli (second clarinet) Alberto Fanelli (co rno accompaniment) Pasquale Casciarri (janitor). On November 22, 1925, Pierantonio's band celebrated the feast of Santa Cecilia with a concert. For the occasion, ten young students made their debut and seventy attended the social dinner, attended by the mayor of Umbertide, Gualtiero Guardabassi and the teacher Franchi. In 1927 Pierantonio's 1st band received an annual contribution of 1,500 lire; that of Umbertide of 4,000. On 8 September 1927 he went to Umbertide together with its president Domenico Medici for a concert in the square together with the band of the capital, forming a group of eighty elements directed by Franchi. Also the following year it will be called to Piazza Umberto I on the day of the feast of the Nativity of the Madonna to play with the band of Umbertide: in all, a group of ninety people. On 28 October 1928 he played again with his colleagues from Umberto who had come with Maestro Franchi for the inauguration of Pierantonio's Casa del Fascio. An important ceremony: the building was among the first of its kind in Italy, thanks to the offers and the industriousness of the inhabitants. The activity in 1929 was intense, with probable services in the capital, since the Municipality assigned a further contribution of five hundred lire. On September 8, 1930, the two bands of Pierantonio and Umbertide still played together. But sometimes, on important occasions such as the patronal feast, the master Franchi called only a few musicians from Pierantonio. In general, Eraldo and Enrico Arcelli, Domenico Medici and Pompilio Lazzarini who went to "reinforce" the roles of Umbertide, also participating in the rehearsals prior to the concert. In these cases, Franchi was very strict. One evening, in the music room of Umbertide, not happy with the success of a piece, he held the band until half past one in the morning. And the clarinetist Eraldo Arcelli returned by bicycle to Pierantonio pedaling for almost an hour. At 2 pm the following afternoon he had to go back to Umbertide again for the concert. Arcelli used the bicycle every time he came to Umbertide; at night the acetylene lamp allowed you to see the stones on the road and not hit them: "It was a tough discipline - remember now, ninety-five - but we were twenty and it was a prestige to belong to the gang". Pierantonio's band, made up entirely of local elements, held concerts in the village at least four times a year. A large audience, on those occasions, flocked to the unpaved square, strewn with breccia. In the lineup pieces of opera, under the direction of the master Franchi. The group then played at the processions for the Ascension, Sant'Antonio, on June 13, Corpus Domini and Easter. But he also went out on the occasion of religious holidays. Like in San Sugaro - Parlesca (the second Sunday in May), in La Bruna (twice a year, but always on the first Sunday in September), in Rancolfo (the first Sunday in June), in Pietramelina (last in August, "At the end of the watermelons") and on August 15, the feast of the Assumption, in Castiglione Ugolino. At country festivals he received salaries ranging from fifty to one hundred lire per performance. The rehearsals were held once a week with Maestro Franchi, in a rented room, also used as a dance hall. Above there was the "Circle of the Lords", where the notables of the town went in the evening to play cards and where dancing parties were organized at carnival. He played an orchestra formed by the instrumentalists of the band (always the good Lorenzo Rosini on the bass). Maestro Franchi came to Pierantonio twice a week, by bicycle. One, for the afternoon music school for the boys and he went home: the salary was five lire. Another, for the evening rehearsals of the band: in addition to the five lire, he was paid for dinner and room for the night. Franchi, in fact, after the rehearsals, slept in Pierantonio in the house of Luciano Barcaroli, owner of a grocery and butcher shop. It would have been hard for the teacher, at eleven in the morning, to travel eight kilometers on a bicycle: the road, unpaved, was full of cobblestones. Pierantonio still reminds us of Franchi's extraordinary speed in composing. Eraldo Arcelli was also a member of a local orchestra and when he needed some new pieces (at that time there weren't many printed scores), he went to Franchi with two pigeons (a sign of gratitude, but also a welcome consideration in lean times) and the teacher, at the piano, instantly churned out a waltz, a polka or a mazurca: a danceable piece to play in the evening. With Franchi, the clarinetist Eraldo Arcelli also played in the Umbertide band. He was second clarinet (2nd A) together with Goffredo Franceschini (2nd B). The first clarinets were Mario Villarini and Filippo Filippi. On July 7, 1930, the 1st band performed under the direction of Franchi in the "beautiful and magnificently illuminated square of Pierantonio". The musicians, "admirable for their discipline and spirit of sacrifice, performed very well all the numbers of the rich and difficult program". Riccardo Fanelli, Domenico Medici and Enrico Arcelli distinguished themselves in a particular way "for their passionate performance". Unanimous praise goes to the master Franchi who even in this hamlet "carries out his skilful activity". A special thanks to the president of the band Ciro Carlani who "supports this beautiful institution which is so useful and accepts the whole country". On Sunday 23 July 1933, at 9 pm, Pierantonio's Dopolavoro band, directed by Maestro Franchi, held an applauded concert in homage to the 1st Artillery Regiment stationed there for tactical exercises. The musical program was greeted with lively cheers from the officers and from all citizens. The symphony of Verdi's Nabucco and the duet of Bellini's Norma were particularly appreciated. The musicians were much acclaimed, including the young Eraldo Arcelli and Pierino Bistoni. After the concert the dances began, very animated in the hall of the Casa del Fascio. The band's activity was interrupted from 1935 to 1939 due to the call to arms of many young people. In 1940 it was reconstituted by a group of boys. It was always directed by Severo Scapicchi, and once a week Franchi came for rehearsals. There was then another interruption during the war period. But it started again immediately after the crossing of the front. Severo Scapicchi and Alessandro Franchi still ran. The gang provided services in La Bruna, in Santa Giuliana, in Pietramelina, in Montelovesco. And also to the Madonna del Monti, after Camporeggiano, which the musicians reached on foot. Bulky tools, such as the crate and dishes, were moved on the back of a mule. The band also went to the Abbey of Montecorona and the Hermitage, Castiglione Ugolino, Murlo, Bagnaia (for San Giuseppe), Rancolfo and Parlesca-San Sugaro. In the latter locality the musicians used a horse cart. The musical group played in Pierantonio for the Ascension, for Sant'Antonio (June 13), for Easter and December 8 (Immaculate Conception). Sometimes he also performed in the square in concerts which he attended all over the country. He was rehearsing in the former “casa del Fascio”, the elementary school building. They made up the group: Evelino Briziarelli (clarinet in Eb - quart) Eraldo Arcelli (first clarinet) Carlo Montacci (clarinet) Goffredo Sannella (clarinet) Giuseppe Salciarini (clarinet) Sestilio Marcucci (clarinet) Guerriero Marcucci (clarinet) Giulio Fanelli (clarinet) Antonio Castellani (clarinet) Renato Fucsina (soprano sax) Enrico Arcelli (trumpet) Pierino Bistoni (trumpet ) Elio Mariucci (trumpet) Renato Arcelli (soprano flugelhorn) Giuseppe Ugolini (trombone) Alberto Arcelli (trombone) Remo Riberti (horn) Marcello Rossi (horn) Ugo Binucci (alto horn) Ugo Fanelli (alto horn) Vincenzo Montanucci (baritone horn) Luigi Monsignori (tenor horn) Ennio Marri (baritone horn) Alfeo Rosini (tenor flugelhorn) Renzo Castellani (bass Bb) Lorenzo Rosini (bass Eb) Pompeo Grelli (bass Fa) Giuseppe Cozzari (bass Bb) Enzo Nottoli (tambourine) Romolo Briziarelli (bass drum) Paris Marcucci (cymbals) Pasquale Casciarri (janitor) . Subsequently Giuseppe Cencetti replaced Romolo Briziarelli at the cash desk. The instruments had been purchased by the musicians themselves. The band reconstituted after the war, however, did not reach the levels of preparation and harmony of the first. When Franchi died in 1948, Severo Scapicchi continued to direct it, helped by Eraldo Arcelli, until 1959, the year of its closure. Photo: Amedeo Massetti photographic archive La banda di Pierantonio La banda di Preggio The band of Preggio Born in the mid-nineteenth century, it remained alive until the early sixties when the depopulation of the territory began The band of Preggio originated in the second half of the nineteenth century, with a considerable numerical consistency when compared to the population and the difficulties that this small mountain town encountered. Both for the poverty of resources, and for the lack of communication routes that would facilitate relations and exchanges with one's own Municipality and the rest of the territory. There were therefore also obstacles to have a qualified musical guide, stable and present over time. In fact, in the decades in which the Preggio band was alive, it often had to provide itself with an autochthonous teacher, while requesting from time to time contributions from Umbertide for its own survival and the presence of the master of the municipal band. For example, with a resolution of April 26, 1889, the municipal council of Umbertide agreed to the request that Massimo Martinelli , master of the band of the Municipality, went to Pierantonio once a week to teach music and conduct the rehearsals of the local Concerto. But in the act it was established that this should happen only for Pierantonio and not for other hamlets of Umbertide. The restriction to a single fraction can be explained by the fact that Martinelli, already occupied by two groups, could not take on a new commitment in another town eighteen kilometers from Umbertide and moreover difficult to reach. Consequently, the Preggio band continued to carry out the activity by providing itself with a local teacher. The request of the president Giovanni Battista Contini on 7 March 1898 is documented, asking the Municipality for financial support of fifty lire "as usual in recent years as an encouragement". Contini specified that the contribution should be received by 12 May, because a "title" had to be paid to the band of Umbertide for the purchase of instruments. The council decided to disburse the requested sum, but specified that this should not have constituted a precedent that would constrain the action of future administrations. It can be deduced that the Municipality had already granted the subsidy for some years, and continued to pay out the same sum of fifty lire, in the following two years, on February 26, 1899 and in January 1900, thus satisfying Romolo Fabbri's requests for " encouragement to the Preggio Music Society ". The preggese group was probably directed in those years by a local person and urgently needed a trained teacher to train the new recruits and carry out the tests. In fact, on 7 September 1901, 67 heads of families, together with the members of the band, signed the petition to the municipal council that the teacher Stanislao Franceschi, recently director of Umbertide, would go once a month to Preggio to give lessons to the members of the philharmonic who otherwise it risked melting. The Mayor gave a favorable opinion. It is probable that the inhabitants of Preggio already knew the maestro, having directed the band of the nearby Castel Rigone in previous years. In 1902 Franceschi continued to go to Preggio every month; his salary, in that year, had been increased from 800 to 1,050 lire. His was a real “journey”, because he arrived in a horse-drawn carriage crossing the Niccone valley up to San'Andrea di Sorbello, touching a strip of Tuscany. Sometimes, between the two groups he directed there were exchanges of instruments and two bombardini were also used by the band of Umbertide. The Concerto di Preggio continued its activity with commitment over the years later, until, in 1905, Stanislao Franceschi left for Sigillo. Umbertide's new master, Carlo Morbidelli, arrived at the end of 1906, he probably did not deal with Preggio due to his many commitments in place with the music school and the subsequent collaboration with the band of Ponte Felcino, in 1909. Preggio had to continue alone again, with the constant problem of scarcity of means. In 1913 Guido was its president Fabbri, who on April 20 presented a request for subsidy to the Municipality. The president pointed out that the eight hundred lire destined as of onsuetudine to the band of Umbertide that year had not been disbursed due to the inactivity of the group, which was expected reconstitution. So he got that from this unused fund a good hundred lire were granted to the band of Preggio. The Great War was also a cause of interruption for the musical activity of the country: there were many young people who left for the front. A regular activity resumed only in 1927, when the organization of the regime's Dopolavoro tended to favor and frame all forms of aggregation between citizens. On 5 January 1928, the mayor of Umbertide, Gualtiero