tag:blogger.com,1999:blog-42017276641959757852024-02-12T00:44:40.584+01:00Capranica StoricaUnknownnoreply@blogger.comBlogger65125tag:blogger.com,1999:blog-4201727664195975785.post-41935423009258453102024-02-01T10:00:00.012+01:002024-02-02T11:51:46.223+01:00Mecchì dicemo ‘u. Qualche considerazione sull’articolo determinativo singolare maschile -il- nel dialetto capranichese<!--[if gte mso 9]><xml>
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<p class="MsoNormal" style="text-align: center;"><span style="font-size: large;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPTFPnIcPgGiQ34vXHTJB4Rt2IbqYFEwuBMOCPqglqHdB2Z400IsB0RpiVqF7C1q3IX_HbwHfgcEwojW0Ex4VUR-7_S0w1F2JUzxsI-52DChv2hA8nvHlcLhT_R85XDIPzZMWN5CLDYx92yvIcwYxKW-9eJ7FVjTgRrrYOImQi8IAiceLNgS0PsC9fKCaO/s643/Mecch%C3%AC%20dicemo%20'u%201.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="643" data-original-width="643" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPTFPnIcPgGiQ34vXHTJB4Rt2IbqYFEwuBMOCPqglqHdB2Z400IsB0RpiVqF7C1q3IX_HbwHfgcEwojW0Ex4VUR-7_S0w1F2JUzxsI-52DChv2hA8nvHlcLhT_R85XDIPzZMWN5CLDYx92yvIcwYxKW-9eJ7FVjTgRrrYOImQi8IAiceLNgS0PsC9fKCaO/w400-h400/Mecch%C3%AC%20dicemo%20'u%201.jpg" width="400" /></a></span></div><span style="font-size: large;"> <br /></span><p></p><p class="MsoNormal" style="text-align: left;"><span style="font-family: inherit; font-size: medium;">di <i>Fabio Ceccarini </i></span><br /></p><p class="MsoNormal"><span style="font-family: inherit;"><b><span style="color: #0b5394; font-size: large;">Approfondiamo, con questo articolo, il tema di un post comparso qualche tempo fa su Facebook riguardo l'uso dell'articolo determinativo singolare maschile<i> 'u</i> </span><span style="color: #0b5394; font-size: large;">(<i>il</i>) </span><span style="color: #0b5394; font-size: large;">nel dialetto capranichese. </span><span style="color: #0b5394; font-size: large;"><span style="mso-font-kerning: 0pt;">E chi lo detesta
a motivo che «questa <i>u </i>fa sembrare il nostro dialetto un gergo
burino» si metta calmo e legga quest'articolo. Perché...</span></span></b><b><span style="color: #0b5394; font-size: large;"><span style="mso-font-kerning: 0pt;"> <i>mecchì dicemo ‘u!</i></span></span></b></span></p><p class="MsoNormal"><b><span style="color: #0b5394; font-size: large;"><span style="font-family: "Times New Roman",serif; mso-font-kerning: 0pt;"><span></span></span></span></b></p><a name='more'></a><span style="font-size: large;"> </span><p></p><p class="MsoNormal"><span style="font-size: large;">Capita </span><span style="font-size: large;">sempre più spesso</span><span style="font-size: large;">, oggigiorno, di ascoltare giovani che
maldestramente si cimentano nella parlata dialettale capranichese. </span><span style="font-size: large;">Nonostante la lodevole buona volontà</span><span style="font-size: large;">, bisogna dire infatti che i risultati sono pessimi, sia dal lato della pronuncia, orrendamente imbarbarita dal roman(acci)o
televisivo, sia da quello della proprietà delle espressioni e dei vocaboli in
relazione alle situazioni (ovvero locuzioni e lemmi giusti al momento giusto). Tutto ciò è ovviamente frutto
e conseguenza di un percorso di progressivo allontanamento dai dialetti che
affonda le sue radici negli anni Cinquanta del secolo scorso, e che ha visto una
sorta di necessaria e </span><span style="font-size: large;">forzata </span><span style="font-size: large;">italianizzazione della lingua parlata lungo la
Penisola al fine di uniformarla attraverso l’uso massiccio dei mass-media (<i>in
primis</i> televisione, radio e carta stampata). Dalla lingua teorizzata
dall’Alfieri e dal Manzoni, usata sui libri già prima dell’Unità d’Italia ma
tutt’altro che parlata, dopo aver fatto l’Italia si è cercato così di dar corpo
al d’azegliano “fare gli italiani” dando loro un idioma comune. </span></p>
<p class="MsoNormal"><span style="font-size: large;">Accorgendosi, però, di come l’italiano ufficiale, a
discapito dei dialetti, si trasformasse man mano in tanti linguaggi settoriali
e tecnicissimi, nel 1965 Italo Calvino scriveva:</span></p>
<p class="MsoNormal"><span style="font-size: medium;">«Finché l’italiano è rimasto una lingua letteraria, non
professionale, nei dialetti (quelli toscani compresi, s’intende) esisteva una
ricchezza lessicale, una capacità di nominare e descrivere i campi e le case,
gli attrezzi e le operazioni dell’agricoltura e dei mestieri che la lingua non
possedeva. La ragione della prolungata vitalità dei dialetti in Italia è stata
questa. Ora questa fase è superata da un pezzo: il mondo che abbiamo davanti, -
case e strade e macchinari e aziende e studi, e anche molta dell’agricoltura
moderna, - è venuto su con nomi non dialettali, nomi dell’italiano, o costruiti
su modelli dell’italiano, oppure d’una interlingua
scientifico-tecnico-industriale, e vengono adoperati e pensati in strutture
logiche italiane o interlinguistiche. Sarà sempre di più questa lingua
operativa a decidere le sorti generali della lingua».<a href="#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span face=""Calibri", sans-serif">[1]</span></span></span></span></a></span></p>
<p class="MsoNormal"><span style="font-size: large;">I dialetti, </span><span style="font-size: large;">quindi, </span><span style="font-size: large;">avevano fatto da padroni nella vita comune di tutti i giorni, lasciando invece la lingua italiana a
riempire le pagine dei libri e a tecnicizzarsi sempre di più negli ambiti della
burocrazia, della politica, delle scienze (ciò che Calvino chiamava
<i>antilingua</i>). Da questa sorta di bilinguismo iniziale, durante il quale
l’italiano e il dialetto hanno convissuto, siamo però giunti progressivamente, durante
gli anni, alla vittoria pressocché totale della lingua italiana: parlata in
televisione, letta sui libri, ascoltata alla radio è ormai – giustamente – la
nostra lingua, quella degli italiani, strumento finalmente identitario come agognavano
Alfieri, Manzoni e relativo seguito di personaggi risorgimentali (e tuttavia senza che la Costituzione ne sancisca espressamente l'ufficialità). Per cui, per arrivare alla vittoria dell’italiano parlato, il dialetto è stato dapprima
incarcerato all’interno delle mura domestiche e poi abolito anche qui, nella doppia
convinzione che potesse interferire sul corretto apprendimento della lingua
italiana e che l’esprimersi in dialetto divenisse chiara denotazione di scarso
prestigio sociale e di borgatara condizione (<i>Ah! Che schifo! Parla in
dialetto!</i>).</span></p>
<p class="MsoNormal"><span style="font-size: medium;">«La percentuale di persone parlanti esclusivamente il
dialetto, già inferiore rispetto ai parlanti il solo italiano, si è andata
riducendo più drasticamente in ogni ambito sociale soprattutto nel periodo fra
il 1987/88 e il 1995. Il divario fra italiano e dialetto è diventato sempre più
ampio, l’uso misto si è fatto meno frequente negli ambienti più formali mentre
è lievemente aumentato in quelli più informali, segno di un uso contestualmente
differenziato del dialetto e, secondariamente, di una sua rivalutazione. I dati
più recenti, aggiornati al 2006, confermano questa tendenza: la competenza
esclusiva del dialetto è circoscritta al solo 6 % della popolazione. Sono le
persone con più di 60 anni a fare maggior uso del dialetto. Il vernacolo
finisce col prevalere nettamente sull’italiano solo fra i parlanti più anziani.
Se il dialetto è poco praticato dai bambini e dagli adolescenti, è fra i
giovani tra i 18 e i 34 anni che si registra un cambio di tendenza
significativo, con un calo progressivo di coloro che parlano prevalentemente
italiano in tutti i contesti sociali ed un assestamento dei bilingui attorno al
30 %»<a href="#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span face=""Calibri", sans-serif">[2]</span></span></span></span></a>.</span></p>
<p class="MsoNormal"><span style="font-size: large;">Ma non c’è da stare allegri. Perché se si assiste ad una
sorta di ritorno dei dialetti tra i componenti della fascia di età 18-34 anni, i
risultati sono disastrosi perché alle parlate tradizionali si sono sostituite
velocemente dei veri e propri gerghi triviali, di cattivo gusto, per niente divertenti e tutt'altro che affascinanti.
Pensiamo al romanesco storico, fissato indelebilmente nelle battute dei personaggi dei film di Luigi Magni, che
nell’ultimo trentennio è stato tristemente soppiantato dal romanaccio borgataro
parlato da presunti comici e condito di parolacce. Oppure, sempre nell’ambito
laziale, al viterbese vernacolare divenuto ormai macchietta di sé stesso, che
viene veicolato sui canali youtube, vero e proprio prodotto della sottocultura
trash che affligge il tempo che viviamo. </span></p>
<p class="MsoNormal"><span style="font-family: inherit; font-size: large;">E quindi, per farla breve, non ci possiamo stupire più di
tanto se anche a Capranica, patria indiscussa dell’<i>u</i> determinativo, assistiamo
ad una sua sostituzione con <i>‘o</i>, oppure con <i>er</i> (anche se, come
vedremo, questa forma dialettale è comunque contemplata nel dialetto
capranichese), facendo sparire dai radar quello che, secondo Giuseppe Morera, è
«l<span style="mso-font-kerning: 0pt;">'elemento
più caratteristico del dialetto capranichese»</span>.</span></p>
<p class="MsoNormal" style="text-align: center;"><span style="font-size: large;"><b></b></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH_K4URM8ejT1BkotJV1tgWgToVCFwcrdC0xJxd641hMyJI5_NVER2ko-3EH4CRGEuebzYfdciwmDNA68c1goakBUs_iTjNH6kYMyGLLYcYpT4sgHRKFEFVuF5reqgzsm90MpBDthtvm5tn3g_DFQsKc_tPW8TtcsuTcJ-jfUJmsNb_cZ8cH8qRKObopno/s1597/Bar%20Ruscelli.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="969" data-original-width="1597" height="389" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH_K4URM8ejT1BkotJV1tgWgToVCFwcrdC0xJxd641hMyJI5_NVER2ko-3EH4CRGEuebzYfdciwmDNA68c1goakBUs_iTjNH6kYMyGLLYcYpT4sgHRKFEFVuF5reqgzsm90MpBDthtvm5tn3g_DFQsKc_tPW8TtcsuTcJ-jfUJmsNb_cZ8cH8qRKObopno/w640-h389/Bar%20Ruscelli.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Un gruppo di "giovani" di un tempo ormai passato, immortalati negli anni Novanta del '900 al Bar Ruscelli. Loro si, che sapevano usare in maniera appropriata l'articolo </i>'u!<i> (foto tratta dalla pagina Facebook, <a href="https://www.facebook.com/photo/?fbid=10227492013598284&set=g.318140108880161" target="_blank">VOLTI CAPRANICHESI - Tagga l'Avo! pubblicata da Rosella Ioncoli il 4 aprile 2023</a>)</i><br /></td></tr></tbody></table><span style="font-size: large;"><b> </b></span><p></p><p class="MsoNormal"><span style="font-size: large;"><b>L’articolo ‘u (il, lo)</b></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; mso-layout-grid-align: none; text-align: left; text-autospace: none;"><span style="font-family: inherit; font-size: large;">Come scriveva il Generale Morera nel 1985, questo elemento
caratteristico «…<span style="mso-font-kerning: 0pt;">è costituito dall'articolo determinativo maschile singolare «il»
trasformato in </span><i><span face=""Arial", sans-serif">u </span></i><span style="mso-font-kerning: 0pt;">fortemente aspirato ('u) quasi a ricordo della <i>elle </i>caduta
per ultima nel processo di decapitazione del pronome dimostrativo latino <i>ille,
illud, </i>ablativo <i>illo, </i>dal quale deriva»<a href="#_ftn3" name="_ftnref3" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span>[3]</span></span></span></span></a>.
</span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; mso-layout-grid-align: none; text-align: left; text-autospace: none;"><span style="font-family: inherit; font-size: large;"><span style="mso-font-kerning: 0pt;">Non si può immaginare il dialetto capranichese senza
l’uso dell’articolo <i>‘u</i>, ovviamente posticipato dal segno di elisione ad
indicare che un tempo quell’articolo non era altro che il latino <i>illud</i>,
poi trasformatosi in <i>lu</i> e quindi nell’attuale <i>‘u</i>. A Ronciglione
si dice <i>‘o</i>; a Bassano Romano anche; a Sutri si dice <i>lo</i> e a Nepi
anche; a Vetralla si dice <i>el</i> e a Capranica si dice <i>‘u</i>! E chi detesta
l’articolo<i>‘u</i> perché «questa <i>u </i>fa sembrare il nostro dialetto un gergo
burino», più somigliante al ciociaro o ad altri dialetti meridionali (e dove
starebbe, poi, questa insopportabile vergogna?)<a href="#_ftn4" name="_ftnref4" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span>[4]</span></span></span></span></a>,
si dia una calmata e se ne faccia una ragione perché... <i>mecchì dicemo ‘u</i>!</span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; mso-layout-grid-align: none; text-align: left; text-autospace: none;"><span style="font-family: inherit; font-size: large;"><span style="mso-font-kerning: 0pt;">E allora, andando al sodo, ecco qualche esempio di
corretta espressione in perfetto stile dialettale capranichese:</span></span></p>
<ul style="text-align: left;"><li class="MsoNormal" style="margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><p><span style="font-family: inherit; font-size: large;"><i><span style="mso-font-kerning: 0pt;">‘u ca’</span></i><span style="mso-font-kerning: 0pt;"> (il cane) </span></span></p></li><li><p>
<span style="font-family: inherit; font-size: large;"><span style="mso-font-kerning: 0pt;">‘<i>u tirato’</i> (il cassetto)</span></span></p></li><li><p>
<span style="font-family: inherit; font-size: large;"><span style="mso-font-kerning: 0pt;">‘<i>u refe</i> (il filo)</span></span></p></li><li><p>
<span style="font-family: inherit; font-size: large;"><span style="mso-font-kerning: 0pt;">‘<i>u loto</i> (il fango)</span></span></p></li><li class="MsoNormal" style="margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><p><span style="font-family: inherit; font-size: large;"><span style="mso-font-kerning: 0pt;"><i>'u sorce</i> (il topo) <br /></span></span></p></li><li><p>
<span style="font-family: inherit; font-size: large;"><span style="mso-font-kerning: 0pt;">‘<i>u billo</i> (il tacchino)</span></span></p></li><li><p>
<span style="font-family: inherit; font-size: large;"><span style="mso-font-kerning: 0pt;">‘<i>u tortore</i> (il bastone)</span></span></p></li><li><p>
<span style="font-family: inherit; font-size: large;"><span style="mso-font-kerning: 0pt;">‘<i>u plonchise</i> (il cappotto)</span></span></p></li><li><p>
<span style="font-family: inherit; font-size: large;"><i><span style="mso-font-kerning: 0pt;">‘u rocchio</span></i><span style="mso-font-kerning: 0pt;"> (la salsiccia)</span></span></p></li><li><p>
<span style="font-family: inherit; font-size: large;"><span style="mso-font-kerning: 0pt;">‘<i>u raghino</i> (il ramarro).</span></span></p></li></ul>
<p class="MsoNormal" style="margin-bottom: 0cm; mso-layout-grid-align: none; text-align: left; text-autospace: none;"><span style="font-family: inherit; font-size: large;"><span style="mso-font-kerning: 0pt;">E ci fermiamo qui anche se potremmo continuare a lungo.</span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; mso-layout-grid-align: none; text-align: left; text-autospace: none;"><span style="font-family: inherit; font-size: large;"><span style="mso-font-kerning: 0pt;">Quindi la regola generale è che </span></span><span style="font-family: inherit; font-size: large;"><span style="mso-font-kerning: 0pt;">l’articolo <i>il</i> dell’italiano, </span></span><span style="font-family: inherit; font-size: large;"><span style="mso-font-kerning: 0pt;">in presenza di un sostantivo
maschile, nel dialetto capranichese si trasforma sempre in <i>‘u</i>. Pertanto, è sempre sbagliata la sostituzione di <i>‘u</i> con <i>‘o</i>, perché
tale improvvida manovra porta al grave risultato di spostare velocissimamente (ed automaticamente) il
parlante a qualche chilometro di distanza da Capranica, trasformandolo in ronciglionese o in bassanese e quindi non più capranichese. E' anche una questione di simpatico e sano campanilismo senza alcuna volontà di offendere gli amici dei paesi circonvicini, ai quali ci lega la comunanza d'appartenenza al medesimo ceppo dialettale laziale.<br /></span></span></p><p class="MsoNormal" style="margin-bottom: 0cm; mso-layout-grid-align: none; text-align: left; text-autospace: none;"><span style="font-family: inherit; font-size: large;"><span style="mso-font-kerning: 0pt;">Capranica, infatti, in comune con Bassano Romano e Ronciglione, si trova su una sorta di sfumata linea </span></span><span style="font-family: inherit; font-size: large;"><span>di demarcazione tra i dialetti </span></span><span style="font-family: inherit; font-size: large;"><span style="mso-font-kerning: 0pt;">laziali di influenza romana e quelli di influenza </span></span><span style="font-family: inherit; font-size: large;"><span>umbro-sabina che risento già di qualche influsso toscano. Uno degli esempi è l’uso della
parola <i>babbo</i>, totalmente assente a Capranica, dove si usa papà, ma
presente invece nei paesi a nord dell’area cimina, a cominciare da Vetralla (a nord-ovest) e Canepina/Soriano nel Cimino (a nord-est). <br /></span></span></p><p class="MsoNormal" style="text-align: left;"><span style="font-family: inherit; font-size: large;"><span>Antonio
Sciarretta, sul suo sito <i>Antonio Sciarretta's Toponymy. Dialettologia
dell'Italia centro-meridionale</i> (</span><a href="http://www.asciatopo.altervista.org/"><span>http://www.asciatopo.altervista.org/</span></a><span>) passa in rassegna in maniera
esaurientissima le particolarità dei dialetti centro-meridionali, tra cui
quelli laziali. Dalle figure che seguono, si evidenzia come il capranichese e gli altri dialetti dell'area Cimina si trovino in una zona del Lazio che è confine tra influenze diverse.<br /></span></span></p><p class="MsoNormal" style="text-align: center;"><span style="font-size: large;"><span style="font-family: "Times New Roman",serif;"></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="http://www.asciatopo.altervista.org/Lazio_apocope.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="668" data-original-width="800" height="534" src="http://www.asciatopo.altervista.org/Lazio_apocope.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><span style="font-family: georgia;"><i>Apocope di -ne nella Regione Lazio (tratto da: http://www.asciatopo.altervista.org/Lazio_apocope.jpg)</i></span></span></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><span style="font-family: "Times New Roman",serif;"></span></span></div><div style="text-align: center;"><br /></div><p class="MsoNormal" style="margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"></p>
<p class="MsoNormal" style="margin-bottom: 0cm; mso-layout-grid-align: none; text-align: center; text-autospace: none;"><span style="font-size: large;"><span style="font-family: "Times New Roman",serif; mso-font-kerning: 0pt;"></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="http://www.asciatopo.altervista.org/Lazio_atone.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="667" data-original-width="800" height="534" src="http://www.asciatopo.altervista.org/Lazio_atone.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i><span style="font-family: georgia;">Vocali atone (http://www.asciatopo.altervista.org/Lazio_atone.jpg)<br /></span></i></td></tr></tbody></table><p></p><p class="MsoNormal" style="margin-bottom: 0cm; mso-layout-grid-align: none; text-align: center; text-autospace: none;"><span style="font-size: large;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="http://www.asciatopo.altervista.org/Lazio_scempiamento.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="667" data-original-width="800" height="534" src="http://www.asciatopo.altervista.org/Lazio_scempiamento.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Scempiamento di -rr-. L'area Cimina è esente da questa particolare caratteristica, tipica del romanesco, pur confinando con l'area interessata, indicata in verde (http://www.asciatopo.altervista.org/Lazio_scempiamento.jpg)<br /></i></td></tr></tbody></table><span style="font-size: large;"><br /><span style="font-family: "Times New Roman",serif; mso-font-kerning: 0pt;"></span></span><p></p><p class="MsoNormal" style="margin-bottom: 0cm; mso-layout-grid-align: none; text-align: left; text-autospace: none;"><span style="font-family: inherit; font-size: large;"><span style="mso-font-kerning: 0pt;">Ma non solo nel capranichese l'articolo determinativo <i>il</i> diventa <i>'u</i>. Anche l’articolo <i>lo</i> viene
sostituito da <i>‘u</i>: tanto quando precede verbi in prima persona singolare,
quanto nei casi in cui preceda alcuni sostantivi. Ecco alcuni esempi: </span></span></p>
<ul style="text-align: left;"><li class="MsoNormal" style="margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><p><span style="font-family: inherit; font-size: large;"><i><span style="mso-font-kerning: 0pt;">‘u sa</span></i><span style="mso-font-kerning: 0pt;"> (lo sa)</span></span></p></li><li><p>
<span style="font-family: inherit; font-size: large;"><i><span style="mso-font-kerning: 0pt;">‘u vede</span></i><span style="mso-font-kerning: 0pt;"> (lo vede)</span></span></p></li><li><p>
<span style="font-family: inherit; font-size: large;"><i><span style="mso-font-kerning: 0pt;">‘u regge</span></i><span style="mso-font-kerning: 0pt;"> (lo regge)</span></span></p></li><li><p>
<span style="font-family: inherit; font-size: large;"><i><span style="mso-font-kerning: 0pt;">‘u guarda</span></i><span style="mso-font-kerning: 0pt;"> (lo guarda)</span></span></p></li><li><p>
<span style="font-family: inherit; font-size: large;"><i><span style="mso-font-kerning: 0pt;">‘u zucchiro</span></i><span style="mso-font-kerning: 0pt;"> (lo zucchero)</span></span></p></li><li><p>
<span style="font-family: inherit; font-size: large;"><i><span style="mso-font-kerning: 0pt;">‘u sporco</span></i><span style="mso-font-kerning: 0pt;"> (lo sporco). </span></span></p></li></ul>
<p class="MsoNormal" style="margin-bottom: 0cm; mso-layout-grid-align: none; text-align: left; text-autospace: none;"><span style="font-family: inherit; font-size: large;"><span style="mso-font-kerning: 0pt;">Ci sono anche delle eccezioni, tuttavia, perché l’articolo
<i>‘u</i> può essere sostituito dalla forma romanesca <i>er</i>, allorché compare
all’interno di una frase: <i> </i></span></span></p><ul style="text-align: left;"><li class="MsoNormal" style="margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><p><span style="font-family: inherit; font-size: large;"><span style="mso-font-kerning: 0pt;"><i>s’e magnato pure er Cibborio!</i> (si è mangiato
tutto, anche il Ciborio)</span></span></p></li><li class="MsoNormal" style="margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><p><span style="font-family: inherit; font-size: large;"><span style="mso-font-kerning: 0pt;"><i>l’ha detto er sindico ier’a sera</i> (lo ha detto
il sindaco ieri sera)</span></span></p></li></ul>
<p class="MsoNormal" style="margin-bottom: 0cm; mso-layout-grid-align: none; text-align: left; text-autospace: none;"><span style="font-family: inherit; font-size: large;"><span style="mso-font-kerning: 0pt;">All’articolo <i>‘u</i> è anche legata fortemente la
pronuncia chiusissima della vocale -<i>o</i> posta in finale di parola, che a
causa dell’espirazione forzata dell’aria dal cavo orale, spinta in alto
attraverso il naso, viene resa tanto gutturale da sembrare a tutti gli effetti una -<i>u</i>
(metafonesi). D’altronde, un famosissimo detto popolare capranichese vuole che <i>si
nun parlassimo popo’ c’u naso, saressimo perfetti roma’</i>. Pertanto, il
sostantivo maschile che precede l’aggettivo viene ad essere caratterizzato
da questa vocale che – di nuovo – è verace peculiarità del vernacolo
capranichese. Ecco qualche esempio: <i> </i></span></span></p><ul style="text-align: left;"><li class="MsoNormal" style="margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><p><span style="font-family: inherit; font-size: large;"><span style="mso-font-kerning: 0pt;"><i>a musu duru</i> (a muso duro); <i> </i></span></span></p></li><li class="MsoNormal" style="margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><p><span style="font-family: inherit; font-size: large;"><span style="mso-font-kerning: 0pt;"><i>quillu
nun capesce</i> (quello non capisce); <i> </i></span></span></p></li><li class="MsoNormal" style="margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><p><span style="font-family: inherit; font-size: large;"><span style="mso-font-kerning: 0pt;"><i>quannu pozzu veni’ jò?</i> (quando
posso venire giù?); <i> </i></span></span></p></li><li class="MsoNormal" style="margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><p><span style="font-family: inherit; font-size: large;"><span style="mso-font-kerning: 0pt;"><i>in un menutu solu</i> (in un minuto solo)</span></span></p></li></ul>
<p class="MsoNormal" style="margin-bottom: 0cm; mso-layout-grid-align: none; text-align: left; text-autospace: none;"><span style="font-family: inherit; font-size: large;"><span style="mso-font-kerning: 0pt;"></span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; mso-layout-grid-align: none; text-align: left; text-autospace: none;"><span style="font-family: inherit; font-size: large;"><span style="mso-font-kerning: 0pt;">Ed ecco di seguito qualche esempio di composizioni in
vernacolo (con traduzione a fronte), dove ben si evince l’uso del suddetto
articolo ‘u e della metafonesi </span></span><span style="font-family: inherit; font-size: large;"><span style="mso-font-kerning: 0pt;">in <i>-u</i></span></span><span style="font-family: inherit; font-size: large;"><span style="mso-font-kerning: 0pt;"> della <i>-o</i>.</span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-size: large;"><span style="font-family: "Times New Roman",serif;"></span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: left;"><span style="font-size: medium;"><i><span style="font-family: "Times New Roman",serif; mso-font-kerning: 0pt;">Sottu l’imperu ’i quillu granne Ottone,</span></i><span style="font-family: "Times New Roman",serif; mso-font-kerning: 0pt;"><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span>Durante l’impero di
quel grande Ottone<br /></span><i><span style="font-family: "Times New Roman",serif; mso-font-kerning: 0pt;">ch’u popilu todescu cummannava,</span></i><span style="font-family: "Times New Roman",serif; mso-font-kerning: 0pt;"><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span>Che il popolo
tedesco comandava<br /></span><i><span style="font-family: "Times New Roman",serif; mso-font-kerning: 0pt;">Crapanica fu mesta in suggezzione</span></i><span style="font-family: "Times New Roman",serif; mso-font-kerning: 0pt;"><span> </span>Capranica fu
assoggettata<br /></span><i><span style="font-family: "Times New Roman",serif; mso-font-kerning: 0pt;">C’un gran Diproma, dove dichiarava</span></i><span style="font-family: "Times New Roman",serif; mso-font-kerning: 0pt;"><span> </span>con un gran diploma,
dove dichiarava</span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: left;"><span style="font-size: medium;"><span style="font-family: "Times New Roman",serif; mso-font-kerning: 0pt;"></span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: left;"><span style="font-size: medium;"><i><span style="font-family: "Times New Roman",serif; mso-font-kerning: 0pt;">che tutti, u territoio, ‘e crape e i prati,</span></i><span style="font-family: "Times New Roman",serif; mso-font-kerning: 0pt;"><span> </span>che tutti, il
territorio, le capre e i prati<br /></span><i><span style="font-family: "Times New Roman",serif; mso-font-kerning: 0pt;">‘gne cosa ‘nsomma, cumme contentinu</span></i><span style="font-family: "Times New Roman",serif; mso-font-kerning: 0pt;"><span> </span>ogni cosa insomma, come
contentino<br /></span><i><span style="font-family: "Times New Roman",serif; mso-font-kerning: 0pt;">ava da l’esse datu a quilli frati<span> </span></span></i><span style="font-family: "Times New Roman",serif; mso-font-kerning: 0pt;"><span> </span>deve
essere dato a quei frati<br /></span><i><span style="font-family: "Times New Roman",serif; mso-font-kerning: 0pt;">du Munasteru su pe’ l’Aventinu.</span></i><span style="font-family: "Times New Roman",serif; mso-font-kerning: 0pt;"><span> </span>del Monastero
sull’Aventino</span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: left;"><span style="font-size: medium;"><span style="font-family: "Times New Roman",serif; mso-font-kerning: 0pt;"></span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: left;"><span style="font-size: medium;"><i><span style="font-family: "Times New Roman",serif; mso-font-kerning: 0pt;">Accusinta si i’ finu ar docentu</span></i><span style="font-family: "Times New Roman",serif; mso-font-kerning: 0pt;"><span> </span>Così si
andò fino al Duecento<br /></span><i><span style="font-family: "Times New Roman",serif; mso-font-kerning: 0pt;">finanta ch’arrivannu l’Anguillara</span></i><span style="font-family: "Times New Roman",serif; mso-font-kerning: 0pt;"><span> </span>fino a che arrivarono
gli Anguillara<br /></span><i><span style="font-family: "Times New Roman",serif; mso-font-kerning: 0pt;">che piannu ‘gne cosa a mu cunventu,</span></i><span style="font-family: "Times New Roman",serif; mso-font-kerning: 0pt;"><span> </span>che presero tutti i
beni al convento<br /></span><i><span style="font-family: "Times New Roman",serif; mso-font-kerning: 0pt;">sullevannu all’intornu gran cagnara<a href="#_ftn5" name="_ftnref5" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><b><span style="font-family: "Times New Roman", serif;">[5]</span></b></span></span></span></a>.</span></i><span style="font-family: "Times New Roman",serif; mso-font-kerning: 0pt;"><span> </span>sollevando d’intorno
una gran cagnara</span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-size: large;"><span style="font-family: "Times New Roman",serif; mso-font-kerning: 0pt;"></span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-size: large;"><span style="font-family: "Times New Roman",serif; mso-font-kerning: 0pt;">E ancora:</span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-size: large;"><span style="font-family: "Times New Roman",serif; mso-font-kerning: 0pt;"></span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-size: medium;"><i><span style="font-family: "Times New Roman",serif; mso-font-kerning: 0pt;">Quannu che da bardascio,</span></i><span style="font-family: "Times New Roman",serif; mso-font-kerning: 0pt;"><span> </span>Quando
che da ragazzetto,<br /></span><i><span style="font-family: "Times New Roman",serif; mso-font-kerning: 0pt;">chiappavu via da casa<span> </span></span></i><span style="font-family: "Times New Roman",serif; mso-font-kerning: 0pt;"><span> </span>scappavo
(alla chetichella) via da casa<br /></span><i><span style="font-family: "Times New Roman",serif; mso-font-kerning: 0pt;">cun sorima o cun fratimo</span></i><span style="font-family: "Times New Roman",serif; mso-font-kerning: 0pt;"><span> </span>con
mia sorella o con mio fratello<br /></span><i><span style="font-family: "Times New Roman",serif; mso-font-kerning: 0pt;">pe’ lane ‘a Mattonara,</span></i><span style="font-family: "Times New Roman",serif; mso-font-kerning: 0pt;"><span> </span>in
direzione della Mattonara</span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-size: medium;"><span style="font-family: "Times New Roman",serif; mso-font-kerning: 0pt;"></span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-size: medium;"><i><span style="font-family: "Times New Roman",serif; mso-font-kerning: 0pt;">cu’ ‘e scarpe ed’era raro,</span></i><span style="font-family: "Times New Roman",serif; mso-font-kerning: 0pt;"><span> </span>che
avessimo le scarpe era raro<br /></span><i><span style="font-family: "Times New Roman",serif; mso-font-kerning: 0pt;">e si ci l’ammu, rotte,<span> </span></span></i><span style="font-family: "Times New Roman",serif; mso-font-kerning: 0pt;"><span> </span>e
se ce l’avevamo erano rotte<br /></span><i><span style="font-family: "Times New Roman",serif; mso-font-kerning: 0pt;">u locu a noi più caro</span></i><span style="font-family: "Times New Roman",serif; mso-font-kerning: 0pt;"><span> </span>il
luogo a noi più caro<i><br /> </i></span><i><span style="font-family: "Times New Roman",serif; mso-font-kerning: 0pt;">edera l’acquaforte<a href="#_ftn6" name="_ftnref6" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><b><span style="font-family: "Times New Roman", serif;">[6]</span></b></span></span></span></a>.</span></i><span style="font-family: "Times New Roman",serif; mso-font-kerning: 0pt;"><span> </span>era
l’acquaforte</span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-size: large;"><span style="font-family: "Times New Roman",serif; mso-font-kerning: 0pt;"> </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; mso-layout-grid-align: none; text-align: left; text-autospace: none;"><span style="font-family: inherit; font-size: large;"><b><span style="mso-font-kerning: 0pt;">Caratteristiche del dialetto capranichese</span></b></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; mso-layout-grid-align: none; text-align: left; text-autospace: none;"><span style="font-family: inherit; font-size: large;"><span style="mso-font-kerning: 0pt;"></span></span></p><p style="text-align: left;"></p>
<p class="MsoNormal" style="text-align: left;"><span style="font-family: inherit; font-size: large;"><span>Caratteristiche
del dialetto capranichese sono quindi le seguenti:</span></span></p>
<p class="MsoNormal" style="text-align: left;"><span style="font-family: inherit; font-size: large;"><u><span>Raddoppiamenti
fonosintattici</span></u><span> (raddoppiamento nella
pronuncia subìto dalle consonanti): <i> </i></span></span></p><ul style="text-align: left;"><li class="MsoNormal"><p><span style="font-family: inherit; font-size: large;"><span><i>ll’ha dato ll’agobbio</i> (gli ha
procurato molto fastidio, tedio); <i> </i></span></span></p></li><li class="MsoNormal"><p><span style="font-family: inherit; font-size: large;"><span><i>eccu</i> <i>Monte Commido!</i> (arriva “monte
comodo” = persona che prende le cose con eccessiva calma); <i> </i></span></span></p></li><li class="MsoNormal"><p><span style="font-family: inherit; font-size: large;"><span><i>doppo</i> (dopo);
<i> </i></span></span></p></li><li class="MsoNormal"><p><span style="font-family: inherit; font-size: large;"><span><i>cumme</i> (come); </span></span></p></li></ul>
<p class="MsoNormal" style="text-align: left;"><span style="font-family: inherit; font-size: large;"><u><span>Metafonesi</span></u><span> (modificazione del timbro della
vocale):</span><span style="mso-bidi-font-family: Georgia; mso-fareast-font-family: Georgia; mso-font-kerning: 0pt;"><span> </span></span></span></p><ul style="text-align: left;"><li class="MsoNormal"><p><span style="font-family: inherit; font-size: large;"><span>della </span></span><span style="font-family: inherit; font-size: large;"><span><i>-o</i></span></span><span style="font-family: inherit; font-size: large;"><span> in </span></span><span style="font-family: inherit; font-size: large;"><span><i>-u</i></span></span><span style="font-family: inherit; font-size: large;"><span>: <i><span>a musu duru</span></i><span> (a muso duro); <i>quillu nun capesce</i> (quello non capisce);<i> fugna</i>
(fogna);</span></span></span></p></li><li class="MsoNormal"><p><span style="font-family: inherit; font-size: large;"><span>della </span></span><span style="font-family: inherit; font-size: large;"><span><i>-i</i></span></span><span style="font-family: inherit; font-size: large;"><span> in </span></span><span style="font-family: inherit; font-size: large;"><span><i>-e</i></span></span><span style="font-family: inherit; font-size: large;"><span>: <i>lengua</i>
(lingua); <i>capesce</i> (capisce);</span></span></p></li><li class="MsoNormal"><p><span style="font-family: inherit; font-size: large;"><span>della <i>-u </i>in <i>-o</i>:<i> ogna</i>
(unghia); <i>ossogne</i> (sugna); <i>lopo</i> (lupo)</span></span></p></li><li class="MsoNormal"><p><span style="font-family: inherit; font-size: large;"><span>della
<i>-a</i> in <i>-e</i> in alcuni sostantivi femminili plurali: <i>‘e legne</i>
(la legna); <i>‘a spese</i> (la spesa); <i>ll’ossogne</i> (la sugna)</span></span></p></li><li class="MsoNormal"><p><span style="font-family: inherit; font-size: large;"><span>del
dittongo <i>-uo</i> in <i>-o</i>: <i>focu</i> (fuoco); <i>locu</i> (luogo); <i>coco </i>(cuoco)<br /></span></span></p></li></ul>
<p class="MsoNormal" style="text-align: left;"><span style="font-family: inherit; font-size: large;"><u><span style="mso-font-kerning: 0pt;">Apocope</span></u><span style="mso-font-kerning: 0pt;"> (caduta della vocale finale ed eventualmente anche della
consonante che la precede) di <i>-ne</i> e <i>-no</i>: <i> </i></span></span></p><ul style="text-align: left;"><li class="MsoNormal"><p><span style="font-family: inherit; font-size: large;"><span style="mso-font-kerning: 0pt;"><i>pa’ </i>(pane); <i>vi’
</i>(vino); <i>ca’ </i>(cane); <i>‘gosti’</i> (Agostino)</span></span></p></li></ul>
<p class="MsoNormal" style="text-align: left;"><span style="font-family: inherit; font-size: large;"><u><span>Aferesi</span></u><span> (</span>caduta di uno o più foni
all’inizio di parola) <span>di <i>l-</i>,
di <i>i-</i>, di <i>-u</i>:</span> </span></p><ul style="text-align: left;"><li class="MsoNormal"><p><span style="font-family: inherit; font-size: large;"><i>'e</i> (le); <i> </i></span></p></li><li class="MsoNormal"><p><span style="font-family: inherit; font-size: large;"><i>'u</i> (lu); <i> </i></span></p></li><li class="MsoNormal"><p><span style="font-family: inherit; font-size: large;"><i>‘nzomma</i>
(insomma); <i> </i></span></p></li><li class="MsoNormal"><p><span style="font-family: inherit; font-size: large;"><i>‘n</i> (un); <i> </i></span></p></li><li class="MsoNormal"><p><span style="font-family: inherit; font-size: large;"><i>edè ‘nnamorato</i> (è innamorato); </span></p></li><li class="MsoNormal"><p><span style="font-family: inherit; font-size: large;"><i>‘gnorante</i>
(ignorante); <i> </i></span></p></li><li class="MsoNormal"><p><span style="font-family: inherit; font-size: large;"><i>‘mbriaco</i> (ubriaco);<i><span> </span></i></span></p></li><li class="MsoNormal"><p><span style="font-family: inherit; font-size: large;"><i><span>‘gne</span></i><span> (ogni)</span></span></p></li></ul>
<p class="MsoNormal" style="text-align: left;"><span style="font-family: inherit; font-size: large;"><u><span>Palatalizzazione</span></u><span> di <i>-gli-</i>:</span></span></p><ul style="text-align: left;"><li class="MsoNormal"><p><span style="font-family: inherit; font-size: large;"><span><i>fijio</i> (figlio);
<i>mejio</i> (meglio); <i>mojie</i> (moglie); </span></span></p></li></ul>
<p class="MsoNormal" style="text-align: left;"><span style="font-family: inherit; font-size: large;"><u><span>Assimilazioni</span></u></span></p>
<p class="MsoNormal" style="text-align: left;"><span style="font-family: inherit; font-size: large;"><span>Regressiva
totale:</span></span></p><p class="MsoNormal" style="text-align: left;"><span style="font-family: inherit; font-size: large;"><span><span> </span>di
-<i>nd</i>- in -<i>nn</i>-: <i> </i></span></span></p><ul style="margin-left: 40px; text-align: left;"><li class="MsoNormal"><p><span style="font-family: inherit; font-size: large;"><span><i>monno</i> (mondo); </span></span></p></li><li class="MsoNormal"><p><span style="font-family: inherit; font-size: large;"><span><i>tonno</i> (tondo); </span></span></p></li><li class="MsoNormal"><p><span style="font-family: inherit; font-size: large;"><span><i>gronna</i>
(gronda); </span></span></p></li><li class="MsoNormal"><p><span style="font-family: inherit; font-size: large;"><span><i>fionna</i> (fionda); <i> </i></span></span></p></li><li class="MsoNormal"><p><span style="font-family: inherit; font-size: large;"><span><i>granne</i> (grande)</span></span></p></li></ul><p class="MsoNormal" style="text-align: left;"><span style="font-family: inherit; font-size: large;"><span><span> di -<i>mb</i>- in -<i>mm</i>-:</span></span></span></p><ul style="margin-left: 40px; text-align: left;"><li><span style="font-size: large;"><i>commatte </i>(combattere)</span><br /></li></ul><div><div><p class="MsoNormal" style="text-align: left;"><span style="font-family: inherit; font-size: large;"><span><span> </span>di
-<i>mp</i>- in -<i>pp</i>-: <i> </i></span></span></p><ul style="margin-left: 40px; text-align: left;"><li class="MsoNormal"><p><span style="font-family: inherit; font-size: large;"><span><i>Coppare </i>(compare)</span></span></p></li></ul><p class="MsoNormal" style="text-align: left;"><span style="font-family: inherit; font-size: large;"><span><span> </span>di
-<i>nt</i>- in -<i>tt</i>-: <i> </i></span></span></p><ul style="margin-left: 40px; text-align: left;"><li class="MsoNormal"><p><span style="font-family: inherit; font-size: large;"><span><i>settattasette</i> (settantasette); <i> </i></span></span></p></li><li class="MsoNormal"><p><span style="font-family: inherit; font-size: large;"><span><i>ottatta</i>
(ottanta)</span></span></p></li></ul>
<p class="MsoNormal" style="text-align: left;"><span style="font-family: inherit; font-size: large;"><span>a distanza:</span></span></p><p class="MsoNormal" style="text-align: left;"><span style="font-family: inherit; font-size: large;"><span><span> </span>di
-<i>s</i>- in -<i>z</i>- (sonorizzazione): </span></span></p><ul style="margin-left: 40px; text-align: left;"><li class="MsoNormal"><p><span style="font-family: inherit; font-size: large;"><span><i>anzalata </i>(insalata); <i>penza’
</i>(pensare)</span></span></p></li></ul><p class="MsoNormal" style="text-align: left;"><span style="font-family: inherit; font-size: large;"><span><span> </span>di
-<i>vv</i>- in -<i>bb</i>-: </span></span></p><ul style="margin-left: 40px; text-align: left;"><li class="MsoNormal"><p><span style="font-family: inherit; font-size: large;"><span><i>abboje</i> (avvolgere)</span></span></p></li></ul><p class="MsoNormal" style="text-align: left;"><span style="font-family: inherit; font-size: large;"><span><span> </span>di -<i>di</i>- e -<i>ti</i>-
in -<i>ghi</i>- e -<i>chi</i>-: </span></span></p><ul style="margin-left: 40px; text-align: left;"><li class="MsoNormal"><p><span style="font-family: inherit; font-size: large;"><span><i>ghieciotto</i> (diciotto); <i> </i></span></span></p></li><li class="MsoNormal"><p><span style="font-family: inherit; font-size: large;"><span><i>crischiano</i>
(cristiano)</span></span></p></li></ul>
<p class="MsoNormal" style="margin-bottom: 0cm; mso-layout-grid-align: none; text-align: left; text-autospace: none;"><span style="font-family: inherit; font-size: large;"></span></p><p class="MsoNormal" style="margin-bottom: 0cm; mso-layout-grid-align: none; text-align: left; text-autospace: none;"><span style="font-family: inherit; font-size: large;"><b><span style="mso-font-kerning: 0pt;">Un po’ di consigli per conoscere meglio il dialetto
capranichese (e tornare a parlarlo)</span></b></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; mso-layout-grid-align: none; text-align: left; text-autospace: none;"><span style="font-family: inherit; font-size: large;"><span style="mso-font-kerning: 0pt;">Quindi chi avesse voglia di conoscere meglio il nostro
dialetto (e tornare a parlarlo), presso la Biblioteca Comunale “Alfredo
Signoretti” può andare a chiedere in prestito uno o più di questi preziosi
testi e magari cimentarsi a leggere qualche componimento in vernacolo:</span></span></p>
<p style="text-align: left;"><span style="font-family: inherit; font-size: large;"><span style="mso-font-kerning: 0pt;">- <span style="font-variant: small-caps;">Trento Morera</span>,
<i>La storia di Capranica</i>, tip. Antonetti, Roma 1965, con illustrazioni di
Sandro Badiali. </span></span><br /></p><p class="MsoNormal" style="margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-size: medium;"><span style="font-family: "Times New Roman",serif; mso-font-kerning: 0pt;">Questo piccolo volumetto (appena una ventina di pagine), ha
avuto diverse ristampe, nel 1970, nel 1974 e nel 2014 a cura
dell’Amministrazione Comunale. Contiene un poemetto in versi
dialettali che ripercorre la storia di Capranica con la leggenda della sua
fondazione che sarebbe avvenuta il 7 luglio 772 ad opera degli scampati alla
distruzione di Vicus Matrini.</span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-size: large;"><span style="font-family: inherit; mso-font-kerning: 0pt;">- <span style="font-variant: small-caps;">Trento Andreotti</span>,
<i>‘u pigno ‘ill’acquaforte, </i>tip. Grafica 2000, Ronciglione, 1991<i>.</i></span><span style="font-family: "Times New Roman",serif; mso-font-kerning: 0pt;">
<br /></span></span><span style="font-size: medium;"><span style="font-family: "Times New Roman",serif; mso-font-kerning: 0pt;">Contiene una serie di poesie dialettali, soprattutto ricordi dell’Autore, che
raccontano di luoghi e fatti di un tempo passato.</span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-size: large;"><span style="font-family: "Times New Roman",serif; mso-font-kerning: 0pt;">- <span style="font-variant: small-caps;">Antonio
Sarnacchioli</span>, <i>Capranica invito a conoscerla</i>, Centro Maria Loreta,
tip. Romagrafik, Roma 1984. <br /></span></span><span style="font-size: medium;"><span style="font-family: "Times New Roman",serif; mso-font-kerning: 0pt;">E’ la prima vera raccolta di detti popolari e proverbi
che raccoglie un piccolo glossario di 620 lemmi e 762 soprannomi;</span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-size: large;"><span style="font-family: "Times New Roman",serif; mso-font-kerning: 0pt;">-<span style="font-variant: small-caps;">Trento Morera</span>,
<i>Appunti di grammatica dal volgare capranichese</i>, tip. Romagrafik, Roma,
s.d. [2003]. <br /></span></span><span style="font-size: medium;"><span style="font-family: "Times New Roman",serif; mso-font-kerning: 0pt;">Come indica il titolo, l’Autore ha cercato di sistematizzare il
dialetto capranichese codificandone la grammatica, dalla morfologia alle
coniugazioni dei verbi e riporta nuovamente (peraltro con pochi inediti contributi)
il lavoro precedentemente fatto da Antonio Sarnacchioli e i giovani del Centro Maria Loreta;</span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-size: large;"><span style="font-family: "Times New Roman",serif; mso-font-kerning: 0pt;">- <span style="font-variant: small-caps;">Giuseppe Morera</span>,
<i>Toponimi e vecchio dialetto</i>, Capranica 1985, p. 9. <br /></span></span><span style="font-size: medium;"><span style="font-family: "Times New Roman",serif; mso-font-kerning: 0pt;">Il piccolo volumetto
è confluito in <span style="font-variant: small-caps;">Giuseppe Morera</span>,
<i>Capranica vista da vicino</i>, Tip. Romagrafik, Roma 1985. L’Autore passa in
rassegna vari aspetti del dialetto capranichese, soffermandosi su alcune sue
peculiarità.</span></span></p>
<div style="mso-element: footnote-list;"><br clear="all" />
<hr align="left" size="1" width="33%" />
<div id="ftn1" style="mso-element: footnote;">
<p class="MsoFootnoteText"><a href="#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span face=""Calibri",sans-serif" style="font-size: 10pt; mso-ansi-language: IT; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[1]</span></span></span></span></a> <span style="font-variant: small-caps;">Italo Calvino</span>, <i>L’Antilingua</i>, Il
Giorno, 3 febbraio 1965.</p>
</div>
<div id="ftn2" style="mso-element: footnote;">
<p class="MsoFootnoteText"><a href="#_ftnref2" name="_ftn2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span face=""Calibri",sans-serif" style="font-size: 10pt; mso-ansi-language: IT; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[2]</span></span></span></span></a> <span style="font-variant: small-caps;">Flavia Gramellini</span>, <i>l dialetto del
nuovo millennio: usi, parlanti, apprendenti</i>, in <i>Ianua. Revista
Philologica Romanica</i>, Vol. 8 (2008): 181–201</p>
<p class="MsoFootnoteText"></p>
</div>
<div id="ftn3" style="mso-element: footnote;">
<p class="MsoFootnoteText"><a href="#_ftnref3" name="_ftn3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span face=""Calibri",sans-serif" style="font-size: 10pt; mso-ansi-language: IT; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[3]</span></span></span></span></a> <span style="font-variant: small-caps;">Giuseppe Morera</span>, <i>Toponimi e vecchio
dialetto</i>, Capranica 1985, p. 9. Il piccolo volumetto è confluito poi in <span style="font-variant: small-caps;">Giuseppe Morera</span>, <i>Capranica vista da
vicino</i>, Tip. Romagrafik, Roma 1985.</p>
</div>
<div id="ftn4" style="mso-element: footnote;">
<p class="MsoFootnoteText"><a href="#_ftnref4" name="_ftn4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span face=""Calibri",sans-serif" style="font-size: 10pt; mso-ansi-language: IT; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[4]</span></span></span></span></a> <span style="font-variant: small-caps;">Antonio Sciarretta</span>, in <i>Dialetti del
Lazio</i> (<a href="http://www.asciatopo.altervista.org/dialetti_lazio.html">http://www.asciatopo.altervista.org/dialetti_lazio.html</a>),
parla di tratti dialettali avvertiti dai parlanti come 'arcaicizzanti' e quindi
sconvenienti rispetto a parlate più regolari e perciò più 'moderne'.</p>
</div>
<div id="ftn5" style="mso-element: footnote;">
<p class="MsoFootnoteText"><a href="#_ftnref5" name="_ftn5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span face=""Calibri",sans-serif" style="font-size: 10pt; mso-ansi-language: IT; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[5]</span></span></span></span></a> <span style="font-family: "Times New Roman",serif; font-variant: small-caps; mso-font-kerning: 0pt;">Trento Morera</span><span style="font-family: "Times New Roman",serif; mso-font-kerning: 0pt;">, <i>La storia di Capranica</i>, tip. Antonetti, Roma
1965, con illustrazioni di Sandro Badiali</span></p>
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<div id="ftn6" style="mso-element: footnote;">
<p class="MsoFootnoteText"><a href="#_ftnref6" name="_ftn6" style="mso-footnote-id: ftn6;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span face=""Calibri",sans-serif" style="font-size: 10pt; mso-ansi-language: IT; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[6]</span></span></span></span></a> <span style="font-family: "Times New Roman",serif; font-variant: small-caps; mso-font-kerning: 0pt;">Trento Andreotti</span><span style="font-family: "Times New Roman",serif; mso-font-kerning: 0pt;">, <i>‘u pigno ‘ill’acquaforte, </i>tip. Grafica 2000,
Ronciglione, 1991, p. 15</span></p><p class="MsoFootnoteText" style="text-align: center;"><span style="font-family: "Times New Roman",serif; mso-font-kerning: 0pt;">______________________________________________________________________ <br /></span></p>
</div>
</div>
<p>
</p><p class="has-text-align-center" style="text-align: center;"><b>Citare questo documento / Citer ce document / Cite this document</b></p>
<p class="has-text-align-center" style="text-align: center;">CECCARINI, Fabio, «<i>Mecchì dicemo ‘u. Qualche considerazione sull’articolo determinativo singolare maschile il nel dialetto capranichese</i>», Capranica Storica, 19/01/2024 - URL: <a href="https://www.capranicastorica.it/2024/01/mecchi-dicemo-u-qualche-considerazione.html">https://www.capranicastorica.it/2024/01/mecchi-dicemo-u-qualche-considerazione.html</a></p><p></p>
<p style="text-align: center;"><a href="http://creativecommons.org/licenses/by-nc-sa/4.0/" rel="license"><img alt="Licenza Creative Commons" src="https://i.creativecommons.org/l/by-nc-sa/4.0/88x31.png" style="border-width: 0px; display: block; margin-left: auto; margin-right: auto;" /></a>Questo articolo di <a href="https://www.capranicastorica.it/2024/01/mecchi-dicemo-u-qualche-considerazione.html" rel="cc:attributionURL">Fabio Ceccarini</a> è distribuito con Licenza <a href="http://creativecommons.org/licenses/by-nc-sa/4.0/" rel="license">Creative Commons Attribuzione - Non commerciale - Condividi allo stesso modo 4.0 Internazionale</a>.</p></div></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4201727664195975785.post-66369738345041624762024-01-04T08:46:00.001+01:002024-01-05T19:11:16.007+01:00Vecchiarella jotta: il colombario romano del bosco di Marco’ e la festa della Befana nella tradizione capranichese<!--[if gte mso 9]><xml>
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<p class="MsoNormal" style="text-align: center;"><span style="font-size: large;"><span style="font-family: inherit;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinHu9pCXU2RdZGhqDRyrmVbr4qWJvayFw4Zq07pb55JH6W0vdFOsGe6YvOCHl3RDfQdioJ51eStgxJv-bOyvBiHwdQvw9O7VzBOu9qTZGf9y9USNPUMVZ5zxb9AZRs_jg8dwmoRRTjZ7C6MKzsEkhF_WcoetIVuCsNe-PxAK7P3uGH0BSzuu8YPGwndigp/s1024/befana-1024x744.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="744" data-original-width="1024" height="291" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinHu9pCXU2RdZGhqDRyrmVbr4qWJvayFw4Zq07pb55JH6W0vdFOsGe6YvOCHl3RDfQdioJ51eStgxJv-bOyvBiHwdQvw9O7VzBOu9qTZGf9y9USNPUMVZ5zxb9AZRs_jg8dwmoRRTjZ7C6MKzsEkhF_WcoetIVuCsNe-PxAK7P3uGH0BSzuu8YPGwndigp/w400-h291/befana-1024x744.jpg" width="400" /></a></span></span></div><p></p><p class="MsoNormal" style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;">di <i>Fabio Ceccarini </i></span></span><i><span style="font-size: medium;"><span style="font-family: inherit;"><br /></span></span></i></p><p class="MsoNormal" style="text-align: left;"><span style="font-size: large;"><span style="font-family: inherit;"><b><span style="color: #0b5394;">In occasione dell'Epifania, ripercorriamo insieme una delle perdute tradizioni capranichesi legate alla Befana e alla grotta della Vecchiarella, nel misterioso bosco di Marco'. <br /></span></b></span></span></p><p class="MsoNormal" style="text-align: left;"><span style="font-size: large;"><span style="font-family: inherit;">Ancora fino alla
fine degli anni Cinquanta del secolo scorso, di buon ora la mattina del 6
gennaio, uno strano e chiassoso corteo composto di bambini e qualche adulto, si
formava per le vie di Capranica recitando questa cantilena:</span></span></p><p class="MsoNormal" style="text-align: left;"><span style="font-size: large;"><span style="font-family: inherit;"><span></span></span></span></p><a name='more'></a><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: left;"><span style="font-size: large;"><span style="font-family: inherit;">«<i>Vecchiarella
jotta,</i></span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: left;"><span style="font-size: large;"><i style="font-family: inherit;">c’una
fetta ‘i pane in bocca,</i></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: left;"><span style="font-size: large;"><i style="font-family: inherit;">c’una
tavola s’un capo,</i></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: left;"><span style="font-size: large;"><span style="font-family: inherit;"><i>vecchiarella
scorticata</i>»<a href="#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span>[1]</span></span></span></span></a></span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: left;"><span style="font-size: large;"><span style="font-family: inherit;"></span></span></p>
<p class="MsoNormal" style="text-align: left;"><span style="font-size: large;"><span style="font-family: inherit;">Dalla <i>Viccinella<a href="#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><b><span>[2]</span></b></span></span></span></a></i>,
punto di ritrovo per la partenza, l’estemporanea processione si muoveva
scendendo per i greppi di tufo della <i>Rosarella<a href="#_ftn3" name="_ftnref3" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><b><span>[3]</span></b></span></span></span></a></i>,
a sud dell’abitato, in direzione del fondo valle percorso dal fosso <i>d’e
gradelle<a href="#_ftn4" name="_ftnref4" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><b><span>[4]</span></b></span></span></span></a></i>
da dove, guadato il corso d’acqua, si avviava con decisione in salita su per il
costone di <i>Marco’<a href="#_ftn5" name="_ftnref5" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><b><span>[5]</span></b></span></span></span></a></i>.
La meta della bizzarra sfilata era la Grotta <i>della Vecchiarella</i>, un antro
di tufo ben protetto dalle chiome sempreverdi dei lecci, con l’affaccio pericolosamente
strapiombante su un alto dirupo. I <i>munelli<a href="#_ftn6" name="_ftnref6" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><b><span>[6]</span></b></span></span></span></a></i>,
armati di bidoni, mestoli, coperchi di rame, campanacci e qualsiasi altro
utensile capace di rumoroso suono, battevano sugli improvvisati strumenti per
dare il ritmo alle strofe della cantilena, producendo un fragore assordante.
Arrivati alla meta, fiaschi di vino comparivano improvvisamente dalle sacche dei
pochi adulti partecipanti, il cui rosso contenuto accompagnava una frugale e
povera merenda, riscaldando i cuori dal freddo invernale. Terminato
l’ancestrale rito, con la medesima facilità con cui si era formata, la
processione si scioglieva, e tutti ritornavano nelle loro case popolando di
risa e di voci le piazzette e i vicoletti del borgo. E tuttavia non senza aver
prima visitato l’antro della Vecchiarella e aver percorso il piccolo cunicolo
che mette in collegamento i due ambienti di cui è composto. Constatando la totale
assenza di essere umano.</span></span></p><p class="MsoNormal" style="text-align: center;"><span style="font-size: large;"><span style="font-family: inherit;"></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRT90HkxjPkCBMkkL1Q8kpikM3YrVddDbzPDc7NffSfKL4d4wuyFpiKJFwaYBSZNLT8ALzJQS9lp6TufDykMEpEpFl4mvudIuV_gQ1DJg-KWRKEUpFavJKgY2VUHFH7McO_hm4__TZXAsWQKaV7HaKGhbk35FMPxB8taOM4LK0s8lwDMiQq7oa-FrJuBzq/s3000/20240105005.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2000" data-original-width="3000" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRT90HkxjPkCBMkkL1Q8kpikM3YrVddDbzPDc7NffSfKL4d4wuyFpiKJFwaYBSZNLT8ALzJQS9lp6TufDykMEpEpFl4mvudIuV_gQ1DJg-KWRKEUpFavJKgY2VUHFH7McO_hm4__TZXAsWQKaV7HaKGhbk35FMPxB8taOM4LK0s8lwDMiQq7oa-FrJuBzq/w400-h266/20240105005.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Il cunicolo che mette in collegamento i due ambienti della grotta della Vecchiarella<br /></i></td></tr></tbody></table><span style="font-size: large;"><span style="font-family: inherit;"><br /></span></span><p></p>
<p class="MsoNormal" style="text-align: left;"><span style="font-size: large;"><span style="font-family: inherit;">Secondo la
tradizione infatti, fin da un’epoca remota e immemorabile, una povera
vecchiarella avrebbe abitato la misteriosa spelonca. Al suo interno, conservati
in decine e decine di piccole cellette scavate nel tufo, l’anziana donna teneva
in serbo i dolciumi da recapitare ai bambini buoni durante la notte tra il 5 e
6 gennaio. E in un angolo, sotto ad una improvvisata cappa che perforava il tetto
della grotta, resa nera dalla fuliggine, teneva da parte tanto carbone di
legna, nero come la pece, con il quale puniva i monelli che durante l’anno
precedente si erano comportati da discoli. </span></span></p>
<p class="MsoNormal" style="text-align: left;"><span style="font-size: large;"><span style="font-family: inherit;">Era, la
vegliarda, una vecchia di repellente bruttezza, che non doveva essere vista.
Per questo motivo il corteo annunciava il suo arrivo con schiamazzi e baccano:
affinché potesse scappare e nascondersi di nuovo – chissà dove? – fino al suo
ritorno, l’anno venturo, in un ciclo antico come il mondo, che si ripeteva
sempre uguale.</span></span></p><p class="MsoNormal" style="text-align: left;"><span style="font-size: large;"><span style="font-family: inherit;"> </span></span></p>
<p class="MsoNormal" style="text-align: left;"><span style="font-size: large;"><b style="font-family: inherit;">La Befana
secondo l’iconografia classica</b></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: left;"><span style="font-size: large;"><span style="font-family: inherit;">E’ chiaro come
la Vecchiarella capranichese abbia gli stessi connotati dell’iconografia
classica con la quale è dipinta la Befana, figura tradizionale esclusivamente
italiana ed estranea – seppure con qualche eccezione non proprio assimilabile<a href="#_ftn7" name="_ftnref7" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span>[7]</span></span></span></span></a>
– ad altri paesi europei: un gonnellone scuro ed ampio, un grembiule con le
tasche, uno scialle, un fazzoletto in testa<a href="#_ftn8" name="_ftnref8" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span>[8]</span></span></span></span></a>,
un paio di ciabatte consunte, schiena ricurva e gibbosa, un naso lungo e
foruncoloso, un mento prominente e ossuto. Una filastrocca diffusa in tutta la
Penisola, con numerossime varianti provinciali e locali, ci restituisce molta
di questa iconografia. Così recita:</span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: left;"><span style="font-size: large;"><span style="font-family: inherit;"></span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: left;"><span style="font-size: large;"><span style="font-family: inherit;">1. <i>La
Befana vien di notte</i><br />
2. <i>con le scarpe tutte rotte<br />
</i>3. <i>con le toppe alla sottana:</i><br />
4. <i>Viva, viva la Befana!<a href="#_ftn9" name="_ftnref9" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><b><span>[9]</span></b></span></span></span></a></i></span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: left;"><span style="font-size: large;"><span style="font-family: inherit;"></span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: left;"><span style="font-size: large;"><span style="font-family: inherit;">E se le
strofe 1 e 2 compaiono nella stragrande maggioranza delle versioni, le strofe 3
e 4 sono dedicate di volta in volta all’abbigliamento della vecchia, oppure alla
sua funzione di dispensatrice di doni o di punizioni. Abbiamo quindi, alla
strofa 3: </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: left;"><span style="font-size: large;"><span style="font-family: inherit;"></span></span></p>
<ul style="text-align: left;"><li class="MsoNormal" style="margin-bottom: 0cm; text-align: left;"><i><span style="font-size: large;"><span style="font-family: inherit;">le toppe alla sottana;</span></span></i></li><li class="MsoNormal" style="margin-bottom: 0cm; text-align: left;"><i><span style="font-size: large;"><span style="font-family: inherit;">il vestito (oppure il cappello) alla romana;</span></span></i></li><li class="MsoNormal" style="margin-bottom: 0cm; text-align: left;"><i><span style="font-size: large;"><span style="font-family: inherit;">la scopa di saggina;</span></span></i></li><li class="MsoNormal" style="margin-bottom: 0cm; text-align: left;"><i><span style="font-size: large;"><span style="font-family: inherit;">con la scopa e la sottana;</span></span></i></li><li class="MsoNormal" style="margin-bottom: 0cm; text-align: left;"><i><span style="font-size: large;"><span style="font-family: inherit;">il sacco pien di toppe;</span></span></i></li><li class="MsoNormal" style="margin-bottom: 0cm; text-align: left;"><i><span style="font-size: large;"><span style="font-family: inherit;">le ossa tutte rotte;</span></span></i></li><li class="MsoNormal" style="margin-bottom: 0cm; text-align: left;"><i><span style="font-size: large;"><span style="font-family: inherit;">la gerla sulle spalle;</span></span></i></li><li class="MsoNormal" style="margin-bottom: 0cm; text-align: left;"><i><span style="font-size: large;"><span style="font-family: inherit;">la sottana scucita;</span></span></i></li><li class="MsoNormal" style="margin-bottom: 0cm; text-align: left;"><span style="font-size: large;"><span style="font-family: inherit;"><i>il vestito misto lana;</i> <br /></span></span></li></ul>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: left;"><span style="font-size: large;"><span style="font-family: inherit;">E alla strofa
4, con la funzione di completamento della strofa precedente: </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: left;"><span style="font-size: large;"><span style="font-family: inherit;"></span></span></p><span style="font-size: large;"><i>3. con un sacco pien di doni / 4. da portare ai bimbi buoni;<br />3. viene e bussa alla tua porta / 4. sai tu dirmi che ti porta?;<br />3. viene, bussa e scappa via / 4. la befana è mamma mia;<br />3. scende, scende dai camini / 4. per la gioia dei bambini;<br />3. porta doni ai più piccini / 4. ai più tristi e poverini!</i></span><br /><p class="MsoNormal" style="margin-bottom: 0cm; text-align: center;"><span style="font-size: large;"><span style="font-family: inherit;"></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlrybhtdDntzXzanTbE4GRXCX1JexYcytLJU7_QLJCaUL4QYwsl0e6F-DJkgbPMMdFtVmNavEy7AIKNx-t3nK_RvZlNzQOdQGxSJcUNTV9h8zIq_qrCdp0PIbyp0lXPEXvtfNWPELnhvP_5gGCZjsBZtEMfCgL9A5LcoX3zQ8Lf9mcC3ImEWVz_U7E78q-/s3000/20240105001.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2000" data-original-width="3000" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlrybhtdDntzXzanTbE4GRXCX1JexYcytLJU7_QLJCaUL4QYwsl0e6F-DJkgbPMMdFtVmNavEy7AIKNx-t3nK_RvZlNzQOdQGxSJcUNTV9h8zIq_qrCdp0PIbyp0lXPEXvtfNWPELnhvP_5gGCZjsBZtEMfCgL9A5LcoX3zQ8Lf9mcC3ImEWVz_U7E78q-/w400-h266/20240105001.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Le piccole cellette all'interno della grotta: <br />vi si conservavano urne cinerarie o vi si allevavano piccioni?</i><br /></td></tr></tbody></table><span style="font-size: large;"><span style="font-family: inherit;"><br /></span></span><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: left;"><span style="font-size: large;"><b style="font-family: inherit;">La Befana,
la Vecchia, la Vecchiarella</b></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: left;"><span style="font-size: large;"><span style="font-family: inherit;">Ecco quindi,
alla luce di quanto esposto, che la Vecchiarella capranichese è perfettamente
sovrapponibile al personaggio tradizionale della Befana, compresa l’usanza
locale della processione alla sua dimora, improvvisata dai bambini la mattina
dell’Epifania del Signore, il 6 gennaio.</span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: left;"><span style="font-size: large;"><span style="font-family: inherit;">E’ la festa dell’Epifania
che chiude il ciclo dei dodici giorni successivi al Natale. Popolarmente
conosciuta come festa della Befana, chiara corruzione del meno digeribile
termine Epifania (dal greco <i>epifáneia</i> = manifestazione, trasformatosi
prima in <i>pifania</i> e successivamente in <i>bifania</i>, <i>beffanìa</i>, <i>befanìa</i>,
<i>befana</i>), questa ricorrenza affonda le sue radici nelle festività lunari,
legate ad antichi calendari connessi al nostro satellite, impregnate della
simbologia del suddetto astro, presentandosi come momento rituale dedicato
all’infanzia e al mondo femminile<a href="#_ftn10" name="_ftnref10" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span>[10]</span></span></span></span></a>.
</span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: left;"><span style="font-size: large;"><span style="font-family: inherit;">Nella
tradizione contadina, la dodicesima notte è notte di miracoli, trasformazione,
metamorfosi. Allo scoccare della mezzanotte gli animali acquistano parola ed
ogni cosa muta forma: «…le lenzuola in lasagne, le mura in cacio, l’acqua in
vino (…) tutti i desideri si esaudiscono, gli alberi danno frutti d’oro»<a href="#_ftn11" name="_ftnref11" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span>[11]</span></span></span></span></a>.
</span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: left;"><span style="font-size: large;"><span style="font-family: inherit;">E’ dunque in
questa notte, la dodicesima dopo il Natale, che si conclude il periodo di
passaggio dal vecchio anno a quello nuovo cominciato col Natale, la festa del
Sole invitto, che rinasce e che fa crescere il giorno in lunghezza<a href="#_ftn12" name="_ftnref12" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span>[12]</span></span></span></span></a>.
Da questo punto di vista, l’Epifania ha perciò valore di Capodanno e la notte
tra il 5 e il 6, come la notte di San Silvestro, tra il 31 dicembre e il 1°
gennaio – la notte del “<i>capo dell’anno</i>” – si ripetono prodigi e
sortilegi. Tanto che quella notte gli animali ricevevano razioni più abbondanti
del solito o addirittura doppie per evitare che dopo la mezzanotte si
lamentassero tra loro, scambiandosi con voce umana racconti sul trattamento
subito da parte del padrone<a href="#_ftn13" name="_ftnref13" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span>[13]</span></span></span></span></a>.</span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: left;"><span style="font-size: large;"><span style="font-family: inherit;">In questa
notte di passaggio e magica, in cui anche i morti sono liberi di frequentare il
mondo sensibile, la Befana, raffigurata come una vecchia rinsecchita, diventa
anch’essa simbolo dell’anno vecchio, un essere destinato alla morte per far
rinascere la vita, ma che prima di morire e di sparire dalla vista – immaginata
– offre doni, dolciumi e regali. Diventa quindi un tramite tra il mondo dei
vivi, destinato a sopravvivere con l’iniziare dell’anno, e il mondo dei morti,
seppellito con l’anno vecchio. Nel Veneto, durante la notte della Befana, si
faceva grande baccano con lo scopo di scacciare le forze malefiche dai campi e
dai paesi, e quindi si accendeva un fuoco dove si bruciava <i>la Vecia</i>, un
pupazzo orrendo che simboleggiava il male. In Piemonte si usava segare la
vecchia e trarne dal ventre dolci e frutta fresca. In Sicilia, la <i>Carcavecchia</i>
e la <i>Vecchia Strina<a href="#_ftn14" name="_ftnref14" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><b><span>[14]</span></b></span></span></span></a></i>
vengono rincorse per strada da centinaia di bambini e ragazzi urlanti armati di
padelle e pentole, corni di bue e cerbottane. La <i>Vecchia</i>, in molte parti
d’Italia, veniva così cacciata per mezzo del chiasso e del rumore per farla
tornare nel suo mondo soprannaturale e in alcuni casi addirittura catturata, uccisa
e bruciata. Il corteo della <i>Vecchiarella</i> in ambito capranichese assume
allora, analogamente a questi esempi, la valenza di cacciata della Befana dal
suo inaccessibile antro, a mezzo di rumore e chiasso, al fine di respingerla
nel suo mondo “altro”, ultrasensibile, e seppellirla insieme ai morti e all’anno
vecchio. Non a caso, la tradizione popolare del luogo si è immaginata che la megera
abitasse in un luogo eminentemente dedicato ai defunti, eppure non lontanissimo
dal centro abitato – il mondo dei vivi –, e tuttavia contemporaneamente nascosto
alla vista, pericoloso e inaccessibile. </span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: center;"><span style="font-size: large;"><span style="font-family: inherit;"></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7g1QUnydfPTPwuaNAVuiX0i_mA9o3aPrUsnub2Zr7zIBOexow3fxSRNxYDiNFq8wgCd1iHHvUurKE5JIVbiKTMElZUkg21AcjAzfkRMupIKDwa1n-Wj7sFYDE2RbZ4UsUGYuhXJHdrX8_o9n_13Q9LoE5tw6NoCcNZsbcpY2VEogij3FlMSXrHBDzMcwG/s1359/Macchia%20di%20Marco'%20-%20Google%20Earth.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="762" data-original-width="1359" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7g1QUnydfPTPwuaNAVuiX0i_mA9o3aPrUsnub2Zr7zIBOexow3fxSRNxYDiNFq8wgCd1iHHvUurKE5JIVbiKTMElZUkg21AcjAzfkRMupIKDwa1n-Wj7sFYDE2RbZ4UsUGYuhXJHdrX8_o9n_13Q9LoE5tw6NoCcNZsbcpY2VEogij3FlMSXrHBDzMcwG/w400-h224/Macchia%20di%20Marco'%20-%20Google%20Earth.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Il bosco di Marco' (area retinata celeste) e la piccola elcetella (area retinata bianca) <br />che custodisce la grotta della Vecchiarella</i><br /></td></tr></tbody></table><p></p><p class="MsoNormal" style="margin-bottom: 0cm; text-align: center;"><span style="font-size: large;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiL7GodCQjnV7HGuyzGaXyamwuGLRPn5JIQMJXLL72y0mtip9eiGsWpXeD-papsYMqoBDigMli-ocjIu1kUgqD3jjoBKuwjhewt4j8DB2R_RHmP4j8g9yuEOWbGkO7TD7NJEvgGAqhWzD5qwQGuhn8FNFlZ4-HMno22pB7z7p41nHPFZZrZk8omcQ1lqTU/s1443/Grotta%20Vecchiarella%20-%20Google%20Earth.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="906" data-original-width="1443" height="251" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiL7GodCQjnV7HGuyzGaXyamwuGLRPn5JIQMJXLL72y0mtip9eiGsWpXeD-papsYMqoBDigMli-ocjIu1kUgqD3jjoBKuwjhewt4j8DB2R_RHmP4j8g9yuEOWbGkO7TD7NJEvgGAqhWzD5qwQGuhn8FNFlZ4-HMno22pB7z7p41nHPFZZrZk8omcQ1lqTU/w400-h251/Grotta%20Vecchiarella%20-%20Google%20Earth.jpg" width="400" /></a></i></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>L'area sacra di Marco'<br /></i></td></tr></tbody></table><span style="font-size: large;"><br /><span style="font-family: inherit;"></span></span><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: left;"><span style="font-size: large;"><b style="font-family: inherit;">Il
colombario romano de <i>La Vecchiarella</i></b></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: left;"><span style="font-size: large;"><span style="font-family: inherit;"></span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: left;"><span style="font-size: large;"><span style="font-family: inherit;">A sud dell’abitato
di Capranica, sulla destra orografica del torrente Rotoli, tributario del Treja
e appartenente al bacino del Tevere, ad una quota di circa 370 mslm, si trovano
due grotte di tufo collegate tra loro tramite un basso cunicolo, all’interno
delle quali sono visibili decine di nicchiette scavate nella roccia. Si tratta
di un colombario di epoca romana, destinato alla conservazione di urne cinerarie.
Il sito è stato studiato per la prima volta da Patrizio Pensabene nel 1983, su
segnalazione di Angelo Galli<a href="#_ftn15" name="_ftnref15" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span>[15]</span></span></span></span></a>.
La forma delle nicchie del colombario, le loro dimensioni e la loro
maggiore o minore uniformità sulle pareti, forniscono utili informazioni sia
sul livello sociale dei defunti, sia sulla loro appartenenza ad uno stesso
strato sociale (inteso come posizioni economiche e sociali diverse all'interno di
una stessa classe). Da queste analisi, si può ritenere, secondo Pensabene, che nel
caso in esame si può fare riferimento «…alle forme di produzione schiavile e
quindi al relativo altissimo numero di schiavi presenti negli <i>ergastula</i> delle
ville rustiche soprattutto dalla fine del II sec. a.C. agli inizi del II sec.
d.C.»<a href="#_ftn16" name="_ftnref16" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span>[16]</span></span></span></span></a>.
Tuttavia l’Autore, in relazione al problema del riutilizzo, in epoca medievale,
di tombe a colombario come colombaie per l’allevamento di colombi, «…ritiene
anche sia necessaria una ripresa del problema per una definizione
di modelli più articolati da usare per l'individuazione della funzione di quei
monumenti le cui caratteristiche li pongano in una zona intermedia tra i
colombari sicuramente ad uso funerario e quelli sicuramente ad uso di colombaie…»<a href="#_ftn17" name="_ftnref17" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span>[17]</span></span></span></span></a>,
come sembrerebbe collocarsi questo di Capranica<a href="#_ftn18" name="_ftnref18" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span>[18]</span></span></span></span></a>. </span></span></p><p class="MsoNormal" style="margin-bottom: 0cm; text-align: center;"><span style="font-size: large;"><span style="font-family: inherit;"></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWuqX9rvZY1o9QMXdedwQSh53oOL1Z3CztQ49i5TUr6HZvCL3Pfrl2ryFHNFCArlFnRDZn3ZIot5bzFmXYvlomsO-Fj4eBEzchTQtd-v-pmQUD47CO4QJYa3voPdeSaCH-X0be318uoF32i9pNNhHBZYz9nx4INGCH63UzN8J2VMSF2dMOIXYU3QerHCAv/s964/Pianta%20colombari.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="715" data-original-width="964" height="296" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWuqX9rvZY1o9QMXdedwQSh53oOL1Z3CztQ49i5TUr6HZvCL3Pfrl2ryFHNFCArlFnRDZn3ZIot5bzFmXYvlomsO-Fj4eBEzchTQtd-v-pmQUD47CO4QJYa3voPdeSaCH-X0be318uoF32i9pNNhHBZYz9nx4INGCH63UzN8J2VMSF2dMOIXYU3QerHCAv/w400-h296/Pianta%20colombari.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>La pianta della grotta con i due vani A e B collegati da un cunicolo (tratto da P. Pensabene, Un colombario a Capranica (VT))</i><br /></td></tr></tbody></table><span style="font-size: large;"><span style="font-family: inherit;"><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvk0pSvL9FJ5kVMUrDYpyB4MHZoHmRdIHxkPhpyGH4l5SE-3BxNr386yDSxFCkAwIjIxrRys_wr3ZtZyeyEojJbQCuFJMGCqep2KUzZBVmb5Po3v_FadYlJRJh5I5vJ7DsB06iQiTy_b246wHhpCBk59xvxQ7EAgzeExWCSjXKo6uWu8I6zDh9O_2t4rz1/s900/Colombario%20-%20interno.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="900" data-original-width="710" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvk0pSvL9FJ5kVMUrDYpyB4MHZoHmRdIHxkPhpyGH4l5SE-3BxNr386yDSxFCkAwIjIxrRys_wr3ZtZyeyEojJbQCuFJMGCqep2KUzZBVmb5Po3v_FadYlJRJh5I5vJ7DsB06iQiTy_b246wHhpCBk59xvxQ7EAgzeExWCSjXKo6uWu8I6zDh9O_2t4rz1/w315-h400/Colombario%20-%20interno.jpg" width="315" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Sezione del colombario B (tratto da P. Pensabene, Un colombario a Capranica (VT))</i><br /></td></tr></tbody></table></span></span><p></p><p class="MsoNormal" style="margin-bottom: 0cm; text-align: left;"><br /></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: left;"><span style="font-size: large;"><b style="font-family: inherit;">Le piante
di leccio</b></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: left;"><span style="font-size: large;"><span style="font-family: inherit;"></span></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: left;"><span style="font-size: large;"><span style="font-family: inherit;">Ciononostante,
non si può fare a meno di constatare la presenza di un elemento naturale che ci
fa ricondurre il primitivo uso dei due piccoli ambienti, a quello di sepolture
per urne cinerarie: la pianta del leccio (<i>quercus ilex L.</i>). Intorno al
sito, se ne trovano grandi esemplari abbarbicati nella roccia di tufo, con
diametri notevoli e altezze di oltre 10/12 metri. Nel bosco di Marcò, che pure
misura circa 11 ettari, si contano pochissimi esemplari di leccio, peraltro
isolati. L’area in questione, invece, che misura solo circa 6 centiare, è invece
caratterizzata dalla uniforme presenza del leccio.</span></span></p><p class="MsoNormal" style="margin-bottom: 0cm; text-align: center;"><span style="font-size: large;"><span style="font-family: inherit;"></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2OAJ-VZdwBKL75szWHfoBNRJys3bFW_kTcKUoEFmJGxI-Ld8BcAQa1vvyB7lROpyHbRGZJnsxO8pUQn9Goucdk2g02595kkvL_4wk_QtsYT6_qF3_aAq8qNQMWHK-KEveY8zdf-kDTa8jtO6odDj4lU-l8lk_otXeB7DCPnd1s7J6RlQ56Qh5zOVTgizF/s1112/Foto%20Elcetella.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="747" data-original-width="1112" height="269" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2OAJ-VZdwBKL75szWHfoBNRJys3bFW_kTcKUoEFmJGxI-Ld8BcAQa1vvyB7lROpyHbRGZJnsxO8pUQn9Goucdk2g02595kkvL_4wk_QtsYT6_qF3_aAq8qNQMWHK-KEveY8zdf-kDTa8jtO6odDj4lU-l8lk_otXeB7DCPnd1s7J6RlQ56Qh5zOVTgizF/w400-h269/Foto%20Elcetella.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>La valle del torrente Rotoli (fosso de' gradelle). Il cerchio rosso individua la zona di ubicazione della grotta della Vecchiarella.</i><br /></td></tr></tbody></table><span style="font-size: large;"><span style="font-family: inherit;"> </span></span><p></p>
<p class="MsoNormal" style="margin-bottom: 0cm; text-align: left;"><span style="font-size: large;"><span style="font-family: inherit;">Nell’antichità,
si credeva che il leccio avesse proprietà oracolari dato che aveva la capacità,
come altre querce, di attirare i fulmini. Il fogliame scuro e nereggiante che
lo caratterizza, ha contribuito poi notevolmente acché nel tempo gli fosse data
una valenza triste e cupa, tanto che lo si accostava alle sepolture e alle zone
scelte per funzioni funerarie. Secondo i Greci, infatti, con le sue foglie
usavano incoronarsi le Parche, divinità raffigurate come vecchie scorbutiche
che, munite di filo e forbici, presiedevano ai destini degli uomini. Anche nell’antica
Roma, si continuò a dare al leccio la medesima valenza a metà strada tra sacro
e funesto come presso i Greci. Ai piedi dell’Aventino sorgeva un bosco di
lecci, dove si voleva dimorasse la ninfa Egeria. E sul Colle degli Indovini, il
colle Vaticano, si stagliava il leccio più antico dell’Urbe, recante un’antica
iscrizione in caratteri etruschi. I boschi di leccio o le piccole elcetelle – isole
di vegetazione caratterizzate da gruppi di lecci che sorgono all’interno di
boschi più grandi formati da altre specie – furono così man mano utilizzati per
ricavarne aree sacre dove far riposare i morti, ben protetti da una fitta
ombra. Tra l’altro, essendo il leccio una pianta sempreverde e di un verde
molto scuro, si poteva individuare l’area sacra anche da lontano tanto in
inverno, quando le altre specie, come il castagno, avevano perso le foglie, quanto
in estate, proprio grazie al colore della macchia scura formata dalle chiome di
questi alberi.</span></span></p>
<div style="text-align: left;"><p><span style="font-size: large;"><span style="font-family: inherit;"><br clear="all" /></span></span></p>
<hr size="1" style="text-align: left;" width="33%" />
<p id="ftn1">
</p><p class="MsoFootnoteText"><span style="font-size: medium;"><span style="font-family: inherit;"><a href="#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span>[1]</span></span></span></span></a> Questa, come altre filastrocche e
cantilene, si trova raccolta in <span style="font-variant: small-caps;">Antonio</span>
<span style="font-variant: small-caps;">Sarnacchioli</span>, <i>Capranica. Invito
a conoscerla</i>, Capranica, Centro Maria Loreta, tip. Romagrafik, 1984, p. 24</span></span></p>
<p id="ftn2">
</p><p class="MsoFootnoteText"><span style="font-size: medium;"><span style="font-family: inherit;"><a href="#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span>[2]</span></span></span></span></a> Contrada del centro storico di
Capranica</span></span></p>
<p id="ftn3">
</p><p class="MsoFootnoteText"><span style="font-size: medium;"><span style="font-family: inherit;"><a href="#_ftnref3" name="_ftn3" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span>[3]</span></span></span></span></a> Porzione de <i>la Viccinella</i>,
disposta a ridosso del costone tufaceo sud</span></span></p>
<p id="ftn4">
</p><p class="MsoFootnoteText"><span style="font-size: medium;"><span style="font-family: inherit;"><a href="#_ftnref4" name="_ftn4" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span>[4]</span></span></span></span></a> Il torrente Rotoli, comunemente detto <i>fosso</i>
<i>d’e gradelle</i> (delle gradelle = piccoli gradini o forse piccole grate)</span></span></p>
<p id="ftn5">
</p><p class="MsoFootnoteText"><span style="font-size: medium;"><span style="font-family: inherit;"><a href="#_ftnref5" name="_ftn5" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span>[5]</span></span></span></span></a> Bosco di Marcone, troncato in <i>Marco’</i>
(o finale chiusa), situato sul versante orografico destro del Rotoli, proprio
dirimpetto all’abitato del paese</span></span></p>
<p id="ftn6">
</p><p class="MsoFootnoteText"><span style="font-size: medium;"><span style="font-family: inherit;"><a href="#_ftnref6" name="_ftn6" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span>[6]</span></span></span></span></a> Bambini, monelli</span></span></p>
<p id="ftn7">
</p><p class="MsoFootnoteText"><span style="font-size: medium;"><span style="font-family: inherit;"><a href="#_ftnref7" name="_ftn7" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span>[7]</span></span></span></span></a> Ci si riferisce qui agli esempi della <i>Holda</i>
germanica, protettrice dei defunti nonché dea delle tempeste, che viene
accompagnata da una cicogna; alla <i>Perchta</i> austriaca talvolta raffigurata
con becco e zampe di gallina; ma anche alla <i>Strina</i> di Ciminna, un paese
siciliano in provincia di Palermo, che esce dal suo castello soltanto a Natale
facendosi formica o uccello per meglio penetrare nelle case passando per i
tetti o i camini. Cfr. <span style="font-variant: small-caps;">Silvia Ippolito</span>,
<i>La Befana: antenata donatrice, Nonna del fuoco, Vecchia/Strega d’Inverno</i>,
www.academia.edu</span></span></p>
<p id="ftn8">
</p><p class="MsoFootnoteText"><span style="font-size: medium;"><span style="font-family: inherit;"><a href="#_ftnref8" name="_ftn8" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span>[8]</span></span></span></span></a> E’ errato ed estraneo a questa
iconografia il cappello da strega, frutto delle recenti contaminazioni/corruzioni
halloweeniane.</span></span></p>
<p id="ftn9">
</p><p class="MsoFootnoteText"><span style="font-size: medium;"><span style="font-family: inherit;"><a href="#_ftnref9" name="_ftn9" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span>[9]</span></span></span></span></a> Le numerosissime varianti sono state
raccolte, negli anni, sul sito <a href="http://www.filastrocche.it">www.filastrocche.it</a>,
cui si rimanda.</span></span></p>
<p id="ftn10">
</p><p class="MsoFootnoteText"><span style="font-size: medium;"><span style="font-family: inherit;"><a href="#_ftnref10" name="_ftn10" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span>[10]</span></span></span></span></a><span class="MsoFootnoteReference"> </span>Cfr. <span class="MsoFootnoteReference"><span style="font-variant: small-caps; vertical-align: baseline;">Claudia Manciocco-Luigi
Manciocco</span></span><span class="MsoFootnoteReference"><span style="vertical-align: baseline;">, <i>L'incanto e l'arcano: per un'antropologia della befana</i></span></span>,
Roma, A. Armando ed., 2006, p. 148</span></span></p>
<p id="ftn11">
</p><p class="MsoFootnoteText"><span style="font-size: medium;"><span style="font-family: inherit;"><a href="#_ftnref11" name="_ftn11" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span>[11]</span></span></span></span></a> <i>ibidem</i></span></span></p>
<p id="ftn12">
</p><p class="MsoFootnoteText"><span style="font-size: medium;"><span style="font-family: inherit;"><a href="#_ftnref12" name="_ftn12" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span>[12]</span></span></span></span></a> <i>Anno novo, quanto arza un zampo ‘i
bovo cresce ‘a giornata</i> = con l’inizio del nuovo anno le giornate tornano
lentamente a crescere con minima differenza come la lentezza con la quale un
bue alza una zampa (<span style="font-variant: small-caps;">Antonio</span> <span style="font-variant: small-caps;">Sarnacchioli</span>, <i>Capranica. Invito a
conoscerla</i>, cit., p. 24)</span></span></p>
<p id="ftn13">
</p><p class="MsoFootnoteText"><span style="font-size: medium;"><span style="font-family: inherit;"><a href="#_ftnref13" name="_ftn13" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span>[13]</span></span></span></span></a> <span style="font-variant: small-caps;">Silvia
Ippolito</span>, <i>La Befana: antenata donatrice, Nonna del fuoco,
Vecchia/Strega d’Inverno</i>, www.academia.edu </span></span></p>
<p id="ftn14">
</p><p class="MsoFootnoteText"><span style="font-size: medium;"><span style="font-family: inherit;"><a href="#_ftnref14" name="_ftn14" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span>[14]</span></span></span></span></a> <i>Strina</i> = Strenna, divinità
romana di origine sabina, simbolo del nuovo anno, prosperità e fortuna</span></span></p>
<p id="ftn15">
</p><p class="MsoFootnoteText"><span style="font-size: medium;"><span style="font-family: inherit;"><a href="#_ftnref15" name="_ftn15" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span>[15]</span></span></span></span></a> <span style="font-variant: small-caps;">Patrizio
Pensabene</span>, <i>Un colombario a Capranica (VT)</i>, in <i>Archeologia
Classica</i>, XXXV (1983), pp. 58-73</span></span></p>
<p id="ftn16">
</p><p class="MsoFootnoteText"><span style="font-size: medium;"><span style="font-family: inherit;"><a href="#_ftnref16" name="_ftn16" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span>[16]</span></span></span></span></a> <span style="font-variant: small-caps;">Patrizio
Pensabene</span>, <i>Un colombario a Capranica (VT)</i>, cit., p. 59</span></span></p>
<p id="ftn17">
</p><p class="MsoFootnoteText"><span style="font-size: medium;"><span style="font-family: inherit;"><a href="#_ftnref17" name="_ftn17" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span>[17]</span></span></span></span></a> <span style="font-variant: small-caps;">Patrizio
Pensabene</span>, <i>Un colombario a Capranica (VT)</i>, cit., p. 62</span></span></p>
<div id="ftn18" style="mso-element: footnote;">
<p class="MsoNormal" style="margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-size: medium;"><span style="font-family: inherit;"><a href="#_ftnref18" name="_ftn18" title=""><span class="MsoFootnoteReference"><span><span><span class="MsoFootnoteReference"><span>[18]</span></span></span></span></span></a><span> Sui colombari: <span style="font-variant: small-caps;">Stefania Quilici Gigli</span>, <i>Colombari e
colombaie nell’Etruria rupestre</i>, RIASA (Rivista dell'Istituto Nazionale d'Archeologia
e Storia dell'Arte), S. III, IV, 1981, pp. 105-175. L’autrice conclude il suo
studio con l’affermazione: «Ritengo così di poter affermare che i cosiddetti colombari
dell'Etruria furono costruiti per l'allevamento dei colombi su vasta scala,
secondo quei criteri che conosciamo applicati dall'antichità fino ai tempi
moderni.» (p. 110); <span style="font-variant: small-caps;">Giacomo
Mazzuoli-Giuseppe Moscatelli</span>, <i>Opera Columbaria. Colombari e colombaie
nella Tuscia rupestre</i>, Canino, Associazione Canino Info Onlus, 2023.</span></span></span></p><p class="MsoNormal" style="margin-bottom: 0cm; mso-layout-grid-align: none; text-align: center; text-autospace: none;"><span style="font-size: medium;"><span style="font-family: inherit;"><span>____________________________________________________________________ <br /></span></span></span></p>
</div>
</div>
<p>
</p><p class="has-text-align-center" style="text-align: center;"><b>Citare questo documento / Citer ce document / Cite this document</b></p>
<p class="has-text-align-center" style="text-align: center;">CECCARINI, Fabio, «<i>Vecchiarella jotta: il colombario romano del bosco di Marco’ e la festa della Befana nella tradizione capranichese</i>», Capranica Storica, 05/01/2024 - URL: <a href="https://www.capranicastorica.it/2024/01/vecchiarella-jotta-il-colombario-romano.html">https://www.capranicastorica.it/2024/01/vecchiarella-jotta-il-colombario-romano.html</a></p><p></p>
<p style="text-align: center;"><a href="http://creativecommons.org/licenses/by-nc-sa/4.0/" rel="license"><img alt="Licenza Creative Commons" src="https://i.creativecommons.org/l/by-nc-sa/4.0/88x31.png" style="border-width: 0px; display: block; margin-left: auto; margin-right: auto;" /></a>Questo articolo di <a href="https://www.capranicastorica.it/2024/01/vecchiarella-jotta-il-colombario-romano.html" rel="cc:attributionURL">Fabio Ceccarini</a> è distribuito con Licenza <a href="http://creativecommons.org/licenses/by-nc-sa/4.0/" rel="license">Creative Commons Attribuzione - Non commerciale - Condividi allo stesso modo 4.0 Internazionale</a>.</p>Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-4201727664195975785.post-36665992392927654262023-12-12T00:20:00.012+01:002024-01-04T00:27:26.714+01:00Montagne e monti: come si chiamano le cime dell'Appennino che si vedono da Capranica?<p style="text-align: center;"><span style="font-family: inherit;"><span style="font-size: large;"><b><span style="color: #3d85c6;"></span></b></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><span style="font-size: large;"><b><span style="color: #3d85c6;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwPfkFXXAxQ99kiczsrMRArQCL0OsJeJXssUnuAY8foQoGwGmHiqFWYPMzDcLVIeQoxCFmn58_FKZVbIL8uEFS2fcHgVrrVyrFEe8j9Ep7S4jkULN0ECyjGfopj9SAPn_BH3ZSEhgTJa9QWyDs0YTrJ28wLERN8iUdKxP2uJZ4ONP-zwVK61DFD5f8zmpr/s1999/20231211001.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1336" data-original-width="1999" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwPfkFXXAxQ99kiczsrMRArQCL0OsJeJXssUnuAY8foQoGwGmHiqFWYPMzDcLVIeQoxCFmn58_FKZVbIL8uEFS2fcHgVrrVyrFEe8j9Ep7S4jkULN0ECyjGfopj9SAPn_BH3ZSEhgTJa9QWyDs0YTrJ28wLERN8iUdKxP2uJZ4ONP-zwVK61DFD5f8zmpr/w400-h268/20231211001.jpg" width="400" /></a></span></b></span></span></div><p></p><p class="MsoNormal" style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;">di <i>Fabio Ceccarini</i></span></span><span style="font-family: inherit;"><span style="font-size: large;"><b><span style="color: #3d85c6;"> <br /></span></b></span></span></p><p><span style="font-family: inherit;"><span style="font-size: large;"><b><span style="color: #3d85c6;">Oggi usciamo dai soliti argomenti storici per parlare di geografia. Vi siete mai chiesti come si chiamano le montagne che nelle fredde giornate d'inverno si vedono piene di neve dal nostro Paese? Scopriamolo insieme in questo articolo.</span></b></span></span></p><p class="MsoNormal" style="text-align: left;"><span style="font-family: inherit; font-size: large;"><span>Chi non si è mai fermato a guardare il profilo
delle montagne dell’Appennino che da Capranica si vedono all’orizzonte verso Est?
Soprattutto durante l’inverno, nelle fredde giornate di tramontana, la lunga
catena che funge da spina dorsale alla nostra Penisola regala ai nostri occhi
una notevole serie di cime innevate, sciorinandole una dopo l’altra da nord-est
(alla nostra sinistra) a sud-est (alla nostra destra). Ma quali sono i nomi dei
monti che si vedono in bella successione e che emergono più degli altri con le loro
alte cime?</span></span></p><p class="MsoNormal" style="text-align: left;"><span style="font-family: inherit; font-size: large;"><span><span></span></span></span></p><a name='more'></a><p></p>
<p class="MsoNormal" style="text-align: left;"><span style="font-family: inherit; font-size: large;"><span>Innanzitutto abbiamo bisogno di trovare un
punto di osservazione dal quale “abbracciare” con lo sguardo quanta più
possibile catena appenninica. Un facile e vicino punto di osservazione è
costituito dalla strada che sale verso la località di Campo Farnese e dei
Castagni dell’Ospedale. Arrivati nei pressi della stazione di pompaggio dell’acquedotto,
in località Cospeto, basta girarsi rimanendo sulla strada consorziale per godere - se si possiede un minimo di senso della meraviglia - di una vista davvero stupenda che abbraccia un tratto di Appennino
compreso dai monti Sabini (a nord-est, ovvero a sinistra di chi guarda), fino ai monti Prenestini, ai Lepini e ai Colli Albani.</span></span></p><p class="MsoNormal" style="text-align: left;"><span style="font-family: inherit; font-size: large;"><span>Ecco di seguito le coordinate Google Maps: 42.266097, 12.172879</span></span></p><p class="MsoNormal" style="text-align: left;"><span style="font-family: inherit; font-size: large;"><span><a href="https://maps.app.goo.gl/ej7Kfwj2atVstqix6">https://maps.app.goo.gl/ej7Kfwj2atVstqix6</a></span></span></p><p class="MsoNormal" style="text-align: left;"><span style="font-family: inherit; font-size: large;"><span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit; font-size: large;"><span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgF08lJUl4dbg-0zjOU_FXypNZsZsSrq9eCpNzfeBidFuVZFc6hJrf4ohWsI6fmJeKArtkxHGkwIsfbUD330NozWsv2Omgeu0n98FQzYcHOi9HTunMh8Z5FI_2-4r1d9yJ44XkAClLqW8yZcP0FMJN7GPraFvP9NgGystRMOnE2YL8YOlWnx8B377Qf72Do/s1623/Punto%20Osservazione%20Cospeto.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1102" data-original-width="1623" height="271" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgF08lJUl4dbg-0zjOU_FXypNZsZsSrq9eCpNzfeBidFuVZFc6hJrf4ohWsI6fmJeKArtkxHGkwIsfbUD330NozWsv2Omgeu0n98FQzYcHOi9HTunMh8Z5FI_2-4r1d9yJ44XkAClLqW8yZcP0FMJN7GPraFvP9NgGystRMOnE2YL8YOlWnx8B377Qf72Do/w400-h271/Punto%20Osservazione%20Cospeto.jpg" width="400" /></a></span></span></div><p></p><p class="MsoNormal" style="text-align: left;"></p>
<p class="MsoNormal" style="text-align: left;"><span style="font-family: inherit; font-size: large;"><span>Un altro punto di osservazione - che però è
privato e non è accessibile a tutti - è la torretta del Palazzo Petrucci di Via
degli Anguillara. La vista è più o meno la stessa, con la differenza che a
nord-est si possono scorgere anche le cime più alte dei Monti Amerini. Da qui si ha tuttavia lo svantaggio di avere il gruppo del Velino parzialmente "impallato" dal campanile della Chiesa di Santa Maria, ma ne vale comunque la pena.<br /></span></span></p>
<p class="MsoNormal" style="text-align: left;"><span style="font-family: inherit; font-size: large;"><span>Cominciamo da quest’ultimo punto di
osservazione.</span></span></p>
<p class="MsoNormal" style="text-align: left;"><span style="font-family: inherit; font-size: large;"><span>Il tratto di Appennino che si apre ai nostri occhi
è davvero notevole. Sono circa 100 km da nord a sud, con tre province attraversate:
Terni, Rieti e Roma, da Amelia a Palestrina, passando per Magliano in Sabina e Tivoli.
Ovviamente non si vede solo l’Appennino, ma anche l’anti-appennino laziale e il
sub-appennino.</span></span></p><p class="MsoNormal" style="text-align: left;"></p>
<p class="MsoNormal" style="text-align: left;"><span style="font-family: inherit; font-size: large;"><span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit; font-size: large;"><span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9erdQ_wYxWSS7mdPRKawzAeQ9ctSMPmHvUXWNV7GYJdUO3-8etBsbAG4zD3ljExlnRmsv-DmTxNdpSdryrcPwzMkyc_CwrLDdkBXvHRYaRfukznmLeP9TjwTGI-eJfsaNEXXtc35YQ_9SccWB7-ZDDqMwL0Ugah2LE_hNu4Y1d44kSwsDjf6jtVtELRcs/s2480/Skyline%20con%20Monti.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="876" data-original-width="2480" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9erdQ_wYxWSS7mdPRKawzAeQ9ctSMPmHvUXWNV7GYJdUO3-8etBsbAG4zD3ljExlnRmsv-DmTxNdpSdryrcPwzMkyc_CwrLDdkBXvHRYaRfukznmLeP9TjwTGI-eJfsaNEXXtc35YQ_9SccWB7-ZDDqMwL0Ugah2LE_hNu4Y1d44kSwsDjf6jtVtELRcs/w640-h226/Skyline%20con%20Monti.jpg" width="640" /></a></span></span></div><span style="font-family: inherit; font-size: large;"><span>Ma andiamo con ordine. Immaginando di spostare
lo sguardo lentamente in senso orario da nord-est (a sinistra di chi guarda) fino a sud-est (a
destra di chi guarda), le cime più basse che incontriamo sono quelle del
subappennino. Da sinistra, i primi che incrociamo sono i Monti Amerini, la cui
cima più alta, il Monte Croce di Serra, detto anche semplicemente Croce di
Guardea, sfiora i mille metri (997 mslm). Incontriamo quindi la lunga catena
dei Monti Sabini e quella altrettanto lunga dei Monti Lucretili, fino ad
arrivare alla “montagna di Roma”, il Monte Gennaro, ben visibile con i suoi 1.271
mslm, seguito dalla frattura di Tivoli, che si nota molto distintamente. Da qui
l’autostrada A24 Roma-L’Aquila si insinua fra i monti dell’Appennino
penetrandovi attraverso la valle dell’Aniene, come prima ancora i Romani
avevano fatto facendovi correre la consolare Tiburtina in direzione dell’Adriatico.
A sud della valle del secondo fiume di Roma (destra per chi guarda), si vede distintamente cominciare
la catena dei Monti Prenestini, con il caratteristico profilo gibboso della sua
cima più alta, il Monte Guadagnolo (1.218 mslm, dove sorge Capranica Prenestina
e il famoso santuario della Madonna della Mentorella) che si scorge molto bene. </span></span><p></p><p class="MsoNormal" style="text-align: center;"><span style="font-family: inherit; font-size: large;"><span></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYr_PqoRMCumnUVljFC3U9Te2cG35ZHxEoHNYB3Lo0IOYnZ37rqyoXuHrWTWKZj14SXtbfYwFaxLzkSStlU2hsBHYX7Ede2fE0oKaB8p7u8nRtcmRGQoRNo_H75IT2KRPtPE_euQNdPe-POsKoOJfQyHKdbe99HHGv9ip4JShoT-oTKxYFIJW05dhsfO6a/s1754/Monti%20Prenestini.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1240" data-original-width="1754" height="283" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYr_PqoRMCumnUVljFC3U9Te2cG35ZHxEoHNYB3Lo0IOYnZ37rqyoXuHrWTWKZj14SXtbfYwFaxLzkSStlU2hsBHYX7Ede2fE0oKaB8p7u8nRtcmRGQoRNo_H75IT2KRPtPE_euQNdPe-POsKoOJfQyHKdbe99HHGv9ip4JShoT-oTKxYFIJW05dhsfO6a/w400-h283/Monti%20Prenestini.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>I Monti Prenestini, visti da Capranica</i><br /></td></tr></tbody></table><p></p><p class="MsoNormal" style="text-align: center;"><span style="font-family: inherit; font-size: large;"><span></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBCWgJ_y7KvUTILKXVRrK643IhmOnVqnKx__PTiMlhPuc0ySI6OiqwTE3lsbz6tz_oXskCbR5Ix9ZhYTqhhHgJJRMRx7tMKXjBG9_3j67YymO-ijc5k9zBqeJF3PvVazUoS_pZsT2biKgcB4pT3ZdwfL3YEwHNx1dYXNztkVRZ7xHMrvy0Csp7W7Zmmp-N/s1754/Monti%20Lucretili%20e%20Simbruini.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1240" data-original-width="1754" height="283" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBCWgJ_y7KvUTILKXVRrK643IhmOnVqnKx__PTiMlhPuc0ySI6OiqwTE3lsbz6tz_oXskCbR5Ix9ZhYTqhhHgJJRMRx7tMKXjBG9_3j67YymO-ijc5k9zBqeJF3PvVazUoS_pZsT2biKgcB4pT3ZdwfL3YEwHNx1dYXNztkVRZ7xHMrvy0Csp7W7Zmmp-N/w400-h283/Monti%20Lucretili%20e%20Simbruini.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>L'ultimo tratto dei Monti Lucretili, prima della valle dell'Aniene e, in secondo piano, i Monti Simbruini</i><br /></td></tr></tbody></table><span style="font-family: inherit; font-size: large;"><span><br /></span></span><p></p><p class="MsoNormal" style="text-align: left;"><span style="font-family: inherit; font-size: large;"><span>Nelle giornate davvero limpide, continuando a
spaziare sulla destra è possibile vedere il profilo dei Monti Lepini (monte
Semprevisa, 1.537 mslm), catena montuosa appartenente all’anti-appennino
laziale, alla quale segue quello ben più vicino dei Colli Albani, i
cosiddetti Castelli Romani (monte Cavo, 950 mslm, monte Maschio delle Faete,
956 mslm), anch’essi facenti parte dell’anti-appennino laziale. Nel caso dei Monti Lepini, va considerato non solo che questo gruppo di montagne interessa tre province: Roma, Frosinone e Latina, occupando quindi un'area notevole del territorio immediatamente a sud di Roma, ma che sono distanti da Capranica circa 100 km tondi tondi... eppure si vedono molto bene!<br /></span></span></p><p class="MsoNormal" style="text-align: center;"><span style="font-family: inherit; font-size: large;"><span></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW10Q3A1jff45Bqy1ZQj2j-FX7NczBtZebEhgK4fpW_vi5kmxTGU8Qic7dNkCPYbPSmLzaIkDTTw0Dx9zKgEYcLnl4DauymY23Vl_xRNqfj2oKRheO2KtJRpkVPvMn087K8kCCaYGaNWuUWDUvjxUUXOP6YZKh_61-hvnA3Uy_yoSmt3C2y3zESWHsLpSA/s1754/Monti%20Prenestini-Lepini-Colli%20Albani.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1240" data-original-width="1754" height="283" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW10Q3A1jff45Bqy1ZQj2j-FX7NczBtZebEhgK4fpW_vi5kmxTGU8Qic7dNkCPYbPSmLzaIkDTTw0Dx9zKgEYcLnl4DauymY23Vl_xRNqfj2oKRheO2KtJRpkVPvMn087K8kCCaYGaNWuUWDUvjxUUXOP6YZKh_61-hvnA3Uy_yoSmt3C2y3zESWHsLpSA/w400-h283/Monti%20Prenestini-Lepini-Colli%20Albani.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Monti Prenestini, Lepini e Colli Albani, visti da Capranica</i><br /></td></tr></tbody></table><span style="font-family: inherit; font-size: large;"><span> </span></span><p></p><p class="MsoNormal" style="text-align: left;"><span style="font-family: inherit; font-size: large;"><span>Facendo un passo indietro e tornando in corrispondenza dell’ultimo
tratto dei monti Lucretili, d</span></span><span style="font-family: inherit; font-size: large;"><span>ell’anti-appennino
laziale è possibile vedere alcune cime appartenenti a
sistemi minori. A cominciare dal misterioso Monte Soratte (691 mslm), che si
erge solitario e maestoso dalla Campagna Romana, con le sue tagliate di roccia,
per scorgere poi i Monti Tiburtini, che fanno da cintura a Tivoli (</span><span>Colle Cerrito Piano, 795 mslm), quindi i caratteristici
Monti Cornicolani, costituiti da tozzi coni calcarei di modesta altitudine
(Poggio Cesi, 413 mslm), fino alle cime dei Monti Sabatini </span></span><span style="font-family: inherit; font-size: large;"><span>che circondano il lago di Bracciano</span></span><span style="font-family: inherit; font-size: large;"><span>, poste a sud e molto
vicine in linea d'aria rispetto al nostro punto di osservazione: il Monte Calvi (583 mslm), in territorio del Comune di Sutri, e il Monte Rocca Romana (613 mslm), la cui cima piramidale da' origine a proverbi popolari nei paesi vicini, che hanno a che fare con la meteorologia (es.: <i>quanno Rocca Romana mette er cappello, corri sutrino (o nepesino) va' a pia'll'ombrello!</i>).</span></span></p><p class="MsoNormal" style="text-align: left;"></p>
<p class="MsoNormal" style="text-align: left;"><span style="font-family: inherit; font-size: large;"><span>Da questa prima cordigliera
più verde, che all’orizzonte assume una colorazione azzurra più intensa di
quella del cielo, e che abbiamo appena visto, emergono piene di fascino le cime
innevate dell’Appennino. Il tratto che si apre ai nostri occhi è quello
Abruzzese, con la prima cima, o meglio, sistema di cime, che supera i 2.000
mslm, appartenente ai Monti Reatini: il Monte Terminillo (2.216 m.s.l.m.) e il
suo gruppo. Ne parleremo meglio più oltre.</span></span></p>
<p class="MsoNormal" style="text-align: left;"><span style="font-family: inherit; font-size: large;"><span>Il secondo tratto di cime innevate è costituito
dai monti del Salto-Cicolano, con il Gruppo del Monte Nuria (1.888 mslm), che
circonda il lago artificiale del Salto. Dietro il Soratte si scorge quindi il
gruppo Ocre/Cagno, che chiude a nord la conca aquilana e a sud lo spettacolare Altopiano delle Rocche; poi distinguiamo il gruppo delle Montagne della Duchessa, che con parecchie cime supera i 2.000
mslm; e a seguire vediamo il gruppo del Velino-Sirente, con il Monte Velino che mostra tutti
i suoi 2.487 mslm, evidenziando, dal lato di nord-ovest, la sua bella cresta (che
parte idealmente dalla cima e, per i più esperti montanari che amano le belle
passeggiate in vetta, termina alla Bocca di Teve, presso Borgorose) che lo fa somigliare ad una grande
montagna alpina. Infine, dopo il gruppo del Velino, si scorgono le cime dei
Monti Simbruini, con ben visibile il comprensorio del Livata e dell'Autore, per i quali risulta tuttavia di notevole difficoltà indovinare
i nomi delle vette più alte. Per chi volesse
contemplarlo, il bel Monte Velino è molto ben visibile dal Piazzale dei
Decorati (parcheggio adiacente alle scuole elementari) e dal curvone della
Cassia a For di Porta. Eccolo ritratto in particolare dal torrino di Palazzo Petrucci nel sole invernale, con altrettanto spettacolare tetto della Chiesa di Santa Maria Assunta ricoperto di piccioni <i>a solina</i>:</span></span></p><p class="MsoNormal" style="text-align: left;"><span style="font-family: inherit; font-size: large;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW4szoGtV5M25XZeTVBuuHMNKN1y2C9lciNwWVYh3iQjsFbwSx1VhAvjlVC3ISQKWAXTk2TX7CG36wXlD2jW_8II_PAHbmPQcADFucXbEvNkMkpIvp65jsV9P18PNdk54ZtB1PR1Mtzn2ISMM5OeejmIFMh6st-Yi6e4vHU_zm4vaB4GpQVTcYxBxhMHVd/s1754/Gruppo%20Velino.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1240" data-original-width="1754" height="283" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW4szoGtV5M25XZeTVBuuHMNKN1y2C9lciNwWVYh3iQjsFbwSx1VhAvjlVC3ISQKWAXTk2TX7CG36wXlD2jW_8II_PAHbmPQcADFucXbEvNkMkpIvp65jsV9P18PNdk54ZtB1PR1Mtzn2ISMM5OeejmIFMh6st-Yi6e4vHU_zm4vaB4GpQVTcYxBxhMHVd/w400-h283/Gruppo%20Velino.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>La successione dei gruppi Ocre/Cagno, Montagne della Duchessa e Velino</i><br /></td></tr></tbody></table><span style="font-family: inherit; font-size: large;"><span> </span></span><p></p><p class="MsoNormal" style="text-align: left;"><span style="font-family: inherit; font-size: large;"><span>Torniamo al gruppo del Terminillo. Dal torrino di Palazzo Petrucci è possibile osservarlo con molta precisione. Le case che si vedono
in primo piano sono quelle di Colle Diana, in Comune di Sutri. Cominciamo dal
sistema montuoso di altitudine più modesta e più vicino in linea d'aria al nostro punto di osservazione. </span></span></p><p class="MsoNormal" style="text-align: center;"><span style="font-family: inherit; font-size: large;"><span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit; font-size: large;"><span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSvRR9Dazo42wx8Y-273q1IjqXMceFnhzRVwCU92xUz6d4zaVXzqXFMptLdtlW6qqgrAmE_qTkSbPSzbRYyXNBopYwEVn23oxjPSjUj06XUuKTaBw0XPG-H2Dmmh9OnBBICIAuZk6tzYVswT9pOeXYO-hEquyHco0-kXGdh3peT3MB0Zt9Z2l14Hdrj383/s2480/Monti%20Sabini%20e%20Reatini.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="887" data-original-width="2480" height="229" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSvRR9Dazo42wx8Y-273q1IjqXMceFnhzRVwCU92xUz6d4zaVXzqXFMptLdtlW6qqgrAmE_qTkSbPSzbRYyXNBopYwEVn23oxjPSjUj06XUuKTaBw0XPG-H2Dmmh9OnBBICIAuZk6tzYVswT9pOeXYO-hEquyHco0-kXGdh3peT3MB0Zt9Z2l14Hdrj383/w640-h229/Monti%20Sabini%20e%20Reatini.jpg" width="640" /></a></span></span></div><p></p><p class="MsoNormal" style="text-align: left;"><span style="font-family: inherit; font-size: large;"><span>All’orizzonte
assume una colorazione azzurra ben più intensa del cielo: sono questi i monti
Sabini. Da sinistra, la prima gobba di dimensioni importanti che incontriamo è
il Monte San Pancrazio (1.027 mslm). Ci troviamo più o meno sopra all’abitato
di Calvi nell’Umbria. Seguono altre cime in primo e secondo piano, alcune delle
quali innevate: il Monte Lu Pozzu (1.161 mslm), il Monte Macchialunga (1.105 mslm)
e il Monte Cosce (1.114 mslm), ben riconoscibile grazie alle antenne poste sulla sua gobba, segue quindi il gruppo del Terminillo, che
vedremo in particolare tra poco, quindi ancora altre cime dei Monti Sabini: il Monte
Scollato (1.114 mslm) e la Punta Ferretti (1.249 mslm). Al centro di queste
cime minori, che fanno da cornice, si erge imponente il gruppo del Terminillo, appartenente
ai Monti Reatini, nell’ambito dell’Appennino Abruzzese. La prima cima che si
scorge sulla sinistra è il Monte Macchialaveta (1.824 mslm), che in realtà non
fa parte del gruppo del Terminillo, pur appartenendo ai Monti Reatini. Ci
troviamo poco a sud di Leonessa e questa montagna fa da cornice alla Vallonina, la bella e selvaggia
valle che dalla Sella detta “di Leonessa”, a nord-ovest della cima del
Terminillo, scende verso l’omonima città. Sopra alla successiva e ben visibile sella
si erge il Monte di Cambio (2.081 mslm), che chiude a nord la già citata Vallonina.
Da qui, proseguendo a destra, comincia il vero e proprio gruppo del Terminillo.