Guardabassi, granted a room for reconstitution to the “Società Filarmonica di Preggio” of the band ”and on 7 December approved a contribution of five hundred lire to the “Banda del Dopolavoro di Preggio, an institution essentially understood to the moral and intellectual elevation of the working class and of one large population that for strength, activity and discipline with which follows the directives of the new regime, deserves every possible regard ". Even under the aegis of fascism the musical society preggese lacked means, so much so that to make the site accessible it had appropriated one of the three oil lamps of public lighting, at whose operation it was chief Giuseppe Cardini. The fact sparked protests and was reported to the Municipality by Romolo Fabbri and David Trentini. In 1929 the band depended on the “Società Musicale di Preggio”, of which the lawyer Antonio Contini was president. The Municipality intervened with a contribution of five hundred lire a year, as it did with the Pierantonio Musical Society, restoring fair treatment between the two fractions. In October 1929, with a provision of the podestà Guadabassi, the "musical society of Preggio" was formally associated with the Dopolavoro: the Podestà granted a contribution of five hundred lire. The 1930s were glorious for the band. The group was directed by a local gang leader, Gaetano Boni; from time to time the teacher Franchi arrived from Umbertide to assist him in teaching young people and in rehearsals. The activity was intense and the repertoire was vast: it included marches and Opera pieces that were played in the square on Sunday evenings in the summer. The presence of the band was often required at religious festivals in nearby parishes, such as Racchiusole or, on the opposite side, in San Paolo, Reschio in the municipality of Lisciano Niccone. The musicians gladly answered the invitations because (as the popular saying states that "all the psalms end in glory") they were occasions for a cheerful feast of macaronias. It wasn't just a recreational function, for an hour's entertainment or an afternoon of celebration. The band of Preggio, and those of all the small towns, far from the cultural circuits and lost in inaccessible areas of a poor and backward nation, deserve the merit of having played a role of cultural promotion in times in which the presence of means of mass communication, as specifically, was limited to the telegraph of the Regie Poste and the radio equipment of the headquarters of the beam. The band activity was a vehicle of knowledge, through a certainly not secondary part of culture and national identity, capable of igniting interest and passion among a population far from cultural centers. It also had the merit of spreading the knowledge of melodrama, so much so that not only men but also completely illiterate women sang songs by Verdi, Puccini, Donizetti by heart. Almost all the families of Preggio had a musician in the band: some more than one. Among the buffaloes, Giovanni called Nino, cornet player, and his brother Luciano the clarinet. Then there were the Stoppa: Settimio on trumpet, Bruno and Benedetto on baritone flugelhorn. To the Contini family belonged the brothers Dino, clarinetist ("quartino"), David, bass player in Eb, Alceo and his father Luigi, also at the clarinet, whom he had to abandon when the shotgun exploded in his hand and lost two fingers. Maestro Boni also belonged to the Contini family, having married Luigi's sister and thus becoming the uncle of two brothers; and they were also his nephews on the part of his mother Giovanni and Luciano Bufali. Relationships of kinship, musical activity, work connected families and players. For example, Alceo Contini was a carpenter together with his uncle Gaetano Boni. This man, a rigorous and tenacious man, was a master of the band and a skilled craftsman; tireless educator, in his spare time he gave music lessons to the boys in his own workshop. A kind of head of the family for that band that among the many relatives, also included another nephew and a brother. The hamlet of Preggio, at the beginning of the thirties, was close to two thousand souls, while in the countryside the families had up to thirty or forty members. The country itself was densely populated. The population increased when work began for the construction of the road section from Preggio to Umbertide through Monte Acuto and Polgeto. Workers came from all over Italy and it was a real providence, because in a period of high unemployment a work of this magnitude, built entirely with a pickaxe, employed hundreds of workers. The road was inaugurated on October 28, 1934, a historic date for Preggio which had been waiting for the connection with its Municipality since the time of the unification of Italy. The service of 21 April 1934 is unforgettable, when the band participated in the inauguration of the cross placed on the top of Monte Acuto, in memory of the holy year 1933-34 and the fallen of the war 1915-1918. It was hard to get to the top, the heaviest tools loaded on the back of a mule, but the wonderful view of the valleys below repaid the efforts of the long climb. Another historic occasion for the town, and therefore for his band, was the "taking possession" of the parish of the Holy Trinity by the new prior, Don Espedito Marcucci, who would hold the Priory until his death in 1973. The band actively participated to the celebrations; the importance of the ceremony was underlined by the presence of civil authorities and by Archbishop Giovanni Battista Rosa who "placed the young priest in possession of the parish benefit". At 11.30 on February 20, 1938, mass sung by the local “Schola cantorum” directed by Alessandro Franchi; at 4 pm, solemn thanksgiving with the performance of the “Te Deum” and the “trina benediction”. The party ended in an evocative way: in the evening Preggio was all lit up with "Venetian lanterns" and "fires of joy" were lit in the countryside. The band continued to be called in the surroundings for the holidays: its services were required in a large area, from Castel Rigone towards Lake Trasimeno, up to Migianella, near Umbertide. By now she had beautiful uniforms and was renowned for the vast and well-kept repertoire, which animated the associative moments in the surrounding countryside and centers. In the mid-forties we find it always active. And in the immediate post-war period, in the period of political elections in which heated and violent partisan passions were unleashed, the gang was the protagonist of an eventful episode. On May 18, 1947, the Sunday after the Ascension, she was called to Monte Acuto, to the traditional feast of the Madonna della Costa, where, after the religious celebrations, she was to hold an "outdoor musical entertainment". He had already started playing in the open space in front of the church when a "communist speaker", climbed onto an embankment, began a meeting addressed to the many present. Impatient for the prolongation of the play, the politician urged the "comrades" to stop the music and they accepted the invitation so well that they lashed out at the players, forcing them to stop with swear words and shoving. The event, although serious, seemed to be over, especially since the lunch seemed to have calmed the spirits. But when, in the afternoon, the band was invited to resume the program, the "comrades" began to mock the band-players who, even hit by a few stones, placed the instruments on the grass and put the jammers to flight with punches. Even the parish priest and his brother, also a priest, were victims of the turmoil, who, in an attempt to gain the door of the rectory to take shelter, were slapped by the mob. The story did not end there, but it had serious consequences. In 1949 the group celebrated the ordination of another priest from Prese, a former member of the band, Don Dino Contini. He accompanied him from home to the church of the Holy Trinity, where the young priest celebrated his first mass. Since then Don Dino would no longer play the "quartino" in the band, but the piano and the great organ of the cathedral of San Lorenzo in Perugia, of which he has been an appreciated organist from 1942 to the present day. But shortly afterwards the good teacher Boni, who had led the group with firmness and skill for many years, died. In the pouring rain of a stormy summer day, the gang accompanied him to the cemetery amidst general emotion. It was a strong and engaging atmosphere that the players managed to create at the funeral of a companion or a relative: people were always struck by it. The gang, therefore, fell silent for a while, but the activity was soon resumed. The prior, Don Espedito Marcucci, passionate about music and aware of the importance of the band for the community of Preggio, took steps to reconstitute it, managing, in 1950, to recompose a group of twenty-three people. Don Espedito had also thought of the instruments, in need of repairs, entrusting them to the tuner Schippa di Passignano. He also bought new ones at his own expense, equipping the gang with everything they needed. The group thus resumed playing under the guidance of Gaetano Boni's nephew and pupil, Alceo Contini, Don Dino's brother; his brother David was then at the baritone flugelhorn (bombardino), Nicola Boni at the cash desk bought by the prior. The director of the band Alceo Contini was a good instrumentalist who played all woods and also the saxophone; famous for his clarinet skills. Contini also took care of the children's music school; the rehearsals took place in a local of the Municipality under the square, in via Dritta. The headquarters will then be moved to the "theater" room, in the large hall overlooking the square. Carlo Boni played the trombone, Otello Sergenti the bombardino, Tommaso Orsini the cornet, Marino Orsini the bass, Biagio Trentini the bass drum, Raimondo Stoppa the "quartino". Then there were Terzilio Peverini and Antonio Cinaglia on clarinet, Gino Falomi and Rolando Trentini on bass, Luciano Bufali and Pietro Bastianoni on clarinet, Quintilio Zandrini on cornet, Pasquale Secondi and Primo Falomi on trombone, Gustavo Bastianoni on alto horn, Riccardo Benigni on tambourine and Alfredo Peverini with dishes. The Preggio band lasted until the early 1960s, when the depopulation of the Apennines began, which would reduce the population down to a hundred inhabitants. Photo: - Amedeo Massetti photographic archive - Historical photographic archive of the Municipality of Umbertide

LA FRATTA DEL QUATTROCENTO a cura di Fabio Mariotti Notizie generali, le strade e la Rocca La Fratta del Quattrocento è per lo Stato della Chiesa, specialmente nell'ultima parte del secolo, un punto di vitale importanza strategica. Posta al confine con i possedimenti fiorentini, funge da baluardo settentrionale per la difesa di Perugia. La zona urbana è formata da tre nuclei ben definiti. Il primo, costituito dal centro cittadino racchiuso nelle mura castellane e diviso in terzieri: "della Greppa", la parte tra l'attuale via Cibo e il Tevere, dalla Piaggiola fino al ponte verso San Francesco; "Superiore" detto anche "della Campana" (dalla campana posta sulla torre in cima alla Piaggiola), dalle mura a nord, quindi dalla Rocca, verso il centro fino alla chiesa di San Giovanni; il terzo, "Inferiore" o di "Porta Nuova", che dal centro raggiungeva le mura verso sud, lungo il corso della Reggia fino alla porta di uscita del ponte sul Tevere. Il secondo nucleo, del "Borgo Superiore", posto al di fuori delle mura settentrionali, oltre la porta della campana e la discesa dell'attuale Piaggiola, era divisibile in due parti. Una veniva detta il "Mercatale", l'odierna piazza Marconi, il piazzale del sagrato della chiesa di Sant'Erasmo; la zona poi si spingeva verso la chiesa di Sant'Andrea (dove sorgerà nel 1877 il vecchio ospedale) fino alle fornaci. L’altra parte era il "Castel Nuovo", comprendeva l’attuale Boccaiolo (via Bovicelli) e la zona vicina, ove si trovava anche la chiesa di Santa Maria dei Meriti. II terzo nucleo, anch'esso fuori delle mura, detto "Borgo Inferiore", era situato a sud di Fratta, oltre la Reggia e prospiciente il Tevere (attuale piazza San Francesco). Cuore di questa zona era il "sodo dei frati" o "pratale", lo spiazzo su cui si affacciavano la chiesa e il convento di San Francesco, la chiesetta di Santa Maria (poi detta Santa Croce), possesso dell'omonima confraternita di Disciplinati. Nel borgo c'erano numerose officine di fabbri ed anche un mulino di proprietà del vescovo di Gubbio. Fratta godeva di libertà di fiera; erano fiorenti le arti della merceria e spezieria, il commercio del cuoio, del "bambage", del vino, degli artefatti in ferro, della ceramica. Esisteva un discreto servizio postale che utilizzava cursori, corrieri, fanti di procaccio e "cavallai" di posta i quali potevano effettuare un buon lavoro in quanto il paese non era molto distante dalle grandi vie di comunicazione. L’istruzione era a cura della comunità di Fratta, ai cui rappresentanti i genitori si rivolgevano per iscrivere i ragazzi, pagando la retta del maestro. La spesa era relativa al numero e al tipo delle materie di insegnamento: latino, aritmetica, religione e geografia. Nel 1486 la magistratura locale fa un invito all'istruzione aperto anche ai non possidenti. Esistevano sette ospedali, annessi alle chiese, per i poveri, i pellegrini e i malati non abbienti; ben dodici luoghi di culto, fra chiese e cappelle. A Fratta, nel Quattrocento, viveva una comunità ebraica di una ventina di persone, qui insediata fin dal secolo precedente. Le strade di comunicazione Nel Quattrocento la nostra Fratta era fuori dai grandi percorsi viari dello Stato Romano che partivano da Roma nei secoli XVI e XVIII, e se erano così allora, all'inizio del Quattrocento non erano certo più numerose e meglio percorribili. Comunque verso nord partiva una sola strada di grande comunicazione, che dopo il lago di Bracciano (Baccano) si ramificava in due bretelle: - una proseguiva in direzione di Firenze, via Bolsena, Siena, San Casciano; - l'altra strada si dirigeva verso Fano, via Terni, Foligno, Nocera, Cagli. Quest'ultima aveva una diramazione da Foligno e da qui iniziava una strada che passava per Perugia, il lago Trasimeno, la Val di Chiana, la valle dell'Arno centrale, fino a raggiungere anch'essa Firenze. Erano percorse dalla maggior parte della gente allora in movimento: eserciti, cavalcate, grandi carri a quattro ruote dei mercanti, pellegrini, religiosi, cortei di principi, cardinali, governatori che si spostavano da una città all'altra, mendicanti, uomini dei servizi di posta che correvano a piedi o a cavallo di stazione in stazione. Fratta si trovava in posizione isolata e non vedeva molto di questo transito se non saltuariamente e, comunque, in misura molto ridotta. Il nostro castello aveva bisogno di comunicazione con la città di Perugia e ciò era possibile attraverso la pianura del Tevere. La città dominante svolgeva un'attività di tutela dei mulini sul Tevere (Ponte Felcino, Ponte Pattoli ed altri), per cui questi dovevano essere senz'altro allacciati a Perugia con una strada carrabile. Considerato questo e anche che Fratta era il castello del confine nord di Perugia, dunque tenuto sempre militarmente approntato, è facile capire che dovesse esserci una via da Fratta a Ponte Pattoli, a Perugia. Oltre questa strada (che sarà detta poi “del piano”), Fratta era unita a Perugia anche da un percorso montano, non carrabile, per soli pedoni e cavalli in quanto l'asprezza dei luoghi (diverse salite) ne sconsigliavano il passaggio, specie d'inverno, ai carri piccoli. Iniziava oltre il ponte sul Tevere, sulla sinistra (odierna strada per la Badia di Montecorona). Dopo circa trecento metri lasciava, sulla destra, la stradetta che saliva a Romeggio (bivio visibile anche oggi) e proseguiva diritta. Passava sotto e nei pressi dell'odierno Palazzo del Sole (abitazione Ramaccioni), poi si inerpicava, come ai giorni nostri, verso la base di Monte Acuto. Alla Villa di Monte Acuto svoltava a sinistra, lungo la base del monte, passava a lato della casa-torre di osservazione (ancora esistente - gruppo di casa Ferranti), passava a lato dell'ospedale di Galera (in piedi ma disabitato) ed arrivava al pianoro di Galera (apprezzabile come complesso abbandonato) ed arrivava alla casaforte di confine con Perugia (non utilizzata). Da qui scendeva alla Nese, passando a lato di quell'ospedale (lebbrosario?) e proseguiva per la Villa di Pantano e Cenerente, da dove iniziava la salita finale per Perugia. Altra strada era quella di Montone, ma non volendo transitare per quel territorio, si poteva percorrere la via che portava al torrente Niccone, subito dopo il ponte del Tevere. Dal Niccone, passato il fiume sulla barca oltre Montecastelli, ci si ritrovava sulla via tracciata da Città di Castello, in pianura ed abbastanza transitabile. Infine c'era la strada per la Toscana, alla foce del Niccone sul Tevere. In proporzione al grande traffico nazionale, molto limitato appariva il transito nelle nostre zone ma, considerata l'importanza commerciale di Fratta, c'era comunque sempre un movimento di persone e merci che ne aiutava molto gli abitanti, alla ricerca delle soluzioni dei loro problemi quotidiani. Lavori alla Rocca La Rocca di Fratta fu voluta nell'anno 1374 e disegnata, molto probabilmente, dall'architetto Matteo Gattapone da Gubbio. Venne posta ad est delle mura castellane, unico tratto sprovvisto di forti, sia per aumentare la difesa del castello dalla parte di Perugia, sia per allungare meglio lo sguardo su tutta la pianura del Tevere verso Montecorona. La Rocca consisteva, all'inizio, in un semplice parallelepipedo esterno alla cinta che, nella zona sud, aveva un'alta torre sopraelevata di una quarantina di metri dal prato sottostante. Questo volume fu costruito nel primo ciclo dei lavori, dal 1375 al 1384, mentre il completamento, come voleva il disegno originario, avvenne con un ulteriore intervento tra il 1385 e il 1386, quando fu unita alle mura castellane. Così la Rocca si presenta all'inizio del Quattrocento. Ha i lati contrapposti lunghi dodici metri e quelli perpendicolari, sette. Per il passaggio delle persone è collegata al castello di Fratta da una porta (visibile ed agibile anche oggi) munita di ponte levatoio che faceva perno sul forte, cadeva sulle mura castellane sostenuto da una sola trave e passava sopra un tetto realizzato nella seconda fase dei lavori (1385-86). Nel punto di battuta era stato costruito, interno al borgo, un piccolo edificio merlato detto "chiostro" in cui c'era un posto di guardia, essendo questa zona militare sorvegliata per impedire l'accesso anche agli abitanti di Fratta. La Rocca aveva poi un'altra entrata fornita di ponte levatoio. Conduceva all'esterno del castello, verso il prato sottostante. Era la "porta del soccorso", elemento comune a tutti i forti e le rocche. Serviva, in tempo di guerra, a far rientrare qualche soldato rimasto fuori o in altri casi straordinari. Questo secondo ponte levatoio era sostenuto da una sola trave il cui vano è ancora esistente e visibile dalla zona sottostante. Poggiava sopra un alto muro di pietra, rimasto fino alla metà dell'Ottocento. Fra il muro e la torre passava il letto naturale del torrente Reggia. Da qui iniziava la strada, in forte discesa, verso il prato sottostante. Il tutto era chiamato "calzo de fuora". Nel gennaio 1405 fu costruita la grande volta in muratura che univa (e unisce tuttora ) la Rocca alle mura castellane, al posto del tetto sotto il ponte levatoio. Fu pure innalzato il tratto di mura castellane prospiciente alla piazza del Comune (ora piazza Fortebracci), elevato di circa tre metri e munito di feritoie. Fu tolto il ponte levatoio ovest e restò solo quello "del soccorso", in funzione fino alla fine del Settecento. Nel 1495 la Fratta era occupata dai fuorusciti perugini della famiglia Degli Oddi. Erano combattuti dai Baglioni che portarono qui l'assedio fino a che, l' 11 settembre 1495, Fratta si arrese alle forze di Perugia. La città dominante, riavuto il nostro castello, pensò bene di restaurarlo e di aumentarne le difese militari, affinché potesse resistere ad altri eventuali attacchi. Dal 1495 al 1499 vennero eretti i torrioni laterali circolari merlati, uno a nord e uno a sud, e la Rocca assunse l'aspetto attuale. Per la costruzione dei torrioni si dovette abbattere il "chiostro" ed un tratto di mura (per costruire il torrione nord), mentre sul lato della piazza del Comune venne aperta una nuova porta d'ingresso. Foto della Rocca di Fabio Mariotti (quella antica dall'Archivio fotografico storico del Comune di Umbertide) Fonti: - Calendario di Umbertide 2004 – Ed. Comune di Umbertide – 2004 - Renato Codovini: Storia di Umbertide - Il Secolo XV. Dattiloscritto inedito, 1992 - A. Guerrini: Storia della terra di Fratta ora Umbertide dalle sue origini fino all'anno 1845 - Tipografia Tiberina, Umbertide, 1883 - M.G. Moretti: Salute e spezierie alla Fratta (Sec. XV - XX): Breve introduzione alla mostra, Umbertide, Biblioteca Comunale, 27 settembre - 12 ottobre 2002. Dream Service, Umbertide, 2002 - P. Vispi: Il soggiorno e l'opera di Pico della Mirandola ad Umbertide - Ed. Comune di Umbertide, 1996 L'economia e la libertà di fiera L’economia del territorio di Fratta nel XV secolo è basata su una modesta attività agricola e su una fiorente attività artigianale. Già nei primi del Quattrocento assistiamo a timidi insediamenti stabili in campagna di lavoratori agricoli che si recano a lavorare terre alquanto distanti dal borgo. Terre via via "rancate", cioè messe a coltura. Ma i tempi sono ancora insicuri, la pericolosità direttamente proporzionale alla distanza dalle mura del castello. II passaggio di eserciti che razziavano il bestiame e le colture, insieme a bande di malviventi rendevamo molto rischiosa la coltivazione della campagna. I lavoratori agricoli, quindi, non potevano produrre grosse quantità dei vari generi. Solamente due secoli dopo, in pieno Seicento, la coltura del grano aveva ancora una rendita di tre o quattro parti contro una di seme seminato. L’attività artigianale nel castello di Fratta era, invece, più progredita e produttiva, regolata anche negli statuti del 1362. Era un'economia prevalentemente corporativa, a compartimenti stagni, con ogni Arte strettamente osservante di quelle regole che si era data con il proprio ordinamento, comprensivo anche delle pene per i trasgressori. Ma era l'aspetto religioso il collante che univa i componenti. La produttività degli artigiani era soltanto sufficiente ai loro immediati bisogni, ma a volte poteva superare il limite dello stretto necessario e dar loro qualche soddisfazione in più. Notevoli risultati davano le fornaci di laterizio che producevano materiali da costruzione. Altre piccole attività, con laboratorio e bottega annessi, sfornavano vasellame di terracotta d'ogni genere, necessario alla vita quotidiana della famiglia del borgo e di quella contadina. Vari molini da cereali e da olio, avvalendosi della forza motrice dell'acqua dei fiumi e dei torrenti, occupavano un discreto numero di persone. C'era poi la lavorazione dei panni di lana, per mezzo della gualchiera e la rifinitura di prodotti in metallo che per l'affilatura usava ruote in pietra, anch'esse mosse dall'acqua. Tutti questi meccanismi si trovavano all'interno dei maggiori mulini ed utilizzavano la stessa acqua che muoveva le grandi macine dei cereali. La gualchiera. L’arte dei panni di lana Anche in Fratta si esercitava l'arte della lana, seppur per un prodotto minore che doveva soddisfare soltanto i bisogni del luogo. Il panno lavorato serviva per cucire i vestiti di uso comune, indossati dalla maggior parte degli abitanti, quasi tutti poveri. La lavorazione era possibile in quanto nei maggiori mulini c'era sempre la "gualchiera", meccanismo fornito di grosse "martelle" di legno che, mosse dall'acqua della diga, battevano la lana opportunamente trattata (acqua bollente e un qualche collante). Probabilmente, si trattava di una postazione per ogni mulino, locata a terzi per più anni. In un atto notarile del 12 novembre 1464 si parla del “Mulino dei Calvi” con la gualchiera ad esso annessa che serviva a "gualcare i panni di lana": si trovava in aderenza a questo molino, era affittata tre anni. La notizia dell'esistenza, vicino a Fratta, di tale gualchiera, e fuso per cui serviva, sono le notizie più antiche sull'argomento. L’insieme delle altre Arti fabbricava gli oggetti necessari alla vita della collettività; erano fabbri, falegnami, magnani, pittori, sarti, panacuocoli (fornai), indoratori. Tutte persone che oggi chiameremmo operatori economici ed avevano molto spesso un grande limite nella difficoltà di reperire i capitali necessari. Non essendoci ancora istituti di credito come intendiamo oggi, dovevano far ricorso, in caso di necessità, al prestito dei "banchi" degli ebrei. A Fratta ce n'erano una ventina ed alcuni di questi esercitavano appunto l'attività di banchieri. Sebbene avversati dalla popolazione e dalla legislazione della città di Perugia valida anche in Fratta, riuscivano sempre a svolgere il loro lavoro in senso positivo e la stessa comunità perugina faceva ricorso alla "prestanza" ebrea in caso di bisogno. Obbligati a portare un disco giallo sui vestiti, esclusi dai pubblici uffici, era negata agli ebrei anche la possibilità di acquistare beni immobili, di fabbricare carte da gioco e dadi. Non restava loro che dedicarsi ai prestiti su interesse e lo studio della medicina. Il commercio del cuoio Era molto praticato nella nostra Fratta, come nell'alta valle del Tevere e nel Perugino. II grande commercio del cuoio aveva la sede principale, per il centro Italia, nelle città di Pisa e di Ancona. Pisa lo importava dalla Spagna (da Cordova, pelli cordovane), dalla Francia meridionale e dal Maghreb (Tunisia, Algeria e Marocco). Ancona lo importava invece dalla cosiddetta Morea (Medio Oriente), dalle isole dell'Egeo e dai Paesi rivieraschi del Mar Nero. Da queste due città poi, a mezzo di grandi carri a quattro ruote, il cuoio arrivava a Perugia (via lago Trasimeno e via Fabriano). Qui si riforniva Fratta in limitate quantità, incrementate dalla stessa merce proveniente da Città di Castello, i cui mercanti erano direttamente collegati con le "strade del cuoio" marchigiane. Il commercio del "bambage" Anche il bambage (o bambagio) arrivava dai Paesi del medio oriente (Turchia, Cipro, Siria, Egitto), con le navi fino ad Ancona; poi i mercanti lo introducevano nel territorio perugino. Con il bambage, sottoprodotto del cotone, si fabbricavano veli da donna per la testa, per il collo e per le spalle. Coloro che trattavano tale prodotto erano detti "bambagiari" e facevano parte dell'Arte omonima. Avevano botteghe per commerciare sia il bambage puro che i suoi