La prima parte è costituito dalla lunga Cresta Sassetelli, una serie di cime poste in
rapida successione per una lunghezza di circa 4 km per una altitudine massima
di 2.139 mslm (Cima Sassetelli). La Cresta chiude a nord la conca glaciale della Vallonina,
attraversata dal torrente Corno, che diviene poi fiume arrivando a Triponzo e
gettandosi nel Nera. Si arriva quindi alla cima del Monte Terminillo, a 2.217 mslm
alla cui sinistra troviamo il promontorio del Terminilletto (2.104 mslm), sul
quale sorge il Rifugio Rinaldi, ed il successivo ripido pendio digradante su
Campoforogna. Dopo il Terminilluccio (1.864 mslm), dove si tova una
installazione per le telecomunicazioni militari, attraverso la cresta di
Pratorecchia, che dal nostro punto di osservazione si vede corta e obliqua, si
sale al Monte Elefante (2.015 mslm) con la sua imponente tagliata di roccia
verso nord, ben visibile all’occhio. Il gruppo termina infine con la cima del
Monte Valloni, che per qualche metro supera i 2.000 metri (2.004 mslm), prima
di precipitare vertiginosamente verso l’abitato di Micigliano. Eccolo di seguito ritratto in particolare:</span></span></p><p class="MsoNormal" style="text-align: center;"><span style="font-family: inherit; font-size: large;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmk2Gs0WwTdstbdsiCe3BYDzyZH_Lu92x4bjyzi1BZfPEh_r58Q7a4jK6m72_jAN1m-QJAcZR35nDQLLHNhqKjvUf1Atxwoyt3714q61IMXI9vcgxQsZ-9C85_ewuhxB5bPJdw6WcXTVXYOPMzMPOUkNohrJEkfz7klnqgHW6Y3w7NIOqBaeXKLlW_NMWg/s3508/Gruppo%20Terminillo.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2036" data-original-width="3508" height="233" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmk2Gs0WwTdstbdsiCe3BYDzyZH_Lu92x4bjyzi1BZfPEh_r58Q7a4jK6m72_jAN1m-QJAcZR35nDQLLHNhqKjvUf1Atxwoyt3714q61IMXI9vcgxQsZ-9C85_ewuhxB5bPJdw6WcXTVXYOPMzMPOUkNohrJEkfz7klnqgHW6Y3w7NIOqBaeXKLlW_NMWg/w400-h233/Gruppo%20Terminillo.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Il Terminillo visto da loc. Cospeto</i><br /></td></tr></tbody></table><p></p><p class="MsoNormal" style="text-align: center;"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidDMRg_W7bM3CPv8vyVbLm1hobuamKgr18hwFM_hut3pz7qe9_TMjqhHIXfk8NXqu2iTROZ2uruXcXsaBKn3dJXThCGb6Ly-RGmdf1skaYnDLaXqU9vGKQW6ph6uM1dp-jCp_padJVOkjOvq3QfNCg6_52YIyjmre9lccR4kHn3J73NTSlhB-ER3pBwV2u/s9940/Terminillone.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3890" data-original-width="9940" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidDMRg_W7bM3CPv8vyVbLm1hobuamKgr18hwFM_hut3pz7qe9_TMjqhHIXfk8NXqu2iTROZ2uruXcXsaBKn3dJXThCGb6Ly-RGmdf1skaYnDLaXqU9vGKQW6ph6uM1dp-jCp_padJVOkjOvq3QfNCg6_52YIyjmre9lccR4kHn3J73NTSlhB-ER3pBwV2u/w640-h250/Terminillone.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Il Gruppo del Terminillo visto dal torrino di palazzo Petrucci (collage)</i><br /></td></tr></tbody></table><p></p><p style="text-align: center;"><span></span><b>__________________________________________________________________________________</b></p><p style="text-align: center;"><b>Citare questo documento / Citer ce document / Cite this document</b>
</p><p class="has-text-align-center" style="text-align: center;">CECCARINI, Fabio, «<i>Montagne e monti: come si chiamano le cime dell'Appennino che si vedono da Capranica?</i>», Capranica Storica, 10/12/2023 - URL: <a href="https://www.capranicastorica.it/2023/12/montagne-e-monti-come-si-chiamano-le.html">https://www.capranicastorica.it/2023/12/montagne-e-monti-come-si-chiamano-le.html</a></p><p></p>
<p style="text-align: center;"><a href="http://creativecommons.org/licenses/by-nc-sa/4.0/" rel="license"><img alt="Licenza Creative Commons" src="https://i.creativecommons.org/l/by-nc-sa/4.0/88x31.png" style="border-width: 0px; display: block; margin-left: auto; margin-right: auto;" /></a>Questo articolo di <a href="https://www.capranicastorica.it/2023/12/montagne-e-monti-come-si-chiamano-le.html" rel="cc:attributionURL">Fabio Ceccarini</a> è distribuito con Licenza <a href="http://creativecommons.org/licenses/by-nc-sa/4.0/" rel="license">Creative Commons Attribuzione - Non commerciale - Condividi allo stesso modo 4.0 Internazionale</a>.</p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4201727664195975785.post-64256589285319498422023-11-18T15:51:00.109+01:002023-12-10T17:25:22.339+01:00Il rastrellamento di Capranica e l'eccidio di Sutri del 17 novembe 1943: una pubblicazione per ricordare e cercare di far luce sul grave fatto di sangue della Seconda Guerra Mondiale<p style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRoPka0nueaTqSpSU-BKuMRvP279hRsUy7XB6fdSCXkqjjKr7aTJbAwIbRi2GDEtDFt16l-QALAt_hyphenhyphen3YYtI75zPYHzQGi_vv4bxmWicOqATKrwxupogIxTbklntpf9fKew7jD-5FoQAbh5RWUAujYnGOYrjfHNduQrFBLm2L6aFOOJkshL-e3biY3Eg_S/s2640/rastrellamento%20capranica.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1485" data-original-width="2640" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRoPka0nueaTqSpSU-BKuMRvP279hRsUy7XB6fdSCXkqjjKr7aTJbAwIbRi2GDEtDFt16l-QALAt_hyphenhyphen3YYtI75zPYHzQGi_vv4bxmWicOqATKrwxupogIxTbklntpf9fKew7jD-5FoQAbh5RWUAujYnGOYrjfHNduQrFBLm2L6aFOOJkshL-e3biY3Eg_S/w400-h225/rastrellamento%20capranica.png" width="400" /></a></div><span class="x193iq5w xeuugli x13faqbe x1vvkbs x1xmvt09 x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u x1yc453h" dir="auto"><br /></span><p></p><p style="text-align: left;"><span class="x193iq5w xeuugli x13faqbe x1vvkbs x1xmvt09 x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u x1yc453h" dir="auto"><span style="color: #3d85c6; font-size: large;"><b>Presentato ieri al Centro Civico <i>Piersanti Mattarella</i>, il libro di Fabio Ceccarini, <i>Il rastrellamento di capranica e l'eccidio di Sutri. 17 novembre 1943: una verità perduta?</i>, edito da Davide Ghaleb Editore - Vetralla. </b></span></span></p><p style="text-align: left;"><span class="x193iq5w xeuugli x13faqbe x1vvkbs x1xmvt09 x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u x1yc453h" dir="auto"><span style="color: #3d85c6; font-size: large;"><span></span></span></span></p><a name='more'></a><span class="x193iq5w xeuugli x13faqbe x1vvkbs x1xmvt09 x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u x1yc453h" dir="auto"><span style="color: #3d85c6; font-size: large;"><b></b></span></span><p></p><p style="text-align: left;"><span class="x193iq5w xeuugli x13faqbe x1vvkbs x1xmvt09 x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u x1yc453h" dir="auto"><span style="font-size: large;">Ad
ottanta anni dall'eccidio bisognava in qualche modo riavvolgere il filo
della Storia. Soprattutto perché – come si sa – la verità, seppure vada
sempre ricercata, è valore molto spesso irraggiungibile. In particolar
modo se lontana nel tempo, sepolta ormai con chi sapeva. E se la sua
ricerca non serve oggi, in fondo, per capire finanche le ragioni dei
carnefici e la loro legittimità, è invece assolutamente necessaria per
cercare di spiegare i fatti e la loro dinamica, <span></span>nonché
per dare una risposta almeno ad alcuni dei tanti importanti
interrogativi che da questi scaturiscono. Perché tanto ancora su questa
vicenda ci sarebbe da spiegare, capire, ricordare, raccogliere… da
dire... e non certo per scoprire vecchie ferite, o per “fare nomi” – cui
prodest? – di gente che ha combattuto e collaborato per una causa
sbagliata, “dall’altra parte”, alimentando polemiche inutili o
disturbando il riposo e il ricordo di chi non c’è più. Questo libro
cerca di rispondere ad alcuni interrogativi e tanti altri ne farà
nascere in chi lo leggerà. Cosa successe, davvero, quel 17 novembre del
1943? Chi erano e da dove provenivano i militari sardi nascosti a
Capranica? E soprattutto, quanti erano quelli che si trovavano qui il
giorno del rastrellamento? E’ esistito davvero il Centro di Raccolta e
reclutamento sardi? Ed in quali strutture del paese? E perché i sardi
rastrellati a Capranica furono fucilati improvvisamente e
frettolosamente nel bosco? Esisteva davvero una banda partigiana a
Capranica della quale facevano parte Alessi, Andreotti e Baldi? E che
relazione ebbe questo gruppo resistenziale con il rastrellamento dei
militari sardi? Si può ancora tentare di dare un nome, a quasi ottanta
anni da quei fatti, ai responsabili della strage? Si può dopo ottanta
anni ristabilire la verità, seppure ricostruita da tanti tasselli di un
mosaico, oppure la si deve considerare irrimediabilmente perduta?</span></span></p><p style="text-align: left;"><span class="x193iq5w xeuugli x13faqbe x1vvkbs x1xmvt09 x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u x1yc453h" dir="auto"><span style="font-size: large;">Hanno partecipato alla discussione, la dott.ssa Cristiana Pumpo, giornalista e scrittrice, il prof. Antonio Sarnacchioli, storico locale, il dott. Igori Pizzirusso, Istituto per lo Studio del Movimento di Liberazione in Italia - Istituto Parri, il prof. Paolo Coppari, presidente dell'ANPI "R. Fabri", Sez. di Vetralla (VT).</span></span></p><p style="text-align: left;"><span class="x193iq5w xeuugli x13faqbe x1vvkbs x1xmvt09 x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u x1yc453h" dir="auto"><span style="font-size: large;">E' possibile acquistare il libro direttamente dal sito dell'editore:</span></span></p><p style="text-align: left;"><span class="x193iq5w xeuugli x13faqbe x1vvkbs x1xmvt09 x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u x1yc453h" dir="auto"><span style="font-size: large;"><a href="https://www.ghaleb.it/Eventi_2023_11_17.htm" target="_blank">https://www.ghaleb.it/Eventi_2023_11_17.htm<br /></a></span></span></p><p style="text-align: justify;"><span class="x193iq5w xeuugli x13faqbe x1vvkbs x1xmvt09 x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u x1yc453h" dir="auto"><span style="font-size: large;">Altre foto di Elia Ghaleb, qui:</span></span></p><p style="text-align: justify;"><span class="x193iq5w xeuugli x13faqbe x1vvkbs x1xmvt09 x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u x1yc453h" dir="auto"><span style="font-size: large;"><a href="https://www.ghaleb.it/Eventi_2023_11_17_immagini.htm " target="_blank">https://www.ghaleb.it/Eventi_2023_11_17_immagini.htm </a></span></span></p><p style="text-align: justify;"><span class="x193iq5w xeuugli x13faqbe x1vvkbs x1xmvt09 x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u x1yc453h" dir="auto"><span style="font-size: large;"> </span></span></p><div class="separator" style="clear: both; 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<p class="has-text-align-center" style="text-align: center;">CECCARINI, Fabio, «<i>Il rastrellamento di Capranica e l'eccidio di Sutri del 17 novembe 1943: una pubblicazione per ricordare e cercare di far luce sul grave fatto di sangue della Seconda Guerra Mondiale</i>», Capranica Storica, 18/11/2023 - URL: <a href="https://www.capranicastorica.it/2023/11/il-rastrellamento-di-capranica-e.html">https://www.capranicastorica.it/2023/11/il-rastrellamento-di-capranica-e.html</a></p><p></p>
<p style="text-align: center;"><a href="http://creativecommons.org/licenses/by-nc-sa/4.0/" rel="license"><img alt="Licenza Creative Commons" src="https://i.creativecommons.org/l/by-nc-sa/4.0/88x31.png" style="border-width: 0px; display: block; margin-left: auto; margin-right: auto;" /></a>Questo articolo di <a href="https://www.capranicastorica.it/2023/11/il-rastrellamento-di-capranica-e.html" rel="cc:attributionURL">Fabio Ceccarini</a> è distribuito con Licenza <a href="http://creativecommons.org/licenses/by-nc-sa/4.0/" rel="license">Creative Commons Attribuzione - Non commerciale - Condividi allo stesso modo 4.0 Internazionale</a>.</p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4201727664195975785.post-48038490192148881592023-09-05T19:18:00.004+02:002023-09-10T20:50:33.826+02:00XX INCONTRO "TRA ARNO E TEVERE": L'UOMO E L'ANIMALE. DENTRO E FUORI L'ARCA - Museo delle Tradizioni Popolari di Canepina 8, 9, 10 settembre 2023<p style="text-align: center;"><span style="font-family: georgia;"><span style="font-size: large;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVI6yjqSdepJbUvJJ59wgHJxfmZ5Ip2WtA5rnp8jGj80lJtmjK_gZIGZ6YfquYcWYvMsX8w5nyBO_AEe2vQ5gHX1CNj6g11ioolWtEqE8o-sociX4q4_qkPhR2Hk9etb5CAayGh2qp_AuH6nL3yUMJpmHZ66ZS1pqHPHL0j1AdRSfJ1X7xuy24fj1DjemV/s2695/Locandina%20Convegno%20Canepina%202023.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2695" data-original-width="1855" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVI6yjqSdepJbUvJJ59wgHJxfmZ5Ip2WtA5rnp8jGj80lJtmjK_gZIGZ6YfquYcWYvMsX8w5nyBO_AEe2vQ5gHX1CNj6g11ioolWtEqE8o-sociX4q4_qkPhR2Hk9etb5CAayGh2qp_AuH6nL3yUMJpmHZ66ZS1pqHPHL0j1AdRSfJ1X7xuy24fj1DjemV/w275-h400/Locandina%20Convegno%20Canepina%202023.jpg" width="275" /></a></span></div><p></p><p style="text-align: left;"><span style="font-family: georgia;"><span style="font-size: large;">A cura del <b>Gruppo Interdisciplinare per lo Studio della Cultura Tradizionale dell'Alto Lazio</b>, guidato dal <b>Prof. Quirino Galli</b>, si terrà a <b>Canepina l'8, 9 e 10 settembre 2023</b>, presso il Museo delle Tradizioni Popolari - Sala del Quarto Stato, il XX incontro di "Tra Arno e Tevere". Il tema di quest'anno avrà come titolo: <b>l'uomo e l'animale. Dentro e fuori l'arca</b>.</span></span></p><p style="text-align: left;"><span style="font-family: georgia;"><span style="font-size: large;"><span></span></span></span></p><a name='more'></a><p></p><p style="text-align: left;"><span style="font-family: georgia;"><span style="font-size: large;">All'incontro, organizzato anche quest'anno con il patrocinio e il contributo, come tradizione, del <b>Comune di Canepina</b> e della <b>Comunità Montana dei Cimini</b>, parteciperanno studiosi locali e nazionali, alcuni dei quali saranno collegati in remoto.</span></span></p><p style="text-align: left;"><span style="font-family: georgia;"><span style="font-size: large;">Questo il programma, particolarmente ricco:</span></span></p><p style="text-align: left;"><span style="font-family: georgia;"><span style="font-size: large;"><u>VENERDÌ 8 ore 15,30</u><br />• Quirino Galli, <i>Apertura del Convegno</i><br />• Saluto delle autorità<br />• Aurelio Rizzacasa, <i>L’uomo e l’animale</i><br />• Pino Gala, <i>Danze zoomorfe e animali danzanti: intrecci simbolici per comuni destini</i><br />• Davide Bertolini - Elisabetta Silvestrini, <i>Monstra. Gli animali della Sala di Ercole di Villa d’Este tra natura e cultura</i><br />• Luca Tomio, <i>Leonardo da Vinci e il mondo animale</i><br />• Monica Petronio, <i>Il vampiro e gli animali suoi aiutanti</i><br /><br /><u>SABATO 9 ore 9.30</u><br />• Antonella Mott, <i>Il bestiario di Carnevale</i><br />• Fabio Ceccarini, <i>Bestiari urbani e dove trovarli: una lettura delle figurazioni zoomorfiche nell’arte e nei monumenti di Capranica</i><br />• Antonio Quattranni, <i>Sostentamento e svago: uccellagione e testimonianze del roccolo nell’Alto Viterbese tra XIX e XX secolo.</i><br />• Marcello Arduini, <i>Lupi, volpi, asini, maiali, serpenti, rospi, galli. Per un bestiario dei racconti popolari dell’Alto Lazio </i><br />• Alessandra Broccolini, <i>Disse la tinca al luccio… Pesci, pescatori e agency sul Lago di Bolsena</i><br />• Domenico Cedrone - Lorenzo Arnone Sipari, <i>La fauna del Parco nazionale d’Abruzzo, Lazio e Molise nel Centenario dell’istituzione. Storie e tradizioni (da remoto)<br /></i><br /><u>SABATO 9 ore 15.30</u><br />• Ignazio Buttitta, <i>Asini, muli e cavalli nelle tradizioni popolari siciliane (da remoto)</i><br />• Emanuele Di Paolo, <i>La vacca e il toro. Mestieri, pellegrinaggi e riti nella Lucania delle transumanze podoliche</i><br />• Angelo Biondi, <i>L’asino nel lavoro, nelle tradizioni e nelle storielle di Maremma</i><br />• Patrizia Scapin, <i>Uomini e animali in cammino: storie di transumanza nell’Alta Maremma nel corso del Novecento</i><br />• Massimo Pirovano, <i>Come e quando il maiale diventò buono (da remoto)</i><br />• Maria Pascuzzi, <i>Il mito di Aristeo e la “bugonia”</i><br />• Glauco Sanga, <i>Gli animali e le malattie (da remoto)<br /></i><br /><u>DOMENICA 10 ore 9.30</u><br />• Marcella Guidoni, <i>Santuari animali: una nuova narrazione del rapporto con l’alterità</i><br />• Adriana Gandolfi, <i>Animali tra funzione magica e rappresentazione</i><br />• Claudio Zanier, <i>Il baco da seta. Una storia multimillenaria fuori dall’ordinario</i><br />• Laura Marchetti, <i>Le sirene: presidi narrativi della rotta dei Fenici ina Calabria</i><br />• Giovanni Kezich, <i>Proteo ammansisce le foche: tracce di sciamanesimo nell’Odissea (libro IV)</i><br />• Pino Galeotti, <i>La giraffa in crisi di identità, il cammello cornuto e i pesci ballerini. Storie della preistoria di Alberto Moravia </i><br />• “Omnia vincit amor”, <i>Ricordo di Luigi Lombardi Satriani a cura di M. Pascuzzi</i></span></span></p><p>
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<p class="MsoNormal"><span style="font-size: large;"><span style="line-height: 115%;"></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEil9DAJB7GJwsOiH8klE41DLJP04Hs5cWUaVhiGJ2hJVPlmWWluCaAAvMws1jlQ9wbWj0zDf35ICpIT752P3dLNQw-kzRoWP5NHsEredhDKUirbT7ZMNjAT8m8BzGtnToAvNpeTPorzhgC7QDzCg4nlEeSv53StoIB0eDMq7EH_sJRFNmOVUICI9VLe0w/s4080/IMG_20230522_163620.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2296" data-original-width="4080" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEil9DAJB7GJwsOiH8klE41DLJP04Hs5cWUaVhiGJ2hJVPlmWWluCaAAvMws1jlQ9wbWj0zDf35ICpIT752P3dLNQw-kzRoWP5NHsEredhDKUirbT7ZMNjAT8m8BzGtnToAvNpeTPorzhgC7QDzCg4nlEeSv53StoIB0eDMq7EH_sJRFNmOVUICI9VLe0w/w400-h225/IMG_20230522_163620.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><span style="line-height: 115%;"></span></span></div><span style="font-size: large;"><span style="line-height: 115%;"></span></span></div><div style="text-align: left;"><span style="font-size: large;"><span style="line-height: 115%;"></span></span></div><div style="text-align: left;"><p style="text-align: left;"><span style="font-size: medium;"><span style="line-height: 115%;">di <i>Fabio Ceccarini</i></span></span><i><span style="font-size: large;"><span style="line-height: 115%;"> <br /></span></span></i></p></div><div style="text-align: left;"><span style="font-size: large;"><span style="line-height: 115%;"><b><span style="color: #3d85c6;">Avete mai visitato l'aula consiliare del Comune di Capranica? Se non lo avete fatto, chiedete di poterlo fare. Magari vi soffermerete per qualche momento ad ammirare questa piccola opera d'arte che dal 1971 accompagna le sedute del Consiglio Comunale di Capranica: il piccolo crocifisso di chiodi, fatto dallo scultore Ambé Sonaglia.</span></b><span><a name='more'></a></span></span></span></div><div style="text-align: left;"><span style="font-size: large;"><span style="line-height: 115%;"> </span></span></div><div style="text-align: left;"><span style="font-size: large;"><span style="line-height: 115%;">Un po’ come
molti romani che nella loro vita non sono entrati mai all’interno del Colosseo
o nella basilica di San Pietro, forse ben pochi capranichesi hanno avuto modo
di salire le scale di Palazzo Accoramboni (<a href="https://www.capranicastorica.it/2019/09/palazzo-accoramboni-unantica-dimora-nel.html" target="_blank">qui approfondimento</a>), sede del Comune di Capranica, per visitare
quella che fu una elegante residenza tardo-cinquecentesco e soffermarsi magari nell’aula
consiliare. A parte il senso civico che ogni cittadino dovrebbe sentire forte
dentro di sé, e che lo dovrebbe portare a conoscere le istituzioni democratiche
della Repubblica Italiana anche nei luoghi dove queste esplicano il loro ruolo
sociale, una visita all’aula consiliare, oltre a far bene allo spirito (laico), consente
anche di ammirare la bella successione di stemmi dei cardinali governatori – dipinti
uno ad uno da Franco Iubei – il “glorioso” gonfalone del Comune, ed il piccolo
crocifisso fatto di chiodi posto al centro dell’aula, proprio sopra allo
scranno del Presidente del Consiglio. Ebbene, l’oggetto di questo articolo è
proprio questa piccola opera d’arte.</span></span></div><div style="text-align: left;"><span style="font-size: large;"><span style="line-height: 115%;"> </span></span><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><span style="line-height: 115%;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQeymBLbSjEae2Kicv9yV3UYyC4OoZ0xpR7dHrJMSleC0s13zGLatLcMNfPX5xQzXB1GcxmM2aNWtLwMNq6aRfbo52m9e6pOpD4QKE7rDjlEihDCMzTZ3Tq9eNKYsN8MMRY3kBujWJYdwmclKkr9iN40LqkcLxWPU_XHI-0OQqOPhvi7sUpK8QnrfsVw/s4080/IMG_20230522_163546.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4080" data-original-width="2296" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQeymBLbSjEae2Kicv9yV3UYyC4OoZ0xpR7dHrJMSleC0s13zGLatLcMNfPX5xQzXB1GcxmM2aNWtLwMNq6aRfbo52m9e6pOpD4QKE7rDjlEihDCMzTZ3Tq9eNKYsN8MMRY3kBujWJYdwmclKkr9iN40LqkcLxWPU_XHI-0OQqOPhvi7sUpK8QnrfsVw/w225-h400/IMG_20230522_163546.jpg" width="225" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0X8HSagDysXtr5Byzh3FbEiE6XYRioTw1W0W3QkMHbznHceopoLgZSYv5bKC23cK8dt9WjEyfKyNRZffNUbuu1akvI-yo0D5SVAEmUj1ubkmnBhAA0cGMzJsjwItfBYJP4ugDb3uP_aQUSDMMcmhR-YyMqFlOmM_Qh46pHfeaenUPj5Bq0uBaz7EeYQ/s4080/IMG_20230522_163611.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4080" data-original-width="2296" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0X8HSagDysXtr5Byzh3FbEiE6XYRioTw1W0W3QkMHbznHceopoLgZSYv5bKC23cK8dt9WjEyfKyNRZffNUbuu1akvI-yo0D5SVAEmUj1ubkmnBhAA0cGMzJsjwItfBYJP4ugDb3uP_aQUSDMMcmhR-YyMqFlOmM_Qh46pHfeaenUPj5Bq0uBaz7EeYQ/w225-h400/IMG_20230522_163611.jpg" width="225" /></a></span></span></div><span style="font-size: small;"><span style="line-height: 115%;"><i>Particolari della tavoletta e del Crocifisso<br /></i></span></span><p></p>
<p class="MsoNormal"><span style="font-size: large;"><span style="line-height: 115%;">Si tratta di
una tavola di legno di forma quadrata, delle dimensioni di circa 40 x 40 cm, su
cui è stato fissato un manufatto realizzato esclusivamente con l’uso di vecchi
chiodi saldati tra loro a formare un crocifisso. Sul chiodo in basso a destra,
è visibile la firma dell’artista “Amblé ‘71”. Sul retro, con un pennarello a
punta larga, si trova invece la sua firma completa e la data di realizzazione: “Amblé
Sonaglia Roma 4-10-71”. </span></span></p><p class="MsoNormal" style="text-align: center;"><span style="font-size: large;"><span style="line-height: 115%;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><span style="line-height: 115%;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghRM1NIgpjrfeShfvFiV__NZf0kB-2wDf0v7R3dC48cn35tWsxlmiW-TsWjS3G4UKosz5Mb-vDWs_GA4RWJ7dqAyAEBM4bd7MDmhOEjIRmp5DZfU7IImcvVZBcO2G8SfjYwT5faivpMyKRLJboun04suc5FwgsTZWUzUrXdwEiuSFqSdy5wU5RwAR-2A/s4080/IMG_20230522_163557.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2296" data-original-width="4080" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghRM1NIgpjrfeShfvFiV__NZf0kB-2wDf0v7R3dC48cn35tWsxlmiW-TsWjS3G4UKosz5Mb-vDWs_GA4RWJ7dqAyAEBM4bd7MDmhOEjIRmp5DZfU7IImcvVZBcO2G8SfjYwT5faivpMyKRLJboun04suc5FwgsTZWUzUrXdwEiuSFqSdy5wU5RwAR-2A/w400-h225/IMG_20230522_163557.jpg" width="400" /></a></span></span></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZrNPDmji-K0KjDjlBrK0YZObVv0gyAQF7vniLV31Lk6-Dl4iWaIwztbBuTzUX0XiIRjjNjQLRiVAvc_Homn_gsSOEvLpNOZ86B8by8XziO-3YDl_RIf5s5tRZ7LpZP5yaPg6Bi88UqbY7sLBAJjJSEXyEQMRejNCq7oxVtPOXwqfpc58oRzcNNSoIkQ/s4080/IMG_20230522_163639.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2296" data-original-width="4080" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZrNPDmji-K0KjDjlBrK0YZObVv0gyAQF7vniLV31Lk6-Dl4iWaIwztbBuTzUX0XiIRjjNjQLRiVAvc_Homn_gsSOEvLpNOZ86B8by8XziO-3YDl_RIf5s5tRZ7LpZP5yaPg6Bi88UqbY7sLBAJjJSEXyEQMRejNCq7oxVtPOXwqfpc58oRzcNNSoIkQ/w400-h225/IMG_20230522_163639.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Nelle due foto sopra, la "firma" dell'Artista</i><br /></td></tr></tbody></table><span style="font-size: large;"><span style="line-height: 115%;"> </span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGxlTBf_Fku-AheBak_KJ2BZAr6fcpcikaEWDGld4pdSR03NgV8thlumw_JULy7bacJqbF-hB-fGSfAXo6gcWAXUr6XIgf3X_S4VTZ9un5bdFah-1M_NvWNp-yoZAiF7drfiHb1gw5q5W5jgW1QOhtuo6zqEws_0jTByo57BvB9Ov02KnkWZdZ66N4Ew/s4080/IMG_20230522_163948.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2296" data-original-width="4080" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGxlTBf_Fku-AheBak_KJ2BZAr6fcpcikaEWDGld4pdSR03NgV8thlumw_JULy7bacJqbF-hB-fGSfAXo6gcWAXUr6XIgf3X_S4VTZ9un5bdFah-1M_NvWNp-yoZAiF7drfiHb1gw5q5W5jgW1QOhtuo6zqEws_0jTByo57BvB9Ov02KnkWZdZ66N4Ew/w400-h225/IMG_20230522_163948.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>L'aula consiliare del Comune di Capranica. Il Crocifisso di Amblé Sonaglia è posizionato sopra alla finestra centrale, dietro lo scranno del Presidente del Consiglio</i><br /></td></tr></tbody></table></span><p></p>
<p class="MsoNormal"><span style="font-size: large;"><span style="line-height: 115%;">Amblé
Sonaglia (Amblé non è un nome d’arte, perché era il diminutivo di Ambleto, il
suo nome di battesimo), era nato a Umbertide, nel 1920, in una famiglia
profondamente religiosa dove venne educato ai principi cattolici sotto la guida
dello zio don Serafino Rondini. Divenuto orfano all’età di dieci anni, lo zio prete
pensò per lui la carriera ecclesiastica inviandolo in collegio. Tuttavia, sin da
piccolo, Amblé dimostrò uno spirito profondamente irrequieto con un bisogno di
espressività che non poteva essere soddisfatto né confinato nell'ambito del seminario. Affascinato dal
volo e dagli aeroplani, divenuto grande decise di arruolarsi volontario nell’Arma
Azzurra, alla vigilia dello scoppio della Seconda Guerra Mondiale. Come aviere combatté
con il suo reparto della Regia Aeronautica, prima in Africa del Nord, e quindi durante
la Guerra di Liberazione, nel 4° Stormo nella <i>Balkan Air Force</i> di stanza nelle
basi di Lecce e Palata, in Molise. </span></span></p><p class="MsoNormal" style="text-align: center;"><span style="font-size: large;"><span style="line-height: 115%;"></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidUTrfj8Ax_i-Dhj19D0Y9gRbc-V8tgRmZ6bVj_EkU2jl6KeZG9H5ykTpS1YWaHqD8feMG9ePcBwIzjZVefLAKyjRG-_MRZTsqpwodaGi2eFsMDL44RsdRakiTH6oh7FVkjROWHC7wGDfrZ5JxHexvQsUXuUGY9whwJmtdfIA9uLOrSuxX0gMe0niziQ/s356/Ambl%C3%A9-Sonaglia.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="356" data-original-width="231" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidUTrfj8Ax_i-Dhj19D0Y9gRbc-V8tgRmZ6bVj_EkU2jl6KeZG9H5ykTpS1YWaHqD8feMG9ePcBwIzjZVefLAKyjRG-_MRZTsqpwodaGi2eFsMDL44RsdRakiTH6oh7FVkjROWHC7wGDfrZ5JxHexvQsUXuUGY9whwJmtdfIA9uLOrSuxX0gMe0niziQ/w260-h400/Ambl%C3%A9-Sonaglia.jpg" width="260" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Amblé Sonaglia davanti a una sua opera</i><br /></td></tr></tbody></table><p></p><p class="MsoNormal"><span style="font-size: large;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjXGW6ZKfsaxFXEWOEPp0PfZFmeFvLkBfIq4d15s_TCteKh0-pwkl7vvDVzd23C2xR8pwn6JFlgEC1M5pH6Oj2HRTNFqCT8OtrjA-csiQqL5RSHrL2J-9q2Ds6oSKVbQjh3Ey3QfbMklovncM7T8Me8vapQvPqgeZc1KBh59TLdYiPqhXUBI3t_ozBcQ/s599/Ambl%C3%A9%20Sonaglia%20in%20Vaticano.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="599" data-original-width="571" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjXGW6ZKfsaxFXEWOEPp0PfZFmeFvLkBfIq4d15s_TCteKh0-pwkl7vvDVzd23C2xR8pwn6JFlgEC1M5pH6Oj2HRTNFqCT8OtrjA-csiQqL5RSHrL2J-9q2Ds6oSKVbQjh3Ey3QfbMklovncM7T8Me8vapQvPqgeZc1KBh59TLdYiPqhXUBI3t_ozBcQ/w381-h400/Ambl%C3%A9%20Sonaglia%20in%20Vaticano.jpg" width="381" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Roma, Piazza San Pietro, 19 dicembre 1972, Amblé Sonaglia presenta la sua <i>Luce in Egitto</i><br /></td></tr></tbody></table><span style="font-size: large;"><span style="line-height: 115%;"> </span></span><p></p><p class="MsoNormal"><span style="font-size: large;"><span style="line-height: 115%;">Ma è nel dopoguerra che cominciò ad esprimersi
nel campo dell’arte cominciando a realizzare sculture con una tecnica originale
che prevedeva l’esclusivo utilizzo di chiodi di diverse forme e dimensioni.
Questi, anche molto antichi, venivano assemblati dall’Artista piegandoli e saldandoli
insieme, materializzando così dei soggetti ben definiti, spesso di contenuto
sacro, come crocifissi e madonne. Nella forte ventata di rinnovamento vissuto dalla Chiesa cattolica dopo la conclusione del Concilio Vaticano II, le opere di Sonaglia e la sua arte sperimentale, nella sua essenzialità e povertà, trovò terreno molto fertile per svilupparsi e diffondersi, facendo crescere anche a livello internazionali la notorietà dell'Artista. Nel 1969, l'Istituto Luce, nella rubrica <i>Caleidoscopio</i>, gli dedicò un servizio dove viene descritta la sua modalità creativa. </span></span><span style="font-size: large;"><span style="line-height: 115%;">Tra le sue opere più famose, la <i>Via Crucis</i>
per la chiesa di San Policarpo a Roma, i monumenti agli aviatori a Umbertide e
Castiglione del Lago, il monumento all’emigrante a Avellino, il <i>Cristo
crocifisso</i> donato alla moglie di Martin Luther King, il <i>Cristo dell’aria</i> donato
a Giovanni Paolo II.</span></span></p><p class="MsoNormal" style="text-align: center;"><span style="font-size: large;"><span style="line-height: 115%;"></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixrMKS1B2RCpRReiqyHb8iidYsJJlpri-2HPDSzkNPsRLbg4VQoGMCCK2agGVZ6GjylYkGldwUiZdv3H8BEekTWz5-SI8Y3_Ul-udUl4k4nnMBUviHkV3moe5Rd3BEXOZdQPbvnOwDS4vkUL7ZtlUW2KS3-KayBSn1k-LOzlAl7wpYQNTTFNhHhWWPuA/s1209/Monumento%20All'Aeronautica%20-%20Umbertide%20BN.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="752" data-original-width="1209" height="249" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixrMKS1B2RCpRReiqyHb8iidYsJJlpri-2HPDSzkNPsRLbg4VQoGMCCK2agGVZ6GjylYkGldwUiZdv3H8BEekTWz5-SI8Y3_Ul-udUl4k4nnMBUviHkV3moe5Rd3BEXOZdQPbvnOwDS4vkUL7ZtlUW2KS3-KayBSn1k-LOzlAl7wpYQNTTFNhHhWWPuA/w400-h249/Monumento%20All'Aeronautica%20-%20Umbertide%20BN.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Amblé Sonaglia, monumento all'Aviatore, Umbertide (PG), via Unità d'Italia</i><br /></td></tr></tbody></table><p></p>
<p class="MsoNormal"><span style="font-size: large;"><span style="line-height: 115%;">Dopo la
morte di Sonaglia, avvenuta nel 1997, a Canoscio, </span></span><span style="font-size: large;"><span style="line-height: 115%;">una verde località del comune di Umbertide, </span></span><span style="font-size: large;"><span style="line-height: 115%;">presso lo splendido santuario della
Madonna del Transito è
stata allestita una mostra permanente delle opere dell’Artista, liberamente
visitabile in ogni tempo dell’anno. </span></span></p>
<p class="MsoNormal"><span style="font-size: large;"><span style="line-height: 115%;">Tra le
amicizie del Sindaco Pier Luigi Nicolini, nel 1971 Sonaglia donò al Comune di
Capranica un crocifisso che trovò subito posto nell’aula consiliare della vecchia
sede municipale di Palazzo Patrizi-Naro, e quindi, nel 1984, in quella del
nuovo Municipio in Palazzo Accoramboni, dove si può ancora vedere.</span></span></p><p class="MsoNormal" style="text-align: center;"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://patrimonio.archivioluce.com/luce-web/detail/IL5000070768/2/roma-scultore-amble-sonaglia.html&jsonVal=" style="margin-left: auto; margin-right: auto;" target="_blank"><img border="0" data-original-height="413" data-original-width="728" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQy555-EKzNqEK2Pfe90BuyKp1Jm96ZM0DzZq3SA7QgrteXM3cDdeyDXp3sKKSru0HfISZvFN8pOQuJIS2cpOLB-LpAyMzvwmLkO8vYpbwLmzkwwTMrUfKf1lmxuIUWbc0ZQ44-GIfszVAu6lf240IBKBXxuim9a___Th2Y2wJLSnbbE6zsP4mTeG-_Q/w400-h228/Caleidoscopio%20-%20Istituto%20Luce.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Servizio di Istituto Luce su Amblé Sonaglia, nella rubrica "Caleidoscopio", 28/08/1969</i><br /></td></tr></tbody></table><p></p><p class="MsoNormal" style="text-align: center;"><span style="font-size: large;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><img border="0" data-original-height="165" data-original-width="424" height="125" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6XcjTr9mPyprSaAb5MLMUL_JIk2-eJXXBVa-ErAd1JaVrMG4kaiCVbSXuSje5X_JwCPnMZiaWb7z4Nc2lGBWaObWi5L3bzdJDeXvL4JbZsfc7Sk0Nlk2JoZI-XFTbVlYHihBSZT6avJO993Ohs7b68g1jikVly-xGuojTqqipOK6pEc0jwW7AH8pOUQ/s320/BeWeB.jpg" style="margin-left: auto; margin-right: auto;" width="320" /></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Le opere di Amblé Sonaglia su Beni Ecclesiastici in Web<br /></i></td></tr></tbody></table><div style="text-align: center;"><i><a href="https://www.beweb.chiesacattolica.it/UI/page.jsp?action=ricerca%2Frisultati&dominio=1&ambito=CEIOA&advanced=true&view=griglia&locale=it&nomi_correlati=Sonaglia+Ambleto%2C+Ambl%C3%A8" target="_blank"><span style="margin-left: auto; margin-right: auto;"></span></a></i></div></div><div style="text-align: center;">________________________________________________________<b> <br /></b></div><div style="text-align: center;"><b>Citare questo documento / Citer ce document / Cite this document</b></div>
<p class="has-text-align-center" style="text-align: center;">CECCARINI, Fabio, «<i>Il crocifisso dell'aula consiliare del Comune di Capranica: un'opera di Amblé Sonaglia</i>», Capranica Storica, 06/08/2023 - URL: <a href="https://www.capranicastorica.it/2023/08/il-crocifisso-dellaula-consiliare-del.html">https://www.capranicastorica.it/2023/08/il-crocifisso-dellaula-consiliare-del.html</a></p><p></p>
<p style="text-align: center;"><a href="http://creativecommons.org/licenses/by-nc-sa/4.0/" rel="license"><img alt="Licenza Creative Commons" src="https://i.creativecommons.org/l/by-nc-sa/4.0/88x31.png" style="border-width: 0px; display: block; margin-left: auto; margin-right: auto;" /></a>Questo articolo di <a href="https://www.capranicastorica.it/2023/06/il-crocifisso-dellaula-consiliare-del.html" rel="cc:attributionURL">Fabio Ceccarini</a> è distribuito con Licenza <a href="http://creativecommons.org/licenses/by-nc-sa/4.0/" rel="license">Creative Commons Attribuzione - Non commerciale - Condividi allo stesso modo 4.0 Internazionale</a>.</p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4201727664195975785.post-16617307308155782602023-07-07T10:00:00.031+02:002023-09-10T20:52:13.760+02:00Trenta, Quaranta, Cinquanta: fatti dell’altro Millennio (ovvero, cosa successe a Capranica nel 1993, 1983, 1973)<div><p></p><p style="text-align: left;"></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: center;"><span style="font-size: medium;"><span style="font-family: georgia;"></span></span></p><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPY9Dn68nVRJmtXNc1JsmlahCTMpqsWPCB7QTZdazKMfAvVjeLwgGRPq2yaDBzulmzH_F4XeVpQtKx9MSJWT5Nk6K9I5b5SGPbkumFrhH-H5D8JmkOa5vNz1ppyO8hSvF394tqhQBg0gK1wbGuJ9z0_FgAwY3pCmjaXZFe_tEJ4ZeJKkFDdI6uiAEQyg/s1200/BlogI037.jpg"><img border="0" data-original-height="969" data-original-width="1200" height="323" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPY9Dn68nVRJmtXNc1JsmlahCTMpqsWPCB7QTZdazKMfAvVjeLwgGRPq2yaDBzulmzH_F4XeVpQtKx9MSJWT5Nk6K9I5b5SGPbkumFrhH-H5D8JmkOa5vNz1ppyO8hSvF394tqhQBg0gK1wbGuJ9z0_FgAwY3pCmjaXZFe_tEJ4ZeJKkFDdI6uiAEQyg/w400-h323/BlogI037.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"></span></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-size: medium;"><span style="font-family: georgia;">di <i>Fabio
Ceccarini</i></span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-size: large;"><span style="font-family: georgia;"></span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-size: large;"><span style="font-family: georgia;"><b><span style="color: #3d85c6;">In occasione
delle celebrazioni civiche del <i>Sette Luglio - Natale di Capranica</i>,
ripercorriamo con questa nuova rubrica – che speriamo possa essere a cadenza
annuale – le vicende di Capranica e dei Capranichesi di trenta, quaranta e
cinquant’anni fa. Per quest’anno andiamo a rovistare negli album di famiglia degli
anni 1993, 1983, 1973, fermandoci ovviamente ai fatti più importanti. Buona
lettura.</span></b></span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-size: large;"><span style="font-family: georgia;"><span></span></span></span></p><a name='more'></a><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-size: large;"><span style="font-family: georgia;">2023: anno
terzo della terza decade del Ventunesimo Secolo del Terzo Millennio dopo Cristo,
1251° dalla mitica nascita di Capranica, 558° dalla cacciata degli Anguillara e proclamazione
della Res Publica Capranicensis, 557° dall’istituzione del Governatorato
Cardinalizio, 153° dall’entrata della Città nel Regno d’Italia. </span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-size: large;"><span style="font-family: georgia;">Come vediamo, soltanto partendo
dall’anno in corso sono moltissime le coincidenze storiche che si possono
ricordare. Noi ci accontenteremo di fare un passo indietro nel tempo fino a
trenta, quaranta e cinquant’anni prima dell’anno attuale. Cominciando con l’anno a noi più vicino: il 1993.</span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-size: large;"><span style="font-family: georgia;"> </span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-size: large;"><b style="font-family: georgia;">Trent’anni
fa: accadde nel 1993</b></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-size: large;"><span style="font-family: georgia;"></span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-size: medium;"><span style="font-family: georgia;"><u>Qualche dato
preliminare al 1° gennaio</u>: la popolazione di Capranica conta 4.868 abitanti
(2.400 maschi e 2.468 femmine); al Comune governa il centro-sinistra storico
(D.C.-P.S.I.) con il Sindaco Nazzareno Liberati (D.C.); Segretario Comunale è
il dott. Anselmo Fabrizi; parroco di San Giovanni Evangelista è Don Antonio Paglia;
nuovo maresciallo dei Carabinieri è Carmelo Ragusa; la farmacia è retta dalla
Dott.ssa Maria Di Bartolomei; il Comandante della Polizia Locale è Antonio
Pollini; medici di base: Rosa Salza, Innocenzo Perugini, Maurizio Pizzoferrato;
Presidente della Cassa Rurale ed Artigiana è il Geom. Giuseppe Giampietro;
Presidente della Cooperativa Nocciolicoltori Cimini e Sabatini è Angelo Cappelli;
Direttore Didattico è Romolo Bozzo; Preside della Scuola Media è Cosimo
Galeandro; Luigi Puccica è il presidente della Pro-Loco; Luigi Iezzi è il
presidente dell’AVIS “Giuseppe Petretto”; <span> </span>la banda comunale è diretta dal m° Pier Luigi
Pontuale.</span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-size: large;"><span style="font-family: georgia;"></span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-size: large;"><span style="font-family: georgia;"><u>4 febbraio</u>.
Duro attacco, su “Il Tempo” di Viterbo, all’ospedale di Villa Paola che viene
accusato di gravi carenze da parte del giornalista Alessandro Ferretti. Nonostante
una smentita dello stesso, apparsa sulla stessa testata il giorno seguente, in
paese montano le polemiche. L’Amministrazione Comunale approva così un OdG di
sostegno all’Istituto ricordando la mole di lavoro svolto nell’anno 1992 (circa
26.000 visite ambulatoriali e 6.000 interventi di piccola chirurgia)<a href="#_edn1" name="_ednref1" title=""><span class="MsoEndnoteReference"><span><span class="MsoEndnoteReference"><span style="line-height: 107%;">[i]</span></span></span></span></a>.</span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-size: large;"><span style="font-family: georgia;"></span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-size: large;"><span style="font-family: georgia;"><u>31 maggio</u>. Il
Consiglio Comunale approva un OdG<a href="#_edn2" name="_ednref2" title=""><span class="MsoEndnoteReference"><span><span class="MsoEndnoteReference"><span style="line-height: 107%;">[ii]</span></span></span></span></a>
di sostegno agli artigiani lottisti della nuova zona artigianale in località
Spreca, per protesta contro la decisione del T.A.R. Lazio di sospendere l’efficacia
delle concessioni edilizie di costruzione dei nuovi capannoni. La sospensiva
del T.A.R. era arrivata in attesa che passasse in giudicato la sentenza –
favorevole al Comune di Capranica – emessa da un’altra sezione dello stesso
Tribunale Amministrativo sulla variante al Programma di Fabbricazione, e
concludeva il giudizio promosso dal proprietario di una villa adiacente alla
nuova zona artigianale. La protesta del Consiglio Comunale intendeva così
sensibilizzare l’opinione pubblica, capranichese e non, sullo “<i>strapotere di
un personaggio nemmeno capranichese, che utilizza la propria abitazione per le
vacanze e solo per pochi giorni all’anno</i>”, determinando così un grave danno
economico agli artigiani ed al loro indotto. L’OdG si concludeva quindi con la
richiesta di essere ricevuti dal Prefetto di Viterbo “<i>al fine di presentare
le dimissioni dell’intero Consiglio Comunale come forma di civile ed energica
protesta</i>”.</span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-size: large;"><span style="font-family: georgia;"><u>16 giugno</u>. Per protesta
contro la decisione del T.A.R. Lazio di sospendere l’efficacia delle
concessioni edilizie per la realizzazione della nuova zona artigianale in
località Spreca, si dimette l’Amministrazione Comunale presieduta dal Sindaco Nazzareno
Liberati. Davanti a numeroso pubblico intervenuto ed al senatore Ugo Sposetti
(PDS), agli onorevoli Gabriele Piermartini (PSI), Quarto Trabacchini (PDS),
Luigi Daga (PDS), il Consiglio decide all’unanimità “…<i>l’autoscioglimento immediato
in segno di vibrante protesta e manifestando tutta l’amarezza e lo sdegno per
le ingiustizie patite dalla Comunità da Esso rappresentata, sicuro che un atto
così grave e storica determinazione sia tenuto nel debito conto e rimuova le
incertezze e i ritardi della Giustizia. Pertanto i sottoscrittori rassegnano
irrevocabilmente le proprie dimissioni da Consiglieri Comunali</i>”<a href="#_edn3" name="_ednref3" title=""><span class="MsoEndnoteReference"><span><span class="MsoEndnoteReference"><span style="line-height: 107%;">[iii]</span></span></span></span></a>.
E’ la fine del Centro-Sinistra varato il 5 novembre 1973.</span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-size: large;"><span style="font-family: georgia;"></span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-size: large;"><span style="font-family: georgia;"></span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-size: large;"><span style="font-family: georgia;"><u>Luglio</u>. Viene
ritrovata dal Nucleo Beni Culturali dell’Arma dei Carabinieri, la via Crucis
della Chiesa di San Giovanni Evangelista, rubata nel 1991. Nel corso di una
cerimonia pubblica nell’aula consiliare del Comune, viene ufficialmente riconsegnata
al vescovo di Civita Castellana, mons. Divo Zadi e quindi alla Parrocchia di
San Giovanni Evangelista, nelle mani del parroco Don Antonio Paglia.</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-size: large;"><span style="font-family: georgia;"><u>Luglio</u>. Dal 9 all'11, Alberto Castagna presenta al Centro Sportivo "Giggi Iezzi", la settima edizione di "Tutto fa spettacolo".</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-size: large;"><span style="font-family: georgia;"><u>5 agosto</u>. Con D.P.R. 5
agosto 1993 viene formalmente sciolto dal Ministero dell’Interno il Consiglio
Comunale e viene nominato il Commissario Prefettizio, dott. Giuseppe Pompella,
già in carica per designazione prefettizia all’indomani delle dimissioni del
Consiglio.</span></span><span style="font-size: large;"><span style="font-family: georgia;"> <br /></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-size: large;"><span style="font-family: georgia;"><u>Agosto</u>. Preceduta come di consueto dagli allenamenti settimanali al Centro Sportivo "Giggi Iezzi", dal 16 al 29 si svolge la 16^ edizione delle Olimpiadi Capranichesi e il I Meeting della Tuscia.<br /></span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-size: large;"><span style="font-family: georgia;"></span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-size: large;"><span style="font-family: georgia;"><u>Il 21 novembre</u>,
dopo una accesa e lunga campagna elettorale, vince le elezioni comunali la
lista Senza Frontiere. Neo-sindaco è il giovane Angelo Cappelli. In minoranza i
candidati sindaci Francesco Lariccia e Benito Corradini. Nessun seggio alla
lista della Lega Italia Federale. La percentuale dei votanti è altissima: 90,48%
(3.613 su 3.993 aventi diritto). Alla Lista Senza Frontiere, capitanata da Cappelli,
vanno 1.533 voti, seguita dalla Lista Uniti per Capranica e dal candidato
sindaco Francesco Lariccia, con 1.384 voti. Benito Corradini e Alleanza per Capranica
si fermano a 511 voti, mentre Francesco Terranova, della Lega Italia Federale,
raccoglie appena 67 voti. Inizia l’era-Cappelli e di Senza Frontiere.</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-size: large;"><span style="font-family: georgia;"><u>Natale</u>. Capranica diventa per qualche giorno l'oggetto di interesse della TV tedesca. Una troupe della televisione federale viene infatti a documentare il "rinnovamento" che le urne hanno portato a Capranica. Vengono intervistati il neo-sindaco Angelo Cappelli, il parroco Don Antonio Paglia e semplici cittadini come Cristoforo Oroni (Fofo), sul quale il servizio intero è imperniato.</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: center;"><span style="font-size: large;"><span style="font-family: georgia;"></span></span></p><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><span style="font-family: georgia;"><iframe allowfullscreen="" class="BLOG_video_class" height="397" src="https://www.youtube.com/embed/oFi5sTRdSBU" width="477" youtube-src-id="oFi5sTRdSBU"></iframe></span></span></div><span style="font-size: small;"><i>Filmato Capranica 1993</i></span><span style="font-size: large;"><span style="font-family: georgia;"><br /> </span></span><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-size: large;"><span style="font-family: georgia;"></span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: center;"><span style="font-size: large;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><img border="0" data-original-height="1200" data-original-width="948" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJPHfAuKDfx9ysHJPyad8Ju_quePy9Uav-C568Mm1aWo8XJbYFIbe7A0ehkSFcnRMYHNJw26LQnUSbNngj12Ee3axn-yAXkWhJvu-XQkQU0P3H28WFoeoOxcYga5V7nemJqd6UWt-mWY92F5IMtuRDyqn1JkL6u41jIAewI8LgUnTWCoMOU7MLxD3PYg/w316-h400/BlogI008.jpg" style="margin-left: auto; margin-right: auto;" width="316" /></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>1993 - Un momento della riconsegna della Via Crucis della Chiesa di San Giovanni da parte dei Carabinieri, in piazza San Francesco. A destra, il maresciallo Carmelo Ragusa.</i><br /></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJPHfAuKDfx9ysHJPyad8Ju_quePy9Uav-C568Mm1aWo8XJbYFIbe7A0ehkSFcnRMYHNJw26LQnUSbNngj12Ee3axn-yAXkWhJvu-XQkQU0P3H28WFoeoOxcYga5V7nemJqd6UWt-mWY92F5IMtuRDyqn1JkL6u41jIAewI8LgUnTWCoMOU7MLxD3PYg/s1200/BlogI008.jpg" style="margin-left: 1em; margin-right: 1em;"> </a></span></div><div class="separator" style="clear: both; text-align: center;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhi4bHOgtpLq4dhuzdUS8p07KqRh9qnPrVev5QzPzTe_yqpB2OQ2nF_yVkml3kypDLo91VlQ52pWfDaSgA56Bz53ZnlGTr3VmwjeDx-k1qzKKQz25l7yWW4nL3y9SftmvyIUbINWqFsYZqBr0UeO3zdWkEhgQ_5PMVnNHNSe8Hx0AZhGabZ3goB1T04GQ/s1200/BlogI028.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="898" data-original-width="1200" height="299" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhi4bHOgtpLq4dhuzdUS8p07KqRh9qnPrVev5QzPzTe_yqpB2OQ2nF_yVkml3kypDLo91VlQ52pWfDaSgA56Bz53ZnlGTr3VmwjeDx-k1qzKKQz25l7yWW4nL3y9SftmvyIUbINWqFsYZqBr0UeO3zdWkEhgQ_5PMVnNHNSe8Hx0AZhGabZ3goB1T04GQ/w400-h299/BlogI028.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>1993 - Nell'Aula Consiliare, presieduta dal Commissario Prefettizio Dott. Giuseppe Pompella, alla presenza del vescovo Mons. Divo Zadi, si conclude la simbolica cerimonia di riconsegna delle opere al parroco della chiesa di San Giovanni Ev., Don Antonio Paglia</i><br /></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"></span></div></div><span style="font-size: large;"><span style="font-family: georgia;"></span></span><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: center;"><span style="font-size: large;"><span style="font-family: georgia;"></span></span></p><div class="separator" style="clear: both; text-align: center;"></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib04M0VWzk_aeKL09wbOxJ5Ps3HBF3-ajcnXpuSPR7MLvDhvUusbcj_DYQJnR54O-pNkzEFgrDwtk35pU8vPcM39aQMFNbCnUbAvqNPdk0VON0V-JsBhl7i1utmdyqpTfcuVJCC97DJLj66wMLMT4r0RHbD86JJQwtjbHkmu2cjLZbM_ZGa3GhOu6dGQ/s1124/Candidati%20Sindaci.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1008" data-original-width="1124" height="359" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib04M0VWzk_aeKL09wbOxJ5Ps3HBF3-ajcnXpuSPR7MLvDhvUusbcj_DYQJnR54O-pNkzEFgrDwtk35pU8vPcM39aQMFNbCnUbAvqNPdk0VON0V-JsBhl7i1utmdyqpTfcuVJCC97DJLj66wMLMT4r0RHbD86JJQwtjbHkmu2cjLZbM_ZGa3GhOu6dGQ/w400-h359/Candidati%20Sindaci.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>1993 - Elezioni comunali del 21 novembre. Da sinistra in alto, Benito Corradini, candidato a sindaco della lista Alleanza per Capranica, a destra il candidato a sindaco della lista Uniti per Capranica, Francesco Lariccia. In basso a sinistra, Angelo Cappelli, candidato a sindaco della lista Senza Frontiere, la sera della conclusione della campagna elettorale, al cinema San Terenziano. In basso a sinistra, infine, Amelio Borgi, unico della lista Lega Italia Federale ad aver fatto campagna elettorale a Capranica. Non ottenne neppure un voto di preferenza.</i><br /></td></tr></tbody></table></div><div style="text-align: center;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjart040bKT6pMBce7HTC-KeifMNijdfK3SYo9GLoaU-K1OT0jAwvSkh4yK2iCUx9PBj3VoTQdtA7MO_VPK5nSiWTXuNH5II6TRmtNaJZ2RBVBJOmyYm-GHoh5nchvTeubacPmWbf7J6NYbN5Fo5ZljgLjMF8N8yfzk4sNhsJMyaTN6bETLRtv6glyFmw/s1200/BlogI039.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="816" data-original-width="1200" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjart040bKT6pMBce7HTC-KeifMNijdfK3SYo9GLoaU-K1OT0jAwvSkh4yK2iCUx9PBj3VoTQdtA7MO_VPK5nSiWTXuNH5II6TRmtNaJZ2RBVBJOmyYm-GHoh5nchvTeubacPmWbf7J6NYbN5Fo5ZljgLjMF8N8yfzk4sNhsJMyaTN6bETLRtv6glyFmw/w400-h272/BlogI039.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>1993 - VII edizione di "Tutto fa spettacolo". Alberto Castagna (al centro della foto) posa insieme al complesso "L'Incontro" e a tutto il gruppo dell'organizzazione</i><br /></td></tr></tbody></table><br /><div style="text-align: center;"></div><div><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtMMx-blouyDFBvhZmCBu3363cZihthjOQLTnvN8_PjeVStQ3pvGI7yZrYJyAZr1X1hO_Wh4V4bNL3S2m4igaYYCy2EPneMBzWQabomI6GCTQSzBOBc3tFCfpYZLSlhuQsnjsrKOlX6s4nmN-_bjIC4AdyvQ4ToyodnerWY7t-n9VUtSf8ikxSZzhRiA/s1598/Volantini.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1598" data-original-width="1126" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtMMx-blouyDFBvhZmCBu3363cZihthjOQLTnvN8_PjeVStQ3pvGI7yZrYJyAZr1X1hO_Wh4V4bNL3S2m4igaYYCy2EPneMBzWQabomI6GCTQSzBOBc3tFCfpYZLSlhuQsnjsrKOlX6s4nmN-_bjIC4AdyvQ4ToyodnerWY7t-n9VUtSf8ikxSZzhRiA/w450-h640/Volantini.jpg" width="450" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>1993 - Elezioni comunali del 21 novembre. Volantini delle quattro liste</i><br /></td></tr></tbody></table><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1tfstsbKnHPZ8tnFfN0MkrLye-1fA8N9nwhDVpI1owX_P6QasqtuY4_-I5mL_4LD4wcWGjNJgLXUDBKEHpimI0OVt4xfLk9FiuG1ILZ_b6Iqm2U3BUJCQhLpKaSIDuPVTIQl92HpL-hUzQfKA0MnM4sFPafUVAMuBEpjeRsrwGOAosr9758TyFtLsvQ/s1200/BlogI023.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="968" data-original-width="1200" height="323" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1tfstsbKnHPZ8tnFfN0MkrLye-1fA8N9nwhDVpI1owX_P6QasqtuY4_-I5mL_4LD4wcWGjNJgLXUDBKEHpimI0OVt4xfLk9FiuG1ILZ_b6Iqm2U3BUJCQhLpKaSIDuPVTIQl92HpL-hUzQfKA0MnM4sFPafUVAMuBEpjeRsrwGOAosr9758TyFtLsvQ/w400-h323/BlogI023.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>1993 - Una immagine tratta dal servizio della TV tedesca</i><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifT49sCl5yrBq8DtDvfER5xEdDwAGz3PWC-x0hEJpxV1jJrDx70iNJwbUxxJ4vIa_Tak3qJAv_BeW4VU75xEzUaBhcS4highrT5MZTL8Y4m-EaNkFLHndKstEmOYYeriZ6VAISkonT0L8Ksag7HsJgROs2XLVJAYZ1pN3DgzbBp5BuhGphyPM9m2xwWA/s1200/BlogI024.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="962" data-original-width="1200" height="321" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifT49sCl5yrBq8DtDvfER5xEdDwAGz3PWC-x0hEJpxV1jJrDx70iNJwbUxxJ4vIa_Tak3qJAv_BeW4VU75xEzUaBhcS4highrT5MZTL8Y4m-EaNkFLHndKstEmOYYeriZ6VAISkonT0L8Ksag7HsJgROs2XLVJAYZ1pN3DgzbBp5BuhGphyPM9m2xwWA/w400-h321/BlogI024.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>1993 - Una immagine tratta dal servizio della TV tedesca. Da sinistra Don Antonio Paglia, il consigliere comunale Fabio Onofri, il sindaco Angelo Cappelli e l'assessore alla cultura Prof. Antonio Sarnacchioli<br /></i></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjfrnbwFkX3O1Juw85XtwxxYzW6GY5091GeuiqVkGkqFDDel0-EDQY-7dXIPvg_CJUXo2DaXAsFbKxQ3eBbHI2sTFWKX1pmILWPc3KjQzLOkKOX1CtZa_dDhC_zR0iJB1emInMb6mSZgNZrx_eX8UuHbT1HqO61THTPTyo5Ozx-zHpruDlyrd4KhMgGQ/s1200/BlogI025.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="952" data-original-width="1200" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjfrnbwFkX3O1Juw85XtwxxYzW6GY5091GeuiqVkGkqFDDel0-EDQY-7dXIPvg_CJUXo2DaXAsFbKxQ3eBbHI2sTFWKX1pmILWPc3KjQzLOkKOX1CtZa_dDhC_zR0iJB1emInMb6mSZgNZrx_eX8UuHbT1HqO61THTPTyo5Ozx-zHpruDlyrd4KhMgGQ/w400-h318/BlogI025.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>1993 - Una immagine tratta dal servizio della TV tedesca. Anziani al CRAL.<br /></i></td></tr></tbody></table><div>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-size: large;"><b style="font-family: georgia;"></b></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEingZ9BroWIDCvj3LmmnEkwYCh5owQdipBowmzYjkFjmMww602v-kZd1HRYxPfg80L70GWnHVpzpWdQ9Fg9Acv0yGzgm9DgkzEquNHy5O59crp-wlebck_P_uzFeH8hW1ZMWbThThmhThjtnWWmplTVgcLuMdBbfCRSubrqqHp7zhiOm4rUPb76nE3WBA/s1130/Fine%20partiti.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="630" data-original-width="1130" height="356" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEingZ9BroWIDCvj3LmmnEkwYCh5owQdipBowmzYjkFjmMww602v-kZd1HRYxPfg80L70GWnHVpzpWdQ9Fg9Acv0yGzgm9DgkzEquNHy5O59crp-wlebck_P_uzFeH8hW1ZMWbThThmhThjtnWWmplTVgcLuMdBbfCRSubrqqHp7zhiOm4rUPb76nE3WBA/w640-h356/Fine%20partiti.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i style="font-family: times;">1993 - E' la fine dei partiti tradizionali</i></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr></tbody></table><span style="font-size: large;"><b style="font-family: georgia;"> </b></span><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-size: large;"><b style="font-family: georgia;">Quarant’anni
fa: accadde nel 1983</b></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-size: large;"><span style="font-family: georgia;"></span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-size: medium;"><span style="font-family: georgia;"><u>Dati
preliminari alla data del 1° gennaio 1983</u>: la popolazione di Capranica conta 4.266
abitanti (2.116 maschi e 2.150 femmine); al Comune governa il centro-sinistra storico
(colazione D.C.-P.S.I.) con il Sindaco Nazzareno Liberati (D.C.); Segretario Comunale è
il dott. Anselmo Fabrizi; parroco di San Giovanni Evangelista è Don Antonio Paglia;
maresciallo dei Carabinieri è Bianchini; la farmacia è retta dalla Dott.ssa
Maria Di Bartolomei; il Comandante della Polizia Locale è Antonio Pollini; medici
di base: Innocenzo Perugini, Francesco Ettore; Presidente della Cassa Rurale ed
Artigiana è il Dott. Antonio Buzi.</span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-size: large;"><span style="font-family: georgia;"></span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-size: large;"><span style="font-family: georgia;"><u>1° marzo</u>. Per
motivi igienico-sanitari l’Amministrazione Comunale decide di interrare la buca
dell’antica fonte di San Rocco e realizzare la “mostra” dell’acqua a livello
del terreno circostante. Il Comune bandisce un concorso di idee per lavori di
modernizzazione dell’area. Viene scelto il progetto redatto dall’Arch. Marco
Andreoli, l’Ing. Gino Vestroni e il Geom. Pier Luigi Cavalieri. I lavori
cominciano a giugno e si concluderanno a settembre. La ditta Luzzitelli<span> </span>Luigi e Renzo li eseguirà per un importo
complessivo di circa Lit. 36milioni.</span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-size: large;"><span style="font-family: georgia;"></span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-size: large;"><span style="font-family: georgia;"><u>Domenica 8 maggio</u> si
celebra con grandissima partecipazione di popolo il 175° anniversario della
fondazione dell’Arciconfraternita Maria SS.ma delle Grazie e 25°
dall’incoronazione della Sacra Immagine. Il paese viene letteralmente ricoperto
di fiori, sia veri che di carta. Ogni vicinato concorre a rendere
memorabilmente bello il proprio vicoletto o la propria piazzetta. Sul corso
Francesco Petrarca viene realizzato un tappeto a motivi floreali ideato da
Enrico Isidori (detto comunemente da tutti <i>zi’ Righe’</i>, o anche <i>Lanciarì</i>),
con la collaborazione del giovane artista Luigi Liberati (il quale “inventa” il
sistema dei fogli di carta da modello che servono da fondo all’opera). Con
l’ausilio di betoniere, vengono preparate grandi quantità di segatura colorata
per garantire la copertura dei circa 300 mq di fiorita. La messa sul sagrato
della chiesa rurale della Madonna delle Grazie, viene celebrata dal card. Sebastiano
Baggio.</span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-size: large;"><span style="font-family: georgia;"></span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-size: large;"><span style="font-family: georgia;"><u>26 giugno</u>. Alle
elezioni politiche, successo della locale Democrazia Cristiana che alla Camera
ottiene 1.072 voti (36,89%) contro i 767 ottenuti dal Partito Comunista
(26,39%). Seguono i socialisti con 597 voti (20,54) che cominciano a sognare il
sorpasso dei comunisti (tuttavia senza mai ottenerlo).</span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-size: large;"><span style="font-family: georgia;"></span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-size: large;"><span style="font-family: georgia;"><u>Dal 13 al 18
giugno</u> la squadra di calcio del Capranica, categoria “Allievi”, rappresenta
l’Italia nel torneo internazionale di <span>Ö</span>rebro, in Svezia, durante il quale, in partite della durata di 35 minuti a tempo distribuite su 6 giorni di calendario, si affrontano ben 260 squadre giovanili suddivise in fasce di età. L’evento è epocale
perché non è mai successo che un gruppo di ragazzi capranichesi uscisse così
lontano dai patrii confini. La compagine, accompagnata da Vincenzo Ceniti (responsabile sportivo) e
Mario Straffi (per il Comune di Capranica), Mauro Oroni, Luigi De Luca e Gianfranco Tanci (per il GS Capranica) vince il proprio girone di
eliminazione ed approda alla semifinale. Tuttavia a causa della contestazione di
una decisione arbitrale e un po' di nervosismo accumulato dalla stanchezza, la squadra perde 3-2 contro il Lerum e non approda in finale (si ringraziano Vincenzo Ceniti e Mario Straffi per il materiale d'archivio).</span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: justify;"><span style="font-size: large;"><span style="font-family: georgia;"></span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: justify;"><span style="font-size: large;"><span style="font-family: georgia;"><u>Agosto</u>. Dopo dieci anni di trattative e dibattiti sulle possibili
soluzioni, viene completato il Centro Commerciale di Viale Nardini.</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: justify;"><span style="font-size: large;"><span style="font-family: georgia;"><u>Agosto</u>. Al Centro Sportivo "L'Incontro", si svolge la 6^ edizione delle Olimpiadi Capranichesi.</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: justify;"><span style="font-size: large;"><span style="font-family: georgia;"><u>Settembre </u>- Feste Patronali. Concerto di Sandro Giacobbe al </span></span><span style="font-size: large;"><span style="font-family: georgia;">Centro Sportivo "L'Incontro"</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: center;"></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZftDUrGtoStw9iJzY_6qjfCUa7vViC2sOyucAmVULui0sm8cBppKAzv4iZ-dUdFA-axjfdB-o5sDr6NUn88acTbIb_wEIiJfRiRe-LMo3JJadD3NwNuJC56wVTSzB38Edfx5_YIDimaJ2YhuR-3f3hXpWucSJKhYktX8By8cMWs-KY37VV6LkhsNu5A/s1200/BlogI029.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="523" data-original-width="1200" height="278" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZftDUrGtoStw9iJzY_6qjfCUa7vViC2sOyucAmVULui0sm8cBppKAzv4iZ-dUdFA-axjfdB-o5sDr6NUn88acTbIb_wEIiJfRiRe-LMo3JJadD3NwNuJC56wVTSzB38Edfx5_YIDimaJ2YhuR-3f3hXpWucSJKhYktX8By8cMWs-KY37VV6LkhsNu5A/w640-h278/BlogI029.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>1983 - Disegno della nuova fontana di San Rocco (arch. Marco Andreoli)</i><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2F8C2yO4UIm-RIxoyxZPNLp-t6DLvBKhz8cUOmm6SpuGHZCKl1eo3EFZw_tYK7rvbyRRwy7mOJF6K9SQroqPNmT5V4GxBnZ1mQ83QtuX52dEwYaD5FNFGNctmuPnErXCHbejI5AtP1T6zIOHFEyD27lUeO_eqUsrc7UnNAsuuZvArE0tKMWdf5Ph2kg/s1200/BlogI005.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="837" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2F8C2yO4UIm-RIxoyxZPNLp-t6DLvBKhz8cUOmm6SpuGHZCKl1eo3EFZw_tYK7rvbyRRwy7mOJF6K9SQroqPNmT5V4GxBnZ1mQ83QtuX52dEwYaD5FNFGNctmuPnErXCHbejI5AtP1T6zIOHFEyD27lUeO_eqUsrc7UnNAsuuZvArE0tKMWdf5Ph2kg/w279-h400/BlogI005.jpg" width="279" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>1983 - 175° Madonna delle Grazie - Vicolo dei Carrazza</i><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEUdeSaCbwNyuDLNuH_AeVpKIiLlO8cgKwFxqBWHqGeSpOReL8Oyc3VLojh_XrAj-lvunqOTCo3DaOYniGoOcgDdqXjDYlEncQ017j_VAJ_JuSHQ-edJ--gYqCfSuw2kkF0yQEOTcSO5M4fC2aS-gxRIZWph5UEHkgHAeCgIqgpaPoHRvoKk8DxzfRUQ/s1200/BlogI006.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="829" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEUdeSaCbwNyuDLNuH_AeVpKIiLlO8cgKwFxqBWHqGeSpOReL8Oyc3VLojh_XrAj-lvunqOTCo3DaOYniGoOcgDdqXjDYlEncQ017j_VAJ_JuSHQ-edJ--gYqCfSuw2kkF0yQEOTcSO5M4fC2aS-gxRIZWph5UEHkgHAeCgIqgpaPoHRvoKk8DxzfRUQ/w276-h400/BlogI006.jpg" width="276" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>1983 - 175° Madonna delle Grazie - Vicolo dell'Ortaccio<br /></i></td></tr></tbody></table><br /><div class="separator" style="clear: both; text-align: center;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfUlooyj3gxTiixJNymRfzVwNYYM4zE45qsoF31FbNTaVWyUJ1Z2EVvk0TF73VfVIDiMBIRPhDcnx9am08CsGJiR8jBvtnGpqngCFC__1w43Bdvs4vI6B4IjsbSdZfPHVg08OZe-aLT9S64itjoP48Vi0Z1AFHvc955GODtKR-FO7wt2MuqMTaXRfAiw/s1200/BlogI002.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="943" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfUlooyj3gxTiixJNymRfzVwNYYM4zE45qsoF31FbNTaVWyUJ1Z2EVvk0TF73VfVIDiMBIRPhDcnx9am08CsGJiR8jBvtnGpqngCFC__1w43Bdvs4vI6B4IjsbSdZfPHVg08OZe-aLT9S64itjoP48Vi0Z1AFHvc955GODtKR-FO7wt2MuqMTaXRfAiw/w314-h400/BlogI002.jpg" width="314" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>1983 - 175° Madonna delle Grazie - A Vicolo San Vincenzo, il vescovo Mons. Marcello Rosina e il giornalista della RAI, Paolo Valenti, sono accompagati in visita degli addobbi floreali dal parroco Don Antonio Paglia (a sx) e dal Sindaco Rag. Nazzareno Liberati (alla sinistra del vescovo). Nella foto, da sx a dx.: il parroco Don Antonio Paglia, Ivo Oroni, il giornalista conduttore di 90° minuto, Paolo Valenti, il vescovo di Sutri e Nepi, Mons. Marcello Rosina, il Priore dell'Arciconfraternita Maria SS.ma delle Grazie, Sante Oroni, il Sindaco di Capranica, rag. Nazzareno Liberati, il vice-priore Giovanni Morera, il consigliere comunale Claudio Casagrande.<br /><br /></i></td><td class="tr-caption" style="text-align: center;"><i> </i></td><td class="tr-caption" style="text-align: center;"><i> </i></td><td class="tr-caption" style="text-align: center;"><i> </i></td><td class="tr-caption" style="text-align: center;"><i><br /></i></td></tr></tbody></table></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9J-BpEpR_ZBOFLYpsKWAQN3UQRZbrAOkWFG1j1us0TBJksxsZb_TbswWvn0RcYvFgFbgdbKO9g_QOA1eRt6pL_atnc1EbclkytP9O61hkWSjTb5xQJS65K4wuDTZ3cWlUjm2KOjBxdhM1LRnLM71oA4hD-nHL9hO137-NMOA58c_m_Cdis1Z7IAIpzg/s1200/BlogI007.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="817" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9J-BpEpR_ZBOFLYpsKWAQN3UQRZbrAOkWFG1j1us0TBJksxsZb_TbswWvn0RcYvFgFbgdbKO9g_QOA1eRt6pL_atnc1EbclkytP9O61hkWSjTb5xQJS65K4wuDTZ3cWlUjm2KOjBxdhM1LRnLM71oA4hD-nHL9hO137-NMOA58c_m_Cdis1Z7IAIpzg/w274-h400/BlogI007.jpg" width="274" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>1983 - 175° Madonna delle Grazie -Piazza VII luglio e Palazzo Patrizi-Naro, sede del Comune di Capranica<br /></i></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFmLoK1bieQYl_a3YMMcQgyqYAGg6aQIQJHeMR3jRhhs7wHR6wULXn_DhvoI-5CWbP-yTGG_uQ4lkxf3UmytNJZrP3znO_byTS9sRd1bM2pgn0jKzzL2slMgWxnOx8eMxMP-w-OHqgSMyttCnVCzEUlVHzg0P8Vs6NYK8KRmSvQ5c8382ow9Tblhp1EQ/s1200/BlogI004.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="832" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFmLoK1bieQYl_a3YMMcQgyqYAGg6aQIQJHeMR3jRhhs7wHR6wULXn_DhvoI-5CWbP-yTGG_uQ4lkxf3UmytNJZrP3znO_byTS9sRd1bM2pgn0jKzzL2slMgWxnOx8eMxMP-w-OHqgSMyttCnVCzEUlVHzg0P8Vs6NYK8KRmSvQ5c8382ow9Tblhp1EQ/w278-h400/BlogI004.jpg" width="278" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>1983 - 175° Madonna delle Grazie - Il tappeto a motivi floreali realizzato su Corso Francesco Petrarca</i></td><td class="tr-caption" style="text-align: center;"><i><br /></i></td><td class="tr-caption" style="text-align: center;"><i><br /></i></td><td class="tr-caption" style="text-align: center;"><i></i></td><td class="tr-caption" style="text-align: center;"><i></i></td><td class="tr-caption" style="text-align: center;"><i><br /><br /></i></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDjOO6w0-lkNy8QScVL2-Lc0j9Md41z5EURW3QLfDBOb1wUi3D_uwElcr1uqDiYBetf1-5J7YIKw-uICrgqhngsTXNG9WCdQ1-c-in4xqJJ1BxYzP2ZJTRjFS6RVFnu7_3h6xI6_RCyjjwQMNHhHw28q49Ki-LMZVOWypS3X1khWjwTNx3zuUfk2Bssw/s1200/BlogI003.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="829" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDjOO6w0-lkNy8QScVL2-Lc0j9Md41z5EURW3QLfDBOb1wUi3D_uwElcr1uqDiYBetf1-5J7YIKw-uICrgqhngsTXNG9WCdQ1-c-in4xqJJ1BxYzP2ZJTRjFS6RVFnu7_3h6xI6_RCyjjwQMNHhHw28q49Ki-LMZVOWypS3X1khWjwTNx3zuUfk2Bssw/w276-h400/BlogI003.jpg" width="276" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>1983 - 175° Madonna delle Grazie - Un momento della processione<br /><br /></i></td></tr></tbody></table></div></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQh01CNIR9FPIKcdt_X0lr_4AQ8STK8bRjhjDweJbkn56NSFEuMP70Iyi21o3u6M4bnr6kS3RV_HSv_gO2OvENo6r3cZYkI2sr-7WoeTUgGOkEZEgU_sNsbOwtzRRpbGiX9CDf1Eo1Crhnms3pb05VAFzEr8Cy8hQz_xFY_-g7Wybx6dNBxxV9qCreFA/s1200/BlogI034.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="831" data-original-width="1200" height="278" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQh01CNIR9FPIKcdt_X0lr_4AQ8STK8bRjhjDweJbkn56NSFEuMP70Iyi21o3u6M4bnr6kS3RV_HSv_gO2OvENo6r3cZYkI2sr-7WoeTUgGOkEZEgU_sNsbOwtzRRpbGiX9CDf1Eo1Crhnms3pb05VAFzEr8Cy8hQz_xFY_-g7Wybx6dNBxxV9qCreFA/w400-h278/BlogI034.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>1983 - 175° Madonna delle Grazie -Piazzale delle Rimembranze gremito di gente in attesa dell'arrivo della Madonna e della santa Messa.<br /></i></td></tr></tbody></table><br /></div><div></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxgzpJ13H2QVW6xoG_8CE0idfwdqCnWoL2QFLj-NMp2dppvzUE3Cwn74IZXUjsB-gu11lYdFrVBwlJ4XX_iiRhvBK_jdA0PWrFX7VPvb7lq68N7ByZu20aEYs6vQeILjCv6lynZgivup77z0DtOdAFg730qSt_OaTFOdfHLz6NoIpLGXS8hkV4qkV8hw/s1200/BlogI036.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="939" data-original-width="1200" height="313" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxgzpJ13H2QVW6xoG_8CE0idfwdqCnWoL2QFLj-NMp2dppvzUE3Cwn74IZXUjsB-gu11lYdFrVBwlJ4XX_iiRhvBK_jdA0PWrFX7VPvb7lq68N7ByZu20aEYs6vQeILjCv6lynZgivup77z0DtOdAFg730qSt_OaTFOdfHLz6NoIpLGXS8hkV4qkV8hw/w400-h313/BlogI036.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>1983 - 175° Madonna delle Grazie - Don Antonio Paglia saluta il card. Sebastiano Baggio prima dell'inizio della Santa Messa. Concelebra Don Antonio Pompei, già parroco di San Giovanni Evangelista, trasferito a Soriano nel Cimino ad ottobre 1982.</i></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIy1GzLNxLDI1jVh4RVm8FbuTqFy8Ct1UC03SGsw5fbgySAFXdn8of8l6NDyGIfDG4S789yqVyjTmB0A1C42oJqj3wbOxldcPDgEbZJjA4vao2NjGuWJXgtDOs6HAoo91Vgx-TigBF6E_MHjYb4MwZ5FQFBA8jtaLxx37HIQgjp7intELMnr6ZdRVqhw/s1200/BlogI035.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="834" data-original-width="1200" height="278" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIy1GzLNxLDI1jVh4RVm8FbuTqFy8Ct1UC03SGsw5fbgySAFXdn8of8l6NDyGIfDG4S789yqVyjTmB0A1C42oJqj3wbOxldcPDgEbZJjA4vao2NjGuWJXgtDOs6HAoo91Vgx-TigBF6E_MHjYb4MwZ5FQFBA8jtaLxx37HIQgjp7intELMnr6ZdRVqhw/w400-h278/BlogI035.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>1983 - 175° Madonna delle Grazie - Un momento della Santa Messa<br /></i></td></tr></tbody></table><br /><div class="separator" style="clear: both; text-align: center;"></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiuEfhw4TPtmKHwBfCmRWX6Jiy16e1ZxcodjPag8YYYrBlWcpbGFyVkJnpTLuIbkzdHjRNQx-ZuoE9Huz1Uq08KC7UJ_rsVlZsxM2FvIXJCIEfAh57FVZE5-C3d_Mz87ejfu5pmrk-O0ONaGQTQNFnabuB3eN2cU8__cVipBt1zOibBrIRZhspBtYY9g/s1200/BlogI001.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="599" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiuEfhw4TPtmKHwBfCmRWX6Jiy16e1ZxcodjPag8YYYrBlWcpbGFyVkJnpTLuIbkzdHjRNQx-ZuoE9Huz1Uq08KC7UJ_rsVlZsxM2FvIXJCIEfAh57FVZE5-C3d_Mz87ejfu5pmrk-O0ONaGQTQNFnabuB3eN2cU8__cVipBt1zOibBrIRZhspBtYY9g/w200-h400/BlogI001.jpg" width="200" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>1983 - La coccarda della Örebro Cupen</i><br /></td></tr></tbody></table></div><div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQVNeG59Y0Pw0I0UCKNfnnfP7uwsdcQUof1atyXCRqF-qc-MqGt-us0rqUYNE8vhjiXpDHRxYD5hO6MeGAWNzoagxA3wMvXssnt6NwdsUw0ORfdSvMZV91Nu9AeWxEOFImgZ_eQ4jiSSNOkgE8DPW_qjmIkwSo1iSvqOcPxUary4AE_TbqQ5bqrFqAjg/s1200/BlogI031.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="859" data-original-width="1200" height="286" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQVNeG59Y0Pw0I0UCKNfnnfP7uwsdcQUof1atyXCRqF-qc-MqGt-us0rqUYNE8vhjiXpDHRxYD5hO6MeGAWNzoagxA3wMvXssnt6NwdsUw0ORfdSvMZV91Nu9AeWxEOFImgZ_eQ4jiSSNOkgE8DPW_qjmIkwSo1iSvqOcPxUary4AE_TbqQ5bqrFqAjg/w400-h286/BlogI031.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>1983 - Örebro Cupen - Libretto contenente il programma della manifestazione</i><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHrcDhSBFFKa8Yvj7phZJ4j8GIjOHYcs6lSBeiiOTz_ZeHBLRcZwFXLUwnaEQZtMd3T1hPE2enG8Y7pe0ftUquV9QZlA08doNohhkmXRaISsUr3uIrHWKwK4JmimqO-U3jgXOhg1QCfdPnNn8Dju2J3sHCJ5UIsXS-e919WxZ4ywNopjEQy5D3EycCaw/s1200/BlogI032.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="859" data-original-width="1200" height="286" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHrcDhSBFFKa8Yvj7phZJ4j8GIjOHYcs6lSBeiiOTz_ZeHBLRcZwFXLUwnaEQZtMd3T1hPE2enG8Y7pe0ftUquV9QZlA08doNohhkmXRaISsUr3uIrHWKwK4JmimqO-U3jgXOhg1QCfdPnNn8Dju2J3sHCJ5UIsXS-e919WxZ4ywNopjEQy5D3EycCaw/w400-h286/BlogI032.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>1983 - Örebro Cupen - Pagina dedicata alla rappresentativa italiana<br /></i></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEh4me5ao4BUCDW4bqf4f8bRE6LwNQqP3ZdYxIzSW76FtDixlTEYW683FkfsDbRTGZCeHo39prq2rNo0f8O9fgmWkCIuWP96a1raxpcO4LRh4TCRaY5l4K1xA3_8qdJPUzFBOArcfZlvbcrYciCjpisJtDx6sh3yZbqm79zJIj_YIxHdJujblgzESpXw/s1200/BlogI044.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="802" data-original-width="1200" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEh4me5ao4BUCDW4bqf4f8bRE6LwNQqP3ZdYxIzSW76FtDixlTEYW683FkfsDbRTGZCeHo39prq2rNo0f8O9fgmWkCIuWP96a1raxpcO4LRh4TCRaY5l4K1xA3_8qdJPUzFBOArcfZlvbcrYciCjpisJtDx6sh3yZbqm79zJIj_YIxHdJujblgzESpXw/w400-h268/BlogI044.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>1983 - Örebro Cupen - Un momento della cerimonia di apertura</i><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcH2mrBpRBKuY2Xt42ASCBSLzcOS_rrk2sUAOikz2dBd1k5HyDNKVaFlYubFD37xt8CgStIKW3aPeLCwpe66YLlCToy__zVrERlGN0iqSZ98YrvSOZx_zceyLKDxsAG6ks1WEg8cf7FKAXAesgyZeZyVua7wrTWJNA-94uE41vlb-VBgZEBXf6vi_n2g/s1200/BlogI041.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="820" data-original-width="1200" height="274" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcH2mrBpRBKuY2Xt42ASCBSLzcOS_rrk2sUAOikz2dBd1k5HyDNKVaFlYubFD37xt8CgStIKW3aPeLCwpe66YLlCToy__zVrERlGN0iqSZ98YrvSOZx_zceyLKDxsAG6ks1WEg8cf7FKAXAesgyZeZyVua7wrTWJNA-94uE41vlb-VBgZEBXf6vi_n2g/w400-h274/BlogI041.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>1983 - Örebro Cupen - La "rosa" al completo prima della partita inaugurale. Da sinistra in piedi: Mauro Cherubini, Michele Ceniti, Ottorino Morlupi, Pier Luigi Puccica, Enelio De Luca, Antonio Luzzitelli, Pietro Serafini, Vincenzo Ceniti (dir.), Pier Luigi Luzzitelli, Roberto Saraceni, Mauro Oroni (dir.). Accosciati, da sinistra: Gianfranco Tanci (accompagnatore), Vittorio Costantini, Giuseppe Oroni, Davide Celsi, Sante Piccioni, Luca Lanzalonga, Giuseppe Pernella, Rosolino Puccica</i><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSNNSYrklSEZyRytZszrfbmvLWfOE3eqdamqsIORak31Vr0cALQjYcisf9_GVM_q9mBf-1rW5yTKuRNsLxGcMId3-LplKd6PDOZPVjBoNAcrgjMqgr-2Edlk1atROdCeeYpa9U5JTxl-39ZkH2xmIhD-MgNHGuko8vzZm-dzS4mWH4Xn4tYZB-_mQDZQ/s1200/BlogI042.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="815" data-original-width="1200" height="271" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSNNSYrklSEZyRytZszrfbmvLWfOE3eqdamqsIORak31Vr0cALQjYcisf9_GVM_q9mBf-1rW5yTKuRNsLxGcMId3-LplKd6PDOZPVjBoNAcrgjMqgr-2Edlk1atROdCeeYpa9U5JTxl-39ZkH2xmIhD-MgNHGuko8vzZm-dzS4mWH4Xn4tYZB-_mQDZQ/w400-h271/BlogI042.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>1983 - Örebro Cupen</i><i> - 16 giugno, ore 13,00 - Partita inaugurale: Italia (Capranica) - Ervalia: 3-0, con doppietta di Giuseppe Oroni e una rete di Pier Luigi Luzzitelli<br /></i></td></tr></tbody></table></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp_Y9GdF5MnISxT7OJNjBdOb_QklPmfGc8EhNNTbYcCE2QK3w0tln9Ux2nQGv6_ndYVPeR7wf-Dah9VczxwpjpqaFSwJR_lI1p4A2wv8pewnu7roNTIe_ubncr5eJXMKbEmkfW3Q3Vcs9sAmr4SOvK8MSFIDWc8eEiw2NM6kDdpwFauCLfAH6KPxucXw/s1200/BlogI045.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="850" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp_Y9GdF5MnISxT7OJNjBdOb_QklPmfGc8EhNNTbYcCE2QK3w0tln9Ux2nQGv6_ndYVPeR7wf-Dah9VczxwpjpqaFSwJR_lI1p4A2wv8pewnu7roNTIe_ubncr5eJXMKbEmkfW3Q3Vcs9sAmr4SOvK8MSFIDWc8eEiw2NM6kDdpwFauCLfAH6KPxucXw/w284-h400/BlogI045.jpg" width="284" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>1983 - Örebro Cupen - Articolo dedicato alla squadra italiana dal quotidiano Allehanda del 17 giugno 1983: "Gli spiritosi italiani danno colore a </i><i>Örebro", alludendo nel sottotitolo anche al particolare interesse che le ragazze svedesi hanno per la squadra capranichese.<br /></i></td></tr></tbody></table><br /><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijc9Q9G9bpVNHO90u6irpwdRrGFOoZ5Yv1i2OIrMJVcaBsjsEsIbNq68NE_OtnglrvSOCfxU8O3FeFtY2JMf9_4xoxe-hYTS_O02Kx0RL4n88Ql27-rK4XqCdLnSLJei0CA957ClllFA2kxPCPAi19PXQaGvCqlWwLsGv96hJuepDz193WfCLS6oVggw/s1200/BlogI040.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="864" data-original-width="1200" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijc9Q9G9bpVNHO90u6irpwdRrGFOoZ5Yv1i2OIrMJVcaBsjsEsIbNq68NE_OtnglrvSOCfxU8O3FeFtY2JMf9_4xoxe-hYTS_O02Kx0RL4n88Ql27-rK4XqCdLnSLJei0CA957ClllFA2kxPCPAi19PXQaGvCqlWwLsGv96hJuepDz193WfCLS6oVggw/w400-h288/BlogI040.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>1983 - Örebro Cupen - Articolo dedicato alla squadra italiana dal
quotidiano Allehanda del 17 giugno 1983: una bella foto di una fase di gioco che ritrae Pier Luigi Luzzitelli<br /></i></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP8P5jN9bNOe6Kz5HlCG4VOM-yfO9NonFeILXphiv6Y4snGNqjiBFYUZK9iIXC7kBRx4cO8ker4hTF-ivucVPTKyG8cVq6GQ3rSTzQzklDL_i73BVUbqLEM2H_iSN2Lh4W26zGeCrh8BuaAhZasn6aTYYqj3NfjfvQZCA9esFAzmJISgosGbvUT5PkIw/s1200/BlogI030.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="842" data-original-width="1200" height="281" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP8P5jN9bNOe6Kz5HlCG4VOM-yfO9NonFeILXphiv6Y4snGNqjiBFYUZK9iIXC7kBRx4cO8ker4hTF-ivucVPTKyG8cVq6GQ3rSTzQzklDL_i73BVUbqLEM2H_iSN2Lh4W26zGeCrh8BuaAhZasn6aTYYqj3NfjfvQZCA9esFAzmJISgosGbvUT5PkIw/w400-h281/BlogI030.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>1983 - Örebro Cupen - La squadra prima della semifinale con il Lerum. Il risultato finale sarà di 3-2 per il Lerum. Forse per un po' di nervosismo di troppo e la stanchezza accumulata, due nostri calciatori contestano duramente (ed eccessivamente) la decisione arbitrale di un calcio di rigore durante i supplementari quando la partita è ferma sul 2-2. L'arbitro Olof Andersson è costretto ad uscire dal campo, la partita viene sospesa, interviene la vigilanza a bordo campo per sedare gli animi. Il giorno successivo, dopo gli elogi dei giorni precedenti, i giornali titolano: "Non invitate più la squadra italiana!".<br /></i></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTXOIN_8_jM8bw72ZPbQQ4KdMNIrDfPiAqbDJwxAGyUI1pVkdsTBtfzyS7mSqAlf_DUfO4BRjjCL74ch50TS7L3MmdJSJBbKdl6wPKfiRUGmktEjlxFwyN6v-17aRuffkcvNYijZ3l9aS22ghiBYkclwAYQbFlbnX_CFmQKN09rNberbHaANXqPbR4PQ/s1200/BlogI043.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="811" data-original-width="1200" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTXOIN_8_jM8bw72ZPbQQ4KdMNIrDfPiAqbDJwxAGyUI1pVkdsTBtfzyS7mSqAlf_DUfO4BRjjCL74ch50TS7L3MmdJSJBbKdl6wPKfiRUGmktEjlxFwyN6v-17aRuffkcvNYijZ3l9aS22ghiBYkclwAYQbFlbnX_CFmQKN09rNberbHaANXqPbR4PQ/w400-h270/BlogI043.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>1983 - Örebro Cupen - La premiazione. La squadra si classifica terza. Vicino al capitano Enelio De Luca, alla sua destra Vincenzo Ceniti, a sinistra: Davide Celsi, Giuseppe Pernella, Roberto Saraceni.<br /></i></td></tr></tbody></table><br /><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: center;"></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-size: large;"><b style="font-family: georgia;">Cinquant’anni
fa: accadde nel 1973</b></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-size: large;"><span style="font-family: georgia;"></span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-size: medium;"><span style="font-family: georgia;"><u>Dati
preliminari alla data del 1° gennaio 1973</u>: la popolazione di Capranica conta poco più di
3.850 abitanti; al Comune governa la D.C. con il Sindaco Pier Luigi Nicolini; Segretario
Comunale è il rag. Tobia De Stefani; parroco di San Giovanni Evangelista è Don
Antonio Pompei; parroco di Santa Maria Assunta è Don Antonio Paglia; maresciallo
dei Carabinieri è Bianchini; la farmacia è retta dalla Dott.ssa Maria Di Bartolomei;
medico condotto è Roberto Vellucci; medico sussidiario è Francesco Ettorre; Presidente
della Cassa Rurale ed Artigiana è il Dott. Antonio Buzi.</span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-size: large;"><span style="font-family: georgia;"></span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-size: large;"><span style="font-family: georgia;"><u>Il 31 gennaio</u>
viene approvato il progetto per la copertura del Fosso della Valle Santa
(Vallesanti) per un importo di 80milioni di Lire, ad opera dell’Ing. Oscar
Massari<a href="#_edn4" name="_ednref4" title=""><span class="MsoEndnoteReference"><span><span class="MsoEndnoteReference"><span style="line-height: 107%;">[iv]</span></span></span></span></a>.
L’opera viene deliberata per motivi igienico-sanitari nonché per la necessità
di consentire lo sviluppo urbanistico del Paese nel versante sud-ovest.</span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-size: large;"><span style="font-family: georgia;"></span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-size: large;"><span style="font-family: georgia;"><u>Dal 18 marzo al
1° aprile 1973</u> ha luogo una missione popolare organizzata dalle due parrocchie
di Capranica e dai rispettivi parroci (Don Antonio Pompei e Don Antonio Paglia)
e Consigli Pastorali. La missione è condotta dalla congregazione dei Paolini e
delle Figlie di San Paolo. Durante questa esperienza, Luigi Berzano, sociologo
di fama nazionale, condurrà una indagine sulla religiosità dei capranichesi,
che nel 1974 diventerà una pubblicazione dal titolo emblematico: “<i>Fede
marginale in un paese cristiano. Appunti di una ricerca sulla religiosità degli
abitanti di Capranica</i>” (Edizioni Paoline, Alba 1974)</span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-size: large;"><span style="font-family: georgia;"></span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-size: large;"><span style="font-family: georgia;"><u>8 maggio</u>. Per
l’Amministrazione Comunale guidata da Pier Luigi Nicolini l’inizio dell’anno nuovo
si annuncia turbolento. In seno alla maggioranza (D.C. + P.S.D.I.) c’è grande
dibattito. Una parte della D.C. e il P.S.D.I. accusa il Sindaco di immobilismo
e poca collegialità nelle decisioni. Il Sindaco e la restante parte della
maggioranza adducono invece giustificazioni amministrative, sulla base del
fatto che ben 4 segretari comunali si erano avvicendati nel breve lasso di
tempo di tre anni. La dialettica interna provoca però una stasi dell’azione
amministrativa, con una serie di importanti temi che non trovano una soluzione
politica, e la conseguenza che il Consiglio Comunale resta inoperoso per il
periodo di ben sette mesi. Per dare un segnale forte di richiesta di
cambiamento, il 25 aprile ben 6 consiglieri di maggioranza inviano una lettera
al Sindaco rassegnando le proprie dimissioni: sono Ermanno Orsi, Pietro
Lanzalonga, Mariano Barella, Umberto Pernella, Ulisse Montori e Renato Lucaroni.
L’8 maggio il Consiglio Comunale viene convocato per procedere alla presa
d’atto delle dimissioni dei 6 consiglieri. Di fatto, è l’apertura di una vera e
propria crisi, con un pareggio di consiglieri tra maggioranza, ora composta da
soli 10 consiglieri (7 della D.C., Sindaco compreso, 1 P.S.D.I. e 2
indipendenti di destra), e minoranza, anch’essa composta di 10 consiglieri (6
D.C. e 4 P.S.I.). Tuttavia, in una seduta concitata e seguitissima dal
pubblico, nella quale i consiglieri presenti non si risparmiano dure e vivaci critiche,
solo Mariano Barella conferma le proprie dimissioni (assente alla seduta),
mentre gli altri consiglieri le ritirano durante lo svolgimento del consesso,
ritenendo sufficienti i propositi di cambiamento promessi dal Sindaco<a href="#_edn5" name="_ednref5" title=""><span class="MsoEndnoteReference"><span><span class="MsoEndnoteReference"><span style="line-height: 107%;">[v]</span></span></span></span></a>.</span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-size: large;"><span style="font-family: georgia;"></span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-size: large;"><span style="font-family: georgia;"><u>30 maggio</u>. Il Consiglio
Comunale delibera di richiedere al Ministero della Pubblica Istruzione la
devoluzione di 50milioni di Lire concessi nel 1964 per la costruzione di un
nuovo edificio scolastico, per il restauro e l’ampliamento di quello esistente
in viale Nardini. Nelle intenzioni dell’Amministrazione, grazie all’allargamento
dell’ala in direzione del quartiere delle Case Nuove, si intendono così eliminare
i doppi turni<a href="#_edn6" name="_ednref6" title=""><span class="MsoEndnoteReference"><span><span class="MsoEndnoteReference"><span style="line-height: 107%;">[vi]</span></span></span></span></a>.</span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-size: large;"><span style="font-family: georgia;"></span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-size: large;"><span style="font-family: georgia;"><u>30 agosto</u>.
L’antico muraglione che faceva da contenimento al terrapieno degli orti del
Vescovo, sta per crollare. Dove un tempo crescevano pomodori e fagioli, è stato
edificato il nuovo quartiere delle Case Nuove. La strada che corre parallela al
Viale Nardini a meridione del quartiere, da un paio d’anni intitolata a Padre
Luigi Maria Monti, sta per perdersi in una voragine. Data la povertà delle
casse del Comune, che non permette di poter far fronte alla spesa, i lavori di
consolidamento vengono affidati alla Ditta Oroni Mario in cambio della
realizzazione di 25 m.l. di negozi con il fronte direttamente sulla via Cassia
(che tuttavia non saranno mai realizzati)<a href="#_edn7" name="_ednref7" title=""><span class="MsoEndnoteReference"><span><span class="MsoEndnoteReference"><span style="line-height: 107%;">[vii]</span></span></span></span></a>.
</span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-size: large;"><span style="font-family: georgia;"></span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-size: large;"><span style="font-family: georgia;"><u>Il 5 novembre</u>,
“<i>i rappresentanti dei Partiti della D.C., del P.S.I., del P.S.D.I., dopo un
lungo ed approfondito esame della situazione politico-amministrativa del Comune
di Capranica, che ha comportato un chiaro, leale e talvolta spregiudicato
dibattito nel confronto delle rispettive idee e dei programmi tra le parti
politiche interessate…</i>”<a href="#_edn8" name="_ednref8" title=""><span class="MsoEndnoteReference"><span><span class="MsoEndnoteReference"><span style="line-height: 107%;">[viii]</span></span></span></span></a>,
con la sottoscrizione di un articolato documento danno ufficialmente vita al
Centro-Sinistra. Durerà fino al giugno del 1993. In Giunta, al posto del
vice-sindaco democristiano Stelio Salvitti entra l’ex Sindaco socialista Anselmo
Crocicchia. Dal punto di vista politico, mentre la Democrazia Cristiana uscirà
rafforzata dalla crisi, i socialisti capranichesi perderanno numerosi elettori
che troveranno collocazione nel locale Partito Comunista. Tuttavia, due membri
della compagine di maggioranza uscita vincitrice nel 1970, Giovanni Battista
Ettorre e Antonio Speranza, eletti come indipendenti di destra, preferiscono non
entrare nella nuova esperienza, pur dichiarando di voler far mancare il loro
voto a favore. In pratica l’Amministrazione Nicolini si avvierà a concludere la
propria esperienza come un “monoblocco” di maggioranza, senza minoranza
rappresentata in Consiglio<a href="#_edn9" name="_ednref9" title=""><span class="MsoEndnoteReference"><span><span class="MsoEndnoteReference"><span style="line-height: 107%;">[ix]</span></span></span></span></a>. </span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: center;"><span style="font-size: large;"><span style="font-family: georgia;">__________________________ <br /></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-size: large;"><span style="font-family: georgia;">NOTE </span></span></p><div style="mso-element: endnote-list;"><div id="edn1"><p class="MsoEndnoteText"><span style="font-size: medium;"><a href="#_ednref1" name="_edn1" style="font-family: georgia;" title=""><span class="MsoEndnoteReference"><span><span class="MsoEndnoteReference"><span style="line-height: 107%;">[i]</span></span></span></span></a><span style="font-family: georgia;"> Deliberazione
del Consiglio Comunale n. 9 del 6 febbraio 1993</span></span></p><p>
</p></div>
<div id="edn2"><p>
</p><p class="MsoEndnoteText"><span style="font-size: medium;"><a href="#_ednref2" name="_edn2" style="font-family: georgia;" title=""><span class="MsoEndnoteReference"><span><span class="MsoEndnoteReference"><span style="line-height: 107%;">[ii]</span></span></span></span></a><span style="font-family: georgia;"> Deliberazione
del Consiglio Comunale n. 48 del 31 maggio 1993</span></span></p><p>
</p></div>
<div id="edn3"><p>
</p><p class="MsoEndnoteText"><span style="font-size: medium;"><a href="#_ednref3" name="_edn3" style="font-family: georgia;" title=""><span class="MsoEndnoteReference"><span><span class="MsoEndnoteReference"><span style="line-height: 107%;">[iii]</span></span></span></span></a><span style="font-family: georgia;"> Deliberazione
del Consiglio Comunale n. 62 del 16 giugno 1993</span></span></p><p>
</p></div>
<div id="edn4"><p>
</p><p class="MsoEndnoteText"><span style="font-size: medium;"><a href="#_ednref4" name="_edn4" style="font-family: georgia;" title=""><span class="MsoEndnoteReference"><span><span class="MsoEndnoteReference"><span style="line-height: 107%;">[iv]</span></span></span></span></a><span style="font-family: georgia;">
Deliberazione della Giunta Comunale n. 15 del 31 gennaio 1973</span></span></p><p>
</p></div>
<div id="edn5"><p>
</p><p class="MsoEndnoteText"><span style="font-size: medium;"><a href="#_ednref5" name="_edn5" style="font-family: georgia;" title=""><span class="MsoEndnoteReference"><span><span class="MsoEndnoteReference"><span style="line-height: 107%;">[v]</span></span></span></span></a><span style="font-family: georgia;">
Deliberazione del Consiglio Comunale n. 1 dell’8 maggio 1973</span></span></p><p>
</p></div>
<div id="edn6"><p>
</p><p class="MsoEndnoteText"><span style="font-size: medium;"><a href="#_ednref6" name="_edn6" style="font-family: georgia;" title=""><span class="MsoEndnoteReference"><span><span class="MsoEndnoteReference"><span style="line-height: 107%;">[vi]</span></span></span></span></a><span style="font-family: georgia;">
Deliberazione del Consiglio Comunale n. 29 del 30 maggio 1973</span></span></p><p>
</p></div>
<div id="edn7"><p>
</p><p class="MsoEndnoteText"><span style="font-size: medium;"><a href="#_ednref7" name="_edn7" style="font-family: georgia;" title=""><span class="MsoEndnoteReference"><span><span class="MsoEndnoteReference"><span style="line-height: 107%;">[vii]</span></span></span></span></a><span style="font-family: georgia;">
Deliberazione del Consiglio Comunale n. 48 del 30 agosto 1973</span></span></p><p>
</p></div>
<div id="edn8"><p>
</p><p class="MsoEndnoteText"><span style="font-size: medium;"><a href="#_ednref8" name="_edn8" style="font-family: georgia;" title=""><span class="MsoEndnoteReference"><span><span class="MsoEndnoteReference"><span style="line-height: 107%;">[viii]</span></span></span></span></a><span style="font-family: georgia;"> Nicolini,
Pier Luigi, <i>Il bilancio preventivo approvato dal Consiglio Comunale il 21
novembre 1974</i>, Immagini e documenti di vita capranichese 1, Romagrafik,
Roma 1975</span></span></p><p>
</p></div>
<div id="edn9" style="mso-element: endnote;">
<p class="MsoEndnoteText"><span style="font-size: medium;"><a href="#_ednref9" name="_edn9" style="font-family: georgia;" title=""><span class="MsoEndnoteReference"><span><span class="MsoEndnoteReference"><span style="line-height: 107%;">[ix]</span></span></span></span></a><span style="font-family: georgia;">
Deliberazione del Consiglio Comunale n. 66 del 7 novembre 1973</span></span></p>
</div>
</div>
<p></p><p style="text-align: center;">_______________________________________________________<br /></p><p>
</p><p class="has-text-align-center" style="text-align: center;"><b>Citare questo documento / Citer ce document / Cite this document</b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: center;">CECCARINI, Fabio, «<i>Trenta,
Quaranta, Cinquanta: fatti dell’altro Millennio (ovvero, cosa successe a
Capranica nel 1993, 1983, 1973)</i>», Capranica Storica, 07/07/2023 - URL: <a href="https://www.capranicastorica.it/2023/07/trenta-quaranta-cinquanta-fatti.html">https://www.capranicastorica.it/2023/07/trenta-quaranta-cinquanta-fatti.html</a></p><p></p><p></p>
<p style="text-align: center;"><a href="http://creativecommons.org/licenses/by-nc-sa/4.0/" rel="license"><img alt="Licenza Creative Commons" src="https://i.creativecommons.org/l/by-nc-sa/4.0/88x31.png" style="border-width: 0px; display: block; margin-left: auto; margin-right: auto;" /></a>Questo articolo di <a href="https://www.capranicastorica.it/2023/07/trenta-quaranta-cinquanta-fatti.html" rel="cc:attributionURL">Fabio Ceccarini</a> è distribuito con Licenza <a href="http://creativecommons.org/licenses/by-nc-sa/4.0/" rel="license">Creative Commons Attribuzione - Non commerciale - Condividi allo stesso modo 4.0 Internazionale</a>.</p></div><br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4201727664195975785.post-31755941915311868442023-06-12T23:19:00.004+02:002024-01-14T15:57:35.847+01:00E' morto l'11 giugno ad Hong Kong, Padre Gianni Giampietro<div style="text-align: center;"><!--[if gte mso 9]><xml>
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<p class="MsoNormal" style="text-align: center;"><span style="font-size: large;"><span style="font-family: georgia;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6JxSg3TPy3pe3yVLFebtYK2I2ZuOpmiR8mWglSMtSO2-hF0Mx_EBVsmZcZONn-eT083vG6uN7n-pqsa1rRiDBNSy0t2khxxYGfb78JwqjfT1ZhuX8mWP9foKjMlkYnbilzJzYXtXJ1rGwXYbxrpOIjcrhucS18WjtkNdUUR_LCquvt2O-xu5ZwKG6Cg/s1278/Padre%20Gianni.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1278" data-original-width="1072" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6JxSg3TPy3pe3yVLFebtYK2I2ZuOpmiR8mWglSMtSO2-hF0Mx_EBVsmZcZONn-eT083vG6uN7n-pqsa1rRiDBNSy0t2khxxYGfb78JwqjfT1ZhuX8mWP9foKjMlkYnbilzJzYXtXJ1rGwXYbxrpOIjcrhucS18WjtkNdUUR_LCquvt2O-xu5ZwKG6Cg/w335-h400/Padre%20Gianni.jpg" width="335" /></a></span></div><span style="font-size: large;"><span style="font-family: georgia;"> </span></span><span style="font-size: large;"><span style="font-family: georgia;"></span></span><p></p><p class="MsoNormal" style="text-align: left;"><span style="font-size: medium;"><span style="font-family: georgia;">di <i>Fabio Ceccarini</i></span></span><i><span style="font-size: medium;"><span style="font-family: georgia;"><br /></span></span></i></p><p class="MsoNormal" style="text-align: left;"><span style="font-size: large;"><span style="font-family: georgia;">E’ morto l’11 giugno ad Hong Kong, dove prestava la sua
opera da oltre sessant’anni, Padre Giovanni Giampietro, missionario P.I.M.E. <i>fidei
donum</i> della diocesi di Civita Castellana. Nato a Marsicovetere (PZ) il 31
marzo 1934, ma cresciuto a Capranica, era stato ordinato sacerdote dal vescovo
Mons. Giuseppe Gori il 21 giugno 1958. Era poi entrato nel P.I.M.E. (Pontificio
Istituto Missioni Estere) ed era partito per la Cina, dove per tutta la vita si
è dedicato all’evangelizzazione del popolo cinese nell’ex colonia britannica di
Hong Kong e dei cinesi della diaspora.<span></span></span></span></p><a name='more'></a><p></p><p class="MsoNormal" style="text-align: left;"><span style="font-size: large;"><span style="font-family: georgia;">Padre Gianni, come era conosciuto
affettuosamente a Capranica, parlava <span class="rynqvb">correntemente il
cantonese ed aveva anche un nome cinese: Yan Potak. Sin dagli albori della rete
e di internet capisce subito le grandi potenzialità del nuovo mezzo di
comunicazione, soprattutto per mettere in contatto i cinesi di Hong Kong con i
loro parenti della diaspora, sparsi in tutto il mondo. Nell’estate del 2005, fonda
la prima Scuola di evangelizzazione online, con base ad Hong Kong, insieme ad
un gruppo di suoi parrocchiani: gli Amici della Pasqua di Gesù. Dopo un anno di
funzionamento, nel 2006, la scuola contava già oltre 700 iscritti, impegnati in
due anni di corsi totalmente gratuiti, offerti in lingua inglese, in cinese
cantonese e in cinese mandarino. Affascinato dalla vita e dall’opera di Matteo
Ricci, il gesuita missionario umanista che introdusse il Vangelo nella Cina moderna
grazie all'amicizia e al dialogo culturale e scientifico, a 85 anni suonati Padre
Gianni ha la geniale intuizione di trasformare in un musical la storia del religioso
marchigiano. Grazie al suo prestigio e alla sua credibilità, Padre Gianni riesce
a mettere insieme una rete virtuosa di collaboratori e artisti in uno
spettacolo di due ore e mezzo. Il 21 aprile 2019, giorno di Pasqua, il debutto al
Cultural Centre di Tsim Sha Tsui ad Hong Kong, davanti a ben 1.800 spettatori.
Tutto esaurito per le prime dieci repliche, totalizzando più di 21.000
spettatori. Ogni volta che tornava a Capranica, Padre Gianni incontrava
volentieri i giovani dei gruppi parrocchiali per testimoniare la sua esperienza
di missionario ai confini del mondo. La Comunità di Capranica volle ricordare
la partenza per la missione di Padre Gianni con l'inaugurazione dell'edicola del Sacro Cuore, in via Kennedy, il 28 settemnbre 1958, e la posa a dimora di due
cipressetti ai due lati della stessa, fatti poi
tagliare incresciosamente in anni recenti. Sul sito della <a href="http://www.evschool.net/" target="_blank">Scuola di evangelizzazione online</a>, c’era stamani un banner dedicato a Padre Gianni, che
testimonia tutto l’amore per lui da parte della sua Comunità: <i>Fr. Yan, we miss you...! Your
words and deeds will be in our hearts forever!... Pray for us in heaven…</i> (Padre
Yan, ci manchi...!</span><span class="hwtze"></span> <span></span><span class="rynqvb"><span>Le tue parole e le tue azioni rimarranno per sempre nei nostri
cuori!</span></span>...<span class="hwtze"> <span></span><span class="rynqvb"><span>Prega per noi in paradiso…). Era il fratello di don Italo Giampietro, parroco emerito di Mazzano Romano.</span></span></span></span></span></p><p class="MsoNormal" style="text-align: center;"><span style="font-size: large;"><span style="font-family: georgia;"><span class="hwtze"><span class="rynqvb"></span></span></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://u.osu.edu/mclc/2019/04/26/matteo-ricci-the-musical/" style="margin-left: auto; margin-right: auto;" target="_blank"><img border="0" data-original-height="648" data-original-width="972" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7_So1MloTk2gSZGd_tQMyfXASfvsWlGd_yGYZQF6ViT-nOiu_BR6ts7-wLvEs7RI3rkIW-JQWdsmWgdpOsfRv98D8L1hScuW_SfHdt4sum3rA_AVwtMAg1S_a5TMM9ebvyVDMOyuN1asa4_Z1Y9UBmVgqBjY54bHtZww-FAL12dy0rrPcrHFec_UDTA/w400-h266/Padre%20Gianni%20al%20MCLC%20Resource%20Center%20Ohio.JPG" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i><a href="https://u.osu.edu/mclc/2019/04/26/matteo-ricci-the-musical/" target="_blank">Foto di Nora Tam</a></i><br /></td></tr></tbody></table><p></p><p class="MsoNormal" style="text-align: center;"><span style="font-size: large;"><span style="font-family: georgia;"><span class="hwtze"></span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiagahTMV-xd4zlmJnMb4q_9v1rYxfj6hp-qU2ii47qDLZDVDdAxqhfx0FZxmnhUGMxGVbxgi6TEQye4ni5fWJAzanfn4lIYueBaLjrMBOZ3uN7wIryJRincu4ikN5QOEIf2Y6ViKyButxToYPJQo9PuDXncjK0vIYxdFLHCitaahFMv2513Z_lB6ueJw/s1193/Ad%20Hong%20Kong.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="914" data-original-width="1193" height="306" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiagahTMV-xd4zlmJnMb4q_9v1rYxfj6hp-qU2ii47qDLZDVDdAxqhfx0FZxmnhUGMxGVbxgi6TEQye4ni5fWJAzanfn4lIYueBaLjrMBOZ3uN7wIryJRincu4ikN5QOEIf2Y6ViKyButxToYPJQo9PuDXncjK0vIYxdFLHCitaahFMv2513Z_lB6ueJw/w400-h306/Ad%20Hong%20Kong.JPG" width="400" /></a></span></div><span style="font-size: large;"><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgij0xqis4idqjsYWSGBluPtzsFjKAfHwlyzT9o5dVWyEHKeiEzHi7bmyLwlCzqbaX4ZIYX9BuQp7H3ik6k4feINbGAG95daBihTLNLTMlPjJQyf84okaRCryzEf_3kjjA_C_SRilo3bDYnvg_hDXG0jiHw7kq0ezVDShzt7brDfVlcgjolUrGVRckbvw/s854/Sacro%20Cuore.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="854" data-original-width="522" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgij0xqis4idqjsYWSGBluPtzsFjKAfHwlyzT9o5dVWyEHKeiEzHi7bmyLwlCzqbaX4ZIYX9BuQp7H3ik6k4feINbGAG95daBihTLNLTMlPjJQyf84okaRCryzEf_3kjjA_C_SRilo3bDYnvg_hDXG0jiHw7kq0ezVDShzt7brDfVlcgjolUrGVRckbvw/w246-h400/Sacro%20Cuore.JPG" width="246" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Foto tratte dalla pubblicazione Viva Capranica! (1965)</i><br /></td></tr></tbody></table><br /><span class="rynqvb"></span></span> <b>________________________________________________________ </b><br /><p></p></div><div style="text-align: center;"><b>Citare questo documento / Citer ce document / Cite this document</b></div>
<p class="has-text-align-center" style="text-align: center;">CECCARINI, Fabio, «<i>E' morto l'11 giugno ad Hong Kong, Padre Gianni Giampietro</i>», Capranica Storica, 19/05/2022 - URL: <a href="https://www.capranicastorica.it/2023/06/e-morto-l11-giugno-ad-hong-kong-padre.html">https://www.capranicastorica.it/2023/06/e-morto-l11-giugno-ad-hong-kong-padre.html</a></p><p></p>
<p style="text-align: center;"><a href="http://creativecommons.org/licenses/by-nc-sa/4.0/" rel="license"><img alt="Licenza Creative Commons" src="https://i.creativecommons.org/l/by-nc-sa/4.0/88x31.png" style="border-width: 0px; display: block; margin-left: auto; margin-right: auto;" /></a>Questo articolo di <a href="https://www.capranicastorica.it/2023/06/e-morto-l11-giugno-ad-hong-kong-padre.html" rel="cc:attributionURL">Fabio Ceccarini</a> è distribuito con Licenza <a href="http://creativecommons.org/licenses/by-nc-sa/4.0/" rel="license">Creative Commons Attribuzione - Non commerciale - Condividi allo stesso modo 4.0 Internazionale</a>.</p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4201727664195975785.post-38565726650094377132023-06-11T13:10:00.000+02:002023-06-11T13:10:33.827+02:00Su alcune vecchie foto pubblicate sulla pagina Facebook “Volti Capranichesi – Tagga l’avo!”<p></p><p style="text-align: left;"><!--[if !mso]>
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</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: center;"><span style="font-family: inherit; font-size: medium;"><span class="x193iq5w"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit; font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUQtvAUgJ-jjReT-if_Jh0ganBy6_hqjv-vhzgCMxB23X4BakTlk5BNh3vP2OZq6wJOO9jRoJNb0iqSA5wBLDm-kgdOY7COxUUSjCBGnKyQOT4Vzal_KzydWYoYLH_glDwMPLuMrAQj5BqcnJJL9RdgP8qiOMYFdJzghTyZq1TsQwOE8bY2SQ9No-_dA/s1200/BlogI009.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="898" data-original-width="1200" height="299" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUQtvAUgJ-jjReT-if_Jh0ganBy6_hqjv-vhzgCMxB23X4BakTlk5BNh3vP2OZq6wJOO9jRoJNb0iqSA5wBLDm-kgdOY7COxUUSjCBGnKyQOT4Vzal_KzydWYoYLH_glDwMPLuMrAQj5BqcnJJL9RdgP8qiOMYFdJzghTyZq1TsQwOE8bY2SQ9No-_dA/w400-h299/BlogI009.jpg" width="400" /></a></span></div><span style="font-family: inherit; font-size: medium;"><br /></span><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit; font-size: medium;"><span class="x193iq5w">di <i>Fabio Ceccarini</i></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b><span style="color: #3d85c6; font-family: inherit; font-size: large;"><span class="x193iq5w">Qualche considerazione su alcune foto che recentemente sono state pubblicate sulla pagina Facebook </span></span><span style="color: #3d85c6; font-family: inherit; font-size: large;"><span class="x193iq5w">“Volti Capranichesi – Tagga l’avo!”, prima che scompaiano fagocitate dallo spietato motore del social network.</span></span></b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w"><span></span></span></span></p><a name='more'></a><p style="text-align: left;"><span style="font-family: inherit; font-size: large;">Il
carattere effimero di Facebook che “mangia” continuamente ciò che viene
pubblicato senza quasi che ne rimanga traccia, di certo non favorisce il
ricordo dei singoli <i>post </i></span><span style="font-family: inherit; font-size: large;"><span class="x193iq5w">da parte dei suoi utenti</span></span><span style="font-family: inherit; font-size: large;"><span class="x193iq5w">. Capita spesso, quindi, soprattutto
nel caso delle vecchie foto, che vengano ripubblicate varie volte da utenti
diversi, frequentatori abituali del </span></span><span style="font-family: inherit; font-size: large;"><span class="x193iq5w"><i>social network</i></span></span><span style="font-family: inherit; font-size: large;"><span class="x193iq5w">, che nel quotidiano scandagliare i vari post pubblicati vanno accumulando
serialmente imponenti archivi digitali, anche se per la maggior parte composti
di materiale di scarsa qualità: foto fatte con cellulari, deturpate da fastidiosi
riflessi, sfocate e malfatte, con risoluzioni bassissime, deformate vistosamente nelle dimensioni, praticamente inutilizzabili per usi diversi se non quelli squisitamente <i>social</i>. Nel vero e
proprio “boom” che in questi ultimi giorni sta vivendo la pagina Facebook “<b>Volti Capranichesi – Tagga l’avo!</b>”,
amministrata da Paolo Faiella, Antonio Barella, Maurizio Colognola e Fabio
Romagnoli, alcune di queste foto sono state ripubblicate per l’ennesima volta,
dopo che le stesse sono state oggetto di decine di commenti, negli anni
passati, su altre pagine analoghe. </span></span><span style="font-family: inherit; font-size: large;"><span class="x193iq5w">E questo perché, ovviamente, nel grande pubblico che riesce ad attrarre Facebook,
c’è sempre qualcuno che quella foto in particolare non l’ha </span></span><span style="font-family: inherit; font-size: large;"><span class="x193iq5w">mai </span></span><span style="font-family: inherit; font-size: large;"><span class="x193iq5w">vista e ne rimane
meravigliato e attratto, sentendo il bisogno di </span></span><span style="font-family: inherit; font-size: large;"><span class="x193iq5w">commentarla e di
aggiungere un proprio ricordo, e dunque di </span></span><span style="font-family: inherit; font-size: large;"><span class="x193iq5w">condividerla a sua volta. </span></span><span style="font-family: inherit; font-size: large;"><span class="x193iq5w">Ma questo è anche il bello dei social
network.</span></span></p><p style="text-align: left;"></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: left;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w">Accanto a questa pagina, di creazione abbastanza recente rispetto ad altre, va ricordato poi che sono operanti su Facebook le seguenti pagine tematiche sul nostro Paese</span></span><span style="font-family: inherit; font-size: large;"><span class="x193iq5w"> attive già sin dagli
anni 2010/2011</span></span><span style="font-family: inherit; font-size: large;"><span class="x193iq5w">: <b>Tutti i capranichesi su Facebook …vediamo quanti siamo!!!</b>, <b>Nun sia capranichese si…</b>, <b>Capranichesi nel Mondo</b>. </span></span><span style="font-family: inherit; font-size: large;"><span class="x193iq5w">Da queste pagine </span></span><span style="font-family: inherit; font-size: large;"><span class="x193iq5w">provengono </span></span><span style="font-family: inherit; font-size: large;"><span class="x193iq5w">molte delle foto pubblicate su </span></span><span style="font-family: inherit; font-size: large;"><span class="x193iq5w"><b>Volti Capranichesi – Tagga l’avo!</b>, a dimostrazione della labilità di questo genere di pubblicazioni. Infine, l</span></span><span style="font-family: inherit; font-size: large;"><span class="x193iq5w">e medesime foto, o altre ancora, sono state poi utilizzate in varie mostre organizzate
nell’ultimo decennio. Iniziative che hanno riscosso un buon successo di pubblico, come<i>: Capranica in
grigioverde!</i>, 2009; <i>Capranichesi</i>,
2014; <i>Capranica e capranichesi in foto</i>,
2017. In questo caso, il materiale utilizzato è stato spesso recuperato e restaurato, nonché pubblicato corredato da didascalie esplicative prodotte grazie ad un lavoro di ricerca storica piuttosto laborioso e impegnativo. </span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: center;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit; font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEin9mFxw5WCfikdMX7htfYDcg38edm34sKyOP77cRLjKOwKtkKfMRQo2cePStmfHwWAcWLD27X9nGF8YM5OVDbn3lU70EixaiRExzuqrBCtMeitwNkkl7NEcf5fT3YwetDaE38GEMVPSqjE1fKxNWuuzijUTqpEMNjANQxoWbnaJGh-T0-UE2pJC8phMw/s924/Capranica%20in%20Grigioverde.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="924" data-original-width="653" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEin9mFxw5WCfikdMX7htfYDcg38edm34sKyOP77cRLjKOwKtkKfMRQo2cePStmfHwWAcWLD27X9nGF8YM5OVDbn3lU70EixaiRExzuqrBCtMeitwNkkl7NEcf5fT3YwetDaE38GEMVPSqjE1fKxNWuuzijUTqpEMNjANQxoWbnaJGh-T0-UE2pJC8phMw/s320/Capranica%20in%20Grigioverde.jpg" width="226" /></a></span></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: center;"><span style="font-family: inherit; font-size: large;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit; font-size: large;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKQpOXj5STQhsYG2DZbsixAfjaf8Ucp1bxf9O10c1yw2jwpsFRtMwy5BTh_cscBvw7MMNwzHyBxyKBf9KARsNCzNoxXm9hqCrVemf_n4dXBE0u4_dYjYcuRox-sD4z56Rham26Ytswjkc9z3vwKhnEpPiNmM6lg77Kml1a8Hfc8dWUeGR6Pw6d1liqNg/s1845/Manifesto.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1845" data-original-width="1306" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKQpOXj5STQhsYG2DZbsixAfjaf8Ucp1bxf9O10c1yw2jwpsFRtMwy5BTh_cscBvw7MMNwzHyBxyKBf9KARsNCzNoxXm9hqCrVemf_n4dXBE0u4_dYjYcuRox-sD4z56Rham26Ytswjkc9z3vwKhnEpPiNmM6lg77Kml1a8Hfc8dWUeGR6Pw6d1liqNg/s320/Manifesto.jpg" width="227" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi59pGHBdPBUzMLqrgqCBlsRph4NVp_lfr6tHJhSn3o4bNqXOwCTYShJz8RvZr6b_wPMB7eSWAFg9l6xPsa5oJeN4E1lhdju4epOgUl0n7A7B2mYmwnEidXeGhw4NnEzW9Mcy9nBgClaHsCciJ4CHRAJPhhyLbYv2WE9n8Hn_2oUzSyX0CXqsZ-s3NA0A/s1181/Capranica%20e%20capranichesi%20in%20foto.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1181" data-original-width="787" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi59pGHBdPBUzMLqrgqCBlsRph4NVp_lfr6tHJhSn3o4bNqXOwCTYShJz8RvZr6b_wPMB7eSWAFg9l6xPsa5oJeN4E1lhdju4epOgUl0n7A7B2mYmwnEidXeGhw4NnEzW9Mcy9nBgClaHsCciJ4CHRAJPhhyLbYv2WE9n8Hn_2oUzSyX0CXqsZ-s3NA0A/s320/Capranica%20e%20capranichesi%20in%20foto.jpg" width="213" /></a></div></span></div><span style="font-family: inherit; font-size: large;"><br /><span class="x193iq5w"></span></span><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w">Tra
gli scatti “d’epoca” pubblicati di recente sulla pagina Facebook “<b>Volti Capranichesi – Tagga l’avo!</b>”,
vorrei soffermarmi in questo articolo su alcune foto in particolare, prima che le stesse scompaiano
nuovamente, mangiate e digerite nella pancia del social network. Almeno fino a
che non saranno nuovamente riesumate, in futuro, da parte di qualche
collezionista di immagini. Lo
scopo di queste righe, dunque, è quello di mostrare quante notizie e
considerazioni possono sgorgare dall’osservazione di una fotografia, nella
consapevolezza che i social network sono probabilmente e paradossalmente </span><span class="x193iq5w">– </span><span class="x193iq5w">dal
momento che si reggono esclusivamente sulla potenza evocativa dell’immagine</span><span class="x193iq5w"> –</span><span class="x193iq5w">
gli strumenti peggiori per far rivivere a lungo uno scatto. A meno che non ci si
accontenti della fugace notorietà che deriva dal raccogliere qualche like. </span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w"> </span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: center;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w"><b></b></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjuT2GjPc1Ey3Y4AkTV5c3EvVtZtvub3DHIThoRTY7AHReZuaElI7spQbz-KWboVPK__IQfJiOxlQeoHOZwx_CJShViHt6MAv6hOCubNNlPWw1uvPNau9YRCZewWjdmncTNRTQftD61blrf3hMLmW1ViBazkZWwg_3yCPlVjv8SKtD8wyceWJbby6hqw/s2048/Foto%20rievocazione%20storica%20FB.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1532" data-original-width="2048" height="299" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjuT2GjPc1Ey3Y4AkTV5c3EvVtZtvub3DHIThoRTY7AHReZuaElI7spQbz-KWboVPK__IQfJiOxlQeoHOZwx_CJShViHt6MAv6hOCubNNlPWw1uvPNau9YRCZewWjdmncTNRTQftD61blrf3hMLmW1ViBazkZWwg_3yCPlVjv8SKtD8wyceWJbby6hqw/w400-h299/Foto%20rievocazione%20storica%20FB.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Foto pubblicata su FB da Ornella Sarnacchioli</i><br /></td></tr></tbody></table><span style="font-family: inherit; font-size: large;"><span class="x193iq5w"><b><br /></b></span></span><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w"><b>Sfilata sul ponte dell’Orologio</b></span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w"></span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w"><u>Descrizione
dello scatto</u> </span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w">La foto è stata pubblicata da Ornella Sarnacchioli e ritrae un
carro trainato da quattro buoi addobbati a festa, sfilanti tra due ali di
figuranti in costume (donne vestite da campagnole, </span><span class="x193iq5w">soldati</span><span class="x193iq5w">
romani…). Al centro, poco sopra ad un figurante vestito da soldato romano con
al collo un corno, si intravede, con basco, Paolo Rosa (detto <i>Sprizzi</i>), proprietario dei buoi. Alla
sua destra, proprio al centro della foto, una guardia comunale. A sinistra, in
primo piano, a cavallo si riconosce Sarnacchioli Adurno (il nonno di Ornella). Un secondo
figurante a cavallo è in posa a sinistra, in secondo piano rispetto ad Adurno,
in costume da centurione romano. Un cane passeggia indisturbato tra la folla.