derivati, quali ad esempio le passamanerie, vendute dai merciai. L’Arte della merceria All'Arte della merceria erano iscritti coloro che commerciavano in generi relativi soprattutto all'abbigliamento: filati per cucire (vengono nominati "refe"), gomitoli e matasse, fazzoletti (per la testa, il collo, le spalle), veletti (per cappelli), "camicie", calze di lana, cappelli, nastri d'ogni tipo, spille, orecchini, aghi (fatti a mano) e quant'altro relativo al vestire. Non troviamo fazzoletti per il naso (ancora da inventare), maglie (si confezionavano in casa, sul telaio domestico), giacche, pastrani e mantelli (li cuciva il sarto). Non esistevano però botteghe specializzate in un unico tipo di merce. Era facile quindi trovare, in quella del merciaio, stoffe, paludamenti (per l'addobbo di chiese, tendaggi per la casa), ma anche cera, candele, "facole", radici saponarie. L’Arte della "spetiaria" Chi esercitava l'Arte della spetiaria aveva una bottega, chiamata anche aromataria, dove vendeva i generi che anche oggi chiamiamo spezie, ma con una gamma più vasta, essendo maggiore l'uso di tali generi. Molti servivano per la farmacopea. In queste botteghe, comunque, molti prodotti esulavano dal campo speziario, comprendendo i generi più disparati, anticipando i bazar ed i moderni supermercati. I calzolai C'erano, nel Quattrocento, in Fratta, diversi calzolai (calceolarius) iscritti alla relativa Arte e semplici ciabattini. L’attività dei calzolai consisteva nel costruire e vendere le scarpe, per cui avevano bisogno di comprare cuoio, pellami ed attrezzi d'uso. Il ciabattino (sutor), più semplicemente, si adattava ad accomodare le calzature, senza entrare nel commercio delle stesse. Nell'archivio storico comunale esiste un contratto del 4 settembre 1448 con il quale il padre affida il figlio di minore età ad un calzolaio per imparare il mestiere. Il ragazzo doveva andare a vivere in casa del calzolaio il quale, a sua volta, si impegnava a formarlo e a dargli vitto e alloggio. Il ragazzo è Mariotto, figlio di Domenico di Ercolano da Pietramelina; il calzolaio è Nardo di Francesco, di Fratta. Domenico di Ercolano si impegna a far restare Mariotto per un anno presso Nardo di Francesco e di non mandarlo da altri calzolai. Garantisce che Mariotto sarà sempre sottomesso e obbediente come deve comportarsi ogni buon discepolo. Nardo, di sua parte, si obbliga ad istruirlo nell'arte della calzoleria, a dargli un salario di tre fiorini e mezzo per tutto l'anno, oltre il vitto e l'alloggio. Le monete Nel Quattrocento, nell'Italia centrale si usavano, per i grandi importi, monete d'oro, fiorini e ducati, insieme ai loro sottomultipli e alle tante monete dei vari Stati esistenti. Il fiorino veniva rapportato ai bolognini (moneta bolognese di piccolo taglio). Se era integro (cioè di giusto peso, non limato per appropriarsi di una parte del suo oro come spesso accadeva), valeva quaranta bolognini. Se invece aveva un peso inferiore a quello di conio, veniva considerato in proporzione a quanto mancava. Il fiorino era anche quotato in "soldi": cento se integro. Il fiorino fiorentino veniva a volte ragguagliato alla lira perugina. Verso la metà del secolo c'è parità tra le due monete. Troviamo infatti, nel 1464, una somma di undicimila fiorini che, qualche riga sotto dello stesso documento, diventano undicimila lire. Il "soldo" (sottomultiplo del fiorino) viene rapportato talora al "denaro" (moneta perugina sottomultipla della lira). Abbiamo infine un'altra misura monetaria, la "libra". Ce ne volevano cinque per un fiorino. A Fratta si adoperavano indistintamente sia i fiorini, sia i ducati (ma anche altre monete). In un atto notarile, "la pena" da darsi a chi non sta ai patti viene stabilita in "100 ducati d'oro", nonostante in Fratta prevalesse l'uso dei conteggi in fiorini. Nel 1471 troviamo il "carlino", di basso valore, di origine napoletana. Valeva dodici baiocchi. Sempre in quest'anno esiste anche il "ducato d'oro largo": ha il valore di un fiorino e 75 baiocchi circa. . . . Libertà di fiera Mercati settimanali e fiere si svolgevano a Fratta fin dal XIV secolo, regolamentati dagli Statuti del 1362. Nel 1400 sembra esserci solo la fiera di Sant'Erasmo, che si svolgeva il 2 giugno, giorno della festa del santo, davanti all'antica e omonima pieve, nell'odierna piazza Marconi. Come negli altri castelli e ville del territorio, era soggetta ad una tassazione imposta da Perugia (città dominante), che poi la comunità di Fratta riversava sui commercianti intervenuti, recuperando così la somma versata. La tassa della fiera comportava per i mercanti un certo onere, imponeva loro di fare una scelta sul venire o meno a Fratta, a seconda del vantaggio. In pratica, condizionava l'affluenza della gente a queste manifestazioni. In considerazione di ciò, la comunità di Fratta cercò di liberare la fiera dalla "gabella", allo scopo di aumentare il concorso di venditori, quindi avere la maggior quantità e varietà di merci, prezzi più bassi (legge della concorrenza), in definitiva un vantaggio per la popolazione, oltre maggior guadagno per osti, marescalchi, "carradori", botteghe in genere. Il risultato venne raggiunto a partire dal 1441, quando ne fece richiesta a Perugia. L’approvazione arrivò dal cardinale Firmano (Domenico da Fermo), delegato apostolico per l'Umbria e la relativa concessione, detta "privilegio", riguardava la fiera annuale del 2 giugno, probabilmente l'unica del secolo. Fratta non doveva più pagare la tassa come le altre comunità dello Stato Romano e di riflesso non chiese più nulla ai commercianti. La concessione venne rilasciata per due giorni consecutivi, tanto durava la fiera di Sant'Erasmo dal 1441. Nel 1444, il 31 ottobre, lo stesso cardinale Domenico da Fermo ribadisce la concessione (che doveva essere rinnovata annualmente) e permette di allungare la fiera a quattro giorni consecutivi: dal primo (vigilia della festa del Santo) al 4 giugno, decisione che il Comune accettò di buon grado. Il 30 ottobre 1445, papa Eugenio IV conferma il "privilegio" specificando che 1'esenzione è "tam entrando quam in exeundo", sia all'entrata in Fratta, sia all'uscita a fine manifestazione e riguarda tutte le persone che intervengono con le bestie e con le merci ("cum eorum animalibus et mercantiis"). Il provvedimento rimane esteso anche agli abitanti di Fratta che prendessero parte a questa fiera che in quei quattro giorni “solemniter celebratur”. Fratta fu informata del provvedimento del Papa dal cardinale legato di Perugia, Domenico da Fermo. Nel XVI secolo, invece, la durata dell'evento fu portata ad otto ed anche dieci giorni. Foto di Fabio Mariotti (quella del calzolaio dall'Archivio fotografico storico del Comune di Umbertide) Fonti: - Calendario di Umbertide 2004 – Ed. Comune di Umbertide – 2004 - Renato Codovini: Storia di Umbertide - Il Secolo XV. Dattiloscritto inedito, 1992 - A. Guerrini: Storia della terra di Fratta ora Umbertide dalle sue origini fino all'anno 1845 - Tipografia Tiberina, Umbertide, 1883 - M.G. Moretti: Salute e spezierie alla Fratta (Sec. XV - XX): Breve introduzione alla mostra, Umbertide, Biblioteca Comunale, 27 settembre - 12 ottobre 2002. Dream Service, Umbertide, 2002 - P. Vispi: Il soggiorno e l'opera di Pico della Mirandola ad Umbertide - Ed. Comune di Umbertide, 1996 La comunità ebraica Il progressivo formarsi di una piccola comunità ebraica alla Fratta probabilmente risale verso la fine del XII secolo, allorché una forte corrente migratoria di mercanti israeliti da Roma tende a diffondersi dapprima nelle città umbre, per poi espandersi verso tutto il nord Italia. C'erano grossi insediamenti e una consolidata tradizione ebraica a Perugia, Città di Castello e Gubbio. A Perugia, nel rione di Porta Sant'Angelo al quale si era aggregata la comunità ebraica di Fratta, c'era una delle due sinagoghe della città e si contavano il maggior numero di abitazioni israelite. Il periodo però non è tranquillo per il mondo israelitico italiano. Agli inizi del 1485, infatti, giunge anche in Umbria Bernardino da Feltre, che aveva imperversato nel nord Italia per ottenere la soppressione dei banchi ebrei a favore dei nascenti Monti di Pietà. Egli predica, fortemente spalleggiato dall'Ordine dei Minori, una violenta crociata antisraelitica che ottiene buoni successi. Da quel periodo comincia ad assottigliarsi a Gubbio la presenza degli ebrei. Anche Perugia e Fratta non furono immuni da forme di intolleranza, che però non raggiunsero gli eccessi registrati altrove. La comunità ebraica frattigiana, per quanto piccola (una ventina di persone), doveva avere una certa importanza economica. Già nel 1398, infatti, un certo Beniamino di Aleuccio della Fratta esercitava l’attività di banchiere a Mantova. Vi sono presenze documentate di ebrei umbertidesi dopo la metà del 1400. Abitava a Fratta, ad esempio, un ragguardevole banchiere, Dattilo di Salomone: di lui esistono testimonianze di una cospicua attività e sappiamo che in giudizio veniva rappresentato dal fratello Manuele. Il suo nome e quello della sua famiglia ricorrono più volte nella storia perugina come il gruppo finanziario di maggiore importanza. Probabilmente parenti con il finanziere Dattilo, e anche loro abitanti in Fratta, erano Salomone, Elia e Davide "Dactoli". Quest'ultimo firma, anche a nome dei fratelli, una petizione alla magistratura perugina nel 1483. Altra attività, oltre quella bancaria, nella quale molti ebrei godevano di grande considerazione, era l'arte medica. Nella Fratta della seconda metà del Quattrocento vi esercitarono in due. Il primo fu Manuele da Monticolo. Abitava in una casa in affitto nel Terziere Superiore (zona della Rocca) e la sua presenza è documentata dal 1477. Fra il 1484 e il 1486 c'è in Fratta Manuele di Angelo, da Padova. Questi in precedenza aveva esercitato a Montone e qui aveva abitato in una lussuosa dimora, di proprietà dei monaci di Camporeggiano, posta accanto al palazzo del conte Carlo Fortebracci, signore del posto. Di questo secondo medico rimangono testimonianze sia nell'archivio comunale di Umbertide sia in quello di Gubbio. L’attività di alcuni ebrei a Fratta era quindi a un livello ragguardevole. Ma se coloro che influenzavano la vita sociale cittadina godevano di libertà e considerazione, probabilmente non tutti avevano vita facile. C'era infatti una forte attività denigratoria contro di loro da parte dei frati minori francescani. La legislazione romana, applicata dalla Magistratura di Perugia, aveva imposto loro, già dal secolo precedente, un contrassegno sugli abiti. Consisteva in un tondo di stoffa gialla del diametro di una quindicina di centimetri che dovevano cucire sul davanti per farsi riconoscere e differenziarsi dai cristiani. Le donne, invece, dovevano essere contraddistinte da un certo tipo di veletta in testa e portare orecchini a cerchio. Tutti sapevano che era bene mostrarsi il meno possibile, ma in occasione di funerali, per arrivare al luogo della sepoltura, dovevano attraversare alcune strade scegliendole tra le meno frequentate e comunque evitando il centro del paese. Ma anche qui trovavano spesso "cristiani" che li aspettavano per dileggiarli e gettar loro addosso pietre. Questa manifestazione, detta "la sassaiola", in uso a Perugia già all'inizio del secolo (a Fratta non esiste certezza in merito), proseguirà per tutto quello successivo. Fonti: Calendario di Umbertide 2004 – Ed. Comune di Umbertide – 2004 Renato Codovini: Storia di Umbertide - Il Secolo XV. Dattiloscritto inedito, 1992 A. Guerrini: Storia della terra di Fratta ora Umbertide dalle sue origini fino all'anno 1845 - Tipografia Tiberina, Umbertide, 1883 Gli ospedali, la peste e le guerre Nel Quattrocento troviamo in Fratta sette ospedali. Appartengono a chiese o confraternite e sono tutti di piccole dimensioni, due o tre ambienti in modeste case, spesso incorporati alle chiese stesse. Di solito vi prestano la loro opera i padri Agostiniani, uno o due frati. Qui vengono ricoverati i malati poveri del paese e i viaggiatori che hanno bisogno di cure durante il passaggio a Fratta. Sant'Antonio Si trovava in Castel Nuovo, in fondo alla Piaggiola. Ne abbiamo notizia nel 1400 e nel 1404. Nel 1411 si unì all'ospedale di Santa Maria Nuova, sito anch'esso in Castel Nuovo. Aveva alcuni beni, due appezzamenti di terreno lavorativo in Villa Galera (Monte Acuto), ai vocaboli Vignale e Fossato e possedeva anche una terra al vocabolo Seripole, al confine col torrente Reggia. Santa Maria Situato anch'esso in fondo alla Piaggiola, era legalmente "unito" alla chiesa di "Pieve di Santa Maria di Castel Nuovo", almeno fin dall'anno 1397. Confinava da un lato con "le cose della chiesa" (un orto: ) e dall'altro con il "foveo" della Comunità, il fossato lungo le mura castellane (zona palazzo Baglioni). Santa Maria e Sant'Antonio Si fondono nel 1411. Nel 1423 decidono di iscrivere le loro proprietà al catasto di Perugia. La registrazione viene fatta da Giovanni Corbelli di Fratta, rettore e governatore degli ospedali, tramite un suo procuratore, Francesco di Simone. Possiedono una casa nel Borgo Superiore di Castel Nuovo e quattro appezzamenti di terreno nel comune di Montone, al vocabolo Buschi. Santa Croce E' situato nel Borgo Inferiore, nell'odierna via Soli. Risale alla prima metà del Trecento. Appartiene all'omonima confraternita che ha una quarantina di proprietà immobiliari. E' così grande il numero dei beni, che mette in difficoltà anche l'ufficio del