Sopra al fornice della porta dell’Orologio campeggia una grossa epigrafe. Tutti
i figuranti guardano fissamente in direzione dell’obiettivo della macchina
fotografica, segno evidente che a questo punto della sfilata il corteo si è arrestato proprio per
permettere al fotografo </span></span><span style="font-family: inherit; font-size: large;"><span class="x193iq5w">di scattare </span></span><span style="font-family: inherit; font-size: large;"><span class="x193iq5w">(presumibilmente si tratta di una macchina su cavalletto). Ecco di seguito la foto a risoluzione migliore, pulita dagli strappi:</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj97yVHlkT3cQoEb6MoNRY8RBgIZXFreXr2EC7k5ognlh_uP9dh2UYtrCj2tyLaaS_qgAu6UFF2EanooN_gdpFb2v9fVUu847J4tF3Ddy54XfjRuKfsbt6fimmAxSTmKy9EneBvk3efERd6Zbr5ywEFtBTB2h1Bm2sgzITaOBcmrh71ux8Nyg2SoVZt2Q/s1200/BlogI009.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="898" data-original-width="1200" height="299" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj97yVHlkT3cQoEb6MoNRY8RBgIZXFreXr2EC7k5ognlh_uP9dh2UYtrCj2tyLaaS_qgAu6UFF2EanooN_gdpFb2v9fVUu847J4tF3Ddy54XfjRuKfsbt6fimmAxSTmKy9EneBvk3efERd6Zbr5ywEFtBTB2h1Bm2sgzITaOBcmrh71ux8Nyg2SoVZt2Q/w400-h299/BlogI009.jpg" width="400" /></a></div><br /><span style="font-family: inherit; font-size: large;"></span><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w"></span><span class="x193iq5w"><u>Considerazioni
e possibile datazione</u> </span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w">La foto ritrae un evento corale a cui partecipa tutta la
popolazione di Capranica. Ai lati dei moltissimi figuranti, addossato ai parapetti del
ponte, vi è infatti un pubblico perlopiù maschile, come denuncia la grande
quantità di cappelli neri visibili. Il tema della sfilata è
l’agricoltura e la fertilità della terra. La grande epigrafe posta sopra l’arco
della porta recita infatti: "CAPRANICA CANTA // PERCHÉ L'AGRICOLTURA // TORNI
ALLO SPLENDORE ANTICO // CON LA SAPIENTE GUIDA DEL DUCE". Sul carro,
tirato da quattro buoi di razza maremmana magnificamente addobbati, all’interno
di un tempietto con l’epigrafe “TERRA”, è portata la dea <i>Cerere</i>, o <i>Demetra</i>. Una
seconda foto del carro </span></span><span style="font-family: inherit; font-size: large;"><span class="x193iq5w">postata
da Fabio Romagnoli</span></span><span style="font-family: inherit; font-size: large;"><span class="x193iq5w"> (</span><a href="https://www.facebook.com/photo/?fbid=10227424890921420&set=gm.1175867089774121&idorvanity=318140108880161" target="_blank">qui
il link</a><span class="x193iq5w">)</span></span><span style="font-family: inherit; font-size: large;"><span class="x193iq5w">, presa durante lo stesso evento ma sul viale Nardini
(sullo sfondo si vede la facciata della chiesa della Madonna del Piano)</span><span class="x193iq5w">, ci consente di vedere meglio l’addobbo
dei buoi e il tempietto trasportato dal carro. Questo ha pianta circolare, con cinque
colonne scanalate che sorreggono un timpano circolare recante la scritta
“TERRA”. In sommità, troviamo un fascio littorio in orizzontale e l’aquila imperiale
romana. All’interno del tempietto, vi è la dea dell’agricoltura Cerere (o Demetra),
impersonata da una figurante. Tuttavia entrambe le foto non ci consentono di vedere
o capire se la figurante-dea rechi attributi propri di Cerere derivanti dall’iconografia
classica romana, come la cornucopia. In ogni modo, la figurante sembra avere un
copricapo con addobbo floreale, ma non la corona propria della dea Cerere.</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: center;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w"></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNCX6ozZxPWyUJSTvc7EyOGu0Qg4Q0qx0yyqAKwabkD-U9WzWUTd85An7cbWrDb1nXCQBhqph0WUT0UL0PCcxp7AvzvdbxdWPlS2ax7FjoNYAlmTNOmpUazANg-jzbSWo55R1X7-c-giwQQyzqzt72nB_Bm2lHti1NcIgbRKcfHbloVuKu3mdVNLfJmQ/s960/348469699_5882099921918055_4085729389638830023_n.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="720" data-original-width="960" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNCX6ozZxPWyUJSTvc7EyOGu0Qg4Q0qx0yyqAKwabkD-U9WzWUTd85An7cbWrDb1nXCQBhqph0WUT0UL0PCcxp7AvzvdbxdWPlS2ax7FjoNYAlmTNOmpUazANg-jzbSWo55R1X7-c-giwQQyzqzt72nB_Bm2lHti1NcIgbRKcfHbloVuKu3mdVNLfJmQ/w400-h300/348469699_5882099921918055_4085729389638830023_n.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Foto postata su Facebook</i><br /></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: center;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w"></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPoMVs2qAcrpqtgRBKc399LJjdAD3b1E6S6tOGWmULvbK2eVrod_S7gSTB4rPyGBFwXXnKzGO_TswZDE1bl7fMUzaSkCZ3CLxGfjzfoKPIyD2M7dAWZdqIRXM-tSK4BXr49PEkOLGZ9LtOgO9JtolQpfAJtlvyeiCu47RVc5v9V41Fzw9D_IFt2MctoQ/s1200/BlogI006.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="873" data-original-width="1200" height="291" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPoMVs2qAcrpqtgRBKc399LJjdAD3b1E6S6tOGWmULvbK2eVrod_S7gSTB4rPyGBFwXXnKzGO_TswZDE1bl7fMUzaSkCZ3CLxGfjzfoKPIyD2M7dAWZdqIRXM-tSK4BXr49PEkOLGZ9LtOgO9JtolQpfAJtlvyeiCu47RVc5v9V41Fzw9D_IFt2MctoQ/w400-h291/BlogI006.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Foto digitalizzata dall'originale - Concessa da Teresa Rosa per la mostra "Capranichesi", 2014</i><br /></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit; font-size: large;"></span></div><span style="font-family: inherit; font-size: large;"></span><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w">
Le due foto (quella postata da Ornella Sarnacchioli e quella postata da Fabio Romagnoli), non riportano date, né è possibile stabilirle con precisione
attraverso i pochi elementi a disposizione. Gli scatti potrebbero risalire,
comunque, alla seconda metà degli anni Venti del ‘900, gli anni cioè, nei quali
prese vita e si sviluppò la cosiddetta “battaglia del grano”, parallelamente alla politica agraria della bonifica integrale. Questa, infatti,
fu lanciata da Benito Mussolini </span>il 14 giugno 1925 con un comunicato dell’agenzia
di stampa Stefani e segnò una vasta e partecipata mobilitazione della
popolazione a tutti i livelli, dai quadri tecnici dei consorzi agrari, alle
cattedre ambulanti di agricoltura, fino alle camere agrarie provinciali, con lo
scopo di muovere il possente esercito degli agricoltori per vincere i dazi stranieri
e raggiungere l’autosufficienza alimentare. Come affermò Mussolini il 30 luglio del 1925:
“<i>La battaglia del grano, o signori, significa liberare il popolo italiano dalla
schiavitù del pane straniero. La battaglia della palude significa liberare la
salute di milioni di italiani dalle insidie letali della malaria e della
miseria</i>”.<span class="x193iq5w"> La battaglia, sostenuta potentemente dalla
propaganda, </span>fu l’occasione per coinvolgere il mondo rurale nelle sue varie
espressioni. L’immagine del Duce che falcia il grano, a torso nudo come i
contadini veri, fece il giro dei cinegiornali di tutta Italia e venne ripresa
dai media mondiali. La pubblicizzazione delle innovazioni colturali per
ottenere maggiori rese per ettaro, finalità principale di tutta la campagna,
venne sostenuta e condotta con ogni mezzo, talché contadini, coltivatori,
proprietari, tecnici agricoli, insegnanti e scolaresche, assecondarono con
passione l’idea dell’autonomia dell’Italia in campo cerealicolo facendo si che
il mondo delle campagne divenisse una colonna portante della nazione. Non fu
escluso nessuno, ed anche il clero fu arruolato con il rito della benedizione
delle sementi nel mese di ottobre davanti al sagrato delle chiese dopo la Messa
domenicale. </span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: center;"><span style="font-family: inherit; font-size: large;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtq0chizaa07-NpHZG_jkVVI4GPLCBtgkl3Sw-2LfKedE4ExnjB6525nJq3MwokDj5OU8NKRhJA0ldfJ9yTC4nXq9VlxY4cxshgfi7Z-4QNdNhUajiYpvpfqP3e3-pOyO--zsjFWCABPzhNtcw-00chuR9e-wqN91TT4FFZze9Uzqmh6TxOKp4LN638A/s239/Citt%C3%A0%20di%20Castello.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="239" data-original-width="211" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtq0chizaa07-NpHZG_jkVVI4GPLCBtgkl3Sw-2LfKedE4ExnjB6525nJq3MwokDj5OU8NKRhJA0ldfJ9yTC4nXq9VlxY4cxshgfi7Z-4QNdNhUajiYpvpfqP3e3-pOyO--zsjFWCABPzhNtcw-00chuR9e-wqN91TT4FFZze9Uzqmh6TxOKp4LN638A/w353-h400/Citt%C3%A0%20di%20Castello.jpg" width="353" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Manifestazioni di sostegno alla battaglia del grano a Città di Castello (dal web)</i><br /></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: center;"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVG9MCH2o4pxmwM46-V1NfjyFrz-Qr_wo2Sp3WpZTc5x_D5zXdnQdi-BBmLBbFiQRtqL7oeV_ArQ5gEJSvHuSV4cTU5HsTEGb1ypk4y5xvPQN8ttK4cG1eJ4MT0-lx0eDDvsxK55oyAlsFrQrH4rl01H-ARZNWw7x7x2l2JWMaFvFBrI9zXEic_qtqwA/s2000/Alfonsine%20carro_agricolo1.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="942" data-original-width="2000" height="189" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVG9MCH2o4pxmwM46-V1NfjyFrz-Qr_wo2Sp3WpZTc5x_D5zXdnQdi-BBmLBbFiQRtqL7oeV_ArQ5gEJSvHuSV4cTU5HsTEGb1ypk4y5xvPQN8ttK4cG1eJ4MT0-lx0eDDvsxK55oyAlsFrQrH4rl01H-ARZNWw7x7x2l2JWMaFvFBrI9zXEic_qtqwA/w400-h189/Alfonsine%20carro_agricolo1.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Carro agricolo ad Alfonsine (RA) in occasione della festa del vino (dal web)</i><br /></td></tr></tbody></table><br /><p></p><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgh9VA_Vn1RyOmemoefA_hfZ8gem7Xzu-xZDw89Wb0k8tEDEvq_6XvWnQEOypinSqQlTzWIv9Mtg3OXl1UjlU45LyObzV1UIZ14NqsxKF8W_HHePO1519A1WSI72Y9y2xBVfn-a5LusYTwLy134Hct0oseALVepHWvFfc2IPjoo3-fjd4jxLrVxMqEI3A/s381/Annullo%20postale%202.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="132" data-original-width="381" height="111" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgh9VA_Vn1RyOmemoefA_hfZ8gem7Xzu-xZDw89Wb0k8tEDEvq_6XvWnQEOypinSqQlTzWIv9Mtg3OXl1UjlU45LyObzV1UIZ14NqsxKF8W_HHePO1519A1WSI72Y9y2xBVfn-a5LusYTwLy134Hct0oseALVepHWvFfc2IPjoo3-fjd4jxLrVxMqEI3A/s320/Annullo%20postale%202.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXbrDMNzgOj9f57qR4v1dhz15_PTlZ1s0qARy_wLjgWp2tiVecSB7_YkSvlp-ESz5x6Yg-qzVvCNlHjL0iabM-HQBpefmHud4MhvToKCG8yv9532rL1disguu3p_FvvFGror9krB7uGDK5ptMakYAgA7tH0tQVFNBQCtimbGMwKti8tiBvtQu5WwqVPQ/s650/Immagine1trebbiatura.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="650" data-original-width="472" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXbrDMNzgOj9f57qR4v1dhz15_PTlZ1s0qARy_wLjgWp2tiVecSB7_YkSvlp-ESz5x6Yg-qzVvCNlHjL0iabM-HQBpefmHud4MhvToKCG8yv9532rL1disguu3p_FvvFGror9krB7uGDK5ptMakYAgA7tH0tQVFNBQCtimbGMwKti8tiBvtQu5WwqVPQ/s320/Immagine1trebbiatura.jpg" width="232" /> </a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYd7md6uLrrKd3yWQrtb2mV2k8XjD46nLUA0nWNkpTVeyNWwSpM3V8aKA0AGrb2_VgLEXoqyp0-cT121L_XjqjDIWUrAJwrQFc5mn3oRfVavDLmSPtNMjItVC-44cNlp8glO1UJeJvJhg5kz94DEPCb5gha24yvuM5sl1bhk9bX1i4407TRdkoDX8dXw/s1024/domenica_beltrame_20081933_01.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="713" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYd7md6uLrrKd3yWQrtb2mV2k8XjD46nLUA0nWNkpTVeyNWwSpM3V8aKA0AGrb2_VgLEXoqyp0-cT121L_XjqjDIWUrAJwrQFc5mn3oRfVavDLmSPtNMjItVC-44cNlp8glO1UJeJvJhg5kz94DEPCb5gha24yvuM5sl1bhk9bX1i4407TRdkoDX8dXw/s320/domenica_beltrame_20081933_01.jpg" width="223" /></a></div></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXnxpEMgr2S_R6nWGsLVoPus8Ed5aXdkgGbkLzf4kfcpgIOtSE53HEVZv7e9H5Q0a6mu4q8KxWYr-WaecICyvjtdy90SWSIMztsOjtH-InogS3wyWAeY6GNsu6zr39fM4LSAClyaTPvb5wFZt1zrjIBp2TuhTg8grfoR9YiBw6LSkEMf7HlhEgjecA6A/s960/grano_del_Duce.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="960" height="160" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXnxpEMgr2S_R6nWGsLVoPus8Ed5aXdkgGbkLzf4kfcpgIOtSE53HEVZv7e9H5Q0a6mu4q8KxWYr-WaecICyvjtdy90SWSIMztsOjtH-InogS3wyWAeY6GNsu6zr39fM4LSAClyaTPvb5wFZt1zrjIBp2TuhTg8grfoR9YiBw6LSkEMf7HlhEgjecA6A/s320/grano_del_Duce.png" width="320" /></a></div><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitEr70gkXltRt7F20JAaGSjp7cTRwoWZCWHXvWYd-RBBc46e2dgKCK9IMY6kwQmC1Ysaf0V6qoKc8LrZ1VvpGsb3jDcSsIe1C164OEJihn7Emhy3u6BfikBr3k21H81qMUihmDGcFDDAcTdUKodR_oDWqigkdP2xnXw7e_rxHQmpQ9YGz73hatuntZhA/s787/seminare%20per%20vincere.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="367" data-original-width="249" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixWHyaOWbjypTlnmBVmYnn7UB4UjUqEdGJLfBZd5tGEIUrRczSTlnewz_JD4Iu5_2AQPmK7swbuSy_rvO8w6MRDfhqhna09VU5S-bjZ4kG8ghMf2vch7HSeDWF2HllA-3FtlZOnqe-AzmBeW0rnWA-E4jFI2Oet4Q5QAKyOiRb7Z6N_u4zoMKznOXd5g/s320/manif2grano.jpg" width="217" /> <img border="0" data-original-height="787" data-original-width="551" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitEr70gkXltRt7F20JAaGSjp7cTRwoWZCWHXvWYd-RBBc46e2dgKCK9IMY6kwQmC1Ysaf0V6qoKc8LrZ1VvpGsb3jDcSsIe1C164OEJihn7Emhy3u6BfikBr3k21H81qMUihmDGcFDDAcTdUKodR_oDWqigkdP2xnXw7e_rxHQmpQ9YGz73hatuntZhA/s320/seminare%20per%20vincere.jpg" width="224" /></a></div><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w">Ma
l’idea della rinascita dell’agricoltura, che sta alla base della “battaglia del
grano”, si sposa anche con la riscoperta della grandezza dell’antica Roma, che
già in una certa idea di architettura razionalista stava prendendo piede</span><span class="x193iq5w"> a quei tempi.</span><span class="x193iq5w"> E’ in questo quadro che entra in
ballo la dea latina </span><i>Ceres</i>, adorata dai popoli
italici preromani ben prima che il culto della greca Demetra giungesse nella
Penisola. Cicerone, nel <i>Pro Balbo</i>, ricorda infatti che nel 133 a.C. un
oracolo ordinava categoricamente ai Romani di placare “l’antichissima Cerere” mediante
riti e sacrifici affinché si degnasse di mettere fine alle carestie. Dea
dell’agricoltura, da Cerere ha origine il nome “cereali” che erano tra i
maggiori doni che ella dispensava agli uomini per fronteggiare le carestie
nella vita terrena e nell’Oltretomba. Inoltre, Cerere insegnava agli uomini a
lavorare i campi, mostrando ad essi le antiche virtù femminili come le abilità
nel filare e nel tessere. Nelle raffigurazioni romane Cerere indossava una
corona di spighe e reggeva la fiaccola della sapienza con una mano mentre con
l’altra teneva un canestro di grano e frutta o una cornucopia straripante di
ogni frutto della terra</span><span style="font-family: inherit; font-size: large;"><a href="https://draft.blogger.com/#_edn1" name="_ednref1" title=""><span class="MsoEndnoteReference"><span><span class="MsoEndnoteReference"><span style="line-height: 107%;">[1]</span></span></span></span></a></span><span style="font-family: inherit; font-size: large;">.</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit; font-size: large;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVUKPF5ukSomaVX8lIjzJ-0qG1M-AFt23_YgUSdylSMmlA5sxCvzF6x8RzFL1_fuW7XxAAYsUixf9eKNDFbnjSJwxM6Eyauo5aicoJhFm_L-KEPigpwGpZOsmMw3NjT3LA_ZM0eZfj39CT4N1QSt9wvoJetsioXvlW_DJuuqycKjhH-dRWXeKuW8h8DQ/s1137/Romano-Impero.webp" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1137" data-original-width="550" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVUKPF5ukSomaVX8lIjzJ-0qG1M-AFt23_YgUSdylSMmlA5sxCvzF6x8RzFL1_fuW7XxAAYsUixf9eKNDFbnjSJwxM6Eyauo5aicoJhFm_L-KEPigpwGpZOsmMw3NjT3LA_ZM0eZfj39CT4N1QSt9wvoJetsioXvlW_DJuuqycKjhH-dRWXeKuW8h8DQ/w310-h640/Romano-Impero.webp" width="310" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>La dea Cerere (da <a href="https://www.romanoimpero.com/2010/01/il-culto-di-cerere.html">www.romanoimpero.it</a>)</i><br /></td></tr></tbody></table><p><span style="font-family: inherit; font-size: large;">La dea veniva
celebrata anticamente in occasione delle Cerealia, il 12 di aprile, con un rito propiziatorio di fecondità nel quale si sacrificavano vacche
gravide, <i>fordae boves</i>, sul Campidoglio. I vitelli estratti dalla <i>Virgo
Vestalis Maxima</i>, ovvero dal ventre delle mucche, venivano bruciati e le
loro ceneri usate dalle vestali dopo il Natale di Roma, il 21 aprile, per
purificare il popolo durante i <i>Parilia</i>, festività decretate da Numa
Pompilio. Cerere era quindi
la nume tutelare della Terra, perché non solo ne proteggeva i raccolti, ma
propiziava anche la fertilità e le nascite per piante, animali e uomini. E questo aspetto di rinnovamento delle specie tramite le nuove nascite, la propaganda del regime fascista ha saputo sfruttare in ambito demografico con l'avvio dell’altra grande campagna che prese il
via dal 1927, ovvero la “battaglia delle nascite”, e che si collega strettamente
all’antico culto di Cerere come dea della fertilità, non solo in agricoltura.</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: center;"></p><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEht1AZSM94nu1KrGIJlzchGAZ-3L96fp7LOEkzOxw6j9fkd1yCNhPN9glJhR_ldMQIStv3eUbfyTAB3YSly-LD4juiEashQaOSbsNObg3Jc_rofw_CxIEXyu9bFl1gTTeaHr811v_0G2vrkWWq9EfLuaEaJ-Cgh_u02i7NbjSy7d3l0asYZdufykydLAQ/s550/ceres.jpg"><img border="0" data-original-height="378" data-original-width="550" height="275" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEht1AZSM94nu1KrGIJlzchGAZ-3L96fp7LOEkzOxw6j9fkd1yCNhPN9glJhR_ldMQIStv3eUbfyTAB3YSly-LD4juiEashQaOSbsNObg3Jc_rofw_CxIEXyu9bFl1gTTeaHr811v_0G2vrkWWq9EfLuaEaJ-Cgh_u02i7NbjSy7d3l0asYZdufykydLAQ/w400-h275/ceres.jpg" width="400" /></a></div><div style="text-align: center;"><span style="font-family: inherit; font-size: small;"><i>La dea Cerere (da <a href="https://www.romanoimpero.com/2010/01/il-culto-di-cerere.html">www.romanoimpero.it</a>)</i></span><br /></div><div><span style="font-family: inherit; font-size: large;"><br /></span><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w"></span><span class="x193iq5w"></span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><br /></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w"><b>Passeggiata di autorità civili e
religiose in Corso Vittorio Veneto (oggi Corso Francesco Petrarca)</b></span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w"><u>Descrizione
dello scatto</u></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w">La foto è stata postata da Fabio Romagnoli, uno degli
amministratori della pagina e membro esperto del gruppo (</span><a href="https://www.facebook.com/photo/?fbid=10227046584543997&set=gm.1149496652411165&idorvanity=318140108880161" target="_blank">vai
al post su Facebook</a><span class="x193iq5w">). La foto proviene dai ricordi personali
di Anselmo Crocicchia ed è stata da me digitalizzata nel 2005, in occasione del
Natale di Capranica di quell’anno. E’ stata poi messa a disposizione per la
mostra <i>Capranica e capranichesi in foto</i>,
e da lì ripubblicata innumerevoli volte su Facebook. La foto mostra un alto
prelato che cammina, al centro della via, in compagnia del sindaco Anselmo
Crocicchia (a sinistra per chi guarda) e dei due parroci di Capranica, Don
Antonio Pompei (parroco di San Giovanni Evangelista) e Don Antonio Paglia
(parroco di Santa Maria). Davanti alle quattro autorità, si vede un giovane Renzo Luzzitelli (classe 1954) e
a sinistra, in primissimo piano, Giulio Simoncini. Defilati a sinistra, in
secondo piano, Pier Luigi Nicolini mentre cammina conversando con Trento Morera.</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: center;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpUZLllJg-peZh4X6Aiqzl9LfPHTwKqV5mqhDDRRAXhm7ZLQaf7DxV8kgQ1O9-bVLB5fHXtEusYehIkiO6I08e_1b253vO_PvXssSpfMH0DrSQzhDuKQbELZzb39fqQFlUCCG2W5IneWFN33BXFpETr-eNbeWDJ3sKKS4BvXVJrQvr5SugmgGKAKsGuQ/s1200/BlogI019.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="835" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpUZLllJg-peZh4X6Aiqzl9LfPHTwKqV5mqhDDRRAXhm7ZLQaf7DxV8kgQ1O9-bVLB5fHXtEusYehIkiO6I08e_1b253vO_PvXssSpfMH0DrSQzhDuKQbELZzb39fqQFlUCCG2W5IneWFN33BXFpETr-eNbeWDJ3sKKS4BvXVJrQvr5SugmgGKAKsGuQ/w279-h400/BlogI019.jpg" width="279" /></a></span></span></div><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w"><u>Considerazioni
e datazione</u></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w">Lo scatto ha una data precisa: domenica 21 novembre 1965. Il cardinale cileno Raúl Silva
Henríquez, padre conciliare, dopo aver deposto una corona di alloro in memoria
di <a href="https://it.wikipedia.org/wiki/John_Fitzgerald_Kennedy" target="_blank">John Fitzgerald Kennedy</a>, nella via appena intitolata al Presidente
Americano, insieme al sindaco Anselmo Crocicchia, a don Antonio Pompei e a don
Antonio Paglia, si dirige verso la chiesa di San Giovanni per celebrare la
"Messa per la Pace", una iniziativa del Centro Capranichese di
Cultura Politica per la Nuova Frontiera, ideato e sostenuto da Pier Luigi
Nicolini, che nella foto è ritratto in secondo piano a sinistra in compagnia di
Trento Morera. Gli striscioni elettorali annunciano le
elezioni provinciali, programmate per la settimana dopo, il 28 e 29 novembre
1965, che videro l’affermazione della Democrazia Cristiana. Della giornata si
conservano altri numerosi scatti che pubblichiamo più in basso. </span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: center;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w"></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhq2VdMKspk7xgTX_2PgcgSMVmrHomlxjALLLTIDWHlsPPxSAVCiVJNQuDh0_8Bu0cQa_yiFJQl3tHz1G5t8MzK4JlP8L77E6dkbkSI7EOSdqihDbCf0XM4RzoS8l1_iy2Fh1Y4Fmh4pjI1d_uAZ97XaKNBgwwOKrOBIy33J7TU8Jn3JwtktmmUmB7dUA/s2752/Lettera%20Invito%20inaugurazione%20Via%20Kennedy.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2752" data-original-width="2202" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhq2VdMKspk7xgTX_2PgcgSMVmrHomlxjALLLTIDWHlsPPxSAVCiVJNQuDh0_8Bu0cQa_yiFJQl3tHz1G5t8MzK4JlP8L77E6dkbkSI7EOSdqihDbCf0XM4RzoS8l1_iy2Fh1Y4Fmh4pjI1d_uAZ97XaKNBgwwOKrOBIy33J7TU8Jn3JwtktmmUmB7dUA/w320-h400/Lettera%20Invito%20inaugurazione%20Via%20Kennedy.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i style="-webkit-text-stroke-width: 0px; background-color: white; color: #666666; font-family: "Trebuchet MS", Trebuchet, Verdana, sans-serif; font-size: 10.56px; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: center; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">Centro Capranichese di cultura Civica e Politica per una Nuova Frontiera, invito alla Messa per la Pace (21 novembre 1965), celebrata dal card.<span> </span><span style="font-size: small;"><span style="font-family: "Times New Roman", serif;">Raúl Silva Henríquez</span></span></i></td></tr></tbody></table><span style="font-family: inherit; font-size: large;"><span class="x193iq5w"><br /></span></span><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w">L’autore delle foto è Francesco Morera (<i>Checchine’</i>) e le foto sono state digitalizzate nel 2005 da Fabio
Ceccarini, concesse da Anselmo Crocicchia a corredo di un'intervista da parte di Salvatore Regoli nell’annuale
manifestazione civica del <i>VII luglio - Natale di Capranica</i>. Alcuni scatti erano
danneggiati a causa di una “non ortodossa” conservazione nell’album dove erano
raccolti, attaccati alle pagine con strisce di scotch. Hanno quindi subito
“tagli” di formato. In alcune foto si notano ancora gli “scalini” della
differenza di spessore dello scotch, ben evidenziati in sede di
digitalizzazione. </span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w">Qualche
nota ancora sull'evento documentato dalla foto. La giornata prese il
via alla chiesa della Madonna del Piano,
con l’arrivo del cardinale Silva Henríquez a bordo di una FIAT 1500
bianca. Il presule si trovava in quei giorni in Italia in occasione
della sessione conclusiva del Concilio
Vaticano II (la quarta, dal dal 14 settembre all'8 dicembre 1965). <a href="https://it.wikipedia.org/wiki/Ra%C3%BAl_Silva_Henr%C3%ADquez" target="_blank">Silva Henríquez (Talca, 27 settembre 1907 – Santiago del Cile, 9aprile 1999)</a>, era salesiano, ed infatti è accompagnato da un giovane
Antonio Di
Stefano, allora chierico salesiano, che si può vedere nelle foto con una
borsa portadocumenti. Ad accogliere il padre conciliare fu il
sindaco Anselmo Crocicchia, Pier Luigi Nicolini ed un gruppo di
maggiorenti
dell’epoca. Nelle foto si distinguono Umberto Mantrici, Domenico Oroni,
Luigi
Colognola, l’ex sindaco Antonio Buzi, il parroco di San Giovanni
Evangelista,
don Antonio Pompei, il guardiano del convento della Madonna del Piano,
padre
Edoardo Flamini, un nutrito gruppo di operai della Ditta Nicolini.</span></span><span style="font-family: inherit; font-size: large;"><span class="x193iq5w"> Di seguito un po' di scatti relativi all'arrivo ed accoglienza di Silva </span></span><span style="font-family: inherit; font-size: large;"><span class="x193iq5w">Henríquez.</span></span><span style="font-family: inherit; font-size: large;"><span class="x193iq5w"> </span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: center;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w"></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgThWq4qymJ2ZAGZpFyjRCcnfGn07FjUJ28y9xpAnqwQz-az_7nGRKVfhncD8awS6IzcoJKX9skph-cpFifMOCGJfuvPNOTH6AaqrWCOgKz8EOHkCya7r2Q5vv9jp4HrLFVrVc9l6Q44AbMZ1Io-tohSTj4m3y2ie2TFlTstkVLJ2V_C8EmiRvpD3zCRg/s1200/BlogI002.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="824" data-original-width="1200" height="275" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgThWq4qymJ2ZAGZpFyjRCcnfGn07FjUJ28y9xpAnqwQz-az_7nGRKVfhncD8awS6IzcoJKX9skph-cpFifMOCGJfuvPNOTH6AaqrWCOgKz8EOHkCya7r2Q5vv9jp4HrLFVrVc9l6Q44AbMZ1Io-tohSTj4m3y2ie2TFlTstkVLJ2V_C8EmiRvpD3zCRg/w400-h275/BlogI002.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>21 novembre 1965 - Sul sagrato della chiesa della Madonna del Piano: a sinistra Luigi Colognola, un gruppo di operai della ditta Nicolini, l'ex sindaco Antonio Buzi (sullo sfondo con impermeabile bianco e cappello), Domenico Oroni, Pier Luigi Nicolini, il card. Silva Henriquez, Antonio Di Stefano</i><br /></td></tr></tbody></table><span style="font-family: inherit; font-size: large;"><span class="x193iq5w"><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoj62VPotK1ZCuWs1hCXzxfKg0GqAAnlA4YW0vPT1JYG1p_Vu0m4clskgQ86Ey8D8utsYMTWCITJervMNyOBuQ_DYdBGL8yGDj5iOELwA7g9tC9tPZ272YlWhtkFoR1OwsBM9XZgy6fX1GWg6NPAKrJ3I6OzKT8A46V2BA2UcX28owpWZLYWk6e9KvIg/s1200/BlogI003.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="638" data-original-width="1200" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoj62VPotK1ZCuWs1hCXzxfKg0GqAAnlA4YW0vPT1JYG1p_Vu0m4clskgQ86Ey8D8utsYMTWCITJervMNyOBuQ_DYdBGL8yGDj5iOELwA7g9tC9tPZ272YlWhtkFoR1OwsBM9XZgy6fX1GWg6NPAKrJ3I6OzKT8A46V2BA2UcX28owpWZLYWk6e9KvIg/w400-h213/BlogI003.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>21 novembre 1965 - oltre ai personaggi presenti nella foto precedente, qui possiamo vedere anche Umberto Mantrici (il primo a sinistra, alle spalle di Luigi Colognola) e il sindaco Anselmo Crocicchia, al centro, mentre ascolta Pier Luigi Nicolini. <br /></i></td></tr></tbody></table><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOLHHatPUvjticKdUtLXdGUt2QSPbYXiw60Ff6I3euh_6RPvb5AGIe6PFf8fLZmCCNV9LIuEyO1PKzMx8D0uHnOpS0N6Fv0LYhBYHzxuBlfOoqnkuHQAOaQCckHxQ3pG1bv9xGFtDc0FhfQnjTZkYQ-KJN640M9Z0rWw8zavaMjmPU84UaFlwuMsc59g/s1200/BlogI004.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="549" data-original-width="1200" height="183" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOLHHatPUvjticKdUtLXdGUt2QSPbYXiw60Ff6I3euh_6RPvb5AGIe6PFf8fLZmCCNV9LIuEyO1PKzMx8D0uHnOpS0N6Fv0LYhBYHzxuBlfOoqnkuHQAOaQCckHxQ3pG1bv9xGFtDc0FhfQnjTZkYQ-KJN640M9Z0rWw8zavaMjmPU84UaFlwuMsc59g/w400-h183/BlogI004.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCmZzMlvBc4MGdOrBsUtLS3v9jDaCEhShCrVZM3PE-eoLjPoTEiK9q9z2lVMQXKfN9oMsfu203d-6GxFKHHYw32ty4Sxs6lKP-zEshsuA7yqWuP8U7zkJ3KPkrq1br2EtxupoK3tk_995KvOp7RXInziPgBxn6Sm4AUWCjVSSrh9FsyRCXhbuAcVpAaQ/s1200/BlogI005.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="677" data-original-width="1200" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCmZzMlvBc4MGdOrBsUtLS3v9jDaCEhShCrVZM3PE-eoLjPoTEiK9q9z2lVMQXKfN9oMsfu203d-6GxFKHHYw32ty4Sxs6lKP-zEshsuA7yqWuP8U7zkJ3KPkrq1br2EtxupoK3tk_995KvOp7RXInziPgBxn6Sm4AUWCjVSSrh9FsyRCXhbuAcVpAaQ/w400-h226/BlogI005.jpg" width="400" /></a></div></span></span><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w"></span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: center;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><img border="0" data-original-height="1200" data-original-width="801" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzkiDo8abHUDL3QQQMR63fG2hCcvpIwJYBHLUlBYb6WgUSUzQh_pgCTyrRRz4Laxkv_ZrWSVSh-KU_7ofSuI0W8MdaFvEW3Z71i9UwLcz4JAHS7nKqYQls9RkiXt_PyiwAM572e5jCSfOBJ4fA8gaLTT_igIhws30bNCjCioBCdSPOjp7vCZxXup4CUA/w268-h400/BlogI021.jpg" style="margin-left: auto; margin-right: auto;" width="268" /></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Padre Edoardo Flamini, guardiano del convento della Madonna del Piano, accoglie le autorità e il card. Silva Henriquez</i><br /></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzkiDo8abHUDL3QQQMR63fG2hCcvpIwJYBHLUlBYb6WgUSUzQh_pgCTyrRRz4Laxkv_ZrWSVSh-KU_7ofSuI0W8MdaFvEW3Z71i9UwLcz4JAHS7nKqYQls9RkiXt_PyiwAM572e5jCSfOBJ4fA8gaLTT_igIhws30bNCjCioBCdSPOjp7vCZxXup4CUA/s1200/BlogI021.jpg" style="margin-left: 1em; margin-right: 1em;"> </a></div></span></span><span style="font-family: inherit; font-size: large;"><span class="x193iq5w"><div class="separator" style="clear: both; text-align: center;"></div></span></span></div><p><span style="font-family: inherit; font-size: large;"><span class="x193iq5w"></span></span></p><p><span style="font-family: inherit; font-size: large;"><span class="x193iq5w">Dopo la celebrazione della messa nella chiesa della Madonna del Piano, </span></span><span style="font-family: inherit; font-size: large;"><span class="x193iq5w">le autorità si dirigono </span></span><span style="font-family: inherit; font-size: large;"><span class="x193iq5w">in corteo, accompagnate dalla banda musicale comunale, al quartiere del Sacro Cuore per deporre una corona di alloro in memoria di John Fitzgerald Kennedy e sostare davanti alla piccola statua del Scaro Cuore.</span></span></p><p style="text-align: center;"><span style="font-family: inherit; font-size: large;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlGM_OLfibvNExs9yCbayrCmN5LF7LSm7J06B1TLKmBpx0BY0wmn_cDRyWtWsymn_2DoQzE9igk1s_QcU5uaWGWEYdkG_XXeYAKxOZb-5fhGpYdOrX4e5kYlGWlR-q_yrLbBtchHDGufko_Vtt9YRubELZPXcr-HhUO0nhsFs0USx5cN5Q1j1xI2T1iw/s1200/BlogI024.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="822" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlGM_OLfibvNExs9yCbayrCmN5LF7LSm7J06B1TLKmBpx0BY0wmn_cDRyWtWsymn_2DoQzE9igk1s_QcU5uaWGWEYdkG_XXeYAKxOZb-5fhGpYdOrX4e5kYlGWlR-q_yrLbBtchHDGufko_Vtt9YRubELZPXcr-HhUO0nhsFs0USx5cN5Q1j1xI2T1iw/w274-h400/BlogI024.jpg" width="274" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>21 novembre 1965 - Il maestro Guido Boccalini dirige la banda comunale in direzione del quartiere del Sacro Cuore</i><br /></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit; font-size: large;"></span></div><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOPZ8C5LxeWAeL4QJ_GqyiCFuKdbDpfLiGa3lczBFk5UuTqKxAf5epNzgB9f5nqCicBPzDnLPgMrMj7dUT4UpM7I3_UCM5Hw51DRalHVHNGGSNrqdg3JgDuJSex_MtuM_Z_BYoEYv-gZAKnHGQ3zRRwlt4-4kaVGJpblto-OrhZDfRZJyxtsJtlntLMQ/s1200/BlogI017.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="603" data-original-width="1200" height="201" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOPZ8C5LxeWAeL4QJ_GqyiCFuKdbDpfLiGa3lczBFk5UuTqKxAf5epNzgB9f5nqCicBPzDnLPgMrMj7dUT4UpM7I3_UCM5Hw51DRalHVHNGGSNrqdg3JgDuJSex_MtuM_Z_BYoEYv-gZAKnHGQ3zRRwlt4-4kaVGJpblto-OrhZDfRZJyxtsJtlntLMQ/w400-h201/BlogI017.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>21 novembre 1965 - Il corteo sulla via Cassia. Terenziano De Angelis e Giovanni Torselli portano una corona di alloro</i><br /></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w"></span></span></div><span style="font-family: inherit; font-size: large;"><span class="x193iq5w"><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjARLq7B5MmEa2nrvtC19gBVUMTm_hxVkRoz5bUJzfzRxIhTtzr2eCe1F9NsNrQryzkBzWK2G8ZbN7ov4evMzT6p5Uz7bKBHg6_NlkI479fF_ME49jgbQFzbYsuoGezOoLFgv-Av1_5xQwGfH-gCwnxvq11vuPcAcOoBllDVdK4SYyV-1S_UgWqOiE_0g/s1200/BlogI016.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="817" data-original-width="1200" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjARLq7B5MmEa2nrvtC19gBVUMTm_hxVkRoz5bUJzfzRxIhTtzr2eCe1F9NsNrQryzkBzWK2G8ZbN7ov4evMzT6p5Uz7bKBHg6_NlkI479fF_ME49jgbQFzbYsuoGezOoLFgv-Av1_5xQwGfH-gCwnxvq11vuPcAcOoBllDVdK4SYyV-1S_UgWqOiE_0g/w400-h272/BlogI016.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>21 novembre 1965 - Viene deposta la corona d'alloro sotto alla fotografia di J.F. Kennedy. Da notare la "regìa" attenta di Pier Luigi Nicolini che, defilato, da' indicazioni ai due portatori. <br /></i></td></tr></tbody></table><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4Z_cWexcPsrW3SeGV4lkNjvjZnLSGnTeo7uT0skIEtqrt4s9-HDzlca3XDZPSGd44uJjqYM4yHgZSWuvNxFpx2mohi10r0FRL-rC6D_IYeH82oZxytKPvqtpghV34F_9ErV-nl8rYBRHAoLf1_m5_SpiyQyyyyBsfYGYKBYDWEuVVxMJE_njp4OUhcA/s1200/BlogI012.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="752" data-original-width="1200" height="251" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4Z_cWexcPsrW3SeGV4lkNjvjZnLSGnTeo7uT0skIEtqrt4s9-HDzlca3XDZPSGd44uJjqYM4yHgZSWuvNxFpx2mohi10r0FRL-rC6D_IYeH82oZxytKPvqtpghV34F_9ErV-nl8rYBRHAoLf1_m5_SpiyQyyyyBsfYGYKBYDWEuVVxMJE_njp4OUhcA/w400-h251/BlogI012.jpg" width="400" /> </a></div><div class="separator" style="clear: both; text-align: center;"> </div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxKeXlJy_s8FdyOtWbIHijLPMBYH4FqWQd2Y5bqWTl4qiIi6jW7r6NlO7FhsgOX27mnTGtZUgoMVZdUVHAjhv7AzkiU9kyWzA2iLSPS1qN8xa96iALuB-0uBaanua3YycGGZgWU37QvS8fERdSBBFm39fAUc8aiv7BoToigSxsN9A7vODi0s1y_9pguA/s1200/BlogI014.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="811" data-original-width="1200" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxKeXlJy_s8FdyOtWbIHijLPMBYH4FqWQd2Y5bqWTl4qiIi6jW7r6NlO7FhsgOX27mnTGtZUgoMVZdUVHAjhv7AzkiU9kyWzA2iLSPS1qN8xa96iALuB-0uBaanua3YycGGZgWU37QvS8fERdSBBFm39fAUc8aiv7BoToigSxsN9A7vODi0s1y_9pguA/w400-h270/BlogI014.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><img border="0" data-original-height="828" data-original-width="1200" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitTVIH9qsPMNy0a1L4RkjWLJv-TiRr1a6g8sZMUAGA4j5UHqqw9dkvSJAHoS064aqO6PG9Ac4Omah-q54MYyD2ud9sjygpi9T-rLY_0M8vqp0RO2b8mxmWw6kEKTXzlnXam_DeH-AkqLjFEp2Y8-NnvbWPd9Hf1zr-YBuKXInK9eQCPa5SRdr2delQ5g/w400-h276/BlogI013.jpg" style="margin-left: auto; margin-right: auto;" width="400" /></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>21 novembre 1965 - Davanti alla piccola statua del Sacro Cuore, benedetta nel 1958 in occasione della partenza per le missioni di Padre Gianni Giampietro, altra sosta del corteo di autorità e del pubblico presente. Con l'impermeabile bianco, vicino a Pier Luigi Nicolini, si riconosce il preside della Scuola Media Statale "G. Nicolini", Tullio Agabiti</i></td><td class="tr-caption" style="text-align: center;"><br /></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitTVIH9qsPMNy0a1L4RkjWLJv-TiRr1a6g8sZMUAGA4j5UHqqw9dkvSJAHoS064aqO6PG9Ac4Omah-q54MYyD2ud9sjygpi9T-rLY_0M8vqp0RO2b8mxmWw6kEKTXzlnXam_DeH-AkqLjFEp2Y8-NnvbWPd9Hf1zr-YBuKXInK9eQCPa5SRdr2delQ5g/s1200/BlogI013.jpg" style="margin-left: 1em; margin-right: 1em;"> </a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ67NfxdKG58JDW9v2qMMk29mRj7pFKERujNdU9gappyKrSSDmPaW2eMiRrUvSRYd6UTjej61qC4L-0Gr97vb-Sq_evoXDwliELo180l1BzaRDRiRwL8fI2r3LLJgHAQKtYIlodwpm3XnXTEJH5UrNY6r4lbswfRcOp2FkIAo7hfluTBfMRLkIylahuQ/s1200/BlogI015.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="636" data-original-width="1200" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ67NfxdKG58JDW9v2qMMk29mRj7pFKERujNdU9gappyKrSSDmPaW2eMiRrUvSRYd6UTjej61qC4L-0Gr97vb-Sq_evoXDwliELo180l1BzaRDRiRwL8fI2r3LLJgHAQKtYIlodwpm3XnXTEJH5UrNY6r4lbswfRcOp2FkIAo7hfluTBfMRLkIylahuQ/w400-h213/BlogI015.jpg" width="400" /> </a></div></div><div class="separator" style="clear: both; text-align: center;"> </div><div class="separator" style="clear: both; text-align: center;"><div style="text-align: left;"><p style="text-align: left;">La mattinata si concluse, infine, con la visita della Chiesa di San Giovanni ed il pranzo all'Educandato Tempesti.</p></div><div style="text-align: left;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><img border="0" data-original-height="1200" data-original-width="835" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvYXkomJ_L2h1XtdvqjSZREO40yrt-NTHuMwLHUe0SxV2FduWy2FmdvCFpCF0DCQsi-mXzNo5YypDqbUkrYM7HZk2rAbazzLMh075po10R_8JOgBXk4XMsa9PHOY9lgzFHEN4p5nknPbeUlz8K01dG40Uei9aUZfe08NoCfVDvzG6QBt2UlAHz0wmZyA/w279-h400/BlogI019.jpg" style="margin-left: auto; margin-right: auto;" width="279" /></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>21 novembre 1965 - questa è la foto pubblicata su FB</i><br /></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvYXkomJ_L2h1XtdvqjSZREO40yrt-NTHuMwLHUe0SxV2FduWy2FmdvCFpCF0DCQsi-mXzNo5YypDqbUkrYM7HZk2rAbazzLMh075po10R_8JOgBXk4XMsa9PHOY9lgzFHEN4p5nknPbeUlz8K01dG40Uei9aUZfe08NoCfVDvzG6QBt2UlAHz0wmZyA/s1200/BlogI019.jpg" style="margin-left: 1em; margin-right: 1em;"> </a></div><div class="separator" style="clear: both; text-align: center;"> </div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDgfmppEHKLupUSbvJg6QU_hL7it2Bm_vldYQ5nvNKY3Mq6AcBXDxOZLRabQitmx17bfCC4oWtYTeNXzWJ5DpLxm6A6SHD68V2LSRVH2L0X2dpcDSZwQ2uZPfTBApZ4fDE6R2F2AYViDmYoru9ed5AI701G0JL5T2MAgaGG6m7yVnZC-OJThO7ZkaVqw/s1200/BlogI020.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1000" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDgfmppEHKLupUSbvJg6QU_hL7it2Bm_vldYQ5nvNKY3Mq6AcBXDxOZLRabQitmx17bfCC4oWtYTeNXzWJ5DpLxm6A6SHD68V2LSRVH2L0X2dpcDSZwQ2uZPfTBApZ4fDE6R2F2AYViDmYoru9ed5AI701G0JL5T2MAgaGG6m7yVnZC-OJThO7ZkaVqw/w334-h400/BlogI020.jpg" width="334" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>21 novembre 1965 - da notare i banchi del mercato che, fino alla fine degli anni Sessanta del '900,<span style="font-size: small;"> </span></i><span style="font-family: inherit; font-size: small;"><span class="x193iq5w"><i>si svolgeva </i></span></span><i>di domenica</i><br /></td></tr></tbody></table></div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQ5ZV9KmaFQDvfz0QTvsEaQUCDT2TGSoQiYZc9s4G-2rSqB0-6JksA1clI0OCGmNxKFIlVwn5u45W6Xz5x8mXivSt77I6vXXM4Yfx9wZYbTJT1iVSEmp42o4SKDWf9DStaMzHsmtShOG5bS_oJ5zZ6KYZEhjXsXbtZGbeWs_RXHiOaomQFntKGK45TyA/s1200/BlogI011.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="816" data-original-width="1200" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQ5ZV9KmaFQDvfz0QTvsEaQUCDT2TGSoQiYZc9s4G-2rSqB0-6JksA1clI0OCGmNxKFIlVwn5u45W6Xz5x8mXivSt77I6vXXM4Yfx9wZYbTJT1iVSEmp42o4SKDWf9DStaMzHsmtShOG5bS_oJ5zZ6KYZEhjXsXbtZGbeWs_RXHiOaomQFntKGK45TyA/w400-h272/BlogI011.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>La mattinata si conclude con un pranzo all'Educandato Femminile Tempesti (Suore A.S.C.).</i><br /></td></tr></tbody></table><br /></span></span><p></p><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w"><b>Una celebrazione religiosa e
militare in piazza San Francesco</b></span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w"><u>Descrizione
dello scatto</u></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w">Anche questa foto è stata postata da Fabio Romagnoli (</span><a href="https://www.facebook.com/photo/?fbid=10227400764478274&set=g.318140108880161" target="_blank">qui
il link</a><span class="x193iq5w">). Fa parte di quelle che “girano” da anni
su Facebook e vengono ripostate più e più volte. Fu pubblicata per la prima
volta sul social da Alessandro Pernella, che ebbe modo di fotografarla con lo
smarphone nell’album dei ricordi di Don Luigi Micheli, conservato dalla cognata
Lola Galloni Micheli (Apollonia). Il sottoscritto l’ha potuta digitalizzare su
concessione della suddetta Sig.ra Galloni nel 2010 per inserirla nel materiale
fotografico della pubblicazione “Capranica sparita” di Trento Morera, dallo stesso
curata con introduzione e note, edito nel 2011 da Edizioni Biblioteca
Comunale di Capranica. La foto si trova riprodotta a pagina 27. Ecco di seguito
lo scatto pubblicato su Facebook:</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: center;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEig5TJDFuSs067BsY5VPkPQOcv74j-BahDKtFAKt5GIB-SQ4tchKUzzy_r6mLBelbvBJ2pBng8tOABi54CyRkcdh3jW0cBokZAmZ0FssPWDpgLx4Q2p1U3QGc8qPIUlkJb-tJygBO4XPpL0Birpb3VuTtk9m30M_qoV0oKBPeeLLtOlwnOyUzFw2t4QQw/s610/347086055_532427302232496_7574655956658420688_n.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="458" data-original-width="610" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEig5TJDFuSs067BsY5VPkPQOcv74j-BahDKtFAKt5GIB-SQ4tchKUzzy_r6mLBelbvBJ2pBng8tOABi54CyRkcdh3jW0cBokZAmZ0FssPWDpgLx4Q2p1U3QGc8qPIUlkJb-tJygBO4XPpL0Birpb3VuTtk9m30M_qoV0oKBPeeLLtOlwnOyUzFw2t4QQw/w400-h300/347086055_532427302232496_7574655956658420688_n.jpg" width="400" /></a></span></span></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w"><u>Considerazioni
e possibile datazione</u></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w">E’ stato sempre detto e scritto che si tratterebbe dell'inaugurazione/benedizione
del sagrario dei caduti della Grande Guerra, ricavato al centro delle scale che
salgono alla chiesa di San Francesco dall'arch. Antonio Muñoz, autore del
restauro del Tempio. Nell'intervento, completato nel 1927 su progetto del
Soprintendente Muñoz, era stato inserito il piccolo sacrario scavando sotto il
sagrato sopraelevato della chiesa. Il podestà Luigi Buzi il 4 novembre 1927 pronunciò
per l’occasione un discorso che raccolse poi nella pubblicazione dal titolo <i>Discorso pronunciato per l’inaugurazione
della cappella votiva ai Gloriosi Caduti nella Guerra di Redenzione 1915-1915 –
IV novembre 1927</i>. Sulla base di questi dati, si è sempre ritenuto – ed io
anche ero tra questi – che la data dello scatto fosse il 4 novembre 1927. E'
chiaro che nella retorica del tempo, basata sull'esaltazione del sacrificio dei
migliaia di morti della Grande Guerra, anche la coreografia militaresca volesse
il suo ruolo, e pertanto era sicuramente plausibile che il ragionamento
tornasse senza una piega sulla base della presenza dei cannoni, dei militari
schierati, della banda, del clero. Tuttavia, guardando bene la fotografia, dobbiamo
soffermarci attentamente sui personaggi che vi sono ritratti e su altri
particolari, apparentemente insignificanti. Nella foto pubblicata su Facebook
alcuni di questi mancano. Come </span></span><span style="font-family: inherit; font-size: large;"><span class="x193iq5w">in basso</span></span><span style="font-family: inherit; font-size: large;"><span class="x193iq5w"> a sinistra, dove manca completamente la
vista della banda comunale, che invece si vede schierata nella foto originale che troviamo riprodotta di seguito: <br /></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: center;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w"></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-tc0xkqMNWrXQ3wwOTyIcMpRL5wK-bbzvFfytEG5fR4mQ0L3qDiPVZ4ZZNfplMaCFmVcMUq_Tf6mnQ_PbmzjS5-CET006GYUmUFna1iNEcSiwDvVUrqNmYG4j2WfZMiC7mRViPaTHd42vlvGNqg0G4oxrOk4Snw5XL3bvuLZBE7eMMlXSk3hxwSab3w/s1200/BlogI007.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="764" data-original-width="1200" height="255" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-tc0xkqMNWrXQ3wwOTyIcMpRL5wK-bbzvFfytEG5fR4mQ0L3qDiPVZ4ZZNfplMaCFmVcMUq_Tf6mnQ_PbmzjS5-CET006GYUmUFna1iNEcSiwDvVUrqNmYG4j2WfZMiC7mRViPaTHd42vlvGNqg0G4oxrOk4Snw5XL3bvuLZBE7eMMlXSk3hxwSab3w/w400-h255/BlogI007.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Foto di prop. famiglia Micheli, concessa per la pubblicazione </i>Capranica Sparita <i>e la mostra "Capranichesi"<br /></i></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: center;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkGpYhhsNQjQBUDSAmzvPh_Go5HMHtsy3zMLTEkICTuNMe51S8PvI-CfD-cyGFjeiTv2DqKc0TOrFx4-P7TTe25ViAEzWBRIJXMg83DNL2r3h0D1XvGgEJKLKcDeFirpkQERPqyQYnWW1R4pBHCVyB49KxFiUQTnHxbfNDIxtW0XxG48cFjEW1869auw/s691/Particolari%20foto%20cannoni%20a%20San%20Francesco%2001.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="475" data-original-width="691" height="275" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkGpYhhsNQjQBUDSAmzvPh_Go5HMHtsy3zMLTEkICTuNMe51S8PvI-CfD-cyGFjeiTv2DqKc0TOrFx4-P7TTe25ViAEzWBRIJXMg83DNL2r3h0D1XvGgEJKLKcDeFirpkQERPqyQYnWW1R4pBHCVyB49KxFiUQTnHxbfNDIxtW0XxG48cFjEW1869auw/w400-h275/Particolari%20foto%20cannoni%20a%20San%20Francesco%2001.jpg" width="400" /></a></span></span></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w">In questa si
distingue bene la longilinea figura del maestro Guido Boccalini (20 giugno 1890 - 29 agosto 1970), in giacca e
cravatta. Al centro, sempre in basso, sono visibili, insieme a due Camice nere,
due militi della M.V.S.N., mentre altri quattro sono schierati a sinistra, con
altre due Camice nere. Davanti al sacello dei caduti sono visibili tre
prelati. Quello al centro è il vescovo Mons. Luigi Maria Olivares (Corbetta, 18 ottobre 1873 – Pordenone, 19 maggio 1943), salesiano
nominato nel 1916 in sostituzione del tedesco Bernardo Doebbing, in seguito
alla sua morte. A sinistra e a destra vi sono due sacerdoti, mentre un terzo
sacerdote, in paramenti sacri, sta officiando la funzione sacra rivolto ad un
altare all’aperto, posto di fronte all’ingresso principale della chiesa. A
sinistra è sicuramente Don Luigi Persiani, parroco di Santa Maria, predecessore
di Don Pacifico Chiricozzi. A destra del vescovo, il sacerdote dalla
corporatura massiccia è sicuramente Don Luigi Micheli (Ronciglione, 1 settembre 1907 - Capranica, 18 settembre 1962). E questo è il primo dei
problemi rispetto alla datazione della foto al 4 novembre 1927. Infatti Don
Luigi, trasferito da Fiano Romano dove aveva preso servizio fresco di
ordinazione, viene nominato arciprete parroco di San Giovanni Evangelista nel
1932. Rimarrà parroco per circa 30 anni, fino alla sua morte, avvenuta il 18
settembre 1962 a causa di un infarto. Nel 1927 aveva 20 anni, non era neppure
diacono <i>transeunte</i>. E dunque, se la foto non è stata scattata nel 1927, quando
si può datare? Vediamo altri due indizi. </span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: center;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w"></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYDWQlbyhBieLTQQ--1F-xndvWrmi4tEAG2Bi8Lx90uLQqsj3H8xWDQuYiGLr2TcT-278_rsxl69budWhP1Hntj70owfqxPO5bPYAwS1s15PhReA026V_qMDw55GJhwC4p_ucdVyaSkN_FZnOPail7s8OF72EzCQyUhYl5rCIAglQntzE8enwQivf7yw/s1069/Particolari%20foto%20cannoni%20a%20San%20Francesco%2002.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="404" data-original-width="1069" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYDWQlbyhBieLTQQ--1F-xndvWrmi4tEAG2Bi8Lx90uLQqsj3H8xWDQuYiGLr2TcT-278_rsxl69budWhP1Hntj70owfqxPO5bPYAwS1s15PhReA026V_qMDw55GJhwC4p_ucdVyaSkN_FZnOPail7s8OF72EzCQyUhYl5rCIAglQntzE8enwQivf7yw/w400-h150/Particolari%20foto%20cannoni%20a%20San%20Francesco%2002.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w"></span></span></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w">I militari schierati sul sagrato sopraelevato
della chiesa indossano l’elmetto. E’ il modello M33, entrato in vigore con la
riforma delle uniformi del Regio Esercito varata nel 1933 (c.d. riforma
Baistrocchi) e che decretò l’accantonamento della storica divisa grigioverde
della Prima Guerra Mondiale. Nella foto, tra l'altro, anche la divisa indossata dai militari è la nuova
uniforme metropolitana che il Regio Esercito adottò in base alla riforma
Baistrocchi</span><a href="https://draft.blogger.com/#_edn2" name="_ednref1" title=""><span class="MsoEndnoteReference"><span><span class="MsoEndnoteReference"><span style="line-height: 107%;">[2]</span></span></span></span></a><span class="x193iq5w">.
E in basso a destra, dove si notano altri militari, è possibile vederne alcuni
con il copricapo "a bustina", entrato in vigore il 1° giugno 1934. </span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: center;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgE-BBN4S2dByj28AqOukMbkP6ASlJnhRgr--mdsxNAT3KedVIW1c9iAISYaOPwLIExQGYc38mr2RwizLS-ry91jY6ZYWOaqdtfM6HQq7VfkzRTxRV0SzlIH4sCHt4n0DNFmTZz1huYJHZJA5SpnrgPQxhUjgoJ6qayp0eyHIDKxJvLOfEYZ3AyuRonzA/s1081/Particolari%20foto%20cannoni%20a%20San%20Francesco%2003.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="529" data-original-width="1081" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgE-BBN4S2dByj28AqOukMbkP6ASlJnhRgr--mdsxNAT3KedVIW1c9iAISYaOPwLIExQGYc38mr2RwizLS-ry91jY6ZYWOaqdtfM6HQq7VfkzRTxRV0SzlIH4sCHt4n0DNFmTZz1huYJHZJA5SpnrgPQxhUjgoJ6qayp0eyHIDKxJvLOfEYZ3AyuRonzA/w400-h196/Particolari%20foto%20cannoni%20a%20San%20Francesco%2003.jpg" width="400" /></a></span></span></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w">Quindi non possiamo datare
la nostra foto prima del novembre 1934, celebrazione della vittoria della
Grande Guerra. Potrebbe, a questo punto, trattarsi di una celebrazione per
celebrare i caduti della Guerra d’Etiopia. Questo giustificherebbe la necessità
di una celebrazione che richiedesse la presenza del Vescovo, in occasione della posa della
lapide commemorativa della morte di Piccirilli Alessandro, unico caduto capranichese
nella guerra:</span></span></p>
<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: center;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w"><span style="font-variant: small-caps;">Guerra</span></span></span></p>
<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: center;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w"><span style="font-variant: small-caps;">Italo-Etiopica</span></span></span></p>
<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: center;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w"><span style="font-variant: small-caps;">Piccirilli
Alessandro</span></span></span></p>
<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: center;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w"><span style="font-variant: small-caps;">Nato in Capranica</span></span></span></p>
<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: center;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w"><span style="font-variant: small-caps;">XXXI Maggio MCMCIV</span></span></span></p>
<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: center;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w"><span style="font-variant: small-caps;">Morto in Adua</span></span></span></p>
<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: center;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w"><span style="font-variant: small-caps;">XIV Aprile
MCMXXXVI</span></span></span></p>
<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: center;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w"><span style="font-variant: small-caps;">Per la grandezza</span></span></span></p>
<p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: center;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w"><span style="font-variant: small-caps;">Di Roma Imperiale</span></span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: center;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w"> </span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBwgEgLP8EunotiE8kR8IibaaF_Y-5dYe9PUPYXSQiklkqekZFxWJeTjSxSDT2W9a7FqdwJvfb_ID4RvR7jT8LDVXzRA2JS5oBKB_23P94o_KQbPxfm2blgtF5PVP_b44ixGsYWs7BvGlYVxIes96qHA4bb2anY2L0cnz0XyTC3vjzmliFI-KNT-HcyA/s1200/BlogI025.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="900" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBwgEgLP8EunotiE8kR8IibaaF_Y-5dYe9PUPYXSQiklkqekZFxWJeTjSxSDT2W9a7FqdwJvfb_ID4RvR7jT8LDVXzRA2JS5oBKB_23P94o_KQbPxfm2blgtF5PVP_b44ixGsYWs7BvGlYVxIes96qHA4bb2anY2L0cnz0XyTC3vjzmliFI-KNT-HcyA/w300-h400/BlogI025.jpg" width="300" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>La lapide commemorativa di Alessandro Piccirilli all'interno del sacrario dei caduti di tutte le guerre<br /></i></td></tr></tbody></table><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w">Conclusioni:
non possiamo spingere la datazione delle foto prima del novembre 1934 e oltre il
novembre del 1936, ma è più probabile al novembre 1936.</span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w"> </span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w"><b>Una foto scherzosa con tre
personaggi “di peso”</b></span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w"><u>Descrizione
dello scatto</u></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w">La foto è stata postata da Fabio Romagnoli (</span><a href="https://www.facebook.com/photo/?fbid=10227400441790207&set=gm.1173988966628600&idorvanity=318140108880161" target="_blank">ecco
il link</a><span class="x193iq5w">). Ritrae tre persone piuttosto corpulente
in un piccolo giardinetto all’italiana, due delle quali in piedi su piccole
colonnine con capitello di marmo con decorazioni romaniche, rispettivamente a
destra e a sinistra della composizione. A sinistra un uomo con bastone,
distinto e signorile, in completo doppio petto, guarda l’obiettivo della
macchina fotografica; a destra un sacerdote in talare, che nel rivolgersi
all’uomo con il bastone fa con la mano destra il segno del numero 2. Al centro,
una terza persona, in piedi nel mezzo del vialetto, in giacca con cravatta e
basco, scarpe con ghette bianche, sorride divertita. Ecco la foto postata:</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit; font-size: large;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit; font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnT9sFsGwOfs5kbIGuoROChZkc1HbiYslV-s69-HfilmKIok5xb4Z8CMYgQHe7Ehd6wAkcGEAOkPrZQgy99NlkmszBXBHI4yUbghmSPu-xVREMaCinLkqSAaPa6Q9BUN5JOe3iMTJpyOWq18zUQWQyeAkPl5E_WWGoat2Sfi4SawOLbeyQ4_K6FuP3VQ/s546/347389317_562753139263635_1172167584655878802_n.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="546" data-original-width="365" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnT9sFsGwOfs5kbIGuoROChZkc1HbiYslV-s69-HfilmKIok5xb4Z8CMYgQHe7Ehd6wAkcGEAOkPrZQgy99NlkmszBXBHI4yUbghmSPu-xVREMaCinLkqSAaPa6Q9BUN5JOe3iMTJpyOWq18zUQWQyeAkPl5E_WWGoat2Sfi4SawOLbeyQ4_K6FuP3VQ/w268-h400/347389317_562753139263635_1172167584655878802_n.jpg" width="268" /></a></span></div><span style="font-family: inherit; font-size: large;"><br /><span class="x193iq5w"><u>Considerazioni e possibile datazione</u><br /><br />Come la precedente, anche questa foto fa parte dell’album dei ricordi di Don Luigi Micheli, conservato dalla cognata Lola Galloni Micheli (Apollonia). Il sottoscritto l’ha digitalizzata su concessione della suddetta nel 2014, </span></span><span style="font-family: inherit; font-size: large;"><span class="x193iq5w">stavolta </span></span><span style="font-family: inherit; font-size: large;"><span class="x193iq5w">per inserirla tra quelle della mostra “Capranichesi”. A destra è ritratto Don Luigi Micheli; al centro il comm. Evaldo Chiassarini, detto <i>l’Americano</i>; a sinistra, l’uomo col bastone è il prof. Paolo Cherubelli. Di seguito la foto digitalizzata:</span></span><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit; font-size: large;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit; font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZ4c7k5cATDm3OgKSaxQnwgIXDp5AMYsViXm52ejzo6f5-37GdMhA3M6GbInqPH6Qw_WIzeQPeBigihnGEz47x4EV2ie4pKhQe9QJ00v25pUg_hdRtSCYbCRgITyu5yH_YUQuV-Ze_4t-PZ7TkfxoyEviQ6jZ_UlX71-4llCJfUvI2WZsdP5L3qMBT1Q/s1200/BlogI023.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="802" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZ4c7k5cATDm3OgKSaxQnwgIXDp5AMYsViXm52ejzo6f5-37GdMhA3M6GbInqPH6Qw_WIzeQPeBigihnGEz47x4EV2ie4pKhQe9QJ00v25pUg_hdRtSCYbCRgITyu5yH_YUQuV-Ze_4t-PZ7TkfxoyEviQ6jZ_UlX71-4llCJfUvI2WZsdP5L3qMBT1Q/w268-h400/BlogI023.jpg" width="268" /></a></span></div><span style="font-family: inherit; font-size: large;"><br />Due parole sul prof. Cherubelli. <span class="x193iq5w">Era questi uno studioso di San Bernardino da Siena, amico di Giovanni Papini, intellettuale cattolico di spessore. Era rettore dello Studio Teologico per Laici di Firenze. Tuttavia, era milanese di nascita e spesso usava lo pseudonimo giornalistico di "Paolo da Milano". Cherubelli era un conferenziere che spesso veniva invitato in giro per la Penisola su argomenti teologici. L'epoca dello scatto dovrebbe essere la seconda metà degli anni Quaranta, più verso il 1945 che verso il 1950. Lola Galloni, infatti, in occasione della digitalizzazione mi disse che fu scattata a villa Lazzè, nel giardinetto di fronte alla casa. Tuttavia non sono riuscito a trovare archetti a nicchia sul muro di contenimento, che pure esiste nella medesima posizione che si vede nella foto (sopra al muro passa la stradina che oggi porta al "boschetto" - parco dei Castagni). Se ciò fosse vero, potrebbe essere confermata l'epoca dello scatto in concomitanza con l'incarico da Sindaco di Pietro Lazzè (luglio 1944-giugno 1946, nominato dal Governo Alleato). Lo stesso Lazzè compare probabilmente in fondo alla foto, dietro alle gambe di Cherubelli, nella medesima posizione che conserva in un secondo scatto, stavolta postato da Antonio Barella (<a href="https://www.facebook.com/photo/?fbid=10226295976019407&set=g.318140108880161" target="_blank">vai al post</a>), trovata tra i ricordi di famiglia:</span></span><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: center;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w"></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhei4_NG3e3W7AZKhyK_3PVl1w6wHu2adpjFD5SEauCsSciwJdmNmz2DceBuAwu8QQGICIHxDBT7YpVnhFLqZEb2Vuf4R3HY0i4f5r3xfXm2UnlPiouG-gVt5qk60GgBSpS7EG-Hx6GPZZ98rBVRZHa3c2o3rlqmElypGpWmHxgMTFPZe0W5DTLobFuJw/s2048/342697613_244920281347392_3632291583492482219_n.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1333" data-original-width="2048" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhei4_NG3e3W7AZKhyK_3PVl1w6wHu2adpjFD5SEauCsSciwJdmNmz2DceBuAwu8QQGICIHxDBT7YpVnhFLqZEb2Vuf4R3HY0i4f5r3xfXm2UnlPiouG-gVt5qk60GgBSpS7EG-Hx6GPZZ98rBVRZHa3c2o3rlqmElypGpWmHxgMTFPZe0W5DTLobFuJw/w400-h260/342697613_244920281347392_3632291583492482219_n.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Foto postata su FB da Antonio Barella</i><br /></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w">Altra stampa di quest’ultimo scatto è conservata tra quelle digitalizzate dal sottoscritto nel 2014. In questa foto, Pietro Lazzè è in piedi a sinistra e sembra aver conservato la posizione nella foto precedente. Ecco la seconda foto colorizzata per esperimento dal sottoscritto nel 2020, sotto quarantena covid19:</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: center;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w"></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAxmglb_FN6v_9gX81Qugo09ew5q68im2UxlQnzuyPRO7JSoO9ul9YQ6mpYBrGLUzFs2yFadqxasdH_AS1_8WLw3n8FZFMr7j-wcQks9lPg9kZ6pOD8W_7LYoHyNQImDqgdAoVFqxsc3CXVWfJtrlFD844z2Pa4PM9vL0ymiKg2SohwaEa9Hx1yy5uNQ/s1492/Don%20Luigi%20Micheli%20028b.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1005" data-original-width="1492" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAxmglb_FN6v_9gX81Qugo09ew5q68im2UxlQnzuyPRO7JSoO9ul9YQ6mpYBrGLUzFs2yFadqxasdH_AS1_8WLw3n8FZFMr7j-wcQks9lPg9kZ6pOD8W_7LYoHyNQImDqgdAoVFqxsc3CXVWfJtrlFD844z2Pa4PM9vL0ymiKg2SohwaEa9Hx1yy5uNQ/w400-h270/Don%20Luigi%20Micheli%20028b.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Da sinistra in piedi: Pietro Lazzé, Mons. Salvatore Nardo Badini, Giovanni Micheli (?), forse Giulia Fatiganti Nicolini, Madre superiora suore a.s.c., Giselda Chiassarini Barella, Comm. Evaldo Chiassarini (l'Americano), Don Luigi Micheli. In fondo e in alto è Nena Chiassarini. In basso, a sinistra il prof. Paolo Cherubelli, a destra Suor Pierina a.s.c.</i><br /></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: left;"><span style="font-family: inherit; font-size: large;"><span class="x193iq5w">Come osserva Antonio Barella, sarebbe interessante conoscere l'autore dello scatto, che potrebbe essere Giuseppe Barella, marito di Giselda Chiassarini e padre dello stesso Antonio.</span></span></p><p style="text-align: left;">
</p><div style="mso-element: endnote-list;">
<hr size="1" style="text-align: left;" width="33%" />
<div id="edn1" style="mso-element: endnote;">
<p><span style="font-family: inherit; font-size: medium;"><a href="#_ednref2" name="_edn1" title=""><span class="MsoEndnoteReference"><span><span class="MsoEndnoteReference"><span style="color: #1f3763; line-height: 107%;">[1]</span></span></span></span></a></span><span style="font-family: inherit; font-size: medium;"><span class="MsoEndnoteReference"><span><span class="MsoEndnoteReference"><span style="color: #1f3763; line-height: 107%;"> </span><span style="line-height: 107%;">Per approfondire:</span><span style="color: #1f3763; line-height: 107%;"> </span></span></span></span></span><span style="font-family: inherit; font-size: medium;">https://www.romanoimpero.com/2010/01/il-culto-di-cerere.html</span><span style="font-family: inherit; font-size: medium;"><span class="MsoEndnoteReference"><span><span class="MsoEndnoteReference"><span style="color: #1f3763; line-height: 107%;"> </span></span></span></span></span></p><p><span style="font-family: inherit; font-size: medium;"><a href="#_ednref2" name="_edn1" title=""><span class="MsoEndnoteReference"><span><span class="MsoEndnoteReference"><span style="color: #1f3763; line-height: 107%;">[2]</span></span></span></span></a>
Vedi <span style="font-variant: small-caps;">Coccia Sergio – Pignato Nicola</span>,
<i>Le uniformi metropolitane del Regio Esercito dalla riforma Baistrocchi
all'inizio della II G.M.</i>, Ufficio Storico dello S.M.E., 2005, pp. 11ss..
Per l’elmetto Mod. 33, pp. 149ss; per le uniformi dei sottoufficiali e della
truppa, pp. 135ss</span></p>
<p class="MsoEndnoteText"><span style="font-family: inherit; font-size: large;"> </span></p>
</div>
</div>
<p></p><p style="text-align: center;">________________________________________________________<br /></p><p>
</p><p class="has-text-align-center" style="text-align: center;"><b>Citare questo documento / Citer ce document / Cite this document</b></p>
<p class="has-text-align-center" style="text-align: center;">CECCARINI, Fabio, «<span class="x193iq5w"><span style="font-family: "Times New Roman",serif; font-size: 12pt;"><i>Su
alcune vecchie foto pubblicate sulla pagina Facebook “Volti Capranichesi –
Tagga l’avo!”</i></span></span>», Capranica Storica, 11/06/2023 - URL: <a href="https://www.capranicastorica.it/2023/06/su-alcune-vecchie-foto-pubblicate-sulla.html">https://www.capranicastorica.it/2023/06/su-alcune-vecchie-foto-pubblicate-sulla.html</a></p><p></p>
<p style="text-align: center;"><a href="http://creativecommons.org/licenses/by-nc-sa/4.0/" rel="license"><img alt="Licenza Creative Commons" src="https://i.creativecommons.org/l/by-nc-sa/4.0/88x31.png" style="border-width: 0px; display: block; margin-left: auto; margin-right: auto;" /></a>Questo articolo di <a href="https://www.capranicastorica.it/2023/06/su-alcune-vecchie-foto-pubblicate-sulla.html" rel="cc:attributionURL">Fabio Ceccarini</a> è distribuito con Licenza <a href="http://creativecommons.org/licenses/by-nc-sa/4.0/" rel="license">Creative Commons Attribuzione - Non commerciale - Condividi allo stesso modo 4.0 Internazionale</a>.</p></div>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-4201727664195975785.post-18674757774523224242023-06-02T10:00:00.002+02:002023-09-10T20:52:40.355+02:00Festa della Repubblica: il testo dell'intervento di Giuseppe Morera in occasione del quarantennale<p style="text-align: center;"><span style="font-family: inherit; font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit; font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoykkumL5Kb_EzJX8zXTh_OZi5FdEKmbDBlcv24gbyJMmqgwOuJFFlMmWZHkdR-n1EpjLM5YJuN8OvDQqvyf9VL4YnSyI9o3kEFpGOmSCpAh0-N7riADTxPnKkOGuUquX7wPAOiCbXCs0ZnCt6g6dN-GLsZ-zQdZd-ULbY7sF6KBHRZusEIzRfb4akkQ/s1000/FBI062.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="1000" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoykkumL5Kb_EzJX8zXTh_OZi5FdEKmbDBlcv24gbyJMmqgwOuJFFlMmWZHkdR-n1EpjLM5YJuN8OvDQqvyf9VL4YnSyI9o3kEFpGOmSCpAh0-N7riADTxPnKkOGuUquX7wPAOiCbXCs0ZnCt6g6dN-GLsZ-zQdZd-ULbY7sF6KBHRZusEIzRfb4akkQ/w400-h400/FBI062.jpg" width="400" /></a></span></div><p></p><p style="text-align: left;"><span style="font-family: inherit; font-size: medium;">di <i>Giuseppe Morera</i></span><i><span style="font-family: inherit; font-size: large;"><b><span style="color: #3d85c6;"> <br /></span></b></span></i></p><p style="text-align: left;"><span style="font-family: inherit; font-size: large;"><b><span style="color: #3d85c6;">In occasione della Festa della Repubblica, pubblichiamo il testo - inedito - dell'intervento di Giuseppe Morera in occasioni delle celebrazioni del quarantennale della Repubblica, pronunciato nella Chiesa di San Francesco il 2 giugno 1986.</span></b></span></p><p style="text-align: left;"><span style="font-family: inherit; font-size: large;"><b><span style="color: #3d85c6;"><span></span></span></b></span></p><a name='more'></a><p></p><p style="text-align: left;"><!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
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</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: center;"><span style="font-family: inherit; font-size: large;"><b>1946-1986 - Celebrazione del quarantennale della Repubblica.</b></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: center;"><span style="font-family: inherit; font-size: large;"><b>Quarant’anni di repubblica a Capranica</b></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: center;"><span style="font-family: inherit; font-size: medium;"><i>Testo dell’intervento di Giuseppe Morera</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: center;"><span style="font-family: inherit; font-size: medium;">2 giugno 1986 - Chiesa di S. Francesco<a href="#_edn1" name="_ednref1" title=""><span class="MsoEndnoteReference"><span><span class="MsoEndnoteReference"><span style="line-height: 107%;">[1]</span></span></span></span></a></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-family: inherit; font-size: large;">Il panorama capranichese del secondo dopoguerra
sopravvenuto alla sconfitta, presenta aspetti diversi e, paradossalmente più
positivi, rispetto a quelli manifestatisi dopo la fine vittoriosa della prima
guerra mondiale.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-family: inherit; font-size: large;">Nelle strade di Capranica, all’indomani della
smobilitazione susseguita alla fine della prima grande guerra, passeggia un
esercito di disoccupati. Sono, in maggioranza, ex combattenti, contadini o
braccianti senza lavoro perché l’incremento demografico ha gettato sul mercato
della manodopera braccia valide che non trovano adeguate superfici di terra da
lavorare. La sovrabbondanza esisteva già prima del 24 maggio 1915, ma i
richiami alle armi l’avevano messa momentaneamente in mora.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-family: inherit; font-size: large;">Ai senza lavoro agricoli si aggiungono gli artigiani che
a causa del conflitto non hanno potuto completare il periodo di apprendistato o
comunque conseguire una sistemazione in proprio. Vi si aggiungono anche i pochi
studenti che hanno dovuto interrompere gli studi e modesti impiegati saltuari
e, avventizi che da reduci non trovano più il piccolo buco dove erano
riusciti a ficcarsi. La gente li definisce “senza arte né parte”.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-family: inherit; font-size: large;">Gli ex combattenti, disoccupati o più genericamente,
insoddisfatti, hanno acquisito la convinzione· di non aver colto neanche in
minima parte i frutti della vittoria di cui erano stati i più importanti e
determinanti artefici.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-family: inherit; font-size: large;">Le tensioni sociali che scuotono l’intera nazione si riproducono
violente nel microcosmo capranichese: il tumulto contadino esplode minaccioso e
culmina con l’invasione delle terre. La disoccupazione si accompagna a una
profonda depressione economica. Circola pochissimo denaro liquido. Parafrasando
una celebre canzone allora in voga, a carnevale la gente canticchia, con triste
ironia: “<i>Pavili so’ finiti tutti i pavili</i>”<a href="#_edn2" name="_ednref2" title=""><span class="MsoEndnoteReference"><span><span class="MsoEndnoteReference"><span style="line-height: 107%;">[2]</span></span></span></span></a>.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-family: inherit; font-size: large;">Diversa la situazione del ‘45. I sacrifici e le dolorose perdite
di vite umane falciate non solo tra i mobilitati ma anche tra i civili
(ricordiamo le innocenti vittime della rappresaglia, assurda e
indiscriminata) non hanno piegato la popolazione.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-family: inherit; font-size: large;">Anzi essa, coinvolta direttamente nel turbine della guerra
dai bombardamenti e dall’invasione, si è fortificata alla severa scuola della
lotta per resistere all’occupante, ha ritrovato fiducia in sé stessa e nei
propri mezzi, ha riscoperto i valori e i vantaggi che la vita, in una piccola
comunità, offre.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-family: inherit; font-size: large;">Molti dei numerosissimi capranichesi inurbati nel ventennio
tra le due guerre, qui sfollati, rinunciano a rientrare in città, e molti di
quelli che lavorano a Roma preferiscono fare i pendolari piuttosto che
risiedervi stabilmente. La coscienza di essere tutti corresponsabili del
disastro immane fa prevalere sulla rivendicazione l’ansia del
riscatto. Si manifesta una volontà di ripresa, di ricominciare tutto daccapo, di
evitare ogni recriminazione. Questa tenace determinazione, umile e al tempo
stesso orgogliosa, costituirà il lievito vero della miracolosa rinascita.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-family: inherit; font-size: large;">La tradizionale solidarietà capranichese, di cui è manifestazione esteriore il nostro, spiccato spirito di campanile (che è poi in chiave
paesana, quel sentimento nobilissimo che nelle forze armate si chiama spirito
di corpo) uscì dalla guerra rafforzata. Rafforzata dalla comune paura dei
tedeschi, dall’omertà stabilitasi per salvaguardare la vita di sbandati o ricercati, dalla necessità di
tutti, “signori” e gente minuta, di far ricorso al mercato nero: un particolare
tipo di negozio che richiede una catena di operatori - complici strettamente
collegati.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-family: inherit; font-size: large;">Capranica, compatta nella resistenza all’invasore, tanto
che non fu possibile trovare un solo cittadino disposto ad assumere l’incarico
di segretario politico del “fascio” di cui i tedeschi patrocinavano la ricostituzione, fu altrettanto
compatta nel respingere a liberazione avvenuta, rappresaglie politiche.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-family: inherit; font-size: large;">In questo clima di consapevole necessità di riparare i
guasti della guerra, di rafforzata solidarietà, di comune volontà di
ricominciare tutto daccapo, di voglia dei più giovani di presto ripristinare
una condizione che avesse loro permesso di concedersi gli onesti divertimenti
che la guerra gli aveva negato, si arriva al 2 giugno 1946, data fissata per il
referendum istituzionale.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-family: inherit; font-size: large;">Ebbene, quel giorno, a Capranica, la Repubblica nasce con
fortissimi connotati monarchici. Dei 2209 voti validi, 811 andarono alla
repubblica, 1398 alla monarchia<a href="#_edn3" name="_ednref3" title=""><span class="MsoEndnoteReference"><span><span class="MsoEndnoteReference"><span style="line-height: 107%;">[3]</span></span></span></span></a>.
La Provincia di Viterbo, nel suo complesso si espresse con largo margine a favore
della forma repubblicana (75 mila voti contro 61 mila).</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-family: inherit; font-size: large;">Dei 59 Comuni che, all’epoca, ne facevano parte, 39
(capoluogo compreso) quasi tutti situati nella parte settentrionale, ebbero
maggioranza repubblicane e 20, quasi tutti posti a Sud di Viterbo, videro
prevalere la monarchia. Nel voto monarchico a Capranica fecero compagnia i
Comuni di Barbarano, Bassano, Bieda, Caprarola, Carbognano, Castel S. Elia,
Monteromano, Monterosi, Ronciglione, S. Giovanni di Bieda, Sutri, Veiano,
Vetralla.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-family: inherit; font-size: large;">Il risultato della votazione, accettato senza riserva,
non lasciò traccia minima di solchi tra i fautori di opposti schieramenti i cui
appartenenti erano perfettamente e reciprocamente conosciuti.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-family: inherit; font-size: large;">Primo Sindaco, democraticamente eletto, fu Antonio Buzi.
L’intelligente sfruttamento che egli seppe fare delle leggi sui danni di
guerra, fece cadere su Capranica una pioggia di milioni non ancora svalutati.
Per il suo “Piano di Ricostruzione” il nostro paese ebbe stanziamenti per 75
milioni, a fronte dei 90 avuti dal capoluogo in cui i bombardamenti avevano
distrutto interi quartieri e provocato centinaia di vittime. </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-family: inherit; font-size: large;">Altri considerevoli benefici furono tratti dalla Legge
Tupini per la costruzione di case popolari e alloggi di cooperative.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-family: inherit; font-size: large;">È l’inizio del decollo. Si ricomincia a costruire, la
disoccupazione scema rapidamente.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-family: inherit; font-size: large;">Anche la geologia, nel secondo dopoguerra, giocò in
nostro favore. I desolati. monti dell’Emme, di S. Donato, di S. Elia, posti
nell’estremo lembo del territorio comunale a ponente della ferrovia Roma -
Viterbo, non appartengono al sistema vulcanico Cimino - Vicano. Sono le ultime
propaggini orientali del vulcano spento tolfetano. Questa lontana parentela di
una piccola periferica nostra zona con i Monti della Tolfa permise di includere
“tutto” il territorio comunale entro il comprensorio di bonifica denominato
Ente Maremma<a href="#_edn4" name="_ednref4" title=""><span class="MsoEndnoteReference"><span><span class="MsoEndnoteReference"><span style="line-height: 107%;">[4]</span></span></span></span></a>.
I benefici effetti della creazione dell’Ente si videro presto e furono molto
superiori alle più ottimistiche previsioni. Dieci famiglie contadine divennero proprietarie
di altrettanti poderi; a 202 braccianti agricoli nullatenenti vennero assegnate altrettante quote
ricavate dagli scorpori.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-family: inherit; font-size: large;">Ma l’effetto più importante conseguito dall’Ente di
Bonifica fu quello di smorzare, sul nascere, i sintomi di una risorgente,
pericolosa tensione sociale.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-family: inherit; font-size: large;">Sui suoli assegnati dall’Ente Maremma e sulla generalità
delle proprietà storiche preesistenti, prese frenetico avvio la coltura del
nocchieto, rivelatasi, nei nostri terreni, straordinariamente remunerativa e
sulla cui produttività non ha riflessi negativi l’eccessivo frazionamento
proprietario in cui è sminuzzato il nostro territorio.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-family: inherit; font-size: large;">Con felice intuizione del prevedibile andamento positivo
dell’economia capranichese, allo scadere del ‘50 un gruppo di pionieri dà vita
all’Istituto di Credito locale denominato Cassa Rurale e Artigiana che si
rivelerà strumento determinante del nostro progresso economico<a href="#_edn5" name="_ednref5" title=""><span class="MsoEndnoteReference"><span><span class="MsoEndnoteReference"><span style="line-height: 107%;">[5]</span></span></span></span></a>.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-family: inherit; font-size: large;">In campo nazionale la ricostruzione provoca una corrente migratoria
dai piccoli centri verso la città. La tendenza allo spopolamento, fortissima
nell’Alto Viterbese e nella fascia di - territorio compresa tra la Cassia e l’Aurelia
a sud del Capoluogo è da noi insensibile nei dieci anni successivi (4124 ab.
nel ‘61): assume andamento preoccupante intorno al ‘71 in cui si registra un
calo di residenti di circa 400 unità sui 4214 di venti anni prima. Ma la
flessione risulta già colmata nel decennio successivo. Dal 1981 a oggi si
avverte la tendenza a una, sia pur modesta, crescita annuale di abitanti.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-family: inherit; font-size: large;">Le disponibilità liquide della rendita, da nocchieto si rivolgono
quasi esclusivamente all’acquisto della casa. Fino a qualche anno dopo la fine
della guerra i 4200 abitanti di Capranica (raggruppati in 1054 famiglie),
vivevano compressi in 970 alloggi per un totale di 2247 stanze di cui solo un
quarto erano fomiti di acqua potabile e latrina interna. Il censimento del 1981
registra un egual numero di abitanti alloggiati in 1354 appartamenti (anziché
970) per un totale di 5483 stanze (anziché 2247). È importante rilevare che
delle 1354 abitazioni occupate nell’81 ben 802 sono di nuova costruzione.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-family: inherit; font-size: large;">L’indice di affollamento, vale a dire il rapporto tra
abitanti e vani occupati scende dal 187% dell’anno 1950 (187 abitanti in 100
vani) al 76%, (76 abitanti in 100 vani) nel giro di soli trent’anni. È questo il dato che
meglio rende idea delle migliorate condizioni abitative del nostro paese.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-family: inherit; font-size: large;">Tenuto conto che in aggiunta alle 802 abitazioni di nuova
costruzione occupate, ve ne sono altre 362, anch’esse di nuova costruzione, non
occupate in quanto utilizzate come “seconda casa” si arriva alla constatazione
che nei 35 anni seguiti alla fine del secondo conflitto mondiale sono state
edificate più case di quante ne siano sorte nei mille anni trascorsi dalla
fondazione del nostro paese. Uno sviluppo edilizio imponente che nell’ambito
della Provincia trova Capranica al secondo posto, dopo Montalto di Castro,
nella graduatoria che allinea i dati di crescita di nuove costruzioni,
rapportati alla popolazione residente.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-family: inherit; font-size: large;">La febbre delle costruzioni ha avuto come naturale
conseguenza l’incremento degli addetti a tale industria che oggi sono oltre
250. Erano 70 agli inizi degli anni ‘50. Attualmente quella delle costruzioni è
la principale industria capranichese; per numero di unità lavorative impegnate
occupa il decimo <i>posto </i>nella graduatoria provinciale (avuto riguardo
alla popolazione Capranica è al 15° posto).</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-family: inherit; font-size: large;">Per effetto della motorizzazione agricola gli addetti all’agricoltura
che nel’51 erano 1162, scendono a 749 nel’61, a 413 nel ‘71, a 293 nell81. Gli
addetti al commercio che nel ’51 erano 90 salgono a 202 trenta anni dopo. Oltre
80 sono oggi gli addetti ai trasporti.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-family: inherit; font-size: large;">Le trasformazioni avvenute nel quarantennio repubblicano
sono numerose e profonde. Il nostro paese ha perduto la sua caratteristica di
centro rurale.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-family: inherit; font-size: large;">L’espansione edilizia è stata imponente, e se è vero,
come è vero, che migliorare l’abitazione significa migliorare la qualità dell’esistenza,
non possiamo che guardare con compiacimento all’elevazione del tenore generale
di vita della nostra popolazione.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-family: inherit; font-size: large;">Purtroppo la febbre di nuove case presenta un grosso risvolto
negativo nello spopolamerito del centro storico il cui salvataggio è problema
assolutamente prioritario. Una sua ulteriore decadenza significherebbe la
perdita dell’identità dell’agglomerato urbano capranichese del quale tutti noi
siamo figli.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-family: inherit; font-size: large;">Enormemente migliorate appaiono le condizioni economiche
e finanziarie generali; ne fanno fede il numero e la qualità dei punti di vendita nonché i dati
relativi al risparmio. I depositi presso la locale agenzia della Cassa di
Risparmio, sono nell’ultimo quinquennio, quadruplicati. Quelli presso la Cassa
Rurale e Artigiana che ascendevano a 39 milioni nel ‘55 sono saliti oltre i 302
milioni nel ‘65; a 2 miliardi e 250 milioni nel ‘75; hanno infine toccato la
cifra record di 21 miliardi e 82 milioni alla chiusura dell’ultimo esercizio.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-family: inherit; font-size: large;">Un enorme balzo in avanti registra il grado medio di istruzione.
A fronte dei 30 laureati, 45 diplomati, 66 titolari di licenza media del ‘51 si
contano i 44 laureati, (16 femmine), i 279 diplomati (113 femmine), e i 924
licenziati di scuola media censiti cinque anni fa.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-family: inherit; font-size: large;">Va scomparendo la parlata dialettale. Per parte nostra assistiamo
a questa scomparsa con un po’ di nostalgia ma senza eccessivi rimpianti. Proprio il
non sapersi esprimere in un accettabile italiano costituiva fino alla vigilia
del secondo conflitto mondiale un invalicabile confine classista.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-family: inherit; font-size: large;">Risultano mutati taluni aspetti secondari del costume tipicamente
locali. Ad esempio sono spariti i cosiddetti strateghi e politologi da caffè,
usi a pontificare su tutto e su tutti, circondati da un uditorio muto e
conformista.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-family: inherit; font-size: large;">Sorprendente la rigogliosa crescita culturale. Quarant’anni
fa, solo pochi iniziati conoscevano il testo di due lettere del Petrarca
spedite da Capranica, nel lontano 1337 al suo protettore, il cardinale Colonna;
e pochissimi sapevano dell’esistenza di una ricerca sulle qualità terapeutiche
della nostra Acquaforte eseguita dal medico francese Charles Thierry e data
alle stampe nella seconda metà del ‘700.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-family: inherit; font-size: large;">Oggi, le pubblicazioni su Capranica non si contano. Appare
doveroso attribuire il preponderante merito della riscoperta culturale
capranichese all’illustre professore V. E. Giuntella (dell’Università di Roma),
che ha residenza tra di noi.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-family: inherit; font-size: large;">Una notevole trasformazione ha subìto anche l’aspetto del
nostro paesaggio. La coltura del nocchieto si è quasi completamente
sostituita alle innumerevoli vigne costellate di argentei ulivi.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-family: inherit; font-size: large;">Le fitte colture di noccioleti si sono felicemente
inserite sui nostri terreni piani o dolcemente in pendio in prossimità di altre
coltivazioni o di boschi di castagno, o accanto alla distesa dei pini della
Trinità.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-family: inherit; font-size: large;">Scrive la paesaggista Sofia Varoli - Piazza dell’Università di Roma riferendosi al nostro paesaggio:</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-family: inherit; font-size: large;">“<i>Nella stagione estiva le superfici coltivate a
nocciolo rassomigliano a un giardino per il bel colore cupo del fogliame sul
terreno pettinato. In quella invernale gli arbusti di legno chiaro, in regolari
filari, si coprono di lunghi amenti che pendono dai rami nudi ed hanno il
colore giallo bruno dei tufi…</i>”</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-family: inherit; font-size: large;">In mezzo a tanti cambiamenti e trasformazioni, è rimasto fortunatamente
intatto l’antico spirito di campanile: quel senso di orgoglio e di fierezza che
ci deriva dall’appartenenza alla nostra piccola Patria capranichese.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-family: inherit; font-size: large;">È questo radicato sentimento che, a conclusione del mio intervento
fra prorompere dal mio petto il grido, semplice e bellissimo di: VIVA
CAPRANICA.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-family: inherit; font-size: medium;"><i>Giuseppe Morera</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-family: inherit; font-size: medium;">2 giugno 1986</span></p>
<div style="mso-element: endnote-list;"><br clear="all" />
<hr align="left" size="1" width="33%" /><div id="edn1" style="mso-element: endnote;"> </div></div><div style="mso-element: endnote-list;"><div id="edn1" style="mso-element: endnote;"><span style="font-size: medium;"><u>Note a cura di Fabio Ceccarini </u></span><br /><p class="MsoEndnoteText"><a href="#_ednref1" name="_edn1" style="mso-endnote-id: edn1;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 10.0pt; line-height: 107%; mso-ansi-language: IT; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[1]</span></span></span></span></a> La
manifestazione fu voluta dall’allora Amministrazione comunale, presieduta dal
Sindaco Anselmo Crocicchia.</p>
</div>
<div id="edn2" style="mso-element: endnote;">
<p class="MsoEndnoteText"><a href="#_ednref2" name="_edn2" style="mso-endnote-id: edn2;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 10.0pt; line-height: 107%; mso-ansi-language: IT; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[2]</span></span></span></span></a> <i>Paoli,
sono finiti tutti i paoli</i>. Il <i>paolo</i> era la moneta di corso legale
nello Stato della Chiesa coniata nel 1540 sotto il pontificato di Paolo III
Farnese. Benché da tempo il <i>paolo</i> non fosse più circolante ancora nell’Ottocento,
sotto il pontificato di Pio IX, la moneta da 10 baiocchi era popolarmente detta
<i>paolo</i>.</p>
</div>
<div id="edn3" style="mso-element: endnote;">
<p class="MsoEndnoteText"><a href="#_ednref3" name="_edn3" style="mso-endnote-id: edn3;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 10.0pt; line-height: 107%; mso-ansi-language: IT; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[3]</span></span></span></span></a> La percentuale
dei votanti fu notevole: 92,3% pari a 2345 su un totale di 2540 di aventi
diritto. Alle elezioni della Costituente, consultazione collegata al referendum,
si affermò la Democrazia Cristiana (DC) con 661 voti, seguita dal Partito
Socialista (PSIUP) che raccolse 579 voti, dall'Unione Democratica Nazionale
(UDN), con 343 voti, il Blocco Nazionale della Libertà (BNL), 147, e dall'Uomo
Qualunque (U.Q.) di Giannini, a 130. Altre liste sparse e coalizioni minori
totalizzarono 110 voti. In coda il Partito Comunista (PCI) con 58 voti, il
Partito Repubblicano (PRI), 42 e l'Alleanza Monarchica (AMI), con 27.</p>
</div>
<div id="edn4" style="mso-element: endnote;">
<p class="MsoEndnoteText"><a href="#_ednref4" name="_edn4" style="mso-endnote-id: edn4;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 10.0pt; line-height: 107%; mso-ansi-language: IT; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[4]</span></span></span></span></a> In
seguito alla riforma agraria varata dal governo De Gasperi VI e con l’approvazione
della cosiddetta “legge stralcio” (L. 21 ottobre 1950, n. 841, <i>Norme per la
espropriazione, bonifica, trasformazione ed assegnazione dei terreni ai
contadini</i>), che demandava a vari enti il compito dell'esproprio dei
latifondi e la successiva distribuzione a contadini di partite di terreni di
determinata superficie, con il D.P.R. 7 febbraio 1951, n. 66 veniva istituito l'<i>Ente
per la colonizzazione della maremma tosco-laziale e del territorio del Fucino</i>,
detto popolarmente Ente Maremma (nel 1954 le funzioni relative alla bonifica
del Fucino furono staccate, e affidate ad un nuovo Ente autonomo).</p>
</div>
<div id="edn5" style="mso-element: endnote;">
<p class="MsoEndnoteText"><a href="#_ednref5" name="_edn5" style="mso-endnote-id: edn5;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 10.0pt; line-height: 107%; mso-ansi-language: IT; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[5]</span></span></span></span></a> Il
manifesto del comitato promotore, presieduto dal Sindaco Antonio Buzi, porta la
data del 14 maggio 1950. L’attività della nuova banca prenderà ufficialmente il
via il 12 agosto 1951. Cfr. <span style="font-variant: small-caps;">Tufi
Francesco</span>, <i>La Cassa Rurale e Artigiana di Capranica</i>, tip. Spada,
Ronciglione (s.d. [1965]), p. 21ss.</p>
</div>
</div>
<span style="font-family: inherit; font-size: large;"><span><b><span style="color: #3d85c6;"> </span></b></span></span><p></p><p>
</p><p class="has-text-align-center" style="text-align: center;"><b>________________________________________________________ <br /></b></p><p class="has-text-align-center" style="text-align: center;"><b>Citare questo documento / Citer ce document / Cite this document</b></p>
<p class="has-text-align-center" style="text-align: center;">MORERA, Giuseppe, «<i>1946-1986 - Celebrazione del quarantennale della Repubblica. Quarant’anni di repubblica a Capranica</i>», Capranica Storica, 02/06/2023<a href="https://www.capranicastorica.it/2023/05/festa-della-repubblica-il-testo.html">https://www.capranicastorica.it/2023/05/festa-della-repubblica-il-testo.html</a> - URL: <a href="https://www.capranicastorica.it/2022/05/di-api-di-leoni-di-capre-e-di-creature.html">https://www.capranicastorica.it/2022/05/di-api-di-leoni-di-capre-e-di-creature.html</a></p><p></p>
<p style="text-align: center;"><a href="http://creativecommons.org/licenses/by-nc-sa/4.0/" rel="license"><img alt="Licenza Creative Commons" src="https://i.creativecommons.org/l/by-nc-sa/4.0/88x31.png" style="border-width: 0px; display: block; margin-left: auto; margin-right: auto;" /></a>Questo articolo di <a href="https://www.capranicastorica.it/2023/05/festa-della-repubblica-il-testo.html" rel="cc:attributionURL">Giuseppe Morera</a> è distribuito con Licenza <a href="http://creativecommons.org/licenses/by-nc-sa/4.0/" rel="license">Creative Commons Attribuzione - Non commerciale - Condividi allo stesso modo 4.0 Internazionale</a>.</p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4201727664195975785.post-50130039921249239342023-05-28T10:00:00.043+02:002023-05-28T10:00:00.134+02:00La chiesa rurale della Madonna delle Grazie<p style="text-align: center;"><span style="font-size: medium;"> </span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFoidzSIVYujzA0A2qAv85f6ZH7xeBuPGNXIBYOzOcTSwlQFPra2_q0FU2WsyLXmBDDXgoxsmIUhxp2ZzbHSp_jEA57ektrovzKNDrUUQADQ4vaxPpaVJpfPGgLkq4Jq59mEKPHdF07eRtqDgZGA5CRDfWYmVYSjQR8aJMHWe0b6q6itFSvnRABy6W7g/s1200/CHIRICH004.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1200" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFoidzSIVYujzA0A2qAv85f6ZH7xeBuPGNXIBYOzOcTSwlQFPra2_q0FU2WsyLXmBDDXgoxsmIUhxp2ZzbHSp_jEA57ektrovzKNDrUUQADQ4vaxPpaVJpfPGgLkq4Jq59mEKPHdF07eRtqDgZGA5CRDfWYmVYSjQR8aJMHWe0b6q6itFSvnRABy6W7g/w400-h300/CHIRICH004.jpg" width="400" /></a></div><br /><p></p><p><span style="font-family: inherit; font-size: medium;">di <i>Pacifico Chiricozzi</i><i><br /></i></span></p><p><span style="font-family: inherit; font-size: large;"><b><span style="color: #3d85c6;">Tratte dal libro <i>Le Chiese di Capranica</i>, Romagrafik 1983, pp. 81-88, </span></b><b><span style="color: #3d85c6;">ripercorriamo insieme a Don Pacifico Chiricozzi, già parroco della chiesa di Santa Maria Assunta e apprezzato storico diocesano, le vicende fondative e storico-artistiche della graziosa chiesa rurale della Madonna delle Grazie.</span></b></span><span style="font-size: large;"><span style="font-family: inherit;"><br /></span></span></p><p>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 6"/>
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<div class="has-text-align-center" style="text-align: left;"><p style="text-align: left;"><span style="font-family: inherit; font-size: large;">E’ fuori dell’abitato
nella vallata a sud verso la confluenza delle altre vallate minori che scendono
da Orsolini, Regagni e Montecasciano. La facciata è a timpano, liscia ed
intonacata; ha un occhio di bue centrale e portale semplice. Sul lato sinistro,
sopra uno sperone avanzato e poggiato a ridosso dello spigolo della facciata,
sorge da terra il campanile a vela, rustico e con due arcate e due campanelle. </span></p></div>
<p class="has-text-align-center" style="text-align: left;"><span style="font-size: medium;"><b style="font-family: inherit;"><span>Misure:</span></b></span></p>
<p class="has-text-align-center" style="text-align: left;"><span style="font-family: inherit; font-size: medium;">- facciata: m. 11,15 x 7,80<br />
- interno: m. 21,60 x 10,05</span></p>
<p class="has-text-align-center" style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;"><b><span>Interno:</span></b><span> </span></span></span></p>
<p class="has-text-align-center" style="text-align: left;"><span style="font-family: inherit; font-size: medium;">Il vano interno è unico, semplice con capriate a vista
e pianelle in cotto. L’altare M. ed unico è addossato alla parete divisoria
della sagrestia, nella quale parete vi è una nicchia in cui è collocata l’immagine
ad affresco della Madonna; la mensa è in semplice muratura. Il pavimento è in
cotto, le finestre rettangolari e quindi non più originali. La sagrestia è
situata in un corpo di fabbricato contiguo, ed è semplice e senza
particolarità.</span></p>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiY0oqM_eLDZMiokATKTOyx5pyYspPZf2qkPLWf8fT1jjqluXBzuyiiSjYcF9O3mfTJfLIOwvtGG8G6VVQZ1jKX_1LROfg0IeIOnpg8ixyLAZSX4MoP_lpo0F9Cpn7uoYwBWESqgZSFgPwK0ilZN2FRwyiGSaD5j0exPqi0xNPvEbWEuwnfqhJHad-t6A/s1200/CHIRICH006.jpg" style="font-family: inherit; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="540" data-original-width="1200" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiY0oqM_eLDZMiokATKTOyx5pyYspPZf2qkPLWf8fT1jjqluXBzuyiiSjYcF9O3mfTJfLIOwvtGG8G6VVQZ1jKX_1LROfg0IeIOnpg8ixyLAZSX4MoP_lpo0F9Cpn7uoYwBWESqgZSFgPwK0ilZN2FRwyiGSaD5j0exPqi0xNPvEbWEuwnfqhJHad-t6A/w400-h180/CHIRICH006.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i style="font-family: inherit;">Chiesa della Madonna delle Grazie, vista dell'interno</i><span style="font-family: inherit;"><br /></span></td></tr></tbody></table><p class="has-text-align-center" style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;"><b><span>Titolo:</span></b><span> </span></span></span></p>
<p class="has-text-align-center" style="text-align: left;"><span style="font-family: inherit; font-size: medium;">Madonna delle Grazie (festa 2<sup>a </sup>domenica di
maggio). E’ uno dei tanti titoli dato alla Vergine Madre di Dio Maria SS.ma<a href="#_edn1" name="_ednref1" style="mso-endnote-id: edn1;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span style="line-height: 107%; mso-ansi-language: IT; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT; mso-font-kerning: 0pt; mso-ligatures: none;">[1]</span></span></span></span></a>. Esso
è un titolo che non è sorto da un fatto unico e specifico della vita di Maria
SS.ma né da un avvenimento singolare che ha caratterizzato un giorno o un’epoca,
quanto invece è venuto da un lungo, lento e costante accrescimento di piccoli
fatti accaduti a varie persone, e che lungo i secoli cristiani hanno trovato un’espressione
capace di richiamo e di fede.<br />
Un titolo polivalente quindi che vuole essere una ininterrotta documentazione
di un comportamento che esprime reciproca fede religiosa e calorosamente umana
allo stesso tempo. La singolare posizione di Maria SS.ma nei confronti della
vita degli uomini nella complessa vicenda che la caratterizza, trova riscontro
in Lei da una parte come Madre di Dio e degli uomini e dall’altra per noi come
figli a volte impotenti di fronte a certi avvenimenti, a volte fiduciosi in una
bontà superiore a quella umana, a volte nell’entusiasmo e nell’euforia della
vita, a seconda delle circostanze e degli stati d’animo di una singola persona
o di un popolo.<br />
Tutto questo però non è solamente sentimento o fantasia, ma poggia su reali
basi, che vanno oltre le contingenti vicende umane. Come Madre di Dio Maria ha
potuto congiungere quello che qualsiasi mente umana mai avrebbe potuto
immaginare, ossia dare la vita in questo mondo a Dio e all’Uomo uniti in un
vincolo di sangue e di grazie, per grazia particolare di Dio stesso. Gesù,
Figlio di Dio e Figlio di Maria è diventato per mezzo di Lei la fonte e la
causa della salvezza per tutti gli uomini. Questo ha dato a Maria la ricchezza
sovrumana di grazie che da Gesù, nato da Lei, passa ad ogni uomo sia nell’ordine
naturale che soprannaturale. Una particolare sensibilità umana, alimentata da
una fede divina, ha saputo cogliere questo stato di fatto e l’ha concretato e
lo concreta con l’invocazione accorata e fiduciosa di Madre delle Grazie.</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuVOdXOeK9KohqgHWV7EGjBWVmFL_JIr2ox8W4oeYtlJzvzfTTinRTyy1uBAjnkc1aisZIenSwcVicxjc4FneNFVmHGtErCcIBPF3WP68kxa3AdzV3LkV9u1trhkXZPts8XJMmGapMCw16DE_g181zre4L7NXOYQCR3JRByEx81bz0NFG7J-P-02l2QQ/s1200/CHIRICH011.jpg" style="font-family: inherit; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="800" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuVOdXOeK9KohqgHWV7EGjBWVmFL_JIr2ox8W4oeYtlJzvzfTTinRTyy1uBAjnkc1aisZIenSwcVicxjc4FneNFVmHGtErCcIBPF3WP68kxa3AdzV3LkV9u1trhkXZPts8XJMmGapMCw16DE_g181zre4L7NXOYQCR3JRByEx81bz0NFG7J-P-02l2QQ/w266-h400/CHIRICH011.jpg" width="266" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i style="font-family: inherit;">Chiesa della Madonna delle Grazie, il semplice campanile a vela</i><span style="font-family: inherit;"><br /></span></td></tr></tbody></table><span style="font-family: inherit; font-size: 13.5pt;"><br /></span>
<p class="has-text-align-center" style="text-align: left;"><span style="font-size: medium;"><b style="font-family: inherit;"><span>Origine e vicende: </span></b></span></p>
<p class="has-text-align-center" style="text-align: left;"><span style="font-family: inherit; font-size: medium;">Non si hanno notizie scritte circa l’origine e l’epoca
precisa in cui è sorta questa chiesa. Penso però che si debba ricollegare al
crocevia stradale a cui fanno capo le strade di Regagni, Rielli e
Montecasciano. In particolare quella di Rielli, che in antico era la strada per
Ronciglione. Non doveva essere così come è oggi la primitiva chiesa sorta in
questo punto; anzi tutto fa pensare che ora siano due chiese giustapposte l’una
all’altra in epoche successive: e precisamente il vano dell’attuale sagrestia
una e il vano grande attuale della chiesa l’altra.<br />
Che la primitiva chiesa sia molto antica lo fanno pensare: a) la rusticità
delle strutture murarie; b) alcune rimanenze stilistiche; c) l’accennata
posizione viaria. Le successive trasformazioni, che andrebbero studiate più
analiticamente con sondaggi « in loco », non facilitano allo stato attuale una
valutazione circa la sua primitiva costruzione; ma c’è da pensare che tutto ciò
sia avvenuto dopo la chiesa di S. Lorenzo o S. Francesco, la prima delle chiese
rurali o « extramuros », cioè fuori dell’abitato dei due antichi castelli
riuniti insieme<a href="#_edn2" name="_ednref2" style="mso-endnote-id: edn2;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span style="line-height: 107%; mso-ansi-language: IT; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT; mso-font-kerning: 0pt; mso-ligatures: none;">[2]</span></span></span></span></a>.<br />
Anche la scelta del titolo non è avvenuta all’inizio, cioè non è sorta con il
preciso titolo di « Madonna o Maria delle Grazie »; ma si è formato per
accumulo, dopo che l’immagine ha operato tra i fedeli devoti varie grazie;
tanto più che nessuno a Capranica ricorda qualche fatto straordinario al
riguardo, come spesso è accaduto per varie chiese dedicate alla Madonna. E
questo perdersi nei secoli passati è ancora una convalida della sua antichità e
dell’umiltà delle origini. <br />
Nemmeno della confraternita che ancora oggi vi celebra la più grande e più
bella e sentita festa di Capranica, si può dire qualche cosa a riguardo circa
le sue origini; mentre si hanno notizie più recenti sulle successive
aggregazioni giuridiche e religiose con altre confraternite ed attività che le
hanno caratterizzate.</span></p>
<div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit; font-size: 18pt;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOa1hgKi11djFVt1VgSJBQsxpuYhBW23fp6qqIurRSqiKD7AG900E5gtw-uT72Hsrz6vjlAc8_0WmVBhlNIQN1zfFNmDli8JSZ2rnMOgRuiXfTpYQiLtH_TrTmtwiionaFSNwWzsFBwvzEZ6UMBCZcFm751CSJgmj641sLZN7ODa3eAzCAY1_iI3vW-A/s1200/CHIRICH017.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="638" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOa1hgKi11djFVt1VgSJBQsxpuYhBW23fp6qqIurRSqiKD7AG900E5gtw-uT72Hsrz6vjlAc8_0WmVBhlNIQN1zfFNmDli8JSZ2rnMOgRuiXfTpYQiLtH_TrTmtwiionaFSNwWzsFBwvzEZ6UMBCZcFm751CSJgmj641sLZN7ODa3eAzCAY1_iI3vW-A/w170-h320/CHIRICH017.jpg" width="170" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQbOHST09-gMtU4vuDHy5WcRvrAEoY5tXPjRL7ZgwIhHTFhQ_YkurYdkBS44j9SFs95_PTpWJ_zsA0iseaY1b3KNgR3CGsbTEw4wjXZDnEYFcr8iCUNFJEPsNPE5qFMM6-f_CfKpDrzzulCKk9lAlThkhQejfESS27cuAq_1oHsOrA2nKiojYMaKjtXQ/s1200/CHIRICH016.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="641" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQbOHST09-gMtU4vuDHy5WcRvrAEoY5tXPjRL7ZgwIhHTFhQ_YkurYdkBS44j9SFs95_PTpWJ_zsA0iseaY1b3KNgR3CGsbTEw4wjXZDnEYFcr8iCUNFJEPsNPE5qFMM6-f_CfKpDrzzulCKk9lAlThkhQejfESS27cuAq_1oHsOrA2nKiojYMaKjtXQ/s320/CHIRICH016.jpg" width="171" /></a></span></div><div style="text-align: center;"><span style="font-family: inherit; font-size: small;"><i>Chiesa del</i></span><span style="font-family: inherit; font-size: small;"><i>la Madonna delle Grazie, a sx. Sant'Agnese; a dx. Sant'Apollonia</i></span><span style="font-family: inherit;"><br /></span></div><div><p class="has-text-align-center"><span style="font-family: inherit; font-size: large;">La chiesa della Madonna delle Grazie subì anch’essa
rimaneggiamenti ed un leggero imbarocchimento. Gli affreschi oltre che
testimoniare le trasformazioni ci ricordano pure le devozioni aggregate in
questa chiesa, come quella di S. Apollonia per la protezione contro il mal di
denti, di S. Agata contro il male alle mammelle, di S. Eligio contro le
disgrazie causate da cavalli, di S. Lucia contro le malattie degli occhi, di S.
Antonio abate contro le epidemie degli animali e di S. Giuliano l’ospedaliere
contro i pericoli dei viaggi dei pellegrini. <br />
Tutti questi santi e sante protettori hanno un riferimento ad ogni evenienza
della vita fuori del normale; ma in particolare S. Giuliano richiama i
pellegrinaggi verso Roma<a href="#_edn3" name="_ednref3" style="mso-endnote-id: edn3;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span style="line-height: 107%; mso-ansi-language: IT; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT; mso-font-kerning: 0pt; mso-ligatures: none;">[3]</span></span></span></span></a>. A
Capranica qui alla Madonna delle Grazie siamo sulla strada Cassia per Roma e a
pochi chilometri da Sutri, l’ultima grande tappa per i pellegrini diretti alle
sacre memorie cristiane di Roma. Ciò significa che la chiesa della Madonna
delle Grazie ha assolto anche la funzione di posto di riposo e di ristoro come
succursale di Sutri e che quindi doveva avere affiancato qualche locale per
questo scopo. Non quindi luogo di pernottamento, ma di tappa intermedia per
giungere a Sutti. Lì vicino c’è la fonte dell’acqua di S. Rocco e poco più in
su quella dell’acqua minerale, acque buone ed abbondanti capaci di dare ristoro
agli stanchi e riarsi pellegrini. Ancora una ragione di più per ritenere molto
antica questa chiesa della Madonna delle Grazie e per spiegare come il titolo
di Madonna delle Grazie assomma nella Beata Vergine<br />
Madre di Gesù tutta la fede, la speranza e l’amore di ogni fedele bisognoso di
qualsiasi grazia o favore per le sue più svariate necessità della vita e come
la stessa intercessione del santo o della santa particolare protettrice di
qualche malattia, trovi nella Madonna la Regina e la mediatrice di tutte le
grazie, Colei che per essere la più vicina a Dio e la più vicina agli uomini, è
anche la più efficace avvocata dell’umanità bisognosa e sofferente.</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9YNUmhmtEBXlZGpkftl-RjkI_9e7yZlUKUjeTlazz3KA0fbEGU0Finx73GFJ7OGcdIW7234wBduLBZwX1yWd0jBJBnPzkKAmjWwFM_BtLt7ziiCz6_OsDJxLnAf487UEeSbUbG5Jp86dmKWdHbi1Y-Q3n0acZjXAKAoRVNrS85Na9Nf9zdqDX3HYanA/s1229/CHIRICH008.jpg" style="font-family: inherit; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1229" height="390" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9YNUmhmtEBXlZGpkftl-RjkI_9e7yZlUKUjeTlazz3KA0fbEGU0Finx73GFJ7OGcdIW7234wBduLBZwX1yWd0jBJBnPzkKAmjWwFM_BtLt7ziiCz6_OsDJxLnAf487UEeSbUbG5Jp86dmKWdHbi1Y-Q3n0acZjXAKAoRVNrS85Na9Nf9zdqDX3HYanA/w400-h390/CHIRICH008.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;"><i>Chiesa della Madonna delle Grazie, la sacra immagine conservata nella parte più antica dell'edificio, dipinta su tegola<br /></i></span></td></tr></tbody></table><span style="font-family: inherit;"><br /></span><p class="has-text-align-center" style="text-align: left;"><span style="font-family: inherit; font-size: 18pt;">
</span><span style="font-family: inherit; font-size: large;">Questa digressione era necessaria per chiarire tante cose, soprattutto la
presenza nella chiesa della Madonna delle Grazie di tanti santi e sante
effigiate sopra questi muri.<br />
Ma sappiamo che lo spirito di pellegrinaggio, che ha caratterizzato<br />
l’uomo medioevale, è poi venuto meno nei tempi moderni. Anche la chiesa della
Madonna delle Grazie a Capranica, non ha assolto più i compiti per cui era
sorta; ma fortunatamente una nuova devozione Mariana si è sostituita a quella
dei pellegrini e da allora non è venuta mai meno presso i capranichesi. La
chiesa ha conosciuto temporanei abbandoni; ma non è stata mai del tutto
dimenticata. Ha avuto trasformazioni, seguendo l’influenza dei tempi; ma tutte
queste vicende non le hanno fatto perdere la sua identità ed è giunta a noi
ancora vitale per la fede e la devozione dei capranichesi. </span></p>
<p class="has-text-align-center" style="text-align: left;"><span style="font-size: large;"><b style="font-family: inherit;"><span>Ubicazione e urbanistica</span></b></span></p>
<p class="has-text-align-center" style="text-align: left;"><span style="font-family: inherit; font-size: large;">La chiesa della Madonna delle Grazie, come si è già
accennato, si trova alla confluenza di diverse strade secondarie e a lato della
Via Cassia; sia quella antica dei pellegrinaggi medioevali, sia quella moderna
caratterizzata dalle veloci automobili.<br />
Questa posizione urbanistica non è però affatto vistosa e rimarcabile da tutti,
perché la sua modesta fabbrica non richiama troppa attenzione e curiosità. Una
semplice chiesa di campagna sotto l’abitato antico, non circondata da case,
posta in un piccolo spiazzo (ora reso più ampio e più pianeggiante), tra il
monte di S. Terenziano ricoperto di verde e la punta del colle dove è piantato
l’antico borgo medioevale, alla confluenza delle due vallate fiancheggianti il
paese e allo sbocco di altre vallate minori come quelle già ricordate di
Regagni, Rielli e Tassi. Posizione quindi non dominante, ma oggi di intenso
transito, che trova nella chiesa non un ostacolo, ma un preciso punto di
riferimento, anche se oggi non da tutti avvertito per la forte velocità dei
passanti.</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><i style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkplC4eEqTn3vMuOk_k2vK9q4Nvlu64V7ODgaWTlgwpN7uOh5dFelEbydIXqBDE6eQ2jU-kWoniinYlvl-_ZCevKxuzLnf9Nqec63ymJMa_F0eEWA8QF1bHZSU4PIH--XwcWwE6wWF3YdXsUgKlEibKZrW_j-xgaGwT6Op1gLFN6s8hdcYwCIoR-Uc0Q/s1298/CHIESA%20MADONNA%20DELLE%20GRAZIE.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1160" data-original-width="1298" height="358" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkplC4eEqTn3vMuOk_k2vK9q4Nvlu64V7ODgaWTlgwpN7uOh5dFelEbydIXqBDE6eQ2jU-kWoniinYlvl-_ZCevKxuzLnf9Nqec63ymJMa_F0eEWA8QF1bHZSU4PIH--XwcWwE6wWF3YdXsUgKlEibKZrW_j-xgaGwT6Op1gLFN6s8hdcYwCIoR-Uc0Q/w400-h358/CHIESA%20MADONNA%20DELLE%20GRAZIE.jpg" width="400" /></a></i></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;"><i>Chiesa della Madonna delle Grazie, ubicazione e percorsi delle antiche vie di comunicazione<br /></i></span></td></tr></tbody></table><span style="font-family: inherit;"><br /></span><p class="has-text-align-center" style="text-align: left;"><span style="font-family: inherit; font-size: 18pt;">
</span><span style="font-family: inherit; font-size: large;">La zona ha un riferimento ad una particolare area sacra perché comprende oltre
la chiesa della Madonna delle Grazie, anche quella di S. Terenziano sopra il
monte e quella di S. Rocco presso le fonti omonime; giova ricordare che c’è
pure una piccola località denominata « Padreterno », ubicata al di dietro della
chiesa della Madonna delle Grazie, presso la strada che sale a Regagni e di cui
non si conosce l’esatta motivazione.</span></p>
<p class="has-text-align-center" style="text-align: left;"><span style="font-size: large;"><b style="font-family: inherit;"><span>Arte </span></b></span></p>
<p class="has-text-align-center" style="text-align: left;"><span style="font-family: inherit; font-size: large;">Dal lato artistico, lo si è già ben capito, la chiesa
della Madonna delle Grazie non è un esempio brillante per stile particolare. La
sua linea, che nonostante i vari e successivi rifacimenti è rimasta ancora, è
quella romanica semplice, rustica ed umile. Non ha ornamenti od opere insignì
né all’interno, né all’esterno. Forse non dispiacerebbe nemmeno un ritorno alla
primigenia linea essenziale che la caratterizzava nella sua rusticità senza
intonaco e senza orpelli. Ma anche la semplicità e la stessa rusticità ha il
suo fascino che attrae e soprattutto dispone gli animi alla preghiera e alla
riflessione, quasi un veridico specchio che fa riflettere sull’uomo, cioè non
tanto sulle sue fattezze esteriori, quanto invece sulla sua pochezza naturale e
spirituale.</span></p>
<p class="has-text-align-center" style="text-align: left;"><span style="font-size: large;"><b style="font-family: inherit;"><span>Feste e culto</span></b></span></p>
<p class="has-text-align-center" style="text-align: left;"><span style="font-family: inherit; font-size: large;">Oggi la chiesa della Madonna delle Grazie viene
officiata generalmente una volta l’anno, la seconda domenica di maggio. Ma
basta questa sola circostanza a misurare tutta la portata della devozione
popolare che caratterizza tale ricorrenza. Lo stretto connubio tra devozione
religiosa e manifestazione popolare qui<br />
risalta in tutta la sua vistosità e in tutta la sua potenzialità, capace ancora
di esplodere in questo scorcio del nostro secolo per tanti aspetti
sconcertante. Non c’è fanatismo, non c’è folclore paesano singolare, ma
solamente vera festa di popolo che partecipa compatto ad una manifestazione
religiosa. Anche come coloratura e coreografia non c’è che solamente il bianco
sacco dei confratelli vestiti rifinito da una mozzetta o mantellina celestina.
C’è invece lo scenario del colle, oggi brullo e ricoperto di selci; e lo
scendere e risalire per esso di tutti i capranichesi residenti ed oriundi, che
per la circostanza ritornano in paese per seguire la piccola macchina
processionale che porta la statua vestita della Madonna delle Grazie. Fa da
cornice anche lo sparo dei mortaretti secondo l’antica tradizione. Ma tutto
questo è ben sproporzionato al fervore che emana da questa grande massa di
gente, e non trova altra spiegazione che nella fede che essa manifesta.
Tradizione! Si dirà oggi da molti. Ma proprio perché questa tradizione ha
resistito a tutti gli attacchi del Secolo ed è ancora oggi viva, sincera ed
equilibrata, e soprattutto anche nutrita da pratica sacramentale e religiosa,
resta valida e testimonia a tutti la fede cristiana; anche a chi pretenderebbe
cancellare del tutto queste manifestazioni.</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><i style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghjhCpPyv8WLhFNo7K88PzTH9JBQcK44nBcaZ20dhFz-Cl7M38cGSHGKDO7TPFEVvPO_u70XeDVm6H6JdVihs8CELk-jvd71yEJZvqHmoPPVMsgqbdawhpURW1IYzLX33Mzj8XzGAzIgzt0-kJoIbBjLMtwuzQrm_PweifWs_-FYrzfyuJO3C7O1DpKQ/s1200/CHIRICH007.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1149" data-original-width="1200" height="383" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghjhCpPyv8WLhFNo7K88PzTH9JBQcK44nBcaZ20dhFz-Cl7M38cGSHGKDO7TPFEVvPO_u70XeDVm6H6JdVihs8CELk-jvd71yEJZvqHmoPPVMsgqbdawhpURW1IYzLX33Mzj8XzGAzIgzt0-kJoIbBjLMtwuzQrm_PweifWs_-FYrzfyuJO3C7O1DpKQ/w400-h383/CHIRICH007.jpg" width="400" /></a></i></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;"><i>Chiesa della Madonna delle Grazie, trittico con Sant'Antonio Abate (a sx.), Madonna, San Rocco (a dx)<br /></i></span></td></tr></tbody></table><p style="text-align: left;"></p>
<p class="has-text-align-center" style="text-align: left;"><span style="font-size: large;"><b style="font-family: inherit;"><span>Posizione giuridica</span></b></span></p>
<p class="has-text-align-center" style="text-align: left;"><span style="font-family: inherit; font-size: large;">La chiesa ha sempre appartenuto alla confraternita
della Madonna<br />
delle Grazie ed è tenuta con cura dai confratelli, e recentemente l’hanno
ancora una volta restaurata a proprie spese.</span></p>
<p class="has-text-align-center" style="text-align: left;"><span style="font-family: inherit; font-size: medium;">DOCUMENTI</span></p>
<p class="has-text-align-center" style="text-align: left;"><span style="font-family: inherit; font-size: medium;">Il primo documento riguardante questa chiesa è la
visita apostolica del 1574<a href="#_edn4" name="_ednref4" style="mso-endnote-id: edn4;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span style="line-height: 107%; mso-ansi-language: IT; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT; mso-font-kerning: 0pt; mso-ligatures: none;">[4]</span></span></span></span></a> che
dice: «...poi vide la chiesa sotto il titolo della Madonna delle Grazie ovvero
della Scalella fuori le mura, vi è la confraternita detta di Maria Vergine,
nella quale vi era un unico altare del tutto spoglio con la Croce di legno
soltanto, e perché detta chiesa era soltanto coperta del tetto e non aveva il
muro davanti né la porta, il Signore esortò i confratelli predetti che almeno
entro tutto l’anno presente facciano il muro e la porta davanti a detta chiesa
affinché si possa comodamente chiudere e in essa non vi entrino gli animali.
Soprattutto perché i predetti confratelli fanno celebrare in detta chiesa in ciascun
mese la messa: però non ha redditi né i predetti confratelli recitano alcun
ufficio se non il « Pater Noster » e l’Ave Maria. Il Signore ordinò di
provvedere l’altare di 3 tovaglie, del paleotto e due candelieri di legno,
della pietra sacra e di farvi lo sgabello di legno o predella davanti all’altare
e di apporvi la carta delle orazioni segrete.</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhs_tbfoIRRQIN2hDy6TKWDkQsRqR89eeQHNYdeyN2dCKBqiBCxJo5YQ6Sqco56r9RS0fD58zbTQm7wTFXKdbRR7fvxPco59LnpSuhVqizgqQiiDroYpAPWnmXsIf_upwTgYhEY41gHKfuyPj9ZH1-QnxLCMhn97htazPu7V-lX23zigMkITDz-Cf6pvg/s1200/CHIRICH014.jpg" style="font-family: inherit; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="800" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhs_tbfoIRRQIN2hDy6TKWDkQsRqR89eeQHNYdeyN2dCKBqiBCxJo5YQ6Sqco56r9RS0fD58zbTQm7wTFXKdbRR7fvxPco59LnpSuhVqizgqQiiDroYpAPWnmXsIf_upwTgYhEY41gHKfuyPj9ZH1-QnxLCMhn97htazPu7V-lX23zigMkITDz-Cf6pvg/w266-h400/CHIRICH014.jpg" width="266" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i style="font-family: inherit;">Chiesa della Madonna delle Grazie, esterno, Madonna dei Pellegrini</i><span style="font-family: inherit;"><br /></span></td></tr></tbody></table><span style="font-family: inherit; font-size: 13.5pt;"><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfPCEp11TyyKDRH1UH6iYhWUagxhgtJgfoPlpWuhvN1mm3JDKBCWK6gH5cQrEcTSESXNwzYppbOA69meWIFm7G8FYTGWSYLnN5Xl6ot2lHR8BQQdwQlFIAaiKglKwDWrPlJqyPSjI5wrETKyDn9gniDRZWxw5ZEaSfQrqp_SqczV3Nzvs8YfVzwg5kOA/s1800/CHIRICH015.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1800" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfPCEp11TyyKDRH1UH6iYhWUagxhgtJgfoPlpWuhvN1mm3JDKBCWK6gH5cQrEcTSESXNwzYppbOA69meWIFm7G8FYTGWSYLnN5Xl6ot2lHR8BQQdwQlFIAaiKglKwDWrPlJqyPSjI5wrETKyDn9gniDRZWxw5ZEaSfQrqp_SqczV3Nzvs8YfVzwg5kOA/w400-h266/CHIRICH015.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><i>Chiesa della Madonna delle Grazie, esterno, bussola per le elemosine </i></span></td></tr></tbody></table><br /></span><p style="text-align: left;"><span style="font-family: inherit; font-size: 13.5pt;">
</span><span style="font-family: inherit; font-size: medium;">Dalle visite pastorali compiute da Mons. De Paolis<a href="#_edn5" name="_ednref5" style="mso-endnote-id: edn5;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span style="line-height: 107%; mso-ansi-language: IT; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT; mso-font-kerning: 0pt; mso-ligatures: none;">[5]</span></span></span></span></a> (1627-1643)
non emergono particolari degni di rilievo, perché è fatto solamente il nome
della chiesa.</span></p><p style="text-align: left;"><span style="font-family: inherit; font-size: medium;">
- Visita pastorale del 1662 (Anania<a href="#_edn6" name="_ednref6" style="mso-endnote-id: edn6;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span style="line-height: 107%; mso-ansi-language: IT; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT; mso-font-kerning: 0pt; mso-ligatures: none;">[6]</span></span></span></span></a>): «
... visitò la chiesa della Beata Maria delle Grazie situata fuori la Terra, la
cui festa titolare si celebra la seconda domenica di maggio ... ».</span></p><p style="text-align: left;"><span style="font-family: inherit; font-size: medium;">
- Visita pastorale del 1670 (Spinola<a href="#_edn7" name="_ednref7" style="mso-endnote-id: edn7;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span style="line-height: 107%; mso-ansi-language: IT; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT; mso-font-kerning: 0pt; mso-ligatures: none;">[7]</span></span></span></span></a>): «
... visitò la chiesa della Beata Maria delle Grazie la cui festa si celebra la
seconda domenica di maggio »</span></p><p style="text-align: left;"><span style="font-family: inherit; font-size: medium;">
- Visita pastorale del 16 72 (Spinola) : « ... visitò al ritorno (da San Terenziano)
la chiesa della Beata Maria delle Grazie e visitò l’altare nel quale vi è la
confraternita... comandò di riparare i muri per l’umidità che vi era intorno a
tutta la chiesa »</span></p><p style="text-align: left;"><span style="font-family: inherit; font-size: medium;">
- Visita pastorale del 1676 (Spinola) « ... visitò la chiesa della Beata Maria
delle Grazie nella quale vi è la confraternita... visitò l’altare e comandò di
provvedere a rimuovere l’umidità dietro detta chiesa ».</span></p><p style="text-align: left;"><span style="font-family: inherit; font-size: medium;">
- Visita pastorale del 1694 (Mellini<a href="#_edn8" name="_ednref8" style="mso-endnote-id: edn8;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span style="line-height: 107%; mso-ansi-language: IT; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT; mso-font-kerning: 0pt; mso-ligatures: none;">[8]</span></span></span></span></a>) «
... visitò la chiesa della Beata Maria delle Grazie nella quale vi e la confraternita
... visitò l’altare maggiore e l’altare di S. Antonio abate»</span></p><p style="text-align: left;"><span style="font-family: inherit; font-size: medium;">
- Visita pastorale del 1696 (Mellini) « ... visitò la chiesa della Beata Maria
delle Grazie vicino alla fontana e a circa trenta passi di distanza della
chiesa di S. Rocco, vi è in essa un unico altare nel quale si canta messa da
parte del capitolo di S. Maria nella seconda domenica di maggio, quando vi
convengono con esso il popolo processionalmente insieme</span></p><p style="text-align: left;"><span style="font-family: inherit; font-size: medium;">
con la confraternita vestita ed ivi aggregata. L’immagine rappresenta la Beata
Vergine che ha in braccio il Bambino Gesù dipinta nel muro e circondata da
volti di Angeli e da cornici di stucco e dalle immagini dei santi Apollonia,
Agata, Eligio, Lucia. Il presbiterio è lungo palmi 17, largo palmi 25, e sotto
la volta del medesimo è alto palmi 25, ed è provveduto</span></p><p style="text-align: left;"><span style="font-family: inherit; font-size: medium;">
da ambe le parti di sedili di legno. Nella sagrestia o al coro vi si entra per
due porticine una per parte dell’altare descritto, sopra la quale vi è
parimenti dipinta nel muro la Natività della Beata Maria e la sua fuga in Egitto,
vi è collocato un altro altare nel quale non si celebra.</span></p><p style="text-align: left;"><span style="font-family: inherit; font-size: medium;">
Fuori del Presbiterio al lato del Vangelo del medesimo altare descritto vi è
collocato un altare nel quale non si celebra, l’immagine dipinta nel muro
rappresenta la Beata Vergine, S. Antonio abate, e S. Giuliano senza nessun
altro. Il restante corpo della medesima chiesa ad unica navata è lungo palmi
80, largo palmi 33, alto palmi 45, con tetto semplice e 3 finestre laterali
verso occidente e una unica sopra la porta fatta a forma rotonda; il pavimento
è in cotto di mattoni, ha due entrate ed è isolata e sopra il tetto vi è
collocato il campanile con due campanelle ».</span></p><p style="text-align: left;"><span style="font-family: inherit; font-size: medium;">
- Visita pastorale del 1697 (Mellini) « ... visitò la chiesa della Beata Maria
delle Grazie nella quale vi è la confraternita».</span></p><p style="text-align: left;"><span style="font-family: inherit; font-size: medium;">
- Nella visita apostolica del 1773 si dice: « ... poi l’E. Signore andò verso l’altra
chiesa di S. Maria delle Grazie che è consacrata e provvista sufficientemente
di suppellettili; tuttavia appare il troppo miserando stato di essa non
essendovi i candelieri decenti, comandò di rinnovarli entro un mese sotto pena
di uno scudo. Benché infatti non vi siano sicuri oneri di messe, tuttavia
qualche volta in essa vi si celebrano messe per devozione ».</span></p>
<div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><b><span style="font-size: 13.5pt;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5XoN3MXmBZkOARM7G5wbH-SVm2HGB-uDU7x8YLyf65-YuApKcYXJ9CStFNDMnjv5J2ZOU4kapVy4-EbxJpxmS_pXWEVvTAwc7YPIFUeYDitEXSuDIkWvQqo4U1v7R5tK6J2YJGqApnqRJzZ4b5G0-njcIVMYUMJvH_DF3ydM8dfhiC4lOLnkjKLp2wg/s1200/CHIRICH012.jpg" style="margin-left: 1em; margin-right: 1em;"><br /><img border="0" data-original-height="1200" data-original-width="800" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7t-02KmYYKT5V7ZFlpC3IahLi7_3a0adHodh-ruoF3hn61Aa-4RwJFP2HOyJSaROHnenCScZQJyA_Oeco87SRkTPOl88Mc6ddfcKqXmF2lrUW-gI_dzGJAbDYNRMmma_5zKYMQXikp9eDVFgHnNHda0SppJppQOr7j4UfPhPsm9uIXsP3M_aQW0zZtA/w213-h320/CHIRICH010.jpg" width="213" /> <img border="0" data-original-height="1200" data-original-width="800" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5XoN3MXmBZkOARM7G5wbH-SVm2HGB-uDU7x8YLyf65-YuApKcYXJ9CStFNDMnjv5J2ZOU4kapVy4-EbxJpxmS_pXWEVvTAwc7YPIFUeYDitEXSuDIkWvQqo4U1v7R5tK6J2YJGqApnqRJzZ4b5G0-njcIVMYUMJvH_DF3ydM8dfhiC4lOLnkjKLp2wg/w213-h320/CHIRICH012.jpg" width="213" /><br /></a></span></b><span style="font-size: small;"><i>Chiesa del</i></span><span style="font-size: small;"><i>la Madonna delle Grazie, a sx, particolare della muratura del campanile; a dx, facciata<br /></i></span></span></div><p class="has-text-align-center"><span style="font-family: inherit;"><b><span style="font-size: 13.5pt;"> NOTE AL TESTO </span></b><i><span style="font-size: 13.5pt;">a cura di Fabio Ceccarini</span></i></span></p>
<div style="mso-element: endnote-list;">
<hr align="left" size="1" width="33%" />
<div id="edn1" style="mso-element: endnote;">
<p class="MsoEndnoteText"><span style="font-family: inherit;"><a href="#_ednref1" name="_edn1" style="mso-endnote-id: edn1;" title=""><span class="MsoEndnoteReference"><span face=""Tahoma",sans-serif"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span face=""Tahoma",sans-serif" style="font-size: 10pt; line-height: 107%; mso-ansi-language: IT; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[1]</span></span></span></span></span></a><span face=""Tahoma",sans-serif"> Su Wikipedia, si veda il lemma <a href="https://it.wikipedia.org/wiki/Madonna_delle_Grazie" target="_blank">Madonna
delle Grazie</a>, per capire la portata e la notevole diffusione del fenomeno
devozionale legato a questo titolo in Italia.</span></span></p>
</div>
<div id="edn2" style="mso-element: endnote;">
<p class="MsoEndnoteText"><span style="font-family: inherit;"><a href="#_ednref2" name="_edn2" style="mso-endnote-id: edn2;" title=""><span class="MsoEndnoteReference"><span face=""Tahoma",sans-serif"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span face=""Tahoma",sans-serif" style="font-size: 10pt; line-height: 107%; mso-ansi-language: IT; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[2]</span></span></span></span></span></a><span face=""Tahoma",sans-serif"> Da un documento dell’Archivio
Parrocchiale (riportato in <span style="font-variant: small-caps;">Ceccarini</span>
Fabio, <i>Dio fa casa con l’uomo. La Collegiata di San Giovanni Evangelista in
Capranica nel bicentenario della sua fondazione</i>, Capranica, EffeCi Edizioni
2001, A<span style="font-variant: small-caps;">ppendice</span>, doc. <span style="font-variant: small-caps;">iv</span>) purtroppo privo di data ma risalente
agli anni ’70 del <span style="font-variant: small-caps;">xviii</span> sec., risulta
che a contendere alla piccola pieve di San Pietro la palma della chiesa più
antica di Capranica ci sarebbe quella della Madonna delle Grazie. Infatti, nel
suddetto documento si afferma “<i style="mso-bidi-font-style: normal;">Che la nostra
Chiesa di S. Maria sia stata eretta dopo le due vetustissime Chiese della
Vergine delle Grazie e di S. Pietro, e quella consagrata, e restata alla nostra
Filiale, niuno ne’ ha dubitato, e posto in questione </i><span style="mso-bidi-font-style: italic;">”</span><i style="mso-bidi-font-style: normal;">.</i></span></span></p>
</div>
<div id="edn3" style="mso-element: endnote;">
<p class="MsoEndnoteText"><span style="font-family: inherit;"><a href="#_ednref3" name="_edn3" style="mso-endnote-id: edn3;" title=""><span class="MsoEndnoteReference"><span face=""Tahoma",sans-serif"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span face=""Tahoma",sans-serif" style="font-size: 10pt; line-height: 107%; mso-ansi-language: IT; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[3]</span></span></span></span></span></a><span face=""Tahoma",sans-serif"> Altra testimonianza del probabile uso
della chiesa come ospedale per pellegrini è la presenza, sul muro esterno, di
una edicola della Madonna dei Pellegrini e di una bussola per offerte. L’immagine
esterna, è chiaramente ispirata all'icona orientale della Theotokos Odigitria
(Madre di Dio Odigitria =<span style="mso-spacerun: yes;"> </span>colei che
indica e guida lungo la strada), patrona dei viandanti, e riproduce l’immagine
della Madonna con bambino dipinta su tegola, conservata all’interno della
chiesa, sull’altare maggiore. Cfr. <span style="font-variant: small-caps;">Ceccarini</span>
Fabio – <span style="font-variant: small-caps;">Ricci</span> Fulvio, <i>Le
edicole mariane di Capranica. Un catalogo dalla mostra (Capranica, Chiesa di
San Francesco, 9-12 maggio 2013)</i>, EffeCi Edizioni - Fede e Cultura,
Capranica 2014, pp. 69-73</span></span></p>
</div>
<div id="edn4" style="mso-element: endnote;">
<p class="MsoEndnoteText"><span style="font-family: inherit;"><a href="#_ednref4" name="_edn4" style="mso-endnote-id: edn4;" title=""><span class="MsoEndnoteReference"><span face=""Tahoma",sans-serif"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span face=""Tahoma",sans-serif" style="font-size: 10pt; line-height: 107%; mso-ansi-language: IT; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[4]</span></span></span></span></span></a><span face=""Tahoma",sans-serif"> <span style="font-variant: small-caps;">Archivio
Segreto Vaticano</span>, <i>Congregazioni Vescovi e Regolari</i>, Visita
apostolica 33, ff. 12<sup>v</sup>-21<sup>r</sup><i style="mso-bidi-font-style: normal;">.</i> La visita citata è quella eseguita da Alfonso Maria Binarini
(Bologna, 1510 - Camerino, 26 aprile 1580), vescovo di Rieti e Camerino. Mons.
Chiricozzi, nel suo <i>Le chiese di Capranica</i>, Roma 1983 ne riporta una
segnatura d’archivio errata. Sulla visita v. anche <span style="font-variant: small-caps;">Canonici Claudio - Santoni Piero</span>, <i style="mso-bidi-font-style: normal;">Parrocchie, Chiese e Confraternite. Per una storia delle istituzioni
religiose capranichesi attraverso le carte dell’Archivio Storico Parrocchiale</i>,
Capranica 1997, p. 1. A parte l’errore tipografico che affligge il cognome del
Visitatore Apostolico (<i style="mso-bidi-font-style: normal;">Bindarini</i>
anzichè, correttamente, Binarini) è da notare, in quest’ultima pubblicazione,
che il Canonici appella lo stesso col titolo di Cardinale mentre ad esso, in
realtà, non fu mai conferita la porpora. Alfonso Maria Binarini fu uno dei
protagonisti della riforma del Collegio Cardinalizio dopo il Concilio di Trento.
Come riporta il von <span style="font-variant: small-caps;">Pastor L. F</span>., <i style="mso-bidi-font-style: normal;">Storia dei Papi dalla fine del medio evo</i>,
Trento 1890, <span style="font-variant: small-caps;">viii</span>, pp. 101-102,
nel 1571 insieme all'Ormaneto presentò, in merito, una dettagliata relazione al
Papa Pio V (il francescano Michele Ghisleri, già vescovo di Sutri, poi
proclamato santo) in cui "<i style="mso-bidi-font-style: normal;">…si dice
anco che li reformatori</i> [cioè Ormaneto e Binarini, ndr]<i style="mso-bidi-font-style: normal;"> hanno detto al papa che sarebbe bene riformare li cardinali et le case
loro, et non lasciare che magnassero in argento et che facessero andare le loro
famiglie vestite di longo et tenessero un confessore in</i> <i style="mso-bidi-font-style: normal;">casa che ogni mese confessasse et
comunicasse tutta la famiglia loro</i>" (Aurelio Zibramonti al duce di
Mantova 13 gennaio 1571, Archivio Gonzaga in Mantova). Nell'agosto 1566 fu
incaricato dal papa di procedere alla visita apostolica delle chiese romane,
insieme ad altri 3 visitatori. Visita che, "<i style="mso-bidi-font-style: normal;">secondo i concetti di molti curiali i visitatori procedevano «molto
rigorosamente» tanto che in alcuni casi dette ordine di procedere all'arresto
dei parroci</i>” (von <span style="font-variant: small-caps;">Pastor L. F</span>.,
<i style="mso-bidi-font-style: normal;">Storia dei Papi</i>, cit., <span style="font-variant: small-caps;">viii</span>, p. 127). Sul Binarini, infine, si
veda anche <span style="font-variant: small-caps;">L. Jadin</span>, <i style="mso-bidi-font-style: normal;">Binarini, Alfonso-Maria</i>, in DHGE, <span style="font-variant: small-caps;">viii</span>, coll. 1498-1499; von <span style="font-variant: small-caps;">Pastor L. F</span>., <i style="mso-bidi-font-style: normal;">Storia dei Papi</i>, cit., <span style="font-variant: small-caps;">ix</span>,
pp. 51-59; <span style="font-variant: small-caps;">Moroni</span>, <span style="font-variant: small-caps;">99</span>, p. 172.</span></span></p>
</div>
<div id="edn5" style="mso-element: endnote;">
<p class="MsoEndnoteText"><span style="font-family: inherit;"><a href="#_ednref5" name="_edn5" style="mso-endnote-id: edn5;" title=""><span class="MsoEndnoteReference"><span face=""Tahoma",sans-serif"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span face=""Tahoma",sans-serif" style="font-size: 10pt; line-height: 107%; mso-ansi-language: IT; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[5]</span></span></span></span></span></a><span face=""Tahoma",sans-serif"> Mons. Sebastiano De Paolis, durante il
suo episcopato fece costruire la villa Paola a Capranica, che da lui prende il
nome. Per antica tradizione infatti, il vescovo di Sutri soggiornava 4 mesi l’anno
a Capranica, da giugno a settembre.</span></span></p>
</div>
<div id="edn6" style="mso-element: endnote;">
<p class="MsoEndnoteText"><span style="font-family: inherit;"><a href="#_ednref6" name="_edn6" style="mso-endnote-id: edn6;" title=""><span class="MsoEndnoteReference"><span face=""Tahoma",sans-serif"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span face=""Tahoma",sans-serif" style="font-size: 10pt; line-height: 107%; mso-ansi-language: IT; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[6]</span></span></span></span></span></a><span face=""Tahoma",sans-serif"> Marcello Anania, vescovo di Nepi e
Sutri dal 1° giugno </span>1654 al 25 aprile 1670.</span></p>
</div>
<div id="edn7" style="mso-element: endnote;">
<p class="MsoEndnoteText"><span style="font-family: inherit;"><a href="#_ednref7" name="_edn7" style="mso-endnote-id: edn7;" title=""><span class="MsoEndnoteReference"><span face=""Tahoma",sans-serif"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span face=""Tahoma",sans-serif" style="font-size: 10pt; line-height: 107%; mso-ansi-language: IT; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[7]</span></span></span></span></span></a><span face=""Tahoma",sans-serif"> Giulio Spinola, vescovo di Nepi e
Sutri dal 2 giugno 1670 al 7 novembre 1677 con il titolo personale di
arcivescovo. Eletto cardinale il 7 marzo 1667, fu poi arcivescovo di Lucca fino
al 25 novembre 1690.</span></span></p>
</div>
<div id="edn8" style="mso-element: endnote;">
<p class="MsoEndnoteText"><span style="font-family: inherit;"><a href="#_ednref8" name="_edn8" style="mso-endnote-id: edn8;" title=""><span class="MsoEndnoteReference"><span face=""Tahoma",sans-serif"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span face=""Tahoma",sans-serif" style="font-size: 10pt; line-height: 107%; mso-ansi-language: IT; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[8]</span></span></span></span></span></a><span face=""Tahoma",sans-serif"> Savo Millini, romano, all’età di 31
anni è promosso all’ordine del subdiaconato, diaconato e presbiterato,
rispettivamente il 17 e il 31 marzo 1668 e il 18 novembre 1668. Nel 1663 consegue
il dottorato in diritto alla Sapienza. Arcivescovo di Cesarea (<i>in partibus
infidelium</i>) dal 17 giugno 1675, il 28 dello stesso mese è nominato
assistente al soglio pontificio. Creato cardinale di S.R.E. il 1° settembre
1681 da papa Innocenzo <span style="font-variant: small-caps;">xi</span> con il
titolo di Arcivescovo di Cesarea, dal 22 dicembre dello stesso anno è nominato
vescovo di Orvieto. Il 12 agosto 1686 è trasferito al titolo cardinalizio di
Santa Maria del Popolo e successivamente, il 12 dicembre 1689, a quello di San
Pietro in Vincoli. Vescovo di Sutri e Nepi con il titolo personale di
arcivescovo dal 17 maggio 1694, muore il 10 febbraio 1701. Devoto di San Pio <span style="font-variant: small-caps;">v</span> (il francescano Michele Ghisleri, già
suo predecessore nell’episcopato sutrino e nepesino), donò al capitolo della
Collegiata di San Giovanni una reliquia del Santo (cfr. <span style="font-variant: small-caps;">HC</span>, <span style="font-variant: small-caps;">v</span>, pp. 11,
286 e 398). La reliquia, parte di una sua veste liturgica, fu donata al Capitolo
dal Card. Millini poco prima della sua morte, il quale così scriveva: “<i>M.<sup>to</sup>
Ill.<sup>mi</sup>, e M.<sup>to</sup> Re.<sup>di </sup>Sig.<sup>ri</sup>. Ho
gusto, che le SS.<sup>rie</sup> Vostre habbino ricevuta, e gradita la Relliquia
del B. Pio <span style="font-variant: small-caps;">v</span> con la sua autentica,
che io ho regalata loro, e a cotesta lor Chiesa, e godrò, che la med.<sup>ma</sup>
Relliquia venga venerata con tutto l’osseguio possibile dalla loro divozione, e
da tutto cotesto Cap.<sup>lo</sup> e resto di nuovo augurando loro il colmo
delle felicità. Roma 24 Aple 1700. Delle SS.<sup>rie</sup> V.V.. Aff.<sup>mo</sup>
sempre. </i></span><i><span face=""Tahoma",sans-serif" lang="EN-GB" style="mso-ansi-language: EN-GB;">S. Card. </span></i><i><span face=""Tahoma",sans-serif">Millini.</span></i><span face=""Tahoma",sans-serif">”. Lo stesso card. Millini insistette
non poco, ma invano, affinché Pio <span style="font-variant: small-caps;">v</span>
fosse proclamato co-patrono di Capranica insieme a San Terenziano. Cfr. <span style="font-variant: small-caps;">Ceccarini</span> Fabio, <i>Dio fa casa con l’uomo.
La Collegiata di San Giovanni Evangelista in Capranica nel bicentenario della
sua fondazione</i>, Capranica, EffeCi Edizioni 2001, p. 106</span></span></p>
</div>
</div><div style="text-align: center;"><b>_________________________________________________________________________</b><br /><b style="font-family: inherit;">Citare questo documento / Citer ce document / Cite this document</b></div>
<p class="has-text-align-center" style="text-align: center;"><span style="font-family: inherit;">CHIRICOZZI, Pacifico, «<i>La chiesa rurale della Madonna delle Grazie</i>», con note a cura di Fabio Ceccarini, Capranica Storica, 28/05/2023 - URL: <a href="https://www.capranicastorica.it/2023/05/la-chiesa-rurale-della-madonna-delle.html">https://www.capranicastorica.it/2023/05/la-chiesa-rurale-della-madonna-delle.html</a></span></p>
<p style="text-align: center;"><span style="font-family: inherit;"><a href="http://creativecommons.org/licenses/by-nc-sa/4.0/" rel="license"><img alt="Licenza Creative Commons" src="https://i.creativecommons.org/l/by-nc-sa/4.0/88x31.png" style="border-width: 0px; display: block; margin-left: auto; margin-right: auto;" /></a>Questo articolo di <a href="https://www.capranicastorica.it/2023/05/la-chiesa-rurale-della-madonna-delle.html" rel="cc:attributionURL">Pacifico Chiricozzi</a> è distribuito con Licenza <a href="http://creativecommons.org/licenses/by-nc-sa/4.0/" rel="license">Creative Commons Attribuzione - Non commerciale - Condividi allo stesso modo 4.0 Internazionale</a>.</span></p></div>Unknownnoreply@blogger.com01012 Capranica VT, Italia42.2595445 12.174631113.949310663821151 -22.9816189 70.569778336178842 47.3308811tag:blogger.com,1999:blog-4201727664195975785.post-82491464751150282922023-05-14T10:00:00.284+02:002023-05-14T13:02:10.784+02:00Il culto delle Madonne vestite nella Tuscia<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghN4YVkAxXWKHuWYbtAmVIE83lrB0NrJjxoqs4bTtOfR89XgO2rw0aMgB4iXMJI0VAyR4FQyrR_BsBoQnYpJoUAXIx1tLlWY6JtMplSlcTi9eC9sXQPvRLxkOssBoRRBcowGiplGaoWCSdtuKI5wVigXowGPNiqEgIVW4nOhDpTwJr4WI0bEdkWOhR6g/s663/50grazie_capran-arduini.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="663" data-original-width="450" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghN4YVkAxXWKHuWYbtAmVIE83lrB0NrJjxoqs4bTtOfR89XgO2rw0aMgB4iXMJI0VAyR4FQyrR_BsBoQnYpJoUAXIx1tLlWY6JtMplSlcTi9eC9sXQPvRLxkOssBoRRBcowGiplGaoWCSdtuKI5wVigXowGPNiqEgIVW4nOhDpTwJr4WI0bEdkWOhR6g/w271-h400/50grazie_capran-arduini.jpg" width="271" /></a></div><span style="font-family: inherit; font-size: medium;"> di <i>Marcello Arduini</i></span><p></p><p><span style="font-family: inherit; font-size: large;"><b><span style="color: #3d85c6;">In occasione della festa della Madonna delle Grazie, per gentile concessione dell'Autore, pubblichiamo un interessante articolo sul culto delle "madonne vestite" nella Tuscia, apparso nel 2014 sul periodico online <a href="https://www.lacitta.eu/storia/1659-il-culto-delle-madonne-vestite-nella-tuscia-di-marcello-arduini.html" target="_blank">La Città</a>, che ci accompagnerà alla scoperta delle vesti, dei rituali e dei culti legati a queste particolari forme della devozione popolare.</span></b></span></p><p><span style="font-family: inherit; font-size: large;"><b><span></span></b></span></p><a name='more'></a><p></p><p><span style="font-family: inherit; font-size: large;"><b><span style="color: #3d85c6;"><u>Precisazione</u></span><span style="color: #3d85c6;"><br /></span><span style="color: #3d85c6;">Visto che la data di
redazione dello studio risale al 2014, è doveroso precisare che ciò che viene
presentato nelle righe che seguono è riferito allo stato delle ricerche
di allora. Tali ricerche sono poi andate avanti negli anni
successivi con ulteriori e notevoli approfondimenti e allargamenti. Anche i numeri del fenomeno sono molto cambiati, contribuendo a definire la capillare
e significativa diffusione delle Madonne vestite nella Tuscia. Il frutto di queste ricerche è stato quindi pubblicato da Marcello Arduini nel libro, </span></b><b><span style="color: #3d85c6;"><i>Madonne vestite. Le vesti, i rituali, i culti</i>, CISU Editore, Roma 2016. Il lettore interessato, pertanto, potrà approfondire ulteriormente l'argomento attingendo da questa preziosa pubblicazione.</span></b></span></p><p><!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
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</p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;"><b>L’argomento di questo saggio (e la ricerca
connessa) mi è stato e mi è particolarmente caro per diversi motivi che non
starò qui ad elencare. <br />
In senso generale ne va rilevata la lunga durata che abbraccia ormai più di una
dozzina di anni.<br />
Anni in cui, a varie riprese, in diverse zone dell’area viterbese, mi sono
trovato ad indagare specifiche devozioni e corrispondenti rituali religiosi
sempre molto riservati, se non segreti, effettuati in particolari circostanze e
riguardanti statue per lo più della Madonna<a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftn1">[1]</a>.</b></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">Non statue a tutto tondo come quelle che siamo
abituati a vedere normalmente, bensì sculture con una fisionomia peculiare, in
quanto realizzate per essere abbigliate: esse dunque possiedono quasi sempre
una sorta di armatura in legno, più o meno elaborata, e sono imbottite con
fibre vegetali, per la parte che verrà coperta dagli abiti, mentre hanno delle
estremità sovente snodabili, realizzate in ceramica, terracotta o cartapesta,
per le parti che rimarranno scoperte e visibili (mani, piedi e testa).</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">Esse sono inoltre dotate di una quantità
variabile di addobbi usati per la bisogna, fatti indossare alla statua nei
giorni della sua uscita pubblica (esposizione, processione, etc.). Una prima
osservazione è che queste Madonne hanno sovente una manifattura riferibile ad
una concezione della bellezza tutta interna alle classi popolari per le quali
erano state concepite, con forme e lineamenti caratterizzati da uno spiccato
realismo.</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZcaTMVhrvDLN9FPX40_4y8caAcbFguIF9DbjH0rSFDNVcFtuIkE4tmAAgzkoD_JwV4-mu5gufAr7TeGzhYoWPyiPsRhfq-Bs_XzhIwxzT5tn-MeSsbqe3CeZGw56HeZGJbQ7wNyfbRRYbOI6_1se9rltONteu2Bl-mJnYs2DHKZF72AyqK5FaL6DwoA/s604/31addo_vas-arduini%20-%20Madonna%20addolorata%20di%20Valentano.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="604" data-original-width="450" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZcaTMVhrvDLN9FPX40_4y8caAcbFguIF9DbjH0rSFDNVcFtuIkE4tmAAgzkoD_JwV4-mu5gufAr7TeGzhYoWPyiPsRhfq-Bs_XzhIwxzT5tn-MeSsbqe3CeZGw56HeZGJbQ7wNyfbRRYbOI6_1se9rltONteu2Bl-mJnYs2DHKZF72AyqK5FaL6DwoA/w298-h400/31addo_vas-arduini%20-%20Madonna%20addolorata%20di%20Valentano.jpg" width="298" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>La Madonna Addolorata di Valentano (foto M. Arduini)</i><br /></td></tr></tbody></table><p></p><p></p><p><!--[if gte mso 9]><xml>
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</p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">La loro espressività, concentrata per lo più nel
volto e nello sguardo, è spesso carica, e ben si lega all’alto grado di
verosimiglianza che esse devono possedere per fare presa sui fedeli,
espressività ulteriormente accentuata dal fatto di indossare dei veri abiti di
stoffa, e dal frequente utilizzo di fluenti parrucche di capelli altrettanto
veri.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">E’ una statuaria proveniente da secoli diversi,
di cui si hanno testimonianze anche nel mondo antico e poi in quello medievale,
ma la cui diffusione su larga scala in tutto l’area cattolica si ha a partire
soprattutto dal periodo postconciliare, periodo in cui cominciano a diventare
operanti una serie di disposizioni relative alle modalità di culto e
all’efficacia delle immagini, disposizioni che devono specificamente servire ad
uniformare i sentimenti religiosi dei fedeli. E’ una tipologia fortemente incentivata
dal Concilio di Trento, con una produzione che continuerà copiosamente per
tutto il Seicento, il Settecento e parte dell’Ottocento.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">Nella seconda metà del XIX secolo e agli inizi
del XX vi è un’inversione di tendenza, e nelle visite pastorali si incomincia a
registrare una sempre maggiore insofferenza da parte dei vescovi nei confronti
di modalità di culto troppo personalizzate e quasi sempre gestite da personale
esterno ai ranghi ecclesiastici (famiglie, pie donne, membri delle
confraternite, ecc.).</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">In questo periodo si va dunque affermando,
conseguentemente alle nuove direttive, una attività di dismissione di queste
statue che sovente vengono abbandonate in angoli nascosti delle sacrestie,
relegate nel chiuso degli armadi, o addirittura vengono smembrate, gettate via,
vendute. Molte sopravvivono tenacemente, per volontà dei fedeli, o per
l’iniziativa di gruppi organizzati di devoti.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">Nell’area viterbese la notizia più lontana nel
tempo che abbiamo in merito a vestizioni e doni di abiti proviene da un’indagine
storica effettuata da Bonafede Mancini<a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftn2"><span style="color: blue;">[2]</span></a>: si tratta di
una Madonna del Rosario di Onano data come esistente già nel 1562:</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;"><i>L’usanza di vestire e donare abiti alle statue
della Vergine Maria e dei Santi ha in Onano una lunga tradizione. Una prima
notizia ci viene fornita dall’inventario dei beni dotali della defunta Donna
Giulia di Gioacchino Pantaleoni e Donna Violante. Dal rogito, dato in Onano il
17 gennaio 1562 nella casa del suddetto Pantaleoni, posta nella parrocchia di
S. Giovanni, conosciamo che Donna Giulia aveva lasciato “una vesta rossina data
e donata alla Madonna di Petischia (?) con una tovaglia al servitio del
altare”. A.S.Vt. Not. Acquap. A. Capitani, prot. 223 (1561-1567), c. 9v.</i><a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftn3"><i><span style="color: blue;">[3]</span></i></a><i> </i></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;"> Nell’area romana abbiamo un caso attestato
di vestizione della statua di S. Pietro nella basilica vaticana per la festa
del 29 giugno a Roma, nella seconda metà del Trecento e sembra essere il primo
caso conosciuto riguardante una statua romana<a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftn4"><span style="color: blue;">[4]</span></a>; per l’area
veneziana, indagata da Riccarda Pagnozzato, troviamo testimonianza della
vestizione dell’Annunziata di S. Stefano nel 1382<a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftn5"><span style="color: blue;">[5]</span></a>.</span></p>
<span style="font-family: inherit; font-size: large;"><span style="line-height: 107%;">La
ricerca sviluppata nel viterbese, via via che si è andata dipanando, ha
mostrato numerose facce e sempre più mi è parso potesse contenere spunti e
motivazioni di grande interesse e puntare ad arrivare a risultati
significativi. Nei piccoli centri di tradizione agricola, nei culti e nelle
cerimonie religiose tramandate da molte generazioni, si può leggere una sorta
di humus, di atmosfera culturale che si connette al territorio, che lo racconta
attraverso gesti, presenze, segni.</span> </span><p></p><p style="text-align: center;"><span style="font-family: inherit; font-size: large;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXRRYVRxr-tuQ10NHtc0SpWyTK8bjIZfmW4NNdGhyjG7JpPSYB38UdLksmi-Nv26PkrN6C48ttPvniAXtbbjYeRWvIHtwSRyRrNqwpZ-CxnPzoH-teJc_IsMlQd3d_cBo7fGbWe6hw0OCiOt5097l9FgG7tNDqVs-Jdnl_UUZ-UwQQFC4WQezUERQxvw/s661/addolorata_gallese-arduini.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="661" data-original-width="450" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXRRYVRxr-tuQ10NHtc0SpWyTK8bjIZfmW4NNdGhyjG7JpPSYB38UdLksmi-Nv26PkrN6C48ttPvniAXtbbjYeRWvIHtwSRyRrNqwpZ-CxnPzoH-teJc_IsMlQd3d_cBo7fGbWe6hw0OCiOt5097l9FgG7tNDqVs-Jdnl_UUZ-UwQQFC4WQezUERQxvw/w273-h400/addolorata_gallese-arduini.jpg" width="273" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>La Madonna Addolorata di Gallese (foto M. Arduini)</i><br /></td></tr></tbody></table><span style="font-family: inherit; font-size: large;"><br /></span><p></p><p style="text-align: left;"><!--[if gte mso 9]><xml>
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</p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">Nello stesso tempo può apparire al ricercatore
una trama di storie e di racconti legati a fatti, a luoghi, a riti, a
gruppi, a comunità, quasi a formare un tessuto. Vi si possono cogliere legami
organizzati tra luoghi, oggetti e persone e vi si possono dunque disegnare
interessanti scenari simbolici. Tutto questo consente di dedicare attenzione a
situazioni per così dire marginali, ma che si presentano sulla scena sociale
con grande tenacia.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">E quindi appare possibile rintracciare
significati culturali di un certo rilievo che raccontano importanti pezzi
della realtà di un mosaico complesso, agito storicamente da uomini e donne in
quanto soggetti attivi e interpreti di forme composite di socialità. Non si può
negare che tutto questo processo, insito nell’attività di ricerca, conduca
sovente a scoperte di grande interesse e che il ricercatore rimanga come
impigliato in una rete di nessi che via via appare sempre più chiara, pur
continuandosi ad evidenziare ulteriori possibili contiguità. E che di
conseguenza egli sia portato sempre più ad approfondire ed a collegare.
Approfondire il particolare e collegare al generale.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">E’ questo, a mio avviso, il caso in cui trova
attuazione un meccanismo di conoscenza incardinato nella prassi antropologica,
che, come ben suggerisce Kilani, consente di concentrare la propria attività in
piccole unità da cui poter cogliere elementi più generali su cui costruire una
analisi tendenzialmente complessiva della società. Scrive Kilani:</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;"><i>Le unità sociali prese in considerazione sono
‘ristrette’ nel senso che corrispondono generalmente a piccole comunità in cui
le relazioni sociali sono concrete e direttamente osservabili dal ricercatore.
Queste comunità devono ugualmente presentare una certa coerenza interna (…) e
una certa coesione rispetto all’esterno (…).</i></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;"><i>La posizione di decentramento e di osservazione–partecipazione
dell’antropologo gli permette di ‘estrapolare il globale a partire dal locale’.
In altre parole, le relazioni messe in evidenza al livello del locale saranno
simultaneamente collocate nel sistema socio-economico e culturale globale. Di
conseguenza, si può definire l’antropologia come la disciplina che pensa il
rapporto fra particolare e generale, che tenta cioè di analizzare la logica e
la trasformazione dei rapporti sociali propri alle unità locali, cercando nel
contempo di spiegare la logica complessa del mondo che le circonda.</i><a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftn6"><i><span style="color: blue;">[6]</span></i></a></span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT; mso-font-kerning: 0pt; mso-ligatures: none;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0tEDgqYi-GepjyKkpmXSiVY5H6SHOer-DzaK75QBQlfEZVapPceUWbTxvV4fBE4BVFhOtqSbO9UEIHkGOjM4xoF9uwJrLGWUwhYyNFYWcscpxO-hmkmEVzNLNUGTI-q029kg31hI8Wa76hbxCa-l41geY7h6Yrfo0NPadg39nZrE6r7pEFzN37noNfg/s477/26addo_valentano-arduini.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="477" data-original-width="450" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0tEDgqYi-GepjyKkpmXSiVY5H6SHOer-DzaK75QBQlfEZVapPceUWbTxvV4fBE4BVFhOtqSbO9UEIHkGOjM4xoF9uwJrLGWUwhYyNFYWcscpxO-hmkmEVzNLNUGTI-q029kg31hI8Wa76hbxCa-l41geY7h6Yrfo0NPadg39nZrE6r7pEFzN37noNfg/w378-h400/26addo_valentano-arduini.jpg" width="378" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>La Madonna Addolorata di Valentano (foto M. Arduini)</i><br /></td></tr></tbody></table><br /><p></p><p style="text-align: left;"><!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="header"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="35" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="line number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="1" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
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<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
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<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
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<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
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<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
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<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
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<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
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<w:LsdException Locked="false" Priority="21" QFormat="true"
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<w:LsdException Locked="false" Priority="31" QFormat="true"
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<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
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<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
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</p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">Accade poi che gli antropologi, venendo a
contatto con situazioni di ricerca in cui sono protagonisti uomini e donne, si
sentano spesso trascinati, più o meno consapevolmente, verso forme di
comprensione e condivisione di umani destini. E che questo funzioni da
ulteriore stimolo per una ricerca che già si presentava interessante.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">E qui non si può, a mio avviso, evitare di citare
il fondamentale contributo di Ernesto de Martino, all’interno di una visione in
cui gli studi storici e quelli etnologici sono indissolubilmente uniti, e
trovano la loro ragion d’essere dentro un grande, utopistico, progetto di uno
storicismo integrale, ovvero di un’indagine storica ed etnologica comprensiva di
tutti gli aspetti e di tutte le classi sociali, di tutti i fenomeni e di tutte
le espressioni, anche le più minute, anche le più nascoste, anche le più
tralasciate dai processi storico-politici.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">Sostanziato da una dimensione etica di grande
impatto, il progetto conoscitivo demartiniano, era soprattutto rivolto ad
accogliere nel consesso nobile della storiografia quelle che lui chiamava le
“umane dimenticate historie”, cioè le <i>historie</i> di coloro che non erano
ancora entrati nella storia perché marginalizzati, estromessi, dimenticati,
nullificati. Nella visione dello studioso napoletano, anzi, l’incontro
etnografico tra il ricercatore e l’altro (lo studioso e <i>l’alieno</i>,
secondo la sua terminologia) non produce semplicemente e soltanto uno speciale
avvicinamento umano tra soggetti diversissimi per formazione ed appartenenza
sociale, ma favorisce una sorta di “shock” che produce la messa in discussione,
e il conseguente allargamento, delle categorie conoscitive precedentemente
possedute da entrambi.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">Di qui la formulazione da parte di Ernesto de
Martino della teoria dell’etnocentrismo critico, che tanta influenza ha avuto
nel dibattito scientifico nazionale ed internazionale degli ultimi decenni e
sulla quale qui non posso certo dilungarmi<a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftn7"><span style="color: blue;">[7]</span></a>.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">Insomma posso affermare che l’interesse per
questo tipo di ricerca per me è scattato e si è coltivato sia per motivi di
tipo scientifico interni alla mia attività di antropologo, soprattutto di
antropologo del territorio, sia in relazione ad una sorta di umana <i>pietas</i>
– condivisa peraltro, ho poi scoperto, da Riccarda Pagnozzato, meritevole
antesignana in questo campo - per aspetti ed oggetti legati agli
oscuri vissuti individuali delle persone, per cose e situazioni marginali
eppure forti nella loro silenziosa e sicura tenacia.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">La mia ricerca si è concentrata sull’area
geografica corrispondente al viterbese, quella che si usa chiamare Tuscia,
avendo come primo obiettivo quello di verificare la diffusione di questa
statuaria e delle relative pratiche rituali connesse ai culti, sia pubblici che
privati. Un vero e proprio censimento in un’ottica storico-antropologica, che
possa rendere ragione delle presenze, sia delle situazioni ancora vive, sia di
quelle parzialmente, o del tutto, in abbandono, sia infine di quelle scomparse.
Una possibile analisi delle persistenze, dei mutamenti e delle vicissitudini
più recenti dei culti.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">Il secondo obiettivo è stato ed è quello di
contribuire a formare, nel corso del tempo, una sorta di archivio, che conservi
documenti e testimonianze di tutti i tipi, e che si articoli su documenti
cartacei, fotografici, filmati, registrazioni audio etc., insomma un archivio
che raccolga e conservi tutto il materiale documentario che è possibile
reperire e produrre. Un archivio che possa dare luogo, nel caso di progetti
mirati, ad eventi pubblici, presentazioni, esposizioni, convegni, pubblicazioni
monografiche, cataloghi o altro<a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftn8"><span style="color: blue;">[8]</span></a>.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">Il metodo antropologico, com’è noto, prevede un
utilizzo integrato di fonti plurime, e la ricerca si è mossa attraverso un
ampio ricorso sia a fonti scritte che a fonti orali, nonché all’impiego dell’osservazione
diretta dei fenomeni e degli oggetti indagati, laddove è stato possibile. In
alcuni casi, quelli più privati e quelli svolti nella segretezza più assoluta,
l’osservazione di estranei è tassativamente preclusa e quindi non siamo stati
ammessi a partecipare.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">In qualche raro caso ciò è stato possibile ed
abbiamo anche avuto il privilegio di assistere al rituale della vestizione
della statua. In molti casi siamo riusciti ad avere testimonianze dirette dalle
persone coinvolte nei rituali di vestizione e di custodia delle statue e degli
abiti. E quindi siamo riusciti a mettere insieme una serie di punti di vista,
per così dire, “interni” al rituale stesso, ovvero a realizzare, per lo
meno in una qualche misura, l’obiettivo principale delle correnti antropologiche
più moderne, quelle di tipo interpretativo.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">La moderna antropologia culturale di impronta
statunitense prevede infatti che il compito prioritario del lavoro
antropologico sia quello di far emergere il cosiddetto “punto di vista dei
nativi”, come lo chiamava Clifford Geertz, padre riconosciuto di questa
corrente<a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftn9"><span style="color: blue;">[9]</span></a>. Il suo
obiettivo principale è quello di indagare il punto di vista delle persone che
vivono dal di dentro delle situazioni, da protagonisti, in altre parole
l’interpretazione che gli operatori rituali forniscono del loro stesso operato.
L’antropologo deve fare in modo che emergano i significati coscienti. Sarà poi
lui stesso a interpretare questi significati (il gioco di parole che fa Geertz
è che dunque l’antropologo deve interpretare delle interpretazioni) e a
collegarli via via ad altri significati su scala più ampia.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">Lavorando in questa direzione e con tali
presupposti, abbiamo realizzato numerose interviste che sono parte integrante
delle studio etnografico effettuato e tuttora in corso d’opera.</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3jec_1o9yfsZ0lzz2yFq-EEGE0Sqnl8mCMGSM7SW8qzh6I0F3r-ZoFBwCxbtrgtyzLXGPzNepCSdQlJ0e-V678y7DbH0Rgn4j6hufO6RrlNbiLqasJuzHcctXxzDLXX7NYtZnCfXUiHdOQrv_RnTRX-DxmukE--Is0EfUbLDrkca4laSULzeQxN_uvA/s529/12add_bagnaia-arduini.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="529" data-original-width="450" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3jec_1o9yfsZ0lzz2yFq-EEGE0Sqnl8mCMGSM7SW8qzh6I0F3r-ZoFBwCxbtrgtyzLXGPzNepCSdQlJ0e-V678y7DbH0Rgn4j6hufO6RrlNbiLqasJuzHcctXxzDLXX7NYtZnCfXUiHdOQrv_RnTRX-DxmukE--Is0EfUbLDrkca4laSULzeQxN_uvA/w340-h400/12add_bagnaia-arduini.jpg" width="340" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>La Madonna Addolorata di Bagnaia (foto M. Arduini)</i><br /></td></tr></tbody></table><br /><p></p><p style="text-align: left;"><!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
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</p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">I casi che hanno avuto maggiore approfondimento
sono stati quelli di Oriolo Romano, Vetralla, Capranica, Barbarano Romano,
Valentano, Soriano nel Cimino, Tuscania, Bagnaia (VT), Vitorchiano, Piansano,
Gallese.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">Laddove possibile, abbiamo dunque realizzato
lunghe interviste strutturate in modo aperto, ma che si sono via via andate
definendo secondo uno schema suddiviso in diversi punti.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">Nel corso degli anni, rendendomi sempre più conto
della quantità di aspetti connessi a questo tipo di ricerca, ho cercato di
dotarmi di uno strumento che mi consentisse di spaziare sui diversi piani
coinvolti e, così facendo, ho personalmente elaborato un elenco ragionato di
punti topici che, messo alla prova del terreno e via via modificato, si è
poi assestato in una sorta di griglia conoscitiva indirizzata ad abbracciare il
fenomeno nella sua ampiezza.</span></p>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg38G4qCpzEm-C9-EGDC4UeXKBI2B_zLUz33Sv5YGsrK3tdKth_o5er-CtV814zNebISwxJVNjhvLRsV3pIGRFgIWjJ20UQOMrBEtubJA0kozrQTioeSsX85HCmSryh26qEiBVnrwRDNqCNxI25kj7_VIcVaAW18FPdxIRa5CsZNDOQuxYwOkJBqY68kQ/s561/19addo_tuscania_braconi-arduini.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="561" data-original-width="450" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg38G4qCpzEm-C9-EGDC4UeXKBI2B_zLUz33Sv5YGsrK3tdKth_o5er-CtV814zNebISwxJVNjhvLRsV3pIGRFgIWjJ20UQOMrBEtubJA0kozrQTioeSsX85HCmSryh26qEiBVnrwRDNqCNxI25kj7_VIcVaAW18FPdxIRa5CsZNDOQuxYwOkJBqY68kQ/w321-h400/19addo_tuscania_braconi-arduini.jpg" width="321" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>La Madonna Addolorata di Tuscania (culto domestico presso famiglia Braconi)</i></td></tr></tbody></table><p></p><p style="text-align: left;"><!--[if gte mso 9]><xml>
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</p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">E’ con tale strumento, (abbastanza consolidato
pure se da considerare non esaustivo) che negli ultimi anni l’indagine si è
misurata, anche se non sempre sfruttando pienamente tutta la sua articolazione.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">I punti individuati sono i seguenti:</span></p>
<p class="MsoNormal" style="line-height: normal; margin-left: 18pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;"><i>1.
Censimento delle statue e della loro diffusione sul territorio viterbese (con
distinzione tra quelle con il culto attivo e quelle con il culto abbandonato); </i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-left: 18pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;"><i>2.
La statua. Notizie sul manufatto, descrizione, eventuali restauri; </i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-left: 18pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;"><i>3.
Collocazione della statua, con note su eventuali basi o troni lignei, comprese
le macchine processionali;</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-left: 18pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;"><i>4.
Le suppellettili, gli ori, gli ex voto; eventuali donazioni;</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-left: 18pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;"><i>5.
Gli abiti. Descrizione con notizie sulla loro provenienza; chi li ha
confezionati, chi li ha donati, chi li custodisce, chi se ne occupa;</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-left: 18pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;"><i>6.
Rituale della vestizione della statua. Ruoli e modalità attuali e confronto col
passato. Rituale pubblico o privato, palese o segreto;</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-left: 18pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;"><i>7.
Significati attribuiti dai partecipanti ai rituali di vestizione; eventuali
privilegi, demarcazioni, conflitti; rapporti con le gerarchie ecclesiastiche;</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-left: 18pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;"><i>8.
Forme e modalità del culto. Eventuale culto domestico (custodia in casa
privata);</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-left: 18pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;"><i>9.
Descrizione della eventuale processione;</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-left: 18pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;"><i>10.
Specifici patronati e specifiche protezioni;</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-left: 18pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;"><i>11.
Storie, racconti, leggende, miracoli;</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-left: 18pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;"><i>12.
Visioni, apparizioni;</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-left: 18pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;"><i>13.
I luoghi: il santuario, la chiesa, il quartiere, il paese;</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-left: 18pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;"><i>14.
Avvenimenti storici documentati;</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-left: 18pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;"><i>15.
Confraternite maschili e femminili preposte in tutto o in parte al culto;</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-left: 18pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;"><i>16.
Eventuali altre associazioni o gruppi con ruoli attivi di supporto;</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-left: 18pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;"><i>17.
Descrizione della festa. Avvenimenti, cerimonie, usanze, cibo. Rapporto
sacro/profano. </i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-left: 18pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;"><i>18.
Rapporto con il calendario liturgico tradizionale;</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-left: 18pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;"><i>19.
Significati attribuiti alla festa dai partecipanti; emergenza del “vissuto”
della festa;</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-left: 18pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;"><i>20.
Note biografiche e autobiografiche delle vestitrici;</i></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 12pt; margin-left: 18pt; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;"><i>21.
Bibliografia e sitografia</i></span><span style="font-family: inherit; font-size: 12pt;"></span></p>
<p></p><p style="text-align: center;"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiOmY4UBUdv83Asrld1-Ju7oIY7nS2yj5hitOBuG6cNUM5Tz0XUdCH0G4RhaDEP4rkwhg1HxzingrgoKkw3qcm6YnY-TAoKn2riQ55aQpelcP0JJbzWvB3ll32DgksMvACSYs5Uze0dFDXMoVsdq9uiJYCutrH9t18n_yzvGqZQEIlSMYAVParxJG2vg/s669/36carmelo_vetralla-arduini.jpg" style="font-family: inherit; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="669" data-original-width="450" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiOmY4UBUdv83Asrld1-Ju7oIY7nS2yj5hitOBuG6cNUM5Tz0XUdCH0G4RhaDEP4rkwhg1HxzingrgoKkw3qcm6YnY-TAoKn2riQ55aQpelcP0JJbzWvB3ll32DgksMvACSYs5Uze0dFDXMoVsdq9uiJYCutrH9t18n_yzvGqZQEIlSMYAVParxJG2vg/w269-h400/36carmelo_vetralla-arduini.jpg" width="269" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i style="font-family: inherit;">La Madonna del Carmelo di Vetralla</i><span style="font-family: inherit;"><br /></span></td></tr></tbody></table><span style="font-family: inherit;"><br /></span><p></p><p style="text-align: left;"><!--[if gte mso 9]><xml>
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</p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">La statua della Madonna del Carmelo di
Vetralla, di probabile manifattura tardo seicentesca, è una raffigurazione
della Vergine con il Bambino. Il busto è fatto con assi di legno e materiali
compositi da imbottitura, gli arti superiori sono snodati e i capelli sono veri,
(possiede due parrucche) mentre il bambino è in legno scolpito e dipinto.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">La sua residenza abituale è dentro una teca di
vetro nella navata destra della Chiesa dei Santi Filippo e Giacomo (Chiesa che
fino al 1944 era intitolata a S. Antonio Abate). La statua ha avuto un recente
restauro nel 1999, mentre il Bambino era stato sostituito l’anno prima
attraverso una donazione delle Monache carmelitane del Monastero di Monte
Carmelo.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">Non abbiamo una datazione certa, ma è stato
possibile ricostruire che in passato, poiché la Chiesa dei Santi Filippo e
Giacomo era officiata sporadicamente, la Statua era tenuta in custodia presso
una famiglia, la famiglia Moretti, che provvedeva in tutto e per tutto alla sua
cura. Veniva portata in Chiesa soltanto nel periodo della festa che cade
l’ultima domenica di maggio.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">La Madonna del Carmelo di Vetralla possiede due
abiti, uno di broccato, che indossa tutto l’anno e un altro, che veste per la
festa, la cui stoffa, secondo quanto ci viene riferito dalle vestitrici, è
frutto di un dono di una donna siriana, che la regalò alla Vergine nel secolo
scorso in memoria di un figlio morto in un incidente. Durante la ricerca
abbiamo rintracciato un dattiloscritto, fornitoci da una delle vestitrici, la
signora Carla Iori, che descrive in modo puntuale il corredo della Madonna:</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;"><i>Uno con rose di color rosa-antico ricamate su
fondo beige, accompagnato da scarpette dello stesso tessuto (unico pezzo del
genere presente) e dal vestito del Bambino Gesù, l’altro con un fondo anch’esso
beige ma con fiori verdi è foderato di stoffa celeste: l’abito presenta una
curiosità, infatti la parte posteriore del vestito è costituita da due pannelli
di differente fantasia di fiori. Ciò fa avanzare varie ipotesi come l’utilizzo
di pezze di un vestito precedente per risparmiare denaro, oppure l’aggiunta dei
pannelli quando l’immagine venne tolta dalla nicchia per essere portata in
processione dove appariva a tutto tondo. Sono presenti altri pezzi:</i></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;"><i>1° : quattro corpetti con maniche (beige, giallo
e celeste);</i></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;"><i>2°: due vestitini del Bambino Gesù di colore
celeste e rosa;</i></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;"><i>3°: due camicie bianche di lino con lo stemma
della Madonna;</i></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;"><i>4°: varie camicette bianche del Bambino Gesù;</i></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;"><i>5°: tre gonnelline per il Bambino Gesù;</i></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;"><i>6°: un manto celeste della Madonna;</i></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;"><i>7°: un velo rettangolare di circa due metri
(forse il velo che chiudeva la nicchia della Madonna delle Murelle);</i></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;"><i>8°: tre soprammaniche nere ricamate.</i><a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftn10"><i><span style="color: blue;">[10]</span></i></a></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">Gli abiti sono tuttora custoditi dalla famiglia
Moretti, mentre della vestizione si occupano due donne appartenenti alla
Congregazione delle Sorelle della Madonna del Carmelo, la già nominata Carla
Iori (oggi 54 anni) e una sua amica da lei cooptata, Gabriella (oggi 44 anni).</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">Al rito della vestizione non viene ammesso
nessuno se non alcune donne più anziane che in passato erano state vestitrici e
che attualmente assistono, limitandosi a cambiare l’abito del Bambinello e a
espletare una sorta di supervisione fatta di consigli e commenti. La
vestizione, rigorosamente a porte chiuse, viene attualmente effettuata
all’inizio del mese di maggio perché il parroco nel 1974 decise che la
Madonna doveva essere tenuta esposta alle preghiere dei fedeli per tutto il
mese, dopo essere stata collocata sul suo trono processionale di metallo
dorato.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">Precedentemente avveniva invece due o tre giorni
prima dell’ultima domenica di maggio, giorno della solenne processione per le
vie del paese, in un percorso sul quale viene preparata una composita e
tradizionale infiorata. Se le donne sono protagoniste del rito della
vestizione, gli uomini lo sono per il trasporto della statua durante la
processione che li vede, a gruppi di dodici per volta, darsi il cambio lungo un
tragitto che attraversa tutto il centro storico per poi ritornare alla chiesa.
Pare che il numero elevato di persone desiderose di portare la statua della
Madonna dia luogo ogni anno a vivaci e reiterate discussioni per l’attribuzione
di tale onore. </span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">Una particolarità è data inoltre dal fatto che
alla fine della processione, giunti ormai davanti alla chiesa dove la
Madonna deve essere depositata, gli uomini addetti al trasporto compiono una
sorta di rito dal sapore eminentemente maschile, con una prorompente
dimostrazione di virilità: i portatori alzano ripetutamente in aria la macchina
e la statua gridando a piena voce “Viva Maria”, con gesti accentuati di forza e
di giubilo insieme. Così davanti al pubblico dei fedeli sanciscono
euforicamente e apotropaicamente il buon esito della processione, la fine dello
sforzo, il loro protagonismo.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">Ci è stato riferito dalle vestitrici di come tale
rituale, apparentemente spontaneo ed estemporaneo, ma evidentemente collegato a
rituali maschili di tipo performativo di lontana ascendenza storica, il cui
significato non può non far presagire uno sfondo sessuale arcaico, venga anche
criticato dal personale femminile che esprime ansia e preoccupazione sulla
sorte della statua lanciata in aria. E in questo frangente la distinzione dei
ruoli di genere appare molto netta e quasi resa istituzionale, poiché le donne,
d‘accordo con il parroco che dal canto suo probabilmente non vede bene queste
esplosioni “incontrollate e incontrollabili”, formulano tutte le volte una
sorta di raccomandazione che però viene regolarmente disattesa:</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;"><i>In chiesa, davanti alla chiesa, cosa che noi ci
raccomandiamo sempre di non fare, così Don Lamberto, ma loro lo fanno sempre,
la tirano per aria. A me me fanno sentì male ogni volta […]Alla fine, davanti
alla porta della chiesa, loro si mettono lì e la tirano proprio su, ma quasi a
lasciarla, tre volte […] urlano ”Viva Maria!”… è una tradizione, l’hanno fatta
sempre</i><a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftn11"><i><span style="color: blue;">[11]</span></i></a><i>. </i></span><span style="font-family: inherit; font-size: 12pt;"></span></p>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTB2-naVbOMdlaUqO6GHg9oGkeTRwx6B7iqYqIGGVjP3-yhi7g5mAiZr6-dBkp_HNr6mZg1xaba1DIutG9XR5-PT5RzPvWUgvGuyC18cZPLSkAh1mg3ohIs4aprOhPv55jY1f79jXXPAgRmVhajeGTbJT5AwCx8hYsGIMP0k9-OxijwWy47pyh77N4kg/s722/38rosario_piansano-arduini.jpg" style="font-family: inherit; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="722" data-original-width="450" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTB2-naVbOMdlaUqO6GHg9oGkeTRwx6B7iqYqIGGVjP3-yhi7g5mAiZr6-dBkp_HNr6mZg1xaba1DIutG9XR5-PT5RzPvWUgvGuyC18cZPLSkAh1mg3ohIs4aprOhPv55jY1f79jXXPAgRmVhajeGTbJT5AwCx8hYsGIMP0k9-OxijwWy47pyh77N4kg/w249-h400/38rosario_piansano-arduini.jpg" width="249" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i style="font-family: inherit;">La Madonna del Rosario di Piansano</i><span style="font-family: inherit;"><br /></span></td></tr></tbody></table><span style="font-family: inherit;"><br /></span><p></p><p style="text-align: left;"><!--[if gte mso 9]><xml>
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Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
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<![endif]--><span style="font-family: inherit; font-size: large;"><b><span style="line-height: 107%;">LA MADONNA DEL ROSARIO DI PIANSANO</span></b><span> <br /></span></span></p><p style="text-align: left;"></p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">La statua della Beata Vergine del Rosario fu
realizzata nel 1711, su commissione del curato Nicolò Fanti, dalle suore del
Monastero di S. Maria Maddalena a Monte Cavallo di Roma, come si può leggere in
una iscrizione incisa all’interno della testa:</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;"><i>“Nel 1711 Sr. Maria Regina Conelli, monaca del
monastero di S. M. Maddalena a Montecavallo a Roma, compì il nobile lavoro di
questa SS. ma Vergine Mater Dei memento mei. Questa Santa Vergine l’ha fatta
Sr.. Maria Regina Conelli con l’aiuto della monaca Sr. M. Serafini sua zia,
monache del Venerabile Monastero di S. M. Maddalena a Montecavallo in
Roma. SS. Vergine Maria vi prego assistete alla morte mia e vi raccomando
l’anima di mia zia.”</i><a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftn12"><i><span style="color: blue;">[12]</span></i></a></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">Il corpo è in legno imbottito mentre testa e mani
sono di cartapesta. La Vergine è assisa su un trono ligneo dorato e tiene
il Bambinello sul braccio destro, mentre nel sinistro ha un mazzo di rose.
Entrambi hanno i capelli veri. Sotto il pontificato di Papa Pio IX, nel 1863,
la Madonna del Rosario di Piansano, tramite Bolla Papale, ricevette l’onore
dell’Incoronazione.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">Della vestizione si occupano attualmente alcune
donne del paese. A partire dalla metà del Settecento e per lungo tempo
sia la statua che gli abiti erano custoditi presso una famiglia che deteneva
una sorta di privilegio chiamato “Jus patronato”. La famiglia si occupava di
ogni aspetto riguardante la statua, compresa la vestizione per la festa. Alcune
controversie sorte tra il sacrestano e la famiglia affidataria alla fine
dell’Ottocento fecero prendere all’allora vescovo la decisione che il tutto
dovesse passare sotto la diretta gestione della parrocchia e che l’onore di
vestire la Madonna fosse affidato alle Maestre Pie aiutate da alcune fedeli del
paese.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">I vestiti attualmente facenti parte del corredo
della Madonna sono sei, di cui quattro antichi, anche se non sappiamo se sono
quelli che venivano menzionati già nel 1772 in un inventario redatto
dall’Arciprete Gio Antonio Lucattini, in cui venivano attribuiti alla Madonna e
al Bambino:</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;"><i>“4 mute d’abiti, un di lama d’oro, una in
broccato, con fiori di seta bianchi e di color rose, una di broccatello d’oro
con fondo celeste e una di damasco di vari colori. Anelli d’oro 4; perle file
6; rosari 1 di granate con medaglia in filigrana ed uno di coralli con simil
medaglia.”</i><a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftn13"><i><span style="color: blue;">[13]</span></i></a></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">La devozione dei piansanesi per la Madonna del
Rosario è intensa, al punto che per la sua festa tutti coloro che risiedono
altrove (anche all’estero) tornano al paese per partecipare alle celebrazioni.
La Confraternita del Rosario fu istituita nel 1608 ed è la più antica del
paese. Alla Madonna del Rosario viene popolarmente attribuita una grande
quantità di grazie e di interventi miracolosi, tra i quali la cessazione
dell’epidemia di colera del 1855 e la protezione accordata ai soldati del paese
nelle due guerre mondiali. Si racconta inoltre che vi fu una guarigione
miracolosa toccata al Vicario Vincenzo Fabrizi nel 1861, che era stato colpito
da ictus, e che negli stessi anni l’intervento miracoloso della Madonna salvò
da una perniciosa forma di colera anche il Sig. Angelo Antonio Parri.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">La festa inizia la sera del venerdì precedente la
prima domenica di ottobre, quando la statua viene esposta all’ammirazione degli
astanti con un meccanismo molto particolare messo in atto per la prima
volta nel 1856 e diventato ormai una tradizione molto sentita al punto da
essere considerata irrinunciabile: la Madonna del Rosario appare da dietro l’altare
maggiore con una vera e propria ascensione, solenne e rituale, attuata per il
tramite di una macchina, che la innalza di alcuni metri fino a superare il
livello dell’altare stesso, in mezzo alla grande folla di fedeli assiepati
nella chiesa che ogni anno mostrano insieme stupore e giubilo quasi si
trattasse di un miracolo e accorrono a baciare le vesti della Vergine Maria.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">Tale cerimonia, molto spettacolare, tramandatasi
fino ad oggi, è talmente sentita dalla folla dei fedeli che si racconta della insurrezione
popolare che ci fu nel secolo scorso, precisamente nel 1933, quando il vescovo
Mons. Rosi tentò di eliminare la cerimonia dell’ascensione sopra l’altare
maggiore e i piansanesi difesero il loro rito con grande energia riuscendo a
mantenerlo vivo a dispetto della contrarietà della diocesi. Antonio Fagotto ci
riporta l’episodio:</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;"><i>La voce che il Vescovo stesse attuando il suo
proposito d’eliminare una volta per tutte la tradizione dell’ascesa, fece il
giro del paese in un batter d’occhio scatenando il finimondo. I piansanesi
pensarono che il Presule volesse portar via la Madonna per impossessarsi dei
non pochi monili d’oro. Armati di falci e forconi ed ogni altra diavoleria
tentarono di forzare la porta chiusa della parrocchiale all’interno della quale
era barricato il Vescovo, i preti, alcuni membri della Confraternita, il
sagrestano e i chierichetti, che puntellavano la porta aiutandosi con le croci
processionali. Il popolo era inferocito e se fosse riuscito ad entrare nel
tempio e a raggiungere il Presule, che nel frattempo Don Giacomo aveva fatto
uscire da una porta laterale, gli avrebbe fatto rivedere la città Falisca
alquanto malconcio.”</i><a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftn14"><i><span style="color: blue;">[14]</span></i></a><i> </i> </span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">Dopo questo solenne prologo dell’ascesa, ritenuto
fondamentale per l’avvio della festa, la domenica mattina all’alba vengono
sparati dei mortaretti mentre le campane suonano a festa; dopo il passaggio
della banda musicale la mattinata si conclude con la messa solenne, dopo la
quale la Madonna viene fatta ridiscendere e viene trasportata in processione
per le vie del paese, a spalla dai membri delle confraternite, su un trono
dorato ligneo datato 1862. Molti fedeli vanno in processione scalzi portando un
pesante cero in segno di penitenza. Una volta rientrata in chiesa la Madonna
del Rosario resta in esposizione per otto giorni.</span></p>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiD3_iUZOGPJDC_XFxlnaeNfrizcjm9sxRH97j9nBlCIxO6vL7TLJPP9XlbJ8CicMEKEI32n15QpaFGiCR17udXFR0grs8JdWhR3T4yHW5rIC6dpbx2AwOyBiDtVbEggCz6Sap0iLK2_EjizsOQGkoFF4qGZCNEqHZZBQmld7pzmM7aenBf7Y51LdYQLA/s620/34coroncina_valentano-arduini.jpg" style="font-family: inherit; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="620" data-original-width="450" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiD3_iUZOGPJDC_XFxlnaeNfrizcjm9sxRH97j9nBlCIxO6vL7TLJPP9XlbJ8CicMEKEI32n15QpaFGiCR17udXFR0grs8JdWhR3T4yHW5rIC6dpbx2AwOyBiDtVbEggCz6Sap0iLK2_EjizsOQGkoFF4qGZCNEqHZZBQmld7pzmM7aenBf7Y51LdYQLA/w290-h400/34coroncina_valentano-arduini.jpg" width="290" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i style="font-family: inherit;">La Madonna della Coroncina di Valentano</i><span style="font-family: inherit;"><br /></span></td></tr></tbody></table><span style="font-family: inherit;"><br /></span><p></p><p><!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
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<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
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<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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</w:LatentStyles>
</xml><![endif]--><!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
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mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
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mso-style-priority:99;
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mso-para-margin-top:0cm;
mso-para-margin-right:0cm;
mso-para-margin-bottom:8.0pt;
mso-para-margin-left:0cm;
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mso-pagination:widow-orphan;
font-size:11.0pt;
font-family:"Calibri",sans-serif;
mso-ascii-font-family:Calibri;
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mso-bidi-theme-font:minor-bidi;
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</p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;"><b>LA MADONNA DELLA CORONCINA DI VALENTANO</b></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">Questo è un caso di ritrovamento fortuito di un
simulacro che era stato dismesso e abbandonato probabilmente a seguito di
interdizioni venute dall’alto: la statua è stata infatti rinvenuta dal Gruppo
Archeologico Verentum<a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftn15"><span style="color: blue;">[15]</span></a> in un armadio della sacrestia della chiesa
di S. Maria, chiesa che fino al XVIII secolo aveva il nome di S. Maria
della Coroncina.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">Nella ricostruzione storica che lo stesso Gruppo
Archeologico ha effettuato, pare che la statua fosse collocata sull’altare
maggiore, secondo quanto riferiscono le visite pastorali dell’epoca, e che sia
stata tolta da questa collocazione sul finire del XIX secolo.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">Nella memoria storica locale, anche di tipo
orale, restano poche tracce che possano far risalire al culto. Una di queste,
significativa per il suo radicamento nel linguaggio della vita di tutti i
giorni, è costituita da un detto popolare diffuso nella colloquialità della
vita paesana, perché, quando qualche donna ha un abito di color azzurro, le si
dice:</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;"><i>Sie vestita d’azzurro come la Madonna della
Coroncina</i><a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftn16"><i><span style="color: blue;">[16]</span></i></a></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">Un’altra traccia è emersa da un a testimonianza,
resa da un membro del Gruppo Archeologico, secondo cui la festa della Madonna
della Coroncina era ogni anno appannaggio di una famiglia benestante di
Valentano che provvedeva, oltre che all’organizzazione, anche a dotare la
Madonna di denaro e altri beni materiali assegnati poi a giovani donne povere
che si dovevano maritare.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;"> “…<i> Lei
non si ricorda de ‘sta festa, però dice che la nonna sua una volta, quando era
giovane, ragazza diciamo, - erano famiglie benestanti, perché la prendevano
tutte le famiglie benestanti – ha preso la festa de questa Madonna. Davano dei
doni in monete, oppure, diciamo…lenzuola, ‘ste cose così per darle alle persone
povere che si dovevano sposare…una dote, una dote alla Madonna che poi serviva
per questo motivo…per le zitelle, per le giovani che si dovevano sposare”</i><a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftn17"><i><span style="color: blue;">[17]</span></i></a></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">Il culto della Madonna della Coroncina,
praticamente scomparso fino al 1995, è stato subito ripristinato ed ha ripreso
slancio presso la popolazione valentanese che lo pratica attraverso forme di
devozione molteplici quali visite, preghiere, doni, voti.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">La festa si celebra l’8 settembre, il giorno
della Natività della Vergine Maria (il secondo titolo è infatti quello della
Madonna della Natività), con una solenne processione. Anticamente, a partire
dal 1781 e fino al 1864, il giorno della processione venivano elette due
giovani, bisognose e morigerate, a cui veniva assegnata la dote di 15 scudi.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">L’assegnazione seguiva criteri molto rigidi e per
ottenerla le candidate dovevano possedere una serie di requisiti ritenuti
indispensabili, vale a dire essere figlie degli iscritti alla Confraternita
della Madonna della Coroncina, aver frequentato la scuola delle Maestre Pie di
Valentano, avere una condotta irreprensibile improntata ad una sana
moralità.Con il passare del tempo le regole divennero per alcuni aspetti più
sfumate e non si considerò più requisito indispensabile l’appartenenza
alla Confraternita, purché le giovani fossero di provata fede e impeccabili
sotto il profilo morale.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">Il simulacro possiede un solo abito, di colore
celeste chiaro, cucito da una donna del paese dopo il ritrovamento, ed ha un
mantello azzurro. Le due mani aperte davanti al busto tengono una coroncina.
Secondo la ricostruzione storica fatta dal Gruppo Archeologico Verentum,
la data di realizzazione della statua sarebbe tra il 1736 e il 1744.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">La cura della statua, dell’abito e delle
suppellettili è affidata alla giovane sacrestana e a qualche altra donna che
insieme provvedono anche alla vestizione. Nel frattempo, con il ripristino del
culto e delle devozioni dei fedeli, è riapparsa una delle forme tipiche di
rapporto con la divinità, quella del dono<a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftn18"><span style="color: blue;">[18]</span></a>. Il dono che
viene fatto dal devoto per stabilire un rapporto diretto, per avere un
contatto, per chiedere una grazia, per rendere più preziosa l’immagine della
Madonna. A questo proposito ci è stato riferito un episodio specifico:</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;"><i>“ …una signora inizialmente mentre che c’era la
festa di questa Madonna...la messa, la messa della Madonna, ha chiamato a me da
parte e m’ha detto dice: “senti io c’ho un paio di orecchini, ho visto che la
Madonna c’ha i buchi, certi buchi qua su, su...le orecchie...”, dice, “...non
c’ha gli orecchini, io vorrei donarglieli, gli orecchini a questa Madonna”.
Allora mi ha chiamato e...m’ha dato gli orecchini, gli orecchini, a me, a me
personalmente, sì. E’ andata a casa, ha preso gli orecchini e me l’ha date, me
la date e allora io e... e l’abbiamo messi insieme con Bonafede, e abbiamo
messo questi orecchini, poi lei...e diciamo...dieci giorni fa...sì dieci giorni
fa, diciamo...dopo alcuni anni, perché noi, quando è stata fatta
l’inaugurazione della Madonna eh, è stata fatta nel Novantacinque</i></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;"><i>e...siamo nel Duemila, cinqu’anni dopo e...è
venuta da me m’ha detto: “senti, io quando ho dato gli orecchini ho chiesto…
solamente pe’ un dono alla Madonna, ho chiesto una grazia, un qualcosa che a me
serviva e… diciamo pe’...una cosa pe’ il marito”. Dice: “questo...que...questo
che ho chiesto è andato a buon fine e...ora ho...e,...diciamo dopo gli
orecchini, ho l’anello, ho l’anello a casa” -dice- “vorrei donare anche
l’anello”.</i></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;"><i>Allora abbiamo… ho spostato la Madonna io, e...ho
detto senti: “Io, non posso mette l’anello perché tu doni un qualcosa alla
Madonna perché hai ricevuto da lei...e devi esse tu…”. Ha preso quest’anello,
gliho detto: “Senti, le devi mette tu al dito”. Ho detto: “te posso indicà il
dito dove tu le devi mette, ma non posso mette io al dito alla Madonna”. Ha
preso quest’anello e l’ha messo al dito che io...che io gli ho detto, l’ha
infilato da sé personalmente. e l’ha messo al dito, basta.”</i><a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftn19"><i><span style="color: blue;">[19]</span></i></a></span><span style="font-family: inherit; font-size: 12pt;"></span></p>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIEiPhAeJvFFxClFw23Km1_YKSeET1ZIamCHLVQR8RWIZ8EmuUfQA5CVQH6znqISLm9IVRexn6L-QEf9w-4vuHf2bJRCKmxgfjLfLlQqOkoikdZvkNQTEbS7F_DWBrNGTdhsNtU4XyYt0A3SIYRhL3GZVB55VpkpUGgYWGluoUXX0QX6DVmjJVc030Wg/s450/32add_fam.reali-arduini%20Soriano%20nel%20Cimino.jpg" style="font-family: inherit; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="306" data-original-width="450" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIEiPhAeJvFFxClFw23Km1_YKSeET1ZIamCHLVQR8RWIZ8EmuUfQA5CVQH6znqISLm9IVRexn6L-QEf9w-4vuHf2bJRCKmxgfjLfLlQqOkoikdZvkNQTEbS7F_DWBrNGTdhsNtU4XyYt0A3SIYRhL3GZVB55VpkpUGgYWGluoUXX0QX6DVmjJVc030Wg/w400-h272/32add_fam.reali-arduini%20Soriano%20nel%20Cimino.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i style="font-family: inherit;">La Madonna Addolorata di Soriano nel Cimino (culto domestico presso la famiglia Reali)</i><span style="font-family: inherit;"><br /></span></td></tr></tbody></table><span style="font-family: inherit;"> </span><p></p><p><!--[if !mso]>
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mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
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</p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;"><b>LA MADONNA ADDOLORATA DI SORIANO NEL CIMINO<br />
(culto domestico presso famiglia Reali)</b></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">Questa statua, con tutta probabilità risalente
alla fine del Settecento, fa parte di un fenomeno abbastanza diffuso di “culto
domestico”, esercitato cioè presso la propria abitazione dalla famiglia che ne
ha il possesso, in questo caso dalla famiglia Reali di Soriano<a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftn20"><span style="color: blue;">[20]</span></a>. Tale tipo di
culto prevede in alcuni casi un affidamento temporaneo, ogni anno ad una
famiglia diversa, che si fa carico per tutto il periodo degli onori e degli
oneri derivanti da tale affidamento e dell’organizzazione della eventuale
festa, in nome e per conto della comunità.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">In altri casi, come questo, il possesso è
permanente è un vero e proprio bene privato, tramandato per via ereditaria,
sottoposto però all’obbligo del culto pubblico nell’occasione della
processione. Questa Addolorata, interamente in legno scolpito e dipinto, è
conosciuta a Soriano nel Cimino come “quella che guarda in basso”, per differenziarla
da “quella che guarda in alto” che appartiene ad un’altra famiglia (famiglia
Ranucci). Ai primi del Novecento una donna della famiglia, Ernesta Reali, fece
dono alla Madonna di tutti i suoi capelli che la statua tuttora conserva.
Normalmente la statua veniva tenuta in una teca di vetro nella camera da letto
della signora Gina Reali dove noi l’abbiamo fotografata nel gennaio del 2000,
durante una intervista effettuata alla Sig.ra Reali, nata nel 1908<a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftn21"><span style="color: blue;">[21]</span></a>.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">Fino a quando non fu sostituita con una statua di
gesso, circa venti anni prima del nostro incontro con la Reali, la Madonna
veniva vestita e andava in processione ogni anno il Venerdì Santo per le
vie del paese, trasportata dagli uomini della Confraternita del Sacramento.
All’opera di vestizione provvedeva direttamente Gina Reali che aveva cominciato
quando era piccola con sua madre. La testa della statua è mobile e, insieme ai
piedi e alle mani, veniva portata il Giovedì Santo nella sacrestia della
Chiesa del Duomo, dove erano conservati i vestiti, la biancheria e
l’armatura di legno. E proprio in sacrestia avveniva la vestizione secondo
modalità consuetudinarie: si facevano uscire tutti gli estranei, specialmente
se uomini, si chiudevano le porte della chiesa e si dava inizio prima
all’assemblaggio dei pezzi e poi alla vestizione che veniva effettuata un tempo
dalla madre di Gina Reali, con la presenza della figlia bambina e con l’aiuto
di un paio di donne. Morta la madre, Gina continuò a fare le stesse operazioni
fin tanto che la statua fu portata in processione. Gina ricorda che partivano
da casa ed erano solo donne:</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;"><i>(…) noi portavamo la testa soltanto e là c’era lo
scheletro che era come se c’aspettava. Ci vestivano pure aldre Madonne,
perché c’era quella del Rosario, quella... nu mm’a ricordo(…) la Madonna del
Rosario ce l’avevano le Ferruzzi,</i><a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftn22"><i><span style="color: blue;">[22]</span></i></a><i> però tante
volte ho pensato: me sa che non ce sta più nessuno de la famiglia. Non lo so
che fine gl’hanno...gl’hanno fatto fa’ a la Madonna, non lo so... Noi
quand’era il Venerdì sa</i>...<i>il Giovedì santo ‘nnavamo
là in chiesa, vestivamo la Madonna, facevamo uscì tutte le persone che c’erano
e rimanevamo co’ la mamma, qualcheduna de le signorine</i> <i>che</i> <i>stavano
qua… e vestivamo ‘a Madonna, col velo, e... e poi la lasciavamo al sacerdote. E
poi l’ andavamo a riprende dopo che era stata in processione (…).</i></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;"><i>(…) Secondo come la mamma se trovava, c’erono
pure ragazze che guardavano, ma in chiesa no, in chiesa quanno poi la portavamo
in sacrestia per vestirla chiudevamo le porte perché gli uomini... non li
facevamo entrà. (…) Pe’ non fa’ vedé la madonna, a spojalla ce rimanevano
quelle due o tre persone che portavamo noi e basta.</i></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">Da quando non è andato più in processione il
simulacro è rimasto ininterrottamente in casa senza più uscire. Come accade in
questi casi di culto domestico, Gina Reali, erede e custode di una tradizione
di famiglia tramandata di madre in figlia, ha instaurato con la “sua” Madonna
un rapporto di preghiera e devozione quotidiano, un legame fatto di grande
confidenza e di grande intensità: in quanto presente e vicina in ogni momento
della giornata, viene considerata una particolarissima protettrice della casa e
della famiglia, ed è a lei che ci si rivolge in ogni circostanza in cui
c’è bisogno di un intervento speciale per risolvere un grave problema.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">Molto chiare, in proposito, le parole di Gina:</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;"><i>La Madonna fa parte della casa, chi prende
la casa prende la Madonna. (…) Il parroco non s’impicciava di niente, quella
era una cosa personale, nostra. Io l’ho vista sempre così nell’urna, prima
stava nella camera della nonna, non avemo toccato mai niente. Quando stavamo
male la Madonna se portava da la camera del malato, ma mai fori di casa (…)</i></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;"><i>La mamma mia aveva tanta fiducia, quando era in
stato interessante, quando ha perduto il marito…c’aveva cinque figli da cresce.
Lei si raccomandava sempre alla Madonna. Facevamo la novena alla Madonna, la
pregavamo sempre e la Madonna è rimasta così...l’ancora di salvezza. Io la
sera, non sia per ringraziamento, non vado a letto,</i> <i>c’ho un fazzoletto che mi metto qui ne la spalla, per paura che me
cade, mi rivolgo alla Madonna</i> <i>che mi dia la benedizione […] m’abbasso e
m’addormento(…) me sento più tranquilla, perché io non posso andà al letto se
non</i> <i>[…] allora me faccio bacià il fazzoletto...Queste so’ le storie
antiche.</i></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">Se questo caso di culto domestico non è
certamente isolato a Soriano nel Cimino, dove ben tre simulacri hanno avuto ed
hanno collocazione in case private, lo stesso si può dire analizzando i dati
provenienti del nostro censimento che vedono esempi analoghi in altri cinque
comuni, Marta, Piansano, Proceno, Tuscania, Valentano, Villa S. Giovanni in
Tuscia.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">Per Marta, Proceno e Valentano, si tratta
di simulacri scomparsi; gli altri sono ancora presenti. La Madonna del
Suffragio di Piansano – è una notizia ricevuta da pochi giorni, di cui non
abbiamo ancora i dettagli – è stata trasferita da una casa privata alla chiesa
del Suffragio. Insomma possiamo affermare che la forma domestica del
culto, nell’area della Tuscia, è piuttosto diffusa.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit;"><br /></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;"><b>RIFLESSIONI E CONCLUSIONI</b></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">Spero che questa breve carrellata su alcuni casi
di “Madonne vestite”, possa avere fatto intuire a chi legge la ricchezza di
motivi presenti nei contesti indagati e le diverse direzioni in cui può
condurre la ricerca. I risultati, per ciò che riguarda il censimento delle
presenze, ha dato risultati assolutamente imprevedibili solo pochi anni fa.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">Partiti nel 1999 dalla segnalazione di Antonio
Niero che, senza nessuna pretesa di esaustività, indicava tre comuni della
provincia di Viterbo con quattro effigi con gli abiti (Canepina, Piansano,
Vetralla),<a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftn23"><span style="color: blue;">[23]</span></a> effettuando
una ricognizione più o meno capillare su tutta l’area, siamo riusciti,
nell’arco di alcuni anni, a rintracciarne ben cinquantatre distribuite in
ventiquattro comuni e nove frazioni.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">La tipologia più diffusa è risultata di gran
lunga quella della Madonna Addolorata di cui abbiamo registrato ben ventisette
presenze; la Vergine del Rosario ne annovera quattro e poi vi sono casi doppi o
singoli di altro tipo, quali per esempio la Madonna delle Grazie, quella del
Suffragio, quella dell’Assunta, del Carmelo, del Divino Amore, della Salute,
dell’Aiuto, della Stella, della Coroncina (ovvero della Natività), etc. etc.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">Otto di queste Madonne sono scomparse e ne
abbiamo avuto notizia o da documenti o da testimonianze orali. Quarantacinque
sono invece ancora presenti sul territorio e la maggior parte di esse (circa
quaranta) hanno ancora un culto attivo. Una, come abbiamo visto (cfr. nota 19),
è stata musealizzata presso il Museo Nazionale delle Arti e delle
Tradizioni Popolari a Roma.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">Cifre come queste fanno riflettere sulla enorme
diffusione di un tipo di culto, delle sue profonde ramificazioni nelle comunità
locali, della quantità di persone coinvolte, della minuziosa presenza di forme
culturali e religiose attive anche se spesso misconosciute.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">Di fronte al fatto che negli ultimi lustri –
nonostante da molti versanti scientifici si levassero voci più o meno
cautamente contrastanti - si è sempre più dibattuto intorno al concetto
di identità culturale e che in diversi settori della società e ai vari livelli,
istituzionali, politici e culturali in genere, si è andata affermando la
tendenza a considerare sempre più importanti le caratterizzazioni date dai
presunti fattori identitari, io personalmente, sia come antropologo interessato
al piano teorico del problema, sia come antropologo che da molti anni conduce
ricerche sul territorio, mi sono chiesto più volte se ci fossero, e quali
fossero, i fattori identitari della cosiddetta Tuscia, se nel tempo
fossero cambiati. Recentemente c’è stato anche un Convegno all’Università della
Tuscia di Viterbo che si è interrogato in proposito.<a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftn24"><span style="color: blue;">[24]</span></a></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">Esistono questi elementi identitari? Chi lo
stabilisce? Con quale grado di autorità? E, nel caso, come si possono
rappresentare? Il dubbio forte, corroborato dal dibattito sviluppatosi da
diverso tempo in ambito di studi antropologici<a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftn25"><span style="color: blue;">[25]</span></a>, è che la
questione dell’identità sia invece paragonabile ad una impalcatura largamente
surrettizia, e che in fondo sia una costruzione ideologica rispondente a
bisogni storico-politici, come da più parti si sostiene. </span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">Che cosa intendiamo, per esempio, quando parliamo
di <i>memorie </i>e <i>tradizioni</i>? Si tratta dei contenuti di quel
“patrimonio” che, grazie all’UNESCO, è entrato ormai nel lessico della vulgata
antropologica e anche un po’ nel lessico comune, veicolato prevalentemente dai
mass media? E in che cosa consiste il <i>processo di
patrimonializzazione</i> , cioè l‘insieme delle operazioni e delle pratiche che
investono gli oggetti di studio e ricerca dell’antropologia
contemporanea, con lo scopo dichiarato di farne qualcosa di importante,
riconoscibile, proponibile, inseribile nei pacchetti turistici, diffondibile
attraverso i media?</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">E che cosa significa tale processo quando si applica
al campo della costruzione, della salvaguardia, dell’identificazione di
quell’insieme complesso di usi, costumi, abitudini, oggetti, riti, narrazioni
del e sul mondo, che creano radici, delimitano il passato, costruiscono memorie
e talvolta creano istituzioni? Si tratta soltanto della messa in forma –
ovvero dell’organizzazione - di <i>memorie e tradizioni</i> o comprende altri
elementi e implica altre prospettive?</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">Condividendo il pensiero di tanti studiosi, dagli
storici britannici Hobsbawm e Ranger<a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftn26"><span style="color: blue;">[26]</span></a> agli etnologi
francesi Amselle e Lenclud<a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftn27"><span style="color: blue;">[27]</span></a> (oltre ai numerosi antropologi italiani che
qui non cito per brevità), sono convinto che quando si parla delle tradizioni,
sempre e comunque si parla del presente. Se si parla di ieri, lo si fa sempre
in rapporto all'oggi, per fare confronti, stabilire gerarchie di valori, fare
differenze in meglio o in peggio, esprimere nostalgie; oppure semplicemente per
fuggire dal presente, per negarlo o esorcizzarlo. Per resistere a processi in
atto considerati negativamente. Per tentare di resistere a processi che
sembrano mettere a rischio di scomparsa qualcosa che è considerato importante.
Per mantenere in vita ciò che sembra essere spazzato via repentinamente dal
mondo globalizzato.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">La tradizione non è il passato, oggettivamente inteso.
Ciò che viene chiamato tradizionale e che continua a vivere tra noi è una
costruzione sociale e culturale, frutto di scelte soggettive, che gruppi
sociali più o meno ampi e comunità più o meno omogenee compiono sulla
base di esigenze presenti. Con una specie di sintetico slogan si potrebbe dire
che la tradizione non è il nostro passato, la tradizione siamo noi. La
tradizione nasce dall'intersecazione di tutti i nostri mondi compresenti nella
nostra attualità.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">Con questa linea di pensiero gli interrogativi
non possono fare a meno di rimbalzare, fitti, e di focalizzarsi su alcune
coppie di concetti come autentico/inautentico, puro/contaminato,
antico/recente. E ancora: integro/degradato, vitale/agonizzante;
interno/esterno, centrale/marginale. Concetti che sono subito richiamati da
quello di tradizione.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">Concetti che sono sempre presenti laddove si
attua un processo, più o meno consapevole, di messa in forma delle identità di
un luogo. E ancora: le identità di un territorio possono essere rappresentate meglio
da aspetti per così dire “agiti” da pochi individui o invece devono essere
riconosciute e vissute dalla maggioranza della collettività? Ed è preferibile
che i contorni identitari siano colti da persone estranee, in grado di
valutarne i caratteri con uno sguardo neutro e distaccato, oppure è più
veritiera una visione dall’interno, che ne illumini con passione e dedizione
anche i legami nascosti? E come è possibile trovare un equilibrio tra queste
prospettive?</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">In altre occasioni mi è capitato di citare alcuni
rituali della Tuscia come esempi di possibili squarci identitari, ovvero di
possibili rappresentazioni che illuminino un qualche carattere riconosciuto e
riconoscibile di questa terra: alcuni grandi riti primaverili di impianto
spettacolare e coinvolgente, pellegrinaggi a santuari locali, processioni
campestri, feste di ascendenza contadina (negli ultimi anni sempre più
sostenute e pubblicizzate dalle autorità locali), tradizioni orali.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">Indubbiamente anche i rituali di vestizione delle
statue mariane, che pure sono così numerosi, come la ricerca negli anni mi ha
dimostrato e che, pure nella loro riservatezza, coinvolgono, direttamente o
indirettamente, tante persone, gruppi, comunità, potrebbero ben figurare dentro
questo eccessivamente semplificato elenco. Sono portato a pensare che, proprio
per il loro carattere recondito, intimo, legato anche all’interiorità degli
individui, tali rituali siano molto utili per comprendere una serie cospicua di
elementi culturali e sociali, anche perché intorno a tali rituali ruota spesso
una “macchina complessa” fatta di altre cerimonie e liturgie, sociali e
religiose, forti, dense di implicazioni.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">Essi esprimono, se non addirittura incarnano,
significativi momenti di vita delle comunità sparse nel territorio viterbese, e
per di più (pur non essendone la continuazione diretta), sono storicamente
collegabili ad antiche pratiche presenti nel mondo precristiano. In questo
senso è difficile non attribuire loro il marchio della tradizione, cioè di
qualcosa la cui attestazione è molto antica: si tratta di un fenomeno connesso
alla ritualità delle devozioni popolari, che, partendo dal mondo classico,
attraversa i secoli risalendo dal Medioevo all’attualità e interessando buona
parte dell’Europa, in particolare la penisola iberica, l’Italia, la Francia e
anche le aree di diffusione della cultura cattolica in America latina.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">Ma è anche vero che tali pratiche sono diffuse in
larghissima parte del mondo religioso gravitante su tutti i lati del
Mediterraneo, e che dunque essi possono caso mai connotare una vasta porzione
del mondo cattolico nostrano. Ne consegue che dunque non possono, <i>strictu
sensu</i>, essere prese ad esempio per rappresentare la fisionomia di un
territorio circoscritto, vale a dire esprimere una sorta di segnale identitario
di una qualche zona dell’Italia – come per esempio la Tuscia - dove esse si
sono mantenute con particolare tenacia (peraltro tutto il Meridione d’Italia ne
costituisce amplissimo terreno di diffusione).</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">Usando categorie spazio-temporali, appare dunque
molto arduo parlare di forme di identità laddove esistono vastità territoriali
enormi e dimensioni cronologiche altrettanto dilatate.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">Certo è che queste pratiche rituali sono molto
dense di significati ad ampio raggio. Come ben illustra Elisabetta Silvestrini:</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;"><i>La vestizione e la cura dei simulacri religiosi
tridimensionali – tema importante nella storia del culto in ambito cattolico
-,rappresentano un fenomeno di grande interesse per gli studi di antropologia
religiosa. Lo studio dei simulacri “da vestire” implica l’utilizzazione di
alcune categorie concettuali, necessarie alla comprensione del rapporto tra la
divinità e il popolo dei fedeli: la “devozione”; il significato dell’immagine
della divinità; le visioni e le apparizioni; il “corpo santo” e il contatto; il
dono; la ritualità della vestizione; i simboli e le funzioni dell’abbigliamento
sacro</i><a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftn28"><i><span style="color: blue;">[28]</span></i></a><i>.</i></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">Se è vero, come dice Geertz, che la cultura può
essere immaginata come una sorta di testo, pieno di rimandi, da decifrare,
questo complesso insieme di fattori presenti all’interno del culto delle
Madonne con gli abiti fornisce gli spunti interpretativi per individuare alcune
significative dinamiche scaturite all’interno delle comunità dove i culti
si sono mantenuti. Si tratta di dinamiche che, protrattesi nel tempo, possono
illuminare alcuni importanti momenti dei processi, storici e attuali,
attraverso i quali si è realizzata l’integrazione di più elementi, che hanno
agito e ancora agiscono, sincreticamente, sulla scena delle forme
culturali religiose del territorio.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">Emergono sovente i contorni di forme di
religiosità potenzialmente diverse da quelle previste dalle liturgie ufficiali,
pure se attestate in una convivenza spesso pacifica.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">L’atteggiamento delle gerarchie è bivalente: può
essere favorevole, collaborativo, tollerante, più o meno marcatamente distante
o addirittura ostile a queste forme di devozione caratterizzate da soggettività,
spontaneità, iniziativa, gestione dal basso.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">Nei casi migliori, si aprono spazi di incontro e
di dialogo tra la chiesa locale, i gruppi più o meno istituzionali di fedeli
laici del posto, le diocesi e i poteri centrali.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">In qualche caso si generano dinamiche
conflittuali che portano a trasformazioni forzose delle pratiche, a
proibizioni, a irrigidimenti; in altri casi a progressivi cambiamenti percepiti
come assestamenti e adattamenti ai tempi che mutano.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">Sulla base di questi processi, forse ineluttabili,
una grande quantità di simulacri sono stati abbandonati, molti altri invece
hanno dimostrato una grande vitalità e si sono nel tempo anche valorizzati<a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftn29"><span style="color: blue;">[29]</span></a>, qualcuno
continua a vivere dignitosamente, qualcuno sopravvive, si potrebbe dire,
stentatamente.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">I simulacri che hanno ancora il culto attivo
nella Tuscia (sono la maggior parte di quelli da me censiti), lo devono, a mio
parere, a due fattori principali. Da un lato al fatto che esiste un
tessuto rituale forte quale quello, per esempio, della Settimana Santa, che
ovunque nel viterbese prevede processioni del Venerdì Santo con la statua
dell’Addolorata protagonista, processioni che quasi sempre presentano
ricostruzioni sceniche con un’impronta di accentuato realismo e con la
conseguente produzione di un pathos diffuso; del resto abbiamo già notato che
le statue dell’Addolorata sono nettamente le più numerose.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">Dall’altro al fatto che persiste, pure se
spesso sotterraneo, un tenace attaccamento di gruppi di fedeli (in forma
organizzata o meno che siano, come nel caso delle apposite confraternite) e
soprattutto delle donne devote che, per così dire, gravitano intorno alla
custodia degli abiti, alla vestizione e alla cura della statua. Sono proprio
queste ultime che, come moderne vestali, dedicano una parte importante della
propria vita al servizio della loro “specialissima signora”. Sono loro che si
fanno carico di tutto quello di cui la loro santa Vergine protettrice ha
bisogno, e a questo proposito mi sembra molto significativo il fatto che in
alcune zone della Spagna, le donne che vestono la Madonna sono chiamate con il
titolo di <i>camareras</i>, ovvero sono le sue cameriere.<a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftn30"><span style="color: blue;">[30]</span></a></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">Vestire la Madonna è un po’ come accudirla. Le
donne che se ne occupano sentono di godere indubbiamente di un onore
eccezionale – questo è emerso chiaramente durante la ricerca – E’ come se
avessero una piccola, ma altamente significativa, attribuzione di potere da
esercitare all’interno della comunità locale. Nel servizio che compiono,
intriso di una forte tensione emotiva e spirituale, è come se avessero un
mandato, quello di rappresentare l’intera comunità dei fedeli che ha fatto loro
delega di questo compito. Esse, più o meno consapevolmente, sono l’espressione
di questa comunità, ad esse molti individui si rivolgono per chiedere, per
esprimere desideri, per sollecitare forme di scambio.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">Queste donne sono in qualche modo l’espressione
della volontà di contatto diretto con il sacro. Un contatto diretto che rende
possibile un rapporto , che lo struttura e lo carica di molti contenuti su
diversi piani. Se la brama del devoto è quella di avvicinarsi il più possibile
a Dio, alla Madonna e ai santi, ovvero di cercare il più possibile di avere
un contatto fisico con i luoghi sacri, con le sacre reliquie, con gli
oggetti e con le immagini (di qui il pellegrinaggio come strumento principe di
annullamento della distanza e come paradigma di purificazione e di salvezza per
il fedele, che, per suo tramite, cancella ogni spazio fisico che materialmente
lo separa dal contatto diretto) possiamo interpretare che durante il rito della
vestizione, la vicinanza del proprio corpo con quello che è ritenuto essere
della Madonna possa essere vissuto come un privilegio inarrivabile ai più, con
una ricaduta notevole in termini di benessere, per così dire, spirituale.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">E’ come se si attuasse un processo di
rigenerazione e di rinascita. E’ quella che Peter Brown ha chiamato <i>terapia
della distanza, </i>riprendendo e rielaborando un’espressione che Alphonse
Dupront aveva coniato per il pellegrinaggio<a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftn31"><span style="color: blue;">[31]</span></a> e avvisandoci
che sin dall’antichità questa modalità di rapporto fisico-corporeo con la sfera
del sacro veniva perseguita con tutti i mezzi.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;"><i>La tensione accuratamente mantenuta tra distanza
e vicinanza assicurava un fatto: la ‘praesentia’, la presenza fisica del santo,
sia all’interno di una comunità particolare sia come possesso dei singoli
individui, era la massima benedizione di cui potesse godere un cristiano tardoantico.
(…) I devoti che si accalcavano fuori Roma presso il sepolcro di San Lorenzo,
per chiederne la grazia o per posare il capo vicino alla sua tomba, non
andavano semplicemente in un luogo; andavano in un luogo per incontrare una
persona (…).</i><a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftn32"><i><span style="color: blue;">[32]</span></i></a></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">Il contatto diretto dunque è un elemento che
assume una sua centralità nelle pratiche del devoto, un contatto che riguarda
anche quelle che vengono percepite come reliquie. Per esempio ci è stato
ampiamente testimoniato in più casi che il fazzoletto della Madonna, portato in
mano dalla Vergine Addolorata, veniva portato alle donne partorienti per essere
applicato sul ventre gravido.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">In questo senso il rito della vestizione può
essere visto per lo meno sotto due aspetti: da un lato, in maniera più o meno
consapevole da parte di chi lo compie, può costituire una sorta di implicita
rivendicazione di un rapporto diretto privo di mediatori ufficiali: il devoto è
insieme protagonista e gestore delle proprie pratiche rituali e nessuno può
intervenire a limitare o a indirizzare o a guidare, e su questo versante si
comprende bene l’attitudine tendenzialmente ostile delle gerarchie
ecclesiastiche che hanno sempre visto con sospetto ogni forma di autonomia
proveniente, per così dire, dal basso.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">Dall’altro lato può anche essere interpretato
come una affermazione, altrettanto implicita, di una specie di diritto di
proprietà (esplicita e dichiarata, come abbiamo visto sopra, nei cosiddetti
culti domestici). E anche qui la longa manus delle diocesi è spesso intervenuta
per tentare di controllare-sanare-eliminare situazioni giudicate come
pericolose e anomale.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">In molte interviste è emerso piuttosto
chiaramente che chi accudisce la Madonna la sente un po’ come se fosse sua.
Anche se non viene detto esplicitamente (perché si sa che non è vero e che non
può per nessun motivo essere vero, si sa che la Madonna non può essere legata a
fattori di proprietà: la Madonna è di tutti coloro che le sono devoti e non può
essere altrimenti), tuttavia il sentimento sorge spontaneo e quasi automatico,
attiva energie positive, sviluppa una inusuale capacità di dedizione e si va a
mescolare con l’alto senso di responsabilità che deriva dal compito assunto. I
fedeli sentono di appartenere alla Madonna e dunque la Madonna in qualche modo
appartiene ai fedeli, a maggior ragione a quelle persone che la curano perché
sono state investite di questo mandato, oneroso e però altamente gratificante.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">I campi tematici che si aprono a chi vuole
analizzare il rituale della vestizione delle statue sono veramente
numerosi, come hanno più volte sottolineato Elisabetta Silvestrini e Riccarda
Pagnozzato.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">Tanto per citarne qualcuno: si va dal tema del
simulacro e della funzione delle rappresentazioni visive nell’immaginario
religioso, a quello del dono, e dello scambio simbolico, (<i>tòpoi</i>
diventati classici per gli antropologi dopo gli studi di Marcel Mauss e di
Malinowski negli anni 20 e 30 del secolo scorso), ne viene coinvolto il
variegato e complesso tema dell’abbigliamento e delle sue funzioni, così come
quello degli ex voto, della concessione delle grazie, dei patronati, delle
protezioni, dei miracoli; l’interesse si orienta inoltre sui culti pubblici e
su quelli privati, con la particolare caratterizzazione data dai culti
domestici; si va dal tema del rapporto con la divinità a quello del concetto di
persona umana, con tutte le connessioni che si generano, come abbiamo visto,
attraverso il contatto del corpo umano con il sacro. Certamente è individuabile
anche uno spazio di riflessione sulla funzione del rituale oggi, alla luce
delle considerazioni che si possono fare su questo specifico tipo di rituale.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">Oltre a ciò, va aggiunto che una analisi
antropologica non può – a mio avviso – prescindere da un avvicinamento ai
vissuti delle operatrici e degli operatori. L’analisi deve di necessità
prendere in esame, direi imprescindibilmente, le biografie dei protagonisti. In
questa direzione va segnalato il prezioso lavoro di Riccarda Pagnozzato svolto
con grande profondità e sensibilità<a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftn33"><span style="color: blue;">[33]</span></a>.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">Il rituale è per sua stessa definizione dotato di
uno statuto polisemantico, del resto, e questo non fa eccezione. Mi
riecheggiano le parole che concludevano un mio saggio di diversi anni fa e che
mi sembrano ancora oggi di attualità:</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;"><i>Il rituale è non solo in grado di assorbire le
trasformazioni che nel tempo la storia vi sedimenta; esso è capace di farsi
parte attiva nel cambiamento. Ad esso possono essere affidati desideri,
speranze, innovazioni, utopie; può essere parte fondamentale nella costruzione
di modelli identitari che sempre più oggi le comunità locali perseguono, spesso
in contrapposizione ai pervasivi modelli omologanti imposti da chi misconosce
la ricchezza che proviene dalla differenza e il valore che da essa si può
sviluppare.</i><a href="https://www.lacitta.eu/storia/1659-il-culto-delle-madonne-vestite-nella-tuscia-di-marcello-arduini.html#_ftn34"><i><span style="color: blue;">[34]</span></i></a></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: large;">I piani di significato investiti sono veramente
numerosi. L’analisi deve dotarsi di strumenti molto affinati da usare con
grande pazienza. La lunga durata della ricerca deve essere messa in preventivo.
In questo caso, come in altri, non può non prefigurarsi un processo fatto di
numerosi ritorni sul campo, di messe a punto, di acquisizioni continue, di
scavo minuzioso dentro un oggetto di studio da concepire come sistema di
comunicazione simbolica e come creazione culturale elaborata e complessa.</span></p>
<p class="MsoNormal" style="line-height: normal; text-align: center;"><span style="font-family: inherit; font-size: medium;">_______________________________________________________________________ <br /></span></p>
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della Tuscia di Viterbo, 2004, Relatore Dr. Marcello Arduini, Correlatore Prof.
Sandra Puccini.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: medium;"><b>C. Geertz</b>, <i>Antropologia
interpretativa</i>, Bologna, Il Mulino, 1988, [ed. or. 1983].</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: medium;"><b>C. Geertz</b>, <i>Interpretazione
di culture</i>, Bologna, Il Mulino, 1988, [ed. or. 1973].</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: medium;"><b>G. Gri</b>, <i>Ori e
Madonne. I gioielli votivi dei simulacri “da vestire” veneziani</i>, in R.
Pagnozzato, 2003, pp. 67-97.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: medium;"><b>E. J.Hobsbawm e T. Ranger, </b><i>L’invenzione della tradizione,</i>Torino,
Einaudi, 1987 (ed. or. 1983).</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: medium;"><b>M. Kilani</b>, <i>Antropologia.
Un’introduzione</i>, Bari, Dedalo, 1994, [ed. or. 1992],</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: medium;"><b>G. Lenclud</b>, <i>La
tradizione non è più quella di un tempo, </i>in P. Clemente e F. Mugnaini
(a cura di), <i>Oltre il folklore: tradizioni popolari e antropologia nella
società contemporanea</i>, Roma, Carocci, 2001, pp. 123-133.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: medium;"><b>R. Luzi</b>, <i>Valentano
Santuario della Madonna della Salute</i>, Grotte di Castro (VT), Tip.
Ceccarelli, 1999.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: medium;"><b>R. Luzi, B. Mancini</b>, <i>Valentano. Luoghi e tempi del sacro,</i> Grotte di Castro (VT), Tip.
Ceccarelli, 1995</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: medium;"><b>B. Mancini</b>, …<i>Et
lascio alle confraternite di Onano</i>, Comune di Onano (VT), 1996.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: medium;"><b>A. Marcovecchio</b>, <i>Il culto
delle statue vestite a Roma in età pontificia,</i> in E. Silvestrini, (a cura
di), <i>Artisti icone simulacri. Per un’antropologia dell’arte popolare</i>,
“La Ricerca Folklorica” n. 24, ottobre 1991, pp. 63-71.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: medium;"><b>M. Mauss</b>, <i>Saggio
sul dono</i>, Torino, Einaudi, 1965, [ed. or. 1925].</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: medium;"><b>A. Niero</b>, <i>Le
Madonne “vestite” nella storia della pietà popolare</i>, in R. Pagnozzato,
1993, pp. 29-75.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: medium;"><b>R. Pagnozzato</b>, (a cura di),
<i>Madonne della Laguna, Simulacri “da vestire” dei secoli XIV-XIX,</i> Roma,
Istituto della Enciclopedia Italiana, 1993.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: medium;"><b>R. Pagnozzato</b>, <i>Profilo
storico del simulacro ligneo “da vestire”</i>, in Id., 1993, pp. 97-120.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: medium;"><b>R. Pagnozzato</b>, (a cura di),
<i>Donne, Madonne, dee. Abito sacro e riti di vestizione, gioiello
votivo,”vestitrici”: un itinerario antropologico in area lagunare veneta</i>,
Padova, Il Poligrafo, 2003.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: medium;"><b>R. Pagnozzato</b>, <i>Le donne
delle vestizioni e i simulacri mariani,</i> in Id., 2003, pp. 99-286.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: medium;"><b>F. Remotti,</b> <i>Contro
l’identità</i>, Roma-Bari, Laterza, 1996.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: medium;"><b>F. Remotti,</b> <i>L’ossessione
identitaria</i>, Roma-Bari, Laterza, 2010.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: medium;"><b>E. Silvestrini</b>, (a cura di),
<i>Artisti icone simulacri. Per un’antropologia dell’arte popolare</i>, “La
Ricerca Folklorica” n. 24, ottobre 1991.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: medium;"><b>E. Silvestrini</b>, <i>Questioni
di arte popolare</i>, in Id., “La Ricerca Folklorica” n. 24, ottobre
1991, pp. 5-7.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: medium;"><b>E. Silvestrini</b>, <i>Le effigi
“da vestire”. Note antropologiche,</i>in L. Bortolotti, 2005.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: medium;"><b>E. Silvestrini</b>, <i>Abiti e
simulacri. Itinerario attraverso mitologie, narrazioni e riti</i>, in R.