catasto di Perugia allorché Bartolomeo di ser Nicola, procuratore della confraternita, si reca a registrarne alcuni. L’ufficiale del catasto si vede costretto a riportare l'elenco in un nuovo libro, appositamente iniziato, in quanto nel foglio riferito alla confraternita non c'era più posto. Fraternita del Corpo di Cristo o del Buon Gesù Era anche questo nel Borgo Inferiore, aderente al lato sud della chiesa di San Bernardino, non ancora costruita all'inizio del secolo. Ne abbiamo notizia nel 1448 quando, il 15 aprile, i frati di San Francesco cedono una loro casa vicina al chiostro del convento ai Disciplinati della Fraternita di Cristo. Fra le clausole, i compratori sono obbligati a "edificare un ospedale per i poveri di Cristo". Nel 1477 l'ospedale riceve un lascito di 5 fiorini per acquistare dei letti. San Giovanni Entro le mura castellane, nel Terziere di Porta Nuova, a confine della chiesa di San Giovanni (odierna via Mancini). Il 4 giugno 1455 il vescovo di Gubbio, Antonio Severi, tratta con la comunità di Fratta la cessione di un rimbocco posto fra la chiesa di San Giovanni e la casa dell'ospedale. Le sei persone nominate dal Comune per trattare la questione cedono tale pezzo di via al Vescovado a patto che serva "per i poveri dell'ospedale" e che nel termine dei sei anni il lavoro di ampliamento sia compiuto. Si trattava quindi di unire, con una nuova costruzione, la casa dell'ospedale alla chiesa di San Giovanni, in modo da ingrandire l'ospedale. Sant'Erasmo Si trovava nel Borgo Superiore, nella zona centrale detta il "Mercatale", aderente alla chiesa omonima. L’edificio è tuttora visibile nella sua interezza, anche se adibito ad abitazione. Era tenuto dai frati di Sant'Agostino, che facevano da infermieri. Aveva dei terreni in proprietà ed era il più grande ospedale di Fratta. I medici Nel Quattrocento, in Fratta esiste la figura del medico generico, detto "fisico" e quella del chirurgo, il "cerusico". Uno di questi svolgeva la funzione di medico "condotto", assunto dalla comunità che ne stabiliva diritti e doveri in un contratto notarile dal quale risultavano i casi nei quali poteva farsi pagare dai clienti e le visite ai molti poveri che doveva effettuare gratuitamente. Nell'eventualità in cui il medico aveva a che fare con una malattia molto grave o allora sconosciuta, poteva ricorrere alla clausola "pro corpore mortuo": per contratto non si assumeva responsabilità se l'ammalato moriva. In altri casi prospettava alla famiglia del malato (pagante) due somme alternative: se il congiunto guariva, avrebbe avuto la somma maggiore; se invece la cura non aveva effetto e il paziente passava a miglior vita, si sarebbe accontentato della somma minore. In questo secolo lavorano in Fratta soltanto medici ebrei. Uno di questi, maestro Manuele da Monticolo (Bolzano), operò in Fratta dal 1447. Negli anni 1484 e 1485 opera un altro "fisico" ebreo, Manuele da Pavia. Nel 1485 arriva l'israelita Emanuele di Angelo, da Padova, che abitava a Perugia. Forse ci si chiederà come mai le comunità assumessero medici ebrei. Perchè venivano pagati la metà di un medico cristiano. Il salario infatti era di 25 fiorini l’anno per un ebreo, 50 o 60 per un cristiano. Era la conseguenza dell'ostracismo dello Stato Romano verso gli ebrei e non delle differenti capacità professionali dei medici. Gli ebrei valevano come i cristiani, quando non erano addirittura più abili e più preparati. La peste La peste, presente di continuo a brevi intervalli, era la peggiore malattia che potesse capitare in questo secolo. Abbiamo poche notizie relative al nostro paese, ma siccome il contagio colpiva vaste zone, quando l'epidemia si manifestava a Città di Castello e a Perugia, sicuramente Fratta non ne era immune. Nel 1438, ad esempio, un farmacista di Fratta scrive un elenco di medicamenti da usarsi contro la peste, tra i quali, principalmente, 1'aceto. Nel 1400 la peste colpisce l'Italia centrale, soprattutto la Toscana. A Perugia e nel contado morirono 35mila (!) persone e migliaia di decessi si contarono anche a Città di Castello. Stando così le cose, pure a Fratta ci saranno stati molti contagi e conseguentemente parecchie vittime. Nel 1411 e nel 1417 la peste imperversa di nuovo. Nell'ultimo anno colpisce particolarmente Anghiari. Nel 1429 tornò a Perugia e in tutto il suo territorio, Fratta compresa. A seguito di questo la Magistratura perugina ordinò per la prima volta di controllare la salubrità delle carni in vendita nelle "beccherie". Nel 1435 scoppiò l'epidemia a Città di Castello, da marzo a novembre, ed alla fine perirono mille tifernati. Nel 1438 peste a Fratta, dove il nostro bravo farmacista descrive i rimedi che secondo lui avrebbero evitato la malattia. Un'altra ondata di contagio arrivò dieci anni più tardi e nel 1463 il morbo colpì ancora duramente Città di Castello. L’anno dopo la peste invase tutto il territorio di Perugia e il 14 settembre 1464 a Montone il Consiglio decide di "ricorrere ai santi del Paradiso per esserne liberati". Sei anni dopo, però, il feudo di Braccio Fortebracci sarà di nuovo sotto il contagio. Dal 1467 al 1476 1a peste torna ad intervalli regolari nell'intero Perugino. Nel 1478 abbiamo la notizia della peste a Fratta. Città di Castello non ne fu immune e contò cinquecento morti. L’anno successivo, a ottobre, ricominciò la pestilenza. Colpì in particolare Gubbio e Perugia. Durò tre anni e nella sola città di Sant'Ubaldo morirono quattromila persone. Nel luglio del 1468 scoppiò ancora a Perugia. Qui dimorava Pico della Mirandola che fu costretto ad abbandonare la città e a rifugiarsi a Fratta dove, in quel il momento, il morbo non si era manifestato. Questa tremenda epidemia tormentò la nostra zona e l'Italia intera ancora per molti secoli, senza che alcuna cura potesse aiutare le popolazioni. L’aceto ed altre sostanze di sapore aspro, considerate i rimedi più efficaci (anche in un grande trattato del 1610 presente nella biblioteca Vaticana), con i quali si lavavano gli abiti, i cibi e ci si cospargeva il corpo, servivano solo, purtroppo, a rendere ancor più dura la vita del tempo. Le guerre Ladislao, re di Napoli, sconvolgeva i territori dell'Italia centrale, intenzionato a conquistarne buona parte. II 25 giugno 1408 entra in Perugia. I Fiorentini ed il Papa tentano di contrastarlo con ogni mezzo e i Toscani chiamano Lodovico d'Angiò (incoronato re di Napoli dal Papa) per contrapporlo a Ladislao. Lodovico entrò negli stati della Chiesa con Malatesta da Pesaro, Angiolo della Pergola e Braccio Fortebracci. Quest'ultimo, prima di unirsi al d'Angiò, si era portato a Città di Castello e nei pressi di Fratta aveva sconfitto Giulio Cesare da Capua, capitano del re Ladislao, forte di duemila cavalieri. Nel 1411 Braccio Fortebracci tornò in Umbria, sorprese Montone e Fratta seminando distruzione e spavento, si diresse poi verso Perugia, che conquistò nel 1416, due anni dopo la morte di Ladislao. Scomparso Martino V nel 1431, Niccolò Fortebracci, nipote di Braccio, giunse a Città di Castello e in pochi giorni s'impadronì di gran parte dell'alta valle del Tevere. I perugini tentarono con ogni mezzo di dissuaderlo, ma alla fine tutto risultò vano. Più efficace si rivelò l'annuncio dell'arrivo di un esercito inviato dai Fiorentini ed altri alleati, tra i quali i conti di Montefeltro: oltre quattromila cavalli e molti fanti stavano dirigendosi verso il territorio tifernate, ma Niccolò Fortebracci non ne attese l'arrivo ritirando le forze a Montone, dove provvide a organizzare la difesa. E quando il 18 luglio 1431 seppe che i Fiorentini erano rientrati in Toscana, uscì da Montone, piombò sui castelli vicini conquistandoli. Il 12 agosto giunse alla Fratta Niccolò Piccinino con centocinquanta cavalli, diretto in Romagna; l'anno seguente arriveranno tremila fanti e cavalieri al comando di Francesco Sforza, in lotta con Niccolò Fortebracci, e notevoli danni provocheranno agli abitanti. Successivamente si aggiungeranno i soldati di Francesco Piccinino e dell'arcivescovo di Napoli governatore di Perugia, i quali, in contrasto tra loro, transiteranno per il territorio di Fratta e apporteranno lutti e violenze. Fratta vide giungere nel suo territorio, nel 1475, una gran moltitudine di persone per una sommossa scoppiata nel territorio tifernate. Nel 1479 si riaccese violenta la lotta tra Perugia e Fiorentini ed il nostro territorio subì ingenti danni. Molti castelli vennero distrutti, gli abitanti crudelmente uccisi. Capitano dell'esercito fiorentino era Niccolò Vitelli, scomunicato dal Papa. Dal 1488, alle lotte tra popolani (raspanti) e nobili (beccherini) a Perugia se ne aggiunsero altre, coinvolte le famiglie Baglioni e Degli Oddi, con disastrose conseguenze per tutti. I Degli Oddi furono cacciati, ma tentarono di procurarsi alleati e soldati, specialmente nel Ducato di Urbino, per rientrare in città. La venuta in Italia di Carlo VIII e la politica del Papa offrirono loro l'occasione per tentare di recuperare Perugia. I luoghi di rifugio dei fuorusciti erano tre: il territorio dei duchi di Urbino, parenti di alcuni Papi, di Siena e Fratta, dove volsero inizialmente le armi i Baglioni, informati che in questa zona avevano trovato asilo i Degli Oddi. Era l’anno 1495: all'abbazia di San Salvatore di Monte Acuto (Montecorona) giunsero Guido ed Astorre Baglioni con mille fanti e duecento cavalli; si riorganizzarono in fretta, andando a piazzare le artiglierie nei pressi della chiesetta di San Pietro di Romeggio. Ai primi colpi, gli uomini del Baglioni si resero conto che i proietti facevano più danno alle case che alle mura di Fratta, essendo queste a terrapieno. D'altra parte numerose erano le sortite degli assediati che quotidianamente riuscivano a ricevere aiuti da Assisi, Urbino, Matelica, Siena, Foligno e da altre terre amiche. I Folignati, intanto, si erano fatti promotori della formazione di un esercito che, verso la fine di agosto, al comando di Niccolò e Sforza Degli Oddi, si stava dirigendo alla Fratta. I Baglioni, conosciuta l'iniziativa, abbandonarono l'assedio di Fratta e ritornarono a Perugia, inseguiti dai nemici fino a Corciano. La battaglia fu combattuta il 4 settembre 1495 con vittoria dei Baglioni. Fratta, una settimana dopo, temendo rappresaglie per aver dato ospitalità ai Degli Oddi, tornò a sottomettersi ai Perugini. Fonti: Calendario di Umbertide 2004 – Ed. Comune di Umbertide – 2004 Renato Codovini: Storia di Umbertide - Il Secolo XV. Dattiloscritto inedito, 1992 A. Guerrini: Storia della terra di Fratta ora Umbertide dalle sue origini fino all'anno 1845 - Tipografia Tiberina, Umbertide, 1883 PICO DELLA MIRANDOLA A FRATTA Arrivò nell’antico borgo fortificato nell’estate 1486 Giovanni Pico della Mirandola e Fratta: un connubio che dette risultati fecondi. Il grande umanista, originario appunto di Mirandola, in provincia di Modena, celebre per le capacità intellettuali e la prodigiosa memoria, arrivò nell'estate del 1486, spinto da un'epidemia di peste scoppiata a Perugia dove si era rifugiato in seguito alla burrascosa vicenda amorosa con la moglie di Giuliano di Mariotto de' Medici, fiorentino. II borgo fortificato di Fratta offriva garanzie di un buon isolamento sanitario dal contagio, essendo completamente circondato dalle acque ed avendo soltanto due ingressi (la porta del torrione decagonale all'inizio del ponte sul Tevere e la porta della Campana), dai quali era facile controllare ogni persona che entrasse. A Fratta trovò un ambiente sereno, tranquillo nonostante gli echi delle lotte politiche tra Perugia, il Papato, Firenze e Città di Castello. Non è fuori luogo pensare che alloggiasse in una qualche casa del Terziere Superiore, a contatto con la folta e ricca comunità israelitica locale. Opportunità unica per uno studioso di cultura e di lingua ebraica. Di pari passo, Pico migliorò le proprie conoscenze anche in aramaico ed arabo per approfondire quelli che chiamava i tesori delle letterature orientali: Zoroastro, gli Oracoli dei Maghi, gli scritti di Esra e Melchiar. Rapporti molto intensi con quel mondo, quantunque anche a Fratta spirassero i venti della crociata antisemitica promossa dal frate minore Bernardino da Feltre. Sono dello stesso periodo "Commento alla canzone d'amore" di Girolamo Benivieni, "Elogio della pace" e lettere a personaggi di chiara fama: Taddeo Ugolini, Marsilio Ficino, Domenico Benivieni. Alcune lettere scritte da Pico durante la sua permanenza a Fratta si traducono in uno spaccato della vita sociale del tempo. Intanto, completa l"'Oratio de dignitate hominis", considerata il manifesto del Rinascimento. Secondo fico, la dignità dell'uomo è nell'assoluta libertà di scelta, nell'essere aperto a qualsiasi possibilità di vita. Nessuno ha una "natura" predeterminata da leggi, stretta entro limiti precisi. Libero "fabbro" di se stesso, a differenza delle altre creature, l'uomo può scegliere tra decadere al rango dei bruti o sollevarsi al divino, attuando in sé, ancora mortale, la congiunzione del finito e dell'infinito. Concezione "rivoluzionaria", nata all'ombra della Rocca e maturata da fonti eterogenee quali Platone, Aristotele, Ermete Trismegisto, Tommaso d'Aquino, la Cabala. Poco prima della morte, avvenuta nel 1494 a soli 31 anni, Pico della Mirandola si accostò alla predicazione di Girolamo Savonarola, alla cui difesa si dedicò appassionatamente, scrivendo due opere rivolte alle autorità ecclesiastiche ed una lettera intesa a sollevare l'opinione pubblica. Tutto