Pagnozzato, 2003, pp. 15-65.</span></p>
<div align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: center;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT; mso-font-kerning: 0pt; mso-ligatures: none;">
<hr align="center" size="1" width="33%" />
</span></div>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: small;"><b>NOTE AL TESTO <br /></b></span></p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: small;"><a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftnref1"><span style="color: blue;">[1]</span></a>
L’elaborazione di questo testo per gli atti del Convegno di Capranica è
avvenuta simultaneamente alla stesura di un mio altro saggio sul medesimo
argomento dal titolo <i>Etnografia delle vestizioni dei simulacri mariani, </i> per
la rivista Erreffe (La Ricerca Folklorica), edita a Brescia da Il Grafo per il
numero di prossima pubblicazione, curato da Elisabetta Silvestrini. Inevitabili
e numerosi i punti di contatto nell’elaborazione e le similitudini tra le
argomeca.it/2023/05/il-culto-delle-madonne-vestntazioni dei due testi.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: small;"><a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftnref2"><span style="color: blue;">[2]</span></a> Cfr. B.
Mancini, …<i>Et lascio alle confraternite di Onano</i>, Comune di Onano (VT),
1996.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: small;"><a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftnref3"><span style="color: blue;">[3]</span></a> Ivi, p. 148.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: small;"><a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftnref4"><span style="color: blue;">[4]</span></a> A.
MARCOVECCHIO, <i>Il culto delle statue vestite a Roma in età pontificia</i>, in
<i>La Ricerca Folklorica,</i> n. 24, Il Grafo, Brescia, 1991, pp. 63-71.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: small;"><a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftnref5"><span style="color: blue;">[5]</span></a> R.
PAGNOZZATO, <i>Profilo storico del simulacro ligneo “da vestire”</i>, in R.
PAGNOZZATO (a cura di), <i>Madonne della laguna. Simulacri “da vestire” dei
secoli XIV-XIX</i>, Regione del Veneto e Istituto della Enciclopedia Italiana,
Roma, 1993.p. 105. Cfr. anche R. PAGNOZZATO ( a cura di), <i>Donne, Madonne,
dee. Abito sacro e riti di vestizione, gioiello votivo,”vestitrici”: un
itinerario antropologico in area lagunare veneta</i>, Padova, Il Poligrafo,
2003.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: small;"><a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftnref6"><span style="color: blue;">[6]</span></a> M. Kilani, <i>Antropologia.
Un’introduzione</i>, Bari, Dedalo, 1994, (ed. or. 1992), pp. 37-38.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: small;"><a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftnref7"><span style="color: blue;">[7]</span></a> Tra le tante
possibili, mi limito a tre segnalazioni riportate nella bibliografia in fondo a
questo scritto.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: small;"><a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftnref8"><span style="color: blue;">[8]</span></a> Una prima
iniziativa, purtroppo restata isolata, avvenne nel dicembre 2000-gennaio 2001,
quando l’Assessorato alla Cultura della Provincia di Viterbo (per mezzo del
Centro di Catalogazione dei Beni Culturali e del Laboratorio Provinciale di
Restauro) realizzò una mostra dal titolo “Mater Misericordiae. I Culti mariani
nella Tuscia tra storia e devozione”. Al suo interno ci fu una sezione
sul tema delle cosiddette Madonne vestite la cui ricerca e il cui allestimento
furono curati da chi scrive e da Dolores Leuzzi.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: small;"><a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftnref9"><span style="color: blue;">[9]</span></a> Cfr. C.
Geertz, <i>Antropologia interpretativa</i>, Bologna, Il Mulino, 1988, [ed. or.
1983], e anche C. Geertz, <i>Interpretazione di culture</i>, Bologna, Il
Mulino, 1988, [ed. or. 1973].</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: small;"><a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftnref10"><span style="color: blue;">[10]</span></a> Il
dattiloscritto è stato redatto dalla suddetta vestitrice Carla Iori in
occasione di una mostra allestita in parrocchia sulla Madonna del Carmelo nella
seconda metà degli anni Novanta del secolo scorso.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: small;"><a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftnref11"><span style="color: blue;">[11]</span></a>
Dall’intervista a Carla Iori, effettuata l’8 marzo 2004 da Marcello Arduini e
Paolo Fortugno. Cfr. P. Fortugno, <i>Riti di vestizione delle statue mariane</i>,
tesi di Laurea Magistrale in Antropologia culturale, Facoltà di Conservazione
dei Beni Culturali, Università degli Studi della Tuscia di Viterbo, 2004,
Relatore Dr. Marcello Arduini, Correlatore Prof. Sandra Puccini.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: small;"><a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftnref12">[12]</a> A. Fagotto, <i>Il popolo ti canta. La
Madonna del Rosario e Piansano, </i>Comune di Piansano, 1998, p. 13.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: small;"><a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftnref13"><span style="color: blue;">[13]</span></a> Idem, p. 38.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: small;"><a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftnref14"><span style="color: blue;">[14]</span></a> Idem,
p.25</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: small;"><a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftnref15"><span style="color: blue;">[15]</span></a> Cfr. B.
Mancini, R. Luzi, <i>Valentano Luoghi e Tempi del Sacro,</i> Valentano (VT),
1995, pp. 27-35.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: small;"><a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftnref16"><span style="color: blue;">[16]</span></a> Dalla
registrazione con un gruppo di donne e di uomini del Gruppo Archeologico
Verentum realizzata a Valentano il 19 ottobre 2000 da Marcello Arduini e
Dolores Leuzzi.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: small;"><a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftnref17"><span style="color: blue;">[17]</span></a> Idem. La
testimonianza è stata resa da Bonafede Mancini</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: small;"><a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftnref18"><span style="color: blue;">[18]</span></a> Cfr. M.
Mauss, <i>Saggio sul dono</i>, Torino, Einaudi, 1965, [ed. or. 1925]</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: small;"><a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftnref19"><span style="color: blue;">[19]</span></a> Idem</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: small;"><a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftnref20"><span style="color: blue;">[20]</span></a> Si tratta di
un fenomeno assai diffuso nel Lazio e non solo. Cfr. V. Cannada Bartoli, <i>Il
santo in casa. Analisi di un rito in alcune feste della Sabina romana,</i> tesi
di dottorato di ricerca in Scienze etnoantropologiche, VI ciclo, Università
degli Studi La Sapienza di Roma, 1997.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: small;"><a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftnref21"><span style="color: blue;">[21]</span></a> Registrazione
del 12 gennaio 2000 a cura di Marcello Arduini e Attilia Profili. I brani
che seguono sono riportati dalla medesima situazione. La trascrizione
dell’intervista è stata effettuata da Paolo Fortugno.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: small;"><a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftnref22"><span style="color: blue;">[22]</span></a> Si riferisce
ad una statua della Madonna del Rosario di proprietà della famiglia Ferruzzi
che è stata acquisita dal MNATP nel 1997. Lo studio e la musealizzazione sono
stati curati da Elisabetta Silvestrini che ha anche organizzato un
seminario intitolato “Le Sacre Vesti” il 18 aprile del 1997, con la
partecipazione di Riccarda Pagnozzato, Gianpaolo Gri, Chiara Basta, Carla
Bianco, Pietro Clemente e Anna Mavilla, Luigi M. Lombardi Satriani, Marlène
Albert -Llorca e la stessa Elisabetta Silvestrini. <br />
Dalle notizie del seminario fu reso noto che si tratta di un simulacro
della Vergine col Bambino databile nel XVIII secolo, con un corredo di quattro
abiti (tre del Settecento e uno dell’Ottocento) interamente restaurati. Veniva
esposto e portato in processione durante le celebrazioni mariane dalla Confraternita
del Rosario che aveva sede presso la Chiesa Collegiata di S. Nicola. <br />
Durante l’anno la statua e il suo corredo venivano affidati in custodia ad un
membro della Confraternita, la cui famiglia provvedeva a tenerla in casa con
tutti gli onori, designando come responsabile una donna della famiglia, detta
“camerlenga”. <br />
Ogni anno il privilegio toccava ad una famiglia diversa. Intorno al 1855 il
simulacro non venne più accettato in chiesa e allora rimase in via permanente
presso la casa della famiglia Ferruzzi, che attraverso generazioni successive,
provvide a curarla e a preservarla, così come è stata poi rinvenuta in tempi
recenti quando è stata acquisita dal Museo Nazionale. (Cfr. anche il mio M.
Arduini, 1999, pp. 22-23).</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: small;"><a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftnref23"><span style="color: blue;">[23] </span></a>A. Niero, p.
74</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: small;"><a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftnref24"><span style="color: blue;">[24] </span></a>Il convegno,
organizzato dal CIRIV (Centro interdipartimentale di ricerche sul viaggio) nel
febbraio 2010, si intitolava “<i>Immagini d’identità della Tuscia. Il
territorio, i viaggi, la cultura</i>”. Sono in corso di stampa per i tipi di
Sette Città , casa editrice di Viterbo, gli Atti a cura di Stefano
Pifferi, all’interno dei quali cfr. M. Arduini, S. Puccini, <i>Frammenti
e mosaici. Tra luoghi, memorie e tradizioni della Tuscia</i>.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: small;"><a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftnref25"><span style="color: blue;">[25] </span></a>Il concetto di
identità culturale è assai controverso e dibattuto in ambito antropologico e
non solo. Generalmente viene usato con grandi cautele e ne è stato mostrato il
carattere ideologico. Qui mi limito, tra i tanti possibili, a segnalare
solo alcuni importanti contributi (Remotti, Fabietti, Bauman) nei riferimenti
bibliografici.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: small;"><a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftnref26"><span style="color: blue;">[26]</span></a> Cfr. E. J.
Hobsbawm e T. Ranger, <i>L’invenzione della tradizione,</i>Torino, Einaudi,
1987 (ed.or. 1983).</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: small;"><a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftnref27"><span style="color: blue;">[27]</span></a> Cfr. J.L.
Amselle,<i>Logiche meticce. Antropologia dell’identità in Africa e altrove, </i>Torino,
Bollati Boringhieri,1999 [ed. or. 1990] e G. Lenclud, <i>La tradizione non è
più quella di un tempo, </i>in P. Clemente e F. Mugnaini (a cura di), <i>Oltre
il folklore: tradizioni popolari e antropologia nella società contemporanea</i>,
Roma, Carocci, 2001, pp. 123-133.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: small;"><a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftnref28"><span style="color: blue;">[28]</span></a> E.
Silvestrini, 2003, p. 18)</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: small;"><a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftnref29"><span style="color: blue;">[29]</span></a> Indubbiamente
negli ultimi tempi l’approccio degli studiosi deve aver sortito un effetto
valorizzante, per cui in molte situazioni regionali italiane hanno avuto luogo
iniziative di diverso tenore volte alla salvaguardia e alla tutela di queste
effigi. A titolo d’esempio valga il convegno di Ferrara del 2005 di cui si
riporta segnalazione nella bibliografia.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: small;"><a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftnref30"><span style="color: blue;">[30]</span></a> M.
ALBERT-LLORCA, <i>La Vierge mise à nu par ses chambrières</i>, in <i>CLIO,
Histoire, Femmes et Sociétés, </i>2/1995, f<i>emmes et Rèligions</i>,
Universitè de Toulouse-Le Mirail, 1995, pp. 201-228.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: small;"><a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftnref31"><span style="color: blue;">[31]</span></a> Cfr P. Brown,
<i>Il culto dei santi, </i>Torino, Einaudi, 1983 (ed. or. 1981), pp. 121 e
segg.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: small;"><a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftnref32"><span style="color: blue;">[32]</span></a> Idem, p.124</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: small;"><a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftnref33"><span style="color: blue;">[33]</span></a> R.
Pagnozzato, 2003.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: inherit; font-size: small;"><a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html#_ftnref34"><span style="color: blue;">[34]</span></a> M. Arduini,
1999, pp. 27-28</span></p>
<span style="font-size: medium;"><b><span style="color: #3d85c6;"></span></b></span><p></p><p>
</p><p class="has-text-align-center" style="text-align: center;"><b>_______________________________________________________________ <br /></b></p><p class="has-text-align-center" style="text-align: center;"><b>Citare questo documento / Citer ce document / Cite this document</b></p>
<p class="has-text-align-center" style="text-align: center;">ARDUINI, Marcello, «<i>Il culto delle Madonne vestite nella Tuscia</i>», Capranica Storica, 14/05/2023 - URL: <a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html">https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html</a></p><p></p>
<p style="text-align: center;"><a href="http://creativecommons.org/licenses/by-nc-sa/4.0/" rel="license"><img alt="Licenza Creative Commons" src="https://i.creativecommons.org/l/by-nc-sa/4.0/88x31.png" style="border-width: 0px; display: block; margin-left: auto; margin-right: auto;" /></a>Questo articolo di <a href="https://www.capranicastorica.it/2023/05/il-culto-delle-madonne-vestite-nella.html" rel="cc:attributionURL">Marcello Arduini</a> è distribuito con Licenza <a href="http://creativecommons.org/licenses/by-nc-sa/4.0/" rel="license">Creative Commons Attribuzione - Non commerciale - Condividi allo stesso modo 4.0 Internazionale</a>.</p>Unknownnoreply@blogger.com001012 Capranica VT, Italia42.2595445 12.174631113.949310663821151 -22.9816189 70.569778336178842 47.3308811tag:blogger.com,1999:blog-4201727664195975785.post-81091902365309661202022-06-30T17:51:00.000+02:002022-06-30T17:51:00.858+02:00Di api, di leoni, di capre e di creature fantastiche. Bestiari urbani capranichesi e dove trovarli. 3^ parte<p><!--[if gte mso 9]><xml>
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</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: center;"><span style="font-family: inherit;"><span style="font-size: large;"><span style="color: #3d85c6;"><b></b></span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMzWeoG32nnLiqioIPJcDfILmRgBxmuMw2WnDGjC9dtmCT4Or5stK3LE2LcRqXYo7kVWZFTOPT09kZUT9hd5HknfJ3-rcSNplcghZZli9OgEEzrWGdzjGL5buNPuxDPgHpu0ArSf3djyA8j6Ap4NJLhd14jQ7rdy_SQe03sG-Jm6h2rhmvJBUhl5pujg/s2020/Image00122.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2020" data-original-width="1510" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMzWeoG32nnLiqioIPJcDfILmRgBxmuMw2WnDGjC9dtmCT4Or5stK3LE2LcRqXYo7kVWZFTOPT09kZUT9hd5HknfJ3-rcSNplcghZZli9OgEEzrWGdzjGL5buNPuxDPgHpu0ArSf3djyA8j6Ap4NJLhd14jQ7rdy_SQe03sG-Jm6h2rhmvJBUhl5pujg/w299-h400/Image00122.jpg" width="299" /></a></b></span></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: justify;"><span style="font-family: inherit;"><span style="font-size: large;"><span style="color: #3d85c6;"><b></b></span></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: justify;"><span style="font-family: inherit;"><span style="font-size: large;"><span style="color: #3d85c6;"><b>Ed eccoci alla fine del nostro piccolo e insolito
viaggio tra gli animali raffigurati nell’arte capranichese che ci ha condotto a
guardare più da vicino le tre api della famiglia Barberini, i leoni del
portale dell’Ospedale San Sebastiano, la capra simbolo della Città, lo
zodiaco di Palazzo Accoramboni, i mostri e le creature fantastiche rappresentate nella
lunetta dell’Ospedale e nel rosone della chiesa di San Francesco. Ora ci occuperemo
delle anguille della famiglia Anguillara, dell’aquila giovannea, di altri
animali sparsi per varie opere d’arte e… di un gatto. Terza ed ultima parte.<br /></b></span></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: justify;"><span style="font-family: inherit;"><span style="font-size: large;"><span style="color: #3d85c6;"><b><span style="-webkit-text-stroke-width: 0px; background-color: white; color: #666666; display: inline; float: none; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"></span> </b></span></span></span></p><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: justify;"><!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 9"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="0" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="header"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="35" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="0" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="1" SemiHidden="true"
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<w:LsdException Locked="false" Priority="0" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
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<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
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<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
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<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
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<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
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<w:LsdException Locked="false" Priority="21" QFormat="true"
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<w:LsdException Locked="false" Priority="31" QFormat="true"
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<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
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<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
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</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: justify;"><span style="font-family: inherit;"><span style="font-size: large;"><span class="MsoHyperlink"><span color="windowtext" style="text-decoration: none;">(</span></span><span class="MsoHyperlink"><a href="https://www.capranicastorica.it/2022/05/di-api-di-leoni-di-capre-e-di-creature.html" target="_blank">vai alla prima parte</a></span> - <a href="https://www.capranicastorica.it/2022/06/di-api-di-leoni-di-capre-e-di-creature.html">vai
alla seconda parte</a>)</span></span></p>
<span style="font-family: inherit;"><span style="font-size: large;"><span style="color: #3d85c6;"></span></span></span><p></p><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: justify;"><span style="font-family: inherit;"><span style="font-size: large;"><span style="color: #3d85c6;"><b><span></span></b></span></span></span></p><a name='more'></a><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: justify;"><span style="font-family: inherit;"><span style="font-size: large;"><span style="font-size: medium;">di <i>Fabio Ceccarini</i> </span><b><br /></b></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: justify;"><span style="font-family: inherit;"><span style="font-size: large;"><b>7. Le anguille</b></span></span></p><span style="font-family: inherit;"><span style="font-size: large;"><span class="hgkelc">Come la capra – di cui abbiamo
parlato nella prima parte di questo articolo – rappresenta la città di
Capranica, due anguille incrociate rappresentano il casato della famiglia
Anguillara. </span>Come è noto, durante il <span style="font-variant: small-caps;">xiv</span> sec. la signoria di Capranica era detenuta dai Conti di
Anguillara<a href="#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[1]</span></span></span></span></a>, i quali
dovevano possedere già da qualche decennio il suo <i>castrum</i>. Probabilmente da circa il 1260, anno in cui, secondo
alcuni autori, Pandolfo <span style="font-variant: small-caps;">ii</span>
dell’Anguillara vi trasportò le reliquie di San Terenziano come bottino di
guerra della conquista di Todi<a href="#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[2]</span></span></span></span></a>. Anche se
allo stato attuale non è ancora provata in modo certo la loro signoria su
Capranica<a href="#_ftn3" name="_ftnref3" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[3]</span></span></span></span></a>, è comunque
certamente provato da fonti documentali che lo stesso Pandolfo <span style="font-variant: small-caps;">ii</span> ne conservava il possesso già nel
1281, anno in cui stipulava “<i>in castra
Craparice in domo olim Rubei Crescentii castri predicti</i><span>”</span>, l’atto per l’acquisto del castello
di Donazzano<a href="#_ftn4" name="_ftnref4" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[4]</span></span></span></span></a>.
Tuttavia il possesso di Capranica da parte della famiglia, potrebbe risalire
già precedentemente al 1243, anno in cui un certo conte Pandolfo è catturato
dalle truppe romane che conquistarono Ronciglione e Capranica<a href="#_ftn5" name="_ftnref5" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[5]</span></span></span></span></a>. </span></span><p></p><p><span style="font-family: inherit;"><span style="font-size: large;">Ma
veniamo alle anguille raffigurate sullo stemma di questo potente casato baronale
romano. La famiglia ha origini antichissime che si perdono nel sec. <span style="font-variant: small-caps;">xi</span>, quando la menzione di un tale Guido,
Conte di Anguillara, figlio di Bellizone, è contenuta in una pergamena
dell’archivio di Santa Maria in Trastevere<a href="#_ftn6" name="_ftnref6" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[6]</span></span></span></span></a>.
Fino al <span style="font-variant: small-caps;">xiv</span> sec., suoi esponenti
di rilievo sono il conte Ramone, o Rainone, vissuto durante il <span style="font-variant: small-caps;">xii</span> sec. e il già ricordato conte
Pandolfo <span style="font-variant: small-caps;">ii<a href="#_ftn7" name="_ftnref7" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="font-variant: small-caps; line-height: 115%;">[7]</span></span></span></span></a>.</span> A
parte il fatto che la presenza di nomi di matrice germanica (Bellizone, Guido, Rainone,
Pandolfo) induce alcuni storici a ritenere che la famiglia abbia avuto origini longobarde<a href="#_ftn8" name="_ftnref8" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[8]</span></span></span></span></a>,
quel che più interessa ai fini del nostro articolo, è che Guido, figlio di
Bellizone, affitta il diritto di pesca sul Lago Sabatino, ove intenso era il
commercio delle anguille<a href="#_ftn9" name="_ftnref9" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[9]</span></span></span></span></a>.
Se si aggiunge a questo dato storico, l’altro leggendario secondo cui lo stesso
Guido avrebbe ucciso, presso Malagrotta, un terribile serpente o un enorme drago,
liberando quelle terre dai danni che esso provocava, ricevette per premio da
parte del papa tanta terra quanta ne poteva percorrere in un giorno ed il
blasone nobiliare<a href="#_ftn10" name="_ftnref10" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[10]</span></span></span></span></a>.</span></span></p><p style="text-align: center;"><span style="font-family: inherit;"><span style="font-size: large;"></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9cgmLhMacnzln3ldGo5CXDr3FVT_BaMW5eXwmN70Rq8EWS91cFb0FMG468c9j95r7zfZ8rK26yTVLvdujFRWGVsIdCDErvzVkbJBWjOyx7i2G02Oa3mayUZA4KrsLh1rWQjsAWHXTxvimW18d6iMUT1l17HHh_1MFH3DeOTT9_mTrXDj5iMB2KkjHfw/s612/142457.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="480" data-original-width="612" height="314" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9cgmLhMacnzln3ldGo5CXDr3FVT_BaMW5eXwmN70Rq8EWS91cFb0FMG468c9j95r7zfZ8rK26yTVLvdujFRWGVsIdCDErvzVkbJBWjOyx7i2G02Oa3mayUZA4KrsLh1rWQjsAWHXTxvimW18d6iMUT1l17HHh_1MFH3DeOTT9_mTrXDj5iMB2KkjHfw/w400-h314/142457.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>In una cartolina d'epoca, un particolare del monumento dove riposano i conti Francesco e Nicola dell'Anguillara, nella chiesa di San Francesco. Gli stemmi della famiglia, con le anguille, sono visibili in basso ai due lati del sepolcro.</i><br /></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"></span></div><p></p><p style="text-align: center;"></p><p><span style="font-family: inherit;"><span style="font-size: large;">Pertanto,
lo stemma della famiglia reca da quel momento due anguille incrociate probabilmente più a ricordo dell’attività
di sfruttamento della pesca nel Lago di Bracciano che per la mitica (e quindi dubbia) impresa di
Guido. Tuttavia <a href="https://www.capranicastorica.it/2017/01/everso-dei-conti-dell-chi-era-davvero_15.html" target="_blank">Everso II dell'Anguillara</a>, nel proprio stemma, aggiungerà anche «…un orso o un
cinghiale che porta nella bocca un serpente o un’anguilla»<a href="#_ftn11">[11]</a> forse proprio per rimarcare l'impresa dell'avo. Un suo stemma siffatto è
visibile presso la Torre romana che appartenne alla famiglia<a href="#_ftn12" name="_ftnref12" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[12]</span></span></span></span></a>,
in Piazza Sidney Sonnino, attualmente sede della “Casa di Dante”. Alcuni
riportano inoltre, che Everso contribuì con circa 200 ducati alla fabbrica, cominciata
nel 1462, di un braccio dell’ospedale del Salvatore a Sancta Sanctorum e che,
per questo motivo, «…<span>i guardiani
dell’ospedale vollero affiggere due lapidi sulle pareti del nuovo edificio: e
che una di queste, ancora affissa nel muro, verso la piazza, dell’ospedale di
S. Giovanni in Laterano ha sopra lo stemma degli Anguillara un cinghiale con in
bocca un’anguilla o un serpe, e porta scolpite queste due parole “Everso Secundo”</span>».<a href="#_ftn13" name="_ftnref13" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[13]</span></span></span></span></a> </span></span></p><p style="text-align: center;"><span style="font-family: inherit;"><span style="font-size: large;"></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQnZivbuOU1W-N5lB4wkGlyrzngEUKtyHPZSImDMonjbLtR6XOrgA9vrcBN_0Kw9Z3gCLG8ZLHuC_vgC4VPlmLcGJIrUwZwDkzYgph4K8n_rKMCFz0UNGx3eELuSQDyOw0Xi5dVcztLQ_3-p6dPzCI8B8SDSQKhlHim99XM3FlujJUJH9ADxr8IS1fpQ/s2816/Monti_-_Ospedale_del_Salvatore_a_p_S_Giovanni_-_stemma_di_everso_II_dell_anguillara_1120039.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2816" data-original-width="2112" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQnZivbuOU1W-N5lB4wkGlyrzngEUKtyHPZSImDMonjbLtR6XOrgA9vrcBN_0Kw9Z3gCLG8ZLHuC_vgC4VPlmLcGJIrUwZwDkzYgph4K8n_rKMCFz0UNGx3eELuSQDyOw0Xi5dVcztLQ_3-p6dPzCI8B8SDSQKhlHim99XM3FlujJUJH9ADxr8IS1fpQ/w300-h400/Monti_-_Ospedale_del_Salvatore_a_p_S_Giovanni_-_stemma_di_everso_II_dell_anguillara_1120039.JPG" width="300" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Stemma di Everso dell'Anguillara presso San Giovanni in Laterano, a Roma</i><br /></td></tr></tbody></table><span style="font-family: inherit;"><span style="font-size: large;"> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXKwfzrY1mnVwm5f4OzgG7H52DeF-rM2uHCILQpqcvQEupFutVwq1U0RhL_Ts9gyazeOvqO3QqPdQCjMDUxYNES1VMQJaQu4CIiSB0Z90aMrpKn4m-ul4TzxW2BnIceDU9pYv7qxbBmcDUNgbyY8N2wFuwMOd0ZL50Ibm7RYhL0q5obdmcIC8EjcAAfg/s467/Particolare%20Camino.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="463" data-original-width="467" height="396" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXKwfzrY1mnVwm5f4OzgG7H52DeF-rM2uHCILQpqcvQEupFutVwq1U0RhL_Ts9gyazeOvqO3QqPdQCjMDUxYNES1VMQJaQu4CIiSB0Z90aMrpKn4m-ul4TzxW2BnIceDU9pYv7qxbBmcDUNgbyY8N2wFuwMOd0ZL50Ibm7RYhL0q5obdmcIC8EjcAAfg/w400-h396/Particolare%20Camino.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Stemma eversiano con le anguille incrociate ed il cinghiale con il serpente, visibile nella sala grande del Palazzetto Anguillara, in Roma (oggi Casa di Dante in piazza S. Sonnino)</i><br /></td></tr></tbody></table></span></span><p></p><p><span style="font-family: inherit;"><span style="font-size: large;">A
Capranica possiamo ancora vedere l’arme della nobile famiglia alle due basi del
monumento sepolcrale dei conti Francesco e Nicola dell’Anguillara, nella chiesa
di San Francesco, e alla base del tabernacolo murale conservato nella chiesa di
San Giovanni Evangelista. Non per niente entrambe le chiese erano soggette alla
podestà dei rappresentanti della famiglia appartenenti al ramo di Capranica.<a href="#_ftn13" name="_ftnref13" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;"></span></span></span></span></a></span></span><span style="font-family: inherit;"><span style="font-size: large;"> </span></span></p><p style="text-align: center;"><span style="font-family: inherit;"><span style="font-size: large;"></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKJfWtzXJ6Zzxx3VEIF-o_ymvepiO-EceYuKajq5lbEjLtn1IZtaWUf1VIPgO-paf0WkvD92VWuA-AC-LH_vMVsFggFd9mGAqAsF5t8531Cf1DrWkQ4Wd3Q1IZoXNZfHSGtlT0Rd12YNJ_6mbu2JGX6sz4yhNc2xZ40QAM_cXCHv6lKQftYk9u5HP2HA/s1229/Sepolcro%20Anguillara.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1229" data-original-width="927" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKJfWtzXJ6Zzxx3VEIF-o_ymvepiO-EceYuKajq5lbEjLtn1IZtaWUf1VIPgO-paf0WkvD92VWuA-AC-LH_vMVsFggFd9mGAqAsF5t8531Cf1DrWkQ4Wd3Q1IZoXNZfHSGtlT0Rd12YNJ_6mbu2JGX6sz4yhNc2xZ40QAM_cXCHv6lKQftYk9u5HP2HA/w301-h400/Sepolcro%20Anguillara.jpg" width="301" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Monumento sepolcrale Anguillara nella Chiesa di San Francesco, a Capranica, attribuito a Paolo da Gualdo. Nei sette cerchietti rossi sono visibili altrettanti stemmi Anguillara</i><br /></td></tr></tbody></table><span style="font-family: inherit;"><span style="font-size: large;"> </span></span><p></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiberjC8GvaFSJAY18dB_07HuOtVscgf6bUJ2ABYINGXKZ8DxqDZb-2ZWK_F0toHjjvkIjHaKbTsmKI6ZMdi7vGufNwoKyv80_3OY7JY5zjKSpBGU7yH0Q5MS_7wfoMUBg9fFWvbcGdZzWiITFiJx-mhugavERC3ORCXUcTO6wLOZXFwke9mY9dGMa9rA/s2091/Stemmi%20Anguillara.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1712" data-original-width="2091" height="328" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiberjC8GvaFSJAY18dB_07HuOtVscgf6bUJ2ABYINGXKZ8DxqDZb-2ZWK_F0toHjjvkIjHaKbTsmKI6ZMdi7vGufNwoKyv80_3OY7JY5zjKSpBGU7yH0Q5MS_7wfoMUBg9fFWvbcGdZzWiITFiJx-mhugavERC3ORCXUcTO6wLOZXFwke9mY9dGMa9rA/w400-h328/Stemmi%20Anguillara.jpg" width="400" /></a></span></div><span style="font-family: inherit;"><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjd3E0yz9Qs7htbk4UU8aZKfr6nbF4D6Acvahr0EhQfmDyyBGNwqUDJPsnQAlgjmisqHaieP0yfzXVg7ONkNfTANLBvqH1JIamPwmkQsvBDnRaoNUCaRY2L0UFWz3OaHi2LwkEUHGNWQVHmY__-qTfggqSeC61JOW8XvKGVs0MzLwYyKIG2YsVd1okgfA/s2034/Stemmi%20Anguillara-Orsini.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1240" data-original-width="2034" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjd3E0yz9Qs7htbk4UU8aZKfr6nbF4D6Acvahr0EhQfmDyyBGNwqUDJPsnQAlgjmisqHaieP0yfzXVg7ONkNfTANLBvqH1JIamPwmkQsvBDnRaoNUCaRY2L0UFWz3OaHi2LwkEUHGNWQVHmY__-qTfggqSeC61JOW8XvKGVs0MzLwYyKIG2YsVd1okgfA/w400-h244/Stemmi%20Anguillara-Orsini.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Particolari degli stemmi che fregiano il monumento sepolcrale Anguillara.</i><br /></td></tr></tbody></table></span><p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6cPCdcGtmhAaxYr_XAx6r3sf6y4sqO_oQLKzwdYQiIq3Xep-1cW9UfSEK1OUQg_wQznIj9O3-hHA76imDRT8XctDv6pjJmFAfVTZU1LrZCP74ic-tvl2PRghkvnXaYtjlmxErBm_fldbbTF7mlnOAfPQXDUk4Ppz4GKXkkGUBChKLc_OCdILu7NajhQ/s1783/Tabernacolo%20-%20stemma%20Anguillara.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1783" data-original-width="1159" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6cPCdcGtmhAaxYr_XAx6r3sf6y4sqO_oQLKzwdYQiIq3Xep-1cW9UfSEK1OUQg_wQznIj9O3-hHA76imDRT8XctDv6pjJmFAfVTZU1LrZCP74ic-tvl2PRghkvnXaYtjlmxErBm_fldbbTF7mlnOAfPQXDUk4Ppz4GKXkkGUBChKLc_OCdILu7NajhQ/w260-h400/Tabernacolo%20-%20stemma%20Anguillara.jpg" width="260" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Stemma Anguillara alla base del tabernacolo degli olii santi conservato nella chiesa di San Giovanni Evangelista, a Capranica. Il tabernacolo è attribuito a Mino da Fiesole.</i><br /></td></tr></tbody></table><span style="font-family: inherit;"><span style="font-size: large;"> </span></span><p></p><p><span style="font-family: inherit;"><span style="font-size: large;">Altre
anguille le ritroviamo di nuovo in un altro stemma Anguillara visibile in un
bassorilievo posto a circa 10/12 metri da terra sulla parete sud della chiesa
di San Francesco, nel quale è anche riprodotto lo stemma degli Orsini di
Pitigliano e Soana e una figura maschile dalla testa enorme e sproporzionata,
in atto di toccarsi la regione pubica, di evidente valenza apotropaica-itifallica<a href="#_ftn14" name="_ftnref14" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[14]</span></span></span></span></a>.
Il piccolo fregio, è stato inserito nella parete probabilmente a ricordo del
matrimonio celebrato nel 1378 tra Gentile Orsini e Angela degli Anguillara,
figlia del conte Francesco e nipote del gemello Nicola, entrambi sepolti nella
chiesa. </span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: justify;"><span style="font-family: inherit;"><span style="font-size: large;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><img border="0" data-original-height="800" data-original-width="1200" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl7CxjswDd_FRE7o6gx7ASg27Fg0WZYQhJ3c8QVHKqt5aEiyqxpH2SR9KoCRT3x3haJ5sAIHBkDricWQjJg8TIE6HzvsRqcBV0hAJBxpcxwi9vPxfSKnIRYSa1a1pi-rHzcvgjhYC1jSG0K-Ecid5wna1BnbhwAVFWqsIvFguPiY0u3vFnKYQEIXNNDg/w400-h266/IMGP5740.JPG" style="margin-left: auto; margin-right: auto;" width="400" /></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Stemmi Anguillara (a destra) e Orsini (a sinistra) visibili sulla parete sud della chiesa di San Francesco (lato corso F. Petrarca)</i><br /></td></tr></tbody></table></span></span></p><div class="separator" style="clear: both; text-align: center;"></div><span style="font-family: inherit;"><span style="font-size: large;"> </span></span><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: justify;"><span style="font-family: inherit;"><span style="font-size: large;">Dal lato dell’araldica, infine, le
anguille rappresenterebbero la sedizione, perché durante il momento della loro
cattura da parte dei pescatori, nel tentativo di sfuggire al loro destino, gli
animali cercherebbero di guadagnare i fondali fangosi, finendo così per intorbidire
inevitabilmente l’acqua<a href="#_ftn15" name="_ftnref15" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[15]</span></span></span></span></a>.</span></span></p><span style="font-family: inherit;"><span style="font-size: large;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: justify;"><span style="font-family: inherit;"><span style="font-size: large;"><b>8. L’aquila</b></span></span></p><span style="font-family: inherit;"><span style="font-size: large;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: justify;"><span style="font-family: inherit;"><span style="font-size: large;">C’era una volta una pregevole aquila dorata che
faceva bella mostra di sé sopra lo scranno del vescovo, nell’ambito del bel
coro ligneo della chiesa di San Giovanni Evangelista realizzato dall’ebanista
Domenico Giardi<a href="#_ftn16" name="_ftnref16" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[16]</span></span></span></span></a>.
Secondo la tradizione, quella piccola opera d’arte era stata donata alla
Comunità di Capranica da Luciano Bonaparte principe di Canino, fratello del più
famoso Napoleone, allorché dopo la Restaurazione, proscritto dai Borbone di
Francia, fu costretto a stabilirsi definitivamente nella Tuscia, dove trascorse
gli ultimi anni della sua vita dedicandosi all’archeologia e alle lettere<a href="#_ftn17" name="_ftnref17" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[17]</span></span></span></span></a>. L’aquila fu purtroppo rubata nottetempo in un giorno dei primi anni
Ottanta del ‘900, ma ci da’ la possibilità di introdurre il significato di
questo maestoso uccello nell’arte.</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: justify;"><span style="font-family: inherit;"><span style="font-size: large;"></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjb71RbEq9GjXEdXVQqKrAWKq0inPaeecMUXHU1PeQ2QQEVLKY8H-hh7-ewaqLqSCPlo0C8bDxMLmVoRANqdu7uULGQHpCTdJXnT_nM3oAt2HdZOAztvxn4XOrDoMCgvZXcnvFuXKaTP6N5zrW8TxN3ayljNxYKqmD4JA_ALklOG_g6BU3HQE8QCNLnqw/s2500/Don%20Luigi%20Micheli%20scranno%20vescovo.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2500" data-original-width="1809" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjb71RbEq9GjXEdXVQqKrAWKq0inPaeecMUXHU1PeQ2QQEVLKY8H-hh7-ewaqLqSCPlo0C8bDxMLmVoRANqdu7uULGQHpCTdJXnT_nM3oAt2HdZOAztvxn4XOrDoMCgvZXcnvFuXKaTP6N5zrW8TxN3ayljNxYKqmD4JA_ALklOG_g6BU3HQE8QCNLnqw/w290-h400/Don%20Luigi%20Micheli%20scranno%20vescovo.jpg" width="290" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>In una foto del 1940, è ben visibile a destra del coro, la sede del Vescovo. Si vede in alto l'aquila dorata di Luciano Bonaparte.</i><br /></td></tr></tbody></table><div style="text-align: center;"><span style="font-family: inherit;"><span style="font-size: large;"> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhD-1F7l5wDwwixW-zLkbCJoJkLeFot7DIN-ZofgKJMwb6cVUJFhsXymtpXRY-j1ykN4XAruJx8nAhYNdmqWlMgucEMydPtylhmDPnrpb8BkZuBslKKTPvf4jYS-NReMyhacECN5n0_Viwi5ufL65EjTSO0hajip8YXzAB_X7dGEKtlD3afy0Tp9yIv0g/s2400/IMGP4397.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2400" data-original-width="1600" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhD-1F7l5wDwwixW-zLkbCJoJkLeFot7DIN-ZofgKJMwb6cVUJFhsXymtpXRY-j1ykN4XAruJx8nAhYNdmqWlMgucEMydPtylhmDPnrpb8BkZuBslKKTPvf4jYS-NReMyhacECN5n0_Viwi5ufL65EjTSO0hajip8YXzAB_X7dGEKtlD3afy0Tp9yIv0g/w266-h400/IMGP4397.JPG" width="266" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Visione di San Giovanni Evangelista nell’isola di Pathmos, Andrea Pozzi (1830), Capranica, Chiesa di San Giovanni Evangelista </i><br /></td></tr></tbody></table></span></span></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: center;"><span style="font-family: inherit;"><span style="font-size: large;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfu_uQHfD6Kqh2906PVP7-is5mhJCxz3f3IIz7K5zJCpjFw5JTkXwTwrt7emJRJevSQ6e-H32pJbcNIl8luQ4gfRBSKi_dRX3gtuqGQ_-YQAw9jKcSKDi5AYTJSDfs9jjP3aavRlZwCVYPimnAFjSUn7Cw-u6DIz9QdAW1FAjX20A2D1yeJYo_DD5-hg/s2497/Aquila%20pala%20San%20Giovanni.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2119" data-original-width="2497" height="340" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfu_uQHfD6Kqh2906PVP7-is5mhJCxz3f3IIz7K5zJCpjFw5JTkXwTwrt7emJRJevSQ6e-H32pJbcNIl8luQ4gfRBSKi_dRX3gtuqGQ_-YQAw9jKcSKDi5AYTJSDfs9jjP3aavRlZwCVYPimnAFjSUn7Cw-u6DIz9QdAW1FAjX20A2D1yeJYo_DD5-hg/w400-h340/Aquila%20pala%20San%20Giovanni.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Visione di San Giovanni Evangelista nell’isola di Pathmos, Andrea Pozzi (1830), Capranica, Chiesa di San Giovanni Evangelista, particolare dell'aquila</i><br /></td></tr></tbody></table></span></span><span style="font-family: inherit;"><span style="font-size: large;"> </span></span><span style="font-family: inherit;"><span style="font-size: large;"></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: justify;"><span style="font-family: inherit;"><span style="font-size: large;">L’aquila è il simbolo dell’evangelista Giovanni nel
tetramorfo. Nella chiesa a lui intitolata a Capranica, la possiamo ammirare nei
tondi della volta affrescati dai fratelli Bartoloni, nella mensola del
bellissimo tabernacolo<a href="#_ftn18" name="_ftnref18" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[18]</span></span></span></span></a>
murale nella cappella del SS.mo Sacramento e della Madonna Auxilium
Christianorum, nonché maestosamente posata con i suoi possenti artigli, sopra
alla cantorìa e al cassone dell’organo Morettini. Anche nella bella pala d’altare
<i>Visione di San Giovanni Evangelista nell’isola di Pathmos</i>, la troviamo
raffigurata accanto all’evangelista Giovanni, che come ricorda la lapide sopra
l’ingresso laterale della chiesa, è intento a scrivere il libro dell’Apocalisse<a href="#_ftn19" name="_ftnref19" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[19]</span></span></span></span></a>. La
tavola è stata donata alla Fabbrica dal canonico Vincenzo Scagliosi che la
commissionò al Cav. Andrea Pozzi, accademico romano e presidente dell’Accademia
di San Luca, il quale la terminò intorno al 1831<a href="#_ftn20" name="_ftnref20" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[20]</span></span></span></span></a>.</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: center;"><span style="font-family: inherit;"><span style="font-size: large;"></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl6Ti8Hp9jpKq4zafgBiRVeVQdN1yu37b_KY5_-dY75SqUdBuYnRd9K0xf13Oxr7PHvR4G3LrrMQJ2BKHXYO-4W_SWxdUHblfhqHDYOPF4DHzgbYfC4U38MZADSMBcU8abnc2CBoNGEp31iwIYMJEeAfaef1SzRRLDG77Gev1SfG9PLqhw-Y985Pl8KQ/s1706/San%20Giovanni%20-%20interno%20-%20organo%20Morettini%2004.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1179" data-original-width="1706" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl6Ti8Hp9jpKq4zafgBiRVeVQdN1yu37b_KY5_-dY75SqUdBuYnRd9K0xf13Oxr7PHvR4G3LrrMQJ2BKHXYO-4W_SWxdUHblfhqHDYOPF4DHzgbYfC4U38MZADSMBcU8abnc2CBoNGEp31iwIYMJEeAfaef1SzRRLDG77Gev1SfG9PLqhw-Y985Pl8KQ/w400-h276/San%20Giovanni%20-%20interno%20-%20organo%20Morettini%2004.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>La grande aquila dorata che sovrasta il bussolone dell'organo Morettini nella chiesa di San Giovanni Evangelista</i><br /></td></tr></tbody></table><span style="font-family: inherit;"><span style="font-size: large;"> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1IvD-4sa56XW29KYu0zYM1vc4Rva3oPCxy0PSZ5ZRFU1ujL-kj2r2VDgtq1ZzRN9pnQSInUzCLep_2EFpidSNFOHL8NjAdZnOHqqDdFVIJ_lL1BH3v40KlxtNaSxMr9UYBM1KNlN4qQsXIrxlx5yEWc5-ql-E0yRFapioCNT_WvMWUB25klN1zv21Kg/s3000/Image00116.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2000" data-original-width="3000" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1IvD-4sa56XW29KYu0zYM1vc4Rva3oPCxy0PSZ5ZRFU1ujL-kj2r2VDgtq1ZzRN9pnQSInUzCLep_2EFpidSNFOHL8NjAdZnOHqqDdFVIJ_lL1BH3v40KlxtNaSxMr9UYBM1KNlN4qQsXIrxlx5yEWc5-ql-E0yRFapioCNT_WvMWUB25klN1zv21Kg/w400-h266/Image00116.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Aquila del tetramorfo apocalittico visibile sulla volta della chiesa di San Giovanni Evangelista (fratelli Bartoloni, 1896).</i><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqcZJD9H7DaLa3jtR9xz9-8-HdM-XMeQmlalPNNre8TLr1UsazVmiHb82pVmbMwFuDdGNkWLx4R1Sh2eeMEd_fS7_slG1b6MdBCQTDsQ_a1pWOKz3EF8QFklsvjqdNsmuvU1uf5Y7kiVzvp1FciIlaZOhOTD4hYEBrceVYyBwzBmUpS4XB8_Lf3ieUTQ/s3000/Image00121.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2000" data-original-width="3000" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqcZJD9H7DaLa3jtR9xz9-8-HdM-XMeQmlalPNNre8TLr1UsazVmiHb82pVmbMwFuDdGNkWLx4R1Sh2eeMEd_fS7_slG1b6MdBCQTDsQ_a1pWOKz3EF8QFklsvjqdNsmuvU1uf5Y7kiVzvp1FciIlaZOhOTD4hYEBrceVYyBwzBmUpS4XB8_Lf3ieUTQ/w400-h266/Image00121.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Aquila con libro, nella mensola del tabernacolo degli olii santi nella chiesa di San Giovanni Evangelista<br /></i></td></tr></tbody></table></span></span><p></p><span style="font-family: inherit;"><span style="font-size: large;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: justify;"><span style="font-family: inherit;"><span style="font-size: large;">Come il leone è considerato il re degli animali, l’aquila
è considerata la regina di tutti gli uccelli. Solo lei è capace di volare così
in alto e solo lei è capace di sollevare da terra, strette nei suoi artigli, prede
di ragguardevoli dimensioni. Quando è raffigurata ad ali spiegate, queste rappresentano
agilità e forza nel superare gli ostacoli. L’aquila è anche figurazione dello Spirito
Santo, allorché aleggia sulla creazione del cosmo (Gn 1, 2), come fa questo
maestoso uccello per proteggere la nidiata (Dt 32, 11).</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: center;"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><img border="0" data-original-height="3000" data-original-width="2000" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1zZdNAfNGMU4ThxKgvmMplcs9i-oBgbppf_gRtDETtlRFOfUXvTDojiiCE0zm8kJd3My6BDJmtLuh4XIm5Igl5sBy8KA313z7JeYc3EbKY0U9ELmWOnYmQIbyVVJ9hU6OQO7Ef0ErGqw4ZYAQC_gS4S5l1w3Wd3xZwffZXx4gVXh_XVb50qqpZ7gSPw/w266-h400/Image00044.jpg" style="margin-left: auto; margin-right: auto;" width="266" /></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Portale Palazzo Petrucci in via degli Anguillara, 4 con stemma della famiglia ed aquila (sotto, particolare)</i><br /></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"> </div><span style="font-family: inherit;"><span style="font-size: large;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWLxWnKFczszVNODpFi9YWNmEoTBdFLZ3Xy2zTJ-_Up_z4rV1sQpBLNpdFCnj-SWywVNMQ6dvC8_ND7FoMQaIFjUzMfWIvh7PNRerICAuuL0x1_roiz_fITFrukchBEtYsNYy3P8EOHf7eHRdZ4B4REqVkhOIwp5T5mkDfyeaeJVO_P7SDZAkY8YzoiQ/s3000/Image00017.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3000" data-original-width="2000" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWLxWnKFczszVNODpFi9YWNmEoTBdFLZ3Xy2zTJ-_Up_z4rV1sQpBLNpdFCnj-SWywVNMQ6dvC8_ND7FoMQaIFjUzMfWIvh7PNRerICAuuL0x1_roiz_fITFrukchBEtYsNYy3P8EOHf7eHRdZ4B4REqVkhOIwp5T5mkDfyeaeJVO_P7SDZAkY8YzoiQ/w266-h400/Image00017.jpg" width="266" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjD_ePanqZFuTpxiSoZSjgppIyy2k0nbky5y0FQWaPfx3OaATehdSs8BqyTaP77aPVkWVUb2-FEJau9XtpKrcYxaRnnXr_geZeaW9xBvkF_z9rUltW9xStNLW7tr_eI3m9jc3dBSZcOC7k9cWN8--o4-IAU6t_SaqdKwRL40EIQsm1Y0CRXlNnQ7kfisQ/s3000/Image00092.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3000" data-original-width="2000" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjD_ePanqZFuTpxiSoZSjgppIyy2k0nbky5y0FQWaPfx3OaATehdSs8BqyTaP77aPVkWVUb2-FEJau9XtpKrcYxaRnnXr_geZeaW9xBvkF_z9rUltW9xStNLW7tr_eI3m9jc3dBSZcOC7k9cWN8--o4-IAU6t_SaqdKwRL40EIQsm1Y0CRXlNnQ7kfisQ/w266-h400/Image00092.jpg" width="266" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Portale Palazzo Petrucci in via degli Anguillara, 76 con stemma della famiglia ed aquila (sotto, particolare)</i></td></tr></tbody></table></div></span></span><p></p><span style="font-family: inherit;"><span style="font-size: large;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjIWGG3JmW-gQIqFgH6FnuH22Kzsh7W9-LQjU3yyTduYzDpp3RFBUB-grfLjHmW7b9z0p1uQOxX2buc4G0T9HB4y2uUnoni_ExBjyoFWzLZm-qeRl_-ghSq2c38lRNGZaKoqI-dojEZXMD-gOE91LvRoDB-4UQPQeQOEkX1AGxCClNtCsCSDBs7MdtKw/s3000/Image00093.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3000" data-original-width="2000" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjIWGG3JmW-gQIqFgH6FnuH22Kzsh7W9-LQjU3yyTduYzDpp3RFBUB-grfLjHmW7b9z0p1uQOxX2buc4G0T9HB4y2uUnoni_ExBjyoFWzLZm-qeRl_-ghSq2c38lRNGZaKoqI-dojEZXMD-gOE91LvRoDB-4UQPQeQOEkX1AGxCClNtCsCSDBs7MdtKw/w266-h400/Image00093.jpg" width="266" /></a><span style="font-family: inherit;"><span style="font-size: large;"> </span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: justify;"><span style="font-family: inherit;"><span style="font-size: large;">In ambito araldico, è possibile vedere l’aquila all’interno
dei blasoni della famiglia Petrucci posizionati sopra al fornice dei due palazzi
Petrucci in via degli Anguillara (in realtà i palazzi Petrucci sono tre, se si
considera anche quello in piazza del Duomo, davanti alla chiesa di San Giovanni,
che ospita la Casa della Comunità). Negli stemmi delle antiche casate nobiliari,
l’aquila rappresenta l’alto disegno, la grande impresa, la nobiltà dei natali,
la grandezza d’animo, l’elevatezza dei pensieri<a href="#_ftn21" name="_ftnref21" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[21]</span></span></span></span></a>. Di
questa antica famiglia, si ricorda in particolare Ignazio Petrucci, protonotaro
apostolico e arciprete della collegiata di San Giovanni per 29 anni, e Filippo
Petrucci, che nel 1717 venne eletto padre superiore generale della congregazione
dei Barnabiti, morto a Capranica nel 1728<a href="#_ftn22" name="_ftnref22" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[22]</span></span></span></span></a>. </span></span></p><span style="font-family: inherit;"><span style="font-size: large;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: justify;"><span style="font-family: inherit;"><span style="font-size: large;"><b>9. Un gatto</b></span></span></p><span style="font-family: inherit;"><span style="font-size: large;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: justify;"><span style="font-family: inherit;"><span style="font-size: large;">Aver citato i palazzi della famiglia Petrucci ci da’
l’occasione per parlare di un gatto che è raffigurato in una finta finestra nel
palazzo adiacente alla torre dell’Orologio. Non tutti i capranichesi hanno l’abitudine
di guardare con curiosità l’ambiente urbano che li circonda. Ma chi ha
sufficiente voglia di stupirsi e di meravigliarsi anche delle piccole cose,
avrà senz’altro avuto modo di accorgersi che oltrepassando la porta dell’Orologio
per entrare nella parte più antica del borgo, se ci si volta a destra e si
guarda in alto, fino all’altezza del primo piano del palazzo, si può notare che
la finestra immediatamente adiacente alla torre dell’Orologio è murata. Al
posto dell’infisso c’è il dipinto delle imposte della finestra, rappresentate appena
socchiuse. In basso a destra, compare un gatto che il tempo ha purtroppo
piuttosto deteriorato fino a renderlo ormai non riconoscibile.</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: center;"><span style="font-family: inherit;"><span style="font-size: large;"></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><img border="0" data-original-height="3000" data-original-width="2000" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi83VaZRg7rS9Vd7FLRhDzcz88UleCo_qqD-mpIpR86jtEJ2UeMhf4OlCOzE59eu3LR0TE6ox2cyACyvqS67k6wmXQNHvGDgZVyO_hx_lblvT1Z8Y7gpzpUpUC76sB3oOHXAH13R0mYqygpPw27NAkE8uBxb-a_Ct2s8yiQfvlnUgdMJlzDZbZuTLiPwA/w266-h400/Image00041.jpg" style="margin-left: auto; margin-right: auto;" width="266" /></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Finestra finta al primo piano di Palazzo Petrucci di via Anguillara, 4</i></td></tr></tbody></table><p></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><span style="font-size: large;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVZF_fKVttxciY4uB-HE-_z2c6saRHPvcRobhJR-eqz6xjcaaqVPK9-0jMoWMDwKHNTJbhT3iMQuHD66UN4V3CfRTfUDrQv-ELbr943opxdw_Hlrpf3rxl3qziuY6f_Yz3V229YzCWmwuNnlcVPGQG_nmNg69UYp8vCRtiGOIJBzBearvOUd7_kOIKqg/s3000/Image00042.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2000" data-original-width="3000" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVZF_fKVttxciY4uB-HE-_z2c6saRHPvcRobhJR-eqz6xjcaaqVPK9-0jMoWMDwKHNTJbhT3iMQuHD66UN4V3CfRTfUDrQv-ELbr943opxdw_Hlrpf3rxl3qziuY6f_Yz3V229YzCWmwuNnlcVPGQG_nmNg69UYp8vCRtiGOIJBzBearvOUd7_kOIKqg/w400-h266/Image00042.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Particolare con gatto, purtroppo ormai gravemente deteriorato</i><br /></td></tr></tbody></table></span></span></div><p></p><span style="font-family: inherit;"><span style="font-size: large;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: justify;"><span style="font-family: inherit;"><span style="font-size: large;">Perché il gatto? Probabilmente solo per motivi
giocosi e per rendere più interessante la composizione pittorica. Tuttavia,
nell’arte il gatto ha vissuto alterne fortune poiché è passato dall’essere considerato
come di natura divina nella cultura egiziana, fino all’essere accomunato alle
streghe ed al mondo del diabolico durante il medioevo. Solo a partire dal
Rinascimento è tornato finalmente ad essere ritenuto un animale domestico amico
dell’uomo e abitante silenzioso e discreto della case. Ed in questo ambito, si
sa, uno dei più comuni divertimenti dei gatti è quello di trovare dei
nascondigli da dove osservare silenziosamente il mondo che li circonda senza
essere a loro volta notati. In questo loro gioco istintivo, i più vari – nonché
impensabili all’umana ragione – sono i posti dove i gatti amano celarsi: sugli
alberi, negli anfratti naturali che formano le piante, sotto i mobili, fino
agli interni degli armadi e addirittura nelle scatole. E quale nascondiglio migliore
per un gatto è lo starsene acquattato e sornione su un davanzale di una finestra
assistendo con felina sufficienza, non visto, al passare di ignari e stupidi umani?</span></span></p><span style="font-family: inherit;"><span style="font-size: large;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: justify;"><span style="font-family: inherit;"><span style="font-size: large;"><b>10. Altri animali</b></span></span></p><p><span style="font-family: inherit;"><span style="font-size: large;">
<span style="line-height: 115%;">E terminiamo la nostra
passeggiata con una breve carrellata fotografica di altri animali nascosti nell’arte
della nostra piccola-grande galleria museale all’aperto (o al chiuso) che è la nostra
cittadina.</span></span></span></p><p style="text-align: center;"><span style="font-family: inherit;"><span style="font-size: large;"><span style="line-height: 115%;"></span></span></span></p><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdGvHPCefHXIdhM_QFWD37JF9MRqK4ODHIMbkxkIl_ryasYKMeNpjTT10xnVJKxdy8PWCxgpAT2O5h1p27xT2qvWBXhapl09XbdDyHRG9wjPYSs8mHgJv5ds8sF6mkTOFN40gUAJwXwhBLMnC13trN8BfSewk4vxFBrsWerz_wrqhzpj5oyssJwjbIFw/s3000/Image00045.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2000" data-original-width="3000" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdGvHPCefHXIdhM_QFWD37JF9MRqK4ODHIMbkxkIl_ryasYKMeNpjTT10xnVJKxdy8PWCxgpAT2O5h1p27xT2qvWBXhapl09XbdDyHRG9wjPYSs8mHgJv5ds8sF6mkTOFN40gUAJwXwhBLMnC13trN8BfSewk4vxFBrsWerz_wrqhzpj5oyssJwjbIFw/w400-h266/Image00045.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Gallo, cappella della Santa Croce, chiesa di San Giovanni Evangelista</i><br /></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><span style="font-size: large;"><span style="line-height: 115%;"></span></span></span></div><span style="font-family: inherit;"><span style="font-size: large;"><span style="line-height: 115%;"><br /><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvP_wQO_Dd_dPZJeu7IfrKmEdrKSAgEGIWj1oi9Jm7PqVUH7z62lWqTWqBswcVcRmjn3XEIBVee_JcYNpNQ_VMLjcjR3edb6xPlrxXeIO1tegqBru7Lb564XbHfZSg6aksR37Fsm2ZQvmV8Y_qPiiZZSz_j5hMtS-KkTc5xijKpKIbPpap41XKZ5Uwfg/s3000/Image00104.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2000" data-original-width="3000" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvP_wQO_Dd_dPZJeu7IfrKmEdrKSAgEGIWj1oi9Jm7PqVUH7z62lWqTWqBswcVcRmjn3XEIBVee_JcYNpNQ_VMLjcjR3edb6xPlrxXeIO1tegqBru7Lb564XbHfZSg6aksR37Fsm2ZQvmV8Y_qPiiZZSz_j5hMtS-KkTc5xijKpKIbPpap41XKZ5Uwfg/w400-h266/Image00104.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>La pecten, la conchiglia, chiesa della Madonna del Piano, altare maggiore</i> <br /></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"> </div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbRsRdPnncZ-cMabag04ISqcNPGykXniqZccWN7guqTxu81sVRh6xlVXGTJgWPnrUzKuwmrb8ldNzzFDEJtI3qGEkaa6XpP3RZn-UIPgpkzRxgQUnvpdXOYAwMJuh6f6iFsOiOeVvK6mO7hY34VdKBKsrLtj4tk9OhhmOqA1C5i2b9LOvCpNS3nR7DPA/s3000/Image00102.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2000" data-original-width="3000" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbRsRdPnncZ-cMabag04ISqcNPGykXniqZccWN7guqTxu81sVRh6xlVXGTJgWPnrUzKuwmrb8ldNzzFDEJtI3qGEkaa6XpP3RZn-UIPgpkzRxgQUnvpdXOYAwMJuh6f6iFsOiOeVvK6mO7hY34VdKBKsrLtj4tk9OhhmOqA1C5i2b9LOvCpNS3nR7DPA/w400-h266/Image00102.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>La pecten, la conchiglia, chiesa della Madonna del Piano</i><br /></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"> </div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR_9Q5UG4HZw8LdZ_VuXJWPKCuHNjbo3R5pPzAFGoR2yBJ6PCBxtdT0msK9SY2-1bj6fgEff1LU7CAPLCkz-y6cFRbEhIDrt0qq3go6IdhpoW3ehclTOR1oWBHfh86vgTXLq1ClOY-d2H-jDE7h7GzQViLfW7l3Kl_wtLV25JTe0kzINX7EY83ll5HUw/s2522/Image00110.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2000" data-original-width="2522" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR_9Q5UG4HZw8LdZ_VuXJWPKCuHNjbo3R5pPzAFGoR2yBJ6PCBxtdT0msK9SY2-1bj6fgEff1LU7CAPLCkz-y6cFRbEhIDrt0qq3go6IdhpoW3ehclTOR1oWBHfh86vgTXLq1ClOY-d2H-jDE7h7GzQViLfW7l3Kl_wtLV25JTe0kzINX7EY83ll5HUw/w400-h318/Image00110.jpg" width="400" /></a></span></span></span></div><span style="font-family: inherit;"><span style="font-size: large;"><span style="line-height: 115%;"></span></span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><span style="font-size: large;"><span style="line-height: 115%;"></span></span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><span style="font-size: large;"><span style="line-height: 115%;"> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigPYgXYvqLN6b1H1ZD-sLPQVgQizKTf0J0QHbWawRsHfNzLh1RXdXW0XWpkjclA5lBxAHNOeoPk1gLqnQ6T8X489Fray_FiEoeINP13sQSPvVAslVdTT8UrJBWdqRUcgOH6a11RHelIFhcDh-PZOkQRV5Oh5YYEDr8-z-KLCIm96hxjot3ANBC2_wu2A/s2400/IMGP4423.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1062" data-original-width="2400" height="178" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigPYgXYvqLN6b1H1ZD-sLPQVgQizKTf0J0QHbWawRsHfNzLh1RXdXW0XWpkjclA5lBxAHNOeoPk1gLqnQ6T8X489Fray_FiEoeINP13sQSPvVAslVdTT8UrJBWdqRUcgOH6a11RHelIFhcDh-PZOkQRV5Oh5YYEDr8-z-KLCIm96hxjot3ANBC2_wu2A/w400-h178/IMGP4423.JPG" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Timpano del tabernacolo degli olii santi di San Giovanni Evangelista (cappella del SS. Sacramento), colomba dello Spirito Santo e festone con passeri piluccanti i frutti.</i><br /></td></tr></tbody></table></span></span></span></div><span style="font-family: inherit;"><span style="font-size: large;"><span style="line-height: 115%;"> </span></span></span><div style="mso-element: footnote-list;"><hr align="left" size="1" width="33%" />
<div id="ftn1" style="text-align: left;">
<p class="MsoFootnoteText" style="margin-bottom: 6pt;"><span style="font-family: inherit;"><span style="font-size: medium;"><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;"><b>NOTE AL TESTO </b><br /></span></span></span></span></span></span></p><p class="MsoFootnoteText" style="margin-bottom: 6pt;"><span style="font-family: inherit;"><span style="font-size: medium;"><a href="#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[1]</span></span></span></span></a> Sui Conti di Anguillara, v. la
seguente bibliografia classica: COLETTI<span style="font-variant: small-caps;">,</span>
G., «Regesto delle Pergamene della famiglia Anguillara», <i>ASRSP (Archivio
Storico della Società Romana di Storia Patria)</i>, <span style="font-variant: small-caps;">x</span> (1887), 241-285; SORA, V., «<span>I Conti di Anguillara dalle loro origini al 1465</span>», <i>ASRSP</i>,
<span style="font-variant: small-caps;">xxix</span> (1906), pp. 397-442; <span style="font-variant: small-caps;">xxx</span> (1907), pp. 53-118; ARTIOLI<span style="font-variant: small-caps;">, R., </span>«La famiglia dei Conti Anguillara
in Roma», <i>Giornale – araldico – storico – genealogico</i>, <span style="font-variant: small-caps;">i</span> (1912), pp. 45-74; <i>Dizionario
Biografico degli Italiani</i>, artt. «Anguillara, Deifobo», «Anguillara,
Dolce», «Anguillara, Everso», «Anguillara, Francesco», «Anguillara, Pandolfo»; SIGNORELLI,<span style="font-variant: small-caps;"> M</span>., <i>Le
famiglie nobili viterbesi nella storia</i>, Genova 1969; SCANO,<span style="font-variant: small-caps;"> G.,</span> «<span>Altri documenti Anguillara nell’Archivio Capitolino</span>», <i>ASRSP</i>,
<span style="font-variant: small-caps;">xcviii</span> (1975), pp. 240-242; CAROCCI,<span style="font-variant: small-caps;"> S.,</span> <i>Baroni
di Roma. Dominazioni signorili e lignaggi aristocratici nel Duecento e nel
primo Trecento</i>, École française de Rome e Istituto storico italiano per il
Medio Evo, Roma 1993, pp. 299-309; SANTONI,<span style="font-variant: small-caps;">
P</span>., «<span>Un documento inedito di
Pandolfo II Anguillara: l’acquisto del “Castrum Donaççani” in Diocesi di Sutri</span>»,
<i>ASRSP</i>, <span style="font-variant: small-caps;">cxvi (</span>1993), pp.
113-120. Su questo sito sono stati ospitati i risultati delle ricerche di Carlo
Maria D’Orazi sulla famiglia: <span style="background: white none repeat scroll 0% 0%; color: #666666;"><a href="https://www.capranicastorica.it/2022/05/la-figura-del-viceconte-della-famiglia.html">D'ORAZI,
C.M., «<i>La figura del viceconte della famiglia degli Anguillara in Bassano
Romano nel XIV secolo</i>»</a>; </span><a href="https://www.capranicastorica.it/2021/12/la-rocca-di-capranica-una-ipotesi.html">D'ORAZI
C.M., «<i>La rocca di Capranica: una ipotesi ricostruttiva</i>»</a>; <a href="https://www.capranicastorica.it/2021/11/jacobo-longo-armigero-del-conte-everso.html">D'ORAZI,
C.M., «<i>Jacobo Longo armigero del Conte Everso degli Anguillara, originario
del Castro di Monte Carlo</i>»</a>; <a href="https://www.capranicastorica.it/2020/04/i-dipendenti-e-gli-amici-dei-conti_24.html">D'ORAZI,
C.M., «<i>I dipendenti e gli amici dei Conti Francesco e Nicola degli
Anguillara a Capranica alla fine del XIV sec. - 2^ parte</i>»</a>; <a href="https://www.capranicastorica.it/2020/04/i-dipendenti-e-gli-amici-dei-conti_68.html">D'ORAZI,
C.M., «<i>I dipendenti e gli amici dei Conti Francesco e Nicola degli
Anguillara a Capranica alla fine del XIV sec. – 1^ parte</i>»</a>. Infine,
si segnala che sono in corso di pubblicazione da parte del Comune di Capranica,
gli atti del convegno sulle signorie della Tuscia, tra le quali la famiglia
Anguillara, svoltosi a Capranica, Chiesa di San Francesco, il 4 settembre 2021.</span></span></p><span style="font-family: inherit;"><span style="font-size: medium;">
</span></span></div><span style="font-family: inherit;"><span style="font-size: medium;">
</span></span><div id="ftn2" style="text-align: left;"><p>
</p><p class="MsoFootnoteText" style="margin-bottom: 6pt;"><span style="font-family: inherit;"><span style="font-size: medium;"><a href="#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[2]</span></span></span></span></a> Cfr. CHIRICOZZI,<span style="font-variant: small-caps;"> P.</span>, <i>Le
Chiese di Capranica</i>, Romagrafik, Roma 1983, p. 93; <i>id</i>. 1985, p. 30; MORERA,<span style="font-variant: small-caps;"> T.</span>, <i>Capranica
nella storia e nell’arte</i>, Athena, Roma 1994, p. 7.</span></span></p><p>
</p></div><span style="font-family: inherit;"><span style="font-size: medium;">
</span></span><div id="ftn3" style="text-align: left;"><p>
</p><p class="MsoFootnoteText" style="margin-bottom: 6pt;"><span style="font-family: inherit;"><span style="font-size: medium;"><a href="#_ftnref3" name="_ftn3" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[3]</span></span></span></span></a> Cfr<span style="font-variant: small-caps;">
</span>SERCIA,<span style="font-variant: small-caps;"> G.</span>, <i>La pretesa
feudalità</i>, cit., pp. 4-5. Secondo l’Autore, «…nessuna notizia si ha (…)
della infeudazione di Capranica agli Anguillara…», per cui «…è facile dedurre
che gli Anguillara si impadronirono di Capranica con gli stessi sistemi e
mezzi, con i quali avevano conquistato gli altri borghi e tenimenti…», nonché il
loro dominio su Capranica «…fu tollerato dalla comunità per forza maggiore, e
dalla Chiesa anche per forza maggiore, non essendo questa in condizioni di
tutelare efficacemente i suoi diritti…». Sulla stessa linea è CHIRICOZZI,<span style="font-variant: small-caps;"> P.</span>, <i>Le
Chiese</i>, cit., che però, nell’affermare che gli Anguillara avrebbero
usurpata la signoria di Capranica (p. 16) durante i primi anni della permanenza
dei papi ad Avignone (p. 58), segue probabilmente il Sercia, che riporta in
bibliografia. CAROCCI,<span style="font-variant: small-caps;"> S.,</span> <i>Baroni di Roma</i>, cit., p. 304, infine,
ipotizza che la famiglia non sia nemmeno appartenuta al circuito della grande
aristocrazia romana, stante «…il totale silenzio mantenuto dai ricchi cartari
monastici romani sulla presenza di qualsiasi possesso urbano o suburbano dei
conti; (…) l’assenza, davvero inspiegabile, di personaggi di tale levatura fra
i senatori del Duecento; infine, ancor più sorprendente, la mancanza degli
Anguillara dalla lista dei <i>barones Urbis</i> compilata nel 1305…»</span></span></p><p>
</p></div><span style="font-family: inherit;"><span style="font-size: medium;">
</span></span><div id="ftn4" style="text-align: left;"><p>
</p><p class="MsoFootnoteText" style="margin-bottom: 6pt;"><span style="font-family: inherit;"><span style="font-size: medium;"><a href="#_ftnref4" name="_ftn4" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[4]</span></span></span></span></a> Cfr. SANTONI<span style="font-variant: small-caps;">, P</span>., «<span>Un documento inedito di Pandolfo II Anguillara</span>», cit..</span></span></p><p>
</p></div><span style="font-family: inherit;"><span style="font-size: medium;">
</span></span><div id="ftn5" style="text-align: left;"><p>
</p><p class="MsoFootnoteText" style="margin-bottom: 6pt;"><span style="font-family: inherit;"><span style="font-size: medium;"><a href="#_ftnref5" name="_ftn5" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[5]</span></span></span></span></a> Cfr. EGIDI,<span style="font-variant: small-caps;"> P</span>., «<span>Le cronache
di Viterbo scritte da frate Francesco d'Andrea</span>», <i>ASRSP</i>, <span style="font-variant: small-caps;">xxiv</span> (1901), p. 309: «Havendo li Romani
sentito come lo imperadore s’era partito da Viterbo, vennero in adiutorio della
Chiesa, et pigliarno Crapalica, e disferno Ronciglione, et pigliarci el conte
Pandolfo et mandarlo prigione ad Roma, et poi pigliarno Vico.». Secondo
l’Egidi, non vi sono dubbi che il Pandolfo di cui si parla «…sia da identificare
col padre del Pandolfo dell’Anguillara che nel 1264 a capo de’ guelfi si oppose
a Pietro (<span style="font-variant: small-caps;">iv</span>) da Vico e ne fu
sconfitto e preso prigioniero presso Vetralla» (<i>ivi</i>, p. 309, nota 4).</span></span></p><p>
</p></div><span style="font-family: inherit;"><span style="font-size: medium;">
</span></span><div id="ftn6" style="text-align: left;"><p>
</p><p class="MsoFootnoteText" style="margin-bottom: 6pt;"><span style="font-family: inherit;"><span style="font-size: medium;"><a href="#_ftnref6" name="_ftn6" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[6]</span></span></span></span></a> Cfr. SORA,<span style="font-variant: small-caps;"> V.</span>, «<span>I Conti di
Anguillara», (</span>1906), cit., p. 399</span></span></p><p>
</p></div><span style="font-family: inherit;"><span style="font-size: medium;">
</span></span><div id="ftn7" style="text-align: left;"><p>
</p><p class="MsoFootnoteText" style="margin-bottom: 6pt;"><span style="font-family: inherit;"><span style="font-size: medium;"><a href="#_ftnref7" name="_ftn7" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[7]</span></span></span></span></a> E’ da ricordare che presso
l’archivio comunale di Toscanella – l’attuale Tuscania – era conservato
l’albero genealogico della famiglia Anguillara. Cfr. SORA,<span style="font-variant: small-caps;"> V.</span>, «<span>I Conti di Anguillara», (</span>1906), cit., p. 404, nota 4.</span></span></p><p>
</p></div><span style="font-family: inherit;"><span style="font-size: medium;">
</span></span><div id="ftn8" style="text-align: left;"><p>
</p><p class="MsoFootnoteText" style="margin-bottom: 6pt;"><span style="font-family: inherit;"><span style="font-size: medium;"><a href="#_ftnref8" name="_ftn8" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[8]</span></span></span></span></a> Cfr. SORA, V., «<span>I Conti di Anguillara», (</span>1906), cit.,
p. 401</span></span></p><p>
</p></div><span style="font-family: inherit;"><span style="font-size: medium;">
</span></span><div id="ftn9" style="text-align: left;"><p>
</p><p class="MsoFootnoteText" style="margin-bottom: 6pt;"><span style="font-family: inherit;"><span style="font-size: medium;"><a href="#_ftnref9" name="_ftn9" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[9]</span></span></span></span></a> Cfr. SIGNORELLI, M., <i>Le
famiglie nobili viterbesi nella storia</i>, ed. Vittorio Guelfi Camajani, Genova
1969, p. 69</span></span></p><p>
</p></div><span style="font-family: inherit;"><span style="font-size: medium;">
</span></span><div id="ftn10" style="text-align: left;"><p>
</p><p class="MsoFootnoteText" style="margin-bottom: 6pt;"><span style="font-family: inherit;"><span style="font-size: medium;"><a href="#_ftnref10" name="_ftn10" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[10]</span></span></span></span></a> Cfr. ARTIOLI, R., «La famiglia dei
Conti Anguillara in Roma», <i>Giornale – araldico – storico – genealogico</i>,
I (1912), pp. 45-74. La notizia di cui parliamo è riportata a p. 48</span></span></p><p>
</p></div><span style="font-family: inherit;"><span style="font-size: medium;">
</span></span><div id="ftn11" style="text-align: left;"><p>
</p><p class="MsoFootnoteText" style="margin-bottom: 6pt;"><span style="font-family: inherit;"><span style="font-size: medium;"><a href="#_ftnref11" name="_ftn11" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[11]</span></span></span></span></a> Cfr. <span style="font-variant: small-caps;">Sora V.</span>, «<span>I Conti
di Anguillara</span>», cit., <i>ASRSP</i>, <span style="font-variant: small-caps;">xxix</span>
(1906), p. 402. <span style="font-variant: small-caps;">Signorelli M</span>., <i>Le famiglie nobili viterbesi</i>, cit., p.
68, riferisce, inoltre, che «<span>il
celebre Everso vi inserì anche l’orso con l’anguilla in bocca, quale
riferimento all’acquisita parentela con gli Orsini</span>».</span></span></p><p>
</p></div><span style="font-family: inherit;"><span style="font-size: medium;">
</span></span><div id="ftn12" style="text-align: left;"><p>
</p><p class="MsoFootnoteText" style="margin-bottom: 6pt;"><span style="font-family: inherit;"><span style="font-size: medium;"><a href="#_ftnref12" name="_ftn12" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[12]</span></span></span></span></a> Cfr. <span style="font-variant: small-caps;">Cusanno A.M.,</span> «<span>Contributo
alla conoscenza dell'originario complesso edilizio degli Anguillara in
Trastevere</span>», <i>Bollettino d’Arte</i>, Serie <span style="font-variant: small-caps;">vi - lxxv</span> (1990), p. 87, fig. 21. Lo stesso stemma, posizionato
sopra la cappa di un caminetto, è riportato a p. 86, fig. 20, nella
riproduzione particolare di alcuni elementi architettonici del palazzo
anguillaresco, dal rilievo eseguito nel 1896. </span></span></p><p>
</p></div><span style="font-family: inherit;"><span style="font-size: medium;">
</span></span><div id="ftn13" style="text-align: left;"><p>
</p><p class="MsoFootnoteText" style="margin-bottom: 6pt;"><span style="font-family: inherit;"><span style="font-size: medium;"><a href="#_ftnref13" name="_ftn13" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[13]</span></span></span></span></a> Cfr. ADINOLFI, <i>Laterano e via Maggiore</i><span>, Roma 1856, p. __</span>. La descrizione
dello stemma di Everso non è però chiarissima e può trarre in inganno perché
farebbe pensare a un unico stemma in cui, nella parte inferiore, starebbero le
anguille incrociate, e nella parte superiore, il cinghiale con in bocca la serpe
o l’anguilla. In realtà, lo stemma di Everso altro non è che lo stemma
Anguillara nella versione visibile sul sepolcro dei Conti Gemelli in San
Francesco, dove, in luogo del cimiero che sorge dalla parte superiore dello
scudo, è rappresentato un cinghiale. Poiché anche Vincenzina Sora, citando
l’Adinolfi, riprende la sua descrizione dello stemma… si potrebbe esser tentati
di pensare che non abbia mai visto dal vero lo stemma di Everso. Cfr. anche <span style="font-variant: small-caps;">Sora V.</span>, «<span>I Conti di Anguillara</span>», cit., <i>ASRSP</i>, <span style="font-variant: small-caps;">xxx</span> (1907), p. 86.</span></span></p><p>
</p></div><span style="font-family: inherit;"><span style="font-size: medium;">
</span></span><div id="ftn14" style="text-align: left;"><p>
</p><p class="MsoFootnoteText" style="margin-bottom: 6pt;"><span style="font-family: inherit;"><span style="font-size: medium;"><a href="#_ftnref14" name="_ftn14" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[14]</span></span></span></span></a> CECI, F. – D’ORAZI, C.M., «Viva
gli Sposi!», <i>Medioevo</i>, XVI, n.1 (183), aprile 2012, pp. 104-109.</span></span></p><p>
</p></div><span style="font-family: inherit;"><span style="font-size: medium;">
</span></span><div id="ftn15" style="text-align: left;"><p>
</p><p class="MsoFootnoteText" style="margin-bottom: 6pt;"><span style="font-family: inherit;"><span style="font-size: medium;"><a href="#_ftnref15" name="_ftn15" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[15]</span></span></span></span></a> <span>GINANNI, M.A., </span><i>L'arte del
blasone dichiarata per alfabeto</i><span>,
Venezia, Guglielmo Zerletti, 1756, p. 27</span></span></span></p><p>
</p></div><span style="font-family: inherit;"><span style="font-size: medium;">
</span></span><div id="ftn16" style="text-align: left;"><p>
</p><p class="MsoFootnoteText" style="margin-bottom: 6pt;"><span style="font-family: inherit;"><span style="font-size: medium;"><a href="#_ftnref16" name="_ftn16" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[16]</span></span></span></span></a> Cfr. CECCARINI, F., <i>Dio fa casa
con l’uomo. La Collegiata di San Giovanni Evangelista in Capranica nel
bicentenario della sua fondazione</i>, Effeci, Capranica 2001, p. 97</span></span></p><p>
</p></div><span style="font-family: inherit;"><span style="font-size: medium;">
</span></span><div id="ftn17" style="text-align: left;"><p>
</p><p class="MsoFootnoteText" style="margin-bottom: 6pt;"><span style="font-family: inherit;"><span style="font-size: medium;"><a href="#_ftnref17" name="_ftn17" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[17]</span></span></span></span></a> MORERA, T., <i>Capranica nella
storia e nell’arte</i>, cit., p. 77</span></span></p><p>
</p></div><span style="font-family: inherit;"><span style="font-size: medium;">
</span></span><div id="ftn18" style="text-align: left;"><p>
</p><p class="MsoFootnoteText" style="margin-bottom: 6pt;"><span style="font-family: inherit;"><span style="font-size: medium;"><a href="#_ftnref18" name="_ftn18" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[18]</span></span></span></span></a> Su questo tabernacolo, tutta la
seconda parte del saggio CECCARINI, F., <i>Dio fa casa con l’uomo. La
Collegiata di San Giovanni Evangelista in Capranica nel bicentenario della sua
fondazione</i>, Effeci, Capranica 2001,</span></span></p><p>
</p></div><span style="font-family: inherit;"><span style="font-size: medium;">
</span></span><div id="ftn19" style="text-align: left;"><p>
</p><p class="MsoFootnoteText" style="margin-bottom: 6pt;"><span style="font-family: inherit;"><span style="font-size: medium;"><a href="#_ftnref19" name="_ftn19" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[19]</span></span></span></span></a> Il testo della lapide è il
seguente: <span style="font-variant: small-caps;">tabvla.in.altari.maximo.proposita
/ ioannem.apostolvm.referens / apocalypsem.in.insvla.pathmos.describentem / mvnificentiæ.debetvr.vincentI.scagliosi
/ sacerdotis.olim.hvivs. ædis.canonici / doctoris.theologlex.officialibvs.primis
/ per.annos.xxviii / cardinalis.summi.admnistri.negotivs.pvblicvs.cvrandis / qvi.comitate.prvudentia.morvm.integritate
/ carvs.omnibus / romæ.pie.decess.v.kal.mart.an.m.dccc.xxxi / ætatis.lxviii</span></span></span></p><p>
</p></div><span style="font-family: inherit;"><span style="font-size: medium;">
</span></span><div id="ftn20" style="text-align: left;"><p>
</p><p class="MsoFootnoteText" style="margin-bottom: 6pt;"><span style="font-family: inherit;"><span style="font-size: medium;"><a href="#_ftnref20" name="_ftn20" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[20]</span></span></span></span></a> Cfr. JERVIS, A.V., «Andrea Pozzi
Pittore accademico nella Roma del primo Ottocento», <i>Studi di Storia dell’Arte</i>,
5/6 (1994/95), pp. 249-184, in particolare p. 254, p. 260, note 61 e 106. Il
pittore in due lettere indirizzate al poeta reatino Angelo Maria Ricci tra il
dicembre del 1830 e il gennaio del 1831, scrive di essere intento nella
produzione della tavola dell’Apocalisse ospite dello studio del suocero, lo
scultore Antonio D’Este. La tavola rimase in mostra per qualche tempo prima di
essere consegnata alla Fabbrica di San Giovanni Evangelista. E’ interessante
ricordare che Antonio D’Este aveva avuto lo studio in eredità dal Canova dopo
una lunga causa vinta contro il fratello del grande scultore e che nell'altare del Santissimo i due grandi angeli oranti ai lati dell'immagine della Madonna Auxilium Christianorum provengono proprio dalla bottega romana del Canova.<br /></span></span></p><p>
</p></div><span style="font-family: inherit;"><span style="font-size: medium;">
</span></span><div id="ftn21" style="text-align: left;"><p>
</p><p class="MsoFootnoteText" style="margin-bottom: 6pt;"><span style="font-family: inherit;"><span style="font-size: medium;"><a href="#_ftnref21" name="_ftn21" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[21]</span></span></span></span></a> <span>GINANNI, M.A., </span><i>L'arte del
blasone dichiarata per alfabeto</i><span>, cit.,
p. 28-31</span></span></span></p><p>
</p></div><span style="font-family: inherit;"><span style="font-size: medium;">
</span></span><div id="ftn22" style="text-align: left;"><span style="font-family: inherit;"><span style="font-size: medium;">
</span></span><p class="MsoFootnoteText" style="margin-bottom: 6pt;"><span style="font-family: inherit;"><span style="font-size: medium;"><a href="#_ftnref22" name="_ftn22" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[22]</span></span></span></span></a> MORONI, G., <i>Dizionario di
Erudizione Storico-Ecclesiastica</i>, t. 102, voce «Viterbo», p. 65</span></span></p>
</div>
</div>
<p></p><p><b><span></span></b></p><!--more--><p></p><p style="text-align: center;"><b>Citare questo documento / Citer ce document / Cite this document</b>
</p><p class="has-text-align-center" style="text-align: center;">CECCARINI, Fabio, «<i>Di api, di leoni, di capre e di creature fantastiche. Bestiari urbani capranichesi e dove trovarli. 3^ parte</i>», Capranica Storica, 30/06/2022 - URL: <a href="https://www.capranicastorica.it/2022/06/di-api-di-leoni-di-capre-e-di-creature_086807956.html">https://www.capranicastorica.it/2022/06/di-api-di-leoni-di-capre-e-di-creature_086807956.html</a></p><p></p>
<p style="text-align: center;"><a href="http://creativecommons.org/licenses/by-nc-sa/4.0/" rel="license"><img alt="Licenza Creative Commons" src="https://i.creativecommons.org/l/by-nc-sa/4.0/88x31.png" style="border-width: 0px; display: block; margin-left: auto; margin-right: auto;" /></a>Questo articolo di <a href="https://www.capranicastorica.it/2022/06/di-api-di-leoni-di-capre-e-di-creature_086807956.html" rel="cc:attributionURL">Fabio Ceccarini</a> è distribuito con Licenza <a href="http://creativecommons.org/licenses/by-nc-sa/4.0/" rel="license">Creative Commons Attribuzione - Non commerciale - Condividi allo stesso modo 4.0 Internazionale</a>.</p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4201727664195975785.post-36825045589205833802022-06-16T10:00:00.639+02:002023-05-13T23:44:44.438+02:00Pier Luigi Nicolini: l’animatore sociale, il politico, il comunicatore<p class="has-text-align-center" style="text-align: left;"><b></b></p><p class="has-text-align-center" style="text-align: left;"><b></b></p><p class="has-text-align-center" style="text-align: left;"><b></b></p><p class="has-text-align-center" style="text-align: left;"><b><!--[if gte mso 9]><xml>
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</b></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: center;"><span style="color: #3d85c6;"><span style="font-size: medium;"><span style="color: black;"><span style="font-family: "Times New Roman", serif;"></span></span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #3d85c6;"><span style="font-size: medium;"><span style="color: black;"><span style="font-family: "Times New Roman", serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdxFHcIZ1nc6GdxkGIKqLAfDBFNm4n8d0MVLQWFgbAPLSvnh0M3iWFgNuLb_SUh5B6M_tkwOA8QprzowgjdMrIv8UlJv2sWxmrQ9fynyNZSeKMzH4rOI7NubxARNBbzg3ztHMboR9Qe1Abeb__9Jy2WNeTDRwxJfJuBJns-ohORPdNwzoBenP38sTTbw/s1459/Pier%20Luigi%20Nicolini%2001.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1459" data-original-width="966" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdxFHcIZ1nc6GdxkGIKqLAfDBFNm4n8d0MVLQWFgbAPLSvnh0M3iWFgNuLb_SUh5B6M_tkwOA8QprzowgjdMrIv8UlJv2sWxmrQ9fynyNZSeKMzH4rOI7NubxARNBbzg3ztHMboR9Qe1Abeb__9Jy2WNeTDRwxJfJuBJns-ohORPdNwzoBenP38sTTbw/w265-h400/Pier%20Luigi%20Nicolini%2001.jpg" width="265" /></a></span></span></span></span></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: left;"><span style="color: #3d85c6; font-family: inherit;"><span style="font-size: medium;"><span style="color: black;"><span>di <i>Fabio Ceccarini </i></span></span></span><b><span style="font-size: 12pt;"><br /></span></b></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: left;"><span style="font-family: inherit; font-size: large;"><span style="color: #3d85c6;"><b><span>Il 12 giugno 2012, moriva a Capranica Pier Luigi Nicolini. Dieci anni sono un
tempo piuttosto importante per far decantare le impurità che spesso si accumulano
intorno alla storia delle persone. Ma sono anche il giusto periodo per guardarla col necessario bilanciamento tra un sereno e oggettivo giudizio, e
le suggestioni dei ricordi non ancora del tutto attenuate dal passare degli
anni. Ecco azzardato, di seguito, un
profilo di uno dei protagonisti indiscussi del Novecento capranichese
presentandolo da tre determinati e ben definiti aspetti emergenti dalla sua
personalità: l’animatore sociale, il politico, il comunicatore.</span></b></span></span></p><p class="has-text-align-center" style="text-align: center;"><b><span></span></b></p><a name='more'></a><p style="text-align: left;"></p><p style="text-align: left;"></p><p style="text-align: left;"></p><p style="text-align: left;"><!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
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</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-size: large;"><i><span style="font-family: "Times New Roman", serif;"><span></span></span></i></span></p><p><span style="font-size: large;"><i> </i></span></p><p><span style="font-size: large;"><i>«Gentile
Signore, </i></span></p><p></p><span style="font-size: large;">
</span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-size: large;"><i><span style="font-family: "Times New Roman", serif;">desidero
inviare questa pubblicazione, oltre che ai cittadini di Capranica, dai quali mi
auguro che possa essere accolta come una sorta di strenna, anche a molti amici
non capranichesi. Anche per Lei, quindi, se avrà la bontà di darle uno sguardo,
io formulo il mio saluto più grato e commosso. Mi lusingo di poter essere
perdonato per la pretesa di interessare a cose talvolta troppo particolari, di
rilevanza puramente interna aziendale o addirittura familiare. Mi auguro
altresì di non provocare soltanto, con questa pubblicazione, qualche sorriso
per il suo tono indubbiamente molto campanilistico e piuttosto... strapaesano.
Oso anzi addirittura sperare di riuscire a far apprezzare in qualche modo i
caratteri ancora intatti (per grazia di Dio!) d’una piccola comunità
eminentemente rurale, che vive, lavora, si agita per i suoi interessi, si
commuove per le sue tradizioni, a due passi dalla grande città...»</span></i></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;"></span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;">E’
così che Pier Luigi Nicolini, nella simbolica data del 1° settembre 1965, festa
del Patrono di Capranica, San Terenziano da Todi, si rivolgeva </span></span><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;">in una lettera </span></span><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;">ai capranichesi e
a tutti i clienti della sua Azienda. La missiva si trovava
aggiunta <i>in folio</i> alla pubblicazione <i>Viva Capranica!</i>, nella quale
aveva voluto raccogliere immagini e testimonianze delle gloriose sfide
lavorative florovivaistiche a cui i tanti giardinieri capranichesi avevano
partecipato con la “loro” Azienda Nicolini, ed aveva voluto rendere omaggio a “<i>persone,
fatti e cose care al cuore di tutti i capranichesi</i>”.</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: center; text-autospace: none;"><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;"></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgt0NQeDCmhKE2Kh0ug9K6EFQisRNONBOrqTxvLD9utenBO0E48YdVcHmubb71HECerMbikiWXa-dVO9lSO16jsCguv_4DjkCr5M8xTSNqPQwZwHKlxuLyp2eKqC6vtxmrjTDDKHHZTrHVEIh2jtPC31PQF0Rb9SqVuK_oSx3AnuV0EGb8gEOxCR3i2xA/s930/Copertina%20Viva%20Capranica.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="930" data-original-width="731" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgt0NQeDCmhKE2Kh0ug9K6EFQisRNONBOrqTxvLD9utenBO0E48YdVcHmubb71HECerMbikiWXa-dVO9lSO16jsCguv_4DjkCr5M8xTSNqPQwZwHKlxuLyp2eKqC6vtxmrjTDDKHHZTrHVEIh2jtPC31PQF0Rb9SqVuK_oSx3AnuV0EGb8gEOxCR3i2xA/w315-h400/Copertina%20Viva%20Capranica.jpg" width="315" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Copertina della pubblicazione </i>Viva Capranica!<i>, Numero unico dell'Azienda agricola Nicolini, 1965</i><br /></td></tr></tbody></table><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;"><br /></span></span><p></p><span style="font-size: large;">
</span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;">Ma
perché un imprenditore affermato - erede di una famiglia di industriosi
personaggi che avevano introdotto la coltura del nocciolo nelle campagne
capranichesi, abbellito i più bei viali di Roma con i pini provenienti dal
vivaio gigante de “la Trinità”, prodotto concimi nella fabbrica di Capranica
Scalo, partecipato alla costruzione della nuova chiesa di Santa Maria Assunta... - </span></span><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;">sente il bisogno, </span></span><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;">a
metà degli anni ’60 del Novecento, di prendere carta e penna per
scrivere ai suoi clienti e ai suoi concittadini? Semplicemente perché <i>il
Dottore</i>, come tutti lo chiamavano con rispetto e stima, era fatto così: un uomo
d’altri tempi, allo stesso tempo sognatore e realizzatore di sogni, umanista e
amante delle sfide, profondamente religioso e sostenitore della laicità,
poetico, visionario, geniale. </span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;"></span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;">Pier
Luigi Nicolini nasce a Capranica il 28 maggio 1923 nel villino di famiglia in
viale Armando Diaz (l’attuale Viale del Vignola). Il padre Corrado (21 gennaio
1885 – 23 luglio 1946), è un possidente che gestisce la grande tenuta di
famiglia e si dedica a lavori di edilizia nella Capitale. La madre Liberatrice
Giulia Fatiganti (Faticanti all’anagrafe), per tutti semplicemente Giulia, è
figlia di Giacomo e di Teresa Selvaggini, rappresentanti di una famiglia
viterbese benestante con possedimenti sulla via Teverina. Il fratello
di Giulia, Egisto<a href="#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman", serif; line-height: 115%;">[1]</span></span></span></span></a>,
diverrà sacerdote e parroco di Santa Maria del Rosario a Bagnaia, dove una
piazza porta ancora il suo nome in ricordo del suo lungo ministero. Sarà
apprezzato per lo zelo pastorale ed il suo amore per gli animali, subito dopo
quello per i fedeli della comunità. Il nonno paterno di Pier Luigi, Vincenzo aveva partecipato
con il fratello Luigi alla costruzione della nuova chiesa di Santa Maria
Assunta, mentre lo zio Galileo, fratello del padre, era entrato nei Passionisti ed era morto nel 1897 in odore
di santità<a href="#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman", serif; line-height: 115%;">[2]</span></span></span></span></a>. Pier Luigi è il
terzogenito e unico figlio maschio della coppia dopo Maria Loreta (1914) ed
Elena (1916). Ricorda la sorella Elena che i genitori prepararono per lui una
bellissima culla con fiocchi e vola’ per la felicità della casa e delle due sorelline
di qualche anno più grandi<a href="#_ftn3" name="_ftnref3" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman", serif; line-height: 115%;">[3]</span></span></span></span></a>. </span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: center; text-autospace: none;"><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;"></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizsqKJAJI9I7fO4pr9wNa6D6j36DafR4ectA3AzIgKImsAPAPKIzNg0g7pLep-Jm6l_rQS2U2BF3qYNBpvuAF9yUi72go1RD3u_fdiyEUBjp-Rdv48WmyxiNx8ruK0ZLOxV6QlS_xLdiR7k8K32QR6W4cei9x0XTEsWFy7Ey9UYzwLdFwGrdi7RZrzPw/s1757/TRI03a.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1757" data-original-width="1057" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizsqKJAJI9I7fO4pr9wNa6D6j36DafR4ectA3AzIgKImsAPAPKIzNg0g7pLep-Jm6l_rQS2U2BF3qYNBpvuAF9yUi72go1RD3u_fdiyEUBjp-Rdv48WmyxiNx8ruK0ZLOxV6QlS_xLdiR7k8K32QR6W4cei9x0XTEsWFy7Ey9UYzwLdFwGrdi7RZrzPw/w241-h400/TRI03a.jpg" width="241" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Una cartolina scritta da Pier Luigi Nicolini, insieme alle sorelle Maria Loreta e Elena, ai nonni viterbesi in occasione del Natale 1939. Torna il cognome Faticanti (e non Fatiganti). La cartolina proviene dalla collezione Antonio Iezzi.</i><br /></td></tr></tbody></table><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;"><br /></span></span><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;">L’infanzia a “la Trinità”, la scuola, l’università passano d’un fiato fino alla
malattia del padre Corrado, che muore nel 1946 con Pier Luigi appena
ventitreenne. L’Azienda, che era reduce dalla straordinaria epopea
dell’abbellimento dei viali dell’E.U.R. ’42 vissuta durante l’ultimo scorcio
degli anni Trenta e la prima metà degli anni Quaranta, passa così sotto le
redini e la responsabilità di Pier Luigi che assume questo onere con grande consapevolezza.
Ricorda ancora la sorella Elena che subito, all’indomani della morte del padre,
Pier Luigi dimostra tutta la maturità necessaria del capo-famiglia, esortando
le due sorelle a non abbattersi e a reagire di fronte alla disgrazia appena
vissuta. Perché davvero non c’è tempo per fermarsi. Sono infatti gli anni del
fermento democratico repubblicano, della Ricostruzione e delle basi di quello
che di lì a qualche anno si concretizzerà come il miracolo economico italiano. L’Azienda
si muove così alla volta della vicina Capitale ottenendo appalti e commesse che
portano benessere e futuro alle famiglie capranichesi. E’ il periodo dei grandi
cantieri diretti dall'arch. Maria Teresa Parpagliolo, di Vigna Clara, Vigna Stelluti, della Camilluccia e dell’Hotel Hilton, della RAI e dell'Olgiata (e molti, molti altri) e
più tardi, tra la fine degli anni Cinquanta e l’inizio dei Sessanta, del
sodalizio con la Società Immobiliare Romana guidata da Aldo Samaritani, che
porterà la Nicolini a realizzare i grandi impianti a verde dei nuovi quartieri
residenziali a sud di Roma, di Casal Palocco e marginalmente dell’AXA.</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: center; text-autospace: none;"><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;"></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyz0ejxO_l3Cid0TXXHWPbtWlIt-raBuDJ2uhtOf4k7y6ueXcKqbYy_Dtjq6vZorwCBOOW4f4nxWh6V9Yxu_jruh1px-8jkf0pOSrHO3ftHi2vH35Nr2dgvu2v3lkpkUtgfdY1vHevZGUBwsyJgfXrdubX3JE_cTLl7blFeRuuEUEoCrySoZsGqPk8Kw/s1883/VNM03a.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1176" data-original-width="1883" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyz0ejxO_l3Cid0TXXHWPbtWlIt-raBuDJ2uhtOf4k7y6ueXcKqbYy_Dtjq6vZorwCBOOW4f4nxWh6V9Yxu_jruh1px-8jkf0pOSrHO3ftHi2vH35Nr2dgvu2v3lkpkUtgfdY1vHevZGUBwsyJgfXrdubX3JE_cTLl7blFeRuuEUEoCrySoZsGqPk8Kw/w400-h250/VNM03a.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Il villino Edelweis, della famiglia Nicolini. Poco oltre, il palazzo Morucci che ospitò la caserma dei Carabinieri ('a caserma vecchia)</i><br /></td></tr></tbody></table><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;"><br /></span></span><p></p><span style="font-size: large;">
</span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;">Ma
Pier Luigi Nicolini non si limita all’attività di imprenditore, si interessa
anche delle questioni capranichesi appoggiando apertamente la prima
amministrazione del sindaco democristiano Antonio Buzi (dal 1946 al 1951),
sostenendo la fondazione della Cassa Rurale e Artigiana di Capranica con il
proprio contributo di socio fondatore, intervenendo nella scuola popolare di
Villa Paola. Insomma, per usare le sue parole nella lettera riportata in
apertura di questo articolo, si getta a tutto tondo nelle vicende di quella che
definisce “<i>…una piccola comunità eminentemente rurale, che vive, lavora, si
agita per i suoi interessi, si commuove per le sue tradizioni, a due passi
dalla grande città</i>”.</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;">Ebbene, in questo suo spendersi appassionato per la comunità in cui vive, soprattutto grazie a</span></span><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;">gli scritti che ci ha lasciato,</span></span><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;"> è parso di cogliere </span></span><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;">- a chi scrive - </span></span><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;">alcuni aspetti particolari che più di altri ne hanno denotato l'impegno e i suoi ambiti. Senza addentrarsi nella sua biografia - anche per evitare qualsiasi </span></span><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;">sconfinamento </span></span><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;">(assolutamente non voluto) in ambito agiografico - lo scopo di questo articolo è</span></span><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;">, dunque, </span></span><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;">quello di condividere con il lettore queste peculiarità emergenti nella storia personale di Pier Luigi Nicolini, con l'auspicio che possano illuminarne una serena e oggettiva lettura.<br /></span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;"> </span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-size: large;"><b><span style="font-family: "Times New Roman", serif;">Nicolini
l’animatore sociale</span></b></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;"> </span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;"><i>«"Villa
Paola, tu sei la mia patria...", ci diceva allora qualche amico fraterno,
ammirando il giovanile entusiasmo, che presiedette alla fondazione del «Centro
di cultura e di assistenza sociale». Se non proprio la «nostra patria» fu certo
la nostra «piccola città» e da essa tra l'altro vennero fuori molti dei nostri
collaboratori di oggi. In questo primo esperimento di attività comunitaria
potemmo lavorare insieme, anche uomini di diverso orientamento, con quello
spirito di serena comprensione, che oggi potrebbe autorevolmente richiamarsi ai
principi della </i>Pacem in terris</span></span><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;"><i>»</i></span></span><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;"><a href="#_ftn4" name="_ftnref4" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman", serif; line-height: 115%;">[4]</span></span></span></span></a>.</span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: center; text-autospace: none;"><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;"></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigb_EvCbCPvPOIQ9hyrHM3ZvLdqV0iEsZFl-MSQAC2iIe5TSPKRPNfg-syuz6Z2XSA3f3yukPJNYf8COjq9BuWGI5HAKcOGXrB8zIK18Xw8eNiHyE1X__pMIejyxWg4nQ6PPDnTenqDBLKaF45HFp7HtzUw82XwpMO6ZxVK3SLyMoSvGN0_3yg-JdZQg/s1894/Don%20Luigi%20Micheli%20018a.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1280" data-original-width="1894" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigb_EvCbCPvPOIQ9hyrHM3ZvLdqV0iEsZFl-MSQAC2iIe5TSPKRPNfg-syuz6Z2XSA3f3yukPJNYf8COjq9BuWGI5HAKcOGXrB8zIK18Xw8eNiHyE1X__pMIejyxWg4nQ6PPDnTenqDBLKaF45HFp7HtzUw82XwpMO6ZxVK3SLyMoSvGN0_3yg-JdZQg/w400-h270/Don%20Luigi%20Micheli%20018a.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Cantiere scuola - cena conviviale con i cantieristi insieme al parroco Don Luigi Micheli (al centro in fondo) e all'Amministrazione Comunale. Pier Luigi Nicolini alza il bicchiere in segno di augurio.</i><br /></td></tr></tbody></table><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;"> </span></span><p></p><span style="font-size: large;">
</span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;">Alla
fine degli anni Quaranta, all’interno della residenza vescovile di Villa Paola,
con la spinta e il sostegno dell’arciprete parroco di San Giovanni Evangelista
Don Luigi Micheli, prende vita una delle esperienze più interessanti di educazione
per giovani adulti paragonabile, forse, soltanto a quella della Scuola Popolare
di San Donato Fiorentino, dalla quale, com’è noto, scaturì il germe e l’idea
della futura scuola di Barbiana di Don Lorenzo Milani. In effetti, oltre
all’instancabile don Luigi, un prete c’era anche qui a Capranica. Anche se era un lombardo
della Lomellina, </span></span><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;">veniva appositamente da Roma</span></span><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;">, ma non poteva essere assolutamente considerato un prete qualunque: si chiamava Don Pietro Barbieri<a href="#_ftn5" name="_ftnref5" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman", serif; line-height: 115%;">[5]</span></span></span></span></a>. Aveva fatto parte del
Comitato di Liberazione Nazionale dando rifugio, nella sua casa romana di via
Cernaia, ai futuri protagonisti della Costituente, da Alcide De Gasperi a
Pietro Nenni. Da quella casa, in occasione degli incontri segreti sui futuri
assetti dello Stato democratico, passarono propri tutti, persino quelli più
lontani dal mondo cattolico, come Palmiro Togliatti. Di Alcide De Gasperi, don
Pietro era amico personale ed alla fine degli anni Quaranta, col primo governo
nato dalle elezioni del 1948 in seguito alla schiacciante vittoria della
Democrazia Cristiana, era diventato una sorta di cappellano di Montecitorio, quando
definirsi cattolici in politica era una questione seria e di sostanza. Ma don
Pietro era anche un prete di quelli che avevano dei precisi progetti in ambito sociale
e formativo, che secondo lui avevano lo scopo di agevolare la crescita sociale delle
comunità, sia dal punto di vista del welfare che lavorativo. A Capranica le sue
idee trovano terreno fertile, grazie alla particolare predisposizione di Don
Luigi Micheli, pastoralmente vicino ai metodi educativi salesiani. Parte così dal
nulla una Scuola Popolare con la benedizione del vescovo diocesano mons.
Giuseppe Gori, il quale mette generosamente a disposizione dell’ambizioso
progetto la sua residenza estiva di Villa Paola. Nella scuola vi insegna
stabilmente un maestro capranichese, Ermanno Orsi, e vi collaborano alcuni intellettuali
del tempo come il prof. Eugenio Azimonti, l’agronomo Emilio Fileni, l’agronomo
Emilio Sabatini, il teologo Giovanni Fallani, allora segretario della
Pontificia Commissione dell’Arte Sacra, che sarà poi nominato arcivescovo da
Paolo VI.</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: center; text-autospace: none;"><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;"></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHnctEtOHLi_irSw96Q4TpdqGcntongwkO9c8tbZg4RHxGCLDVLqrPRNKNzpZAFq5wWltZIlcyN5lfknN51-wk2XaEG1IBIuaPS8uRLkUK3LdAx5cLH2jXeDi-8oznKxLVJPWrZv8ZMhaITKjbNDTdrv44fGeY-ll2tFr0M-LSkkqdy12AwZ2hX6tD_g/s2314/Piccola%20citt%C3%A0%20di%20Villa%20Paola.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2314" data-original-width="1043" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHnctEtOHLi_irSw96Q4TpdqGcntongwkO9c8tbZg4RHxGCLDVLqrPRNKNzpZAFq5wWltZIlcyN5lfknN51-wk2XaEG1IBIuaPS8uRLkUK3LdAx5cLH2jXeDi-8oznKxLVJPWrZv8ZMhaITKjbNDTdrv44fGeY-ll2tFr0M-LSkkqdy12AwZ2hX6tD_g/w288-h640/Piccola%20citt%C3%A0%20di%20Villa%20Paola.jpg" width="288" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Immagini di vita della Piccola Città di Villa Paola <br />(foto tratte da NICOLINI, PIER LUIGI, Viva Capranica!, p. 26)</i><br /></td></tr></tbody></table><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;"><br /></span></span><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;">In questo ambiente Pier Luigi Nicolini diventa egli stesso ispiratore
ed animatore. Vengono organizzati corsi teorico-pratici di apicoltura e di tecnologia
rurale; viene creata una cooperativa per gestire il fondo della vigna del
Vescovo, che mons. Gori ha nel frattempo concesso ai “cittadini” della villa;
viene creato un “Ritrovo Rurale” con carattere di dopo-scuola, con
l’interessamento particolare di mons. Fallani<a href="#_ftn6" name="_ftnref6" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman", serif; line-height: 115%;">[6]</span></span></span></span></a>. Lo stesso prof. Azimonti,
amico di famiglia dei Nicolini, già titolare di varie cattedre ambulanti di
agricoltura in Basilicata, viene coinvolto da Pier Luigi Nicolini nella
didattica della Scuola Popolare per la realizzazione di corsi teorico-pratici
per favorire le conoscenze di base delle tecniche colturali. Ed è proprio
Azimonti che introduce alla Piccola Città l’agronomo professore Emilio Fileni e
l’on.le democristiano Giuseppe Medici (già liberale ed amico di Luigi Einaudi),
esperto di materie agronomiche e professore di tecnica agraria, i quali vengono
a Capranica per tenere lezioni a tema ai giovani “cittadini”. Dalla
bibliografia contenuta in <i>Viva Capranica!</i>, sappiamo anche che lo stesso
Pier Luigi Nicolini si lascia coinvolgere nello studio dell’apicoltura
producendo un articolo per la rivista <i>Gioventù Rurale</i><a href="#_ftn7" name="_ftnref7" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman", serif; line-height: 115%;">[7]</span></span></span></span></a><i>.