inutile: il 23 maggio 1498 fra' Savonarola venne condannato ed arso a Firenze, accusato di eresia. Il soggiorno di Pico a Fratta fu quindi fecondo. E c'è da essere orgogliosi che abbia scritto proprio qui il manifesto del Rinascimento e la più alta celebrazione della centralità e libertà dell'uomo nel suo rapporto con Dio. Testi presi direttamente dal volume di Pietro Vispi “Il soggiorno e l’opera di G. Pico della Mirandola ad Umbertide” Dalla prefazione (o meglio non prefazione, come la definisce l’autore Gianni Codovini) “All’Autore (e non solo) Innanzitutto un grazie per averci restituito un pagina veramente alta della nostra Fratta, nonché per averci consegnato un rigoroso esempio di ricerca storica e un coerente metodo di lavoro, che sembra derivato non solo dai suoi profondi studi teologici e giuridici, ma anche mutuato da una persona - Renato Codovini - alla quale la città di Umbertide, ed io stesso in primis, dobbiamo gratitudine e stima, tanto per il suo essere l'inarrivabile fonte archivistica locale quanto per il suo meticoloso e discreto modo di orientare giovani studiosi ed esperti ricercatori nello studio storico e documentario. Non credo di allontanarmi dal vero, o perlomeno di non far violenza alla volontà dell'Autore se affermo che, Don Pietro Vispi, con l'abituale sensibilità intellettuale che conosciamo ed apprezziamo, riconosce il debito metodologico nei confronti di Renato Codovini in quella affettuosa e bella dedica in calce al libro che, credo, tutti condividano. Nel congedarmi dall'Autore e dal Lettore, consegno una mia impressione generale che vado sempre più confermando, che è quella poi di un intellettuale a me caro, Benedetto Croce: «ogni vera storia è storia contemporanea»(1). Condizione prima ed essenziale della storia - scrive Croce - è che il fatto, che si prende a narrare, vibri nell'animo dello storico. Ne consegue che ogni storia «se è davvero storia se cioè ha un senso e non suoni come discorso a vuoto», è contemporanea, sia che prenda in esame eventi remoti sia che consideri fatti vicini o presenti. Tale la morale generale che ho rafforzato leggendo il prezioso libro di Pietro Vispi.” Umbertide, settembre 1995 Umbertide, Tishri 5756. Gianni Codovini Note: 1. Vds. B. Croce, “Teoria e Storia”; Laterza, Bari, 1976, pp. 1-5, ma anche “La storia come pensiero e azione”, Laterza, Bari; 1938, pp. 170-172. Il soggiorno a Perugia ed in Fratta “Il periodo di tempo che riguarda il soggiorno perugino e poi a Fratta è in verità molto breve, ma, se rapportato alla brevissima vita del conte, e soprattutto poi a quanto e come in questo breve lasso egli abbia prodotto, potremmo quasi dire che sia stato uno dei più importanti vissuti da Pico. Come già detto nelle brevi note biografiche, nella primavera del 1486 Pico è di ritorno da Parigi e, dopo aver sostato qualche tempo a Firenze, volendo, pare, dirigersi alla volta di Roma, allorché fu in Arezzo, il 10 di maggio, si trovò invischiato nella non chiara faccenda del rapimento di Margherita, moglie di Mariotto de' Medici. Come sappiamo, l'intervento del Magnifico mise fuori dai guai Pico, che, o per già deciso programma, o per altra ragione a noi sconosciuta, si ritira a Perugia. Nasce abbastanza spontanea la domanda: come mai Perugia? Una risposta potrebbe essere data guardando bene gli interessi di Pico contemporanei all'avvenimento. Giovanni aveva finora studiato con estrema profondità la filosofia specialmente aristotelica e averroistica, ma proprio questo studio “chiariva al Pico l'urgenza di risolvere il problema dei rapporti fra le sempre più ardite sue dottrine e la religione cattolica, quale è insegnata dalla Chiesa di Roma. Sotto l'incalzare di questo problema, anche i suoi studi orientali prendono un indirizzo nuovo. Finora sotto la guida di Elia, aveva soprattutto studiato il pensiero arabo nel suo più grande esponente: Averroè. Ora si volge verso pensatori che abbiano fatto oggetto di riflessione l'esperienza religiosa e, partito da Maimonide, si addentra nel campo del pensiero ebraico finché, affascinato dalle più esuberanti correnti mistiche, nelle immaginose interpretazioni simboliche dei testi scritturali crede di aver trovato una soluzione ai suoi problemi e una via di uscita per le sue difficoltà"(1). Così egli comincia a studiare la Cabbala(2), utilizzando questa non tanto dal punto di vista dottrinario, quanto invece come metodo esegetico scritturale. La confidenza con i testi dell'ebraismo era nata già a Padova attraverso l'iniziazione avuta dal del Medigo e continuò poi a Firenze, diventando vera attrazione, in seguito all'amicizia sorta col Mitridate; anzi, abbiamo certa notizia dell'organizzazione, proprio in casa di Pico, di convegni di ebrei per discutere i rapporti di interconnessione filosofica fra ebraismo e cristianesimo. I due maestri però non proponevano a Giovanni la stessa ottica; l'uno, Elia, israelita ortodosso, conosceva la Cabbala ma la rigettava come sapere spurio, l'altro, convertito al cristianesimo, era invece un fervente cabbalista. La differenza tra i due fu la causa di una reciproca inimicizia che durò tutta la vita; Pico comunque non interruppe i rapporti né con l'uno né con l'altro. Il giovane conte resta dunque affascinato “dalla dottrina misteriosa, che Elia e Mitridate gli espongono; con notevole spesa egli si procura quei libri che legge con indefessa fatica; il risultato di tali letture è che Pico trova addirittura nei documenti della cabbala , oltre a dottrine filosofiche degne di Pitagora e di Platone, la conferma piena dei fondamentali misteri del cristianesimo, tanto osteggiati dagli ebrei intransigenti”(3). Perugia, per quanto diremo nel capitolo seguente, era il luogo adatto ed ideale per la conoscenza e l'approfondimento dei testi cabalistici, luogo con una forte e colta comunità israelitica, centro di produzione di codici e città qualificata da uno Studio di ormai antico prestigio. Del soggiorno perugino abbiamo molte testimonianze ricavabili dagli scritti di Pico, di Elia(4), del Ficino, e proprio a Perugia Giovanni fu raggiunto da Elia del Medigo; un ricco e fecondo colloquio intercorse tra i due, ma fu presto interrotto: nel luglio a Perugia scoppia un'epidemia di peste che consiglia l'allontanamento dalla città. Il rifugio, da Pico, fu trovato in Fratta. Noi non sappiamo i motivi precisi della scelta, ma forse, proprio la presenza nel piccolo centro di una qualificata comunità ebraica, oltre il tranquillo isolamento anche sanitario, che il munito nucleo urbano poteva offrire, non dovrebbero essere stati argomenti ignorati da Pico. Va poi sottolineato un particolare che, per quanto accidentale, ci ha molto incuriosito: nell' Oratio, allorché Pico afferma che la cabbala stessa diviene strumento di confutazione per gli ebrei... “integralisti”, egli ci dice di aver convinto alla dottrina trinitaria cristiana un coltissimo israelita, esperto di cabbala, di nome Dattilo(5). Sappiamo noi per certo, e lo illustreremo nel capitoletto apposito, che di sicuro uno dei massimi esponenti della comunità ebraica perugina, originario ed abitante di Fratta, era, all'epoca di Pico, proprio un certo Dattilo di Salomone, facoltoso banchiere. È solo sicuramente una pura coincidenza, quella appena descritta, e da questa non vogliamo certamente trarre conclusioni indimostrabili; essa tuttavia è causa di legittime suggestive fantasie. Due parole vogliamo spenderle a chiusura di questa parte per dimostrare come la Fratta, nella quale Pico si trattiene, sia l'attuale Umbertide. È vera la constatazione che di “Fracta” o “Fratta” la toponomastica del perugino ne annovera più di una: Fracta Filiorum Azzonis (Collazzone), Fracta Filiorum Fusci (Castiglion Fosco), Fratta di Guido (F. Todina), Fratta Cornia (nei pressi di Lisciano Niccone), ecc., però, nessuna mai viene citata in alcun documento senza la specificazione patronimica. L'unica Fratta, per antonomasia, in quanto anche centro senza dubbio più ragguardevole degli altri, e massima fortezza perugina, è Fracta Filiorum Uberti, che nella seconda metà dell'ottocento muterà il proprio nome in quello di Umbertide. Già dal 1145, in un diploma di Eugenio III, pubblicato negli annali camaldolesi(6) - e sempre in seguito, così come del resto fa lo stesso Pico e come sempre si riscontra nella cartografia ufficiale pontificia - Fracta Filiorum Uberti viene indicata col solo termine di "Fratta" o Fracta" senza il timore di cadere in equivoci di interpretazione o di definizione toponomastica. Giunge pertanto Pico nella nostra regione, desideroso di studi, di approfondimenti personali, di serenità, in previsione del grande progetto romano. Egli trova una realtà ambientale ed umana che certamente gli aggrada e lo stimola se qui rimane fino all'immediata vigilia della, purtroppo mai sostenuta, disputa.” Pietro Vispi Note: 1. E. Garin, Giovanni Pico della Mirandola, Vita e Dottrina, Firenze, 1937, p. 27. 2. La Cabbala, o Cabala, significa “tradizione”, e divenne una delle componenti culturali del Rinascimento. Essa non è di facile definizione, consiste sostanzialmente in una forma di misticismo giudaico tuttora non molto studiato. Tale misticismo ebbe buona diffusione nel Rinascimento, e specialmente nel mondo cristiano fu utilizzato come metodo di esegesi biblica. La chiesa è sempre risultata diffidente nei confronti della cabbala tanto che dalla controriforma in qua essa venne vietata, così come tutti i testi di origine ebraica. 3. G. Di Napoli, op. cit., 55. 4. Cfr. Heliae Hebrei Cretensis, questio de ente et essentia et uno. Venetiis, 1546, fol. 142/r (volume contenente Super octos libros Aristotelis…, di Giovanni di Jandun) 5. Cfr. Oratio…, Trad. di E. Garin, fol. 139/r., Firenze, 1942. Foto di Fabio Mariotti Disegno di Adriano Bottaccioli Fonti: - Calendario di Umbertide 2004 – Ed. Comune di Umbertide – 2004 - Renato Codovini: Storia di Umbertide - Il Secolo XV. Dattiloscritto inedito, 1992 - Pietro Vispi: Il soggiorno e l’opera di G. Pico della Mirandola ad Umbertide – Ed. Comune di Umbertide - 1996 Disegno di A. Bottaccioli (Calendario di Umbertide 2004) La Rocca nel 1912 ed oggi. Nella foto più antica si può vedere il torrione laterale ancora coperto e le facciate della case diverse da oggi La zona dove si pensa esistesse la gualchiera Disegno di A. Bottaccioli (Calendario di Umbertide 2004) Disegno di A. Bottaccioli (Calendario di Umbertide 2004) 1911. Il calzolaio a Montecorona Disegno di A. Bottaccioli (Calendario di Umbertide 2004) Disegni di Adriano Bottaccioli (Calendario di Umbertide 2004) Disegno di A. Bottaccioli (Calendario di Umbertide 2004) Disegni di A. Bottaccioli (Calendario di Umbertide 2004) L'Abbazia di Montecorona La chiesa di Romeggio Disegno di A. Bottaccioli (Calendario di Umbertide 2004) Disegno di A. Bottaccioli (Calendario di Umbertide 2004)

Write a title here. Click to edit and add your own. This is a paragraph area where you can add your own text. Just click “Edit Text” or double click here to add your own content and make changes to the font. It's a great place to tell a story about your business and let users know more about you. Track Name Artist Name 00:00 / 01:04 Arrivi e Partenze Il popolamento di Umbertide.... Partenze Settimio Presciutti A cura di Loredana Presciutti "Settimio Presciutti nasce nel 1924 e sposa nel 1951 Annunziata Bomboletti più giovane di tre anni, nata nel 1927... Carlos Tonanni A cura di Francesco Deplanu Jaboticabal, in Brasile, in 50 anni passò da essere un villaggio ad una città: era una “parrocchia” nel 1848, venne smembrata dal distretto di “São Bento de Araraquara” e passò ad avere lo status di “città” nel 1902. ... Gino Monsignori A cura di Miriam Monsignori Mio padre, Gino Monsignori, nell’estate del 1954 è un giovanotto ambizioso di appena 22 anni che desidera... Carlo Becchetti A cura di Francesco Deplanu Carlo Becchetti, nato nel 1936 in una famiglia mezzadrile, con un il fratello Primo di 14 anni più grande, emigrò in Svizzera per poi tornare. Write a title here. Click to edit and add your own. This is a paragraph area where you can add your own text. Just click “Edit Text” or double click here to add your own content and make changes to the font. It's a great place to tell a story about your business and let users know more about you. Il popolamento di Umbertide.... Arrivi Ashley Amerson Product Manager Brad Grecco Marketing Associate Kelly Parker HR Representative Marcus Harris Account Director