</i>La stagione della Piccola Città si conclude però nel 1952, quando le attività
si interrompono a causa degli impegni lavorativi degli animatori in concomitanza
con l’impiego di Ermanno Orsi nel neonato Ente Maremma e l’impegno sempre più
assorbente di Pier Luigi Nicolini nella guida dell’Azienda, ormai proiettata permanentemente nell'opera di abbellimento del volto della Capitale con impianti a verde e giardini. Ma è proprio questo lavoro,
che sta cominciando ad assicurare benessere e futuro alle tante maestranze
capranichesi e alle loro famiglie, a portare Nicolini ad intrattenere vari e ampi rapporti
con numerosi intellettuali del tempo, che egli non esita a coinvolgere attivamente nelle sue iniziative, per favorire la
crescita spirituale, umana e di conseguenza anche economica della comunità
paesana. </span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: center; text-autospace: none;"><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;"></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJEqt_SOGT3BwoegZvFWAmrIVCd8VhDswtgVaBU1WMyBkFki0ddM-jMP4JuerP8jYDi_eFOtnonOV_3g2TfY-pLpIGBgXKnSDfyIzsEbV8kRAzSBzWlEMF17_c6VuDy1H1V6r9lP_UxFR3WfJ5asb48yS1bSAObAMncLAywAjaTOUOTYLvgMFveqCdQQ/s2089/Don%20Luigi%20Micheli%20015%20-%20Strada%20dei%20Pini.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1249" data-original-width="2089" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJEqt_SOGT3BwoegZvFWAmrIVCd8VhDswtgVaBU1WMyBkFki0ddM-jMP4JuerP8jYDi_eFOtnonOV_3g2TfY-pLpIGBgXKnSDfyIzsEbV8kRAzSBzWlEMF17_c6VuDy1H1V6r9lP_UxFR3WfJ5asb48yS1bSAObAMncLAywAjaTOUOTYLvgMFveqCdQQ/w400-h239/Don%20Luigi%20Micheli%20015%20-%20Strada%20dei%20Pini.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Cantiere scuola "Strada dei Pini", foto davanti alla cappellina di Sant'Antonio in occasione della visita dell'on.le Pietro Campilli. Pier Luigi Nicolini è ritratto alla destra del parroco</i><br /></td></tr></tbody></table><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;"> </span></span><p></p><span style="font-size: large;">
</span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;">A
margine della Scuola Popolare della Piccola Città di Villa Paola, cominciano a
sorgere le prime esperienze dei cantieri scuola, veri e propri esperimenti di
primordiale inserimento dei giovani nel mondo del lavoro, attraverso la
realizzazione di opere di pubblica utilità. Con la legge Fanfani (legge 29
aprile 1949, n. 264), il governo De Gasperi cerca finalmente di superare
l’ordinamento corporativo fascista favorendo l’impiego ed il collocamento di
manodopera composta principalmente da lavoratori giovani privi di sostegno al reddito. A Capranica, la fucina di idee di Villa Paola porta quasi
naturalmente ad approfittare della nuova opportunità offerta dalla Legge
Fanfani, presentando importanti progetti elaborati concordemente con l’Amministrazione
Comunale, per i quali si riesce ad ottenere il finanziamento. Nel 1950
arrivano a Capranica i fondi per la realizzazione di ben due opere: la <i>Strada
dei Pini</i>, la strada che collega oggi la località Canaglia con Vico Matrino -
così denominata perché attraversante numerose proprietà Nicolini (Quadrone,
Tripoli), dove esisteva parte del “vivaio gigante” nel quale venivano coltivati
i grandi e maestosi pini destinati alla messa a dimora nella Capitale - e
l’opera di rinverdimento delle antiche “ripe” del centro storico di Capranica,
i versanti tufacei del colle, consistente nella messa a dimora delle conifere
che ancora oggi caratterizzano il panorama del borgo visto dalla via Cassia. I
due cantieri scuola prendono il via nel 1951 e consentono subito l’impiego di
molti giovani disoccupati, che a due passi da casa hanno modo così di acquisire
tecniche e conoscenze lavorative. Ma non sarà chi ha gettato i semi a
raccoglierne il frutto. Le elezioni comunali del 1951 vedono infatti la
sconfitta della lista sostenuta da Pier Luigi Nicolini, della Democrazia Cristiana e del sindaco Antonio Buzi, e la vittoria della lista del Partito Socialista
Italiano con l’ascesa del sindaco Ugo Morera. Tuttavia, in occasione della
inaugurazione del cantiere scuola di rinverdimento delle ripe, accanto al
giovanissimo nuovo sindaco, grazie alla rete intessuta dai personaggi animatori
della Piccola Città di Villa Paola, sarà ancora un deputato democristiano ad
essere presente: l’on.le Pietro Campilli. <span> </span></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;"><span></span></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-68unOJQoIihfONg_VfoWobuIMzcf8P8bPKHZvM0kZrHsMth6ngrAIr78qwL3T2WExy_ZM2N3iBt5CC0rqznaDQnWYZjkY_SLNdJ1RKAJMduVKvkra9CuDgj-Ir57EUL0wuSpj7TijLjH7k4FrsF5qxrTAQ8V8X1KRLJIbnOdPgr-L6FxHjLUtqchDg/s1869/Pietro%20Campilli.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1869" data-original-width="1163" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-68unOJQoIihfONg_VfoWobuIMzcf8P8bPKHZvM0kZrHsMth6ngrAIr78qwL3T2WExy_ZM2N3iBt5CC0rqznaDQnWYZjkY_SLNdJ1RKAJMduVKvkra9CuDgj-Ir57EUL0wuSpj7TijLjH7k4FrsF5qxrTAQ8V8X1KRLJIbnOdPgr-L6FxHjLUtqchDg/w398-h640/Pietro%20Campilli.jpg" width="398" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Capranica, 1952 - Cantiere scuola (foto tratta da NICOLINI, PIER LUIGI, Viva Capranica!, p. 26). L'on.le Campilli scava simbolicamente la buca per messa a dimora di una pianta.</i><br /></td></tr></tbody></table><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;"><span><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtzbUbA7alrVXATQZyoGc-Vg0IHMYL2FM5erO_GPjcIHmeqXOBsJ1W9pbrGHIOOPqy0xb4q27egcmIrpWFo_tiFKwdgcccMcGgZtew9BClEPMCEYrq490u08RkORepc6gd9ghTdhtbmj5mbEVNFAVccwU2dKyw_hGQUjg8UBwFW0AercZfhauroTOp5A/s776/Onorevole%20campilli.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="535" data-original-width="776" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtzbUbA7alrVXATQZyoGc-Vg0IHMYL2FM5erO_GPjcIHmeqXOBsJ1W9pbrGHIOOPqy0xb4q27egcmIrpWFo_tiFKwdgcccMcGgZtew9BClEPMCEYrq490u08RkORepc6gd9ghTdhtbmj5mbEVNFAVccwU2dKyw_hGQUjg8UBwFW0AercZfhauroTOp5A/w400-h276/Onorevole%20campilli.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Capranica, 1952 - L'onorevole Pietro Campilli. Alle sue spalle Pier Luigi Nicolini</i><br /></td></tr></tbody></table><br /></span></span><p></p><span style="font-size: large;">
</span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-size: large;"><b><span style="font-family: "Times New Roman", serif;">Nicolini
il politico</span></b></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;"> </span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;">La
sconfitta elettorale alle comunali del 1951 e l’ascesa dei socialisti Ugo
Morera (sindaco) e Anselmo Crocicchia (vice-sindaco), non lascia indifferente
Pier Luigi Nicolini. Anche se i doveri derivanti dal governo dell’Azienda gli
comportano un notevole impegno di tempo, non gli manca modo per infittire la
sua presenza nelle iniziative politiche paesane, facendosi anche promotore e
ideatore di iniziative che per l’epoca in cui vengono proposte e attuate, si
rivelano assolutamente innovative. Come quella legata alla costituzione del
Comitato d’Intesa Democratica, esperimento di consultazione politica dal quale
uscirà <i>l’Ulivo</i>, la lista vincente alle elezioni comunali del 1960, e che
vedrà eletto per altri quattro anni il sindaco Antonio Buzi. Contrapposta alla
lista de <i>la Capra</i>, sostenuta dai socialisti, <i>l’Ulivo</i> vedrà la
partecipazione attiva di alcuni elementi provenienti dall’esperienza della
Piccola Città di Villa Paola, come Ermanno Orsi, che diverrà vice-sindaco, Luigi Speranza, e lo stesso Pier Luigi Nicolini, che invece
ricoprirà il ruolo di assessore. </span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: center; text-autospace: none;"><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;"></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2_WIVmejBYWBC28a77jVQrbceOwazPcN-dIwgHfavBWXQbbjwWk5T0lhcyiy-daIcMFSKsFF1FQ0BOWVB1GyoRKJFd6Y7gqKrVubTdqYg6yHzF-pAL4AjGnM5CYIr_KyLpFgFRf1YjrBMy6bWaQxdqyoXXiu4a6z8Jjr642BIttKDPGPKRgGbNWV3aQ/s1741/Inaugurazione%20Via%20Kennedy%20-%203.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1091" data-original-width="1741" height="251" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2_WIVmejBYWBC28a77jVQrbceOwazPcN-dIwgHfavBWXQbbjwWk5T0lhcyiy-daIcMFSKsFF1FQ0BOWVB1GyoRKJFd6Y7gqKrVubTdqYg6yHzF-pAL4AjGnM5CYIr_KyLpFgFRf1YjrBMy6bWaQxdqyoXXiu4a6z8Jjr642BIttKDPGPKRgGbNWV3aQ/w400-h251/Inaugurazione%20Via%20Kennedy%20-%203.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>21 novembre 1965, il cardinale cileno Raúl Silva Henríquez, padre conciliare, depone una corona di alloro in memoria di John Fitzgerald Kennedy, nella via appena intitolata al Presidente Americano<br /></i></td></tr></tbody></table><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;"><br /></span></span><p></p><span style="font-size: large;">
</span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;">Ma
Nicolini non è fatto per farsi bastare i ristretti orizzonti ideali della
politica locale. L’elezione di John Fitzgerald Kennedy a Presidente degli Stati
Uniti e la contemporanea presenza sul soglio pontificio di Giovanni XXIII, e
più tardi la stagione delle lotte contro le discriminazioni razziali portate
avanti da Martin Luther King con l’ascesa politica del fratello di Kennedy,
Robert, sono per lui occasione per trasporre nel piccolo mondo capranichese la
dottrina sociale della Chiesa, le novità del Concilio Vaticano II, le “nuove
frontiere” della politica internazionale. Intuisce infatti più di tutti – e non sempre
da questo lato è </span></span><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;">capito </span></span><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;">anche dai suoi stessi collaboratori – che le sfide in corso
nel mondo di quegli anni sono comunque inevitabilmente destinate a segnare il destino
prossimo di tutti gli uomini, non esclusi quelli apparentemente piccoli e
ignoti che abitano la minuscola Capranica. La sua maniera di far politica si nutre in primo luogo di ideali, che gli sono necessari per trovare le motivazioni profonde del suo impegno, e che gli servono da carburante per
svolgere il </span></span><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;">quotidiano </span></span><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;">lavoro sul campo, tra la gente, per dare risposte
concrete alla cittadinanza sulle questioni più varie. <span><span>Esempio calzante di
questa sua particolare interpretazione dell’impegno politico è il Gruppo di
Consultazione Cittadina, da lui fondato e promosso alla vigilia delle elezioni
comunali del 1970. In questo caso il programma ideale da seguire </span></span></span></span><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;"><span>per la realizzazione del bene comune è costituito da </span></span></span><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;"><span>una frase di John
Henry Newman</span><a href="#_ftn8" name="_ftnref8" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman", serif; line-height: 115%;">[8]</span></span></span></span></a>; una frase </span></span><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;"><span>che lui stesso sceglie e che propone </span></span></span><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;"><span>agli altri membri del Gruppo</span></span></span><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;"><span> </span></span></span><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;"><span>come punto di riferimento fisso e costante </span></span></span><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;"><span>al quale guardare durante la lunga e difficile strada da percorrere.</span> In questo cantiere politico, nel quale avrà la collaborazione di
Stelio Salvitti, che sarà al suo fianco nella vittoriosa campagna elettorale in
occasione della quale si candida a Sindaco, riesce a coinvolgere numerosi giovani che diventeranno parte attiva nell’Amministrazione e che
lo sapranno supportare negli anni della consiliatura, tutt’altro che
facili.</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: center; text-autospace: none;"><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;"></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoVLPL_HGj__EJ0m32_vdWJlkzMloN6ysT79FjIfJzoxHEMFDIeSGi58aRVMcoDWWjmiQGk5J5tniGByc9ykqVr3AHwPOWoOoWLkjCg1l82cH7SvJLHQT2r_3PRZ_OwcSe5KG7i_m1h356azWjfABCptR3jXj3RHEubHpDzPparTxMhznu8-k9TB6OiA/s2752/Lettera%20Invito%20inaugurazione%20Via%20Kennedy.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2752" data-original-width="2202" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoVLPL_HGj__EJ0m32_vdWJlkzMloN6ysT79FjIfJzoxHEMFDIeSGi58aRVMcoDWWjmiQGk5J5tniGByc9ykqVr3AHwPOWoOoWLkjCg1l82cH7SvJLHQT2r_3PRZ_OwcSe5KG7i_m1h356azWjfABCptR3jXj3RHEubHpDzPparTxMhznu8-k9TB6OiA/w320-h400/Lettera%20Invito%20inaugurazione%20Via%20Kennedy.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Centro Capranichese di cultura Civica e Politica per una Nuova Frontiera, invito alla Messa per la Pace (21 novembre 1965), celebrata dal card. <span style="font-size: small;"><span style="font-family: "Times New Roman", serif;">Raúl Silva Henríquez</span></span></i></td></tr></tbody></table><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;"> </span></span><p></p><span style="font-size: large;">
</span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;">Ma
questo afflato ideale nella sua azione politica, questo bisogno profondo e
razionale di ancorare le azioni concrete a programmi ideali per fare ispirare
le prime dai secondi, lo si ritrova in molte delle sue relazioni, dei suoi discorsi, dei suoi interventi durante le adunanze degli organi comunali, ed in molteplici passi dei suoi scritti consegnati alle stampe. Va ricordata, a titolo di esempio, la preoccupazione che lo anima nel chiarire il carattere
eminentemente politico - nel senso più pieno del termine - che cerca di
imprimere alle sue parole. Si dice infatti persuaso «…<i>della stretta interdipendenza
tra la pura e semplice politica delle spese e delle entrate e la politica vera
e propria, quella più generale, delle (...) “convinzioni” ideologiche, delle
(...) battaglie ideali e morali, combattute anche fuori</i>…<a href="#_ftn9" name="_ftnref9" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman", serif; line-height: 115%;">[9]</span></span></span></span></a>» dell’aula del Consiglio
Comunale. </span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;">Secondo
Nicolini, infatti, un amministratore pubblico <i>«...non può non sentirsi un “politico”, per meritare
piena, effettiva e autentica cittadinanza in un paese democratico, tanto più se
il popolo lo ha delegato a occuparsi della amministrazione pubblica. La
soluzione dei problemi concreti della Amministrazione non può non risentire
degli orientamenti politici degli Amministratori. Le scelte, le sollecitudini,
le premure per la comunità amministrata, saranno guidate e illuminate dalle idee
e dai sentimenti che formano la personalità degli Amministratori</i>...»<a href="#_ftn10" name="_ftnref10" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman", serif; line-height: 115%;">[10]</span></span></span></span></a>. </span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;">Ed
ancora «…<i>quando dico “politico” dò al termine il significato più serio, più
pulito e più nobile, convinto come sono, profondamente, di quanto scrisse il
mio, il nostro grande Alcide De Gasperi (che amo citare tanto spesso) anche a
proposito della modesta, ma intensa e determinante esperienza politica della provincia:
“Il nostro posto di azione è modesto e oscuro; il teatro della nostra vita pubblica
è angusto e lontano dalle grandi correnti, ma nessun posto è così oscuro che,
quando vi si combatta per il bene, non lo investa la luce dell'eterna Verità, nessun
paese è così remoto che, quando vi si cooperi con Dio, non lo attraversi
l'infinita corrente spirituale che domina l'universo”»</i><a href="#_ftn11" name="_ftnref11" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman", serif; line-height: 115%;">[11]</span></span></span></span></a><i>.</i></span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: center; text-autospace: none;"><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;"></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMPNDN2id71qwyU_TaLG6VNQMO7WGYRARGUkVA6VHCsHSI-vBtQUENNp2n0js8jK8l_6SyfbwH6WfJq95_AUvVuWM3kjvOLBbRWQG-l4vQ6mg2HIOpxqBaB7knaedv9YYW_4pdjbmY3dy1Zy-aZqotM4FxTyXECNqVLJjNSpVwSwzV_r6I85kDcT-ocQ/s2089/Costituzione%20Pro%20Loco%20-%20migliore.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="932" data-original-width="2089" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMPNDN2id71qwyU_TaLG6VNQMO7WGYRARGUkVA6VHCsHSI-vBtQUENNp2n0js8jK8l_6SyfbwH6WfJq95_AUvVuWM3kjvOLBbRWQG-l4vQ6mg2HIOpxqBaB7knaedv9YYW_4pdjbmY3dy1Zy-aZqotM4FxTyXECNqVLJjNSpVwSwzV_r6I85kDcT-ocQ/w400-h179/Costituzione%20Pro%20Loco%20-%20migliore.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Firma per la costituzione della Pro Loco "Francesco Petrarca", il cui Statuto è fortemente influenzato dalle idee di Nicolini</i><br /></td></tr></tbody></table><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;"> </span></span><p></p><span style="font-size: large;">
</span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;">Chiarita
questa opzione fondamentale nel solco della quale si deve svolgere l’azione
concreta, Nicolini si rivolge finalmente ad attuare gli aspetti pratici del suo
programma amministrativo. Da questo lato, durante la consiliatura che lo vede protagonista principale (1970-1975),
si realizzano importanti obiettivi per il miglioramento della vita sociale ed
economica della Città. Viene approvato, su progetto dell'Ing. Raniero Perugi, il nuovo Piano di
Fabbricazione<a href="#_ftn12" name="_ftnref12" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman", serif; line-height: 115%;">[12]</span></span></span></span></a>,
una sorta di originario piano regolatore generale che consente finalmente un
ordinato sviluppo dell’edilizia con il completamento di quartieri esistenti
(Valle Santi, Canicole), l’inizio di nuovi (Micheletta-zona P.E.E.P.) e la
creazione dei primi piani di lottizzazione (Fajano, Montecolle); vengono adottati i
primi provvedimenti che permetteranno alle due parrocchie capranichesi di
realizzare il Centro Sportivo “L’Incontro” (poi “Giggi Iezzi”), nel quartiere
Sacro Cuore - anche grazie ad una erogazione liberale di Lit. 10.000.000 da parte del Comm. Evaldo Chiassarini - obiettivo per cui lo stesso Sindaco non tralascerà di
partecipare alle riunioni del Comitato Genitori di Castrovecchio, pur di
conciliare le varie esigenze; viene favorito l’avvio dell’Ospedale
Dermatologico “Villa Paola”, con il ritorno dei frati della congregazione dei
Concezionisti (1974), attraverso la mediazione con il comm. Evaldo Chiassarini,
che provvederà all’acquisto dalla Diocesi della vescovile Villa Paola, per
donarla all’I.D.I.</span></span><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;"> con l'intermediazione del Comune</span></span><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;">; viene restaurato l’ex Ospedale San Sebastiano e aperto il
“Centro Riabilitazione Spastici e Invalidi Civili”, in collaborazione con i
padri Camilliani di Villa Immacolata, a San Martino al Cimino; viene fatta
funzionare la biblioteca comunale; vengono favoriti interventi dalla politica
nazionale per risolvere la crisi dello stabilimento Mineralneri che sarà
temporaneamente risolta grazie alla concessione di un mutuo di 300 milioni di
Lire da parte del Ministero dell’Industria, dicastero diretto allora da Giulio
Andreotti; vengono affidati gli incarichi per l'ampliamento del cimitero comunale, e rafforzati i versanti del colle dopo la frana avvenuta nel 1967.</span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;">Tuttavia,
nonostante questi successi, l’Amministrazione di quegli anni non si rivela per
Nicolini una semplice passeggiata. Le tensioni all’interno della compagine di
maggioranza ed il duro ostruzionismo oltranzista opposto della minoranza,
ingessano infatti l’intera azione amministrativa, tanto che potranno risolversi
soltanto con la sottoscrizione di un accordo fra tutte le forze politiche presenti
in Consiglio Comunale, grazie al quale potrà esserere evitato il commissariamento del Comune: è la
nascita del centro-sinistra capranichese, sull’esempio dei governi nazionali inaugurati
da Aldo Moro già dieci anni prima con l’alleanza tra democristiani,
socialdemocratici e socialisti. Siamo nel novembre del 1973, e la maggioranza uscita
vincente dalle elezioni comunali del 1970 perde pezzi importanti:
l’assessore Gianni Ettorre e il consigliere Antonio Speranza, che avendo
partecipato all’Amministrazione in qualità di indipendenti, pur senza far
mancare il loro appoggio, si fanno da parte in luogo di consiglieri socialisti
che troveranno posto in giunta. Ma </span></span><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;">l’operazione
non sarà indolore neppure per i socialisti, che </span></span><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;">nonostante l’apparente successo vedranno una importante
fuoriuscita di iscritti in direzione del locale Partito Comunista all’esito di
una serie di infuocate riunioni in sezione.</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: center; text-autospace: none;"><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;"></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4F7y5KD2Aur0fAKfuqOuNPJ3qdRHy1eyDY6JmVNpkqXnBcGgfb0qJ83NKh2dlc3fatf2cH2gn3SlgsQhAHHJKtfFBXMLuHc-R9UEOsdK-Ek5mkHqbUzyZUJkDl0a_xFLR8ncN1H6wP4IQ0Fx-rSMrA_EFMhI2A-2_lYm3bz7lVJxfQMigy5X6xd0nOw/s2540/27%20dicembre%201974%20Commendator%20Chiassarini.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1800" data-original-width="2540" height="284" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4F7y5KD2Aur0fAKfuqOuNPJ3qdRHy1eyDY6JmVNpkqXnBcGgfb0qJ83NKh2dlc3fatf2cH2gn3SlgsQhAHHJKtfFBXMLuHc-R9UEOsdK-Ek5mkHqbUzyZUJkDl0a_xFLR8ncN1H6wP4IQ0Fx-rSMrA_EFMhI2A-2_lYm3bz7lVJxfQMigy5X6xd0nOw/w400-h284/27%20dicembre%201974%20Commendator%20Chiassarini.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>27 dicembre 1974, sala consiliare di Palazzo Patrizi-Naro. Il Sindaco Nicolini consegna al Comm. Evaldo Chiassarini i decreti sanitari per l'apertura della clinica dermatologica di Villa Paola. Dietro di lui, padre Pietro Carrazza.</i><br /></td></tr></tbody></table><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;"> </span></span><p></p><span style="font-size: large;">
</span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;">Ricorda
così, lo stesso Nicolini, quella stagione della politica locale: «…<i>ho avuto
la ventura di presiedere questa Amministrazione in due fasi profondamente
diverse proprio dal punto di vista politico. La prima fase è stata
caratterizzata da acute contrapposizioni di atteggiamenti, che spesso
precaricavano le stesse delimitazioni tra Maggioranza e Minoranza, rendendo la
situazione particolarmente critica: ne è derivato un disagio, un disturbo, un
blocco (d’enorme gravità) all’attività amministrativa. La seconda fase (alla
quale non siamo certo arrivati gratuitamente ma attraverso notevoli travagli
che sono durati per circa un anno) è stata invece caratterizzata dal maturarsi
di una nuova politica convergenza tra tutte le forze presenti in Consiglio, che
mi sembra sia stata – incontestabilmente – preziosa. Mai, a Capranica, s’era
verificato deliberatamente un fatto del genere (salvo un episodio lontano, nel
‘46-‘51) ed io non esiterei ad ascrivere tale fatto - veramente “storico” nella
piccola storia della nostra cittadina – tra le nostre realizzazioni, anzi come
la massima delle nostre realizzazioni, se è vero che non di sole cose
ordinarie, pratiche, materiali dobbiamo occuparci, ma anche d'altri interessi –
politici, morali, ideali – che, grazie a Dio, premono ancora molto alla
maggioranza della nostra popolazione…</i>»<a href="#_ftn13" name="_ftnref13" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman", serif; line-height: 115%;">[13]</span></span></span></span></a>.</span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;">In
seguito al quinquennio da Sindaco, Nicolini uscirà definitivamente dalla
politica locale ritornando stabilmente, come ha modo di scrivere, “ai suoi cari giardini”. Nell’ultimo
discorso di ampio respiro pronunciato in Consiglio Comunale, oltre ad una evidente vena di tristezza, si trovano anche le
tracce dei segni lasciati sul suo animo dall’esperienza politica attiva: «…<i>su
me personalmente (mi si consenta di dire) questa esperienza di amministrazione pubblica
(fatta con questo tono, in questo clima, in questa temperie, in questo calore di
esperienza squisitamente umana) ha inciso profondamente, ne conserverò il
ricordo più vivo, ne porterò i segni (e anche le ferite) ormai per sempre. Le
ferite (cioè le incomprensioni, talune ingratitudini, certi ostruzionismi e
autentici tradimenti, certe basse, volgari insinuazioni e detrazioni) si
aggiungono alla insoddisfazione, al rammarico, al vero e proprio scoramento per
le enormi difficoltà di questo periodo a realizzare di più...</i>»<a href="#_ftn14" name="_ftnref14" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman", serif; line-height: 115%;">[14]</span></span></span></span></a><i>.</i></span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;"> </span></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-size: large;"><b><span style="font-family: "Times New Roman", serif;">Nicolini
il comunicatore</span></b></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-size: large;"><b><span style="font-family: "Times New Roman", serif;"> </span></b></span></p><span style="font-size: large;">
</span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;">Tra
le persone più padrone, nella Capranica di quegli anni, dell’utilizzo della parola scritta e
parlata, </span></span><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;">Nicolini</span></span><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;"> è contemporaneamente più preoccupato che la sua comunicazione non resti un mero
atto privo di effetti, ma giunga integra, chiara e intelligibile ai suoi destinatari. Vero comunicatore naturale,
ben oltre la media dei suoi tempi, </span></span><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;"><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;">si dimostra quindi </span></span>notevolmente a suo agio con la produzione di
materiale divulgativo di vario genere, nonché scientemente consapevole del significato etimologico dell'atto del comunicare (<i>communicare</i> = mettere in comune)</span></span><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;"><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;"><a href="#_ftn14bis" name="_ftnref14" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman", serif; line-height: 115%;">[14bis]</span></span></span></span></a></span></span>. E’ grazie alle sue pubblicazioni che
abbiamo oggi le più rilevanti testimonianze di un periodo della storia
cittadina fatto di grande fermento sociale e di speranzosa operosità. E’ a Nicolini che
Capranica deve una parte importante del proprio <i>sensus communis</i>, ossia
di quel patrimonio valoriale che determina una comunità nel <i>qui e adesso</i>,
in un dato luogo ed in un preciso momento storico. E’ a lui che dobbiamo le
prime vere documentazioni scritte e visive dell’operato di una
Amministrazione Comunale, ma anche di una Azienda<a href="#_ftn15" name="_ftnref15" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman", serif; line-height: 115%;">[15]</span></span></span></span></a>. I suoi pensieri sulla politica,
sull’amicizia, sulla filosofia aziendale, sono sempre affidati alle stampe con
la solennità di chi sta compiendo un gesto che travalica il proprio tempo, con
pieno affidamento verso l’avvenire, con la fiducia che se non si trova
comprensione nel presente, la si troverà nel futuro. Nel suo comunicare, infatti,
Nicolini è sempre preoccupato di giustificare le motivazioni che lo spingono a
farlo. Non scrive tanto per scrivere, ma lo fa innanzitutto per “dar conto”
delle proprie azioni di politico, di imprenditore, di padre di famiglia, e
chiedere, su di esse, il giudizio di chi legge. Ecco il senso della lettera
introduttiva a <i>Viva Capranica!, </i>ecco la giusta lettura alla introduzione
de <i>Il Bilancio preventivo</i>, quando dedicando le pagine di quella
pubblicazione alla sua Azienda, ai suoi più stretti collaboratori, ai suoi
operai, è sicuro che «…<i>nessuno meglio di loro…</i>»<i> </i>potrà giudicarlo<i>
«…con serenità e consapevolezza, anche contro certi estranei ed avversari, che
in questi caldi giorni mi contestano, mi accusano e anche mi oltraggiano</i>».</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;"></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwBi2lek4t2cAJMXJ6RjCuUDlja5wDZgEAZ871GSrezHTZQney6A3BFgOhsKaj1HeLb3YH7r1Ht7PkMNdUqyl9IfnhsfSyKKmw8JDjq7-TfHv0mBogx678HJwt57qgnGqQdgXbsZiv7qraeGeoU2ovn6XI9P9JwViGsKwEI35V4f0ogNom4OtdApEiOg/s914/Copertina%20Il%20Bilancio%20Preventivo.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="914" data-original-width="754" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwBi2lek4t2cAJMXJ6RjCuUDlja5wDZgEAZ871GSrezHTZQney6A3BFgOhsKaj1HeLb3YH7r1Ht7PkMNdUqyl9IfnhsfSyKKmw8JDjq7-TfHv0mBogx678HJwt57qgnGqQdgXbsZiv7qraeGeoU2ovn6XI9P9JwViGsKwEI35V4f0ogNom4OtdApEiOg/w330-h400/Copertina%20Il%20Bilancio%20Preventivo.jpg" width="330" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Una delle pubblicazioni di Pier Luigi Nicolini, divenuta poi il primo numero del ciclo "Immagini e documenti di vita capranichese", con testimonianze dell'operato delle Amministrazioni Comunali di Centro-Sinistra (dal 1973 al 1993).</i><br /></td></tr></tbody></table><p><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;"> </span></span></p><p><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;">Nella
comunicazione politica ed istituzionale, Nicolini introduce a Capranica
pratiche da grande Città, con la produzione a stampa e successiva distribuzione
alla cittadinanza di alcuni suoi interventi in Consiglio o in Giunta Comunale,
il cui contenuto ritiene necessario essere ben conosciuto soprattutto dai suoi
elettori. Nel già tante volte ricordato <i>Viva Capranica!</i>, edito nel 1965,
pubblica fotografie e documenti riguardanti la vita sociale, lavorativa e
politica di Capranica, compresi alcuni suoi discorsi o testi di lettere particolarmente
interessanti per la storia di quegli anni ma anche per interpretarne la
psicologia. Durante la sua Amministrazione di Sindaco scrive – a proprie spese
e senza gravare sulle casse del Comune – opuscoli, manifesti e lettere alla
popolazione, dai quali traspare limpida la convinzione che un amministratore
deve sempre rendere conto ai suoi elettori per tutto il suo operato. Lo fa in un
momento storico – che potremmo definire forse come un’età dell’oro della
politica, rispetto alla povertà di oggigiorno – nella quale i partiti esprimono
ancora la loro forza e la loro vitalità, e dove esistono ancora, per la gente
che ne ha voglia, i luoghi dove è possibile "fare" politica, dibattere e confrontarsi. Tuttavia le lettere
e i pensieri scritti di Nicolini servono per orientare la discussione
e dirigerla al fine ultimo del bene comune. La carta intestata del Gruppo di
Consultazione Cittadina, creato in vista delle elezioni comunali del 1970, che
reca in sé l’inconfondibile <i>imprimatur</i> nicoliniano, è già essa stessa – da
sola – un meraviglioso programma di comunicazione politica, con frasi scelte
dalla <i>Pacem in terris</i> di Giovanni XXIII, dagli articoli di Alcide De
Gasperi, dai discorsi di Robert F. Kennedy. Riferimenti ideali che, come già si
è accennato, servono da “stelle” da seguire nella navigazione notturna, soprattutto
nei momenti in cui si ha l’impressione di aver smarrito la rotta giusta.</span></span></p><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: center; text-autospace: none;"><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;"></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAt4uLkGkHQqQj5oKJu4_PY7XC6vQ7FlA06Yc2_L3I0q_y04W96sKNgTgj6nZNl6toSSnkc4PIl0s74dBKGyR-IE64inUGa0eIJCn62kOTtz7cP9MV9FEufehY9hXce6j1fevrEC0Imu79BBgoGZUp7LjLWJ2kxcerDWcjGInnH12FujeUKAPqA9Le5A/s3533/Carta%20Intestata%20Gruppo%20Consultazione%20Cittadina.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3533" data-original-width="2531" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAt4uLkGkHQqQj5oKJu4_PY7XC6vQ7FlA06Yc2_L3I0q_y04W96sKNgTgj6nZNl6toSSnkc4PIl0s74dBKGyR-IE64inUGa0eIJCn62kOTtz7cP9MV9FEufehY9hXce6j1fevrEC0Imu79BBgoGZUp7LjLWJ2kxcerDWcjGInnH12FujeUKAPqA9Le5A/w286-h400/Carta%20Intestata%20Gruppo%20Consultazione%20Cittadina.jpg" width="286" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Carta intestata del Gruppo di Consultazione Cittadina</i><br /></td></tr></tbody></table><p></p><span style="font-size: large;">
</span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;">Ma
rientra a pieno titolo nella comunicazione di Nicolini anche l’intento di dare a
Capranica concreti momenti di aggregazione simbolica di natura civile, al di
fuori delle grandi e tradizionali festività religiose, sui quali favorire il
catalizzarsi dell’intera Comunità. Fa parte di questi intenti l’istituzione del
Natale di Capranica al 7 luglio 772 e la celebrazione annuale della relativa ricorrenza
civica. Da questo punto di vista della comunicazione nicoliniana – quella
parte, cioè, che abbiamo definito orientata alla costruzione del <i>sensus
communis</i> della comunità paesana – egli non si limita ad utilizzare la storia locale, operazione
che gli attira non poche critiche<a href="#_ftn16" name="_ftnref16" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman", serif; line-height: 115%;">[16]</span></span></span></span></a>, ma non esita a sconfinare in altri ambiti, come fa con la musica, cimentandosi nello scrivere i versi di quello che ormai da
tempo può ritenersi come il vero e proprio inno della Comunità capranichese: <i>Viva
Capranica!</i> Grazie alla collaborazione con il maestro Alessandro Cicognini, autore
di numerose e famose colonne sonore e che firma </span></span><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;">con lo pseudonimo di <i>Icini </i></span></span><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;">la musica di questo
brano-simbolo, Nicolini riesce a portare lo
spirito della capranichesità fino ai nostri giorni, dal momento che ancora oggi
non manca occasione pubblica solenne durante la quale la banda comunale non
esegua questo brano. </span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: center; text-autospace: none;"><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;"></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXNb4ckiZ37nmd2yxzpzgcK_keqk4HBcjBvwxYWLQIk3gMRyM8bRO8a_7-8xS0uR0ERzdXwn5GXRHfSMtjEOZ11WhTmaq0uIW84GP2Ww9K98idM_cxhuaS4Zf51QAfmE100xH_b3eqh5OGabR833BXgGaptBuTwSGb10Osnuo7xL0T5vIvbstMFb0p3w/s2336/Viva%20Capranica!.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1014" data-original-width="2336" height="174" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXNb4ckiZ37nmd2yxzpzgcK_keqk4HBcjBvwxYWLQIk3gMRyM8bRO8a_7-8xS0uR0ERzdXwn5GXRHfSMtjEOZ11WhTmaq0uIW84GP2Ww9K98idM_cxhuaS4Zf51QAfmE100xH_b3eqh5OGabR833BXgGaptBuTwSGb10Osnuo7xL0T5vIvbstMFb0p3w/w400-h174/Viva%20Capranica!.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Spartito e testo di Viva Capranica!</i><br /></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;">Sulla stessa linea di <i>Viva Capranica!</i> si pone anche
il brano <i>Piccola Verde Patria</i> (musicato sempre da Cicognini), con versi
che Nicolini dedica ai capranichesi emigrati all’estero, e <i>Salutiamo il
glorioso Gonfalone</i> (su musica di don Antonio Spinucci), dedicato allo
storico vessillo della <i>Res Publica Capranicensis</i>. Operazioni di comunicazione,
se vogliamo, già sperimentate e collaudate, prima che nel più ampio mondo comunitario
cittadino, in quello più piccolo e familiare dell'Azienda, come testimoniano <i>La
Cantata dei Pini</i> (scritta in onore del padre Corrado e musicata dal maestro
Annibale Chiassarini), e il mottetto <i>Calendimaggio Capranichese</i> (musicato
da Ianni).</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: center; text-autospace: none;"><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><span style="font-family: "Times New Roman", serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxWt_z_rEXMSqGbpjtn_FCvXAMLSvgIxgx--kSv59BmGDYM2Qk88IwSHLIhyRl3ETylzLW-xKmDOW653xXu8tJFP7EK75nz6x3r2qfQFQr112aL5L5fE6OYqWfPKuTs-KaAosIofwqHmtRmLVKmJCoKfurmb3HkLbzdI5t-yimBZU4hHw-5ElIrsHXfw/s1623/Salutiamo%20il%20glorioso%20Gonfalone.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="972" data-original-width="1623" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxWt_z_rEXMSqGbpjtn_FCvXAMLSvgIxgx--kSv59BmGDYM2Qk88IwSHLIhyRl3ETylzLW-xKmDOW653xXu8tJFP7EK75nz6x3r2qfQFQr112aL5L5fE6OYqWfPKuTs-KaAosIofwqHmtRmLVKmJCoKfurmb3HkLbzdI5t-yimBZU4hHw-5ElIrsHXfw/w400-h240/Salutiamo%20il%20glorioso%20Gonfalone.jpg" width="400" /></a></span></span></div><p></p><div style="mso-element: footnote-list;"><br /><hr align="left" size="1" width="33%" />
<div id="ftn1" style="mso-element: footnote;">
<p class="MsoFootnoteText"><span style="font-family: inherit;"><span style="font-size: small;"><a href="#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="line-height: 115%; mso-ansi-language: IT; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[1]</span></span></span></span></span></a><span> Su don Egisto Fatiganti, si veda
la scheda pubblicata da L.Osbat sul portale <i>Gente di Tuscia</i>: <a href="http://www.gentedituscia.it/fatiganti-egisto/">http://www.gentedituscia.it/fatiganti-egisto/</a></span></span></span></p><span style="font-family: inherit;"><span style="font-size: small;">
</span></span></div><span style="font-family: inherit;"><span style="font-size: small;">
</span></span><div id="ftn2" style="mso-element: footnote;">
<p class="MsoFootnoteText"><span style="font-family: inherit;"><span style="font-size: small;"><a href="#_ftnref2" name="_ftn2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="line-height: 115%; mso-ansi-language: IT; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[2]</span></span></span></span></span></a><span> Il </span><span style="mso-fareast-font-family: "MS Mincho";">27 novembre 1981,
Papa Giovanni Paolo Il lo dichiara “eroico nelle virtù”, quindi “venerabile”.
Per approfondimenti: </span>CECCARINI, Fabio, «<i>Galileo Nicolini: un giovane
capranichese santo passionista</i>», Capranica Storica, 18/06/2017 - URL: <a href="https://www.capranicastorica.it/2017/06/galileo-nicolini-un-giovane.html">https://www.capranicastorica.it/2017/06/galileo-nicolini-un-giovane.html</a></span></span></p>
</div><span style="font-family: inherit;"><span style="font-size: small;">
</span></span><div id="ftn3" style="mso-element: footnote;">
<p class="MsoFootnoteText"><span style="font-family: inherit;"><span style="font-size: small;"><a href="#_ftnref3" name="_ftn3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="line-height: 115%; mso-ansi-language: IT; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[3]</span></span></span></span></span></a><span> Intervista a cura del sottoscritto
nell’ambito del progetto regionale “La memoria racconta”, luglio 2012.</span></span></span></p>
</div><span style="font-family: inherit;"><span style="font-size: small;">
</span></span><div id="ftn4" style="mso-element: footnote;">
<p class="MsoFootnoteText"><span style="font-family: inherit;"><span style="font-size: small;"><a href="#_ftnref4" name="_ftn4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="line-height: 115%; mso-ansi-language: IT; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[4]</span></span></span></span></span></a><span> NICOLINI, PIER LUIGI, <i>Viva
Capranica!</i>, numero unico dell’Azienda Nicolini, Capranica 1965, p. 27</span></span></span></p>
</div><span style="font-family: inherit;"><span style="font-size: small;">
</span></span><div id="ftn5" style="mso-element: footnote;">
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-family: inherit;"><span style="font-size: small;"><a href="#_ftnref5" name="_ftn5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="line-height: 115%; mso-ansi-language: IT; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[5]</span></span></span></span></span></a><span> Don Pietro
Barbieri era nato il 9 marzo 1893 a Valle Lomellina, in provincia di Pavia.
Morì a Roma il 16 ottobre 1963. <span style="background: white; color: black; mso-color-alt: windowtext;">Durante la Guerra, ed in particolar modo dopo l’armistizio
dell’8 settembre 1943, si fa promotore di una rete di assistenza e protezione a
profughi, perseguitati (in primis ebrei) e sfollati. Nel sottotetto della chiesa
della Madonna del Rosario, in via Cernaia, con la preziosa collaborazione di
alcuni dipendenti del Poligrafico dello Stato, installa una vera e propria tipografia
clandestina per la falsificazione dei documenti di identità dei rifugiati, che
gli fanno guadagnare il soprannome di “don falsario”. Nel dopoguerra a
Pieve del Cairo fonda la Cittadella Sociale. Nel 1952 fonda la Scuola superiore
di servizio sociale. Nella Capitale don Pietro aveva fondato un orfanotrofio
per bimbi orfani di guerra, una clinica ospedaliera ed il mensile «Idea», un
rivista di cultura, politica, letteratura, arte e scienze, attorno alla quale
coinvolge intellettuali del calibro di Luigi Einaudi, in quel momento
Presidente della Repubblica, e di Jacques Maritain. Viene ricordato anche come
comunicatore radiofonico come decennale commentatore del Vangelo in una
apprezzata rubrica radiofonica della RAI.</span></span></span></span></p>
</div><span style="font-family: inherit;"><span style="font-size: small;">
</span></span><div id="ftn6" style="mso-element: footnote;">
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-family: inherit;"><span style="font-size: small;"><a href="#_ftnref6" name="_ftn6" style="mso-footnote-id: ftn6;" title=""><span class="MsoFootnoteReference"><span><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="line-height: 115%; mso-ansi-language: IT; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[6]</span></span></span></span></span></a><span> MICHELI, LUIGI, <i>Capranica</i>,
in <i>Lazio d’Oro - Cenni storici intorno ai Comuni del Lazio – Biografie di
persone meritevoli</i>, Editoriale Nostra Italia - Roma 1956, pp. 819-825</span></span></span></p>
</div><span style="font-family: inherit;"><span style="font-size: small;">
</span></span><div id="ftn7" style="mso-element: footnote;">
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;"><span style="font-family: inherit;"><span style="font-size: small;"><a href="#_ftnref7" name="_ftn7" style="mso-footnote-id: ftn7;" title=""><span class="MsoFootnoteReference"><span><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="line-height: 115%; mso-ansi-language: IT; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[7]</span></span></span></span></span></a><span> Bibliografia
contenuta in NICOLINI, PIER LUIGI, <i>Viva Capranica!</i>, cit., p. 54. Si fa
riferimento al seguente scritto: NICOLINI, PIER LUIGI, «La fabbrica del miele»,
in <i>Gioventù Rurale</i>, 4 settembre 1951. Altro resoconto in ambito
apicolturale è contenuto in LONGARDI, PIERO, «Alveari a Capranica», in <i>Scena
Illustrata</i>, LXVII (1952), n. 6, pag. 97.</span></span></span></p>
</div><span style="font-family: inherit;"><span style="font-size: small;">
</span></span><div id="ftn8" style="mso-element: footnote;">
<p class="MsoFootnoteText"><span style="font-family: inherit;"><span style="font-size: small;"><a href="#_ftnref8" name="_ftn8" style="mso-footnote-id: ftn8;" title=""><span class="MsoFootnoteReference"><span><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="line-height: 115%; mso-ansi-language: IT; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[8]</span></span></span></span></span></a><span> John Henry Newman (Londra, 21
febbraio 1801 – Edgbaston, 11 agosto 1890), cardinale cattolico, teologo e
filosofo inglese. E’ stato proclamato santo il 13 ottobre 2019. La frase di cui
parliamo è “<i>Signore fammi andare d'accordo almeno con quelli con i quali tu
sai che io sono già d'accordo</i>”.</span></span></span></p>
</div><span style="font-family: inherit;"><span style="font-size: small;">
</span></span><div id="ftn9" style="mso-element: footnote;">
<p class="MsoFootnoteText"><span style="font-family: inherit;"><span style="font-size: small;"><a href="#_ftnref9" name="_ftn9" style="mso-footnote-id: ftn9;" title=""><span class="MsoFootnoteReference"><span><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="line-height: 115%; mso-ansi-language: IT; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[9]</span></span></span></span></span></a><span> Relazione del Sindaco in NICOLINI,
PIER LUIGI, <i>Il Bilancio preventivo approvato dal Consiglio Comunale il 21
novembre 1974</i>, opuscolo che inaugura la collana “Immagini e Documenti di
Vita capranichese”, p. 7</span></span></span></p>
</div><span style="font-family: inherit;"><span style="font-size: small;">
</span></span><div id="ftn10" style="mso-element: footnote;">
<p class="MsoFootnoteText"><span style="font-family: inherit;"><span style="font-size: small;"><a href="#_ftnref10" name="_ftn10" style="mso-footnote-id: ftn10;" title=""><span class="MsoFootnoteReference"><span><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="line-height: 115%; mso-ansi-language: IT; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[10]</span></span></span></span></span></a><span> <i>Ivi</i></span></span></span></p>
</div><span style="font-family: inherit;"><span style="font-size: small;">
</span></span><div id="ftn11" style="mso-element: footnote;">
<p class="MsoFootnoteText"><span style="font-family: inherit;"><span style="font-size: small;"><a href="#_ftnref11" name="_ftn11" style="mso-footnote-id: ftn11;" title=""><span class="MsoFootnoteReference"><span><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="line-height: 115%; mso-ansi-language: IT; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[11]</span></span></span></span></span></a><span> Intervento in Consiglio Comunale
del 7 novembre 1973, riportato in NICOLINI, PIER LUIGI, <i>Il Bilancio
preventivo approvato dal Consiglio Comunale il 21 novembre 1974</i>, p. 8</span></span></span></p>
</div><span style="font-family: inherit;"><span style="font-size: small;">
</span></span><div id="ftn12" style="mso-element: footnote;">
<p class="MsoFootnoteText"><span style="font-family: inherit;"><span style="font-size: small;"><a href="#_ftnref12" name="_ftn12" style="mso-footnote-id: ftn12;" title=""><span class="MsoFootnoteReference"><span><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="line-height: 115%; mso-ansi-language: IT; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[12]</span></span></span></span></span></a><span> Delibera del Consiglio Comunale n.
9 del 24 marzo 1972</span></span></span></p>
</div><span style="font-family: inherit;"><span style="font-size: small;">
</span></span><div id="ftn13" style="mso-element: footnote;">
<p class="MsoFootnoteText"><span style="font-family: inherit;"><span style="font-size: small;"><a href="#_ftnref13" name="_ftn13" style="mso-footnote-id: ftn13;" title=""><span class="MsoFootnoteReference"><span><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="line-height: 115%; mso-ansi-language: IT; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[13]</span></span></span></span></span></a><span> NICOLINI, PIER LUIGI, <i>Il Bilancio
preventivo approvato dal Consiglio Comunale il 21 novembre 1974</i>, p. 9</span></span></span></p>
</div><span style="font-family: inherit;"><span style="font-size: small;">
</span></span><div id="ftn14" style="mso-element: footnote;">
<p class="MsoFootnoteText"><span style="font-family: inherit;"><span style="font-size: small;"><a href="#_ftnref14" name="_ftn14" style="mso-footnote-id: ftn14;" title=""><span class="MsoFootnoteReference"><span><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="line-height: 115%; mso-ansi-language: IT; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[14]</span></span></span></span></span></a><span> Intervento in Consiglio Comunale
del 21 novembre 1974, NICOLINI, PIER LUIGI, <i>Il Bilancio preventivo approvato
dal Consiglio Comunale il 21 novembre 1974</i>, p. 9</span></span></span></p><p class="MsoFootnoteText"><span style="font-family: inherit;"><span style="font-size: small;"><span><a href="#_ftnref14bis" name="_ftn14" style="mso-footnote-id: ftn14;" title=""><span class="MsoFootnoteReference"><span><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="line-height: 115%; mso-ansi-language: IT; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[14bis]</span></span></span></span></span></a><span class="MsoFootnoteReference"><span><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="line-height: 115%; mso-ansi-language: IT; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"> Chi scrive ricorda vividamente il fascino che </span></span></span></span></span></span></span><span style="font-size: small;"><span><span class="MsoFootnoteReference"><span><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="line-height: 115%; mso-ansi-language: IT; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">l'etimologia </span></span></span></span></span></span></span><span style="font-size: small;"><span><span class="MsoFootnoteReference"><span><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="line-height: 115%; mso-ansi-language: IT; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">esercitava in </span></span></span></span></span></span></span><span style="font-size: small;"><span><span class="MsoFootnoteReference"><span><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="line-height: 115%; mso-ansi-language: IT; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Pier Luigi Nicolini. Una volta arrivò a dire che per farlo felice sarebbe stato sufficiente che qualcuno gli avesse regalato un dizionario etimologico di quelli seri e dettagliati, nella cui lettura "a casaccio" sarebbe stato capace di perdersi per delle ore.</span></span></span></span></span></span> <br /></span></span></p>
</div><span style="font-family: inherit;"><span style="font-size: small;">
</span></span><div id="ftn15" style="mso-element: footnote;">
<p class="MsoFootnoteText"><span style="font-family: inherit;"><span style="font-size: small;"><a href="#_ftnref15" name="_ftn15" style="mso-footnote-id: ftn15;" title=""><span class="MsoFootnoteReference"><span><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="line-height: 115%; mso-ansi-language: IT; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[15]</span></span></span></span></span></a><span> Certo, si può avanzare l’obiezione
che gli scritti nicoliniani non possano essere ritenuti imparziali perché
prodotti secondo il punto di vista particolare di un uomo. Ma parafrasando Marc
Bloch, se si fosse ascoltata la testimonianza di Napoleone sulla battaglia di Waterloo,
questa sarebbe stata senz’altro profondamente diversa da quella di un suo
qualsiasi generale, e ancora radicalmente diversa da quella di un generale inglese,
che combattè dalla parte della vittoria (cfr. BLOCH, MARC, <i>Apologia della
Storia o Mestiere di Storico</i>, Einaudi, Torino 1998). Tuttavia, grazie
all’uso – del tutto consapevole – che Nicolini fa della comunicazione, la sua testimonianza
non solo esiste e ci giunge oggi integra, ma anche si può leggere, commentare,
persino criticare, mentre quella dei suoi avversari politici del tempo no. Ed è
questa la forza vincente della sua comunicazione: l’averla prodotta. Nicolini dimostra
di aver capito a fondo che la comunicazione scritta è destinata a vincere su
quella parlata, perché è fatta per essere conservata e per attraversare le
ingiurie degli anni, mentre la seconda rimane soltanto <i>flatus vocis</i>, potente quanto si vuole nell'immediato, ma ineluttabilmente ordinata a
disperdersi nell’aria. </span></span></span></p>
</div><span style="font-family: inherit;"><span style="font-size: small;">
</span></span><div id="ftn16" style="mso-element: footnote;"><span style="font-family: inherit;"><span style="font-size: small;">
</span></span><p class="MsoFootnoteText"><span style="font-family: inherit;"><span style="font-size: small;"><a href="#_ftnref16" name="_ftn16" style="mso-footnote-id: ftn16;" title=""><span class="MsoFootnoteReference"><span><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="line-height: 115%; mso-ansi-language: IT; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">[16]</span></span></span></span></span></a><span> Come furono quelle mossegli da
Giuseppe Morera. Sull’argomento si veda: CECCARINI,<span style="font-variant: small-caps;"> </span>Fabio, <i>Un repertorio bibliografico sul Castrum Capralice</i>,
in <i>Castrum Capralice e il castello di Capranica nel Medioevo. Atti del
convegno 7 settembre 2019</i>, a cura di M. Colognola, Capranica 2021, pp.
27-44</span></span></span></p><!--more--><div style="text-align: center;"><span style="color: red;"><b>Citare questo documento / Citer ce document / Cite this document</b></span></div><span style="color: red;">
</span><p class="has-text-align-center" style="text-align: center;"><span style="color: red;">CECCARINI,
Fabio, «<i>Pier Luigi Nicolini: l’animatore sociale, il politico, il
comunicatore</i>», Capranica Storica, 16/12/2022 - URL: <a href="https://www.capranicastorica.it/2022/06/pier-luigi-nicolini-lanimatore-sociale.html">https://www.capranicastorica.it/2022/06/pier-luigi-nicolini-lanimatore-sociale.html</a></span></p><span style="color: red;">
</span><p style="text-align: center;"><span style="color: red;"><a href="http://creativecommons.org/licenses/by-nc-sa/4.0/" rel="license"><img alt="Licenza Creative Commons" src="https://i.creativecommons.org/l/by-nc-sa/4.0/88x31.png" style="border-width: 0px; display: block; margin-left: auto; margin-right: auto;" /></a>Questo articolo di <a href="https://www.capranicastorica.it/2022/06/pier-luigi-nicolini-lanimatore-sociale.html" rel="cc:attributionURL">Fabio Ceccarini</a> è distribuito con Licenza <a href="http://creativecommons.org/licenses/by-nc-sa/4.0/" rel="license">Creative Commons Attribuzione - Non commerciale - Condividi allo stesso modo 4.0 Internazionale</a>.</span></p><p class="MsoFootnoteText"><span style="font-family: "Times New Roman",serif;"> </span></p>
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</div>
<p style="text-align: left;"> </p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4201727664195975785.post-80663865599198066932022-06-02T10:00:00.555+02:002022-06-30T17:51:42.083+02:00Di api, di leoni, di capre e di creature fantastiche. Bestiari urbani capranichesi e dove trovarli. 2^ parte<div><div><p><!--[if gte mso 9]><xml>
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</p><p style="text-align: center;"><span style="font-size: small;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzhEoZ_1tgFDGo968JBBeuteLKBGeTUr1L3Bju812y-DdqgC0_fEj832ulrsrjaFKfkhIKq4S09R55fp56E092VaUFOmZbPi5dYXROmpMU9I_W4L4MTluGBDHJH3Yj76CxUSN3UMS4yrxIVNK3X_f2vMZ5jvy2PcepfAECxK9uYdgCIFCORDMzJMVPlA/s3000/Image00025.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2000" data-original-width="3000" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzhEoZ_1tgFDGo968JBBeuteLKBGeTUr1L3Bju812y-DdqgC0_fEj832ulrsrjaFKfkhIKq4S09R55fp56E092VaUFOmZbPi5dYXROmpMU9I_W4L4MTluGBDHJH3Yj76CxUSN3UMS4yrxIVNK3X_f2vMZ5jvy2PcepfAECxK9uYdgCIFCORDMzJMVPlA/w400-h266/Image00025.jpg" width="400" /></a></span></div><p></p><p><span style="font-size: medium;">di <i>Fabio Ceccarini</i></span></p><p><span style="font-size: medium;"></span></p><p><span style="font-size: medium;"></span></p><p><span style="font-size: medium;"></span></p><p><span style="font-size: large;"><span style="color: #3d85c6;"><b>Andare
per le vie e le piazze di Capranica con un occhio diverso e curioso,
alla ricerca delle numerose creature e bestie fantastiche raffigurate
nell'arte, negli stemmi, nei dipinti, ed accorgersi che la compagnia
degli animali ha sempre costituito, per l'uomo, un modo per sentirsi
pienamente al centro del creato.</b></span><span style="color: #3d85c6;"><b> </b></span></span><span style="color: #3d85c6; font-size: large;"><b><span>Seconda parte</span></b></span></p><p><span style="font-size: medium;"><span style="font-size: large;"> (<a href="https://www.capranicastorica.it/2022/05/di-api-di-leoni-di-capre-e-di-creature.html" target="_blank">vai alla prima parte</a> - <a href="https://www.capranicastorica.it/2022/06/di-api-di-leoni-di-capre-e-di-creature_01840757458.html" target="_blank">vai alla terza parte</a>) </span><br /></span></p><p><span style="font-size: medium;"><span></span></span></p><a name='more'></a><p></p><span style="font-size: medium;"><span style="font-family: inherit;"><b><span></span></b></span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: justify;"><span style="font-size: large;"><span style="font-family: inherit;"><span><span><b><span>4. Lo zodiaco di Palazzo Accoramboni</span></b></span></span></span></span></p><p style="text-align: left;"><span style="font-size: large;"><span style="font-family: inherit;"><span><span>
</span></span></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: left;"><span style="font-size: large;"><span style="font-family: inherit;"><span><span><span class="hgkelc"><span>All’interno
del Palazzo Accoramboni, sede municipale, tra le decorazioni pittoriche che
abbelliscono il torrino finestrato è possibile ammirare un gustoso zodiaco. </span></span><span class="campo"><span>Questo
ambiente, di altezza doppia con ballatoio e parapetto di legno, presenta nel
registro inferiore una decorazione unitaria che riproduce una sala con finto
colonnato, una trabeazione e alcuni paesaggi marini e montani, ed in quello
superiore le allegorie delle quattro stagioni che fanno da contorno alle
centrali ed opposte figure di Copernico e Tolomeo. </span></span></span></span></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: center;"><span style="font-size: medium;"><span style="font-family: inherit;"><span><span><span class="campo"><span></span></span></span></span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><span><span><span class="campo"><span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJIDe-ivrqnU5KfQvdRxbtPkR25EpliKnQiozP2nQ6Qu-qK2RNiIsoe7XRg6OJalbGu_orrw77BAYwoHsKv34cl-Lkcez7PHpHHFrsCmYdlK0cF_g2u3-zRgmFJkmfAYeyFKzbqemuolanWxt56-g054IQD-D04jIxQb0wN8Ig2nqtc6rWnjKA7K4tPw/s3000/Image00097.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2000" data-original-width="3000" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJIDe-ivrqnU5KfQvdRxbtPkR25EpliKnQiozP2nQ6Qu-qK2RNiIsoe7XRg6OJalbGu_orrw77BAYwoHsKv34cl-Lkcez7PHpHHFrsCmYdlK0cF_g2u3-zRgmFJkmfAYeyFKzbqemuolanWxt56-g054IQD-D04jIxQb0wN8Ig2nqtc6rWnjKA7K4tPw/w400-h266/Image00097.jpg" width="400" /></a></span></span></span></span></span></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: center;"><span style="font-size: medium;"><span style="font-family: inherit;"><span><span><span class="campo"><span></span></span></span></span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><span style="font-family: inherit;"><span><span><span class="campo"><span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUGMhaUNZ2gyt5p45OAcNdUHochZoHmfk8vozh6Z0nD7b5vd1I5mlcK7buHk8ckimdiFteEElLnOVpBqWJVQMlSvGgagzCcvl5v1r6qbDdbgewUagWCaf6XN-RqiXI2biCLUhMm_pUwkFxZyXdOU_1whRG9FRABfezOCPQ8TBzje5tZ-pKh-OhWf1J1g/s3000/Image00027.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2000" data-original-width="3000" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUGMhaUNZ2gyt5p45OAcNdUHochZoHmfk8vozh6Z0nD7b5vd1I5mlcK7buHk8ckimdiFteEElLnOVpBqWJVQMlSvGgagzCcvl5v1r6qbDdbgewUagWCaf6XN-RqiXI2biCLUhMm_pUwkFxZyXdOU_1whRG9FRABfezOCPQ8TBzje5tZ-pKh-OhWf1J1g/w400-h266/Image00027.jpg" width="400" /></a></span></span></span></span></span></span></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: left;"><span style="font-size: large;"><span style="font-family: inherit;"><span><span><span class="campo"><span>Sulle metope della
trabeazione sono rappresentati invece i segni zodiacali, immediatamente al di sotto
alla superficie finestrata del torrino, all’interno di un motivo a fascia
continua per ciascuna delle quattro pareti. I segni sono inquadrati in cornici riproducenti finti stucchi, separate tra loro da finte lesene
scanalate</span></span><a href="#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><span><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[1]</span></span></span></span></span></a><span class="campo"><span>,
al di sotto delle quali vi è la didascalia, </span></span></span></span></span></span><span style="font-size: large;"><span style="font-family: inherit;"><span><span><span class="campo"><span> in latino
e caratteri maiuscoli</span></span></span></span></span></span><span style="font-size: large;"><span style="font-family: inherit;"><span><span><span class="campo"><span>, con il nome della costellazione. Nel soffitto, infine, è rappresentata una rosa dei venti
con lancetta metallica mobile per l’indicazione del vento, posta al centro
della volta celeste, tra simmetriche decorazioni floreali e le figure
allegoriche dei quattro venti: tramontana (N), levante (E), ostro (S) e ponente
(O).</span></span></span></span></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: center;"><span style="font-size: medium;"><span style="font-family: inherit;"><span><span><span class="campo"><span></span></span></span></span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><span style="font-family: inherit;"><span><span><span class="campo"><span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpERSnUoGNTPd_adG7wzIFHVxsypQhnfvRpN2uTNyf7whSwm6jXHro1gyLGWSvhhS9osc__KGLUViGIDZihi7f6-ox8i6ZI6QblpBhFsOqOu8VerA_3lsAW1PkkY-WDRytdBlvI5BSyBa5ybYgZ1RQiLGdHA_kX7DlSTmYZX5TWmW9FBhPVyvmN1a-8g/s2048/Zodiaco.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1405" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpERSnUoGNTPd_adG7wzIFHVxsypQhnfvRpN2uTNyf7whSwm6jXHro1gyLGWSvhhS9osc__KGLUViGIDZihi7f6-ox8i6ZI6QblpBhFsOqOu8VerA_3lsAW1PkkY-WDRytdBlvI5BSyBa5ybYgZ1RQiLGdHA_kX7DlSTmYZX5TWmW9FBhPVyvmN1a-8g/w275-h400/Zodiaco.jpg" width="275" /></a></span></span></span></span></span></span></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;"><span><span><span class="campo"></span></span></span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><span style="font-family: inherit;"><span><span><span class="campo"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjk1f0-RSk2Bh7bqOuRqZk0ru7-1vZNXd4zEhW-gJ3DLfnmgOZqANcAnAMO1sXKurlWKcTW6nELvcm6ofIM976t_TcHfPI06dGr1OLofH28kpHggaX2nas4UE3i4m8W31KpzcvAdit-rhdDZND2a1dIOp0q_UGBrYKeUtHvQqbJwSXNzRZV_HY00-tnLg/s2301/Zodiaco2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1440" data-original-width="2301" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjk1f0-RSk2Bh7bqOuRqZk0ru7-1vZNXd4zEhW-gJ3DLfnmgOZqANcAnAMO1sXKurlWKcTW6nELvcm6ofIM976t_TcHfPI06dGr1OLofH28kpHggaX2nas4UE3i4m8W31KpzcvAdit-rhdDZND2a1dIOp0q_UGBrYKeUtHvQqbJwSXNzRZV_HY00-tnLg/w400-h250/Zodiaco2.jpg" width="400" /></a></span></span></span></span></span></div><span style="font-size: medium;"><span style="font-family: inherit;"><span><span><span class="campo"><br /><span style="font-size: large;">La
decorazione fa parte di un complesso di opere poste al piano nobile ed al
secondo piano - soprattutto fregi dipinti a soggetti di caccia e di paesaggi - testimonianza
di una fase decorativa tardo settecentesca o inizio ottocentesca del Palazzo. Come
testimoniato dalla scritta a pennello, in bei caratteri maiuscoli, l</span></span><span class="hgkelc" style="font-size: large;"><span>a
sala del torrino è stata rifatta nel 1901 dal pittore ronciglionese Diotallevi,
ed è stata restaurata nel 1982 dal pittore architetto polacco Prof. Giorgio
Feinner, durante i lavori di ristrutturazione dell’edificio voluti dall’Amministrazione
comunale guidata dal Sindaco Nazzareno Liberati</span></span><span style="font-size: large;"><a href="#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><span><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[2]</span></span></span></span></span></a><span class="hgkelc"><span>.</span></span></span></span></span></span></span><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: center;"><span style="font-size: medium;"><span style="font-family: inherit;"><span><span><span class="hgkelc"><span></span></span></span></span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><span style="font-family: inherit;"><span><span><span class="hgkelc"><span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXQJdPD2Wvw6s5VjJ-iy-KW05FDLuUC9Zxxmv8dNTbzJiKw2FIWguyH9dQXtbBgsknt6r6jbJOhenA8SVlKjh7PqUjfnZMXVJJ2PZLAWIehCBcathXaMZhf8D9Hvnj4TAvoB_8_M6AL0VyS2dlceE6BA_HECxzu1gFROQQJ2rXScm7s2pXAoFIE2ZdOw/s3000/Image00028.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2000" data-original-width="3000" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXQJdPD2Wvw6s5VjJ-iy-KW05FDLuUC9Zxxmv8dNTbzJiKw2FIWguyH9dQXtbBgsknt6r6jbJOhenA8SVlKjh7PqUjfnZMXVJJ2PZLAWIehCBcathXaMZhf8D9Hvnj4TAvoB_8_M6AL0VyS2dlceE6BA_HECxzu1gFROQQJ2rXScm7s2pXAoFIE2ZdOw/w400-h266/Image00028.jpg" width="400" /></a></span></span></span></span></span></span></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;"><span><span><span><span></span></span></span></span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><span style="font-family: inherit;"><span><span><span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi72NuEAh4dgU8zbSmPbGoDqLZtD1lIA-YSGzy1pnveEPf4hj08a57acnX1IauQVAJEac5L6mjE6Zz8U7Wc8AOPlt3Zt1nBNMbACpbI4hXeYwI_SedVlwjCO10Pxw83V8u0unndbB0w5-FfH3t5Akxic9VPChL91ksAxc6FVLH7M1gptXEcyaJkdAizxg/s3000/Image00029.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2000" data-original-width="3000" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi72NuEAh4dgU8zbSmPbGoDqLZtD1lIA-YSGzy1pnveEPf4hj08a57acnX1IauQVAJEac5L6mjE6Zz8U7Wc8AOPlt3Zt1nBNMbACpbI4hXeYwI_SedVlwjCO10Pxw83V8u0unndbB0w5-FfH3t5Akxic9VPChL91ksAxc6FVLH7M1gptXEcyaJkdAizxg/w400-h266/Image00029.jpg" width="400" /></a></span></span></span></span></span></div><span style="font-size: medium;"><span style="font-family: inherit;"><span><span><span><br /></span><span style="font-size: large;">Questo
tipo di decorazione, caratteristica delle corti rinascimentali, agli inizi dell’Ottocento
trovava nelle classi più colte e benestanti un utilizzo pratico, nella
convinzione<span class="hgkelc"> che ogni attività umana fosse inesorabilmente
influenzata dagli astri: </span>la decisione del giorno del matrimonio, dell'inizio
degli affari, della fondazione di palazzi o di chiese, dovevano dunque dipendere
da complessi calcoli astrologici. N<span class="hgkelc">onostante, quindi, le
scoperte scientifiche di Galileo Galilei avessero mostrato i limiti della
conoscenza tradizionale e l'avvento delle teorie copernicane sottratto all'astrologia
il titolo di disciplina scientifica, e</span>cco nascere un’attenzione particolare
verso l'oroscopo. <span class="hgkelc">Non a caso le due figure agli opposti,
Tolomeo e Copernico, in qualche modo stanno a significare l’abbandono delle
teorie tradizionali e geocentriche che facevano capo all’erudito egiziano, a
favore di quelle innovative eliocentriche dello scienziato polacco. A chiudere
il cerchio, l’epitaffio attribuito a Platone: “<i>Philosophia rerum magistra. Nullus
geometriae expers accedito</i>” (la filosofia è maestra di tutte le cose. Non
entri alcuno che non abbia conoscenze di geometria/matematica), frasi che il
filosofo greco aveva scolpito all’entrata della sua scuola.</span></span></span></span></span></span><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: center;"><span style="font-size: medium;"><span style="font-family: inherit;"><span><span><span><span class="hgkelc"></span></span></span></span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><span style="font-family: inherit;"><span><span><span><span class="hgkelc"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUx-1x9ukYu8_qtLrkrXCSb3pTRZtXdNcnrSJ7bHbSyrGqz0N7JcCfcgoZaF4TW_5fXgd334GIgQci3Sicny1dlGFzfp75n6aqSn3Uq9l8RdEC6f-0VTLZx-7RS87JEybxIvepfEILuODYysuWCUepfZ89usWkcfT456ppLhqSqCEYBZDKi7ncEN2bQA/s3302/Segni%20zodiaco%20-%20EST.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="906" data-original-width="3302" height="176" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUx-1x9ukYu8_qtLrkrXCSb3pTRZtXdNcnrSJ7bHbSyrGqz0N7JcCfcgoZaF4TW_5fXgd334GIgQci3Sicny1dlGFzfp75n6aqSn3Uq9l8RdEC6f-0VTLZx-7RS87JEybxIvepfEILuODYysuWCUepfZ89usWkcfT456ppLhqSqCEYBZDKi7ncEN2bQA/w640-h176/Segni%20zodiaco%20-%20EST.jpg" width="640" /></a></span></span></span></span></span></span></div><span style="font-size: medium;"><span style="font-family: inherit;"><span><span><span><span class="hgkelc"><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5j3NvV3dxTkXbedNnrbvPaI-xt_DojitTkVrzjL2wmx35QQunwCC9ijWacB0dP8OcwLRZsxurxBJqwc70yDV6EVrqzHkzwyLDoSg2zPhDVIgSVjeX3SaWNVwjM83OKf9Nd2w6Sd-dXhUFDsWIbFZpQ7RlwexmEtVvMzAGWA6zxtWhl1YVuG6j_GyqXQ/s3313/Segni%20zodiaco%20-%20NORD.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="919" data-original-width="3313" height="178" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5j3NvV3dxTkXbedNnrbvPaI-xt_DojitTkVrzjL2wmx35QQunwCC9ijWacB0dP8OcwLRZsxurxBJqwc70yDV6EVrqzHkzwyLDoSg2zPhDVIgSVjeX3SaWNVwjM83OKf9Nd2w6Sd-dXhUFDsWIbFZpQ7RlwexmEtVvMzAGWA6zxtWhl1YVuG6j_GyqXQ/w640-h178/Segni%20zodiaco%20-%20NORD.jpg" width="640" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCFscefRnpBgm0Ku9idyW0bAypPUvOylGgMtsM8pztmLJ-ePBFja5HLP4rczap0nFlB3x8URPMVFZ76483CepN-AUnTmjvtTcq9MfCozVLmGlzoAZuu-WKq1n3o49NKop8IPe4Q0ylQeaifOxubcnK5Y8K1zvE-06_Anaat_tEvoc36PW-AcI4KphR6w/s3331/Segni%20zodiaco%20-%20OVEST.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="908" data-original-width="3331" height="174" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCFscefRnpBgm0Ku9idyW0bAypPUvOylGgMtsM8pztmLJ-ePBFja5HLP4rczap0nFlB3x8URPMVFZ76483CepN-AUnTmjvtTcq9MfCozVLmGlzoAZuu-WKq1n3o49NKop8IPe4Q0ylQeaifOxubcnK5Y8K1zvE-06_Anaat_tEvoc36PW-AcI4KphR6w/w640-h174/Segni%20zodiaco%20-%20OVEST.jpg" width="640" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi71ifupok90Mw60nXQKaHH5tknGf8V6qdrAmN3Dr_OLstOySbzjaY3DPdBDniiV_BWoRvneOMH5uoTJ98tM7P3pQofDyuaJiWimw5pKkUEnPIzFcLxsGCp9ZjXPUrFjDH2_f0DmTINig6bAbHY5sxAsz_Z7c67gvwSo_RCB7YdBBpFDTE9LbeGcuNYPQ/s3342/Segni%20zodiaco%20-%20SUD.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="925" data-original-width="3342" height="178" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi71ifupok90Mw60nXQKaHH5tknGf8V6qdrAmN3Dr_OLstOySbzjaY3DPdBDniiV_BWoRvneOMH5uoTJ98tM7P3pQofDyuaJiWimw5pKkUEnPIzFcLxsGCp9ZjXPUrFjDH2_f0DmTINig6bAbHY5sxAsz_Z7c67gvwSo_RCB7YdBBpFDTE9LbeGcuNYPQ/w640-h178/Segni%20zodiaco%20-%20SUD.jpg" width="640" /></a></div></span></span></span></span></span></span><p></p><p style="text-align: left;"></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: left;"><span style="font-size: large;"><span style="font-family: inherit;"><span><span><span class="hgkelc"><span>Ma
torniamo al nostro zodiaco. In quanto ad animali e a bestie fantastiche nell’ambito
dei segni zodiacali e delle costellazioni c’è davvero di che sbizzarrirsi. Ben otto
segni su dodici si basano su figurazioni zoomorfe, considerando tra questi anche
il Sagittario (<i>arcitenens</i>), mezzo uomo e mezzo cavallo. Abbiamo quindi il
Capricorno (<i>caper</i>), i Pesci (<i>pisces</i>), l’Ariete (<i>aries</i>), il
Toro (<i>taurus</i>), il Granchio (<i>cancer</i>), lo Scorpione (<i>scorpius</i>),
il Leone (<i>leo</i>). Per ciascuna stagione abbiamo rappresentati due animali
su tre segni: in primavera Ariete e Toro; in estate Cancro e Leone; in autunno Scorpione
e Sagittario; in inverno Capricorno e Pesci. L’origine dello zodiaco è antichissima
e risale alla civiltà babilonese, i cui astronomi per primi divisero la volta
celeste in dodici spicchi di 30° ai quali attribuirono il nome di una
costellazione. Ed i segni zodiacali vennero anche utilizzati dai babilonesi per
associarvi esotericamente specifiche parti del corpo umano a scopi medici (<i>melothesia</i>). La
testa era nell'Ariete, la laringe nel Toro; le braccia erano associate ai Gemelli,
il segno che meglio degli altri esprime la simmetria; il torace veniva associato
del Cancro; il cuore era identificato con il Leone mentre la parte bassa delle
gambe era collegata all’Acquario. I piedi, infine, venivano considerati come collegati
ai Pesci.</span></span></span></span></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: center;"><span style="font-size: medium;"><span style="font-family: inherit;"><span><span><span class="hgkelc"><span></span></span></span></span></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://upload.wikimedia.org/wikipedia/commons/thumb/d/d9/Homo_signorum_SBB-PK_1191.jpg/240px-Homo_signorum_SBB-PK_1191.jpg" style="margin-left: auto; margin-right: auto;" target="_blank"><img border="0" data-original-height="1600" data-original-width="950" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRSYAhfLhiHcirLBP3PVW0BJOOb641KrDVxjaonjSfT3DyzbRH9kxEwLq1col_xZbxDa3GorXcVz6eVMyGi-CS0gOFYoVsWthQ6c1nS0odlCQLfqfB3KuovftFtFwiU6wPvvpTO3etC2e0SA4IYC8k5HoAAJb5DfNdzkL90aq49ahrtLQfv14-720KBA/w238-h400/Homo_signorum_SBB-PK_1191.jpg" width="238" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Illustrazione dell'«<i>Homo signorum</i>», con le relazioni tra le parti anatomiche e i segni zodiacali, dal trattato di Heinrich Laufenberg, <i>Regimen</i> (1450-60) - tratto da <a href="https://upload.wikimedia.org/wikipedia/commons/thumb/d/d9/Homo_signorum_SBB-PK_1191.jpg/240px-Homo_signorum_SBB-PK_1191.jpg" target="_blank">Wikipedia</a><br /></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><span style="font-family: inherit;"><span><span><span class="hgkelc"><span></span></span></span></span></span></span></div><span style="font-size: medium;"><span style="font-family: inherit;"><span><span><span class="hgkelc"><span><br /></span></span></span></span></span></span><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: left;"><span style="font-size: large;"><span style="font-family: inherit;"><span><span><span class="hgkelc"><span>Lo zodiaco di palazzo Accoramboni, infine, è disposto anche secondo un orientamento nord-sud, giovando alla sua composizione pittorica il fatto che il torrino e l'intero palazzo sono realizzati in parallelo all'asse del corso Francesco Petrarca, leggermente inclinato sulla direttrice est-ovest. Le figure sono quindi dipinte secondo la posizione delle costellazioni sull'ellittica.</span></span></span></span></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: center;"><span style="font-size: medium;"><span style="font-family: inherit;"><span><span><span class="hgkelc"></span></span></span></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8QwZbL0L1iEv8b1rk46kLQ_nLH7q4MxJbfiw0XQOODVrYM0-6OAG6C6jAAWKXMZIms3VVcsgXCiRBXVQF9-CkuqaNUKceEysC06lRX8fX6HUL5VeuOy49ASwdiF979saBmTjpNt21hTrzYHlTMzDnDlWK8FQR56kXj5j1NGq8Zu2dqYc5v0Q4Z2L02A/s2423/Zodiaco%20su%20google%20earth.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2420" data-original-width="2423" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8QwZbL0L1iEv8b1rk46kLQ_nLH7q4MxJbfiw0XQOODVrYM0-6OAG6C6jAAWKXMZIms3VVcsgXCiRBXVQF9-CkuqaNUKceEysC06lRX8fX6HUL5VeuOy49ASwdiF979saBmTjpNt21hTrzYHlTMzDnDlWK8FQR56kXj5j1NGq8Zu2dqYc5v0Q4Z2L02A/w400-h400/Zodiaco%20su%20google%20earth.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Gli assi di colore giallo indicano i quattro punti cardinali (in alto in Nord); gli assi di colore rosso indicano l'inclinazione rispetto al Nord, del torrino del palazzo Accoramboni; gli assi di colore ciano indicano i solstizi e gli equinozi in relazione alla posizione dei segni dello zodiaco sulle pareti del torrino</i><br /></td></tr></tbody></table><span style="font-size: medium;"><span style="font-family: inherit;"><span><span><span class="hgkelc"><br /><span></span></span></span></span></span></span><p></p><p style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;"><span><span>
</span></span></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: justify;"><span style="font-size: large;"><span style="font-family: inherit;"><span><span><b><span>5. Bestie fantastiche nel rosone circolare
di San Francesco</span></b></span></span></span></span></p><p style="text-align: left;"><span style="font-size: large;"><span style="font-family: inherit;"><span><span>
</span></span></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: left;"><span style="font-size: large;"><span style="font-family: inherit;"><span><span><span>L’aver illustrato alcune caratteristiche dello
zodiaco di Palazzo Accoramboni, ci da’ l’occasione per parlare delle strane figurazioni
visibili sulla facciata della chiesa di San Francesco. Benché alcuni autori
sostengano che la cornice esterna del rosone circolare di questa chiesa contenga
uno zodiaco<a href="#_ftn3" name="_ftnref3" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[3]</span></span></span></span></a>,
probabilmente, come vedremo tra poco, non è esattamente così. Se consideriamo l’epoca
di fondazione della chiesa, il XII secolo, siamo infatti ben lontani dai
contesti ricordati per lo zodiaco dell’edificio sede comunale. Nel caso del rosone
di San Francesco il nostro punto riferimento è in effetti l’arte romanica che
si è andata affermando in un’epoca storica, quella del medioevo, </span><span>nel cui quadro il
creato viene considerato come un dono diretto di Dio. E’ Dio stesso che conferisce
alla sua creatura, seppure imperfetta e finita, il dominio e l’amministrazione
della «<span>intera gamma delle creature
soprattutto quelle viventi</span>»<a href="#_ftn4" name="_ftnref4" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[4]</span></span></span></span></a>.
Pertanto, se la rappresentazione dello zodiaco del Palazzo Accoramboni risponde
alle mode del tempo, nel caso del rosone di San Francesco ci troviamo davanti
ad una raffigurazione a base zoomorfica che assume una importanza dottrinale<a href="#_ftn5" name="_ftnref5" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[5]</span></span></span></span></a>,
potremmo dire catechetica, perché offerta ai fedeli come occasione di crescita
spirituale nel cammino di conversione personale (una piccola ma preziosa <i>biblia
pauperum</i>). Tuttavia nell’arte romanica ciò non va inteso in senso assoluto,
poiché le rappresentazioni degli animali sono anche dei puri e semplici giochi
decorativi del singolo artista che danno vita a dei veri e propri repertori – i
cosiddetti <i>bestiari</i> - di bestie di
tutti i tipi, reali e non, molto spesso anche mostruose, la cui origine è da ricercare
nelle culture orientali<a href="#_ftn6" name="_ftnref6" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[6]</span></span></span></span></a>.
La cornice del rosone di San Francesco va quindi letta anche nel contesto di
quelle <i>drôlerie</i> medievali ricche di
sapienza didattica e di estri di cui straboccano le cattedrali romaniche. Ma
veniamo alle caratteristiche di questa composizione.</span></span></span></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;"><span><span><span></span></span></span></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJeBn_-wMKo5kjyq-DXUo_jyQHNqIJEAr6HzWhwkl_T_ox1TMhh5M43GkejGksVqi2F5F_Cz7rSx_thGVtlhdQnzL1mxy-8w_hPNOGgdMf35WLWfEbpWXXpukZk7VXrSCU2m4YgUUcx7_502M1ibW_FXzolup6qqjuujM2UXjHQE-pP7GKM_20JeH3_w/s1701/Image00020%20rit.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1527" data-original-width="1701" height="359" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJeBn_-wMKo5kjyq-DXUo_jyQHNqIJEAr6HzWhwkl_T_ox1TMhh5M43GkejGksVqi2F5F_Cz7rSx_thGVtlhdQnzL1mxy-8w_hPNOGgdMf35WLWfEbpWXXpukZk7VXrSCU2m4YgUUcx7_502M1ibW_FXzolup6qqjuujM2UXjHQE-pP7GKM_20JeH3_w/w400-h359/Image00020%20rit.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Il rosone della Chiesa di San Francesco, a Capranica</i><br /></td></tr></tbody></table><div style="text-align: center;"><span style="font-size: medium;"><span style="font-family: inherit;"><span><span><span> </span></span></span></span></span></div><div style="text-align: center;"><span style="font-size: medium;"><span style="font-family: inherit;"><span><span><span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBPfa0pH718TbUIHxk8Ixx_Ec3-koC1pYiTCglshwEvJvACKlh_kb5uTldrC6cD8EmHnp4MYHo7eHQhSqX4r141BB1VWpPX5VxWBPnH3ybW1W1pXjEFoOA71ZYr7l3jQPJijMXtLe0EXSWXXhK8fO9fYWMOVu9suqLsVaXuRfO6luiPVudBecpJlAlVw/s1546/CSF23a.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1014" data-original-width="1546" height="263" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBPfa0pH718TbUIHxk8Ixx_Ec3-koC1pYiTCglshwEvJvACKlh_kb5uTldrC6cD8EmHnp4MYHo7eHQhSqX4r141BB1VWpPX5VxWBPnH3ybW1W1pXjEFoOA71ZYr7l3jQPJijMXtLe0EXSWXXhK8fO9fYWMOVu9suqLsVaXuRfO6luiPVudBecpJlAlVw/w400-h263/CSF23a.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>La facciata della Chiesa di San Francesco prima del restauro diretto da Antonio <span style="font-size: small;"><span style="font-family: inherit;"><span><span><span>Muñoz</span></span></span></span></span></i></td></tr></tbody></table> </span></span></span></span></span><span style="font-size: medium;"><span style="font-family: inherit;"><span><span><span> </span></span></span></span></span></div><div style="text-align: left;"><span style="font-size: large;"><span style="font-family: inherit;"><span><span><span>Innanzitutto, le figurazioni scolpite in
bassorilievo sul tufo sono 23, quindi non possono essere sovrapposte ai segni
zodiacali, né sembrano richiamare le costellazioni, eccezion fatta per qualche figura che tuttavia, a nostro parere, non può determinare l’oggetto
della composizione. Dopo il restauro della chiesa diretto da Antonio Muñoz
negli anni ’20 del Novecento e concluso nel 1927, la cornice del rosone è stata
riportata alla luce rimuovendo uno strato di intonaco che nascondeva alla vista
le linee sobrie della facciata romanica. La cornice si presenta oggi piuttosto
deteriorata in più punti, rendendo non agevole il riconoscerne le figurazioni.
Tuttavia, grazie alla fotografia digitale e al rilievo che le singole figure
acquistano grazie alla luce solare radente nelle ore della mattinata, è
possibile determinare, superando qualche piccola difficoltà, il repertorio che si trova
rappresentato nella cornice. </span></span></span></span></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgprHdAcOEXSUmN1Vgnd-gv_quQCDtRYKDq3E0kUDz_MgDiSW2-6SSMKxd0jnxPt8GIwgqDoyT0TWxPcgx14wojoTagk3oFeK_0xpfidH6M95UUCX48bqtah3CxTu-K19KDqIAKuvvZTRefSXjRDMKVeq2T5OkwaqZCfu1qO4vAD1KKljAfsCnt3ZXqsw/s2512/Rosone%20San%20Francesco%20con%20quadranti.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2402" data-original-width="2512" height="383" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgprHdAcOEXSUmN1Vgnd-gv_quQCDtRYKDq3E0kUDz_MgDiSW2-6SSMKxd0jnxPt8GIwgqDoyT0TWxPcgx14wojoTagk3oFeK_0xpfidH6M95UUCX48bqtah3CxTu-K19KDqIAKuvvZTRefSXjRDMKVeq2T5OkwaqZCfu1qO4vAD1KKljAfsCnt3ZXqsw/w400-h383/Rosone%20San%20Francesco%20con%20quadranti.jpg" width="400" /></a></div><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: center;"></p><p style="text-align: left;"></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: left;"><span style="font-size: large;"><span style="font-family: inherit;"><span><span><span>Le figure non hanno tutte la stessa ampiezza di arco.
Quella in alto e quella in basso, nonché quelle immediatamente alla loro
sinistra, sono rappresentate in uno spazio grande la metà di quello dedicato
alle altre 19. Immaginando di attraversare il rosone con due assi ortogonali, abbiamo assunto convenzionalmente i quattro punti cardinali per identificare l'alto (Nord), il basso (Sud), la destra (Est) e la sinistra (Ovest) del rosone. Abbiamo quindi proceduto a numerare in senso orario tutte le figure
presenti, assegnando il n. 1 alla figura posta a Nord, ed abbiamo anche
provveduto a delimitare i settori circolari e gli archi di competenza di
ciascuna figurazione. Raffrontando i settori circolari risultanti con il suddetto
sistema di assi ortogonali originantesi dal centro del rosone, è facile notare
che le figure siano leggermente ruotate e che solo l’asse verticale superiore sia
pressocché sovrapponibile con quello delimitante la destra del settore
circolare della figura n. 1. Di conseguenza, il mascherone baffuto raffigurato a Sud, all’opposto della figura n. 1 e contraddistinto con il n. 12, è posizionato
in maniera tale da essere tagliato quasi a metà dall’asse verticale. A causa
della non perfetta suddivisione degli spazi, il primo e il terzo quadrante (in senso
orario) risultano di dimensioni inferiori ai 90°, mentre il secondo e il quarto
sono più ampi della grandezza di un angolo retto. Il secondo quadrante è quello
più grande, il terzo quello più piccolo.</span></span></span></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;"><span><span><span><span style="font-size: large;"><span style="font-family: inherit;"><span><span><span>Seguendo l’ordine proposto, l’elenco delle raffigurazioni
è riportato a margine della figura seguente:</span></span></span></span></span> <br /></span></span></span></span></span></p><p style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;"><span><span>
</span></span></span></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCoMm1qKOYfJXIjjNX1pZYrepqbf2dxGmueK97tl45XdySIVlyA8OkivojnpDbmg58WUG8aB9jJcOLyl5LdUpq9m4UnbjXdA-kx5NTgxBgKTbR3BGIAImLYDK_S-PRasz6lDV5Sj0wET1MaSlBwe7fHsexrCvtxRSU3pvErJGXXmA4q43DOdJeMYvopA/s3335/Rosone%20San%20Francesco.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2344" data-original-width="3335" height="450" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCoMm1qKOYfJXIjjNX1pZYrepqbf2dxGmueK97tl45XdySIVlyA8OkivojnpDbmg58WUG8aB9jJcOLyl5LdUpq9m4UnbjXdA-kx5NTgxBgKTbR3BGIAImLYDK_S-PRasz6lDV5Sj0wET1MaSlBwe7fHsexrCvtxRSU3pvErJGXXmA4q43DOdJeMYvopA/w640-h450/Rosone%20San%20Francesco.jpg" width="640" /></a></div><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: center;"></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: left;"><span style="font-size: large;"><span style="font-family: inherit;"><span><span><span>Predominano nelle figure presenti quelle alate: se
ne distinguono ben 10, di cui 9 posizionate nei due quadranti superiori: 4 nel quarto
e 5 nel primo (da sinistra a destra). Accanto al mascherone a Sud,
si distinguono ali ben piumate di una figura mutila. Nel settore n. 1, a Nord, si
distingue con qualche fatica una figura di un uomo con aureola, forse originariamente con tavola. Non sembrano emergere
ali. Tuttavia la presenza di un uccello alla sua destra e probabilmente di un bue alato con tavola alla sua sinistra, se collegati alla presenza del leone alato con tavola (fig. n. 3), fanno pensare ad un tetramorfo apocalittico. Le creature
raffigurate nei due quadranti superiori sono generalmente richiamanti il bene o
la luce. Si distinguono infatti ben 4 grifoni (la perfezione e la potenza), un
leone alato che reca una tavola del vangelo (simbolo dell’evangelista
Marco), un cervo (i catecumeni), due figure angeliche con ali. Nei due
quadranti inferiori compaiono invece creature ed animali che appartengono alla
sfera del male o dell’oscurità: un uomo deforme, due mascheroni baffuti, un
pesce che nuota nelle profondità del mare (che per la sua forma tozza potrebbe anche
ricordare il verme-drago, meglio noto nel nord Europa con il termine tedesco di
</span><i><span>Tatzelwurm</span></i><span>), un sagittario e un centauro (mezzi uomini e mezzi cavalli, simbolo
dell’eresia, che Dante colloca all’inferno a guardia dei dannati sul fiume
Flegetonte), una arpìa con il becco spalancato in atto di attaccare un mostro
con la testa di felino, il corpo piumato e la coda lanceolata (una manticora?),
un mostruoso serpente/drago dalla lunghissima coda raccolta e intrecciata.</span></span></span></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: center;"><span style="font-size: medium;"><span style="font-family: inherit;"><span><span><span></span></span></span></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDePniYCfnp3WtI7DN2UYHYjas-_mZqA9UPrVe-QvscZTIXko8MX2z80PD1du6Dg1Q3sNHXHsbeSWa7gat2gEB4fPSJm2fuBKMU0IYPOHaD9gTc6lKxyEd4NEeYv0XhP_mxo8iPQoWPGuuHRIBHH6ljMs6pB2O95D6-6dF4VL0yP2JlCR3IhK2h8kaXg/s3327/Particolari%20figure%20rosone.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3327" data-original-width="1665" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDePniYCfnp3WtI7DN2UYHYjas-_mZqA9UPrVe-QvscZTIXko8MX2z80PD1du6Dg1Q3sNHXHsbeSWa7gat2gEB4fPSJm2fuBKMU0IYPOHaD9gTc6lKxyEd4NEeYv0XhP_mxo8iPQoWPGuuHRIBHH6ljMs6pB2O95D6-6dF4VL0yP2JlCR3IhK2h8kaXg/w320-h640/Particolari%20figure%20rosone.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>1 - un cervo; 2 - leone alato con tavola; 3 - figura umana con ali</i><br /></td></tr></tbody></table><p></p><p style="text-align: left;"></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;"><span><span><span><span style="font-size: large;">La presenza del tetramorfo apocalittico è in linea con altri esempi di rosoni romanici, a partire da quelli coevi delle chiese tuscanesi fino a quelli che abbelliscono le successive cattedrali gotiche. La sequenza qui proposta dall'ignoto maestro scultore è l'aquila (Giovanni), l'uomo (Matteo), il bue (Luca), il leone (Marco). Medesima sequenza si ritrova attorno al rosone di Santa Maria Maggiore, a Tuscania, dove partendo dall'alto a sinistra e procedendo in senso orario sono raffigurati i medesimi simboli.Tuttavia la sua posizione, nel complessivo quadro della cornice circolare, non sembrerebbe del tutto canonica. Negli esempi umbro-laziali il tetramorfo compare quasi sempre agli angoli corripondenti con i quattro punti cardinali (oltre alle chiese tuscanesi, si vedano anche gli esempi viterbesi di Santa Maria della Verità e di San Giovanni in Zoccoli), mentre in ambiti fuori contesto geografico e storico non mancano esempi simili, almeno nella disposizione degli esseri viventi (come ad esempio nella cattedrale di Larino, in Molise, dove il tetramorfo compare nella parte superiore del rosone, nella sequenza: bue, aquila, leone, uomo, al centro del quale si trova però un agnello crucifero).</span><br /></span></span></span></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7NLKEP19zcTJaOtOgpx2GhEEFNHgFzM2w8nl8XDw9aiCpK2iiO5OLmlBacE22aCdCMh_V0gi3M4XqVR7cMK8o0mvrEuRGWC8hjGY5c7Lrybs7zNolG2D1cyyRwSpSDnDKKXwRTpsRKdRylh7ruM16dI3Q97HbPr281H20PkXVInFOV6ORagzjT6sUoA/s970/Tetramorfo%20San%20Francesco.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="514" data-original-width="970" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7NLKEP19zcTJaOtOgpx2GhEEFNHgFzM2w8nl8XDw9aiCpK2iiO5OLmlBacE22aCdCMh_V0gi3M4XqVR7cMK8o0mvrEuRGWC8hjGY5c7Lrybs7zNolG2D1cyyRwSpSDnDKKXwRTpsRKdRylh7ruM16dI3Q97HbPr281H20PkXVInFOV6ORagzjT6sUoA/w400-h213/Tetramorfo%20San%20Francesco.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Tetramorfo apocalittico tra le figure della cornice del rosone di San Francesco: <br />23 - aquila; 1 - uomo; 2 - bue; 3 - leone<br /></i></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;"><span><span></span></span></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><img border="0" data-original-height="1261" data-original-width="1270" height="398" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNMuncWBpp2ybbEC68dvMQ4QCH6q948In5h95wFePyxRzmHIo88jW-3jqIFOz_tBs1mpwg2TPRohufztVviaDr4u5aEwtTNu4Y029UouBsTDPpRToQEDIDqw2scN1-LTl4BxqqPYPZ0mSl5zhSYF02l85vc4C1UStAlE73L615I2tGqx149GQ_oOrUTw/w400-h398/rosone-san-pietro-tuscania.jpg" style="margin-left: auto; margin-right: auto;" width="400" /></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Rosone della basilica di Santa Maria Maggiore, Tuscania (VT) - dall'alto, in senso orario, la sequenza dei quattro "esseri viventi" (Ezechiele), è la medesima di quella proposta a San Francesco</i><br /></td></tr></tbody></table><p></p><div class="separator" style="clear: both; text-align: center;"></div></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivdBSzBJDUpaxWW8CTjl3O88vgQSKh0F0HzVhkBNpzeCyw_mfWIQzv7-hFfppQmQEyBRVyGtoy2Bt-PSo_txHarTB-d2XRbwKqilqQMPq98NXp2z0ixYLJkotiBEFFKWG_FLVjbWH2GeYAAiNsRxaGCU5dqtigjoMkGL0t54mhhNM2K81uTUaMI3bF2Q/s1000/rosone_San_Giovanni_in_zoccoli.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="907" data-original-width="1000" height="363" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivdBSzBJDUpaxWW8CTjl3O88vgQSKh0F0HzVhkBNpzeCyw_mfWIQzv7-hFfppQmQEyBRVyGtoy2Bt-PSo_txHarTB-d2XRbwKqilqQMPq98NXp2z0ixYLJkotiBEFFKWG_FLVjbWH2GeYAAiNsRxaGCU5dqtigjoMkGL0t54mhhNM2K81uTUaMI3bF2Q/w400-h363/rosone_San_Giovanni_in_zoccoli.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Rosone della chiesa di San Giovanni Evangelista "in zoccoli", a Viterbo</i><br /></td></tr></tbody></table></div><div style="text-align: center;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAQiyZOYvofTE8wZncjMPe5K-Wo7sBE9ZICkwFGYM0mjdKHJOQ-m75PzVKtItIv2dEpU3z509XhETaa5u3SCaM6Bo8D6fKovOnPO37umre95DpEu9jtZZccaVvcjWMYPjs0F0q5Dl8l-GP7qPBecHvhoMWz5tpXW5BuN55N2JQ9WvNySABUdMrZ8266w/s1353/Rosone%20Larino%20tetramorfo.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="675" data-original-width="1353" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAQiyZOYvofTE8wZncjMPe5K-Wo7sBE9ZICkwFGYM0mjdKHJOQ-m75PzVKtItIv2dEpU3z509XhETaa5u3SCaM6Bo8D6fKovOnPO37umre95DpEu9jtZZccaVvcjWMYPjs0F0q5Dl8l-GP7qPBecHvhoMWz5tpXW5BuN55N2JQ9WvNySABUdMrZ8266w/w400-h200/Rosone%20Larino%20tetramorfo.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Tetramorfo della cattedrale di Larino (CB), esempio slegato dallo schema classico/scritturistico dei quattro punti cardinali</i><br /></td></tr></tbody></table><br /><div><div style="text-align: center;"></div><div><span style="font-size: large;"><span style="font-family: inherit;"><span><span><span class="hgkelc"><span>Pertanto,
tutto si può dire delle immagini ritratte in questa cornice tranne che siano
parte di uno zodiaco. Sembrerebbe invece che come nella vicina lunetta del
portale dell’Ospedale di San Sebastiano, si sia voluto riprodurre un’allegoria degli
opposti: la lotta del bene contro il male, l’alto contro il basso, la luce
contro le tenebre. Da questo ultimo punto di vista, è importante anche sottolineare
come la chiesa di San Francesco sia una chiesa orientata, ovvero con la
facciata principale disposta verso est ed il sole nascente, simbolo del Cristo
Salvatore del Mondo, la cui resurrezione vince la morte. La luce di Cristo/sole
passava quindi dal rosone della facciata ed illuminava la navata centrale
durante la liturgia del mattino. L’inclinazione dei raggi era tale da arrivare
con una incidenza che colpiva in particolar modo la <i>pars hostilis</i>, il
mondo collocato <i>ad infera</i>, rinforzando e rinvigorendo la <i>pars
familiaris</i>, il mondo del bene.</span></span></span></span></span></span><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;"><span><span><span class="hgkelc"><span></span></span></span></span></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgycfNUs71_C9QktgmOsmkcyyRjH2AmGKPV200XNMQcKW1yWpqQb-J6bgYeONyTIk4kYtlu4ax-ffpHknil3R-nJuds4Y7FbhaC5a7BurH_fRN8Vbyk5-wJtHHuf_l1-2BP_zFqzFsvLRiTEyDlP9F_0_fiqs7jnPauN-9d8BBxCGqQvjtFO3WF2GHuBQ/s2389/Chiesa%20orientata.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1665" data-original-width="2389" height="279" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgycfNUs71_C9QktgmOsmkcyyRjH2AmGKPV200XNMQcKW1yWpqQb-J6bgYeONyTIk4kYtlu4ax-ffpHknil3R-nJuds4Y7FbhaC5a7BurH_fRN8Vbyk5-wJtHHuf_l1-2BP_zFqzFsvLRiTEyDlP9F_0_fiqs7jnPauN-9d8BBxCGqQvjtFO3WF2GHuBQ/w400-h279/Chiesa%20orientata.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>1 e 2 - Chiesa di San Francesco con facciata rivolta ad est; 3 - Basilica Vaticana con facciata rivolta a est; 4 - Basilica Lateranense con facciata rivolta a est</i><br /></td></tr></tbody></table><p></p><p style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;"><span><span>
</span></span></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: left;"><span style="font-size: large;"><span style="font-family: inherit;"><span><span><span class="hgkelc"><span>Non
per niente, ad alcune ore del mattino, quando la luce del sole proviene da sud-est
o da sud, le figurazioni dei quadranti superiori sembrano acquistare
particolare rilievo si da prevalere su quelle poste nei due quadranti inferiori,
quasi a richiamare alla mente degli uomini del tempo, abituati a decodificare i
segni del sacro, che <i>portae inferi non praevalebunt</i> (le porte dell’inferno
non prevarranno).</span></span></span></span></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: left;"></p><p style="text-align: left;"><span style="font-size: large;"><span style="font-family: inherit;"><span><span>
</span></span></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: justify;"><span style="font-size: large;"><span style="font-family: inherit;"><span><span><b><span>6. Bestie fantastiche nella lunetta del
portale dell’Ospedale di San Sebastiano</span></b></span></span></span></span></p><p style="text-align: left;"><span style="font-size: large;"><span style="font-family: inherit;"><span><span>
</span></span></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: left;"><span style="font-size: large;"><span style="font-family: inherit;"><span><span><span class="hgkelc"><span>Dal
rosone è facile spostarsi di qualche passo per voltarsi ad ammirare la ricca
composizione della lunetta del portale dell’Ospedale di San Sebastiano (in
realtà dovremmo dire ex ospedale, ma i capranichesi continuano abitudinariamente
a chiamarlo ancora Ospedale, benché oggi sia diventato un hotel). Come già
ricordato nella prima parte di questo articolo, abbiamo parlato della lunetta in
altra sede sempre su questo blog, a cui rimandiamo per eventuali
approfondimenti<a href="#_ftn7" name="_ftnref7" title=""><sup><span><span class="hgkelc"><sup><span style="line-height: 115%;">[7]</span></sup></span></span></sup></a>.</span></span></span></span></span></span></p><p style="text-align: left;"><span style="font-size: large;"><span style="font-family: inherit;"><span><span>
</span></span></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: left;"><span style="font-size: large;"><span style="font-family: inherit;"><span><span><span class="hgkelc"><span>Nella parte che segue, invece, ci occuperemo delle bestie fantastiche che compaiono nella
complessa allegoria, tralasciando i leoni, di cui ci siamo già occupati nella
prima parte dell’articolo.</span></span></span></span></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: center;"><span style="font-size: medium;"><span style="font-family: inherit;"><span><span><span class="hgkelc"><span></span></span></span></span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><span style="font-family: inherit;"><span><span><span class="hgkelc"><span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh99uhgU41Avm10qP5WwsLDMB_ctvilJx1wmeWBCYrchGGrF_8XQU48BUKK0QvYjwUmjDbOZvKSRonRN5J-gE_-NudhL-aZr04NcR-SQ7F-OkHWmsEWhx6tkz7dvM2hD12KJDXrWqE7OXLsCgB6tyCkhwyMkkoH6hBKT-I6zVR3tNcZ_UNVkvkSac3Agw/s3000/Image00070.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2000" data-original-width="3000" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh99uhgU41Avm10qP5WwsLDMB_ctvilJx1wmeWBCYrchGGrF_8XQU48BUKK0QvYjwUmjDbOZvKSRonRN5J-gE_-NudhL-aZr04NcR-SQ7F-OkHWmsEWhx6tkz7dvM2hD12KJDXrWqE7OXLsCgB6tyCkhwyMkkoH6hBKT-I6zVR3tNcZ_UNVkvkSac3Agw/w400-h266/Image00070.jpg" width="400" /></a></span></span></span></span></span></span></div><p></p><p style="text-align: left;"></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: left;"><span style="font-size: large;"><span style="font-family: inherit;"><span><span><span class="hgkelc"><span>Le
quattro lastre di marmo che formano la lunetta sono popolate da ben 22
figurazioni, di cui 21 zoomorfe e 1 antropomorfa, all’interno di una grandiosa
figurazione fitomorfa (la vite). Tralasciando la figura di una donna,
probabilmente allegoria della <i>Mater Ecclesiae</i>, assisa in trono, con le mani ben
salde sui forti rami della vite-Cristo (<i>io sono la vite, voi i tralci</i>;
Gv 15,1-8), a cui sembra voler appoggiarsi in un atto di totale affidamento, le altre ventuno figurazioni rappresentano per una parte il popolo di Dio, che si
nutre dei frutti della vite, e per l'altra parte il mondo delle forze avverse, ostili alla
Chiesa, che in ogni modo cercano di attentarne la vita e di impedirne la diffusione nel
mondo. Abbiamo già detto che i due leoni posti al di sopra della immaginaria
linea della terra sono immagini positive. Essi rappresentano Cristo e quindi
coloro che con il proprio ministero perpetuano la vite e la diffondono nel
mondo (figure contraddistinte con il numero 2). Sono in effetti dei mascheroni
da cui la pianta sembra rinascere con nuovo vigore. Tra i mascheroni (indicati con il numero 4), quello in basso a sinistra sembra avere le medesime fattezze di un leone (si veda il n. 2 a destra), dal che se ne dedurrebbe una valenza cristologica. Analogo discorso vale per il pesce-mascherone in basso a destra, dal quale nasce vigorosa la pianta della vite. Il monogramma di Cristo, ΙΧΘΥΣ («Ιησοὸς Χριστὸς Θεοῦ υἱὸς Σωτήρ», ovvero «Gesù Cristo, figlio di Dio, Salvatore») si traslitterò sin da subito nella chiesa paleocristiana nel latino Ichthỳs = pesce, accompagnandolo ad un pesce stilizzato.</span></span></span></span></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;"><span><span><span class="hgkelc"><span></span></span></span></span></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://it.wikipedia.org/wiki/Ichthys#/media/File:Stele_Licinia_Amias_Terme_67646.jpg" style="margin-left: auto; margin-right: auto;" target="_blank"><img border="0" data-original-height="1825" data-original-width="2100" height="348" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNRgoixPVMq_Id_h-5_KWW-u53CdHQe8URkkX9LbhXzTLWgLmQRM-5lKxF_9tvsV9clicQOUd08pftK3IQ2ueILoINlR4uApuWgyZqePw1_aEHNFSNwAQmyMVDvehKO-EBF6ZD2ZaejY-G0RXvVFUo9BuKV2gMo5WiwHMMy9wRqNqhTH9h1MKi0E9WPg/w400-h348/Stele_Licinia_Amias_Terme_67646.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Stele funeraria con l'iscrizione in lingua greca ΙΧΘΥϹ ΖΩΝΤΩΝ (trasl. icthys zōntōn; lett.: "Gesù Cristo, Figlio di Dio, Salvatore dei viventi"). Inizi del III secolo, Museo Nazionale Romano, foto tratta da <u><a href="https://it.wikipedia.org/wiki/Ichthys" target="_blank">Wikipedia</a></u></i><br /></td></tr></tbody></table><span style="font-size: medium;"><span style="font-family: inherit;"><span><span><span class="hgkelc"><span> </span></span></span></span></span></span><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: left;"><span style="font-size: large;"><span style="font-family: inherit;"><span><span><span class="hgkelc"><span>Nella parte superiore, tra i racemi sinuosi ed
esili della rinvigorita pianta di vite pascolano i cervi, simbolo del
rinnovamento (le corna che si rigenerano e crescono), e perciò evocanti i
catecumeni che dopo essersi convertiti chiedono di essere ammessi ai
sacramenti. Il frutto della vite, l’uva, è il simbolo dell’eucaristia, e gli
uccelli passeriformi, indifesi e semplici, si nutrono degli acini offerti dalla
pianta, piluccando i grappoli e scambiandosi il cibo becco a becco. L’immagine
dei due passeri che si scambiano un acino d’uva ha in effetti proprio questo
significato, evocando tempi in cui i fedeli potevano accostarsi all’eucaristia
anche in privato, nell’intimità delle loro case. </span></span></span></span></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: center;"><span style="font-size: medium;"><span style="font-family: inherit;"><span><span><span class="hgkelc"><span></span></span></span></span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><span style="font-family: inherit;"><span><span><span class="hgkelc"><span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_5RR8Xg8Gly7CHirfvJwDfcztanw8h9qFnIjy5CF8s0KULOWtfmMmbsCb8ZtCH_cEfbAKtL2oMIld3JdvKXtSOgN2Jz_-6LZFxIrzDGw-hPCq2-N4gV7a80GLbj0N_HyMHmeCxjaZUMZBj7V-GI0SYbAx6bWLClXumF6qTizMkpomXvJeekhUlpQ5TQ/s3508/Lunetta%20con%20assi%20cartesiani.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2416" data-original-width="3508" height="440" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_5RR8Xg8Gly7CHirfvJwDfcztanw8h9qFnIjy5CF8s0KULOWtfmMmbsCb8ZtCH_cEfbAKtL2oMIld3JdvKXtSOgN2Jz_-6LZFxIrzDGw-hPCq2-N4gV7a80GLbj0N_HyMHmeCxjaZUMZBj7V-GI0SYbAx6bWLClXumF6qTizMkpomXvJeekhUlpQ5TQ/w640-h440/Lunetta%20con%20assi%20cartesiani.jpg" width="640" /></a></span></span></span></span></span></span></div><p></p><p style="text-align: left;"></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: left;"><span style="font-size: large;"><span style="font-family: inherit;"><span><span><span class="hgkelc"><span>Ma
la scena viene completata da un registro inferiore che si contrappone a quello
appena descritto in maniera radicale e drammatica. <i>Ad infera</i>, cercano di
arrestare il propagarsi della vite-Cristo alcune creature mostruose: due arpìe, due
uccelli dal collo lungo e becco rapace, due leoni con la criniera piatta e
arruffata, un mostro dalle fattezze antropomorfe e dal seno prominente, munito di
un possente becco d’aquila. Queste creature cercano di spezzare i rami della
vite con morsi e con artigli, trascurando i giovani tralci e dedicandosi alle
volute della pianta principale, la cui forza è tuttavia superiore a quella
degli aggressori grazie ad un tronco legnoso e spesso, irrobustito dal tempo
(si noti il maggiore diametro dei racemi della pianta nella parte raffigurata
nel registro inferiore della composizione).</span></span></span></span></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: center;"><span style="font-size: medium;"><span style="font-family: inherit;"><span><span><span class="hgkelc"><span></span></span></span></span></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTKLp4U-5WNu2jIXI-fZumDDD9n5U81tZ9vXUTYsaGUeWvYsbaKq3ouDdKoEf2_CQ5hBWJTfJerUtjaCX8Pd_ozB0o6JKXjV7Dt_x9qvfBvN-irJITQZK9BCW0q892DERQrrKFZgjMJ0oM4qIO6HtSB3I7lcCJ-0scKaoH0QXukMcu8UP3OX6V0-9ARw/s3000/Image00075.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2000" data-original-width="3000" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTKLp4U-5WNu2jIXI-fZumDDD9n5U81tZ9vXUTYsaGUeWvYsbaKq3ouDdKoEf2_CQ5hBWJTfJerUtjaCX8Pd_ozB0o6JKXjV7Dt_x9qvfBvN-irJITQZK9BCW0q892DERQrrKFZgjMJ0oM4qIO6HtSB3I7lcCJ-0scKaoH0QXukMcu8UP3OX6V0-9ARw/w400-h266/Image00075.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Due passeri (i cristiani) che si scambiano un acino d'uva (l'eucaristia)</i><br /></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;"><span><span><span class="hgkelc"></span></span></span></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0AerfW4cm_PwyopKWn-NXUm_ewrSmrB8m8mtoujrod5GNW7t8MW9LO0vU7rIVwZkA78DGgf6Y_Tdgz0ncmcpt7JaBcv7-X229i8Ra27C-CPMk6rtLRqpuigb0PxkMJNJuiCxmz_YLudcIonIwTGNNOZSr-whGRXa4bzmMoh-TFeqzMv19yqfPBPCmdQ/s3000/Image00074.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2000" data-original-width="3000" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0AerfW4cm_PwyopKWn-NXUm_ewrSmrB8m8mtoujrod5GNW7t8MW9LO0vU7rIVwZkA78DGgf6Y_Tdgz0ncmcpt7JaBcv7-X229i8Ra27C-CPMk6rtLRqpuigb0PxkMJNJuiCxmz_YLudcIonIwTGNNOZSr-whGRXa4bzmMoh-TFeqzMv19yqfPBPCmdQ/w400-h266/Image00074.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Un cervo (il catecumeno)</i><br /></td></tr></tbody></table><span style="font-size: medium;"><span style="font-family: inherit;"><span><span><span class="hgkelc"><br /><span style="font-size: large;">Interessanti
sono i riferimenti numerologici che l’ignoto scultore ha voluto lasciarci con
questa sua straordinaria opera. I passeri sono 7, simbolo della compiutezza.
Gli animali rappresentati nel registro superiore (del bene/della luce), sono
11, 4 in più di quelli visibili nella parte inferiore. Questi sono 7, ma tra
essi, due soltanto appartengono pienamente al mondo animale (i leoni), essendo
le altre creature mostruose. Il numero 11, relativo al registro superiore, assume infine il senso del nuovo inizio, la nuova serie numerica che comincia dopo la fine della serie precedente (10 + 1). Un nuovo inizio che richiama il <i>già ma non ancora</i>, il tempo di grazia che è dato di vivere al cristiano, avendo questi ricevuto l'annuncio della salvezza ma non vivendo ancora nel tempo del suo pieno compimento.</span></span></span></span></span></span><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: left;"><span style="font-size: large;"><span style="font-family: inherit;"><span><span><span class="hgkelc"><span><i>Segue terza parte</i></span></span></span></span></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: center;"><span style="font-size: medium;"><span style="font-family: inherit;"><span><span><span class="hgkelc"><span><i></i></span></span></span></span></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOXXpgVfnG_BIsaKo4bqCdFjdte_Hdho3_57DxBUmuoOyJkt7efIT8OMFFwTmLxy6Bgwf2xgMOvEvl7O71aNJuDlfMt0TC6_HkfgNWidYz000Jo3_ZInQ5AhB2CHoht3VfDgHLE5P2GNJO9iH_FmGTL45ulik9FTqVCzENjSQoQPkx1AcJEm6mRaL01g/s3000/Image00078.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2000" data-original-width="3000" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOXXpgVfnG_BIsaKo4bqCdFjdte_Hdho3_57DxBUmuoOyJkt7efIT8OMFFwTmLxy6Bgwf2xgMOvEvl7O71aNJuDlfMt0TC6_HkfgNWidYz000Jo3_ZInQ5AhB2CHoht3VfDgHLE5P2GNJO9iH_FmGTL45ulik9FTqVCzENjSQoQPkx1AcJEm6mRaL01g/w400-h266/Image00078.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Un'arpìa</i></td></tr></tbody></table><span style="font-size: medium;"><span style="font-family: inherit;"><span><span><span class="hgkelc"><span><br /></span></span></span></span></span></span><p></p>
<div style="mso-element: footnote-list;">
<hr align="left" size="1" width="33%" />
<div id="ftn1" style="mso-element: footnote;">
<p class="MsoFootnoteText"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif;"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 10pt; layout-grid-mode: line; line-height: 115%; mso-ansi-language: IT; mso-bidi-language: AR-SA; mso-fareast-font-family: "Yu Mincho Light"; mso-fareast-language: IT;"><span style="font-size: medium;"><span style="font-family: inherit;"><b>NOTE AL TESTO </b></span></span><br /></span></span></span></span></span></p><p class="MsoFootnoteText"><a href="#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif;"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 10pt; layout-grid-mode: line; line-height: 115%; mso-ansi-language: IT; mso-bidi-language: AR-SA; mso-fareast-font-family: "Yu Mincho Light"; mso-fareast-language: IT;">[1]</span></span></span></span></span></a><span style="font-family: "Times New Roman",serif;"> <a href="https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/1200251873">https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/1200251873</a></span></p>
</div>
<div id="ftn2" style="mso-element: footnote;">
<p class="MsoFootnoteText"><a href="#_ftnref2" name="_ftn2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif;"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 10pt; layout-grid-mode: line; line-height: 115%; mso-ansi-language: IT; mso-bidi-language: AR-SA; mso-fareast-font-family: "Yu Mincho Light"; mso-fareast-language: IT;">[2]</span></span></span></span></span></a><span style="font-family: "Times New Roman",serif;"> Vedi articolo su questo blog: CECCARINI,
Fabio, «Palazzo Accoramboni: un’antica dimora nel borgo rinascimentale»,
Capranica Storica, 21/09/2019 - URL: <a href="https://www.capranicastorica.it/2019/09/palazzo-accoramboni-unantica-dimora-nel.html">https://www.capranicastorica.it/2019/09/palazzo-accoramboni-unantica-dimora-nel.html</a>
</span></p>
</div>
<div id="ftn3" style="mso-element: footnote;">
<p class="MsoFootnoteText"><a href="#_ftnref3" name="_ftn3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif;"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 10pt; layout-grid-mode: line; line-height: 115%; mso-ansi-language: IT; mso-bidi-language: AR-SA; mso-fareast-font-family: "Yu Mincho Light"; mso-fareast-language: IT;">[3]</span></span></span></span></span></a><span style="font-family: "Times New Roman",serif;"> PARLATO E. – ROMANO S.,<i> Roma e il
Lazio</i>, <i>Italia Romanica</i>, </span><span style="font-family: "Times New Roman",serif;"><span style="font-family: "Times New Roman",serif;">vol. 13, </span>Jaca Book, Milano 1992, p. 390</span></p>
</div>
<div id="ftn4" style="mso-element: footnote;">
<p class="MsoFootnoteText" style="text-align: justify;"><a href="#_ftnref4" name="_ftn4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif;"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 10pt; layout-grid-mode: line; line-height: 115%; mso-ansi-language: IT; mso-bidi-language: AR-SA; mso-fareast-font-family: "Yu Mincho Light"; mso-fareast-language: IT;">[4]</span></span></span></span></span></a><span style="font-family: "Times New Roman",serif;"> Cfr.<span style="font-variant: small-caps;"> RAVASI G.</span>, <i style="mso-bidi-font-style: normal;">I salmi¸ </i>Milano
1992, p. 28</span></p>
</div>
<div id="ftn5" style="mso-element: footnote;">
<p class="MsoFootnoteText" style="text-align: justify;"><a href="#_ftnref5" name="_ftn5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif;"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 10pt; layout-grid-mode: line; line-height: 115%; mso-ansi-language: IT; mso-bidi-language: AR-SA; mso-fareast-font-family: "Yu Mincho Light"; mso-fareast-language: IT;">[5]</span></span></span></span></span></a><span style="font-family: "Times New Roman",serif;"> Cfr. AA.VV., «<span style="mso-bidi-font-style: italic;">Zoomorfiche
e fitomorfiche figurazioni</span>», Enciclopedia Universale dell'Arte, XIII, col. 942</span></p>
</div>
<div id="ftn6" style="mso-element: footnote;">
<p class="MsoFootnoteText" style="text-align: justify;"><a href="#_ftnref6" name="_ftn6" style="mso-footnote-id: ftn6;" title=""><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif;"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 10pt; layout-grid-mode: line; line-height: 115%; mso-ansi-language: IT; mso-bidi-language: AR-SA; mso-fareast-font-family: "Yu Mincho Light"; mso-fareast-language: IT;">[6]</span></span></span></span></span></a><span style="font-family: "Times New Roman",serif;"> Sull’argomento, <span style="font-variant: small-caps;">BALTRUŠAITIS J.<i style="mso-bidi-font-style: normal;">, </i></span><i style="mso-bidi-font-style: normal;">Il Medioevo
fantastico. Antichità ed esotismi nell’arte gotica</i>, Milano 2000, <i style="mso-bidi-font-style: normal;">passim</i></span></p>
</div>
<div id="ftn7" style="mso-element: footnote;">
<p class="MsoFootnoteText"><a href="#_ftnref7" name="_ftn7" style="mso-footnote-id: ftn7;" title=""><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif;"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 10pt; layout-grid-mode: line; line-height: 115%; mso-ansi-language: IT; mso-bidi-language: AR-SA; mso-fareast-font-family: "Yu Mincho Light"; mso-fareast-language: IT;">[7]</span></span></span></span></span></a><span style="font-family: "Times New Roman",serif;"> CECCARINI, Fabio, «<i>Di api, di leoni, di capre e di creature fantastiche. Bestiari urbani capranichesi e dove trovarli. 1^ parte</i>»,
Capranica Storica, 19/05/2022 - URL: <a href="https://www.capranicastorica.it/2022/05/di-api-di-leoni-di-capre-e-di-creature.html">https://www.capranicastorica.it/2022/05/di-api-di-leoni-di-capre-e-di-creature.html</a></span></p>
</div>
</div>
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</p><p class="has-text-align-center" style="text-align: center;"><b>Citare questo documento / Citer ce document / Cite this document</b></p>
<p class="has-text-align-center" style="text-align: center;">CECCARINI, Fabio, «<i><span style="font-family: "Times New Roman",serif;">Di api, di leoni, di capre e di creature fantastiche. Bestiari urbani capranichesi e dove trovarli. 2^ parte</span></i>», Capranica Storica, 02/06/2022 - URL: <a href="https://www.capranicastorica.it/2022/06/di-api-di-leoni-di-capre-e-di-creature.html">https://www.capranicastorica.it/2022/06/di-api-di-leoni-di-capre-e-di-creature.html</a></p><p></p>
<p style="text-align: center;"><a href="http://creativecommons.org/licenses/by-nc-sa/4.0/" rel="license"><img alt="Licenza Creative Commons" src="https://i.creativecommons.org/l/by-nc-sa/4.0/88x31.png" style="border-width: 0px; display: block; margin-left: auto; margin-right: auto;" /></a>Questo articolo di <a href="https://www.capranicastorica.it/2022/06/di-api-di-leoni-di-capre-e-di-creature.html" rel="cc:attributionURL">Fabio Ceccarini</a> è distribuito con Licenza <a href="http://creativecommons.org/licenses/by-nc-sa/4.0/" rel="license">Creative Commons Attribuzione - Non commerciale - Condividi allo stesso modo 4.0 Internazionale</a>.</p></div></div>Unknownnoreply@blogger.com001012 Capranica VT, Italia42.2595445 12.174631113.949310663821151 -22.9816189 70.569778336178842 47.3308811tag:blogger.com,1999:blog-4201727664195975785.post-52481572276062286262022-05-19T10:00:00.007+02:002022-06-30T17:56:38.498+02:00Di api, di leoni, di capre e di creature fantastiche. Bestiari urbani capranichesi e dove trovarli. 1^ parte
<p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: justify;"><span style="font-size: medium;"><span style="font-family: inherit;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYkbwIuEJq5zOB3k67VuFFf35C21Gyh0QnHV-397LOuFlmM4PQ4wi80K_Kz9Y03pLQ4EmLwbHuiL9y_LkylmXA7FvCjY44air1_-TxBJ3sotTdwgF9z2Zt0FHIn-CN-bbXy-0jSljl2FrGN5OejDL2Nz_YbZYfCrhAJbUqJ61hRlU9vBnJIbOdBTxRCg/s3000/Image00100.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2000" data-original-width="3000" height="277" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYkbwIuEJq5zOB3k67VuFFf35C21Gyh0QnHV-397LOuFlmM4PQ4wi80K_Kz9Y03pLQ4EmLwbHuiL9y_LkylmXA7FvCjY44air1_-TxBJ3sotTdwgF9z2Zt0FHIn-CN-bbXy-0jSljl2FrGN5OejDL2Nz_YbZYfCrhAJbUqJ61hRlU9vBnJIbOdBTxRCg/w416-h277/Image00100.jpg" width="416" /></a></span></div><p><span style="font-size: medium;"></span></p><p><span style="font-size: medium;">di <i>Fabio Ceccarini</i></span></p><p><span style="font-size: medium;"></span></p><p><span style="font-size: medium;"></span></p><p><span style="font-size: medium;"></span></p><p><span style="font-size: large;"><span style="color: #3d85c6;"><b>Andare per le vie e le piazze di Capranica con un occhio diverso e curioso, alla ricerca delle numerose creature e bestie fantastiche raffigurate nell'arte, negli stemmi, nei dipinti, ed accorgersi che la compagnia degli animali ha sempre costituito, per l'uomo, un modo per sentirsi pienamente al centro del creato - Prima parte</b></span><br /></span></p><p><span style="font-size: medium;"><span style="font-size: large;">(<a href="https://www.capranicastorica.it/2022/06/di-api-di-leoni-di-capre-e-di-creature.html" target="_blank">vai alla seconda parte</a> - <a href="https://www.capranicastorica.it/2022/06/di-api-di-leoni-di-capre-e-di-creature_01840757458.html" target="_blank">vai alla terza parte</a>) </span><br /></span></p><p><span style="font-size: medium;"><span></span></span></p><a name='more'></a><p></p><p><span style="font-size: large;">«<span>Noi moderni, abituati a
servirci delle comodità, a solcare i cieli e gli oceani, a mirare i prodigi
della tecnica, siamo indubbiamente dei superficiali nell’ambito degli interessi
spirituali. Noi sorridiamo degli animali. Quando non facciamo loro offesa
riteniamo che il nostro dovere sia concluso</span>»<a href="#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[1]</span></span></span></span></a>. La nostra disabitudine a
stare a contatto con gli animali rispetto ai secoli passati, ci impedisce
dunque di decodificare nella giusta maniera il loro significato simbolico
nell’arte. Per una serie di motivazioni, non ultime quelle igienico-sanitarie, la
simbiosi tra l’uomo e gli animali - almeno per alcuni di loro - è infatti venuta a mancare soprattutto dalla
metà del Novecento. E se cani e gatti sono sicuramente gli animali che oggi vivono una sorta di rapporto privilegiato con i loro padroni umani, i tempi delle galline che razzolavano per casa, dei somari
che lasciavano bisogni per la pubblica via, dei maiali che grufolavano nei
trogoli adiacenti alle abitazioni, appartengono ormai ad un modo contadino che
abbiamo giudicato per molti versi arcaico e che da tempo non esiste più. </span></p><p><span style="font-size: large;">Ma la
concezione zoocentrica della vita veniva invece manifestata dai nostri
predecessori nella quotidianità e nei campi più disparati: dai<span> segni dello zodiaco, alle mitofanie dei
greci e dei latini; dalle figurazioni animali di cui sono pieni i mosaici orientali,
di Aquileia e di Ravenna, fino alle decorazioni ricolme di mostri e animali
fantastici delle cattedrali romaniche.</span></span></p><p></p><span style="font-size: large;"><span style="font-family: inherit;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: left;"><span style="font-size: large;"><span style="font-family: inherit;">Ed è soprattutto proprio grazie all’arte romanica che si assiste ad uno
sviluppo di figurazioni zoomorfiche nell’arte cristiana, alla cui base sta una
visione cosmologica religiosa che vede l’uomo totalmente immerso nel creato
assieme ad una concezione piramidale dell’ordine universale al cui vertice è
Dio e alla cui base sono gli animali<a href="#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[2]</span></span></span></span></a>. L’uomo, come ricorda il
Salmo 8, è al centro di questa piramide, poiché Egli lo ha fatto “<i>poco meno degli angeli</i>” e tutto ha “<i>posto sotto i suoi piedi; tutti i greggi e
gli armenti, tutte le bestie della campagna; gli uccelli del cielo e i pesci
del mare, che percorrono le vie del mare</i>”<a href="#_ftn3" name="_ftnref3" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[3]</span></span></span></span></a>. </span></span></p><div style="text-align: left;"><span style="font-size: large;"><span style="font-family: inherit;">
</span></span></div><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: left;"><span style="font-size: large;"><span style="font-family: inherit;">Tuttavia, per imbattersi in immagini riproducenti animali non bisogna
scomodare le grandi opere d’arte romaniche, di cui pure è colma la nostra
Tuscia e che possiamo ammirare nelle basiliche medievali e nelle ville
rinascimentali. Se si volesse azzardare anche a Capranica un percorso curioso
ed insolito incentrato sugli animali utilizzati nell’arte, potremmo di certo avere
di che rimanere soddisfatti ed appagati. All’interno del tessuto urbano,
infatti, numerose sono le testimonianze e gli esempi di figurazioni zoomorfiche
alle quali, ormai distratti dall’uso della tecnologia e disabituati dalla cultura
in cui siamo immersi, non facciamo più caso.</span></span></p><div style="text-align: left;"><span style="font-size: large;"><span style="font-family: inherit;">
</span></span></div><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: left;"><span style="font-size: large;"><span style="font-family: inherit;">Lo scopo di queste righe è dunque quello di far riscoprire la
meraviglia e lo stupore che può derivare non solo dall’individuare gli animali
che popolano il bosco multiforme dell’arte capranichese, ma anche dal penetrare
il significato simbolico che viene loro affidato da committenti ed esecutori.