25 April April 25 in Umbertide means more things. Joy and pain, death and liberation ... 1944 with the bombing; the 1945 liberation. The first, ours, you can deepen with the pages of Alvaro Tacchini on "the Atlas of memory " with the contextualization of the events that our people underwent when they crossed the front in April 1944; in Fabio Mariotti's " Paths of Memory ", one can relive the pain of an entire community that will count 70 victims; with the "V oci della memoria " it will be possible to enter in an attempt to keep the memory of the people who lost their lives that day. April 25, 1944: The bombing of Borgo San Giovanni and the death of 70 fellow citizens (edited by Fabio Mariotti) Twelve British Curtiss P - 40 Kittyhawk aircraft departed from the Cutella field airport in Puglia to destroy the road bridge over the Tiber and make it more difficult for the Germans to retreat. It was April 25, 1944. A date that the people of Umbria will not forget. Between 9 and 9.30 the allied squadron flew the sky over Umbertide, with its load of two large-caliber bombs per plane (altogether about 4 tons of explosives ). After several vaults above Romeggio, the planes headed towards Serra Partucci, in favor of the sun, from which they swooped down towards the bridge over the Tiber. But the bombs (as Roberto Sciurpa wrote in his volume “Umbertide in the 20th century 1900 - 1946, from which this information is taken) were not yet“ intelligent ”(if ever there will be intelligent bombs) and they often missed the target. This unfortunately also happened to Umbertide. The bombs, dropped at regular intervals of about 30 seconds between one couple and the other, instead of hitting the bridge, all but two ended up on the houses in the historic center. It was a massacre. 70 people, including 46 women, were buried under the rubble. This is war. These are what today they call "side effects" that always and inexorably affect civilians, the most defenseless people. To avoid even these effects, there is only one universal system, stop wars and always work for peace. La ricostruzione video de "Il nostro Calvario" Presentiamo un estratto video, su gentile concessione di Mario Tosti, dal DVD “L’alba della libertà” realizzato nel 2004 dall’Istituto di storia politica sociale Venanzio Capriotti e dal Centro socio culturale San Francesco di Umbertide, in occasione del 60º anniversario della liberazione dell’alta Valle del Tevere , luglio 1944. Progetto diviso in quattro parti: la prima, che mostriamo come estratto nel nostro video, si intitola “Il nostro calvario. Il bombardamento di un paese inerme“; le altre parti del Dvd erano “Passaggi del tempo" sulla liberazione di Umbertide, “Mutazioni” sulla liberazione di Città di Castello ed infine “La bomba intelligente. la bonifica di una bomba inesplosa dopo sessant’anni di letargo” ritrovata sul greto del Tevere ad Umbertide. Le immagini storiche sono tratte dal libro “il nostro calvario di Mario Tosti. Le scene dal vivo invece sono tratte dalla rievocazione “l’ultima ora“ di Giampiero Frondini; le voci dei testimoni erano state registrate nel 1984. Voce narrante Luciano Bettucci, animazioni Valerio Rosi. Il progetto Ottant'anni Nel 2024 è nato il progetto "Ottant'anni", con una pagina completamente dedicata al ricordo della tragedia per eccellenza umbertidese. Progetto a cura di Mario Tosti, Unitre di Umbertide, il Centro Culturale San Francesco, con il Patrocinio del Comune di Umbertide. Realizzato con la collaborazione di Corrado Baldoni, Mario Bani, Serio Bargelli, Federico Ciarabelli, Francesco Deplanu, Sergio Magrini Alunno, Massimo Pascolini, Antonio Renzini, Luca Silvioni, Pietro Taverniti, Romano Viti. Cliccando qua di seguito si aprirà la pagina completa dedicata al 1944 e quella in divenire, mese per mese, del 1945 : Questa sotto è la pagina dell'opuscolo realizzato per portare la memoria nelle scuole superiori di Umbertide ed è stato realizzato da Antonio Renzini; cliccandola si torna alla Home del sito dove si può procedere anche qua mese per mese dal 1944 al 1945 nella nostra storia. The atlas of the Memory v to the page THE Routes of Memory v to the page Voices of Memori a go to page And then the other 25 April, that of 1945 with the liberation and the end of the war, a national event that is celebrated throughout Italy. Liberation that occurred in a broader military context connected with the front of Eastern Europe and the "French" one: on 25 April with "Elba day" they united. The release with the actions of the CLNAI can be explored with the link to "April 25, 1945" on the site dedicated by RaiCultura. At the same time American and Soviet troops joined at Torgau on the Elbe River. The action revealed the end of the Nazi system which occurred a few days later with the Battle of Berlin, giving the sensation of an ephemeral concord that was in reality only military. By following the link you can reach an in-depth page on Elbe Day. April 25, 1945 - 2020: Seventy-five years from the Liberation (edited by Fabio Mariotti) April 25, 1945 is the day on which the Upper Italy National Liberation Committee (CLNAI) - whose command was based in Milan and was chaired by Alfredo Pizzoni, Luigi Longo, Emilio Sereni, Sandro Pertini and Leo Valiani (present among others the president designate Rodolfo Morandi, Giustino Arpesani and Achille Marazza) - proclaimed a general insurrection in all the territories still occupied by the Nazi-fascists, indicating to all the partisan forces active in Northern Italy that are part of the Volunteer Corps of Freedom to attack the fascist presidia and Germans by imposing surrender, days before the arrival of the allied troops; at the same time, CLNAI personally issued legislative decrees, assuming power "in the name of the Italian people and as a delegate of the Italian Government". Since then April 25 has been a national holiday, the anniversary of the liberation of Italy. It is in fact a fundamental day for the history of Italy as a symbol of the victorious struggle of military and political resistance carried out by the allied armed forces, the Italian Cobelligerant Army and the partisan forces during the Second World War starting from 8 September 1943 against the fascist government of the Italian Social Republic and the Nazi occupation. 25 aprile 1945 April 25, 1945 v to the external page Elbe Day v to the external page Help us remember umbertidestoria@gmail.com

Facanapa - satirical magazine of Umbertide of the late nineteenth century Presentation at the Museum of Santa Croce - 5 March 2010 by Roberto Sciurpa Premise The presentation of a short-lived newspaper that saw the light in our city, intends to retrace the magnitudes and miseries of a limited historical period and the Municipal Administration did well to take care of its reproduction for its high civic value and significance. moral that the local paper carried out between December 1893 and July 1894. It was a courageous initiative of a group of authoritative citizens, who took over the situation of criticism and control over the public administration since the institutions delegated and legitimate they had inexplicably given up on it. In just eight months, a seemingly unpretentious piece of paper, he managed to achieve what in twenty years the defenders and guarantors of a community had refused to demand. Behind FACANAPA, the Venetian mask that lends the title to the newspaper, there are in fact reports of seriously deviant political and administrative pathologies, destined to repeat themselves, when the sense of individual and collective responsibility, of the founding values of a people is lost, with the consequent lowering of the level of controls. It can happen, then, that the following occurs: - expropriation of politics by a prevaricating and opaque bureaucracy, which responds only to itself; - dangerous drift towards corruption and the triumph of personal interests; - dark direction of skilled and unscrupulous fixers who manipulate the life of a community under the shelter of the peaceful umbrella that offers human and environmental outlines that are apparently peaceful and even pleasant to shady events. The institutional framework In the city of Umbertide in the late 1800s there was a restless atmosphere. The fall of papal power and the annexation to the Kingdom of Italy, on the political and institutional level, had not changed things. The local agriculture continued to hold power, as had happened in the past, since the active and passive electorate passed through the categories of wealth and the wealthy, together with the assets, also inherited the right to manage public affairs, according to a bad habit that was lost in the mists of time. It is not difficult to imagine the lack of enthusiasm that the various agrarians felt in taking on the task of administering the interests of a community that they often accepted unwillingly, all taken as they were by the care of their own affairs. The leap in quality will take place only in 1909 with the conquest of the Municipality by a bourgeoisie led by Francesco Andreani who set aside the centuries-old power of the agrarians and established the right to govern following the indications of the vote and not those of the census. The social framework On the social level, the Italian Unity brought, however, notable winds of change also in these parts, allowing the vigorous birth of trade associations, destined soon to overcome the mere corporate aspect. There was a proliferation of organizations such as the Society of Veterans of the Patrie Battaglie founded in 1883, the Society of Masons in 1888, that of Rowers of 1890, that of Mutual Aid and many others. But above all the Circolo Mazzini was alive and very active since 1877 with its numerous political initiatives, systematically opposed by the liberals of the time who administered the Municipality. The local Socialist Party was not yet born, the section will be founded in May 1899, but already at the national level that Party had had official visibility for some years. No wonder, therefore, if on the morning of May 1, 1899, the municipal guards communicated to the Mayor, Count Giuseppe Conestabile Della Staffa, that during the night someone had written on the walls of the Town Hall and in various points of via Cibo with lampblack and water: Long live May 1st Down with the exploiters Down with the Public Safety Delegate Long live the Workers The wind of change did not affect only the heterogeneous sector of the opposition, but also that of the liberal majority who split into progressives and conservatives with often resentful oppositions and distinct and combative press organs. Let's not lose sight of the dates to understand the political evolution of the time. Facanapa arises in this climate of profound aspiration for change and political bradyseism, when among the liberal municipal councilors sits, for example, a person of rank such as Benedetto Maramotti, the former historical prefect of Perugia for 21 years, with strong sympathies for the historical left of Agostino De Pretis who had taken power in 1876 and who as prefect had cleared the democratic Ulisse Rocchi through customs, making him the mayor of Perugia. Retired in 1889, Maramotti settled in the area, near his daughter Emma, who had married a Mavarelli, whose substantial properties were located in these parts. As a municipal councilor of Umbertide he looked after the interests of his son-in-law more closely. Maramotti was the fourth prefect of Perugia without being a Senator, after Filippo Gualtiero, Luigi Tanari and Giuseppe Gadda, all three Senators of the Kingdom. Giacomino Dal Bianco But the real reason why Facanapa was born lies in the prevarications of the municipal secretary of the time: Giacomino Dal Bianco. Dal Bianco was born in 1850 in Velo d'Astico, in the province of Vicenza, a municipality that today has 2,350 inhabitants and then counted even fewer. The small town is located between the Astico and Posina streams, close to inaccessible mountains that only soften in the fertile plain of the valley floor at the end of the gorge. On March 15, 1874, at the age of 24, he was appointed Secretary of the Municipality of Umbertide. At that time the competitions for this type of office were prefectural and the appointments were conferred by the Prefect to whom the municipal secretaries were hierarchically subordinate. They were state employees in all respects, paid, however, by the municipalities. The minutes testify, without a shadow of a doubt, that Dal Bianco was an intelligent and prepared official, present at city initiatives to the point of exaggeration. Of considerable size, tall and elegant, with a plump and round face, so much so as to deserve the nickname of “Luna Piena” (Full Moon) by Facanapa, he did not disdain the table and the good food that he gladly honored. Family commitments did not occupy him much because he remained faithful to nature, a bachelor as he was born. He would have been an excellent and precious collaborator, had he not had the very serious defect of not staying in his place. Taking advantage of lazy and indolent administrators, who exercised the role by inheritance of wealth and to whom an "expansive" and enterprising secretary was comfortable, Giacomino began to occupy spaces that were not his own, to override administrative skills and behavioral practices that soon attracted attention . On more than one occasion, the security of the acquired power led him to deride with irreverence councilors who were not very docile to him as happened when the mayor indicated a certain administrator as his representative at the Città di Castello Exhibition and he suggested that it would be better to send us Porrini (the usher !!), the press and the same population of Umbertide. In the imaginary and ironic interview with the "Gran Soaffa" (another nickname of Dal Bianco), which the editor finds sunk in his armchair smoking a "Virginia" cigar, the secretary declares how he does good and bad weather in the city: “In the Town Hall I am in charge, in the Congregation of Charity I am in charge, in the Bank I am in charge, and then and then ... in this country you just need to promise, these inhabitants are so good!”