Come in un bestiario medievale, quindi, passeremo in rassegna le varie raffigurazioni
di mammiferi, uccelli, rettili, insetti ed altre bestie e creature fantastiche,
che arricchiscono il nostro piccolo/grande mondo sensibile quotidiano, cercando
di risvegliare la curiosità del lettore e di fornirgli qualche chiave
interpretativa.</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: center;"><span style="font-size: medium;"><span style="font-family: inherit;"></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEip36DLouqTxuOSoqphPMRKuAwhCXdzLgjznTW59JuRvvIHCTyX9fKI2FrADxEdoqQpLvbMW4OBmdg1bAJBFVsdSUSF63FySFVgCpHY8uFmrPeCS6fpb7BpjsAyRjxSmWDHivfGNy84KTZtwXfC8GUdIVbEMfYK4uIJt6qQngVFWicvcgtepyS9WHZ_GQ/s653/Stemma%20Barberini%20(Franco%20Iubei).jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="653" data-original-width="490" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEip36DLouqTxuOSoqphPMRKuAwhCXdzLgjznTW59JuRvvIHCTyX9fKI2FrADxEdoqQpLvbMW4OBmdg1bAJBFVsdSUSF63FySFVgCpHY8uFmrPeCS6fpb7BpjsAyRjxSmWDHivfGNy84KTZtwXfC8GUdIVbEMfYK4uIJt6qQngVFWicvcgtepyS9WHZ_GQ/w300-h400/Stemma%20Barberini%20(Franco%20Iubei).jpg" width="300" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Stemma del Card. Antonio Barberini il seniore, governatore di Capranica e fratello di papa Urbano VIII. Notare le tre api dorate, simbolo della famiglia. Capranica, palazzo Accoramboni, sala consiliare del Comune di Capranica, Franco Iubei 1984.</i><br /></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: justify;"><span style="font-size: large;"><span style="font-family: inherit;"><b><span>1.</span></b><b> Le api</b></span></span></p><span style="font-size: large;"><span style="font-family: inherit;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: left;"><span style="font-size: large;"><span style="font-family: inherit;">Quando il Cardinale Antonio Barberini arriva a Capranica, nella sua
qualità di Governatore ecclesiastico di questa Terra, il Borgo <i>extra muros</i> che sorge ad ovest di ciò
che resta del poderoso castello Anguillara non è ancora come lo vediamo oggi. Per
fare ingresso a Capranica si deve percorrere l’antica via Cassia sul fondo
della stretta valle scavata dal torrente Rotoli, fino all’odierna località
dell’Acquaforte. Da qui, con alcuni sinuosi e stretti tornanti, ci si deve
arrampicare sul colle tufaceo dove sorge l’abitato, fino a portarsi davanti
alla porta Sant’Antonio. Che però non si trova ancora dove la vediamo oggi, ma
in adiacenza alla bella abside della Chiesa di San Francesco, oggi invisibile
agli occhi, occultata com’è da un fabbricato costruito in aderenza.</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: center;"><span style="font-size: medium;"><span style="font-family: inherit;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgukziXaz24QasUIbLyVrfIiAJDPuhHwLG78qXpo5UJoTXrH-wko8gXTtpIF8NFspit28hB3gzrDi3VHhRvp1z_zvxOyBFAfT4jD8mg2HJZgsjakEQOhV4QZ4ju36OF3ccMMPZGTcoKlVJAahYC07grRgTPg2Ti33sY9ves8IIGZwdbvlRNQutfdIeqrg/s386/1624_ANTONIUS_BARBERINUS_sr._-_BARBERINI_ANTONIO_sr..jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="386" data-original-width="250" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgukziXaz24QasUIbLyVrfIiAJDPuhHwLG78qXpo5UJoTXrH-wko8gXTtpIF8NFspit28hB3gzrDi3VHhRvp1z_zvxOyBFAfT4jD8mg2HJZgsjakEQOhV4QZ4ju36OF3ccMMPZGTcoKlVJAahYC07grRgTPg2Ti33sY9ves8IIGZwdbvlRNQutfdIeqrg/w259-h400/1624_ANTONIUS_BARBERINUS_sr._-_BARBERINI_ANTONIO_sr..jpg" width="259" /></a></span></div><span style="font-size: medium;"><span style="font-family: inherit;"> </span></span><span style="font-size: medium;"><span style="font-family: inherit;"></span></span><p></p><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: left;"><span style="font-size: large;"><span style="font-family: inherit;">Antonio Marcello Barberini, dell’ordine dei frati minori, è creato
cardinale nel 1624 dal fratello Maffeo, salito al soglio pontificio col nome di
Urbano VIII. Quando il fratello papa lo nomina Governatore della terra di
Capranica corre l’anno 1633<a href="#_ftn4" name="_ftnref4" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[4]</span></span></span></span></a>. Nonostante sia un uomo profondamente
mite e concretamente religioso (sulla sua lapide sepolcrale farà scrivere: qui
giace polvere, cenere e nulla<a href="#_ftn5" name="_ftnref5" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[5]</span></span></span></span></a>), Antonio Barberini <i>seniore</i>,
per distinguerlo dal nipote Antonio <i>juniore</i>, anch’egli cardinale, è pure
un uomo intraprendente che capisce l’importanza di dare al borgo una degna
sistemazione urbanistica. E comincia proprio dall’accesso all’abitato, che fa
ricavare dai suoi architetti tramite una lunga rampa parallela all’andamento
del colle tufaceo, e che termina con uno stretto tornante in corrispondenza della
porta del castello: la via Romana. A testimonianza dell’opera, il Cardinale fa
apporre sopra la porta di Sant’Antonio una lapide commemorativa che così
recita:</span></span></p><span style="font-size: large;"><span style="font-family: inherit;">
</span></span><p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: center; text-indent: 35.4pt;"><span style="font-size: large;"><i><span><span style="font-family: inherit;">Urbano VIII Pont. Max.</span></span></i></span></p><span style="font-size: large;"><i><span><span style="font-family: inherit;">
</span></span></i></span><p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: center; text-indent: 35.4pt;"><span style="font-size: large;"><i><span><span style="font-family: inherit;">Capranica</span></span></i></span></p><span style="font-size: large;"><i><span><span style="font-family: inherit;">
</span></span></i></span><p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: center; text-indent: 35.4pt;"><span style="font-size: large;"><i><span><span style="font-family: inherit;">Viae Cassiae sibi restitutae</span></span></i></span></p><span style="font-size: large;"><i><span><span style="font-family: inherit;">
</span></span></i></span><p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: center; text-indent: 35.4pt;"><span style="font-size: large;"><i><span><span style="font-family: inherit;">Publico aucta cursu</span></span></i></span></p><span style="font-size: large;"><i><span><span style="font-family: inherit;">
</span></span></i></span><p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: center; text-indent: 35.4pt;"><span style="font-size: large;"><i><span><span style="font-family: inherit;">Benefactori</span></span></i></span></p><span style="font-size: large;"><i><span><span style="font-family: inherit;">
</span></span></i></span><p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: center; text-indent: 35.4pt;"><span style="font-size: large;"><span style="font-family: inherit;"><i>An. Sal. MDCXLI</i><a href="#_ftn6" name="_ftnref6" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[6]</span></span></span></span></a></span></span></p><p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: center; text-indent: 35.4pt;"><span style="font-size: medium;"><span style="font-family: inherit;"><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;"></span></span></span></span></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3ght7Q8QmLu0pzRBbqcNqCjRAZ2S12UK3mOPwHt1dgWhb-qG1RhavgkE2UlLAZKCwyNBrBOyzxoe6K9ZmvCNiK5PD1pNLVje1FF37D0-Y-DbXCM5Ly-iA8rWI8Ib_YZwsxuQ_42S8qnnWksIGGjyy696WcJCCRVSLGzhh2af0B_UnxN-qzDrE589MXA/s1504/Image00001.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1000" data-original-width="1504" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3ght7Q8QmLu0pzRBbqcNqCjRAZ2S12UK3mOPwHt1dgWhb-qG1RhavgkE2UlLAZKCwyNBrBOyzxoe6K9ZmvCNiK5PD1pNLVje1FF37D0-Y-DbXCM5Ly-iA8rWI8Ib_YZwsxuQ_42S8qnnWksIGGjyy696WcJCCRVSLGzhh2af0B_UnxN-qzDrE589MXA/w400-h266/Image00001.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Porta Sant'Antonio. Lapide commemorativa dei lavori di realizzazione della via Romana, 1641</i><br /></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: left;"><span style="font-size: large;"><span style="font-family: inherit;">Alla testata della nuova via Romana, viene altresì fatta realizzare una
colonna di basaltina, terminante con una sfera dove sono ben visibili le api
del casato Barberini. Queste sono le medesime che si possono osservare sullo
stemma di Papa Urbano VIII, collocato proprio sopra al fornice della porta dell’Orologio,
e che richiamano l’arme della famiglia. L’ape è un richiamo all’umiltà, simbolo
eloquente di attività operosa e di lavoro, ma anche di sacrificio e abnegazione
per la società. L’ape rappresenta quindi la vita, che misteriosamente suscita
grazie alla sua instancabile laboriosità, favorendo l’impollinazione delle
piante e dei fiori. Fin dall’antichità l’uomo la rispetta, la conserva e la alleva
per la produzione del miele, il sacro nettare ritenuto tale da tutte le
culture, ma anche della cera, un materiale che brucia ma non fuma, e che tanta
importanza riveste nei riti cristiani. </span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: justify;"><span style="font-size: medium;"><span style="font-family: inherit;"></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBjhSy-wZjJEZAQfRYTaBXd9E8HtYp9JPQ52h5wQNDyx7MndkNYWBgjLNkPd8Ktz0jERsPZ2wCTBWGTVmDQ9evZaaA1gAo_Z4iYPhLfHWYXUcIQy7q8b7zYVx_o4w0NTZxqU3ku3aaq8oxH3Ky97rGFQPDGctH1JqZwEVkOISlqCnY1u5jY0oyhYHOOA/s3000/Image00008.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3000" data-original-width="2000" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBjhSy-wZjJEZAQfRYTaBXd9E8HtYp9JPQ52h5wQNDyx7MndkNYWBgjLNkPd8Ktz0jERsPZ2wCTBWGTVmDQ9evZaaA1gAo_Z4iYPhLfHWYXUcIQy7q8b7zYVx_o4w0NTZxqU3ku3aaq8oxH3Ky97rGFQPDGctH1JqZwEVkOISlqCnY1u5jY0oyhYHOOA/w266-h400/Image00008.jpg" width="266" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Colonna Barberini, alla testata del Ponte Hosio (ponte dell'Orologio)</i><br /></td></tr></tbody></table><span style="font-size: medium;"><span style="font-family: inherit;"><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUA2j2x_Y6d4mA2egnf8FrZ_YrCuECg3XlfqCh3HrbIgS_wPmYK3_N2x_WPA0oqeLr8K4ZTH1VxdmRwyWJFBRd6sYlGoxadNecHhA-xCyjrruZmje4g8ogYo4rdgAnu0lAaKJ2LmejvggTGQqYp_41QkdjMcay3cr57TQUGQuNVwVrrkE1hMh1aJ5EVA/s2175/Image00010bis.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2000" data-original-width="2175" height="368" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUA2j2x_Y6d4mA2egnf8FrZ_YrCuECg3XlfqCh3HrbIgS_wPmYK3_N2x_WPA0oqeLr8K4ZTH1VxdmRwyWJFBRd6sYlGoxadNecHhA-xCyjrruZmje4g8ogYo4rdgAnu0lAaKJ2LmejvggTGQqYp_41QkdjMcay3cr57TQUGQuNVwVrrkE1hMh1aJ5EVA/w400-h368/Image00010bis.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Colonna Barberini</i><br /></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdL5531qxdvC-snW9UuolKhqF-l5Knc5L9JitQ_CgIsr_BBzZzlWnsnZVQkpEvH2Meg5Q4XEfk-7Pc9HgUr8sMVjie8lqIeAtS6qbZJFaX6znIdYglVo2QeKbVFjrSMl0QQ9GfUh2ASTcXVGl5DH0THfGk2Nk-eYYUI173XGbgaARuLvVK7WCF2dpqEw/s3000/Image00086.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2000" data-original-width="3000" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdL5531qxdvC-snW9UuolKhqF-l5Knc5L9JitQ_CgIsr_BBzZzlWnsnZVQkpEvH2Meg5Q4XEfk-7Pc9HgUr8sMVjie8lqIeAtS6qbZJFaX6znIdYglVo2QeKbVFjrSMl0QQ9GfUh2ASTcXVGl5DH0THfGk2Nk-eYYUI173XGbgaARuLvVK7WCF2dpqEw/w400-h266/Image00086.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Colonna Barberini, particolare delle api</i><br /></td></tr></tbody></table><br /><span style="font-size: large;">Nella Notte Santa di Pasqua, quando il Cero
Pasquale, simbolo di Cristo Risorto, viene introdotto nella liturgia durante il
canto dell’<i>Exsultet</i>, viene richiamata proprio la cera che “l’ape madre”
ha prodotto per fabbricare “questa preziosa lampada”<a href="#_ftn7" name="_ftnref7" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[7]</span></span></span></span></a>. L’insetto è citato anche
da Dante nella Divina Commedia, che la usa come paragone degli angeli (Pd XXXI,
7) e degli appetiti dell’istinto dell’uomo (Pg XVIII, 58). E dunque la famiglia
Barberini si rifà a tutta questa simbologia, inserendo tre api dorate nel
proprio stemma, che oggi possiamo ammirare maestoso al centro del monumento
simbolo di Capranica. Tre api come somma perfezione delle virtù espresse da
questo piccolo insetto.</span></span></span><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: justify;"><span style="font-size: medium;"><span style="font-family: inherit;"></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvSizolNQWNStvRU79l4XaRAHlGrSkzKSx_-SpPuOJFCW37nK2_vsJpPTjOxCfP4iSWrvzpkNmAEaC8Q_jVeyTawlCfsqcdHlTj46yb1DafIlUBzstogbr1lOBQQn-EY2xc7g_JuGBZyURfrctyoc-lJBnGJx3-qkkku2AwlXWy_ZJ5PdWWI24z-fN-g/s3000/Image00006.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3000" data-original-width="2000" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvSizolNQWNStvRU79l4XaRAHlGrSkzKSx_-SpPuOJFCW37nK2_vsJpPTjOxCfP4iSWrvzpkNmAEaC8Q_jVeyTawlCfsqcdHlTj46yb1DafIlUBzstogbr1lOBQQn-EY2xc7g_JuGBZyURfrctyoc-lJBnGJx3-qkkku2AwlXWy_ZJ5PdWWI24z-fN-g/w266-h400/Image00006.jpg" width="266" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Torre dell'Orologio, stemma di papa Urbano VIII Barberini, con le tre api simbolo della famiglia</i><br /></td></tr></tbody></table><span style="font-size: medium;"><span style="font-family: inherit;"><br /><span style="font-size: large;"> <b>2.</b><b> I leoni</b></span></span></span><p></p><span style="font-size: large;"><span style="font-family: inherit;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: left;"><span style="font-size: large;"><span style="font-family: inherit;">Di leoni a Capranica ce ne sono più di quanti si possa pensare. All’interno
delle strane figurazioni della lunetta dell’Ospedale di San Sebastiano ne sono visibili
ben quattro, senza contare i due leoni fungenti da capitello delle due colonne
del portale. Altri due leoni li troviamo scolpiti nel basalto incastonato nel cemento
a faccia vista della fonte di San Rocco; dalle loro fauci escono i cannelli da
cui sgorga la fresca e leggerissima acqua che nasce dalle viscere del colle.
Altri ancora sono visibili all’interno del piano terra di palazzo Patrizi-Naro,
in piazza VII luglio, e proprio dalla vecchia fonte di San Rocco provengono. E
poi nella Chiesa di San Giovanni, tra le decorazioni della volta, a nella Chiesa
di San Rocco ed in quella di San Terenziano, nei dipinti che abbelliscono le
rispettive absidi. Ma cosa significa il leone come simbolo?</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: justify;"><span style="font-size: medium;"><span style="font-family: inherit;"></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8mPurveln8mV_4O_odk4i4W6PH8TAjSD1k819d7i0vXkgkdlcvaHQmXdfmuUspWgKP7J2v21E8p1rpy7PhdjaXVl4Z3hixnwx3mtn8ar0_7JOa-gW2Wp1xAxNie19Sk3f72Z7-nXB-SPvIK-Ur4VhMSOIYNuiZmP69sKklfnEZw96CpwMCRGsknB36A/s3000/Image00038.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2000" data-original-width="3000" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8mPurveln8mV_4O_odk4i4W6PH8TAjSD1k819d7i0vXkgkdlcvaHQmXdfmuUspWgKP7J2v21E8p1rpy7PhdjaXVl4Z3hixnwx3mtn8ar0_7JOa-gW2Wp1xAxNie19Sk3f72Z7-nXB-SPvIK-Ur4VhMSOIYNuiZmP69sKklfnEZw96CpwMCRGsknB36A/w400-h266/Image00038.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Fonte di San Rocco, leone con cannella</i><br /></td></tr></tbody></table><span style="font-size: medium;"><span style="font-family: inherit;"><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitjLUxNne-AoHEEGF4Ag_V06nSYwJmOAeQbf0P8Y7IaVgeIzvLX7JMb7SWZ8AkxXhqze_bjhNhxQpcGVFnT3Fbzmd_6KIM6PUkLJYoUGLan2jZwII9tSYFovY0xdr6EeQBHikhJRQzZfz-is-3X2Zr6RgPvk9ozhZ5DFwJ_3oFYBFX_vd70seZ8d8viA/s3000/Image00069.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2000" data-original-width="3000" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitjLUxNne-AoHEEGF4Ag_V06nSYwJmOAeQbf0P8Y7IaVgeIzvLX7JMb7SWZ8AkxXhqze_bjhNhxQpcGVFnT3Fbzmd_6KIM6PUkLJYoUGLan2jZwII9tSYFovY0xdr6EeQBHikhJRQzZfz-is-3X2Zr6RgPvk9ozhZ5DFwJ_3oFYBFX_vd70seZ8d8viA/w400-h266/Image00069.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Portale dell'Ospedale di San Sebastiano, capitello leonino</i><br /></td></tr></tbody></table><br /><span style="font-size: large;">A seconda del contesto dove questa figura è inserita si hanno dei significati
diversi, a volte anche di non facile interpretazione. Come nella lunetta dell’Ospedale
di San Sebastiano che come già detto ne riporta addirittura quattro (anche se questo
numero non ci fornisce grosso aiuto). <a href="https://www.capranicastorica.it/2019/05/la-lunetta-dellospedale-di-san.html" target="_blank">Ne abbiamo già parlato in un articolo dianalisi di questa meravigliosa opera d’arte, proprio su questo blog</a>, a cui
rimandiamo per eventuali approfondimenti<a href="#_ftn8">[8]</a>. Tuttavia, seguendo uno schema di lettura basato sulla eterna contrapposizione
tra il bene e il male, i due animali collocati nella parte superiore potrebbero
essere riferiti all’immagine di Cristo. Egli, nel tetramorfo apocalittico, è “<i>homo
vivendo, vitulus moriendo, leo resurgendo, aquila ascendendo</i>”. E così nei
misteriosi ed affascinanti bestiari medievali il leone è quasi sempre rimando alla risurrezione di
Gesù. Ma il fatto che nella parte superiore della lunetta vengano rappresentati
due leoni e non uno, costituisce un problema per identificarvi
inequivocabilmente Cristo. E’ chiaro, comunque, che questi animali debbano essere considerati nel quadro delle forze del bene. Basta rilevare che, come i mascheroni agli angoli della composizione dai quali ha origine la vite, questi leoni sembrano rinvigorire la pianta, che rinasce dalle loro fauci e riprende forza (simbolo cristologico), ma va anche notata
l’ordinata e maestosa criniera raffrontandola con quella arruffata dei due
leoni rappresentati in basso, ad <i>infera</i>. E questi? Come interpretarli? </span></span></span><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: center;"><span style="font-size: medium;"><span style="font-family: inherit;"></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggu25PG7biw60TbNzdXUPj76Ard6LXbkXj4nPdDn7m-hXeEqcw6SAjm3FlQD7_Dj0N_JQ7CTiSPdGL2FT0jrNafX_dG2PZsCSZnthhRnpSi55tny9jqUt9eCr5nuFmwK9l-chBH_FdQzpAiuMZvB9docVoss2EyH4VruaOi1tRRv4XOqfLABLQekuw1g/s1592/Pubblicazione1.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1061" data-original-width="1592" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggu25PG7biw60TbNzdXUPj76Ard6LXbkXj4nPdDn7m-hXeEqcw6SAjm3FlQD7_Dj0N_JQ7CTiSPdGL2FT0jrNafX_dG2PZsCSZnthhRnpSi55tny9jqUt9eCr5nuFmwK9l-chBH_FdQzpAiuMZvB9docVoss2EyH4VruaOi1tRRv4XOqfLABLQekuw1g/w640-h426/Pubblicazione1.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Lunetta del portale dell'Ospedale di San Sebastiano. Nei cerchi di colore azzurro, i leoni cristologici che rappresentano le forze del bene; nei cerchi di colore rosso, i leoni appartenenti alle forze del male, che attentano i tralci della vite-Chiesa.</i><br /></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: justify;"><span style="font-size: medium;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUNSxPtDPZr7SnZ6dpSZHgXRZCpyzVRyZ0nuV4siH0DwoGkL5m_j0buhSrwuc9-V98PLiNuZ6teakTQ0qGpcXZztBAIjSysd2QDJRxP8VFygUL7LzweLunYPfSKlZ1zM0Qukno_LM8jYqvjzBKu0UZYRPfqW3DBQ6USXyzVPAQFDQdUNph18GAksca8Q/s3000/Image00081.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2000" data-original-width="3000" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUNSxPtDPZr7SnZ6dpSZHgXRZCpyzVRyZ0nuV4siH0DwoGkL5m_j0buhSrwuc9-V98PLiNuZ6teakTQ0qGpcXZztBAIjSysd2QDJRxP8VFygUL7LzweLunYPfSKlZ1zM0Qukno_LM8jYqvjzBKu0UZYRPfqW3DBQ6USXyzVPAQFDQdUNph18GAksca8Q/w400-h266/Image00081.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Lunetta del portale dell'Ospedale di San Sebastiano. Un leone "ad infera".</i><br /></td></tr></tbody></table><span style="font-size: medium;"><br /><span style="font-family: inherit; font-size: large;">Nella Bibbia (sia nell’A.T. che nel N.T.), il leone è sempre simbolo ambivalente.
Lo ritroviamo simbolo di vita, animale dal portamento maestoso (Pr 28,1;
30,29-30), ma anche predatore di greggi (1Sam 17,34) ed uccisore dell’uomo (1Re
13,24-25; 20,36). Dio stesso è come un leone quando si tratta di scatenare la
sua collera verso i superbi (Sir 27,28). Le potenze Assire e Babilonesi
che attentano all’esistenza di Israele, pecorella indifesa, sono come leoni
feroci che gli si avventano addosso (Ger 50,17). Secondo il profeta Amos, la
parola che Dio rivolge al suo eletto è simile al ruggito del leone, una voce
potente che fa tremare, suscita timore e produce la conversione (Am 3,4-8).
L’Apostolo Paolo nella seconda lettera a Timoteo, racconta come Dio lo abbia
liberato dalla bocca del leone, a significare come sia scampato alla morte per
intervento diretto di Dio (2 Tim 4,17). Ed infine, come non ricordare che nella
prima lettera di Pietro il leone è chiarissimo simbolo del demonio che, come un
leone ruggente, va in cerca della preda da sbranare (cfr. 1Pt 5,8)? Dal lato
ascetico, invece, il leone è spesso simbolo della concupiscenza, dell’orgoglio
della vita, nonché rappresentazione dell’eresia. Ecco quindi che questi due
leoni, attentatori con le loro potenti fauci dei tralci della vite-Chiesa di
Cristo (che mordono voracemente), possono anche essere identificati come un
rimando alle voci potenti dei falsi profeti che, facendo da contraltare al ruggito
possente dei leoni buoni, posti nella parte superiore, traviano l’uomo dalla
retta via e lo allontanano dalla verità.</span></span><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: center;"><span style="font-size: medium;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAB9hRkqTOv1xun0Rm1ctz6IQXDdiKc5SFgGyzXKz_dyeXVzxNAkLJf1PC-6RvqXFxSmM2dSlzXFB5eLScErREMM35C3Pv9G217LvyItoMw8ZYLeGGJCPEfViXqSV44Qq58erCQyVRht3-6MbNSl7U5R5kvsNoWCZppmgXfxssSePUQNKPmm3E-4SMig/s3000/Image00114.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2000" data-original-width="3000" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAB9hRkqTOv1xun0Rm1ctz6IQXDdiKc5SFgGyzXKz_dyeXVzxNAkLJf1PC-6RvqXFxSmM2dSlzXFB5eLScErREMM35C3Pv9G217LvyItoMw8ZYLeGGJCPEfViXqSV44Qq58erCQyVRht3-6MbNSl7U5R5kvsNoWCZppmgXfxssSePUQNKPmm3E-4SMig/w400-h266/Image00114.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Chiesa di San Giovanni Evangelista, decorazioni della volta, tetramorfo apocalittico, il leone alato (San Marco Evangelista)</i><br /></td></tr></tbody></table><span style="font-size: medium;"><span style="font-family: inherit;"></span></span><p></p><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: left;"><span style="font-size: large;"><span style="font-family: inherit;">I leoni rappresentati nelle chiese, sulla volta di San Giovanni e nella piccola abside di San Rocco, sono invece eminentemente cristologici.
Il leone rappresenta l’evangelista Marco, all’interno di quello che, come abbiamo
detto già, viene definito tetramorfo apocalittico (dal greco “<i>tetra</i>”, quattro e
“<i>morphé</i>”, forma), ovvero la raffigurazione iconografica dei quattro animali alati
della visione apocalittica del profeta Ezechiele: leone, toro, aquila e uomo (Ez.
1, 10). Anche nell'abside della chiesa di San Terenziano al Monte compare un leone. E' raffigurato nella volta a crociera nell'ambito delle allegorie delle quattro virtù cardinali dipinte dal reatino Vincenzo Manenti, alle spalle della Fortezza, in placida posa, richiamante la forza selvaggia della natura ammansita ed ammaestrata senza oppressione dalla virtù, unica sola forza.</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: justify;"><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><img border="0" data-original-height="1296" data-original-width="1944" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhR4pAWwtRydDtorninCdEw62HSnMvS3gSUo5JRQnAnD5CNClUWgpSmXB0zLSREZ2q54bUiIITbI2rVCxBzBGAKkk5X7MX56Gnv0pKgtIyLBeEG6ST_NTVelBDsVl6lMaEdzHW4RIAaM15uuEmmIOQ5nbLqkeFrtHInarCk15WiacE3cfFkSO6FCXNNUQ/w400-h266/Image00151.jpg" style="margin-left: auto; margin-right: auto;" width="400" /></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Chiesa di San Terenziano al Monte, Vincenzo Manenti (1646), Virtù cardinali</i></td><td class="tr-caption" style="text-align: center;"><i> </i> <br /></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1CsnOO7vsY-2bIiLLNmJc7Z_VcKel0T5d6WfcSaJtHf_qUMa2BiBzEniE1-nik8JQ9uL2xXFITSr_8tFgeeamcqxF6H-bNK_uXU8jZsYLS9D8StoFIory1Jg3e1XVzqbzlDhjGHwH3Q0rOEUITUJVhbyo7y1Q0wcC82xMeowfUSqVblbCb12ssTBnWw/s1944/Image00150.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1296" data-original-width="1944" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1CsnOO7vsY-2bIiLLNmJc7Z_VcKel0T5d6WfcSaJtHf_qUMa2BiBzEniE1-nik8JQ9uL2xXFITSr_8tFgeeamcqxF6H-bNK_uXU8jZsYLS9D8StoFIory1Jg3e1XVzqbzlDhjGHwH3Q0rOEUITUJVhbyo7y1Q0wcC82xMeowfUSqVblbCb12ssTBnWw/w400-h266/Image00150.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Chiesa di San Terenziano al Monte, Vincenzo Manenti (1646), La Fortezza</i><br /></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"> </span></div></div><span style="font-size: large;"><span style="font-family: inherit;">Ma il leone, sin dalle rappresentazioni che ne fa’ l’arte mesopotamica
e assira, poi riprese dall’arte nei secoli successivi, è anche simbolo di forza,
potenza, regalità, giustizia e rimanda al potere dello Stato. Per non scomodare
Venezia, a Viterbo il leone è il simbolo della Città, ma nella sua forma
rampante o alata è anche il simbolo di altre decine di città e capiluoghi italiani
(Brescia, Bergamo, Bologna, Chioggia, Andria, Potenza, etc.). Ed è secondo
questo significato che i leoni ritratti nella basaltina ingiuriata dal tempo,
visibili presso la fonte di San Rocco, debbono essere intesi.</span></span><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: justify;"><span style="font-size: medium;"><span style="font-family: inherit;"></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIBJEXmOfuTRl1EBVlb_NenqzB1S5Z910KePf5l-ctQnbqNwjW9QknKEszjgE2Pfj9P2lEs3eR1nb2ZwWx6k7AnhHKv1RhUZW4qc4XjfADQdSkiY3Hn38Ge21UmwDLwfYm1zF2fl4z-7XnIeMlCWEtvWKxeumvPUw9Fjl_Ai2-FXH9OY1MAhjGsZbJdQ/s3000/Image00091.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2000" data-original-width="3000" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIBJEXmOfuTRl1EBVlb_NenqzB1S5Z910KePf5l-ctQnbqNwjW9QknKEszjgE2Pfj9P2lEs3eR1nb2ZwWx6k7AnhHKv1RhUZW4qc4XjfADQdSkiY3Hn38Ge21UmwDLwfYm1zF2fl4z-7XnIeMlCWEtvWKxeumvPUw9Fjl_Ai2-FXH9OY1MAhjGsZbJdQ/w400-h266/Image00091.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Fonte di San Rocco, leoni con cannella</i><br /></td></tr></tbody></table><span style="font-size: medium;"><span style="font-family: inherit;"><br /><span style="font-size: large;"><b>3. La capra</b></span></span></span><p></p><span style="font-size: large;"><span style="font-family: inherit;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: left;"><span style="font-size: large;"><span style="font-family: inherit;">Animale umile e testardo, il maschio della capra, <span class="hgkelc">detto
anche capro o becco (probabile derivazione dal longobardo <i>bek </i>= capra), simboleggia la gloria ma anche la custodia fedele, la
ferocia in battaglia o la prolificità e potenza della stirpe. Eppure non è un
maschio quello che campeggia al centro del gonfalone municipale. Sotto l’ombrellino
papale e le chiavi di Pietro vi è infatti rappresentata una femmina intenta ad
allattare due piccoli. </span></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: center;"><span style="font-size: medium;"><span style="font-family: inherit;"><span class="hgkelc"></span></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy_g4J4t18Z9k4CuWT9NJUQRdSUmIXvc35h9TmuHqoamPF0pKeW1iw0iF-40ODN5U4yH7PXwIMKj_4HsJB7uGnY8Jtor13YpBmg3EPidUV9uNp2jL23TJv2wc0J5zuJkxlUf8TQn9SS8Y1k_gZV3tK1cYd81ns0gB6JvCJB1ic12P4Poiwqaua30kY7g/s1083/Sigillo%20con%20filigrana.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1083" data-original-width="1080" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy_g4J4t18Z9k4CuWT9NJUQRdSUmIXvc35h9TmuHqoamPF0pKeW1iw0iF-40ODN5U4yH7PXwIMKj_4HsJB7uGnY8Jtor13YpBmg3EPidUV9uNp2jL23TJv2wc0J5zuJkxlUf8TQn9SS8Y1k_gZV3tK1cYd81ns0gB6JvCJB1ic12P4Poiwqaua30kY7g/w399-h400/Sigillo%20con%20filigrana.jpg" width="399" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Sigillo a secco, con stemma della Comunità di Capranica</i><br /></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: left;"><span style="font-size: large;"><span style="font-family: inherit;"><span class="hgkelc">Nei sigilli comunali “a secco”, che compaiono nei
documenti ufficiali della Comunità, con legenda <i>Communitas Capranice</i>, si
trova già raffigurata una capra che nutre due capretti</span><a href="#_ftn9" name="_ftnref9" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[9]</span></span></span></span></a><span class="hgkelc">. <span> </span>Al di là dei suoi significati simbolici, la
capra è quindi innanzitutto un richiamo al nome stesso della Città, sulla cui
etimologia gli storici hanno avuto occasione, in passato, di dibattere ampiamente
senza tuttavia raggiungere una posizione condivisa in merito</span><a href="#_ftn10" name="_ftnref10" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[10]</span></span></span></span></a><span class="hgkelc">. Si è
quindi di volta in volta ipotizzata la derivazione da </span><i>Caprae ilex</i> (elce della capra), da cui <i>Capralice</i>, accomodato poi in <i>Capranice</i><a href="#_ftn11" name="_ftnref11" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[11]</span></span></span></span></a><span>, quindi da </span><i>Capracorum</i><a href="#_ftn12" name="_ftnref12" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[12]</span></span></span></span></a>
e anche da <i>Capraricam</i><a href="#_ftn13" name="_ftnref13" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[13]</span></span></span></span></a>.
Tuttavia, grazie alle fonti documentarie a disposizione vagliate nell’ultimo
scorcio dell’Ottocento da illustri studiosi come Carlo Calisse, Pietro Fedele e
Giuseppe Tomassetti<a href="#_ftn14" name="_ftnref14" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[14]</span></span></span></span></a>, è possibile sostenere in
maniera razionale che il castello di Capranica tragga origine, in un periodo a
cavallo tra il primo e secondo millennio, dal cosiddetto incastellamento
ecclesiastico. In questo senso, il “<i>castello
vetulo qui appellatur Capralica</i>” di cui si parla in un contratto di
compravendita del febbraio del 1050, è evidentemente la prima menzione dell’odierna
Capranica. Sull'origine del nome del Monte delle Capre, come lo chiama Francesco Petrarca, si interroga anche il Poeta durante il soggiorno capranichese dell'inverno del 1336-37, giungendo alla conclusione che esso fosse di derivazione latina.<br /></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: left;"><span style="font-size: large;"><span style="font-family: inherit;"><span class="hgkelc">Ma la capra è anche simbolo di pacifica prosperità,
operosità, adattamento alle avversità e agli ambienti ostili, con la sua
straordinaria capacità di trarre in ogni situazione il poco necessario per la
sopravvivenza, di fatica e di diligenza, da cui “ogni bene mai sempre
deriva”</span><a href="#_ftn15" name="_ftnref15" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[15]</span></span></span></span></a><span class="hgkelc">. Ed in fondo, bene si adattano questi significati agli stessi
abitanti della Città.</span></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: center;"><span style="font-size: medium;"><span style="font-family: inherit;"><span class="hgkelc"></span></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKEK60GQEEEJ3w8llPGzjdBX_72aPIEXuMbFAqE9xtwPIEZH67PWrzQ7VR0K3LeQT7SaK8WCdRaOBWQ_pqy0Kc8RS3XgwVjAmqmzaqn1jVqIPeU2UldQDPN216y5_LKczmzySF5VOY70m7TyxzaB4GANmXbnSejO2iQvO_-yxR7_wseJJKCDmKo7We0g/s1311/Stemmi.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1208" data-original-width="1311" height="369" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKEK60GQEEEJ3w8llPGzjdBX_72aPIEXuMbFAqE9xtwPIEZH67PWrzQ7VR0K3LeQT7SaK8WCdRaOBWQ_pqy0Kc8RS3XgwVjAmqmzaqn1jVqIPeU2UldQDPN216y5_LKczmzySF5VOY70m7TyxzaB4GANmXbnSejO2iQvO_-yxR7_wseJJKCDmKo7We0g/w400-h369/Stemmi.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Stemmi comunali negli anni Venti e Trenta del '900. La capra non è mai raffigurata nell'atto di allattare</i><br /></td></tr></tbody></table><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbI2vBaWLhZEDEp6pLYot2KlnBlzmdlrsDw72FICojHD8k2xS55JDo59-B21WPpQI8KPMr_dSUeKJ_tUddKMG7NGAQ5BTMh15bfcve-ftXzZYvniaCUuvPJUC_RGLboLIlPfTmTUUcfsNMH2nOtvehfgXecuk7BCfcnUpM3MYcLC8UCAa_ZZ3wWQ83mA/s1365/Stemma%20e%20gonfalone.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1166" data-original-width="1365" height="341" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbI2vBaWLhZEDEp6pLYot2KlnBlzmdlrsDw72FICojHD8k2xS55JDo59-B21WPpQI8KPMr_dSUeKJ_tUddKMG7NGAQ5BTMh15bfcve-ftXzZYvniaCUuvPJUC_RGLboLIlPfTmTUUcfsNMH2nOtvehfgXecuk7BCfcnUpM3MYcLC8UCAa_ZZ3wWQ83mA/w400-h341/Stemma%20e%20gonfalone.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>a sinistra: Stemma per carta intestata, con ombrellino papale e chiavi di Pietro; a destra: gonfalone municipale, particolare. In entrambi i casi è ben visibile la capra che allatta due piccoli</i><br /></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><span style="font-family: inherit;"><span class="hgkelc"></span></span></span></div><span style="font-size: medium;"><span style="font-family: inherit;"><span class="hgkelc"></span></span></span><p></p><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: left;"><span style="font-size: large;"><span style="font-family: inherit;"><span class="hgkelc">Ma dove è possibile vedere la capra simbolo del
Comune? Sul Gonfalone comunale, come già detto, campeggia bene al centro una
capra. Nello stemma, ma non nel gonfalone, alle spalle dell’animale si vedono
anche due colline piramidali e un corso d’acqua. Nella bandiera della <i>Respublica
Capranicensis</i>, che secondo la tradizione avrebbe sostituito per qualche
tempo il tirannico governo anguillaresco fino all’arrivo dei cardinali
governatori, di capre ve ne erano raffigurate addirittura due. Il gonfalone era
custodito dalla famiglia dei Conti Porta, poi estintasi a metà del Novecento,
per poi passare all’Arcipretura di San Giovanni Evangelista, ma con la morte
del parroco Don Luigi Micheli se ne sono perse le tracce. Uno stemma con capra
scolpita su basaltina si può trovare presso la fonte di San Rocco, in adiacenza
alla fonte. </span></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: center;"><span style="font-size: medium;"><span style="font-family: inherit;"><span class="hgkelc"></span></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBO7bNcGRrL7G4p_EUFWrONS7Pq7AmWS2f7CxzwjSvTWBXKKb3VfAK9G0YQmEoFf0L7xnNEJlTKZdYv8ijSjm9Uj3HCKKUhyujFBkPAb-ULLEYUlAo55uJbDX1znBxNubjsTa3kGAk9swS7TwmItqYONbzXXcerNqyou8CKp6vRQ5bFqB1ixYkLBFWyw/s1182/Don%20Luigi%20e%20Umbertino.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="743" data-original-width="1182" height="402" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBO7bNcGRrL7G4p_EUFWrONS7Pq7AmWS2f7CxzwjSvTWBXKKb3VfAK9G0YQmEoFf0L7xnNEJlTKZdYv8ijSjm9Uj3HCKKUhyujFBkPAb-ULLEYUlAo55uJbDX1znBxNubjsTa3kGAk9swS7TwmItqYONbzXXcerNqyou8CKp6vRQ5bFqB1ixYkLBFWyw/w640-h402/Don%20Luigi%20e%20Umbertino.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Il vessillo della Respublica Capranicensis nel 1960. A destra, l'arciprete parroco di San Giovanni Evangelista, Don Luigi Micheli con Umbertino Mantrici. A destra, nei cerchietti rossi sono evidenziate le due capre opposte.</i><br /></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: left;"><span style="font-size: large;"><span style="font-family: inherit;"><span class="hgkelc">Lo stemma civico è anche visibile sul portale di accesso al Parco
Corrado Nicolini, copia esatta di quello della diruta Chiesa della Madonna dei Ruscelli, disegnato
su ceramica dall’artista Ezio Levi nel 1965 (anno di inaugurazione del Parco, vedi foto di copertina dell'articolo). Qui
la capra è accompagnata dal motto <i>labor et concordia</i>. Altro stemma con
capra, sempre in ceramica, campeggia infine al centro del piazzale della
Madonna del Piano, realizzato nell’anno 2007 insieme alla costruzione del
parcheggio sottostante.</span></span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 6pt; text-align: center;"><span style="font-size: medium;"><span style="font-family: inherit;"><span class="hgkelc"></span></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPfuVEo66kGelJDxgjlE65evB0TnKXL2dhsdvfreewK_AUcSSk3l4TWu-b-wD8TbRxLMiNnje2WWTi6FG8G0OAF_JU18TyG9aAeXbHrfAqUW2bSrE4-hBcJvXRUIp7k6Q6YAa3Iq0zxqhzlCcfYcOGXdepGxpSiU-DT5RhO2fwAYVgP49_4tTtn0-O8Q/s3000/Image00105.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2000" data-original-width="3000" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPfuVEo66kGelJDxgjlE65evB0TnKXL2dhsdvfreewK_AUcSSk3l4TWu-b-wD8TbRxLMiNnje2WWTi6FG8G0OAF_JU18TyG9aAeXbHrfAqUW2bSrE4-hBcJvXRUIp7k6Q6YAa3Iq0zxqhzlCcfYcOGXdepGxpSiU-DT5RhO2fwAYVgP49_4tTtn0-O8Q/w400-h266/Image00105.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Piazzale della Madonna del Piano, pavimentazione con stemma municipale in ceramica, 2007</i><br /></td></tr></tbody></table><span style="font-size: medium;"><span style="font-family: inherit;"><span class="hgkelc"> </span></span></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7fSPKonarXi7-VVVCZhBIlLoSP5hJI3HWSr8MeLjKWs0cPghDA7cD6m6zfMHG3RDYraMvF7Npwx2zk4YBiSrGx4EsBJS6jY4Vpfo_nysWrXIlMPpXok8xFrIq3CVv3SDt_iPn7FQmNYS93ADON0j0EnfEFtH8mHG39mlEnFUcN6hXfINaja9_t8u2Dg/s3000/Image00094.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3000" data-original-width="2000" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7fSPKonarXi7-VVVCZhBIlLoSP5hJI3HWSr8MeLjKWs0cPghDA7cD6m6zfMHG3RDYraMvF7Npwx2zk4YBiSrGx4EsBJS6jY4Vpfo_nysWrXIlMPpXok8xFrIq3CVv3SDt_iPn7FQmNYS93ADON0j0EnfEFtH8mHG39mlEnFUcN6hXfINaja9_t8u2Dg/w266-h400/Image00094.jpg" width="266" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Piazzale della Madonna del Piano, stemma municipale in ceramica (part.), 2007</i><br /></td></tr></tbody></table><p></p>
<div style="mso-element: footnote-list;"></div><div style="mso-element: footnote-list;"></div><div style="mso-element: footnote-list;"></div><div style="mso-element: footnote-list;"> </div><div style="mso-element: footnote-list;"><span style="font-size: large;"><i>Fine prima parte - <a href="https://www.capranicastorica.it/2022/06/di-api-di-leoni-di-capre-e-di-creature.html" target="_blank">vai alla seconda parte</a> - <a href="https://www.capranicastorica.it/2022/06/di-api-di-leoni-di-capre-e-di-creature_01840757458.html" target="_blank">vai alla terza parte</a></i></span><br clear="all" />
<hr align="left" size="1" width="33%" />
<div id="ftn1" style="text-align: left;">
<p class="MsoFootnoteText" style="text-align: justify;"><span style="font-size: medium;"><span style="font-family: inherit;"><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;"><span><b>Note al testo</b> </span><br /></span></span></span></span></span></span></p><p class="MsoFootnoteText" style="text-align: justify;"><span style="font-size: medium;"><span style="font-family: inherit;"><a href="#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[1]</span></span></span></span></a> Cfr<span style="font-variant: small-caps;">. </span>BORRARO, P.<span style="font-variant: small-caps;">,</span> «<span>I bestiari
medievali</span>», <i>Fede e Arte</i>, <span style="font-variant: small-caps;">xiv</span>
(1966), p. 508.</span></span></p><p><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span></p></div><div id="ftn2" style="text-align: left;"><p>
</p><p class="MsoFootnoteText" style="text-align: justify;"><span style="font-size: medium;"><span style="font-family: inherit;"><a href="#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[2]</span></span></span></span></a> Cfr. AA.VV.,
«<span>Zoomorfiche e fitomorfiche figurazioni</span>»,
EUA, XIII, col. 942</span></span></p><p>
</p></div><p style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span></p><div id="ftn3" style="text-align: left;"><p>
</p><p class="MsoFootnoteText"><span style="font-size: medium;"><span style="font-family: inherit;"><a href="#_ftnref3" name="_ftn3" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[3]</span></span></span></span></a> <i>Sal</i> 8, 6.7b-9</span></span></p><p>
</p></div><p style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span></p><div id="ftn4" style="text-align: left;"><p>
</p><p class="MsoFootnoteText"><span style="font-size: medium;"><span style="font-family: inherit;"><a href="#_ftnref4" name="_ftn4" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[4]</span></span></span></span></a> La manterrà
fino al 1644. Muore l’11 settembre 1646, all’età di 77 anni.</span></span></p><p>
</p></div><p style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span></p><div id="ftn5" style="text-align: left;"><p>
</p><p class="MsoFootnoteText"><span style="font-size: medium;"><span style="font-family: inherit;"><a href="#_ftnref5" name="_ftn5" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[5]</span></span></span></span></a> <i>Hic iacet
pulvis, cinis et nihil</i>, lapide sepolcrale nella chiesa di Santa Maria
Immacolata, Roma </span></span></p><p>
</p></div><p style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span></p><div id="ftn6" style="text-align: left;"><p>
</p><p class="MsoFootnoteText" style="text-align: justify;"><span style="font-size: medium;"><span style="font-family: inherit;"><a href="#_ftnref6" name="_ftn6" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[6]</span></span></span></span></a> Capranica,
ingrandita della via Cassia restauratale, per una pubblica corsa più rapida,
[dedica] al suo benefattore Urbano XIII nell’anno della salute 1641</span></span></p><p>
</p></div><p style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span></p><div id="ftn7" style="text-align: left;"><p>
</p><p class="MsoFootnoteText" style="text-align: justify;"><span style="font-size: medium;"><span style="font-family: inherit;"><a href="#_ftnref7" name="_ftn7" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[7]</span></span></span></span></a> “<i>Pur
diviso in tante fiammelle non estingue il suo vivo splendore / ma si accresce
nel consumarsi della cera / che l'ape madre ha prodotto / per alimentare questa
preziosa lampada</i>”, Exsultet, dalla liturgia. Nella primitiva versione del
testo vi era anche un riferimento esplicito alla stessa ape “<i>superiore a
tutti gli altri esseri viventi che sono soggetti all'uomo</i>” perché “<i>Pur
molto piccola di corpo, rivolge tuttavia nell'angusto petto alti propositi;
debole di forze ma forte d'ingegno</i>”</span></span></p><p>
</p></div><p style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span></p><div id="ftn8" style="text-align: left;"><p>
</p><p class="MsoFootnoteText"><span style="font-size: medium;"><span style="font-family: inherit;"><a href="#_ftnref8" name="_ftn8" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[8]</span></span></span></span></a> CECCARINI,
Fabio, «La lunetta dell’Ospedale di San Sebastiano di Capranica. Qualche nota
di lettura.», Capranica Storica, 02/05/2019 - URL: <a href="https://draft.blogger.com/">https://www.capranicastorica.it/2019/05/la-lunetta-dellospedale-di-san.html</a></span></span></p><p>
</p></div><p style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span></p><div id="ftn9" style="text-align: left;"><p>
</p><p class="MsoFootnoteText"><span style="font-size: medium;"><span style="font-family: inherit;"><a href="#_ftnref9" name="_ftn9" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[9]</span></span></span></span></a> MARCOVECCHIO,
Amarilli, <i>Provincia di Viterbo. Stemmi</i>, Roma s.d. [1985?], p. 38</span></span></p><p>
</p></div><p style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span></p><div id="ftn10" style="text-align: left;"><p>
</p><p class="MsoFootnoteText"><span style="font-size: medium;"><span style="font-family: inherit;"><a href="#_ftnref10" name="_ftn10" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[10]</span></span></span></span></a> Su questo
dibattito a distanza si veda CECCARINI,<span style="font-variant: small-caps;"> </span>Fabio,
<i>Un repertorio bibliografico sul Castrum Capralice</i>, in <i>Castrum
Capralice e il castello di Capranica nel Medioevo. Atti del convegno 7
settembre 2019</i>, a cura di M. Colognola, Capranica 2021, pp. 27-44</span></span></p><p>
</p></div><p style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span></p><div id="ftn11" style="text-align: left;"><p>
</p><p class="MsoFootnoteText" style="text-align: justify;"><span style="font-size: medium;"><span style="font-family: inherit;"><a href="#_ftnref11" name="_ftn11" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[11]</span></span></span></span></a> CHIRICOZZI,
Pacifico, <i>San Terenziano V. M. patrono di
Capranica</i>, Edizioni Cultura Popolare, Viterbo 1945. Il libro è stato
ristampato, riveduto e ampliato, nel 1985. Vedi le pp. 15-16.</span></span></p><p>
</p></div><p style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span></p><div id="ftn12" style="text-align: left;"><p>
</p><p class="MsoFootnoteText"><span style="font-size: medium;"><span style="font-family: inherit;"><a href="#_ftnref12" name="_ftn12" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[12]</span></span></span></span></a> E’ la
posizione – rivelatasi poi errata – da sempre sostenuta da Trento Morera.</span></span></p><p>
</p></div><p style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span></p><div id="ftn13" style="text-align: left;"><p>
</p><p class="MsoFootnoteText" style="text-align: justify;"><span style="font-size: medium;"><span style="font-family: inherit;"><a href="#_ftnref13" name="_ftn13" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[13]</span></span></span></span></a> <span lang="EN-GB" style="font-variant: small-caps;">LUTTRELL, </span>Anthony, <i>Capranica
before 1337: Petrarch as topographer</i>, in, <i>Cultural aspects of the italian renaissance: essays in honour of Paul
Oskar Kristeller</i>, ed. C. H. Clough, Manchester - New York 1976, pp. 9-21, p. 19, nota
35.</span></span></p><p>
</p></div><p style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span></p><div id="ftn14" style="text-align: left;"><p>
</p><p class="MsoFootnoteText" style="text-align: justify;"><span style="font-size: medium;"><span style="font-family: inherit;"><a href="#_ftnref14" name="_ftn14" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[14]</span></span></span></span></a> MORERA, Giuseppe,
<i>Tragececo. Racconti Capranichesi</i><span>, Roma 1983,</span> p. 45</span></span></p><p>
</p></div><p style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span><span style="font-size: medium;"><span style="font-family: inherit;">
</span></span></p><div id="ftn15" style="text-align: left;"><p class="MsoFootnoteText"><span style="font-size: medium;"><span style="font-family: inherit;"><a href="#_ftnref15" name="_ftn15" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[15]</span></span></span></span></a> MARCOVECCHIO,
Amarilli, <i>Provincia di Viterbo. Stemmi</i>, Roma s.d. [1985?], p. 38</span></span></p>
</div>
</div>
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</p><p class="has-text-align-center" style="text-align: center;"><span style="font-size: medium;"><b>Citare questo documento / Citer ce document / Cite this document</b></span></p><span style="font-size: medium;">
</span><p class="has-text-align-center" style="text-align: center;"><span style="font-size: medium;">CECCARINI, Fabio, «<i>Di api, di leoni, di capre e di creature fantastiche. Bestiari urbani capranichesi e dove trovarli. 1^ parte</i>», Capranica Storica, 19/05/2022 - URL: <a href="https://www.capranicastorica.it/2022/05/di-api-di-leoni-di-capre-e-di-creature.html">https://www.capranicastorica.it/2022/05/di-api-di-leoni-di-capre-e-di-creature.html</a></span></p><span style="font-size: medium;">
</span><p style="text-align: center;"><span style="font-size: medium;"><a href="http://creativecommons.org/licenses/by-nc-sa/4.0/" rel="license"><img alt="Licenza Creative Commons" src="https://i.creativecommons.org/l/by-nc-sa/4.0/88x31.png" style="border-width: 0px; display: block; margin-left: auto; margin-right: auto;" /></a>Questo articolo di <a href="https://www.capranicastorica.it/2022/05/di-api-di-leoni-di-capre-e-di-creature.html" rel="cc:attributionURL">Fabio Ceccarini</a> è distribuito con Licenza <a href="http://creativecommons.org/licenses/by-nc-sa/4.0/" rel="license">Creative Commons Attribuzione - Non commerciale - Condividi allo stesso modo 4.0 Internazionale</a>.</span></p>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-4201727664195975785.post-67654488612146586502022-05-12T13:00:00.002+02:002022-05-12T13:01:00.006+02:00La figura del viceconte della famiglia degli Anguillara in Bassano Romano nel XIV secolo<div style="font-family: inherit; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaRByDo3YnMZpq3quyZo3QKQB6ZI4KVixoOHEs5mRp2O9j8xVdTK5OhewFpY0DneL05RuacGSdSlTqy74WziaQNl8_JRxdydsBMiIZV5XcNc_AH0NVGWRuAO27w3CHC7vswGJ6LoPbtSJYZC6NfbIg01E_nHPJvL60T00wDds0NFqORHzNb-GPctreUw/s3648/1)%20Graziano%20di%20Pietro,%20prot.%20198%20c.%206r,%201%C2%B0%20gennaio%201409,%20atto%20in%20Curia%20di%20Cerveteri,%20Viceconte%20Silvestro.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3648" data-original-width="2736" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaRByDo3YnMZpq3quyZo3QKQB6ZI4KVixoOHEs5mRp2O9j8xVdTK5OhewFpY0DneL05RuacGSdSlTqy74WziaQNl8_JRxdydsBMiIZV5XcNc_AH0NVGWRuAO27w3CHC7vswGJ6LoPbtSJYZC6NfbIg01E_nHPJvL60T00wDds0NFqORHzNb-GPctreUw/w300-h400/1)%20Graziano%20di%20Pietro,%20prot.%20198%20c.%206r,%201%C2%B0%20gennaio%201409,%20atto%20in%20Curia%20di%20Cerveteri,%20Viceconte%20Silvestro.JPG" width="300" /></a></div><br /></div><div dir="auto" style="font-family: inherit;">di <i><b>Carlo Maria D'Orazi</b> (*)</i><br /></div><div dir="auto" style="font-family: inherit;"> </div><div style="text-align: left;"><p><span style="font-size: medium;"><span style="font-family: inherit;">Abbiamo scoperto l’esistenza della figura del Viceconte degli Anguillara anche a Bassano Romano già documentata in un atto del 14 aprile 1378 rogato in Bassano, fra i testimoni dell’atto c’è anche Silvestro di Monaco “una volta” Viceconte di Bassano (Archivio di Stato di Viterbo, Archivio Notarile di Capranica, notaio Graziano di mastro Pietro, prot. 195 cc. 18r/19r, atto in Bassano del 14 aprile 1378), quindi la presenza dei Viceconti a Bassano è anteriore al 1378; abbiamo rintracciato un altro atto dove è menzionato Silvestro di Monaco ma qui non viene definito dal notaio “già Viceconte di Bassano”, si tratta di un atto concluso il giorno prima del precedente atto, il 13 aprile 1378, concluso nella Rocca di Capranica alla presenza della Contessa Lippa degli Anguillara.</span></span></p><p><span style="font-size: medium;"><span style="font-family: inherit;"><span></span></span></span></p><a name='more'></a><p></p></div><div style="text-align: left;"><p><span style="font-size: medium;"><span style="font-family: inherit;">In questo atto, abbastanza complesso, Giovanni del fu Palozio di Guidetta del castro di Bassano Romano vende in perpetuo a Silvestro di Monaco di detto castro un pezzo di terra con una vigna congiunta con detta terra, pezzo di terra posto nel tenimento di Bassano in contrada della Valle, inoltre vende un prato, con certe terre congiunte con esso, posto in Bassano in contrada del Caione, inoltre vende anche un terreno posto in contrada del Prato di Viano (oggi la cittadina ha assunto il nome di “Vejano”), inoltre un pozzo posto in Bassano in contrada dello Spiazio (sic) e anche una grotta posta sotto il muro di detto castro e altre cose di minore importanza come una botte e una tinozza tutto per il prezzo di 60 fiorini d’oro (Archivio Notarile di Capranica, notaio Graziano di mastro Pietro, prot. 195 cc. 16v/17v, atto nella Rocca di Capranica del 13 aprile 1378).</span></span></p></div><div style="text-align: left;"><p><span style="font-size: medium;"><span style="font-family: inherit;">In un altro atto del 17 gennaio 1395 è emerso il nome di un altro Viceconte di Bassano un tal Renzo di Campanaro “una volta” Viceconte di Bassano per conto dei fratelli gemelli Francesco e Nicola Conti degli Anguillara, la notizia è stata fornita dalla studiosa di Bassano Romano la dr.ssa Fiorella Proietti che, però, ha smarrito la collocazione dell’atto notarile che in sostanza dice questo: “Frate Michele, oblato della chiesa di S. Maria del Monte di Bassano, per volontà del Vicario del Vescovo di Sutri, Bernardo, concede in affitto un orto di proprietà di detta chiesa a Renzo di Campanaro una volta Viceconte di Bassano per conto dei fratelli gemelli Francesco e Nicola Conti degli Anguillara”; la notizia è sicuramente attendibile. </span></span></p></div><div style="text-align: left;"><p><span style="font-size: medium;"><span style="font-family: inherit;">Se la figura del Viceconte esisteva a Bassano è molto probabile che esistesse anche a Stabia (l’attuale Faleria) dal momento che in questo castro esiste tuttora un notevole castello del XIV secolo della famiglia dei Conti degli Anguillara; è probabile che la figura del Viceconte esistesse anche in altri castri di una certa rilevanza ma è difficile pensare che esistesse un Viceconte in ogni castello di proprietà della famiglia degli Anguillara che giunse a possedere circa 40 castri più diverse tenute terriere.</span></span></p></div><div style="text-align: left;"><p><span style="font-size: medium;"><span style="font-family: inherit;">Abbiamo trovata la figura del Viceconte a Capranica fra il 1339 e il 1395 ma sicuramente il Viceconte esisteva a Capranica da quando divenne, con la costruzione dell’imponente castello fra il 1280 e il 1290 il castro centrale per i feudi del basso Viterbese. </span></span></p></div><div style="text-align: left;"><p><span style="font-size: medium;"><span style="font-family: inherit;">Il primo Viceconte di Capranica di cui abbiamo notizia è Iannuccio di Tommaso, che faceva di mestiere il macellaio, documentato dal 15 settembre 1339 e che lo ritroviamo Viceconte anche nel 1346.</span></span></p></div><div style="text-align: left;"><p><span style="font-size: medium;"><span style="font-family: inherit;"> Anche a Cerveteri abbiamo documentata la figura del Viceconte ma solo a partire dal 1409 per mancanza di documenti locali più antichi. Tra il 1409 e il 1416 si sono susseguiti sei Viceconti a Cerveteri il primo dei quali è il nobile viro Silvestro del Signor Lorenzo attestato dal 1° gennaio 1409.</span></span></p></div><div style="text-align: left;"><p><span style="font-size: medium;"><span style="font-family: inherit;">Secondo la nostra opinione anche nel castro di Anguillara, castro di origine della famiglia, doveva esistere la figura del Viceconte, essendo questa cittadina, insieme a Capranica e a Cerveteri, il castro più importante della famiglia dei Conti degli Anguillara. </span></span></p></div><div style="text-align: left;"><p><span style="font-size: medium;"><span style="font-family: inherit;">È attestata la presenza di questa nobile famiglia nel castro di Anguillara già nell’anno 1012, grazie a un documento scoperto in un archivio romano dalla studiosa dr.ssa Viviana Normando di Roma e, quindi, è molto probabile che la figura del Viceconte esistesse in Anguillara già durante il XII secolo se non anche prima.</span></span></p></div><div style="text-align: left;"><p><span style="font-size: medium;"><span style="font-family: inherit;">Si pubblicano le fotografie relative al documento del Viceconte di Bassano Romano Silvestro di Monaco del 14 aprile 1378 prime tre fotografie, leggere la clausola finale nella 3° pagina), al documento del 15 settembre 1339 relativo al Viceconte di Capranica Iannuccio di Tommaso (4° fotografia) e al documento del 1° gennaio 1409 relativo al Viceconte di Cerveteri il nobile viro Silvestro del Signor Lorenzo (5° fotografia).</span></span></p><p style="text-align: center;"><span style="font-family: inherit;"><span style="font-size: medium;"></span></span></p><div class="separator" style="clear: both; text-align: center;"></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><img border="0" data-original-height="3510" data-original-width="2359" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFBCnDvSJRxSuU2jHMqXQJYLzK0M34boi7GvTe1fRugCYd_Qi0_7sjh8cAuwkqbNjTgt86Q3u9hwhGA0w-pOFpZY_ICNuWj_hn44afcc79qiLda1nQkbn-wY1Xa5IKoABiOGoadMEgAaHnuxw_uKnnjg5sbuTUdkS_O5aRGi70HxBFvH_nXSW2L3NyXg/w269-h400/01.jpg" style="margin-left: auto; margin-right: auto;" width="269" /></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Foto 1 - </b><i>Graziano di Pietro, prot. 195 c. 18r, 14 aprile 1378, Riccarduccio Signore di Bassano e Silvestro di Monaco una volta Viceconte di Bassano p.1</i></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"></div><p></p><p style="text-align: center;"><span style="font-family: inherit;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><img border="0" data-original-height="3432" data-original-width="2541" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_VMc5ym6Y7b3xqQPzVKXbxQNsyNdT95buCUgjUzRYB1sjiVBS6HCZ1DqOsp3YmxHV_lrQ9drfMphhKcitf3svBfk5tl3PXEqYE4OwbrPiZ0w3wPYoIswFzczQJ7Pm0n0uzDqiqrF6Nzr_UaK2w1_WY3oYUaDtIxvxEIngdfEYE8QcHrFyjFjpmioQEw/w296-h400/02.jpg" style="margin-left: auto; margin-right: auto;" width="296" /></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Foto 2 - </b><i>Graziano di Pietro, prot. 195 c. 18v, 14 aprile 1378, Riccarduccio Signore di Bassano e Silvestro di Monaco una volta Viceconte di Bassano p. 2</i></td></tr></tbody></table><p></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_VMc5ym6Y7b3xqQPzVKXbxQNsyNdT95buCUgjUzRYB1sjiVBS6HCZ1DqOsp3YmxHV_lrQ9drfMphhKcitf3svBfk5tl3PXEqYE4OwbrPiZ0w3wPYoIswFzczQJ7Pm0n0uzDqiqrF6Nzr_UaK2w1_WY3oYUaDtIxvxEIngdfEYE8QcHrFyjFjpmioQEw/s3432/02.jpg" style="margin-left: 1em; margin-right: 1em;"></a></i></div><p></p><p style="text-align: center;"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIJ-ucyB_8SuXPh_P_-6B-sTGKtX3a8eM3pHKdHT1rvVTuLSlKJzLkSubP1wRANmz0DkFUrdI1WAqr_0DEGZNwBNH1KwFxFj-PfxBaknANQoEXQYNiRCYa5YZlpInbC1a2pyiQ-xn2o_2o8QO4cpmg-c5NEBa0gbMPcEW8IcZwoIzvqPQUzDRXgRKblQ/s3310/03.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3310" data-original-width="2412" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIJ-ucyB_8SuXPh_P_-6B-sTGKtX3a8eM3pHKdHT1rvVTuLSlKJzLkSubP1wRANmz0DkFUrdI1WAqr_0DEGZNwBNH1KwFxFj-PfxBaknANQoEXQYNiRCYa5YZlpInbC1a2pyiQ-xn2o_2o8QO4cpmg-c5NEBa0gbMPcEW8IcZwoIzvqPQUzDRXgRKblQ/w291-h400/03.jpg" width="291" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Foto 3 - </b><i> Graziano di Pietro, prot. 195 c. 19r, 14 aprile 1378, Riccarduccio Signore di Bassano e Silvestro di Monaco una volta Viceconte di Bassano p. 3</i></td></tr></tbody></table><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgONFtGlYwsYmBytYcdZBCf_-JFcSM8AP3e7gXJKhGfsjuRu4uvwx8gMAq_2fIGzVPx6x-d2GISnFvg3TbHxMW_MD8H_VvJW9LrszwKETa0KzNY-G3E95P1zA_cgyGy05iXO9N7tDEmweC4y1NJsLpWjx2p0RCUYZ1nPbxwbhIaAn1vrbb81Y5qRnvbXg/s3500/04.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3500" data-original-width="2467" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgONFtGlYwsYmBytYcdZBCf_-JFcSM8AP3e7gXJKhGfsjuRu4uvwx8gMAq_2fIGzVPx6x-d2GISnFvg3TbHxMW_MD8H_VvJW9LrszwKETa0KzNY-G3E95P1zA_cgyGy05iXO9N7tDEmweC4y1NJsLpWjx2p0RCUYZ1nPbxwbhIaAn1vrbb81Y5qRnvbXg/w283-h400/04.jpg" width="283" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><b>Foto 4 - </b><i>Graziano di Pietro, prot. 195 c. 18v, 14 aprile 1378, Riccarduccio Signore di Bassano e Silvestro di Monaco una volta Viceconte di Bassano p. 2</i></td></tr></tbody></table><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZ-Z3pnIeG6r7CAobnvaJ7U_Fh2RrnZQIUVNGvfirrl2_uO9F6IpYs90etRJVcHvFtLH7iM0y33LMJkSgMcIdYL4A6zYtRob4uWtuiFGvtvO69UTV5BPRtYzOXT1fwyXMOXaQUa17hjRywyzngXf764Azg2UmwVQ-40zBqAxCcVNr3Mn9CIp_NXNSKvQ/s3357/05.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3357" data-original-width="2467" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZ-Z3pnIeG6r7CAobnvaJ7U_Fh2RrnZQIUVNGvfirrl2_uO9F6IpYs90etRJVcHvFtLH7iM0y33LMJkSgMcIdYL4A6zYtRob4uWtuiFGvtvO69UTV5BPRtYzOXT1fwyXMOXaQUa17hjRywyzngXf764Azg2UmwVQ-40zBqAxCcVNr3Mn9CIp_NXNSKvQ/w294-h400/05.jpg" width="294" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Foto 5 - <i>Graziano di Pietro, prot. 195 c. 19r, 14 aprile 1378, Riccarduccio Signore di Bassano e Silvestro di Monaco una volta Viceconte di Bassano p. 3</i></td></tr></tbody></table><p style="text-align: center;"><span style="font-family: inherit;"></span></p></div><div style="text-align: left;"><p><span style="font-family: inherit;"><span style="font-size: medium;">Trascrizione della clausola finale, relativa al Viceconte di Bassano Silvestro di Monaco, del 14 aprile 1378:</span></span></p></div><div style="text-align: left;"><p><span style="font-family: inherit;"><span style="font-size: medium;">"Actum est hoc in castro Vassani in dicta domo presentibus nobile viro Riccarducio ex dominis dicti castri, Iacobo Paltonerii et Silvestro Monaci vicecomite tunc castri Vassani omnibus de castro predicto testibus etc ( = vocatis et rogatis ad predicta)".</span></span></p></div><div style="text-align: left;"><p><span style="font-family: inherit;"><span style="font-size: medium;">Traduzione:</span></span></p></div><div style="text-align: left;"><p><span style="font-family: inherit;"><span style="font-size: medium;">"Atto è questo (rogato) nel castro di Bassano nella detta casa presenti il nobile uomo Riccarduccio dei Signori di detto castro, Giacomo di Paltonerio (procuratore e agente dei fratelli gemelli i Conti Francesco e Nicola degli Anguillara di Capranica) e Silvestro di Monaco Viceconte, una volta ( = tunc), del castro di Bassano, tutti del castro predetto testimoni ecc. ( = chiamati e annotati alle predette cose)".</span></span></p><p><i><span style="font-family: inherit;"><span style="font-size: medium;">(*)</span></span> Presidente del Centro di Studi Storici e Archeologici con sede in Capranica (VT)</i></p><p><span style="font-family: inherit;"><span style="font-size: medium;"> </span></span></p></div><p></p>
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<p class="has-text-align-center" style="text-align: center;">D'ORAZI, Carlo Maria, «<i>La figura del viceconte della famiglia degli Anguillara in Bassano Romano nel XIV secolo</i>», Capranica Storica, 13/05/2022 - URL: <a href="https://www.capranicastorica.it/2022/05/la-figura-del-viceconte-della-famiglia.html">La figura del viceconte della famiglia degli Anguillara in Bassano Romano nel XIV secolo</a></p><p></p>
<p style="text-align: center;"><a href="http://creativecommons.org/licenses/by-nc-sa/4.0/" rel="license"><img alt="Licenza Creative Commons" src="https://i.creativecommons.org/l/by-nc-sa/4.0/88x31.png" style="border-width: 0px; display: block; margin-left: auto; margin-right: auto;" /></a>Questo articolo di <a href="https://www.capranicastorica.it/2022/05/la-figura-del-viceconte-della-famiglia.html" rel="cc:attributionURL">Carlo Maria D'Orazi</a> è distribuito con Licenza <a href="http://creativecommons.org/licenses/by-nc-sa/4.0/" rel="license">Creative Commons Attribuzione - Non commerciale - Condividi allo stesso modo 4.0 Internazionale</a>.</p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4201727664195975785.post-61117481613095116742022-05-05T10:00:00.002+02:002022-05-05T10:00:00.156+02:00Festa di maggio. La festa "delle Grazie" nei ricordi di Giuseppe Morera<p><!--[if gte mso 9]><xml>
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</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: center;"><span style="font-family: "Times New Roman",serif; font-size: 12pt;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjeGJqxSTE8W79N1qBc_x8BAsGRAh3TB0yauNvH2NcdqrNS5GkDAHWGKwQLDOkDKOW3I83bBKyDkPTeAlIYw3LNY8LN2yAUvE7OhChQKHHYte4DW084KsnSGk5qP2_9mhpXHYpTz58Bd-ojfNG_dWBN8hrEJ3C9PUYZ-bwKQCp6RQ5WfQEZwE17alKtw/s1658/24-b7.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1658" data-original-width="1123" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjeGJqxSTE8W79N1qBc_x8BAsGRAh3TB0yauNvH2NcdqrNS5GkDAHWGKwQLDOkDKOW3I83bBKyDkPTeAlIYw3LNY8LN2yAUvE7OhChQKHHYte4DW084KsnSGk5qP2_9mhpXHYpTz58Bd-ojfNG_dWBN8hrEJ3C9PUYZ-bwKQCp6RQ5WfQEZwE17alKtw/w271-h400/24-b7.jpg" width="271" /></a></div><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none;"><span style="font-family: "Times New Roman",serif; font-size: 12pt;">di <i>Giuseppe Morera </i><br /></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none;"><span style="color: #3d85c6;"><b><span style="font-family: "Times New Roman",serif; font-size: 12pt;">In occasione della ripresa delle
tradizioni annuali capranichesi, ferme per due anni a causa delle restrizioni
dovute all’emergenza sanitaria per il covid-19, pubblichiamo questo articolo di
Giuseppe Morera, apparso per la prima volta nel 1983 all’interno del libretto “Tragececo.
Racconti Capranichesi”, riguardante la festa della Madonna delle Grazie.</span></b></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none;"><span style="color: #3d85c6;"><b><span style="font-family: "Times New Roman",serif; font-size: 12pt;"><span></span></span></b></span></p><a name='more'></a><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none;"><span style="font-family: "Times New Roman",serif; font-size: 12pt;"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none;"><span style="font-size: medium;"><span style="font-family: "Times New Roman", serif;">A Capranica la contabilizzazione
delle date che si riferiscono al mese di maggio, non avviene come in tutto il
resto del mondo, specificando il giorno e il mese, oltre naturalmente l'anno.
Si prende invece come punto di riferimento la festività della Madonna delle
Grazie, o meglio della “Madonna de’ Grazie”, come questa sagra, che cade nella
seconda domenica del mese mariano, viene chiamata da tutti, anche da coloro che
anziché il dialetto più o meno accentuato, parlano in perfetta lingua italiana.
Di «Madonne delle Grazie», chiese, località, conventi, ce ne sono in Italia un
numero infinito; la “Madonna de’ Grazie”, è solo quella dei capranichesi tutti;
dei quattromila che risiedono nel paese di nascita e dei quasi duemila emigrati
per la maggior parte a Roma ma anche sparpagliati in tutta la zona centro nord della
penisola. </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none;"><span style="font-size: medium;"><span style="font-family: "Times New Roman", serif;">Si dice dunque correntemente prima,
oppure dopo, oppure per la Madonna de' Grazie, per indicare una data - prima, o
dopo - la seconda domenica di maggio o con questa coincidente. </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none;"><span style="font-size: medium;"><span style="font-family: "Times New Roman", serif;">Nel 1958, la seconda domenica di
maggio era il giorno undici. Una bellissima giornata di sole di piena primavera,
quando il mare di verde che circonda Capranica assume lo smalto lucente delle
foglie nuove ed è sottolineato dalle macchie gialle dei fiori di ginestra, dal
blu scuro dei gigli selvatici che crescono ai bordi delle strade incassate, e
dalle manciate di candida neve dei biancospini in fiore.</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none;"><span style="font-size: medium;"><span style="font-family: "Times New Roman", serif;">Dalle undici a mezzogiorno di quel
giorno, centinaia e centinaia di automobili uscite da Roma per la scampagnata domenicale furono
fermate all'altezza della sorgente dell'acqua minerale di S. Rocco dando luogo alla
formazione di una coda chilometrica che arrivava fino a Sutri. Gli
automobilisti che erano in testa al lunghissimo serpente di macchine, seccati
della non prevista interruzione, e discesi dalle vetture per rendersi conto di
quanto accadeva si, trovarono di fronte, piacevolissimamente sorpresi, a uno
spettacolo affascinante. In mezzo a una folla di gente in festa, accompagnato dalla
marziale cadenza delle note di banda musicale e dai primi colpi di bombe di un
fuoco d'artificio scendeva lentamente un colorato corteo che richiamava una
visione d'altri tempi.</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none;"><span style="font-size: medium;"><span style="font-family: "Times New Roman", serif;">Per chi venga da Roma, percorrendo
la Cassia, la vista dell'abitato della Capranica medievale arroccato sulla
parte rivolta a sud del lungo promontorio tufaceo sul quale sorge, si svela
all'improvviso nel punto in cui la stretta gola che dalle valli di Sutri adduce
alle sorgenti di S. Rocco si slarga in una conca dominata dal paese.</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none;"><span style="font-size: medium;"><span style="font-family: "Times New Roman", serif;">L'antica strada che staccandosi dalla
Cassia risale il colle di Capranica, supera il forte dislivello iniziale con alcuni
stretti tornanti - oggi fiancheggiati da robusti muraglioni che ne impediscono il
franamento a valle - il cui tracciato è identico a quello di circa mille anni
orsono. Lungo questi tornanti appollaiata ai parapetti si accalcava una folla
strabocchevole. In mezzo alla folla andava snodandosi lentamente una lunga processione
di uomini indossanti un saio dai colori vistosi: una lunga veste bianca con un
mantelletto di panno azzurro detto mozzetta. Se non fosse stata per la presenza
di preti in cotta candida sopra la veste nera, che precedevano l'immagine della
Madonna, vestita splendidamente di seta e oro in biancoazzurro si sarebbe
potuta scambiare la processione per una sfilata in costume. Bandiere azzurre,
orifiamma<a href="#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman", serif; line-height: 115%;">[1]</span></span></span></span></a>,
grandi ceri colorati a striscioni banco azzurri a spirale, lampioni settecenteschi,
le solenni insegne del comando dei maggiorenti della Confraternita, il Priore e
i Deputati, facevano apparire la sfilata più un corteo regale che una celebrazione
religiosa.</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none;"><span style="font-size: medium;"><span style="font-family: "Times New Roman", serif;">Quando la testa del corteo sacro
incomincia la discesa del primo tornante i colpi delle bombe al fosforo si
infittiscono. E’ questo il gran momento del regista dello sparo. Il successo
della manifestazione infatti poggia su tre elementi. Primo: il concorso di
pubblico. E’ scontata la presenza totalitaria della popolazione locale; quello
che conta è la quantità degli «emigrati» con i membri delle loro famiglie ed i
conoscenti che affluiscono da fuori. Secondo: il numero dei confratelli che
prendono parte alla processione; il dato indica non solo la percentuale di
coloro che «si vestono», ma anche l'incremento dei nuovi aderenti. Terzo: la gradualità
e l'intensità dello sparo. Occorre ben calcolarne la durata che va,
dall'apparizione della testa del corteo sul primo tornante fino all'ingresso
del simulacro della Madonna dentro la chiesetta a Lei dedicata, e graduarne
sapientemente il «crescendo». La manovra del fuoco è condotta con criteri
artigliereschi; si conosce in anticipo il tempo medio della durata del fuoco e
si sa perfettamente il quantitativo del munizionamento; occorre adattare il
tempo medio previsto al tempo reale del momento, e regolare l'intensità dei
colpi in modo tale che la concentrazione massima avvenga negli ultimi trenta metri
di percorso. </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none;"><span style="font-size: medium;"><span style="font-family: "Times New Roman", serif;">Aprono il fuoco le raffiche
rabbiose dei mortaretti (nel gergo locale: castagnole) piazzate su un fronte di
circa trecento metri in modo da ottenere un effetto stereofonico tale che
questa pacifica e ingenua manifestazione di gioia riesca a simulare un
combattimento in cui la parola è alla mitragliatrice. Tra le sventagliate dei
nastri di castagnole si inseriscono sempre più frequenti i colpi dalle bombe
prima con salve di batteria poi con salve di gruppi di batterie di dozzine e dozzine
di colpi. </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none;"><span style="font-size: medium;"><span style="font-family: "Times New Roman", serif;">C'è un momento culminante dello
sparo ed è quello di cui il simulacro della Madonna issato sopra a una grossa
portantina di legno laccato in bianco e oro di stile «impero» portata a spalla
da quattro muscolosi confratelli, si appresta ad attraversare il nastro d'asfalto
della statale e a percorrere gli ultimi metri della spianata davanti alla «sua»
Chiesa. Le mitragliatrici sembrano impazzite. I brevissimi intervalli tra nastro
e nastro di castagnole appesi a gratelle di incannucciata cui rapidissimi gli
artificieri danno fuoco incendiando un brevissimo tratto di miccia, vengono saldati
dal lungo ininterrotto multiplo rosario di colpi sgranati del «gelso». Questo
bellissimo esemplare di moracea che cresce rigoglioso perché affonda le sue radici
nel terreno fertile e umido del fondovalle si trova a un estremo del piazzale
davanti alla chiesa. La vigilia della festa le sue fronde ricche di nuove
foglie lucenti vengono inghirlandate con lunghe filze di castagnole che le
avvolgono completamente, anzi le irretiscono entro una fitta trama che sfrutta
sapientemente l'impalcatura dei rami. Le verdi chiome agghindate dagli
innumerevoli fili di perle delle castagnole fanno sembrare la pianta una
giovane sposa pronta per la cerimonia; in realtà è vestita a festa per il suo
sacrificio. </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none;"><span style="font-size: medium;"><span style="font-family: "Times New Roman", serif;">Quando il regista del fuoco ordina
il «ciak», per l’incendio del «gelso» è implicito l'ordine di vuotare il sacco
di tutte le munizioni disponibili. Il fuoco dello sbarramento aereo delle bombe
al fosforo fa tintinnare i vetri delle finestre dell'abitato e delle più
lontane case sparse, mentre la terra trema per l'incalzare delle esplosioni
degli ottocenteschi mortari allineati in lunga fila sul margine del tratto di
Cassia verso la Fonte.</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: center;"><span style="font-size: medium;"><span style="font-family: "Times New Roman", serif;"></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2I7Ws_4PR-9t4QKMl3YgjqzjtYb8UJX3y5MciA80XMDYX0k_FmE2FWkzDqRw7FGwnfVGEpjwIUmX7Wm8PL0DRfMy19ZDi82_mzHf1aORr3YNXP7Ud5okrUuYLeh1dqqNwujoQFg6anQ-0RA0jLPRkYhQCLUGBWWlN8djFnOkfrwqyiunbng3yGcYn4w/s1800/2013-05-12%2012.17.41.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1195" data-original-width="1800" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2I7Ws_4PR-9t4QKMl3YgjqzjtYb8UJX3y5MciA80XMDYX0k_FmE2FWkzDqRw7FGwnfVGEpjwIUmX7Wm8PL0DRfMy19ZDi82_mzHf1aORr3YNXP7Ud5okrUuYLeh1dqqNwujoQFg6anQ-0RA0jLPRkYhQCLUGBWWlN8djFnOkfrwqyiunbng3yGcYn4w/w400-h265/2013-05-12%2012.17.41.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Un momento dello "sparo" del gelso</i><br /></td></tr></tbody></table><p></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none;"><span style="font-size: medium;"><span style="font-family: "Times New Roman", serif;">Ci piace francamente ammettere che
lo «sparo», dei mortari (anzi dei «mortali» = strumenti apportatori di morte
come più correttamente sono chiamati in dialetto e come si chiamavano nel
cinquecento quando furono inventati), è la parte dello spettacolo pirotecnico
che ci ha attratto e ci attrae di più di qualsiasi sofisticato altro tipo di
fuoco di artificio. Da ragazzo delle elementari non so a quanti accorgimenti ricorrevo
e quante pazienti attese ero disposto a sopportare per assistere alla
preparazione delle cortissime bocche da fuoco impiegate non per lanciare
proiettili, ma per trasmettere il brivido provocato dal formidabile ma innocuo
colpo agli spettatori tenuti a ragionevole distanza di sicurezza. Conoscevo a
perfezione la tecnica del caricamento: uno strato di polvere nera viene spaso
sul fondo; poi sull'esplosivo si immette del calcinaccio; ben compresso, con
una zeppa di legno, fin sull'orlo degli enormi bicchieri di bronzo. </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none;"><span style="font-size: medium;"><span style="font-family: "Times New Roman", serif;">Avevo seguito mille volte
attentamente la preparazione dei <i>mortali </i>effettuata dal rude manovale
che per un paio di volte all'anno si trasformava in artificiere e di cui
ricordo perfettamente cognome ed il nome con il quale noi ragazzi
rispettosamente lo interpellavamo per chiedergli il permesso di portargli sotto
mano i<i> mortali</i> vuoti<i> </i>da caricare. Tutti<i> </i>gli altri (ed
anche noi ragazzi non in sua presenza) lo chiamavano con il soprannome, «<i>Bracò</i>»;
molti capranichesi di una certa età se lo ricorderanno.</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none;"><span style="font-size: medium;"><span style="font-family: "Times New Roman", serif;">Le nostre simpatie per i <i>mortali
</i>non traggono origine soltanto dal fatto che ci permettono il nostalgico ritorno
sui favolosi luoghi della memoria dell'infanzia e dell'adolescenza, o, motivo
più che valido, perché la loro presenza nello «sparo», lega la manifestazione moderna
al1a tradizione ottocentesca della festa (nei manifesti di cento anni fa
campeggiava «il fragoroso sparo dei mortari») assicurandone la continuità nel necessario
anzi indispensabile processo di aggiornamento. Una volta preparati i mortali
vanno disposti in lunga fila a giusto intervallo l'uno dall'altro, con i forellini
del fondo rivolti tutti dalla stessa parte. I gruppi dei mortali da far saltare
in aria viene stabilito all'ultimo momento per la necessità di sincronizzazione
con lo svolgersi della processione e con gli altri elementi dello sparo. Anche
lo stradello di polvere nera lungo i<i> </i>mortali viene steso rapidamente e
acceso all'ultimo momento. Ma non sempre tutti gli ordigni esplodono. Se il
rosario delle esplosioni si interrompe tutti gli occhi delle migliaia di
spettatori sono fissi su «Bracò» che in pochi secondi deve decidere se aspettare
qualche attimo in attesa dello scoppio, o rinforzare subito lo stradello per
appiccargli immediatamente il fuoco.</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none;"><span style="font-size: medium;"><span style="font-family: "Times New Roman", serif;">Non c'è telecomando che tenga. La «suspence»,
che ci regala (o ci risparmia) il «Bracò» di turno, l'ennesima dimostrazione,
cioè, della supremazia dell'uomo su tutti i marchingegni che esso inventa, e
poi la tradizione, il folklore, sono i motivi della nostra irresistibile
simpatia per i «mortali» l'elemento più bello e più caratteristico dello «sparo».</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none;"><span style="font-size: medium;"><span style="font-family: "Times New Roman", serif;">Quell'undici maggio 1958 era la centocinquantesima
volta che la stupenda processione si ripeteva. La Confraternita di Maria SS.
delle Grazie solennizzava quel giorno il compimento del terzo mezzo secolo di vita,
essendo stata fondata nei primi mesi dell'anno 1808. Un anno di terribile crisi
nella storia della Chiesa e soprattutto dello Stato temporale. Tre anni prima Napoleone
aveva fatto occupare Ancona, e in seguito anche Civitavecchia. Allo scadere del
1807 l'occupazione era stata estesa alle provincie di Urbino, Macerata, Fermo e
Spoleto. Ai primi del gennaio 1808 la situazione precipita. Due eserciti
napoleonici: quello del generale Miollis dalla Toscana e quello del generale Lemarois
da Ancora muovono su Roma e la occupano il 2 febbraio. Il comandante delle
truppe d'invasione, generale Miollis, ha l'ordine di procedere al graduale smantellamento
</span><span style="font-family: "Times New Roman", serif;">silenzioso </span><span style="font-family: "Times New Roman", serif;">dell'Amministrazione
pontificia. Pio VII protesta. Sarà arrestato nei suoi appartamenti al Quirinale
nottetempo e deportato nel luglio del successivo anno.</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: center;"><span style="font-size: medium;"><span style="font-family: "Times New Roman", serif;"></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYHq6BL1Fl3jfuk5S9Pq0KfG-NizvHd92sdQL0atr_DJJBiz47S77n8Wo8-itTyFDNTR0G1t6863LZR5FYWSp0ONePoqDSrTZ_4gv84xLG0dAn2lG1kLTKOtwyZhIW0mTqMVUhHkvsm3DKaEj5AVx7TuxO9BpkBZ3tkGQ4GkyTD6v3JoqY4sVPh0_XFA/s797/24c-b7.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="797" data-original-width="686" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYHq6BL1Fl3jfuk5S9Pq0KfG-NizvHd92sdQL0atr_DJJBiz47S77n8Wo8-itTyFDNTR0G1t6863LZR5FYWSp0ONePoqDSrTZ_4gv84xLG0dAn2lG1kLTKOtwyZhIW0mTqMVUhHkvsm3DKaEj5AVx7TuxO9BpkBZ3tkGQ4GkyTD6v3JoqY4sVPh0_XFA/w344-h400/24c-b7.jpg" width="344" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Insegna della Confraternita che i confratelli portano cucita sulla mozzetta</i><br /></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none;"><span style="font-size: medium;"><span style="font-family: "Times New Roman", serif;">Come tutte le confraternite, quella
capranichese di Maria SS. delle Grazie, sorta nel pieno di una situazione di
sfascio dello Stato della Chiesa perseguiva fini di pietà, di culto e di
beneficenza. Ma accanto a quello istituzionale, ebbe lo scopo non dichiarato di
organizzare «la resistenza» (in un primo tempo passiva ma<b> </b>non per questo
meno efficace) all'oppressione dall'esterno, stringendo nelle file
dell'associazione religiosa tutti quei cittadini che non se la sentivano di
assistere al succedersi degli avvenimenti come rassegnati impotenti spettatori.
I confratelli delle Grazie, terzanotti contadini artigiani (il patriziato
terriero venne, in numero esiguo, dopo) erano soprattutto uomini «nuovi» cioè
gli esponenti della nuova mentalità espressi dalle vecchie classi contadine e
dalla vivace classe emergente di allevatori e di artigiani. E' l'antico filone
pionieristico dei fondatori di Capranica che riaffiora. Mortificato dal paternalistico
immobilista regime teocratico, ne diventa in questa circostanza, di fronte allo
straniero, il vivace difensore. Lo stesso spirito entusiastico e fattivo emerge
qualche anno dopo il mezzo secolo di vita della Confraternita, al tempo della
demolizione (1860) e della ricostruzione (1866-1886) della Chiesa di S. Maria. Di
tutte le confraternite chiamate alla contribuzione di spese per l'erezione
della nuova Chiesa, quella delle Grazie si distinse per il pagamento puntuale e
anticipato della quota stabilita dal presidente della Congregazione della
Fabbrica Vicario Foraneo don Francesco Petrucci, nonché per il maggior numero
di prestazioni di lavoro volontario e gratuito dei suoi Confrati e loro
familiari. Nella fase finale della costruzione, che il vescovo Giuseppe Maria
Costantini, con inflessibile volontà, voleva portare a termine a ogni costo fu necessario
ricorrere al credito; all'esigenza venne incontro generosamente la
Confraternita delle Grazie con un prestito, (in aggiunta alle contribuzioni ordinarie)
di lire 11.264,97, cifra a quell'epoca notevolissima. Alla scadenza, l° aprile
1886, ne fu chiesta la restituzione<b>. </b></span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none;"><span style="font-size: medium;"><span style="font-family: "Times New Roman", serif;">Monsignor Costantini convocò il
Priore che era Tommaso Speranza e lo pregò di indire una congregazione generale
per il 21 di quel mese. Sarebbe intervenuto Egli stesso. L'assemblea registrò
il tutto esaurito. Il Vescovo, di nobile e ricchissima famiglia di
Acquapendente aveva una cultura umanistica eccezionale era oratore
affascinante; del suo mandato aveva un concetto altissimo ed anche nelle forme
esteriori non abdicava a nessuna delle prerogative ch'egli riteneva inerenti
alla sua dignità. Dopo il riguardoso saluto del Priore, rivolse all'assemblea
un discorso ch'era un inno all'iniziativa dei capranichesi di erigere il nuovo Tempio
ed un vivissimo elogio del determinante contributo dato dalla Confraternita, «alla
quale, ebbe cura di sottolineare, la Chiesa serve anzitutto». Nessun accenno al
debito: il Priore Speranza volle anticipare generosamente la proposta - che sottopose
all'assemblea e fu votata all'unanimità - di ridurlo alla cifra tonda di lire
10.000. Il Vescovo lanciò un'occhiata compiaciuta al tesoriere canonico don
Filippo Speranza. Questi disse che poteva rimborsare immediatamente mille lire.
Restavano 9000 lire da pagare, ma 1.305 occorrevano per l'altare della Madonna,
e quindi il residuo debito era di lire 7.695 che sarebbe stato estinto in piccole
rate. </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none;"><span style="font-size: medium;"><span style="font-family: "Times New Roman", serif;">Le celebrazioni del 150°
anniversario della Confraternita, posero sotto gli occhi di tutti, anche dei
più distratti una nuova realtà capranichese. </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none;"><span style="font-size: medium;"><span style="font-family: "Times New Roman", serif;">Le altre gloriose più antiche e più
ricche confraternite, stentavano ad evitare la decadenza solo in virtù del
coraggio e dell'iniziativa innovatrice di alcuni Priori. Quella delle Grazie,
invece, rivelava un non previsto imponente sviluppo. La ripresa riusciva a
contemperare la tradizione - derivata dalla plurisecolare appartenenza di
Capranica allo Stato della Chiesa - che misurava l'intensità della fede dal
fasto e dal cerimoniale delle manifestazioni (leggi: riuscita delle
processioni), con altre iniziative che facendo perno sulla ricorrenza religiosa
si inserivano nella marcia di progresso che il paese aveva iniziato. La
raccolta dei fondi per le manifestazioni del 3° cinquantenario fu notevolissima.
La popolazione di Capranica, dopo la fine del secondo conflitto mondiale si era
scrollata di dosso il lungo torpore del ventennio precedente, aveva riscoperto il
valore dell'iniziativa, si era buttata a capofitto nella trasformazione della
coltura della vite, divenuta antieconomica, in quella più redditizia del nocciolo,
e aveva </span><span style="font-family: "Times New Roman", serif;">incominciato </span><span style="font-family: "Times New Roman", serif;">a costruire
freneticamente le sue nuove moderne abitazioni. La sfarzosa celebrazione del
cinquantenario, presenta una faccia, tra le più significative, del boom
capranichese della fine degli anni cinquanta.</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none;"><span style="font-size: medium;"><span style="font-family: "Times New Roman", serif;"></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBGoSLr8uNTJ_OMGXxWnVHUtLl1KZeDH0fVoJm3cdptDxfaFE7S71LTp315pyF4Lr--8974FtmrEwIX93Ove6MGpDrphRThFUK7dOxafxVgOc-xnTxW7gTmGhKo006tYIGGqgz8-s4dLR8UyfGqKKuCMnzUYLQUXzES8mqhfwuM012Nh5T3-Prtm7NgQ/s1200/175_mgrazie.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="969" data-original-width="1200" height="323" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBGoSLr8uNTJ_OMGXxWnVHUtLl1KZeDH0fVoJm3cdptDxfaFE7S71LTp315pyF4Lr--8974FtmrEwIX93Ove6MGpDrphRThFUK7dOxafxVgOc-xnTxW7gTmGhKo006tYIGGqgz8-s4dLR8UyfGqKKuCMnzUYLQUXzES8mqhfwuM012Nh5T3-Prtm7NgQ/w400-h323/175_mgrazie.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Un momento del passaggio della processione per le vie del borgo, in occasione della festa del 175° anniversario della fondazione della Confraternita, domenica 8 maggio 1983</i><br /></td></tr></tbody></table><span style="font-size: medium;"><span style="font-family: "Times New Roman", serif;"><br />Quest'anno, 1983, la Confraternita
delle Grazie celebra il 175° annuale della sua fondazione. Dal 1958 ad oggi il cammino
in avanti non si è interrotto. Molte iniziative sono state coronate da successo,
(ricordiamo sopra tutte le altre la costruzione di tombe per i confrati), i
molti lavori di ripristino e restauro della chiesetta rurale sono stati portati
a termine. Priore, da molti anni, è Sante Oroni, il quale dedica tutto il suo
tempo e tutte le sue energie al governo della Confraternita non esitando a
rimetterei del proprio quando occorre. Ha due ottimi collaboratori dinamici e fattivi,
Giovanni Morera Vice Priore e Luigi Puccica, segretario. </span></span><p></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none;"><span style="font-size: medium;"><span style="font-family: "Times New Roman", serif;">La festa delle Grazie ha accentuato
in questi ultimi anni, il carattere di «sagra capranichese», di festoso raduno
di compaesani vicini e lontani, di motivo di propulsione culturale e di
richiamo turistico. Si è tenuta lontana dal pericolo di cadere in manifestazioni
di maniera che puzzano lontano un miglio di imitazione di vieti modelli e di
provincialismo. </span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none;"><span style="font-size: medium;"><span style="font-family: "Times New Roman", serif;">Certo, l'aggiornamento e
l'ammodernamento delle manifestazioni della «sagra», sono condizioni
indispensabili per assicurarne la continuità e il successo. Coloro che hanno o
avranno responsabilità organizzative debbano avere coscienza dei formidabili «atouts»<a href="#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman", serif; line-height: 115%;">[2]</span></span></span></span></a>,
di cui dispongono in partenza: lo scrigno, vale a dire la bellezza dello
scenario dell'ambiente naturale e la possibilità di contare su una corale
partecipazione di popolo.</span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; mso-layout-grid-align: none; text-align: justify; text-autospace: none;"><span style="font-family: "Times New Roman",serif; font-size: 12pt;">(Giuseppe Morera, <i>Festa di maggio</i>, in <i>Tragececo. Racconti capranichesi</i>, Roma 1983, pp. 71-81) <br /></span></p>
<div style="mso-element: footnote-list;"><br clear="all" />
<hr align="left" size="1" width="33%" />
<div id="ftn1" style="mso-element: footnote;">
<p class="MsoFootnoteText"><a href="#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span face=""Calibri",sans-serif" style="font-size: 10pt; line-height: 115%; mso-ansi-language: IT; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[1]</span></span></span></span></a>
Stendardo con le insegne della Confraternita (n.d.r.)</p>
</div>
<div id="ftn2" style="mso-element: footnote;">
<p class="MsoFootnoteText"><a href="#_ftnref2" name="_ftn2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span face=""Calibri",sans-serif" style="font-size: 10pt; line-height: 115%; mso-ansi-language: IT; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[2]</span></span></span></span></a>
Dal francese = risorse, punti di forza. Giuseppe Morera era stato militare di
carriera e venne collocato a riposo con il grado di generale. Il suo lessico
risente quindi di alcune terminologie militaresche (n.d.r.)</p>
</div>
</div>
<hr class="wp-block-separator" /><p>
</p><p class="has-text-align-center" style="text-align: center;"><b>Citare questo documento / Citer ce document / Cite this document</b></p>
<p class="has-text-align-center" style="text-align: center;">MORERA, Giuseppe, «Festa di maggio. La festa "delle Grazie" nei ricordi di Giuseppe Morera», Capranica Storica, 05/05/2022 - URL: <a href="https://www.capranicastorica.it/2022/05/festa-di-maggio-la-festa-delle-grazie.html">https://www.capranicastorica.it/2022/05/festa-di-maggio-la-festa-delle-grazie.html</a></p><p></p>
<p style="text-align: center;"><a href="http://creativecommons.org/licenses/by-nc-sa/4.0/" rel="license"><img alt="Licenza Creative Commons" src="https://i.creativecommons.org/l/by-nc-sa/4.0/88x31.png" style="border-width: 0px; display: block; margin-left: auto; margin-right: auto;" /></a>Questo articolo di <a href="https://www.capranicastorica.it/2022/05/festa-di-maggio-la-festa-delle-grazie.html" rel="cc:attributionURL">Giuseppe Morera</a> è distribuito con Licenza <a href="http://creativecommons.org/licenses/by-nc-sa/4.0/" rel="license">Creative Commons Attribuzione - Non commerciale - Condividi allo stesso modo 4.0 Internazionale</a>.</p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4201727664195975785.post-64934143720795265232022-04-28T10:00:00.505+02:002022-04-29T20:10:04.178+02:00La cappella del SSmo Crocifisso, gli affreschi di Luigi Fontana e un'emissione filatelica del Sovrano Militare Ordine di Malta<p><span face="Arial, Helvetica, sans-serif"></span></p><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5VfiqOUJ8a0w6cLcZlDfIMJ5YhvG8Y_WCIAJ0f7xz4ueVJXK1tQVMo6G5PnPKj9Qjf7BvBY0PJ7ja6bo79XCqShOG_zTg8htHxN7iYXhfePbNn4vGR63ZRVDgN_jZl0dozdPHkbEa7VFFMC_7YRV_aaRpYfzYWPf86OpkvDr5VsZMJq4m8ZTDO6SQUg/s708/bollo439-full.jpg"><img border="0" data-original-height="708" data-original-width="500" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5VfiqOUJ8a0w6cLcZlDfIMJ5YhvG8Y_WCIAJ0f7xz4ueVJXK1tQVMo6G5PnPKj9Qjf7BvBY0PJ7ja6bo79XCqShOG_zTg8htHxN7iYXhfePbNn4vGR63ZRVDgN_jZl0dozdPHkbEa7VFFMC_7YRV_aaRpYfzYWPf86OpkvDr5VsZMJq4m8ZTDO6SQUg/w453-h640/bollo439-full.jpg" width="453" /></a></div><div class="separator" style="clear: both; text-align: center;"><span face="Arial, Helvetica, sans-serif"></span></div><p></p><!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="35" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
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<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
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<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
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<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
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<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
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<w:LsdException Locked="false" Priority="21" QFormat="true"
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<w:LsdException Locked="false" Priority="31" QFormat="true"
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<w:LsdException Locked="false" Priority="32" QFormat="true"
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<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
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<p class="MsoNormal" style="text-align: left;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="line-height: 115%;"><span style="font-size: small;">di <i>Fabio Ceccarini</i> </span><br /></span></span></span></p><p class="MsoNormal" style="text-align: left;"><b><span style="color: #0b5394;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="line-height: 115%;">L’annuale festa della
Santa Croce, officiata tradizionalmente la prima domenica di maggio dall’antichissima Arciconfraternita capranichese del
SSmo Sacramento, ci da’ lo spunto per illustrare brevemente le decorazioni
pittoriche presenti nella prima cappella a destra della chiesa di San Giovanni
Evangelista.</span></span></span></span></b></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="line-height: 115%;"><span></span></span></span></span></p><a name='more'></a><p></p><p class="MsoNormal" style="text-align: left;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="line-height: 115%;">E’ i</span><span style="line-height: 115%;">n questa cappella,
infatti, che viene conservato il crocifisso ligneo del xv sec.<a href="#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[1]</span></span></span></span></a>,
che ogni anno viene trasportato in processione per le vie del paese dalla suddetta
confraternita laicale. A questa, la cappella venne affidata nel 1831 dal
Capitolo dei Canonici della Collegiata di San Giovanni durante i lavori di costruzione
della chiesa – a quel tempo ancora in corso almeno per le decorazioni e finiture
dell’interno dell’aula – per celebrare le proprie funzioni religiose:</span></span></span></p><span style="font-family: inherit;"><span style="font-size: medium;">
</span></span><p class="MsoBodyText2" style="text-align: left;"><span style="font-family: inherit;"><span style="font-size: medium;">“…<i>cioè 1) l'Officio de' Morti in l'Ottava, 2) il Vespero, e Messa cantata
nella Festa della SSma Croce, ed 3) altra Messa cantata coll'Officio nella
Festa della Madonna SSma di Loreto, coll’obbligo ancora ingiunto, che potranno
godere di queste concessioni finché sarà terminato l’Oratorio esistente sotto
detta Chiesa, e che fin d’adesso non possino vestirsi nella Sagrestia delli
Sig.ri Canonici suddetti, e sieno tenuti a riconsegnare l'Altare sud[dett]o
nella maniera che lo ricevono. L'Altare, che provvisoriamente le si assegna è
quello a mano destra, allorquando si entra nella Porta grande della Chiesa</i>…”<a href="#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[2]</span></span></span></span></a>.</span></span></p><span style="font-family: inherit;"><span style="font-size: medium;">
</span></span><p class="MsoBodyText2" style="text-align: left;"><span style="font-family: inherit;"></span></p><span style="font-family: inherit;"><span style="font-size: medium;">
</span></span><p class="MsoBodyText2" style="text-align: center;"><span style="font-family: inherit;"><span style="font-size: medium;"></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyEtwGo_PJWz7RWK53q3KDLW1ouj5f02mbFazjDqdRwZEIksGs9F-V3lLYyY4Qk4EqS2wciUgIU0I5iNbItOLZOgqJZpRS5WXlOnYm1OirTtCFboyYtUGJdEP0H09QLQLEa0rJe6hn8O3K1bBXspO91qjQXD152k_nfgsxe3Nj3v_EKBL9brzeJKcKhQ/s3507/crocifisso1933.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3507" data-original-width="2345" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyEtwGo_PJWz7RWK53q3KDLW1ouj5f02mbFazjDqdRwZEIksGs9F-V3lLYyY4Qk4EqS2wciUgIU0I5iNbItOLZOgqJZpRS5WXlOnYm1OirTtCFboyYtUGJdEP0H09QLQLEa0rJe6hn8O3K1bBXspO91qjQXD152k_nfgsxe3Nj3v_EKBL9brzeJKcKhQ/w268-h400/crocifisso1933.jpg" width="268" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Il crocifisso ligneo di San Giovanni, issato sulla macchina processionale di San Terenziano, in occasione del trasporto eccezionale del 1933.</i><br /></td></tr></tbody></table><p></p><p class="MsoBodyText2" style="text-align: left;"><span style="font-family: inherit;"><span style="font-size: medium;">Davanti
all’altare della cappella, in basso, su una lastra di marmo del pavimento, è l’iscrizione: </span></span></p><span style="font-family: inherit;"><span style="font-size: medium;">
</span></span><p class="MsoBodyText2" style="text-align: left; text-indent: 35.4pt;"><span style="font-family: inherit;"></span></p><span style="font-family: inherit;"><span style="font-size: medium;">
</span></span><p align="center" class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: center;"><span style="font-size: large;"><span style="font-family: inherit;"><span style="font-variant: small-caps;">anno jubilaei mcmiii</span></span></span></p><p class="MsoNormal"><span style="font-family: inherit;"><span style="font-size: medium;"><span>ed è un riferimento al Giubileo Costantiniano </span></span><span style="font-size: medium;">indetto da Papa Pio X e celebrato dal 30 marzo all’8
dicembre 1913, in occasione del XVI centenario dell’Editto di Costantino che sancì la liberta del culto cristiano nell'Impero Romano. Per la prima
volta dopo 16 secoli si festeggiò, quindi, la vittoria di Costantino su Massenzio al
Ponte Milvio (312) e la pubblicazione dell’Editto di Milano (313). </span></span></p>
<span style="font-family: inherit;"><span style="font-size: medium;">
</span></span><p class="MsoBodyText2" style="text-align: left;"></p><span style="font-family: inherit;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="text-align: center;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="line-height: 115%;"></span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="line-height: 115%;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvp0LJlbzrxOcRYcEn4Ytb13r3ArjqdzeCO8ZCsBuWe-aURQAaIKtz0h4BztzP5iwomnb5Ke3VrKB73z44pU2W7W_5rL6mWb4-NhViPfZlnoFJt-bOEuz12GIfsjIZyI2AvYwF8JKID4SXuGk93g_AIugzCHJLAr1jcFHokSiGvPzo4nndsklICU9UJQ/s1348/AD%20MCMXIII.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1348" height="356" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvp0LJlbzrxOcRYcEn4Ytb13r3ArjqdzeCO8ZCsBuWe-aURQAaIKtz0h4BztzP5iwomnb5Ke3VrKB73z44pU2W7W_5rL6mWb4-NhViPfZlnoFJt-bOEuz12GIfsjIZyI2AvYwF8JKID4SXuGk93g_AIugzCHJLAr1jcFHokSiGvPzo4nndsklICU9UJQ/w400-h356/AD%20MCMXIII.jpg" width="400" /></a></span></span></span></div><p></p><p class="MsoNormal" style="text-align: left;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="line-height: 115%;">Sopra l’altare è installata
una imponente macchina barocca di ragguardevoli dimensioni (misura
7,00 mt. di altezza per 3,50 di larghezza), originariamente di proprietà della
stessa arciconfraternita del SS. Sacramento, come riporta il libro Capitolare
della Collegiata alla data del 24 luglio 1830:</span></span></span></p><span style="font-family: inherit;"><span style="font-size: medium;">
</span></span><p class="MsoBodyText2" style="text-align: left;"><span style="font-family: inherit;"><span style="font-size: medium;"><i>“…I
membri componenti della Ven. Confraternita del SS. Sagramento in Capranica,
hanno umiliato supplica a Sua Signoria Illma, e Revma Mons.r Vescovo Anselmo
Basilici perché provvedendo i medesimi un elegante altare dorato venga questo
situato in una delle quattro cappelle della Chiesa di San Giovanni Evangelista
e la prelodata Sua Signoria Illma ne richiede il parere al nostro Capitolo. E a
tale effetto furono raccolte le V.S i voti bianchi furono sei e neri uno solo
per cui rimase approvata la richiesta…”</i><span style="font-family: inherit;"><a href="#_ftn3" name="_ftnref3" title=""><sup><span><sup><span style="line-height: 115%;">[3]</span></sup></span></sup></a></span><i>.</i></span></span></p><span style="font-family: inherit;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="text-align: justify;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="line-height: 115%;"></span></span></span></p><span style="font-family: inherit;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="text-align: left;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="line-height: 115%;">La macchina è realizzata
in legno intagliato dorato e dipinto su basi a foglie d’acanto su fondo scuro ad
imitazione di intarsio. Poggiate su tre plinti con rilievi vegetali dorati, includenti
un calice con l’ostia, si ergono in entrambi i lati tre colonne tortili e
dorate, scanalate per un terzo e per il resto decorate da tralci di rose in
rilievo, che sostengono capitelli corinzi. Sulla trabeazione aggettante è
riportata l'iscrizione “<i>o bone Jesu salva nos</i>”. Conclude la composizione un’edicola
con timpano spezzato e volute laterali che terminano in due cornucopie, mentre al centro è raffigurato un calice con l'ostia, rimando al SSmo Sacramento, titolo della Confraternita. L'esuberanza
e la profusione dei motivi decorativi, la ricchezza dell'insieme degli elementi
architettonici, dei rilievi e degli affreschi che completano la cappella,
concorrono ad un unico effetto scenografico che ha lo scopo di stupire chi guarda e condurlo, attraverso la strabordante bellezza, direttamente a Dio<a href="#_ftn4" name="_ftnref4" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[4]</span></span></span></span></a>.</span></span></span></p><p class="MsoNormal" style="text-align: center;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="line-height: 115%;"></span></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfPv_BALr1ReHlB8K3kcVKRuUtGkfTjU_A9gUeCD_VYcEdHvFKLwrfe_3k8sj9u0ugA_nJrQWhZc3w9qLjOM5GizTh5x7kz-AJrkXo88gTj9ITObwEglSEaE2LiHYVwM0o-dyKuEBZ2-N7ym8XUO1s1Qwj0GlMEsCwhelhrnlDf24ACmzl-PKEbS8Meg/s1800/Cappella%20Crocifisso.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1800" data-original-width="1200" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfPv_BALr1ReHlB8K3kcVKRuUtGkfTjU_A9gUeCD_VYcEdHvFKLwrfe_3k8sj9u0ugA_nJrQWhZc3w9qLjOM5GizTh5x7kz-AJrkXo88gTj9ITObwEglSEaE2LiHYVwM0o-dyKuEBZ2-N7ym8XUO1s1Qwj0GlMEsCwhelhrnlDf24ACmzl-PKEbS8Meg/w426-h640/Cappella%20Crocifisso.jpg" width="426" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Altare del SSmo Crocifisso</i>, Capranica, Duomo di San Giovanni Evangelista<span style="font-family: inherit;"><span style="font-size: medium;"><span style="line-height: 115%;"> </span></span></span></td></tr></tbody></table><p></p><p class="MsoNormal" style="text-align: left;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="line-height: 115%;">Ma sono proprio gli
affreschi che abbelliscono le pareti e la volta,
l’oggetto del nostro interesse. Essi riproducono scene tratte dalle t</span><span role="presentation" style="transform: scaleX(0.989814);">radizioni orali sulla
Santa Croce portate in Occidente dai pellegrini della Terra Santa, e avvalorate </span>prima
da Eusebio di Cesarea nella sua <i>Vita di Costantino</i>, scritta dopo il 337
d.C., e successivamente da Rufino d’Aquileia e Ambrogio, vescovo di Milano.</span></span></p><span style="font-family: inherit;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="text-align: left;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="line-height: 115%;">Il dipinto collocato sul
lato destro della cappella (con riferimento a chi guarda), è inserito in una
cornice a monocromo delimitata da un festone vegetale che include in basso una
conchiglia con 3 dadi e in alto un medaglione con l'iscrizione <i>Ecce Crucem Domine</i>.
Misura mt. 1,50 x 2,50 (h) e può essere intitolato <i>Sant'Elena venera la Santa Croce</i>, poiché rappresenta il vescovo Macario che mostra la vera
croce a Sant’Elena, madre di Costantino il Grande. La didascalia <i>Ecce Crucem
Domine</i> riproduce appunto le parole che il santo vescovo pronunciò recando
la reliquia alla madre dell’imperatore romano al momento del suo ritrovamento (l’<i>inventio</i>).
Tale iconografia riprende quella di altri artisti, prima fra tutte quella di Piero
della Francesca nel ciclo di affreschi de <i>la</i> <i>Leggenda della Vera Croce</i>,
conservato nella chiesa di San Francesco ad Arezzo, e basato sulla <i>Leggenda
Aurea</i> di Jacopo da Varagine, nonché di altri pittori minori.</span></span></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="line-height: 115%;"></span></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY7GPQs9L1IGlN3X6X21ZySVSii9C_CPXr3Gpldd2mYoW7-iIpiPbsQAfMob_2fpzxdTDUvPrEM4WZEA3oi2V5zS9zMoX8LCQEl7NdeUH5U03kpK8xgQPeDiiPX3hMSpzscdFlAHB4bi3F9XCqTqzDhYk8jWk1MSON6lYWe6FYioMl0TVn0rkoyyS4Ow/s1052/Piero,_arezzo,_Adoration_of_the_Holy_Wood_and_the_Meeting_of_Solomon_and_the_Queen_of_Sheba_01.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="472" data-original-width="1052" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY7GPQs9L1IGlN3X6X21ZySVSii9C_CPXr3Gpldd2mYoW7-iIpiPbsQAfMob_2fpzxdTDUvPrEM4WZEA3oi2V5zS9zMoX8LCQEl7NdeUH5U03kpK8xgQPeDiiPX3hMSpzscdFlAHB4bi3F9XCqTqzDhYk8jWk1MSON6lYWe6FYioMl0TVn0rkoyyS4Ow/w400-h180/Piero,_arezzo,_Adoration_of_the_Holy_Wood_and_the_Meeting_of_Solomon_and_the_Queen_of_Sheba_01.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Piero della Francesca, <i>Incontro tra la regina di Saba e Salomone</i>, ciclo de <i>la leggenda della Vera Croce</i>, Arezzo, chiesa di San Francesco<br /></td></tr></tbody></table><span style="font-family: inherit;"><span style="font-size: medium;"><span style="line-height: 115%;"><br />La compilatrice
della scheda di catalogo generale della Soprintendenza </span>per i beni
artistici e storici di Roma<span style="line-height: 115%;"> (giugno 1982), Dott.ssa Anna Maria Pedrocchi, ha invece ritenuto che il soggetto del
dipinto fosse l’incontro di Salomone e della Regina di Saba e ciò sulla base del manto
rosso con veste azzurra con motivi dorati della figura femminile e del manto
dorato con risvolti rossi su veste bianca di quella maschile. Tuttavia, le due scene,
Macario e Elena vs. Salomone e Saba, si ritrovano riprodotte nell’arte con motivi
compositivi alquanto distanti, a cominciare proprio dall’opera di Piero della
Francesca, mentre la didascalia del dipinto, di cui abbiamo detto sopra, assume
significato dirimente della questione, facendo propendere più per la prima
interpretazione che per la seconda. Inoltre le aureole sulle figure dei protagonisti della scena rimandano chiaramente a due santi, Sant'Elena e San Macario di Gerusalemme, mentre Salomone e la regina di Saba non risulta siano stati mai venerati come tali. Infine, la figura del soldato romano (un centurione?) non avrebbe alcun senso in ambito pre-cristiano, ma assume la giusta importanza agli inizi del IV secolo. Pertanto non vi è alcun dubbio che il soggetto rappresenti la madre di Costantino, tant'è vero che</span></span></span><span style="font-family: inherit;"><span style="font-size: medium;"><span style="line-height: 115%;"> negli aggiornamenti più recenti della <a href="https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/1200222963" target="_blank">scheda (2005)</a> operati dagli storici dell'arte del MIBAC, anche la Soprintendenza ha optato definitivamente per la versione che vede Sant'Elena protagonista della scena. <br /></span></span></span><p class="MsoNormal" style="text-align: center;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="line-height: 115%;"></span></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxOegK5L6ewJ_wAfY2XZYsiT3CAI24Pygnf0nArdoCYawlAosgW0xXCtsAsgrFgxcsA3OCWpRXSGbkhw_GlEkLgJWI2nNkQ4QL4t3tw--EIEMdF_Q2Ef2NdBezJX6DR2J-4NJ1WqSAczHpoARlCUaa2LZjeAWDAysW2YtEoutqX0RFW3G17vCM7Owl0w/s1141/ICCD5156228_20321x.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="860" data-original-width="1141" height="301" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxOegK5L6ewJ_wAfY2XZYsiT3CAI24Pygnf0nArdoCYawlAosgW0xXCtsAsgrFgxcsA3OCWpRXSGbkhw_GlEkLgJWI2nNkQ4QL4t3tw--EIEMdF_Q2Ef2NdBezJX6DR2J-4NJ1WqSAczHpoARlCUaa2LZjeAWDAysW2YtEoutqX0RFW3G17vCM7Owl0w/w400-h301/ICCD5156228_20321x.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Mati Francesco, detto Cecchino del Legnaiolo, <i>Il vescovo Macario mostra la Vera Croce a Sant'Elena</i> (seconda metà del XVI sec.), Firenze (scheda ICCD 5156227)<br /></td></tr></tbody></table><p></p><p class="MsoNormal" style="text-align: center;"><span style="font-family: inherit;"><span style="font-size: medium;"></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL23Bsndqi5iZrtHCU5K_hoGT_PypHWbDkuEfwAK_J_wMvQuxx68NhpkkEXNPHvy5eN-gygN21-jEvkC7PJcpiHUTeXYqjLj-KnQF8r47UiLABJlzzVA6IgcmQbeee9-etJzfWbWGyQt5HRW7mkyS_bwxaDr5DC4h6h0aUlRaOO34jTOpPpVmNvb90FQ/s2621/Matteo_rosselli,_invenzione_della_santa_croce.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2621" data-original-width="1583" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL23Bsndqi5iZrtHCU5K_hoGT_PypHWbDkuEfwAK_J_wMvQuxx68NhpkkEXNPHvy5eN-gygN21-jEvkC7PJcpiHUTeXYqjLj-KnQF8r47UiLABJlzzVA6IgcmQbeee9-etJzfWbWGyQt5HRW7mkyS_bwxaDr5DC4h6h0aUlRaOO34jTOpPpVmNvb90FQ/w241-h400/Matteo_rosselli,_invenzione_della_santa_croce.jpg" width="241" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Matteo Rosselli, <i>Invenzione della Santa Croce</i> (XVII sec.), Firenze, Chiesa dei Santi Michele e Gaetano</td></tr></tbody></table><span style="font-family: inherit;"><span style="font-size: medium;"><span style="line-height: 115%;"></span></span></span><p></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="line-height: 115%;">Nella scena si vede dunque Elena, inginocchiata
nell’atto di adorare la Vera Croce, e il vecchio vescovo Macario che le porge
il Sacro Legno (vera Croce perché quella usata come patibolo di Cristo sarebbe stata riconosciuta tra tre legni diversi). In primo piano a destra, un giovane africano indossa una corta veste
azzurra con ricami dorati e tiene il mantello della santa, mentre a sinistra,
inginocchiato, un servo con veste marrone reca su un cuscino le insegne
regali. Inquadrata in uno sfondo architettonico, una folla di astanti, tra cui
un chierico con le insegne pastorali e un soldato romano, assiste alla scena.</span></span></span></p><span style="font-family: inherit;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="text-align: justify;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="line-height: 115%;">Sul lato opposto è
rappresentata invece la <i>Visione di Costantino</i>, cui l’imperatore assiste
prima di affrontare le truppe di Massenzio nella decisiva battaglia di Ponte Milvio (o
di Saxa Rubra), il 28 ottobre 312 (<a href="https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/1200222963" target="_blank">vedi scheda Soprintendenza</a>). Anche questo affresco, come il suo opposto, è
inserito in una cornice a monocromo con delimitazione di un festone vegetale, con
medaglione in alto recante la didascalia <i>in hoc signo vinces</i>, mentre in
basso è stavolta rappresentato un gallo. Costantino è raffigurato su un
piedistallo, in corta veste azzurra con manto rosso e corona, con lo sguardo rivolto
verso due angeli, in alto a destra, recanti la croce entro una nube dorata, da
cui promana la scritta in greco <i>en toito enika</i> (in questo vinci). In
primo piano, in basso a sinistra, un giovanetto seduto, vestito in tunica verde,
mostra l’elmo dell’Imperatore, mentre una folla di legionari, recanti rossi labari e altre insegne romane, è ritratta in movenze vivaci intorno alla
figura centrale. Sullo sfondo azzurro sono visibili, a sinistra, due tende dell’accampamento,
una marrone, l’altra a righe gialle e blu.</span></span></span></p><p class="MsoNormal" style="text-align: center;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="line-height: 115%;"></span></span></span></p><p></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="line-height: 115%;"></span></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDsU27lNnwQ-nQ-R9RwmPDJsK8XTSp9_dcWFVeAIC77oPIW6RIUbHYFO9_X32RAFHh7pfpCrSsqq1IAcQWGbRaRRyur0l866ynUbp9aOhzimPfKOlwRzieDTs6aXFeI5S0wACaIrOvkOBWGqgip7d6YEes0xdjmQCm2hO0_AEr5mOdzuRfWGNTElWH0Q/s3500/Affreschi%20scene%20della%20Croce.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2500" data-original-width="3500" height="458" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDsU27lNnwQ-nQ-R9RwmPDJsK8XTSp9_dcWFVeAIC77oPIW6RIUbHYFO9_X32RAFHh7pfpCrSsqq1IAcQWGbRaRRyur0l866ynUbp9aOhzimPfKOlwRzieDTs6aXFeI5S0wACaIrOvkOBWGqgip7d6YEes0xdjmQCm2hO0_AEr5mOdzuRfWGNTElWH0Q/w640-h458/Affreschi%20scene%20della%20Croce.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Luigi Fontana, <i>Scene della Santa Croce</i>, a sinistra <i>Visione di Costantino</i>, a destra, <i>Sant'Elena venera la Santa Croce</i>, Capranica, Duomo di San Giovanni Evangelista</td></tr></tbody></table><span style="font-family: inherit;"><span style="font-size: medium;"><span style="line-height: 115%;"><br /><span style="font-family: inherit;">Sulla volta della
cappella, è infine raffigurata </span></span></span></span><span style="font-family: inherit;"><span style="font-size: medium;"><span><span style="line-height: 115%;">la SSma Trinità</span></span></span></span><span style="font-family: inherit;"><span style="font-size: medium;"><span style="line-height: 115%;"><span style="font-family: inherit;"> in un dipinto di forma ottagonale di dimensioni
mt 0,80 x 0,80, </span>inserito in una cornice modanata in stucco bianco e dorato. Nell’affresco, su fondo oro, è rappresentato Dio Padre, in
manto rosso con veste blu, ricalcante l'iconografia tradizionale, in piedi a
braccia levate. La figura ha un ginocchio piegato sul quale è abbandonato il
corpo del Figlio Redentore, dipinto come Cristo morto, in perizoma bianco, appena deposto dalla
croce, mentre ai lati sono raffigurati due angeli piangenti in vesti blu e
rosse. Infine, in alto a destra, è ben visibile la colomba, simbolo dello Spirito
Santo. Nelle decorazioni della volta, due pellicani speculari rimandano al
sacrificio di Cristo per gli uomini (<i>in hoc consistit verus amor</i>, in
questo consiste il vero amore).</span></span></span><p></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="line-height: 115%;"></span></span></span></p><p><span style="font-family: inherit;"><span style="font-size: medium;"><span style="line-height: 115%;"></span></span></span></p><p><span style="font-family: inherit;"><span style="font-size: medium;"><span style="line-height: 115%;"></span></span></span></p><p><span style="font-family: inherit;"><span style="font-size: medium;"><span style="line-height: 115%;"></span></span></span></p><p><span style="font-family: inherit;"><span style="font-size: medium;"><span style="line-height: 115%;"></span></span></span></p><p><span style="font-family: inherit;"><span style="font-size: medium;"><span><span style="line-height: 115%;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="line-height: 115%;"><span style="font-family: inherit;"></span></span></span></span></span></span></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfxFYUsc2DxF9q6zpcj42icbeatSZuMs1ug6jXLklC7viKgmqsuekNeiFML7qGbtdBA_T1ICDfwuHoJVeO8qTB_kLQcwTg6J41a1LOF_ZcWbsrAPkCFmbYYdWt7x7yhta5toswD-qBnmxob_Hhli7jG0BxkT1PSFVKJSfa34-qfEhPFKIUpQ9RmWO0vw/s3809/IMGP4387.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3618" data-original-width="3809" height="380" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfxFYUsc2DxF9q6zpcj42icbeatSZuMs1ug6jXLklC7viKgmqsuekNeiFML7qGbtdBA_T1ICDfwuHoJVeO8qTB_kLQcwTg6J41a1LOF_ZcWbsrAPkCFmbYYdWt7x7yhta5toswD-qBnmxob_Hhli7jG0BxkT1PSFVKJSfa34-qfEhPFKIUpQ9RmWO0vw/w400-h380/IMGP4387.JPG" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Luigi Fontana, <i>Volta della cappella del SS.mo Crocifisso, ottagono raffigurante la SS.ma Trinità, </i>Capranica, Duomo di San Giovanni Evangelista</td></tr></tbody></table><span style="font-family: inherit;"><span style="font-size: medium;"><span><span style="line-height: 115%;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="line-height: 115%;"><span style="font-family: inherit;"> </span></span></span></span></span></span></span></span><p></p><p><span style="font-family: inherit;"><span style="font-size: medium;"><span><span style="line-height: 115%;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="line-height: 115%;"><span style="font-family: inherit;">Dal punto di vista
iconografico, chiaro è il riferimento dei dipinti in esame alla dedicazione
della Cappella del Santissimo Crocifisso, come dimostrano anche i simboli della
passione inclusi nelle cornici monocrome dei due affreschi. Il gallo e i tre dadi
rappresentati alla base delle suddette, </span></span></span></span><span style="font-family: inherit;"><span style="font-size: medium;"><span><span style="line-height: 115%;">all'interno delle grandi conchiglie, </span></span></span></span></span></span></span><span style="font-size: medium;"><span><span style="line-height: 115%;">sono infatti richiami alla notte della
passione del Signore, rimandando il primo al tradimento di Pietro (“<i>prima
che il gallo canti tu mi rinnegherai tre volte</i>”<a href="#_ftn5" name="_ftnref5" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[5]</span></span></span></span></a>)
e i secondi alla spartizione che i soldati fanno ai piedi della Croce delle
vesti di Gesù, ad eccezione della sua tunica perché senza cuciture e tessuta
tutta d’un pezzo, che viene appunto assegnata secondo la sorte dei dadi<a href="#_ftn6" name="_ftnref6" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[6]</span></span></span></span></a>. </span></span></span></span></p><p style="text-align: center;"><span style="font-family: inherit;"><span style="font-size: medium;"><span><span style="line-height: 115%;"></span></span></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5Uv1JHZjTFhXzWV_o9vFO5tMsT2L-27s_jBckWyVUWeYjSbA4Pbbz0WJ0YeZ0uhjlgX5g4a9hzJGWcyxMGNi1vrhoRzOwcMUcx0pgcpiZp13SmzRc5V8HlN97iS_5xha0t2GZ1YLi9TKNE4B05LUN0ZxKj7eoEhCdfuoAXVQjL7YIqWp9ZE6_BYGy7g/s1988/Gallo%20e%20dadi.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1035" data-original-width="1988" height="209" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5Uv1JHZjTFhXzWV_o9vFO5tMsT2L-27s_jBckWyVUWeYjSbA4Pbbz0WJ0YeZ0uhjlgX5g4a9hzJGWcyxMGNi1vrhoRzOwcMUcx0pgcpiZp13SmzRc5V8HlN97iS_5xha0t2GZ1YLi9TKNE4B05LUN0ZxKj7eoEhCdfuoAXVQjL7YIqWp9ZE6_BYGy7g/w400-h209/Gallo%20e%20dadi.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Il gallo, raffigurato nella cornice dell'affresco Visione di Costantino, e i tre dadi, nella cornice dell'affresco Sant'Elena venera la Vera Croce.</i><br /></td></tr></tbody></table><p></p><p></p><span style="font-family: inherit;"><span style="font-size: medium;">
</span></span><p class="MsoNormal" style="text-align: justify;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="line-height: 115%;">L’accademismo della
composizione e della resa, fanno ricondurre la pittura nell’ambito stilistico
ottocentesco. Secondo lo storico locale Trento Morera, gli
affreschi della cappella sarebbero opera del Prof. Domenico Fontana, che li
avrebbe eseguiti tra il 1889 e il 1890<a href="#_ftn7" name="_ftnref7" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[7]</span></span></span></span></a>.