. He was losing the sense of the limit, as it always happens and in all abusive paths. No wonder, therefore, if the words “Umbertide agli Umbertidesi!” Began to appear on the ballot papers. In the meantime, Dal Bianco accumulated well-paid public assignments and fees, carried out private paid consultancy, wrote little (disregarding the advice of the Mayor Mauro Mavarelli) and traveled a lot with the carriage always ready in front of the door of his house in via del Foro Boario n. 6, in the current Piazza Caduti del Lavoro, right in front of the Rocca, and at the expense of the various bodies it represented. Public and private were intertwining in a twisted way, to the point of heavily polluting the award of numerous contracts. The little travet, with a modest salary as a town clerk, was making a fortune. He went to the Municipality when he could to give important directives, while capitalizing the proceeds of his role as public servant in real estate. Dal Bianco, in fact, will definitively settle in Umbertide and in the registry office he is the owner, therefore the owner of unidentified properties. One thing is certain is that in the phase of the first enlargement of the city cemetery, in 1900, he bought a chapel in the left hemicycle, the noble area, next to other chapels of the wealthy families of Umbertide (Burelli, Santini, Ramaccioni, Savelli, Bertanzi, Confraternita of the Holy Cross and of the Good Death). His body rests in that chapel. Giacomino Dal Bianco died on November 20, 1914 at 6.10 am, at the age of only 64. We do not know what happened to his decent fortune. Sometimes among the mysteries that cloak personal aspirations in an arcane there is also that of wanting to be with the wealthy even when dead. Contrary to Facanapa's ironic predictions, Dal Bianco did not leave Umbertide and after his retirement, in 1894, we find him among the municipal councilors. The irony of the Venetian mask becomes inexorable and pungent: “He, coming from outside, loved our country as his own, and, neglecting his own interest, he took care only of ours, so much so that he will leave us humble and humble as he came”. Harsh judgments that certainly made noise in the Municipality and in the city. The constant, precise accusations of personal interests in his public role, and of enrichment with shady deals, today would have sparked a flurry of lawsuits and heated legal battles. That was not the case at that temple. The editors continued to publish their articles undisturbed for another four months: the newspaper will still come out with eight fortnightly issues until July 15, 1894. Also in the March 25 issue, the article "Resurrection" written by a very fine pen is striking. He denounces the sadness that has pervaded Umbertide for some time due to "the economic hardship of so many, which is making itself felt more bitter every day". With fine sensitivity, the editor analyzes the situation of the man forced to fight bitterly the life that "cannot be cheerful, cannot be good, cannot be willing to look at and treat others kindly". And he continues: “Every economic disaster brings with it a legacy of enmities and grudges; and we have in our country the example of many profound divisions due to similar reasons ”. He concludes: “In the midst of the common misery there are those who get stuck; who in the midst of the general collapse of souls rules; who from our discords draws strength and power ”. Prophetic words that transform satire into a serious and respectable editorial that many would like to sign. The reporting of irregularities in the periodic updates of the electoral lists is recurrent and documented and responded to the logic of granting active electorate to those subjects who gave greater guarantees in the election of docile candidates to the powerful secretary. He had also appropriated eight hundred lire of the secretarial fees, never paid to the municipal treasury, and had been sentenced to compensation by the Council of State, but in the subsequent appeal to the Ministry, the Municipality strangely did not become an injured party and Giacomino won the match. The Ghibelline from the north had created a kind of feudal vassalage to which the administrators were unable to react. It should be remembered that in 1887, among the reasons for the resignation of the historic mayor of Umbertide, Mauro Mavarelli, the minutes report the harsh criticism of his own advisers for not having removed the cumbersome subject from his office. In this situation the newspaper became a guarantee garrison appreciated by many, not only of the opposition, but also of the majority, and carried out that role of control and criticism which the institutional bodies had inexplicably renounced. But its merits are also other: the numerous news events that document events of city life and enrich the history of Umbertide with important details, extensively treated by other authors; the description of the poor conditions of the peasants and of their houses reduced to pigsties; a rude and arrogant small-scale agrarian bosses; the pellagra which bordered on high peaks with 341 people affected by the disease, while Gubbio, with a much larger territory, had a hundred, Foligno twelve and Nocera Umbra only one. The disease, after having weakened the physical faculties, attacked the mental ones and led the patient to the asylum. Facanapa will excuse us if we add a footnote to his numbers: on the 341 pellagrosi the female incidence was double compared to the male one and the fact speaks volumes about the silent and daily sacrifice of our women in the fields who left the rare best morsels to their men because could withstand the adversities of work longer. Welcome back to us nice Venetian mask, which from the head of a brave sheet, buried in the dust of oblivion, coordinated the whip of the Umbertidese frog, intent on hitting the shady den of suspicious trafficking! Conclusions In this brief overview we have been able to observe the miseries of politics expropriated by a troublesome and intriguing bureaucracy; the maneuvers of a capable and prepared character who had put his remarkable gifts at the service of obscure personal interests; the serious and prolonged omissive responsibilities of conniving administrators. But we have also seen the magnitudes and values: - a handful of generous young people determined to replace the institutions in order to eliminate the corruption; - the positive role of the press which in eight months has helped to resolve situations gangrenous for years; - the polite tone of a close and never delegitimizing political dialectic, conducted by gentlemen of other times; - genuine respect even for the main target of the invectives, towards which subtle irony is used, never vulgarity and much less personal offenses. They seem like values to us to be exalted not only because they disappeared on the threshold of the third millennium, but because indispensable to rebuild the identity of a people starting from the roots of men municipalities that made civil conscience and a sense of legality grow among the people of Umbertide. Sources: "A FREE MAN - Roberto Sciurpa, a passionate civil commitment" - by Federico Sciurpa - Petruzzi publisher, Città di Castello, June 2012 Roberto Sciurpa tells the story of Umbertide to school pupils Roberto Sciurpa with the collector Raffaele Bozzi, owner of the collection of "Facanapa", at the presentation of the magazine Roberto Sciurpa with Amedeo Massetti and Petruzzi during the printing of the last book on the History of Umbertide In the pictures: - The first page of the magazine n.1 - Some articles on the first and last page - An advertisement The article dedicated to the presentation of the satirical magazine "Facanapa" in n.1 2010 of "Umbertide Cronache" signed by Amedeo Massetti The cover of the book that his son Federico dedicated to his father Roberto

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

Domenica ed il voto del 2 giugno1946 (a cura di Sergio Magrini Alunno) Domenica Floridi, nata a Umbertide il 7 gennaio 1923, ha vissuto a Faldo nel comune di Montone e dal 1973 a Umbertide, si è sposata con Pietro Anniboletti il 17 agosto 1942; è morta il 6 marzo 2022 a 99 anni. Il giorno del 70° anno del voto alle donne, riportato nel video qua sotto, aveva 93 anni compiuti. Video: Grazie al Coordinamento per la Pace Umbertide- Montone – Lisciano Niccone in collaborazione con il Comune di Umbertide, il 2 giugno 2016 Domenica potè raccontare le sue emozioni durante gli eventi collegati alla terza edizione della Marcia “La memoria cammina con noi". La sera nella Chiesa di Santa Croce, oggi musealizzata, vennero, infatti, raccontate alcune impressioni di donne che votarono al Referendum del 2 giugno del 1946. In contemporanea fu possibile visitare la mostra che ripercorreva gli 85 anni che, dal 1861 fino al 1946, condussero l’Italia al diritto di voto alle donne e alla nascita della Repubblica. In quegli anni ha scritto da sola, di suo pugno, un breve diario (riportiamo qua una prima parte del diario, come fonte diretta senza correzioni di nessun tipo) dove racconta: "Sono nata in una famiglia composta da due nuclei famigliari, da una parte degli zii erano sette persone a da parte mia eravamo in cinque. Eravamo una normale famiglia di contadini di quel periodo. Cera poco da sprecare tanto per il mangiare che per il vestire. Sono andata a scuola a Santa Maria da sette, ho fatto la quarta elementare che le altre scuole non cerano e non cerano altri divertimenti che andare a lavorare nei campi. Mi sono fidanzata con Pietro che avevo 14 anni e dopo sei mesi che eravamo fidanzati lui è partito per il servizio militare ed è stato via per 18 mesi da permanente ed è stato a Torino. Dopo un anno che era tornato a casa è scoppiata la guerra, E’ stato richiamato in ottobre del 1939 e allora ha cambiato parecchie località dalla Francia alla Sicilia. Dopo parecchio tempo che era via non trovando mai il sistema per poter prendere una licenza per tornare a casa ha deciso di sposarsi per poter prendere un mese di licenza e così abbiamo deciso. Ma i giorni sono passati veloci perchè non era un mese che abbiamo passato insieme, ma soltanto 23 giorni. E dopo siamo stati 13 mesi senza rivederci. E poi è successo di tutto, siamo stati mesi interi senza avere sue notizie. Poi dopo l’otto settembre del 1943 con lo sbandamento dell’esercito, pur che in quel momento si trovava in Sicilia il comandante della compagnia di notte tempo gli ha fatto attraversare con il traghetto lo stretto di Messina e poi il 23 settembre del 1943 è tornato a casa. Magari in condizioni pietose, vestiti da soldati non potevano viaggiare, e da borghesi andava bene tutto quello che gli hanno dato, che aveva un paio di scarpe legate e aggiustate con fili di ferro, un paio di pantaloni corti e rotti e una camicia che ci entrava due volte. In compenso di salute stava bene. Per tre o quattro mesi è stato tutto tranquillo. Il fronte stava avanzando ma nei primi mesi del 1944 che i tedeschi si sentivano traditi dagli italiani anno cominciato a fare dei rastrellamenti per portare in Germania i giovani che si trovavano a casa, questi poveri ragazzi dovettero stare nascosti tanto dai tedeschi che da occhi indiscreti ossia dai fascisti. Il mese di giugno poi nel avvicinarsi del fronte i Tedeschi erano molto cattivi e pericolosi entravano nelle case e portavano via ciò che trovavano. In quel periodo ero in stato interessante e perciò anche molto stressata. I lavori in casa erano tantissimi, perché erano venuti a vivere con noi anche mio cognato con tutta la sua famiglia e due zie con un figlio ciascuno. I lavori di casa toccavano tutti a me e all’altra cognata che le altre avevano paura e si andavano a nascondere. Così il 24 giugno mentre facevano delle perquisizioni in casa a me un tedesco mi a rinchiuso in una camera e dopo tanto spavento mi è riuscito di infilare la porta e scappare via senza aver subito violenza. Questi giorni neri si sono susseguiti per parecchi giorni. Poi l’ultima settimana del passaggio del fronte eravamo sfollati alla Valcinella per una settimana. E anche lì siamo stati molto male si dormiva per terra in un camerone eravamo una ventina di persone. E di giorno passavano in continuazione le truppe alleate, i tedeschi erano feroci arrivavano cannonate in continuazione non molto lontano da noi. Anche al ritorno abbiamo avuto problemi scendendo giù da Migianella cerano tante postazioni di soldati neri, Pietro era avanti con il carro i buoi e la cavalla e io avevo un vitellino al guinzaglio che non voleva camminare e questi soldati neri mi guardavano con occhi sbarrati. Dopo tornate a casa noi donne più giovani si doveva stare nascoste perché i neri volevano approfittare di noi. Per difenderci ci armavamo di falci e forconi che di quelli avevano paura. Dopo la metà di luglio che le cose hanno cominciato a cambiare in meglio io ero già a metà tempo di gravidanza, ancora non si vedeva dov era la pancia da quanto ero magra. E poi ero molto preoccupata che con tante paure che avevo avuto pensavo che il bambino non nascesse normale. Per fortuna che il Buon Dio ci ha aiutato che è andato tutto bene. Dopo la nascita del bambino ho avuto la vita più tranquilla che Pietro era a casa il bambino cresceva bene, avevo il latte abbastanza ." Fonti: - Archivio personale fam. Anniboletti - https://atvreport.it/attualita/umbertide-celebra-2-giugno-la-consegna-della-medaglia-alla-liberazione-allex-combattente-domenico-bruschi-la-terza-edizione-della-marcia-la-memoria-cammina/ Video: Sergio Magrini Alunno Foto: Fabio Mariotti