Tuttavia, </span><span style="line-height: 115%;">nei registri dei conti della Fabbrica, non vi è traccia di pagamenti
dell'amministrazione della Collegiata registrati a nome del suddetto. </span></span></span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="line-height: 115%;">Ed in effetti, l'autore delle tre opere è l'Accademico di San Luca <a href="https://www.treccani.it/enciclopedia/luigi-fontana_%28Dizionario-Biografico%29/" target="_blank">Luigi Fontana</a><a href="#_ftn8" name="_ftnref8" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[8]</span></span></span></span></a>
– e non Domenico – pittore, scultore e restauratore, allievo di Tommaso Minardi, particolarmente
attivo nel viterbese e a Roma nell’ultimo ventennio del secolo XIX. In ambito alto-laziale, </span></span></span><span style="font-family: inherit;"><span style="font-size: medium;"><span style="line-height: 115%;">l'opera più importante eseguita dal Fontana fu l'intero progetto
decorativo della cattedrale di Santa Margherita a Montefiascone,
al quale l'artista lavorò negli anni dal 1888 al 1893. Tra il 1892
ed il 1894, il Fontana realizza quattro affreschi nella volta del duomo di
Sutri, oggi concattedrale della diocesi di Civita Castellana, raffiguranti altrettanti
Santi: Santa Dolcissima, patrona di Sutri; San Pio V, per 6 anni vescovo di Sutri e
Nepi, poi eletto Papa; San Felice prete (martire sutrino); Sant'Ireneo diacono
legato al martirio di Santa Dolcissima. Sono anche opera del Fontana gli affreschi
sopra la volta dell'altar maggiore che rappresentano i quattro evangelisti e i
due affreschi laterali che rappresentano rispettivamente la Morte e
L'incoronazione della Madonna. La paternità del Fontana di queste opere è testimoniata da una lapide dipinta a calce sul muro dell’abside della Concattedrale. </span></span></span></p><p class="MsoNormal" style="text-align: center;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="line-height: 115%;"></span></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG17THkn5NLBIXoG320bfMMUu8IQW15gwQ7CfAb8-MfKOtXeCm45Z5Ca6LC8j567mx4m0p7G6qy40MJGP3UoSNwxtwdlWtedkXAKzTx3zqYZ_3Q_guVKM-ErZANiJQjDemi-Vql83L1vz4lO8pu3QEZ1XgS6HZA7OKAdztvTScMzP8-gGBTxMCF7tbgw/s1327/San%20Pio%20V%20e%20Santa%20Dolcissima.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="730" data-original-width="1327" height="352" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG17THkn5NLBIXoG320bfMMUu8IQW15gwQ7CfAb8-MfKOtXeCm45Z5Ca6LC8j567mx4m0p7G6qy40MJGP3UoSNwxtwdlWtedkXAKzTx3zqYZ_3Q_guVKM-ErZANiJQjDemi-Vql83L1vz4lO8pu3QEZ1XgS6HZA7OKAdztvTScMzP8-gGBTxMCF7tbgw/w640-h352/San%20Pio%20V%20e%20Santa%20Dolcissima.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Luigi Fontana, <i>San Pio V Papa </i>(a sinistra) e <i>Santa Dolcissima v.m.</i> (a destra), Sutri, cattedrale di Santa Maria Assunta<br /></td></tr></tbody></table><p></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="line-height: 115%;">La presenza</span></span></span><span style="font-family: inherit;"><span style="font-size: medium;"><span style="line-height: 115%;"> dell'artista</span></span></span><span style="font-family: inherit;"><span style="font-size: medium;"><span style="line-height: 115%;"> prima a Montefiascone, poi a Sutri, facilita il suo contatto con committenze ecclesiastiche di altri paesi delle rispettive diocesi. Fra il 1887 e il 1888, commissionate da </span></span></span><span style="font-family: inherit;"><span style="font-size: medium;"><span style="line-height: 115%;">mons. Focaccetti, </span></span></span><span style="font-family: inherit;"><span style="font-size: medium;"><span style="line-height: 115%;">vescovo di Acquapendente, nella chiesa di San Pietro, a Grotte di Castro, Fontana realizza due affreschi raffiguranti San Pietro che guarisce uno storpio e San Paolo che predica nell'aeropago. Sempre a Grotte di Castro, decora il santuario della Madonna del Suffragio e realizza le statue delle Quattro Virtù Cardinali. A Sutri realizza pure la statua di San Pio V, mentre a Bassano Romano, nella chiesa parrocchiale, l'affresco di San Filippo in gloria. Negli stessi anni, proprio durante la realizzazione dei lavoro sutrini, passa quindi a realizzare nel duomo di San Giovanni Evangelista, a Capranica, il ciclo di affreschi sulla Santa Croce che decorano la omonima cappella.<br /></span></span></span></p><p class="MsoNormal" style="text-align: justify;"><!--[if gte mso 9]><xml>
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<![endif]--></p><p class="MsoNormal" style="text-align: center;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="line-height: 115%;"></span></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOFgh6ILSmSc8H4KXmAZcE8Ug8ZJKvKsWH6RHDQn-YoEOYia0NR_DuYbj6437r_4tntaiUaHi1w5oUCXm57x9jQvFHXN3iWeHHm_wqKPIfGMLJHP01yh6Y1tzp4gCdS0LdXmc86ZYLxt835K5geiKuwS_Q6fuM2_XgCBM0QtakLgd1f17ijErZ3CB_Kw/s392/Luigi%20Fontana.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="392" data-original-width="338" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOFgh6ILSmSc8H4KXmAZcE8Ug8ZJKvKsWH6RHDQn-YoEOYia0NR_DuYbj6437r_4tntaiUaHi1w5oUCXm57x9jQvFHXN3iWeHHm_wqKPIfGMLJHP01yh6Y1tzp4gCdS0LdXmc86ZYLxt835K5geiKuwS_Q6fuM2_XgCBM0QtakLgd1f17ijErZ3CB_Kw/w345-h400/Luigi%20Fontana.jpg" width="345" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Luigi Fontana (1827-1908)</i><br /></td></tr></tbody></table><p></p><p class="MsoNormal" style="text-align: center;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="line-height: 115%;"></span></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOuK1kXlHusQYqUaJCwX-7UAYS-3xsUIRnb63Y3MfnhkmSTSAN_2CCeLRFrqTngNvtN7RcGjjrrLLr-R52Dn_omiiYCbeHFHb97HgloFqPZ2YYnADLl8nc12DE-DbqvaphCkGC8gGWxXnm2_LtifAqu_Y1usmEFG1ikT8ZKFYlLfu-6BGIvWcGRxry1Q/s768/Madonna%20del%20Suffragio%20ICCD5738779_SBAS%20RM%2086721.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="768" data-original-width="701" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOuK1kXlHusQYqUaJCwX-7UAYS-3xsUIRnb63Y3MfnhkmSTSAN_2CCeLRFrqTngNvtN7RcGjjrrLLr-R52Dn_omiiYCbeHFHb97HgloFqPZ2YYnADLl8nc12DE-DbqvaphCkGC8gGWxXnm2_LtifAqu_Y1usmEFG1ikT8ZKFYlLfu-6BGIvWcGRxry1Q/w365-h400/Madonna%20del%20Suffragio%20ICCD5738779_SBAS%20RM%2086721.jpg" width="365" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Luigi Fontana, <i>Madonna del Suffragio</i>, Grotte di Castro, Santuario della Madonna del Suffragio<br /></td></tr></tbody></table><p></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="line-height: 115%;">Nel 2012, per celebrare il 1700°
anniversario della battaglia di Ponte Milvio (o, secondo alcuni storici, di
Saxa Rubra) svoltasi il 28 ottobre 312 tra Costantino e Massenzio, le Poste
Magistrali (del Sovrano Militare Ordine di Malta) hanno emesso due francobolli
che ritraggono il dipinto <i>Visione di Costantino</i>, della Cappella del SSmo
Crocifisso della chiesa di San Giovanni, in Capranica, che danno lustro a queste
belle opere del nostro piccolo, ma inestimabilmente prezioso, patrimonio
artistico.</span></span></span></p><p class="MsoNormal" style="line-height: normal; text-align: left;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="line-height: 115%;"></span></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSgLpzqbfBSP89ImTOY-TlQ7zs8xcM-YkMvYpPE1Q7W4_DxC5KtSMAQKbX-Gp-olNsP1KsY80N-PfQJwer7yAyqRN2xrwNOlpespgWiYYMEV16Wak-SM3KqJA7LLYSb5c-r7Pz6jpqK3aWUdkhRuoxfCcRkkmFPNvsyvQtR4TnbetFIAf1xfLd_tUISw/s1266/s-l1600.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="856" data-original-width="1266" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSgLpzqbfBSP89ImTOY-TlQ7zs8xcM-YkMvYpPE1Q7W4_DxC5KtSMAQKbX-Gp-olNsP1KsY80N-PfQJwer7yAyqRN2xrwNOlpespgWiYYMEV16Wak-SM3KqJA7LLYSb5c-r7Pz6jpqK3aWUdkhRuoxfCcRkkmFPNvsyvQtR4TnbetFIAf1xfLd_tUISw/w400-h270/s-l1600.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>I due francobolli del valore € 2,40 uniti dall'appendice centrale</i><br /></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"></span></div><p><span style="font-size: medium;"></span></p><p><span style="font-size: medium;"></span></p><p><span style="font-size: medium;"></span></p><p><span style="font-size: small;"><span style="font-family: inherit;"><span><br /></span></span></span><span style="font-size: medium;"><span style="font-size: small;"><span style="font-family: inherit;"><span style="-webkit-text-stroke-width: 0px; background-color: white; display: inline; float: none; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; text-align: center; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">Nella foto di apertura: <i>Foglietto del valore di € 7,70 raffigurante il dipinto<span> </span></i></span><i><span style="-webkit-text-stroke-width: 0px; background-color: white; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; text-align: center; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">Visione di Costantino</span><span style="-webkit-text-stroke-width: 0px; background-color: white; display: inline; float: none; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; text-align: center; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">, di Luigi Fontana, Capranica, duomo di San Giovanni Evangelista</span></i></span></span> <br /></span></p><p><span style="font-size: medium;">Ecco la
scheda di emissione dal <a href="https://www.orderofmalta.int/stamps/emissione-439-1700-anniversario-della-battaglia-di-ponte-milvio/"><span style="color: blue;">sito dell'Ordine di Malta</span></a> (è l'emissione n. 439 del
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</span></span></p><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><b><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">Data di
emissione:</span></b><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">
24 settembre 2012</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><b><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">Valori:</span></b><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;"> due francobolli da € 2,40
ciascuno uniti in appendice centrale, per complessivi € 4,80. In
foglietto, due francobolli da € 2,50 e da € 5,20 per complessivi € 7,70.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><b><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">Soggetto:</span></b><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;"> Commemorazione del 1700° anniversario della Battaglia
di Ponte Milvio. L’emissione filatelica raffigura il dipinto “La visione di
Costantino” conservato a Capranica, presso la Chiesa di San Giovanni
Evangelista;</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">Serie: nel francobollo a sinistra dell’appendice:
particolare di Costantino, nel francobollo a destra dell’appendice: particolare
della Croce portata dagli angeli. Nell’appendice centrale: particolare della
scritta in greco apparsa con la Croce e la didascalia: “1700° anniversario
della Battaglia di Ponte Milvio”</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">Foglietto: il dipinto nella sua interezza. In
francobollo: nel valore da € 2,50 particolare di Costantino; nel
valore da € 5,20 particolare della Croce portata dagli angeli.</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><b><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">Formato francobollo:</span></b><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;"> serie: mm 30 x 60 per ciascuno dei due valori;
foglietto: mm 48 x 30 per ciascuno dei due valori</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><b><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">Dentellatura</span></b><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">: serie: 13 x 1/4; foglietto: 13 x 1/4</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><b><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">Formato foglietto:</span></b><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;"> mm 120 x 170</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><b><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">Tiratura: </span></b><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">dodicimila serie complete con appendice e cinquemila
foglietti numerati</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><b><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">Foglio:</span></b><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;"> da tre serie complete con appendice (sei
francobolli e tre appendici)</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><b><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">Stampa:</span></b><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;"> offset. Cartor Security Printing. La Loupe, Francia</span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; text-align: justify;"><b><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">Fotocolor:</span></b><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;"> G. Palozzi</span></p>
<div style="mso-element: footnote-list;"><br clear="all" />
<hr align="left" size="1" width="33%" />
<div id="ftn1" style="text-align: left;"><span style="font-family: inherit;"><span style="font-size: small;"><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">NOTE AL TESTO</span></span></span></span></span></span></div><div id="ftn1" style="text-align: left;"><span style="font-family: inherit;"><span style="font-size: small;"><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;"> <br /></span></span></span></span></span></span></div><div id="ftn1" style="text-align: left;"><span style="font-family: inherit;"><span style="font-size: small;"><a href="#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[1]</span></span></span></span></a> Soprintendenza
per i beni artistici e storici di Roma, Scheda di catalogo generale 12/00222958<span class="MsoFootnoteReference"><span><span><span class="MsoFootnoteReference"><span style="line-height: 115%;"> </span></span></span></span></span><span class="MsoFootnoteReference"><span><span><span class="MsoFootnoteReference"><span style="line-height: 115%;"> </span></span></span></span></span></span></span></div><div id="ftn1" style="text-align: left;"><span style="font-family: inherit;"><span style="font-size: small;"><a href="#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><span><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[2]</span></span></span></span></span></a><span> Fabio Ceccarini, <i>Dio fa casa con l'uomo. La Collegiata di San Giovanni Evangelista in capranica nel bicentenario della sua fondazione (6 agosto 1801 - 6 agosto 2001)</i>, Capranica 2001: ASPC, <i>Libri Capitolari</i>,
4 [1799-1848], ff. 81<sup>v</sup>-84<sup>r</sup> – 26 aprile 1831</span><span class="MsoFootnoteReference"><span><span><span class="MsoFootnoteReference"><span style="line-height: 115%;"> </span></span></span></span></span></span></span></div><div id="ftn1" style="text-align: left;"><span style="font-family: inherit;"><span style="font-size: small;"><a href="#_ftnref3" name="_ftn3" title=""><span class="MsoFootnoteReference"><span><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[3]</span></span></span></span></span></a><span> </span></span></span><span style="font-family: inherit;"><span style="font-size: small;"><span><span style="font-family: inherit;"><span style="font-size: small;"><span>Fabio Ceccarini, <i>Dio
fa casa con l'uomo. La Collegiata di San Giovanni Evangelista in
capranica nel bicentenario della sua fondazione (6 agosto 1801 - 6
agosto 2001)</i>, Capranica 2001: </span></span></span>ASPC, <i>Libri Capitolari</i>,
4 [1799-1848], f. 78<sup>v</sup> – 24 luglio 1830</span><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;"> </span></span></span></span></span></span></div><div id="ftn1" style="text-align: left;"><span style="font-family: inherit;"><span style="font-size: small;"><a href="#_ftnref4" name="_ftn4" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[4]</span></span></span></span></a>
Soprintendenza per i beni artistici e storici di Roma, Scheda di catalogo
generale 12/00222957<span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;"> </span></span></span></span><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;"> </span></span></span></span></span></span></div><div id="ftn1" style="text-align: left;"><span style="font-family: inherit;"><span style="font-size: small;"><a href="#_ftnref5" name="_ftn5" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[5]</span></span></span></span></a> L'episodio
è riportato sia nei vangeli sinottici (Mc 14,66-72; Mt 26,69-75; Lc 22,56-62) sia
nel vangelo di Giovanni (Gv 13,37-50; Gv 18,15-18.25-27)</span></span><span style="font-family: inherit;"><span style="font-size: small;"><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;"> </span></span></span></span></span></span></div><div id="ftn1" style="text-align: left;"><span style="font-family: inherit;"><span style="font-size: small;"><a href="#_ftnref6" name="_ftn6" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[6]</span></span></span></span></a> Gv 19,
23-24</span></span><span style="font-family: inherit;"><span style="font-size: small;"><span class="MsoFootnoteReference"><span><span><span class="MsoFootnoteReference"><span style="line-height: 115%;"> </span></span></span></span></span></span></span></div><div id="ftn1" style="text-align: left;"><span style="font-family: inherit;"><span style="font-size: small;"><a href="#_ftnref7" name="_ftn7" title=""><span class="MsoFootnoteReference"><span><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[7]</span></span></span></span></span></a><span> Così riferisce Trento Morera, <i>Capranica nella storia e
nell’arte</i>, cit., p. 77</span></span></span><span style="font-family: inherit;"><span style="font-size: small;"><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;"> </span></span></span></span></span></span></div><div id="ftn1" style="text-align: left;"><span style="font-family: inherit;"><span style="font-size: small;"><a href="#_ftnref8" name="_ftn8" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span style="line-height: 115%;">[8]</span></span></span></span></a> Monte San
Pietrangeli (Fermo), 9 febbraio 1827 – 27 dicembre 1908</span></span></div><div id="ftn1" style="text-align: left;"><span style="font-family: inherit;"><span style="font-size: small;"> </span></span></div><div id="ftn8" style="text-align: left;">
</div>
</div>
<span style="font-size: small;"></span><hr class="wp-block-separator" style="text-align: left;" /><p>
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<p class="has-text-align-center" style="text-align: center;">CECCARINI, Fabio, «<i>La cappella del SSmo Crocifisso, gli affreschi di Luigi Fontana e un'emissione filatelica del Sovrano Militare Ordine di Malta</i>», Capranica Storica, 28/04/2022 - URL: <a href="https://www.capranicastorica.it/2022/04/la-cappella-del-ssmo-crocifisso-gli.html">https://www.capranicastorica.it/2022/04/la-cappella-del-ssmo-crocifisso-gli.html</a></p><p></p>
<p style="text-align: center;"><a href="http://creativecommons.org/licenses/by-nc-sa/4.0/" rel="license"><img alt="Licenza Creative Commons" src="https://i.creativecommons.org/l/by-nc-sa/4.0/88x31.png" style="border-width: 0px; display: block; margin-left: auto; margin-right: auto;" /></a>Questo articolo di <a href="https://www.capranicastorica.it/2022/04/la-cappella-del-ssmo-crocifisso-gli.html" rel="cc:attributionURL">Fabio Ceccarini</a> è distribuito con Licenza <a href="http://creativecommons.org/licenses/by-nc-sa/4.0/" rel="license">Creative Commons Attribuzione - Non commerciale - Condividi allo stesso modo 4.0 Internazionale</a>.</p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4201727664195975785.post-72656523593178487142022-04-07T10:00:00.003+02:002022-04-07T10:22:49.480+02:00Seminare molto e bene. Molini, forni, pane e panificazione a Capranica durante la 2^ guerra mondiale<p><!--[if gte mso 9]><xml>
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</p><p class="MsoNormal" style="text-align: center;"><span style="font-size: small;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYhNcEYna_ef0N6ioQ3yu2C7vVQY0QojQh8nvaM-qnjM5A4GpbMg73SrQjdC3TAuI2SlnRwJnLxu900KdcF26FebHO_HfdaJ2_KFtidbavTSN8rWokYdw0ynk_smdGbB81SLjG0rMez4LX_d8VRhzOBFPBCcRS4OMfs4c8dzZRdlUahwVcRMV_wQQ_Hw/s2488/Manifesto%20su%20SEMINARE%20BENE.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2488" data-original-width="2446" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYhNcEYna_ef0N6ioQ3yu2C7vVQY0QojQh8nvaM-qnjM5A4GpbMg73SrQjdC3TAuI2SlnRwJnLxu900KdcF26FebHO_HfdaJ2_KFtidbavTSN8rWokYdw0ynk_smdGbB81SLjG0rMez4LX_d8VRhzOBFPBCcRS4OMfs4c8dzZRdlUahwVcRMV_wQQ_Hw/w394-h400/Manifesto%20su%20SEMINARE%20BENE.jpg" width="394" /></a></span></div><p></p><p class="MsoNormal"><span style="font-size: small;">di <i>Fabio Ceccarini </i><b><br /></b></span></p><p class="MsoNormal"><span style="color: #0b5394;"><b><span style="font-size: medium;">In <i>tempore belli</i>, il costo delle materie prime subisce
inevitabilmente variazioni in aumento spesso insostenibili. L’attuale momento
storico testimonia infatti come il grano, necessario all’alimentazione umana,
torni prepotentemente alla ribalta nonostante le limitazioni </span></b></span><span style="color: #0b5394;"><b><span style="font-size: medium;">subite, nell’ultimo ventennio, </span></b></span><span style="color: #0b5394;"><b><span style="font-size: medium;">dal punto di
vista nutrizionistico e dietistico. Proponiamo
quindi queste brevi e sommarie notizie tratte dai documenti dell’Archivio Storico Comunale, riguardanti l’economia
di guerra di una piccola comunità rurale come quella capranichese, durante la Seconda Guerra Mondiale.<span></span></span></b></span></p><a name='more'></a><p></p><span style="font-size: medium;">
</span><p class="MsoNormal"><span style="font-size: medium;">“VI IMPEGNO PERSONALMENTE A NON LASCIARE INCOLTIVATA UNA
SOLA ZOLLA (DICO UNA SOLA ZOLLA) TERRITORIO DEL VOSTRO COMUNE AUT. SUPERATE
OGNI DIFFICOLTA’ OGNI EVENTUALE OSTACOLO ALT. PIGRIZIA ALT. MISONEISMO DI
SINGOLI ALT. DOVETE CONTRIBUIRE ET CONTRIBUIRETE AD ALLEVIARE IL PROBLEMA
ALIMENTARE ALT. E LO FARETE ALT. <u>PREMIERO’ QUELLI PIU’ MERITEVOLI ALT</u>.
MUSSOLINI”.</span></p><p class="MsoNormal"><span style="font-size: medium;">Il vice-podestà di Capranica, Cesare Fiorentino Fiorentini, il 19
agosto 1941 porta a conoscenza della popolazione il telegramma del Duce, come sempre dal tono
maschio e perentorio, in merito al raggiungimento dell’autosufficienza
alimentare<a href="#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span face=""Calibri", sans-serif" style="line-height: 115%;">[1]</span></span></span></span></a>. Vecchio pallino di
Mussolini, la battaglia del grano infuria più che mai, contemporaneamente alla sciagurata
guerra in corso, nel tentativo disperato di preservare la popolazione dal più
pericoloso dei nemici sul fronte interno: la fame. La campagna che il Duce
porta avanti mettendosi in gioco in prima persona è denominata “Seminare molto
e bene”, parola d’ordine che fa leva sul sentimento patriottico degli italiani.
In effetti, da quando è cominciata, nell’autunno del 1925, la Battaglia del Grano ha portato
l’Italia ad una quasi autosufficienza produttiva, ma non ad altrettanti
benefici dal punto di vista della bilancia dei pagamenti, a causa di aumenti
del costo della materia prima, che il Governo ha cercato di contrastare con
politiche di protezionismo del prodotto nostrano.</span><span style="font-size: medium;"> Alla vigilia della Guerra, a fronte di un
fabbisogno di circa 81 milioni di quintali di grano, quasi 80 provengono dalla
produzione interna ma ancora vengono importati circa 6,5 milioni di quintali
dall’estero, soprattutto dagli Stati Uniti d’America<a href="#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span face=""Calibri", sans-serif" style="line-height: 115%;">[2]</span></span></span></span></a>.</span></p><p class="MsoNormal" style="text-align: center;"><span style="font-size: medium;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitPNxUXUHcMMI8SLT4RVuzFVQPZ2B_B9kFnMm2RYBeHjNbtSuReMbCoE8Q5m6gqwlIT1h9pU-8j_gJFMSFKncYlM9X1ewwxdSZ89vpsMQ2xkzATPrB3FIBn5_6ro5lLH8_M87TiXDb_pgGha3tskZtAWjuBhTtz_XTBkczN-hFn4jTVApdWgY0nPKqUQ/s1029/M026-1.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1029" data-original-width="723" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitPNxUXUHcMMI8SLT4RVuzFVQPZ2B_B9kFnMm2RYBeHjNbtSuReMbCoE8Q5m6gqwlIT1h9pU-8j_gJFMSFKncYlM9X1ewwxdSZ89vpsMQ2xkzATPrB3FIBn5_6ro5lLH8_M87TiXDb_pgGha3tskZtAWjuBhTtz_XTBkczN-hFn4jTVApdWgY0nPKqUQ/w281-h400/M026-1.jpg" width="281" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Manifesto della campagna 1941-42 "Seminare molto e bene"</i><br /></td></tr></tbody></table><span style="font-size: medium;">
</span><p></p><p class="MsoNormal"><span style="font-size: medium;">Ancora il 17 settembre 1941 il Podestà “<i>in conformità alle
Superiori disposizioni, fa appello al sentimento patriottico degli agricoltori
affinché nel corrente anno non rimanga incolta alcuna zolla di terreno</i>”. L’Ispettorato
Provincia dell’Agricoltura di Viterbo, ad ottobre, dirama norme la intensificazione
della coltura del grano: “<i>Nella buona preparazione e nella intelligente
sistemazione del terreno è il segreto per il raggiungimento delle sicure ed
elevate produzioni</i>”. Si cerca inoltre di istruire "i rurali" sulla mancanza di concimi: “…<i>occorre in tutti i casi far leva sui mezzi efficaci
della lavorazione, dell’accurato sminuzzamento dello strato smosso e sull’accorta
assistenza colturale per neutralizzare la eventuale limitata disponibilità di
concimi e comunque per esaltare nel miglior modo l’attitudine produttiva della
terra destinata a grano</i><a href="#_ftn3" name="_ftnref3" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span face=""Calibri", sans-serif" style="line-height: 115%;">[3]</span></span></span></span></a>”. E vengono infine consigliate le cultivar migliori adatte per il territorio provinciale: “<i>Il «Littorio», il «Quaderna», il «Mentana» e il «Roma» tra
i precoci, ed ancora il «Virgilio» ed il «Frassineto» tra i grani a maturazione
normale, devono avere nella nostra Provincia la massima estensione e la massima
diffusione. Nelle zone di Maremma converrà riservare ancora un certo posto al
grano duro «Cappelli» che continua a dare buoni risultati. Nei terreni acidi e
ad elevata altitudine del gruppo del «Cimino», si dovrà preferibilmente
estendere la coltura della segale</i><span face=""Arial",sans-serif">”<a href="#_ftn4" name="_ftnref4" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span face=""Arial", sans-serif" style="line-height: 115%;">[4]</span></span></span></span></a>.</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal"><span style="font-size: medium;"><span>A Capranica, il
grano viene ancora consegnato all’ammasso pubblico situato nel grande deposito
costruito parallelamente al Corritore. Gli agricoltori sono obbligati a
conferire la produzione dei propri fondi entro 15 giorni dalla trebbiatura, fatta
eccezione per la parte trattenuta per il fabbisogno della propria azienda. I
prezzi di pagamento correnti nell’estate del 1941 sono pari a 20 lire al
quintale<a href="#_ftn5" name="_ftnref5" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span face=""Calibri", sans-serif" style="line-height: 115%;">[5]</span></span></span></span></a>.
Durante i successivi anni di guerra, nonostante le esortazioni del Duce, la produzione
sarà tuttavia destinata a calare dando luogo al fenomeno dell’acquisto di
piccoli quantitativi di grano al mercato nero, in Maremma, dove i carrettieri
capranichesi si recano almeno due volte alla settimana su richiesta delle
famiglie o degli stessi forni. Fino all’estate del 1943 le produzioni restano
comunque sotto controllo da parte delle autorità provinciali ma subiscono un inevitabile
tracollo in seguito agli eventi seguenti il 25 luglio 1943 e lo sciagurato 8
settembre. </span>Il 23 ottobre 1943 viene denunciata la mancanza di 16440 kg.
di grano da un carro ferroviario (il n. 167395) rimasto in sosta allo scalo ferroviario
di Capranica. La grossa partita di grano era proveniente da un’azienda agricola
di Chiarone, in Maremma, ed era stata spedita il 10 agosto 1943 destinata ai
Molini Borghesi di Viterbo. Il carro, benché sottoposto a scorta tedesca,
giunge però a Viterbo privo di piombi. Ancora a gennaio del 1944 la Questura di
Viterbo non è venuta a capo delle indagini e ne chiede conto alla Guardia
Civica del Comune di Capranica. Il Podestà, il 18 gennaio 1944, risponde al
Questore relazionando che “<i>il carro era rimasto allo scalo di Capranica
durante il periodo di completa anarchia ed è divenuto oggetto di saccheggio
nottetempo dopo gli esempi di Civitavecchia e di Orte da parte di numerosi
individui provenienti dai vari Comuni ed in prevalenza sfollati. Sembra anche
che parte del quantitativo residuo sia stato distribuito ai residenti da un
ufficiale tedesco</i>”<a href="#_ftn6" name="_ftnref6" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span face=""Calibri", sans-serif" style="line-height: 115%;">[6]</span></span></span></span></a>. </span></p><span style="font-size: medium;">
</span><p class="MsoNormal"><span style="font-size: medium;">Dal lato dell’attività molitoria, alla vigilia della Guerra,
nel 1938 operano a Capranica due molini: quelli gestiti da Crocicchia Pompeo,
in piazza Santa Maria, e da Cintoli Leandro e Cucchi Geo, in via Romana.
Entrambi i molini sono a cosiddetta “bassa macinazione”, di terza categoria, del
tipo a palmenti, e lavorano esclusivamente per conto dei consumatori diretti,
non effettuando molitura di grano di proprietà o proveniente dai propri fondi<a href="#_ftn7" name="_ftnref7" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span face=""Calibri", sans-serif" style="line-height: 115%;">[7]</span></span></span></span></a>. E’ infatti diffusamente in
uso, da parte dei produttori di grano, la pratica illegale di pagare la
molitura con “<i>l’equivalente in farina abburattata all’80%</i>” (prefettizia
n. 7673 del 27/08/1938) con conseguente rivendita, da parte dei mugnai, della
suddetta farina a privati consumatori o a commercianti. Ai mugnai è concesso
invece di vendere farina che sia composta almeno dal 90% di frumento e dal 10%
di granoturco.</span></p><span style="font-size: medium;">
</span><p class="MsoNormal"><span style="font-size: medium;">Dal 15 maggio 1938 “<i>le farine di qualsiasi tipo ed a
qualunque uso destinate dovranno essere prodotte con l’80% di frumento e con il
20% di miscele varie così costituite: 20% di granoturco; oppure 15% di
granoturco più 5% di orzo; oppure 15% di granoturco e 5% di fava</i>” (decreto
prefettizio 1556 del 04/06/1938).</span></p><p class="MsoNormal" style="text-align: center;"><span style="font-size: medium;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKay2o1bRrzVAX8vFWGbdITy8yfMT1B1YIHVSn2vUZQ_oA9ezrgiAH_Ki8WV8k6ITHwmx-PZJJnqCLPr8hYfp098Gc6fjRuaeu1J1HlTzguHkwjyIlNDxyEByDIhak6bso6KnG_8lz9berCxH6iBmrsD2D8wqJhtBDj8d0YolAxkM53VOnId5_PQRjSA/s892/Campagna%201942-1943.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="892" data-original-width="639" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKay2o1bRrzVAX8vFWGbdITy8yfMT1B1YIHVSn2vUZQ_oA9ezrgiAH_Ki8WV8k6ITHwmx-PZJJnqCLPr8hYfp098Gc6fjRuaeu1J1HlTzguHkwjyIlNDxyEByDIhak6bso6KnG_8lz9berCxH6iBmrsD2D8wqJhtBDj8d0YolAxkM53VOnId5_PQRjSA/w286-h400/Campagna%201942-1943.jpg" width="286" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Prefettizia sulle bollette di macinazione, campagna 1942-43</i><br /></td></tr></tbody></table><p></p><p class="MsoNormal"><span style="font-size: medium;">Sempre nel corso del 1938 è autorizzata l’installazione di
un secondo palmento nel molino Cintoli, non per l’aumento della produzione, ma
per consentire il cambio dei prodotti di macinazione senza inconvenienti legati
all’alterazione del prodotto a causa di quello che rimane attaccato al palmento
dalla precedente macinazione.</span></p><span style="font-size: medium;">
</span><p class="MsoNormal"><span style="font-size: medium;">La potenzialità media di macinazione dei molini capranichesi
è di circa 30 q.li/giorno ciascuno ma i giorni di funzionamento sono legati
alla stagionalità delle moliture.</span></p><span style="font-size: medium;">
</span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-size: medium;">Nell’autunno
del 1943 le attività molitorie sono completamente interrotte e riprenderanno a
febbraio del 1944. Tuttavia, a dicembre 1943 viene contestato <span>a Leandro Cintoli di effettuare macinazione
di grano a persone sprovviste di bolletta di macinazione, segno evidente della
presenza a Capranica di numerosi sfollati e militari sbandati del Regio Esercito<a href="#_ftn8" name="_ftnref8" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span face=""Calibri", sans-serif" style="line-height: 115%;">[8]</span></span></span></span></a>.</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: center;"><span style="font-size: medium;"><span><b></b></span></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJf8RGVPV0uH16dfTIzwL6qCgkZIECdBHFXKPxVYYZutoIdxJSbdQO-18vCqK3e0ASgLHAqbxfyGpOaRpBVC4ziyPFjIlYc5gX8FVJi_QMSfDyMdrpi194D2bZErtUnizeGJRDyCvRnm3XqezQix6e8CMY9rZNfm88iDokURBGlmiF_u90eKW4r27Vgw/s871/Molino%20Coletta.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="653" data-original-width="871" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJf8RGVPV0uH16dfTIzwL6qCgkZIECdBHFXKPxVYYZutoIdxJSbdQO-18vCqK3e0ASgLHAqbxfyGpOaRpBVC4ziyPFjIlYc5gX8FVJi_QMSfDyMdrpi194D2bZErtUnizeGJRDyCvRnm3XqezQix6e8CMY9rZNfm88iDokURBGlmiF_u90eKW4r27Vgw/w400-h300/Molino%20Coletta.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Il molino Cucchi e Coletta, eredi di Leandro Cintoli</i><br /></td></tr></tbody></table><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"></p><span style="font-size: medium;">
</span><p class="MsoNormal"><span style="font-size: medium;">Alla fine della guerra, con l’insediamento dell’Amministrazione
Alleata, si hanno i dati più precisi riguardo all’attività dei due molini
capranichesi e della relativa attività di panificazione. Il <span>25 agosto 1944, il Ministero Agricoltura e
delle Foreste Sezione Provinciale dell’Alimentazione – Ufficio Cereali, scrive
al Comune allo scopo di poter ricevere un rapporto esatto dei reali fabbisogni
di energia elettrica per i molini artigiani da richiedere alla società Volsinia.
Risponde Sindaco Lazzè il 5 settembre 1944 riferendo che: “<i>1 - Persone
approvvigionate con grano n. 2.100 quantitativo mensile grano macinabile q/li
320 circa. 2 – Quantitativo mensile farina occorrente per la popolazione civile
non produttrice q/li 150 circa. 3 – Capacità molitoria dei due molini artigiani
al giorno q/li 16 l’uno a corrente elettrica normale. Attualmente i due molini
lavorano alternativamente ed hanno una potenzialità di q/li 10 giornaliera</i>”<a href="#_ftn9" name="_ftnref9" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span face=""Calibri", sans-serif" style="line-height: 115%;">[9]</span></span></span></span></a>.</span></span></p><span style="font-size: medium;">
</span><p class="MsoNormal"><span style="font-size: medium;">In una nota del 21 novembre 1944 a firma del Sindaco, Pietro
Lazzè, si legge infatti: <span>“<i>…in questo
Comune esistono solo due molini per conto terzi gestiti rispettivamente da Crocicchia
Pompeo e dagli Eredi di Cintoli Leandro, con una potenzialità media giornaliera
di q.li 30 ciascuno. Detti molini non hanno subito danni ma lavorano ad orario
ridotto per deficienza di energia elettrica. Sul posto non vi sono panifici
veri e propri bensì la panificazione viene effettuata a domicilio dalle
seguenti panificatrici in ragione di circa q/li uno al giorno:</i></span></span></p><i><span style="font-size: medium;">
</span></i><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><i><span style="font-size: medium;"><span>Chiassarini Aida ved. Morera</span></span></i></p><i><span style="font-size: medium;">
</span></i><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><i><span style="font-size: medium;"><span>Eredi Bocci Felice</span></span></i></p><i><span style="font-size: medium;">
</span></i><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><i><span style="font-size: medium;"><span>Vestroni Caterina</span></span></i></p><i><span style="font-size: medium;">
</span></i><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><i><span style="font-size: medium;"><span>Crocicchia Amabile</span></span></i></p><i><span style="font-size: medium;">
</span></i><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><i><span style="font-size: medium;"><span>Lanzalonga Annamaria</span></span></i></p><i><span style="font-size: medium;">
</span></i><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-size: medium;"><span><i>Latini Petronilla</i>”<a href="#_ftn10" name="_ftnref10" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span face=""Calibri", sans-serif" style="line-height: 115%;">[10]</span></span></span></span></a></span></span></p>
<div style="mso-element: footnote-list;"><br clear="all" />
<hr align="left" size="1" width="33%" /><br />NOTE<br /><div id="ftn1" style="mso-element: footnote;">
<p class="MsoNormal"><span style="font-size: small;"><a href="#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span face=""Calibri", sans-serif" style="line-height: 115%;">[1]</span></span></span></span></a>
<span style="line-height: 115%;">Archivio Storico Comune di
Capranica (ASCC), <i>Post-unitario 1870-1950, Busta 193 Categoria XV Pubblica
Sicurezza - Cartella 359 - 1941 Certificati di condotta e simili</i></span></span></p><span style="font-size: small;">
</span></div><span style="font-size: small;">
</span><div id="ftn2">
<p class="MsoFootnoteText"><span style="font-size: small;"><a href="#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span face=""Calibri", sans-serif" style="line-height: 115%;">[2]</span></span></span></span></a>
Pier Luigi Profumieri, «La "Battaglia del grano": costi e ricavi», <i>Rivista
di Storia dell’Agricoltura</i>, XI, n. 2, giugno 1971, pp. 153-172, Tabella I a
pag. 166.</span></p>
</div><span style="font-size: small;">
</span><div id="ftn3">
<p class="MsoFootnoteText"><span style="font-size: small;"><a href="#_ftnref3" name="_ftn3" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span face=""Calibri", sans-serif" style="line-height: 115%;">[3]</span></span></span></span></a>
Archivio Storico Comune di Capranica (ASCC), <i>Post-unitario 1870-1950, Busta
193 Categoria XV Pubblica Sicurezza - Cartella 359 - 1941 Certificati di
condotta e simili</i>, I.P.A. Viterbo, Comitato Provinciale per la Vittoria del
Grano, Norme per la intensificazione della coltura del grano, prot. 3380 del
10/10/1941</span></p>
</div><span style="font-size: small;">
</span><div id="ftn4">
<p class="MsoFootnoteText"><span style="font-size: small;"><a href="#_ftnref4" name="_ftn4" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span face=""Calibri", sans-serif" style="line-height: 115%;">[4]</span></span></span></span></a>
Archivio Storico Comune di Capranica (ASCC), <i>Post-unitario 1870-1950, Busta
193 Categoria XV Pubblica Sicurezza - Cartella 359 - 1941 Certificati di
condotta e simili</i>, I.P.A. Viterbo, Comitato Provinciale per la Vittoria del
Grano, Norme per la intensificazione della coltura del grano, prot. 3380 del
10/10/1941</span></p>
</div><span style="font-size: small;">
</span><div id="ftn5">
<p class="MsoFootnoteText"><span style="font-size: small;"><a href="#_ftnref5" name="_ftn5" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span face=""Calibri", sans-serif" style="line-height: 115%;">[5]</span></span></span></span></a>
Archivio Storico Comune di Capranica (ASCC), <i>Post-unitario 1870-1950, Busta
193 Categoria XV Pubblica Sicurezza - Cartella 359 - 1941 Certificati di
condotta e simili</i>.</span></p>
</div><span style="font-size: small;">
</span><div id="ftn6">
<p class="MsoFootnoteText"><span style="font-size: small;"><a href="#_ftnref6" name="_ftn6" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span face=""Calibri", sans-serif" style="line-height: 115%;">[6]</span></span></span></span></a>
Archivio Storico Comune di Capranica (ASCC), <i>Post-unitario 1870-1950, Busta
193 Categoria XV Pubblica Sicurezza, Cartella 365 – 1944 Avvenimenti
straordinari</i></span></p>
</div><span style="font-size: small;">
</span><div id="ftn7">
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-size: small;"><a href="#_ftnref7" name="_ftn7" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span face=""Calibri", sans-serif" style="line-height: 115%;">[7]</span></span></span></span></a> <span>Archivio Storico Comune di Capranica (ASCC), <i>Post-unitario 1870-1950,
Busta 187 Categoria XIV Oggetti diversi, Cartella 084 – 1938 Panificazione e
abburattamento farine – Molini - Macinazione</i></span><b><span></span></b></span></p>
</div><span style="font-size: small;">
</span><div id="ftn8">
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-size: small;"><a href="#_ftnref8" name="_ftn8" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span face=""Calibri", sans-serif" style="line-height: 115%;">[8]</span></span></span></span></a> <span>Archivio Storico Comune di Capranica (ASCC), <i>Post-unitario 1870-1950,
Busta 187 Categoria XIV Oggetti diversi, </i></span>- <i><span>Cartella 091 – 1943 Molini</span></i><b><span></span></b></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-size: small;"><span></span></span></p>
</div><span style="font-size: small;">
</span><div id="ftn9">
<p class="MsoFootnoteText"><span style="font-size: small;"><a href="#_ftnref9" name="_ftn9" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span face=""Calibri", sans-serif" style="line-height: 115%;">[9]</span></span></span></span></a>
<span> </span>Archivio Storico Comune di Capranica
(ASCC), <i>Post-unitario 1870-1950, Busta 187 Categoria XIV Oggetti diversi, </i>-
<i>Cartella 092 – 1944-45 Molini, </i>nota Comune di Capranica prot. 2121</span></p>
</div><span style="font-size: small;">
</span><div id="ftn10" style="mso-element: footnote;"><span style="font-size: small;">
</span><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-size: small;"><a href="#_ftnref10" name="_ftn10" title=""><span class="MsoFootnoteReference"><span><span class="MsoFootnoteReference"><span face=""Calibri", sans-serif" style="line-height: 115%;">[10]</span></span></span></span></a> <span> </span><span>Archivio
Storico Comune di Capranica (ASCC), <i>Post-unitario 1870-1950, Busta 187 Categoria
XIV Oggetti diversi, Cartella 092 – 1944-45 Molini</i></span></span><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Calibri;"></span></b></p>
<p class="MsoFootnoteText"></p>
</div>
</div>
<hr class="wp-block-separator" /><p>
</p><p class="has-text-align-center" style="text-align: center;"><b>Citare questo documento / Citer ce document / Cite this document</b></p>
<p class="has-text-align-center" style="text-align: center;">CECCARINI, Fabio, «<i>Seminare molto e bene. Molini, forni, pane e panificazione a Capranica durante la 2^ guerra mondiale</i>», Capranica Storica, 07/04/2022 - URL: <a href="https://www.capranicastorica.it/2022/04/seminare-molto-e-bene-molini-forni-pane.html">https://www.capranicastorica.it/2022/04/seminare-molto-e-bene-molini-forni-pane.html</a></p><p></p>
<p style="text-align: center;"><a href="http://creativecommons.org/licenses/by-nc-sa/4.0/" rel="license"><img alt="Licenza Creative Commons" src="https://i.creativecommons.org/l/by-nc-sa/4.0/88x31.png" style="border-width: 0px; display: block; margin-left: auto; margin-right: auto;" /></a>Questo articolo di <a href="https://www.capranicastorica.it/2022/04/seminare-molto-e-bene-molini-forni-pane.html" rel="cc:attributionURL">Fabio Ceccarini</a> è distribuito con Licenza <a href="http://creativecommons.org/licenses/by-nc-sa/4.0/" rel="license">Creative Commons Attribuzione - Non commerciale - Condividi allo stesso modo 4.0 Internazionale</a>.</p>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4201727664195975785.post-39570973896219643012022-04-01T16:48:00.001+02:002022-04-20T21:49:47.783+02:00La visione di Omar. Un libro fotografico sulle confraternite e le secolari tradizioni religiose capranichesi.<p style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBYXzyBQ2wyRE6dLwgwl1RNBG-ZVGdK1ywHJuadMokK5gii3QqeapYXiktYzuq2sfxPKjIUVdMxdYacsqD3FYXGuFGJLW7cvRGkx50l8ELK2aWUjeQhzUWKRWj9mBHjJBvmUz6_W7hXKnMz4T2Xt2mBl09bcCWagDeEr1eTnTb8D2lajdDAYPBNA78MA/s920/La%20visione%20interiore.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="920" data-original-width="663" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBYXzyBQ2wyRE6dLwgwl1RNBG-ZVGdK1ywHJuadMokK5gii3QqeapYXiktYzuq2sfxPKjIUVdMxdYacsqD3FYXGuFGJLW7cvRGkx50l8ELK2aWUjeQhzUWKRWj9mBHjJBvmUz6_W7hXKnMz4T2Xt2mBl09bcCWagDeEr1eTnTb8D2lajdDAYPBNA78MA/w289-h400/La%20visione%20interiore.jpg" width="289" /></a> </div><div class="separator" style="clear: both; text-align: left;">di Fabio Ceccarini</div><p></p><p>
</p><p class="Default"><span style="color: #0b5394;"><span style="font-size: medium;"><b>“<i>Q</i><span class="A2"><i><span>uando
anni fa venni a vivere a Capranica sapevo poco della sua storia, sicuramente
non conoscevo la profondità spirituale della sua comunità. Furono i giorni
delle processioni delle Confraternite a rivelarmi la forza di questa visione:
iniziai a fermare immagini, affascinato dalla drammaticità della
rappresentazione, dalla iconicità di volti che i diversi colori dei costumi
imprimevano agli abitanti del luogo</span></i></span></b><span class="A2"><span><b>”. </b></span></span></span></span></p><a name='more'></a><p></p><span style="font-size: medium;">
</span><p class="Default"><span style="font-size: medium;"><span class="A2"><span>Sono queste le prime
parole che Omar Kheiraoui affida alla prefazione del suo volume “<i>Capranica.
La visione interiore</i>”, edito da Kokoro alla fine del 2021. Cucite insieme dai
testi di Roberto Luciani, le foto del Maestro Kheiraoui conducono il lettore in
un vero e proprio viaggio tra le tradizioni religiose capranichesi, fatto di
colori, luci, ombre e atmosfere. E’ quella che l’Autore chiama “la sua visione
interiore” a fare da leitmotiv. L’uso della tecnica HDR restituisce tutta la dinamicità
di questo afflato intimista, che Kheiraoui immortala con tutta la maestria di
chi sa cogliere l’attimo e sa consegnarlo alle pagine della storia, perché
venga custodito e tramandato. E così il libro accompagna realmente – e non solo
metaforicamente – il lettore attraverso il percorso vissuto dai componenti
delle Confraternite durante la celebrazione delle feste religiose cittadine. C’è
il punto di vista del confratello, colto dall’obiettivo nelle espressioni del
viso, nella smorfia di fatica, nel sorriso di soddisfazione e di amicizia e c’è
quello della gente che assiste e partecipa alla festa, delle donne, dei bambini
e degli anziani della Comunità, a testimoniare la coralità di queste antichissime
feste religiose che ancora oggi sanno riunire generazioni diverse. </span></span></span></p><p class="Default"><span style="font-size: medium;"><span class="A2"><span>La strada percorsa
dall’Artista è quindi la medesima che Capranica percorre ogni anno con la sua
gente, nella lenta scansione del succedersi delle stagioni. Si parte dalla
Festa della Madonna delle Grazie per poi addentrarsi in quelle della Santa
Croce e del Patrono San Terenziano, passando per le chiese delle Confraternite
e la loro arte. Sullo sfondo c’è Capranica, i suoi vicoletti, le sue piazze, il
suo respiro vitale. E Omar Kheiraoui sa “fermare” tutto questo divendendo egli
stesso “<i>Capranichese, Parroco, Vecchio, Contadino, Confratello, senza
discriminazioni, per nuovo e puntualmente “volto cosciente”, un volto che sa di
poter trasformare all’alba di un giorno senza nome</i>”.</span></span></span></p>
<p class="Default"><span class="A2"><span style="font-size: 11pt;"></span></span></p>
<p class="Default"><span class="A2"><span style="font-size: 11pt;">Roberto Luciani,
<i>Capranica. La visione interiore. Fotografie di Omar Kheiraoui</i>, Kokoro, Roma
2021</span></span></p>
<p class="Default"><span class="A2"><span style="font-size: 11pt;">Il volume è distribuito
da <a href="http://www.kokoro-associazione.it" target="_blank">Associazione Kokoro www.kokoro-associazione.it</a></span></span></p><p class="Default" style="text-align: center;"><span class="A2"><span style="font-size: 11pt;"><i><span style="font-size: medium;">Sotto, alcuni momenti del back-stage con il Maestro Kheiraoui al lavoro </span></i><br /></span></span></p><p class="Default" style="text-align: center;"><span class="A2"><span style="font-size: 11pt;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMpYoWWVPw84C3Im713cRxo5l5C90Ajpvfwff3QP6bYvRCurz1QHOt2fYDGA5wy65qEk21b-oEIbxde8A6Kc_PqW0QE5-iVE-Ax4aVc56HDyBHUUNt41MV9VMMFiGXj4ftSaywkhOwUIOdKU-A6keFFArCdN9wLOvTvhbG__hT2D-E7dvTxaYdIIRZ-w/s4160/IMG_20210507_164330.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3120" data-original-width="4160" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMpYoWWVPw84C3Im713cRxo5l5C90Ajpvfwff3QP6bYvRCurz1QHOt2fYDGA5wy65qEk21b-oEIbxde8A6Kc_PqW0QE5-iVE-Ax4aVc56HDyBHUUNt41MV9VMMFiGXj4ftSaywkhOwUIOdKU-A6keFFArCdN9wLOvTvhbG__hT2D-E7dvTxaYdIIRZ-w/w400-h300/IMG_20210507_164330.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheE9TXH7UP5Uz-KtrEljR8_Zjl45ONUGlAhPQ63wZ68VmdWrB_JoI4dm397AJxq1AyToj0i9VJyiWTYfj7pqiEA9fYokhcobN_9dr6ULbuzUqXPP_BcXstlHVp4Tw8OyiNC0uAqmRbpLQlDFYYla8fJSphtJ2H9Bs3MsdcF40Qd_nc4xQpVerDkOfGWQ/s4160/IMG_20210507_171701.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3120" data-original-width="4160" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheE9TXH7UP5Uz-KtrEljR8_Zjl45ONUGlAhPQ63wZ68VmdWrB_JoI4dm397AJxq1AyToj0i9VJyiWTYfj7pqiEA9fYokhcobN_9dr6ULbuzUqXPP_BcXstlHVp4Tw8OyiNC0uAqmRbpLQlDFYYla8fJSphtJ2H9Bs3MsdcF40Qd_nc4xQpVerDkOfGWQ/w400-h300/IMG_20210507_171701.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMI23iA6iyCFORS72oQgGHn3sItgkvAPy1HfGTfyKA-0ngsrh6nk0x5kBMv4nEQzEIYrbxYWlnfA47k61kSv9sEqoY6RXe3ceMnjl6TBFrV1w2lQAkvHb744JKc-sU14NogrOpmgcqX_LzoAoPw8co7vTiLl8XRd-yHHTIVU7-1reeLHfMLJbwF-UPpg/s4160/IMG_20210507_172127.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3120" data-original-width="4160" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMI23iA6iyCFORS72oQgGHn3sItgkvAPy1HfGTfyKA-0ngsrh6nk0x5kBMv4nEQzEIYrbxYWlnfA47k61kSv9sEqoY6RXe3ceMnjl6TBFrV1w2lQAkvHb744JKc-sU14NogrOpmgcqX_LzoAoPw8co7vTiLl8XRd-yHHTIVU7-1reeLHfMLJbwF-UPpg/w400-h300/IMG_20210507_172127.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUDKxPKljHuJdcrIHflKueyWl-qo0XI86jc2nec-BB8lfcJ7X4LuMO02QDEquAl0AwlNj7f30rBG0XdEJnQUCPbtZreE_YoL1QHExBxkD-jOYXezSZqlJmKck2Vwzqh4zV0kuXAWJ5_btds4VgELulWUxLchVB3zytW9SzyIUM9dGGn1_yXQd4ut6lBg/s4160/IMG_20210507_173703.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4160" data-original-width="3120" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUDKxPKljHuJdcrIHflKueyWl-qo0XI86jc2nec-BB8lfcJ7X4LuMO02QDEquAl0AwlNj7f30rBG0XdEJnQUCPbtZreE_YoL1QHExBxkD-jOYXezSZqlJmKck2Vwzqh4zV0kuXAWJ5_btds4VgELulWUxLchVB3zytW9SzyIUM9dGGn1_yXQd4ut6lBg/w300-h400/IMG_20210507_173703.jpg" width="300" /></a></div><br /> <p></p>
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<![endif]--></p><br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4201727664195975785.post-61301458012704569242022-01-14T10:00:00.000+01:002022-07-03T18:48:04.250+02:00Il professore e l’allievo: Don Tommaso Porta e Simone Medichini a Capranica.<!--wp:paragraph-->
<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjtHTLbh89c-mjBbyGyjdsel2omIrx-JtrPGEVdRgC1qt9KxOMSzjN08jumU7Iwnw-GqktMu-CPgns7ADd32ij6pEDduDTjRo9WTXx3uBEo-QhW4uJWHumS0UdGYHGGO7pkW5Lk-79BqpS8SFHHTPfDz-r3HxvjALJLVSN88smUVfOOHs0_ItO8pIL2fw=s2560" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1920" data-original-width="2560" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEjtHTLbh89c-mjBbyGyjdsel2omIrx-JtrPGEVdRgC1qt9KxOMSzjN08jumU7Iwnw-GqktMu-CPgns7ADd32ij6pEDduDTjRo9WTXx3uBEo-QhW4uJWHumS0UdGYHGGO7pkW5Lk-79BqpS8SFHHTPfDz-r3HxvjALJLVSN88smUVfOOHs0_ItO8pIL2fw=s320" width="320" /></a></div><br /><span style="font-size: medium;">di <i><b>Micaela Merlino</b></i></span><span style="font-size: medium;">
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</span><p class="has-drop-cap"><span style="font-size: medium;">Il 18 luglio 1831 era una calda giornata di piena estate e la vita scorreva tranquilla nel piccolo paese di San Giovanni, che a quel tempo contava circa cinquecento abitanti ed era Podesteria dipendente dal Governo di Vetralla.</span></p><span style="font-size: medium;">
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</span><p><span style="font-size: medium;"><span></span></span></p><a name='more'></a><span style="font-size: medium;">La maggioranza della popolazione era impegnata nei lavori dei campi per la mietitura, la trebbiatura, la battitura del grano e la spigolatura, in paese altri sangiovannesi erano indaffarati nella gestione delle poche botteghe locali. Invece la ventenne Angela Ferri, nata a San Giovanni ma la cui famiglia paterna era originaria di Bieda (Blera), legittima consorte di Domenico Medichini, di ventitrè anni, era rimasta in casa perché colta dalle doglie e con l’aiuto dell’ostetrica Camilla Marangoni aveva partorito il suo figlio primogenito (la coppia ebbe poi altri otto figli). La casa della coppia si trovava in Piazza Maggiore, a pochi metri dalla chiesa parrocchiale di San Giovanni Battista, e proprio qui nello stesso giorno della sua nascita il neonato fu battezzato dallo zio Don Apollonio Ferri, Arciprete della parrocchia e fratello maggiore della madre Angela. Nell’atto di Battesimo redatto da Don Apollonio si legge che al bambino “<i>nomen impositus fuit Simon Felix</i>” (“al bambino fu dato il nome di Simone Felice).</span><p></p>
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<div style="text-align: center;"><figure class="wp-block-image aligncenter size-large is-resized"><figcaption style="text-align: left;"><i> </i></figcaption><figcaption style="text-align: left;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi6wdbm94W_AmnaDF9OylNFNqu_JIFdfSUSXGzhE7nDNlGehPVOBTuTsSNfjm_W_z6YO3bR4EC7DxmTDa4YoXzjtVxOlt_vech4Io76_9LOyc7gR9IjTL0rcX4HLq5RXwViimudgF1EGEXPeatn36dVSMxC7ZpdyAqvLkGXltqSmt7lexFXPNiWrnSkhw=s1836" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1100" data-original-width="1836" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEi6wdbm94W_AmnaDF9OylNFNqu_JIFdfSUSXGzhE7nDNlGehPVOBTuTsSNfjm_W_z6YO3bR4EC7DxmTDa4YoXzjtVxOlt_vech4Io76_9LOyc7gR9IjTL0rcX4HLq5RXwViimudgF1EGEXPeatn36dVSMxC7ZpdyAqvLkGXltqSmt7lexFXPNiWrnSkhw=w400-h240" width="400" /></a></div></figcaption><figcaption><i>Casa natale di Don Simone Medichini (a destra) e facciata della chiesa parrocchiale di San Giovanni Battista (a sinistra)</i></figcaption></figure></div>
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<p><span style="font-size: medium;">Non si conosce l’origine della famiglia Medichini, di condizione piuttosto agiata, ma a San Giovanni il cognome è attestato per la prima volta in un verbale del Consiglio dei Priori del 13 marzo 1701 (Archivio Storico di Villa San Giovanni in Tuscia), che nomina un tale Domenico di Francesco Medichini, membro del Consiglio suddetto. Importante punto di riferimento e di guida per Simone durante l’infanzia fu suo zio Don Apollonio, il quale seppe cogliere in lui i primi barlumi della vocazione sacerdotale, e prontamente la incoraggiò impartendogli i rudimenti dell’educazione religiosa e del sapere.</span></p><span style="font-size: medium;">
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</span><p><span style="font-size: medium;">Quando ormai Simone stava per affacciarsi all’adolescenza la scelta era già fatta: desiderava seguire l’esempio di suo zio votandosi alla vita clericale. Così nel novembre 1843, all’età di dodici anni, ricevette la tonsura nel corso di una cerimonia liturgica svoltasi a Bieda nella chiesa di Santa Maria Assunta in Cielo, e officiata dal Vescovo di Viterbo Gaspare Bernardo Pianetti. Il rito prevedeva il taglio di cinque ciocche di capelli come simbolica rinuncia alla vanità della vita mondana, nonché l’imposizione della cotta durante la recita di una preghiera: Simone abbandonò ufficialmente la vita da laico ed entrò nello stato di vita clericale.</span></p><span style="font-size: medium;">
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</span><p><span style="font-size: medium;">Circa due mesi dopo aver ricevuto la tonsura, nel gennaio 1844 il giovane Simone fu dalla sua famiglia mandato a Capranica, paese distante una quindicina di chilometri da San Giovanni, per iniziare a studiare in modo approfondito alcune materie ritenute importanti nella formazione di un futuro sacerdote. Divenne allievo del Canonico Don Tommaso Porta, che lo ospitò in casa e fu suo precettore per circa due anni, fino alla fine di settembre 1845, come ricordò anche Don Simone nelle sue memorie manoscritte (“<i>Diario pel Capitolo di Sant’Angelo</i>”, 1861-1915): “<i>Andato per circa 2 anni a studiare a Capranica presso D. Tommaso Porta, allora canonico, poi Arciprete</i>”.</span></p><p><span style="font-size: medium;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtWv7teGor4kWsP8xbXnFStkM2G-rz64OeC8v7ALS94hQ9WPEpwj09_ddAMRdCgedd9OVTp6zFZcgfDRU1nVt-F2vPSKM7qT064974oXg-es0r1q-U4aNFHEpXnaGY81E8Wamcx5XoQdjYL_8yCsJObPVePL0ODfCyXt-T22KyLMhCatZbcQxXWuRN8A/s2405/Ritratto%20(Porta%20Prudenza).jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2405" data-original-width="1849" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtWv7teGor4kWsP8xbXnFStkM2G-rz64OeC8v7ALS94hQ9WPEpwj09_ddAMRdCgedd9OVTp6zFZcgfDRU1nVt-F2vPSKM7qT064974oXg-es0r1q-U4aNFHEpXnaGY81E8Wamcx5XoQdjYL_8yCsJObPVePL0ODfCyXt-T22KyLMhCatZbcQxXWuRN8A/w308-h400/Ritratto%20(Porta%20Prudenza).jpg" width="308" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Ritratto di Don Tommaso Porta <br /></i><i>(propr. fam. Crocicchia - un grazie alla sig.ra Luciana Crocicchia per averla messa a disposizione)</i><i></i></td></tr></tbody></table><span style="font-size: medium;"><br />E’ molto probabile che Don Tommaso fosse amico della famiglia Medichini, o che comunque avesse con essa contatti piuttosto stretti forse per il tramite di Don Apollonio Ferri, e che godesse della fiducia e della stima dei genitori di Simone, visto che proprio a lui affidarono la cura dell’educazione del figlio. Una ricerca compiuta in anni recenti nell’Archivio Storico Diocesano di Nepi, il quale conserva anche la documentazione relativa alla chiesa parrocchiale di San Giovanni Evangelista di Capranica, mi ha permesso di reperire alcuni documenti dai quali ho desunto qualche notizia biografica su Don Tommaso Porta.</span><p></p><span style="font-size: medium;">
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</span><p><span style="font-size: medium;">Costui era nato a Capranica il 7 marzo 1818 da Sebastiano Porta e da Anna Maria Boccalini, figlia del fu Isidoro, ed era stato battezzato il 9 marzo nella chiesa parrocchiale di San Giovanni Evangelista da Don Domenico Francesco Petrucci, Arciprete dal 1812.</span></p><span style="font-size: medium;">
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</span><p><span style="font-size: medium;">I Porta erano una famiglia facoltosa locale, che mantenne il suo ruolo di prestigio anche dopo l’annessione dello Stato della Chiesa al Regno d’Italia nel 1870. Ancora nel 1873 la famiglia era annoverata tra i maggiori possidenti di beni immobili a Capranica, seguita dalla famiglia del Marchese Giovanni Francesco Patrizi, e vari suoi esponenti furono di volta in volta eletti alla carica di consiglieri comunali.</span></p>
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<div style="text-align: center;"><figure class="wp-block-image aligncenter size-large is-resized"><figcaption style="text-align: left;"><i> <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhk3vQe6sKeGWh9lyYimwMR-sZdze2oq8LeAmsufEnyHeTBYruWZSDjr-2XoyrllJwCbbLjbINY9wSNkEve8KHeQNMdFngHgjTAx32BIpLzWNUceaUp3tSt4doa2hkT__GLgjviBouWdNAfOIMVPB_2m_9Ok_BhiLOIuJ3yjASFH32KDSKtcVZAcWrO6Q=s2912" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2024" data-original-width="2912" height="278" src="https://blogger.googleusercontent.com/img/a/AVvXsEhk3vQe6sKeGWh9lyYimwMR-sZdze2oq8LeAmsufEnyHeTBYruWZSDjr-2XoyrllJwCbbLjbINY9wSNkEve8KHeQNMdFngHgjTAx32BIpLzWNUceaUp3tSt4doa2hkT__GLgjviBouWdNAfOIMVPB_2m_9Ok_BhiLOIuJ3yjASFH32KDSKtcVZAcWrO6Q=w400-h278" width="400" /></a></div></i></figcaption><figcaption><i>Chiesa di San Giovanni Evangelista di Capranica (vista da nord-est)</i></figcaption></figure></div>
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<p><span style="font-size: medium;">Con il passare degli anni Tommaso sentì maturare in lui la vocazione per la vita clericale, e il 10 giugno 1841, all’età di ventitrè anni, fu ordinato sacerdote. Nel periodo in cui fu professore di Simone Medichini aveva ventisei anni ed era Canonico, mentre dal 1844 a Capranica rivestiva la carica di Arciprete della chiesa di San Giovanni Evangelista un suo parente, Don Basilio Porta. Alla morte di Don Basilio, avvenuta nell’ottobre 1850, Don Tommaso gli succedette come Arciprete.</span></p><span style="font-size: medium;">
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</span><p><span style="font-size: medium;">Come già detto, il soggiorno di studio di Simone Medichini a Capranica durò fino alla fine di settembre 1845 poi, grazie all’interessamento del Vescovo Gaspare Bernardo Pianetti, agli inizi di novembre entrò nel Seminario Vescovile di Viterbo, che allora si trovava nell’ex sede dei Gesuiti in Piazza del Seminario (ora Piazza Mario Fani), dove vi rimase fino alla prima metà dell’anno 1853. Simone fu un allievo modello, serio, preciso, meticoloso e con una naturale attitudine allo studio, perciò dopo i brillanti risultati ottenuti presso il Seminario Vescovile non ebbe problemi a superare la prova di ammissione al Seminario Pio di Roma, che si svolse a Viterbo nell’agosto 1853. Il Seminario Pio era stato fondato da Papa Pio IX nel 1851, dopo il suo ritorno dall’esilio di Gaeta, ma era stato ufficialmente aperto nel giugno 1853. Studiò in questo prestigioso Istituto fino al 1859, conseguendo diversi gradi accademici: nel dicembre 1854 il Baccalaureato in Sacra Teologia, nell’agosto 1857 la Laurea in Sacra Teologia, nell’agosto 1858 il Baccalaureato in <i>Utroque Iure</i> (Diritto Canonico e Diritto Civile), e nel settembre 1859 la Laurea in <i>Utroque Iure</i>. Nell’aprile 1854 era stato ordinato sacerdote nel corso di una cerimonia liturgica, officiata a Roma nella Basilica di San Giovanni in Laterano dal Cardinale Vicario Costantino Patrizi Naro. In considerazione dell’approfondita cultura acquisita da Don Simone negli anni di studio al Seminario Pio, nell’autunno del 1860 il Vescovo Gaspare Bernardo Pianetti gli affidò l’incarico di professore di Teologia Dogmatica nel Seminario Vescovile di Viterbo (successivamente insegnò anche Fisica e Archeologia), e contemporaneamente lo nominò Parroco della chiesa di Sant’Angelo in Spatha, presso la quale fu pastore di anime per ben cinquantacinque anni. Don Simone fu anche un serio ed apprezzato studioso di Scienze Naturali, in particolare di Geologia e di Meteorologia, dal 1873 al 1884 studiò le variazioni della temperatura delle acque termali del Bulicame di Viterbo, i cui risultati riassunse ed illustrò in un lungo articolo pubblicato nel 1904 nella rivista scientifica “<i>Memorie della Pontificia Accademia Romana de’ Nuovi Lincei</i>”.</span></p>
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<div style="text-align: center;"><figure class="wp-block-image aligncenter size-large is-resized"><figcaption style="text-align: left;"><i> <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhmdt7aOJI1EIFxuPnPAxjI78ehsEBfzwxnRq_mOg8wVEBp4dCvEsAMuvZrmm7qdxmttCTl8e4luAbeFnK-twsw3RjvlRnVpQ7VDftlH5RhxBHGFSUhtz_pzuqk1x8x9I5ddH2v3q_nV7pSyXvQd7B2UF8E9xB2kkdjNbIcjbxTNU4MhKKDsAsnMBOOxA=s2752" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1892" data-original-width="2752" height="275" src="https://blogger.googleusercontent.com/img/a/AVvXsEhmdt7aOJI1EIFxuPnPAxjI78ehsEBfzwxnRq_mOg8wVEBp4dCvEsAMuvZrmm7qdxmttCTl8e4luAbeFnK-twsw3RjvlRnVpQ7VDftlH5RhxBHGFSUhtz_pzuqk1x8x9I5ddH2v3q_nV7pSyXvQd7B2UF8E9xB2kkdjNbIcjbxTNU4MhKKDsAsnMBOOxA=w400-h275" width="400" /></a></div></i></figcaption><figcaption><i>Alcune pagine del Diario del Capitolo di Sant'Angelo scritto da Don Simone Medichini</i></figcaption></figure></div>
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<p><span style="font-size: medium;">Nel 1881 Don Simone, insieme al Vescovo Giovanni Battista Paolucci, allestì in alcuni locali all’ultimo piano del Seminario Vescovile di Viterbo il primo Osservatorio Meteorologico, e il Paolucci lo nominò Direttore. Fu socio corrispondente per il “<i>Bullettino del Vulcanismo Italiano</i>”, un periodico scientifico fondato nel 1874 dal geologo Michele Stefano De Rossi, fu amico di altri importanti studiosi quali ad esempio il Gesuita padre Angelo Secchi, astronomo, e il geologo e vulcanologo Don Giuseppe Mercalli, che accompagnò in alcune perlustrazioni nel viterbese a scopo di studio.</span></p><span style="font-size: medium;">
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</span><p><span style="font-size: medium;">Nonostante gli impegni come parroco, come professore e come uomo di scienza, Don Simone non dimenticò mai il suo maestro Don Tommaso Porta, con il quale mantenne i contatti, e nutrì sempre per lui una sincera gratitudine e un cordiale affetto. Nelle sue memorie ricordò sia le periodiche visite da lui fatte a Don Tommaso in Capranica, sia quelle di Don Tommaso a Viterbo per andare a trovare il suo allievo di un tempo, o anche a San Giovanni per partecipare a celebrazioni liturgiche insieme a Don Simone.</span></p><span style="font-size: medium;">
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</span><p><span style="font-size: medium;">Per il 1868 si hanno notizie di almeno due incontri: il 18 maggio Don Simone e alcuni suoi parenti fecero una gita e, come scrisse nelle sue memorie, “<i>la sera ci fermammo tutti a Capranica a casa dell’Arciprete Tommaso Porta</i>”. Il successivo 23 agosto fu Don Tommaso ad andare a San Giovanni, dove era convenuto anche Don Simone, per partecipare alla Messa e alla processione con la reliquia del Santo patrono: “<i>Festa popolare a S. Giovanni in onore del S. Protettore S. Giovanni Battista. E’ stato fatto ora in Roma un busto in bronzo inargentato del Santo, al quale (con la reliquia appiè incastonata) dopo la Messa cantata in terza, fu recato in processione dall’Arciprete D. Aminto Todini, facendo io da diacono. Tanto nella Messa (cantata dall’Arciprete di Capranica Don Tommaso Porta) quanto nella processione. (...</i>)”.</span></p><span style="font-size: medium;">
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</span><p><span style="font-size: medium;">Occasionalmente Don Tommaso ospitava in casa sua, a Capranica, anche alcuni parenti di Don Simone. Nel settembre 1875 Assunta Medichini, sorella nubile di Don Simone che viveva insieme a lui nella canonica accanto alla chiesa di Sant’Angelo in Spatha, fu ospite di Don Tommaso per diciotto giorni. Il successivo 23 settembre fu Don Tommaso, insieme alla nipote Maria Caterina, a recarsi a Viterbo e ad essere ospite per alcuni giorni di Don Simone. Il Medichini potè contare sulla disponibilità del suo vecchio professore anche quando, ammalatosi e tormentato da una febbre insistente, fu ospitato in casa sua a Capranica: “<i>Andai a Capranica a mutare aria per la febbre, d’onde tornai il 27 ristabilito a quanto pare</i>”. Si preoccupava, Don Tommaso, e dopo pochi giorni dal ritorno di Don Simone a Viterbo, lo raggiunse accompagnato dalla nipote Maria Caterina, per sincerarsi delle sue condizioni di salute.</span></p>
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<div style="text-align: center;"><figure class="wp-block-image aligncenter size-large is-resized"><figcaption style="text-align: left;"><i><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi75IIkRW8E6qoHlZ5dhPUV1nSDi1VqemGSMXgJAxJz9LPfL1EiZ9oRIYnlW9TrX4DPIy5l8d9ZmtiJwP1AQ_sUzfgkQYq2nOKNBDRTraKNFApLFoLXPRKKnRNQM5fRKoTikWHLTq5wvjqqavNWkkWg5l58V3ZdRzkvQjptjm65yxSnDBID7HLxV5QfGA=s1386" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1002" data-original-width="1386" height="289" src="https://blogger.googleusercontent.com/img/a/AVvXsEi75IIkRW8E6qoHlZ5dhPUV1nSDi1VqemGSMXgJAxJz9LPfL1EiZ9oRIYnlW9TrX4DPIy5l8d9ZmtiJwP1AQ_sUzfgkQYq2nOKNBDRTraKNFApLFoLXPRKKnRNQM5fRKoTikWHLTq5wvjqqavNWkkWg5l58V3ZdRzkvQjptjm65yxSnDBID7HLxV5QfGA=w400-h289" width="400" /></a></div></i></figcaption><figcaption><i>Palazzo Accoramboni (ora sede del Comune), ex proprietà della famiglia Porta</i></figcaption></figure></div>
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<p><span style="font-size: medium;">Il 10 giugno 1891 Don Tommaso festeggiò il “giubileo sacerdotale”, cioè i 50 anni dalla sua ordinazione (10 giugno 1841). Nella chiesa di Santa Maria di Capranica fu celebrata una Messa, alla quale partecipò anche Don Simone, prendendo parte pure al successivo pranzo: “<i>Con D. Alfonso e la mia sorella Caterina sono andato stamane a Capranica dove ho celebrato, e vista la Chiesa di S. Maria quasi compita (disegno di Vespiniani, basilicale) ho fatto da prete assistente alla Messa cantata dall’Arciprete Don Tommaso Porta, facendo da diacono D. Alfonso. Ambedue fummo suoi discepoli. Egli oggi celebra il suo cinquantesimo anno dalla prima Messa. Preceduti dal Concerto, seguiti dal Capitolo e da tutti i primarii del paese lo abbiamo accompagnato alla Chiesa collegiata. Dopo il Vangelo un cappuccino (di residenza a Ronciglione) ha fatto un discorso laudatorio (la cosa non mi piace). Dopo la Messa l’Arciprete ha detto due parole per iniziare a lodare il Signore e ha intonato il Te Deum. Era piena la Chiesa. Col medesimo tornati a casa. Si è pranzato con tutti i detti signori (una quarantina di prima tavola). La sera siamo ritornati</i>”.</span></p><span style="font-size: medium;">
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</span><p><span style="font-size: medium;">Forse una delle ultime gite fatte da Don Simone a Capranica e terminata con una visita a Don Tommaso, fu quella del 28 settembre 1894. Don Simone, il nipote Eugenio (figlio del fratello Alessandro Medichini) e il professore Michele Alivia, Primario dell’Ospedale Grande degli Infermi di Viterbo, andarono a Farnese per visitare l’antico Palazzo. Al ritorno raggiunsero Ronciglione in carrozza, da qui presero il treno e scesero alla stazione di Capranica per andare a trovare Don Tommaso: “<i>abbiamo pranzato presso l’Arciprete D. Tommaso Porta, che ora disgraziatamente è cieco</i>”. Dal <i>Liber Mortuorum 1893-1925</i> della parrocchia di San Giovanni Evangelista di Capranica si evince che Don Tommaso morì il 13 gennaio 1898, all’età di quasi ottant’anni. La sua salma fu esposta nella chiesa di San Giovanni Evangelista, poi fu tumulata nel cimitero comunale dove ancora oggi è visibile la cappella della famiglia Porta (ma al suo interno la sepoltura di Don Tommaso risulta irreperibile). Per una curiosa coincidenza, o forse per un misterioso disegno della Provvidenza Divina che aveva già intrecciato le vite di Don Tommaso e di Don Simone, anche quest’ultimo terminò il suo pellegrinaggio terreno il 13 gennaio, come il suo vecchio professore, ma diciotto anni dopo la sua dipartita, nel 1916.</span></p>
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<div style="text-align: center;"><figure class="wp-block-image aligncenter size-large is-resized"><figcaption style="text-align: left;"><i> <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjxcehKRJB0Cl9skHp-voDgk39t1yoMKwhUc1W7MfQEfZWusHN7jbY4PaRXTqcmvBFgeHx4pzHGlNdytWnJAp0iGOwQNKCRKv92JA6ETsOUKahxOqE0rhWEOzPsMvaLniT3a1wTxZ3PsLsGZOeSLlzbIbor0HMyp1VX2aAIhUlcLNNNkObERfJTutbwew=s2884" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1998" data-original-width="2884" height="278" src="https://blogger.googleusercontent.com/img/a/AVvXsEjxcehKRJB0Cl9skHp-voDgk39t1yoMKwhUc1W7MfQEfZWusHN7jbY4PaRXTqcmvBFgeHx4pzHGlNdytWnJAp0iGOwQNKCRKv92JA6ETsOUKahxOqE0rhWEOzPsMvaLniT3a1wTxZ3PsLsGZOeSLlzbIbor0HMyp1VX2aAIhUlcLNNNkObERfJTutbwew=w400-h278" width="400" /></a></div></i></figcaption><figcaption><i>Atto di morte di Don Simone Medichini, nel Liber Mortuorum del Cimitero di San Lazzaro (Viterbo)</i></figcaption></figure></div>
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<p class="has-text-align-center" style="text-align: center;"><b>Per citare questo articolo</b></p>
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<p class="has-text-align-center" style="text-align: center;">MERLINO, Micaela, «<i>Il professore e l’allievo: Don Tommaso Porta e Simone Medichini a Capranica (Storia breve di una lunga amicizia)</i>», Capranica Storica, 14/01/2022 - URL: <a href="https://www.capranicastorica.it/2022/01/il-professore-e-lallievo-don-tommaso.html"><span><span class="w4txWc oJeWuf" id="c2" role="region"><span class="MUhG4e OGjyyf" data-blogurl="https://www.capranicastorica.it/">https://www.capranicastorica.it/2022/01/il-professore-e-lallievo-don-tommaso.html</span></span></span></a></p>
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<p style="text-align: center;"><a href="https://creativecommons.org/licenses/by-nc-sa/4.0/" rel="license"><img alt="Licenza Creative Commons" src="https://i.creativecommons.org/l/by-nc-sa/4.0/88x31.png" style="border-width: 0px; display: block; margin-left: auto; margin-right: auto;" /></a>Questo articolo di <a href="https://www.capranicastorica.it/2022/01/il-professore-e-lallievo-don-tommaso.html" rel="cc:attributionURL">Micaela Merlino</a> è distribuito con Licenza:<br /> <a href="https://creativecommons.org/licenses/by-nc-sa/4.0/" rel="license">Creative Commons Attribuzione - Non commerciale - 4.0 Internazionale</a> <br />Condividi allo stesso modo!<br /></p>
<!--/wp:html-->Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4201727664195975785.post-91297105274947375172021-12-17T10:00:00.000+01:002022-03-31T17:52:59.230+02:00La rocca di Capranica: una ipotesi ricostruttiva<div><!--wp:paragraph {"style":{"typography":{"fontSize":12}}}-->
<p class="has-drop-cap"></p><figure class="wp-block-image aligncenter size-large is-resized"></figure><div style="text-align: center;"> <a href="https://blogger.googleusercontent.com/img/a/AVvXsEiVVZy1ExY6CGFh8aaEpjqoSvhbb9lY9zriNCqdXsWDz8IEtYZRwYqhaUHG-FJWUBOzxz3nsjM4GqKCHnVxctayDFSrlWTDLNfBDwU_FZ3hZiurJnoJS2QIlH-LIZaIwa-OTAXkOuy73jIWFOV80js0b0PJdEvFwKKYS9Sln0clGAcvo-PPSPJ1wpOUSw=s448" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="299" data-original-width="448" height="268" src="https://blogger.googleusercontent.com/img/a/AVvXsEiVVZy1ExY6CGFh8aaEpjqoSvhbb9lY9zriNCqdXsWDz8IEtYZRwYqhaUHG-FJWUBOzxz3nsjM4GqKCHnVxctayDFSrlWTDLNfBDwU_FZ3hZiurJnoJS2QIlH-LIZaIwa-OTAXkOuy73jIWFOV80js0b0PJdEvFwKKYS9Sln0clGAcvo-PPSPJ1wpOUSw=w400-h268" width="400" /></a></div><p></p><p class="has-drop-cap">di <b>Carlo Maria D'Orazi (*)</b> </p><p class="has-drop-cap"><span style="font-size: medium;">L'ipotesi ricostruttiva della Rocca degli Anguillara di Capranica, si basa su elementi scientifici, in particolare, sul lato Nord, il resto di muro alto 17 metri e largo 8 metri, una volta appartenuto alla Rocca e rinvenuto il 10 novembre del 2010, poi inglobato da un palazzetto della 1° metà del XVI secolo. Oltre a questo grosso frammento di muro, che continua anche sul lato Ovest, ci si è avvalsi, per la ricostruzione, anche dei 31 atti notarili del XIV secolo, dell'Archivio Notarile di Capranica, rogati dalla famiglia degli Anguillara in alcune stanze della Rocca, atti che vanno dal 1348 al 1387 conclusi da diversi personaggi della nobile famiglia degli Anguillara tra cui il Conte Orso I, che ospitò il grande poeta Francesco Petrarca per circa due mesi nella Rocca, il Conte Giovanni I (Figlio di Francesco a sua volta fratello del Conte Orso I), i fratelli gemelli i Conti Francesco e Nicola, figli di Giovanni I (il cui sepolcro di marmo bianco è conservato all'interno della chiesa romanica di San Francesco in Capranica) e le Contesse Caterina e Lippa.</span></p><span style="font-size: medium;">
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</span><p><span style="font-size: medium;"><span></span></span></p><a name='more'></a><span style="font-size: medium;">Da questi atti è emerso che nella Rocca esisteva una loggia (una specie di balconata) che doveva trovarsi, per motivi di sicurezza sul lato Est verso il castro di Capranica, una Sala Major (di circa mq 100) di rappresentanza per le udienze ufficiali della famiglia, una cappella privata, una cantina; difatti i vari atti della famiglia rinvenuti sino ad adesso (dopo una analisi di circa 1.600 atti notarili del '300 su circa 3.000 in totale) sono rogati in questi diversi locali. Altri atti notarili, conclusi dal Conte Everso degli Anguillara, il Conte più famoso di tutti, fra il 1460 e il 1464 sono stati conclusi all'interno della camera residenza del Magnifico Conte Everso, camera che prima di lui dovette appartenere ad altri nobili antenati come il Conte Pandolfo II e il Conte Orso I. E' chiaro che nella Rocca, sviluppata probabilmente su tre piani con circa 1.500 metri quadrati a piano, esistevano altre stanze da letto degli altri membri della famiglia, uno o due studioli, le stanze per la servitù e gli alloggi per i soldati e la fureria (ufficio di comando della guarnigione). All'interno della Rocca si suppone che vi fosse anche una corte interna di circa mq 220 che doveva dare aria e luce alle stanze interne. Si suppone che, molto probabilmente, dalla Sala Major si potesse entrare nella loggia esterna, cosa che sembra ovvia.</span><p></p><span style="font-size: medium;">
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</span><p><span style="font-size: medium;">La muratura rimasta del castello è datata al 1280-1290, datazione confermata anche dal prof. Renzo Chiovelli di Acquapendente, massimo esperto in tecniche murarie medioevali e rinascimentali della provincia di Viterbo e quindi a voler costruire la Rocca fu il Conte Pandolfo II che era a capo della famiglia in quegli anni.</span></p><span style="font-size: medium;">
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</span><p><span style="font-size: medium;">La Rocca era provvista, inevitabilmente, di due grandi portali d'ingresso, uno sul lato Ovest, verso il ponte levatoio, e l'altro sul lato Est, verso il paese, e la gente, i carri e gli animali dovevano necessariamente attraversare il castello passando in un verso o nell'altro e attraversando la corte interna.</span></p><span style="font-size: medium;">
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</span><p><span style="font-size: medium;">La notizia più antica dell'esistenza della Rocca degli Anguillara di Capranica è del 1331 ed è riportata nel saggio del 1906 sulla storia della famiglia degli Anguillara scritta dall'importante ricercatrice Vittorina Sora, saggio pubblicato dalla Regia Società Romana di Storia Patria con sede in Roma. Non si sa con certezza quando sia stato abbattuto il castello ma sembra molto probabile che questo fatto sia avvenuto alla fine del XV secolo. Si spera che dall'analisi degli atti notarili della fine del XV secolo dell'Archivio Notarile di Capranica, possa emergere qualche notizia in tal senso. Ricordiamo che la famiglia degli Anguillara, retta dai due figli legittimi del Conte Everso (morto a Cerveteri il 4 settembre 1464) Francesco e Deìfobo, perse tutti i castelli in suo possesso nel luglio del 1465 per volontà di Papa Paolo II Barbo che non tollerava più la politica antipapale del Conte Everso e dei suoi due figli legittimi Francesco e Deìfobo.</span></p><span style="font-size: medium;">
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</span><p><span style="font-size: medium;">I prospetti e la pianta sono stati elaborati da me e disegnati al computer (Autocad) dall'arch. Filippo Dezi di Ronciglione, uno dei soci fondatori del Centro Ricerche e Studi di Capranica.</span></p><span style="font-size: medium;">
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</span><p><span style="font-size: medium;">Nella seguente galleria sono pubblicati i prospetti e la pianta del piano nobile dell'ipotesi ricostruttiva.</span></p><p style="text-align: center;"></p></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiJnUcsNYMK-SUwVAf7vOq5ZQox7PnTZwpfNGYymmlTbbuQu93qghNFKySs5NV_I_8NjtBSWu_qW0icKzcMzOEBC-nb1IS2RDsHglbfMraTB523EcjZuEDcvjqfWZTPdEUUHlnuJ_IpDhCG3tG2RxDy5-gVrTuxX5t5ep8YNRA3T7drYzg7TZbw045Mvg=s1536" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1117" data-original-width="1536" height="291" src="https://blogger.googleusercontent.com/img/a/AVvXsEiJnUcsNYMK-SUwVAf7vOq5ZQox7PnTZwpfNGYymmlTbbuQu93qghNFKySs5NV_I_8NjtBSWu_qW0icKzcMzOEBC-nb1IS2RDsHglbfMraTB523EcjZuEDcvjqfWZTPdEUUHlnuJ_IpDhCG3tG2RxDy5-gVrTuxX5t5ep8YNRA3T7drYzg7TZbw045Mvg=w400-h291" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhh-qmHdrEdPLiJo8jGmmcns1RAs8YNLsf-LN8100SndxLUKYvu6ppfc3F46m-YRYJPdk4bAY9gw53tqIlhzn7nutIFXlk9a515jyv6eTxvga-j441UC5Xe87BZv1kXFtIqsfmrNyUyDOJBcwNedpXSuKS09tg1Rp7u9Lb0l_lANv_UsHbYEFZwZ10k9A=s1200" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="873" data-original-width="1200" height="291" src="https://blogger.googleusercontent.com/img/a/AVvXsEhh-qmHdrEdPLiJo8jGmmcns1RAs8YNLsf-LN8100SndxLUKYvu6ppfc3F46m-YRYJPdk4bAY9gw53tqIlhzn7nutIFXlk9a515jyv6eTxvga-j441UC5Xe87BZv1kXFtIqsfmrNyUyDOJBcwNedpXSuKS09tg1Rp7u9Lb0l_lANv_UsHbYEFZwZ10k9A=w400-h291" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgQivPY0s_gr03ApeJArGgySOmvomsDIeIZT4BVyZZPBLsaD7BaLMin8I1SuWpSwUq6n_Z06jD6GRBBW2gxtTWD_2WwRx2H30vWKsdfCzWKTTII3X2UueqYZg-LLcdXQvTYQIv7wbuibkcNRKfbpZdL3Gv9bypHe6mWT6d7-xHVv5haZcfxAaed5k_qjg=s1200" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="873" data-original-width="1200" height="291" src="https://blogger.googleusercontent.com/img/a/AVvXsEgQivPY0s_gr03ApeJArGgySOmvomsDIeIZT4BVyZZPBLsaD7BaLMin8I1SuWpSwUq6n_Z06jD6GRBBW2gxtTWD_2WwRx2H30vWKsdfCzWKTTII3X2UueqYZg-LLcdXQvTYQIv7wbuibkcNRKfbpZdL3Gv9bypHe6mWT6d7-xHVv5haZcfxAaed5k_qjg=w400-h291" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEieLcG06iKV55lLIGsVw6VgLEN1rybaUZ-2j1RcE82RNetHhowtO3jYCptqHLIKAlsJMJx38C5urQN_2T9-Z4dT4c1C9yuQvg8cXN-zkQ8KkKcusREBreLBZ3huFt_jmAnTen1Fx4bDcAoTqqXLo55aBUBrry_LbuRE8H6O41vgo1xiw2J0gTH_ucV_jQ=s1200" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="873" data-original-width="1200" height="291" src="https://blogger.googleusercontent.com/img/a/AVvXsEieLcG06iKV55lLIGsVw6VgLEN1rybaUZ-2j1RcE82RNetHhowtO3jYCptqHLIKAlsJMJx38C5urQN_2T9-Z4dT4c1C9yuQvg8cXN-zkQ8KkKcusREBreLBZ3huFt_jmAnTen1Fx4bDcAoTqqXLo55aBUBrry_LbuRE8H6O41vgo1xiw2J0gTH_ucV_jQ=w400-h291" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiNsIEQNgYfuiPg0ZXIW0tWhZ1tDMBR-5DJ5Jim2h2V_fEO8coj7wDw_Z-t-ynag65WJgqwZlpGAKk3CNjwUfzHoCFhWw6EWSuh4l5vczi7Ubk5a-eknhaRZMcfSdzABjUJjt7o-fYjcQnoxr7agt8rG2r4jX-dvUhtCAo7qAJ5-s4ibXnAnvDVYqMxWA=s1200" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="873" data-original-width="1200" height="291" src="https://blogger.googleusercontent.com/img/a/AVvXsEiNsIEQNgYfuiPg0ZXIW0tWhZ1tDMBR-5DJ5Jim2h2V_fEO8coj7wDw_Z-t-ynag65WJgqwZlpGAKk3CNjwUfzHoCFhWw6EWSuh4l5vczi7Ubk5a-eknhaRZMcfSdzABjUJjt7o-fYjcQnoxr7agt8rG2r4jX-dvUhtCAo7qAJ5-s4ibXnAnvDVYqMxWA=w400-h291" width="400" /></a></div><br /><div><p></p>
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<p class="has-small-font-size">(*) Presidente del Centro Ricerche e Studi di Capranica</p>
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<p class="has-text-align-center" style="text-align: center;"><b>Per citare questo articolo</b></p>
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<p class="has-text-align-center" style="text-align: center;">D'ORAZI Carlo Maria, «<i>La rocca di Capranica: una ipotesi ricostruttiva</i>», Capranica Storica, 17/12/2021 - URL: <a href="https://capranicastorica.blogspot.com/2021/12/la-rocca-di-capranica-una-ipotesi.html">https://capranicastorica.blogspot.com/2021/12/la-rocca-di-capranica-una-ipotesi.html</a></p>
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<p style="text-align: center;"><a href="https://creativecommons.org/licenses/by-nc-sa/4.0/" rel="license"><img alt="Licenza Creative Commons" src="https://i.creativecommons.org/l/by-nc-sa/4.0/88x31.png" style="border-width: 0px; display: block; margin-left: auto; margin-right: auto;" /></a>Questo articolo di <a href="https://capranicastorica.blogspot.com/2021/12/la-rocca-di-capranica-una-ipotesi.html" rel="cc:attributionURL">Carlo Maria D'Orazi</a> è distribuito con Licenza:<br /> <a href="https://creativecommons.org/licenses/by-nc-sa/4.0/" rel="license">Creative Commons Attribuzione - Non commerciale - 4.0 Internazionale</a><br /> Per condividere usa il PDF! </p>
<!--/wp:html--></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4201727664195975785.post-43555641982959085712021-12-10T10:00:00.000+01:002022-03-31T17:53:14.617+02:00La Stampa in camicia nera. Un profilo di Alfredo Signoretti a
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<div style="font-size: 12px; text-align: left;"><p style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi-Y7bTr2tmLjPBHwH6nXgOFIdZVpwPviwE88z1QGV2qC7y7r3WNO_bIhDhkcqDGmah_6qr16Sz7Ro2_ORQkWhhjpGKkqjonFn0M0JKrsj_RZkpm_ocOJWJLihxtC8oNyW7eWDbgDtT-S-Q6EDWrMHCYRBxnFcXS-cNHWDNcpH5eyg2-IJUgFZBS8ujSA=s2840" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2840" data-original-width="2051" height="400" src="https://blogger.googleusercontent.com/img/a/AVvXsEi-Y7bTr2tmLjPBHwH6nXgOFIdZVpwPviwE88z1QGV2qC7y7r3WNO_bIhDhkcqDGmah_6qr16Sz7Ro2_ORQkWhhjpGKkqjonFn0M0JKrsj_RZkpm_ocOJWJLihxtC8oNyW7eWDbgDtT-S-Q6EDWrMHCYRBxnFcXS-cNHWDNcpH5eyg2-IJUgFZBS8ujSA=w289-h400" width="289" /></a></div><br /><p></p><p style="text-align: left;">di <b>Fabio Ceccarini</b></p></div>
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<p class="has-drop-cap"><span style="font-size: medium;">Il 22 gennaio del 1971 muore a Roma, Alfredo Signoretti. Forse molti cittadini di Capranica hanno sentito il suo nome soltanto nel titolo della locale biblioteca comunale, ma la fama di Signoretti è molto più ampia fuori delle patrie mura di quanto invece non lo sia nel suo Paese natìo. Giornalista e scrittore, il suo lavoro lo porta a dirigere grandi giornali quotidiani nazionali in città lontane dal suo “paesello”, come amava definire Capranica, con relativa e conseguente poca presenza nella vita sociale del Paese. Sicché la sua notorietà ha finito via via per offuscarsi e addirittura perdersi. </span></p><span style="font-size: medium;">
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</span><p><span style="font-size: medium;"><span></span></span></p><a name='more'></a><span style="font-size: medium;">Ma il motivo per cui il suo nome ha finito spesso per essere nascosto e quasi occultato, è probabilmente per la sua fede politica. Almeno per quella che abbraccia nella prima metà della sua vita. Signoretti infatti è un fascista della prima ora, “antemarcia” si sarebbe detto un tempo, uno che sostiene con entusiasmo le idee sansepolcriste. Tuttavia è anche un giornalista fascista di quelli con il “ma”, come lo definisce in un suo scritto Gennaro Pistolese, che ha modo di collaborare con lui negli anni Sessanta. E' un giornalista di quelli che se da una parte non rinnega il proprio passato, raccontandolo anche sui libri senza nascondersi e vergognarsi, dimostra di avere tuttavia delle riserve e delle pregiudiziali che, una volta riconosciute, gli consentono di reinserirsi con successo nell’attività editoriale nell’Italia del dopoguerra. Ma andiamo con ordine. </span><p></p><span style="font-size: medium;">
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</span><p><span style="font-size: medium;">Signoretti nasce a Capranica il 19 febbraio 1901, in una casa di Via degli Anguillara, da Antonio, di professione “vetturale” e da Teresa Mantrici. La sua famiglia è di umili origini. Il nonno possiede un paio di ettari di vigneto che vengono coltivati da suo padre e dagli altri familiari: tanta terra quanto basta da poterci ritrarre il sufficiente per mangiare. «I guai – come ricorda lui stesso nel suo libro <i>Come diventai fascista</i> – cominciavano quando occorrevano dei soldi liquidi per le compere». </span></p><span style="font-size: medium;">
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</span><p><span style="font-size: medium;">Lo zio materno, Terenziano, è il proprietario e gestore di un caffè molto frequentato dai pochi «personaggi evoluti del paese». La madre Teresa, muore quando Alfredo non ha ancora compiuto 4 anni, il 27 ottobre 1904 (gli dedicherà le poesie <i>Ventisette di Ottobre</i> e <i>Madre</i>, in <i>Canto Etrusco</i>). Affidato alle zie, viene educato cristianamente e accompagnato alla messa quotidiana, tanto che ai famigliari viene consigliato di favorirne l’avvio verso il seminario. Tuttavia, Alfredo cresce con un forte spirito patriottico che viene suscitato in lui da alcuni libri che legge durante l’infanzia e l’adolescenza, anche se non aderisce ai sentimenti anticlericali che serpeggiano diffusamente a Capranica (e men che meno a quelli che gli vengono incoraggiati dal suo maestro elementare). Messa da parte definitivamente, da parte del padre, l’idea di inviarlo al seminario diocesano, Alfredo è affidato alle cure dell’arciprete Sante Formaggi, che lo segue a casa propria per il primo anno di ginnasio. Sostiene l’esame di ammissione alla seconda ginnasiale come privatista, quindi si iscrive al Liceo Terenzio Mamiani, allora in Corso Vittorio Emanuele, vicino alla Chiesa Nuova di San Filippo Neri. Per seguire le lezioni si trasferisce a casa di un cugino del padre, in Via Marcantonio Colonna, e tutti i giorni si reca a piedi a scuola, dall’altra parte del Tevere.</span></p><span style="font-size: medium;">
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</span><p><span style="font-size: medium;">L’inizio della Grande Guerra lo coglie alla fine di una trionfale terza ginnasiale, che lo vede premiato come miglior studente del Liceo, nonostante i sacrifici che è costretto a fare e le <i>bullizzazioni</i> – diremmo oggi – che subisce dai suoi compagni di classe, tutti provenienti da famiglie benestanti e altolocate. Nel 1918 conclude la maturità, anticipandola di un anno, con una media di 85 su 100, anche se lo sforzo nello studio accompagnato a quello delle lezioni private, che comincia a dare ad alcuni suoi compagni per mantenersi negli studi, gli provocano un esaurimento nervoso da cui si riprende solo dopo qualche mese di riposo a Capranica. </span></p>
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<figure class="wp-block-image aligncenter size-full"><div style="text-align: center;"><img alt="" class="wp-image-1219" src="https://www.capranicastorica.it/wp-content/uploads/2021/12/COME-DIVENTAI-FASCISTA.jpg" /><figcaption style="text-align: left;"><i> <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjvt4nkLccYDBUnPTNMXzVM_qymPcKFROAUG0bcxcd-V2G9lBZ9rEimk6iM8EYhQVJvOAIsNNH0E4-XfuJerZcG-TfWWlgWC2oCURx57sdxcpM__DeuCXSwXDOSosXJ6G7ngKw2Ugu-0yaWjJ_V8WuDQY61oEDHPqquhu6gDXGb9YjnlJa7CZFcAoeIIg=s466" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="466" data-original-width="300" height="400" src="https://blogger.googleusercontent.com/img/a/AVvXsEjvt4nkLccYDBUnPTNMXzVM_qymPcKFROAUG0bcxcd-V2G9lBZ9rEimk6iM8EYhQVJvOAIsNNH0E4-XfuJerZcG-TfWWlgWC2oCURx57sdxcpM__DeuCXSwXDOSosXJ6G7ngKw2Ugu-0yaWjJ_V8WuDQY61oEDHPqquhu6gDXGb9YjnlJa7CZFcAoeIIg=w258-h400" width="258" /></a></div></i></figcaption><figcaption><i>La copertina del libro autobiografico</i></figcaption><i>"Come diventai fascista"</i></div></figure>
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<p><span style="font-size: medium;">Nell’autunno dello stesso anno partecipa attivamente all’assistenza ai malati affetti da influenza spagnola, che a Capranica sono particolarmente numerosi. Esperienza, questa, che lo forma nello spirito e che ricorderà per sempre con molto orgoglio, ma che paga con il contagio e con l’acuirsi del suo esaurimento nervoso. Dopo l’inverno, si iscrive finalmente alla facoltà di Lettere e Filosofia grazie a 700 lire che il padre riesce faticosamente a risparmiare per farlo studiare. Questo sarà l’ultimo aiuto economico che riceve dalla famiglia. Alla Sapienza, ancora ospitata nel palazzo di Sant’Ivo in Corso Rinascimento, ha come suoi professori Ernesto Buonaiuti, Bernardino Varisco, Giovanni Gentile, Luigi Ceci, Cesare De Lollis. Alcuni di questi diventano per lui dei veri e propri modelli. Preferisce infatti «…le frasi smozzicate, ironiche di Bernardino Varisco e l’esposizione piana, pur con un eloquio scarno e talvolta rozzo del professore di psicologia De Sanctis» (CDF 49), all’eloquio pomposo ed esaltato di Gentile. </span></p><span style="font-size: medium;">
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</span><p><span style="font-size: medium;">E’ durante il primo anno di università che comincia a maturare la sua simpatia per gli ambienti nazionalisti italiani che reclamano il fedele rispetto del Patto di Londra del 1915, con la pretesa della sovranità italiana sull’Istria e la Dalmazia. Ritiene tuttavia il nazionalismo troppo angusto per le proprie aspirazioni personali, e il 23 marzo 1919 saluta con entusiasmo e favore l’adunata di piazza San Sepolcro, a Milano, in cui vengono fondati i fasci di combattimento. A contatto quotidiano con compagni di corso di idee socialiste, cattoliche, comuniste, ha modo ogni giorno di confrontarsi con essi convincendosi sempre di più della giustezza del proprio punto di vista. Scrive infatti su <i>Come diventai fascista</i>, che «le mie idee, le mie scelte avvenivano nel clima più libero e più antidogmatico, in uno scontro continuo di tesi e di antitesi, con una mente giovanile avida e prensile». In occasione del primo anniversario dell’entrata in guerra dopo la vittoria, il 23 (o il 25 maggio) 1919, si iscrive al Fascio Romano di Combattimento. In questa occasione incontra Benito Mussolini, che ha modo di ascoltare per la prima volta alla fine di maggio, dopo un discorso, che il futuro Duce pronuncia la sera tardi, nella sala dei Parrucchieri, a via Cavour. Da quel momento, scrive, «il prestigio, l’autorità di Benito Mussolini crescevano continuamente nel mio spirito» (CDF 65). </span></p><span style="font-size: medium;">
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</span><p><span style="font-size: medium;">In questo frangente nasce la sua amicizia con Enrico Rocca, che lo invita allo studio delle opere sociologiche di Vilfredo Pareto che, come scrive in <i>Come diventai fascista</i>, «…segnano un punto fermo nella mia vita: di ogni problema, di ogni situazione cominciai subito, naturalmente nei limiti delle mie capacità intellettive, a separare quelli che erano i dati essenziali e cioè gli interessi e le passioni da quelle che erano le frange accessorie delle ideologie, delle spiegazioni dottrinarie». Dopo l’impegno per la campagna elettorale a Capranica, e la delusione per i risultati delle elezioni politiche dell’autunno del 1919, che vedono il trionfo di socialisti e cattolici a fronte della manciata di voti ottenuti dalla lista fascista, comincia la collaborazione con il <i>Popolo d’Italia</i>, il giornale diretto da Mussolini, per il quale scrive con una certa regolarità anche se con compensi modesti e non regolari. </span></p><span style="font-size: medium;">
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</span><p><span style="font-size: medium;">Tra alti e bassi conclude gli esami e si dedica alla stesura della tesi di laurea, sul rapporto tra Chiesa e marxismo. Partecipa quindi alla Marcia su Roma, durante la cui preparazione conosce Gino Calza-Bini – che però non ama – e fa amicizia in particolare con Giuseppe Bastianini e Giuseppe Bottai. A metà di novembre del 1922, quando non ha ancora compiuto 22 anni, si laurea dottore in lettere e filosofia, relatore Prof. Michele Rosi, ottenendo 110 con lode e la pubblicazione della tesi. La collaborazione con giornali e periodici si va infittendo nel 1923, quando comincia anche ad insegnare al Liceo Mamiani. Durante lo stesso anno è chiamato al servizio militare e partecipa all’occupazione di Corfù come addetto alla censura della corrispondenza dei militari. Terminato il servizio militare, ottiene un contratto per 500 lire al mese con la <i>Rassegna Italiana</i>, e collabora alla rivista politica diretta da Mussolini, <i>Gerarchia</i>, con una rubrica di politica estera (<i>Speculum</i>) e con altri articoli di politica. Diviene amico dell’antifascista Girolamo Pedoja, dell’ufficio romano del <i>Corriere della Sera</i> e di Adriano Tilgher, intellettuale napoletano, quindi nel 1925 viene chiamato da Edmondo Rossoni a sostituire Armando Casalini, dopo la sua tragica fine e la successiva temporanea reggenza di Romualdo Rossi, alla redazione dell’organo settimanale delle Corporazioni, <i>il Lavoro d’Italia</i>, e della rivista mensile <i>La Stirpe</i>. </span></p>
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<div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhkMp2vK_YSoPQ7GvrQdhKaiaUByYSJdHvqzB_MHnlHLfZsYrpjEVhlyZVdVoO-C7yM8fti8oPSrtTuQXxKNFBVyHH9FYDhsJXYi3Nq1PrV5b31sva4uyjruAIeRlxlAA7_lZ0ih_Y3OKfVmshP3ACDLIR-GqYeapiRdvzKtDjQNUA-6GfJWOHTnQpe6Q=s273" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="273" data-original-width="184" height="400" src="https://blogger.googleusercontent.com/img/a/AVvXsEhkMp2vK_YSoPQ7GvrQdhKaiaUByYSJdHvqzB_MHnlHLfZsYrpjEVhlyZVdVoO-C7yM8fti8oPSrtTuQXxKNFBVyHH9FYDhsJXYi3Nq1PrV5b31sva4uyjruAIeRlxlAA7_lZ0ih_Y3OKfVmshP3ACDLIR-GqYeapiRdvzKtDjQNUA-6GfJWOHTnQpe6Q=w270-h400" width="270" /></a></div><figure class="wp-block-image aligncenter size-full is-resized"></figure></div>
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<p><span style="font-size: medium;">Ma la svolta arriva nel 1929, quando Curzio Malaparte lo chiama a dirigere l’ufficio romano di corrispondenza de <i>La Stampa</i> di Torino. Qui ha modo di distinguersi soprattutto per pezzi di politica internazionale che gli frutteranno la chiamata da parte del Senatore Agnelli a direttore del prestigioso giornale. La sua nomina viene formalizzata il 13 agosto 1932, quando Signoretti succede ad Augusto Turati, costretto alle dimissioni dopo essere scivolato su un’avventura galante. E’ il Duce stesso che avalla la sua nomina in una vera e propria investitura ufficiale che ha luogo a Roma, durante un colloquio privato. Su Turati gli dice: «Il vostro predecessore ha dovuto lasciare il suo posto per un incidente che potremmo definire erotico. A me non interessa la vita dei fascisti che dalla cintola in su; ma vi sono delle situazioni in cui non si può fare a meno di intervenire». Sulla direzione: «Un direttore deve leggersi il giornale dalla prima all’ultima parola, compresi gli avvisi economici». E sulla condotta morale che deve tenere nello svolgimento del suo ruolo: «Voi siete giovane. Vi raccomando di essere guardingo con le gonnelle, specie con quelle delle donne di una certa età che si attaccano al terreno come le vecchie fanterie». </span></p><span style="font-size: medium;">
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</span><p><span style="font-size: medium;">Ottenuto il placet dal capo del fascismo, la direzione di Signoretti si protrae fino alla caduta del regime, il 25 luglio 1943. Durante questi 11 anni, il giornale subisce una notevole trasformazione. Il direttore generale della FIAT, Vittorio Valletta, che si occupa personalmente della testata per conto della proprietà, avvia con la collaborazione di Signoretti una importante modernizzazione, che vede lo spostamento della redazione nella nuova sede di Via Roma, l’acquisto di nuove rotative, il lancio dell’edizione della sera, l’adozione di nuovi caratteri di stampa, l’espansione della distribuzione in Lombardia. E’ così che il giornale può finalmente vincere la sfida contro l’altra testata torinese, <i>La Gazzetta del Popolo</i>, passando dalle 176.000 copie di tiratura, all’inizio della direzione di Signoretti, alla cifra record di un milione e trecentomila copie dell’edizione del 9 maggio 1936, giorno della proclamazione dell’Impero, che verrà celebrata con un calco in bronzo. Inoltre Signoretti gode di ampia libertà di manovra da parte del regime che, data la sua adesione al fascismo dall’antemarcia, è sicuro di avere a che fare con l’uomo giusto nel posto giusto. </span></p><span style="font-size: medium;">
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</span><p><span style="font-size: medium;">Nel frattempo, il 15 dicembre 1934, nella chiesa di San Martino ai Monti, a Roma, Signoretti sposa Rosa Autieri, dalla cui unione nasceranno i figli Bruno e Paolo (ad una sua figlia morta dopo due giorni dalla nascita, Signoretti dedica la poesia <i>Pasqua a Chicago</i>, in <i>Canto Etrusco</i>). Ma è il lavoro che solo lo distoglie dalla malinconia «eterna compagna della mia vita» (<i>Malinconia</i>, <i>Canto Etrusco</i>). Suo capolavoro è la terza pagina del giornale, che amava definire “<i>l’angolo magico</i>”, a cui chiama a collaborare intellettuali di spicco e rappresentanti di prestigio del mondo culturale del tempo, come Alberto Savinio (che cura la rubrica “La Torre di guardia”), o come Corrado Alvaro, firmatario del manifesto Croce degli intellettuali contro il fascismo, e poi Piero Gadda, Carlo Linati, Giani Stuparich, Titta Rosa ed altri ancora. L’intento di Signoretti è quello di contrapporsi al <i>Diorama letterario</i> de <i>La Gazzetta del Popolo</i>, in una scommessa che finirà per vincere, portando il giornale ad una tiratura media di oltre 300.000 copie. Tuttavia, il conformismo del resto del giornale alla politica nazionale, fa’ giudicare severamente il lavoro di Signoretti da parte di Benedetto Croce, che dopo un anno dalla sua nomina a direttore, valuta <i>La Stampa</i> come “<i>illeggibile (…) istupidito giornalismo italiano</i>”. </span></p>
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<figure class="wp-block-image aligncenter size-full"><div style="text-align: center;"><img alt="" class="wp-image-1223" src="https://www.capranicastorica.it/wp-content/uploads/2021/12/La-Stampa-6-6-1936.jpg" /><figcaption style="text-align: left;"><i> <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjCYnuvrMSYS1LbpKJ8VefdXKQFNpK0r2O33zoiTXH_Aj8AO1E-lkuNQ2Of9EAYlbY9xDbdXsH4jK8JteDWHOJ09mi20u7dSDd1WsPOWE-2jxgr-W7cCIRTw9ZZjEBWLUhpyrOwEibK4jgWwTjlqSX-OMFw8BO0WzWiM5lAdXu6FoMVyl4_AibykM8_Yg=s709" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="569" data-original-width="709" height="321" src="https://blogger.googleusercontent.com/img/a/AVvXsEjCYnuvrMSYS1LbpKJ8VefdXKQFNpK0r2O33zoiTXH_Aj8AO1E-lkuNQ2Of9EAYlbY9xDbdXsH4jK8JteDWHOJ09mi20u7dSDd1WsPOWE-2jxgr-W7cCIRTw9ZZjEBWLUhpyrOwEibK4jgWwTjlqSX-OMFw8BO0WzWiM5lAdXu6FoMVyl4_AibykM8_Yg=w400-h321" width="400" /></a></div></i></figcaption><figcaption><i>Prima pagina de La Stampa diretta da Alfredo Signoretti, edizione del 6 maggio 1936,</i></figcaption><i>che raggiunse la tiratura di 1.300.000 copie</i></div></figure>
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<p><span style="font-size: medium;">Durante il periodo che segue l’8 settembre, che lo vede libero da impegni di direzione, Signoretti si dedica alla scrittura, pubblicando nel 1946, il saggio <i>Gli Stati Uniti dalle origini ai nostri giorni</i>. L’avvento della Repubblica e la riorganizzazione della destra monarchica, lo vede quindi chiamato a dirigere dapprima, nel 1948, il quotidiano catanese <i>La voce dell’Isola</i>, e successivamente, dal 1950 al 1958, chiamato da Achille Lauro, il quotidiano napoletano <i>Roma</i>. Si dedica ancora alla scrittura pubblicando in successione <i>Canto Etrusco</i> (raccolta di poesie, 1963), il saggio <i>Storia degli Stati Uniti d’America </i>(1966), e i due libri di memorie <i>Come diventai fascista</i> (1967) e <i>La Stampa in camicia nera </i>(1968), quest’ultimo dedicato agli 11 anni di direzione del giornale torinese. Inoltre fonda e dirige il mensile di politica ed economia <i>Libera iniziativa</i> e partecipa alla <i>Strenna dei Romanisti</i> degli anni 1964, 1966, 1967. </span></p>
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<div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><img border="0" data-original-height="600" data-original-width="419" height="400" src="https://blogger.googleusercontent.com/img/a/AVvXsEiVIDnHNrhMlWjWo_LXC6C-2dhM5FfBao9hMosuIaxJZ0aoyyvbLqu2MzRYlZjIOwJnaP_6hNGsAXFE_vfkHHcOosxxDSOkGe-EXVyRjsyTuu2lqZ2Q8VS2qe-Cencu16l_E9Wux-KurhCZhNpHvZNqzMAdkdJJnk1EZlTxdfdgzxXFWpsKSI7aa6vXhQ=w279-h400" width="279" /><br /><i>Una copertina del periodico "Libera iniziativa", fondato da Signoretti</i><br /></div><figure class="wp-block-image aligncenter size-full is-resized"></figure></div>
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<p><span style="font-size: medium;">Alla soglia dei settant’anni, Signoretti muore improvvisamente la sera del 22 gennaio1971, presso l’Ospedale San Camillo di Roma, dove era stato ricoverato in seguito ad un malore di origine cardiaca. I funerali hanno luogo nella Chiesa dei Sette Santi Fondatori a Roma in Piazza Salerno. La Chiesa è gremita di personaggi del mondo del giornalismo, della politica, della cultura. Sono presenti il Presidente della Camera, on. Sandro Pertini, l’On. Gonella, Presidente Nazionale dell’Associazione dei Giornalisti, ed i più bei nomi del giornalismo del tempo, molti dei quali suoi collaboratori negli anni di direzione dei grandi giornali quotidiani, da Mattei a Giovannini, da Malgeri a Zingarelli e molti altri ancora. Il Presidente della Repubblica Giuseppe Saragat, che solo due giorni prima lo ha ricevuto in udienza a Castel Porziano, invia alla vedova ed ai figli un suo telegramma. </span></p>
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<div style="text-align: center;"><figure class="wp-block-image aligncenter size-full"><img alt="" class="wp-image-1222" src="https://www.capranicastorica.it/wp-content/uploads/2021/12/Signoretti-in-udienza-da-Saragat-per-omaggiarlo-del-libro-Gli-Stati-Uniti-dAmerica-2.jpg" /><figcaption style="text-align: left;"><i><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhEyTC7gA7ABoQAUXFiOIcxFNooHnLZcMFUIdjb5KoYsEBKMU3y7ArwJU8Hil1WWK6iWQ_IypMpqM0eJHZajHi68Wq9z573RfajJHwhIjDi6Owbvy3LC0oBYCm3QcY93GHZsA1DLUTaH97G_gus1aNDhZBVY04f00Bw_gri5yr-XI9n4C4ipMTsde2KRg=s600" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="596" height="400" src="https://blogger.googleusercontent.com/img/a/AVvXsEhEyTC7gA7ABoQAUXFiOIcxFNooHnLZcMFUIdjb5KoYsEBKMU3y7ArwJU8Hil1WWK6iWQ_IypMpqM0eJHZajHi68Wq9z573RfajJHwhIjDi6Owbvy3LC0oBYCm3QcY93GHZsA1DLUTaH97G_gus1aNDhZBVY04f00Bw_gri5yr-XI9n4C4ipMTsde2KRg=w398-h400" width="398" /></a></div></i></figcaption><figcaption><i>Alfredo Signoretti (a destra) con il Presidente della Repubblica Giuseppe Saragat</i></figcaption></figure></div>
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<p><span style="font-size: medium;">In una giornata di pioggia inclemente, la salma viene inumata nel cimitero di Capranica. Il giorno prima di morire ha composto la sua ultima poesia: “<i>ventun gennaio</i>”, che a causa del tempaccio non può essere letta dai suoi amici capranichesi durante la cerimonia di commiato. Sarà letta dal suo amico Antonio Maria Speranza, durante un momento di ricordo della sua persona, a margine di un consiglio comunale il maggio successivo. Il Sindaco Pier Luigi Nicolini propone di intitolare a Signoretti la biblioteca civica. La proposta viene approvata il 24 febbraio 1971 dalla Giunta Comunale e l’intitolazione ufficiale avviene il 7 luglio 1971 con una <i>lectio magistralis</i> di Paolo Cavallina, giornalista di radio Rai e già direttore de <i>La Gazzetta del Popolo</i>. </span></p>
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<figure class="wp-block-image aligncenter size-full"><img alt="" class="wp-image-1218" src="https://www.capranicastorica.it/wp-content/uploads/2021/12/04-Signoretti-in-udienza-da-Saragat-per-omaggiarlo-del-libro-Gli-Stati-Uniti-dAmerica-3.jpg" /><figcaption><i><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhF5U72x3Yp7GdAI4vFXih2FmJ6rMr7kEv7xkh7ZZE9gOsDnIHmBb5yjqqyIL22LUvaGY2EpvcnQrs15LBzEqVk8idJIx694DNOKFNdMj4vsl2P9fXCl4UfUC0mNZe-8BnlDdXxLG47c8_yFiqNUeowoI68cp3Sjl1m8SllFJbYeoLxoz4WGr0xkQq5Bg=s600" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="598" data-original-width="600" height="399" src="https://blogger.googleusercontent.com/img/a/AVvXsEhF5U72x3Yp7GdAI4vFXih2FmJ6rMr7kEv7xkh7ZZE9gOsDnIHmBb5yjqqyIL22LUvaGY2EpvcnQrs15LBzEqVk8idJIx694DNOKFNdMj4vsl2P9fXCl4UfUC0mNZe-8BnlDdXxLG47c8_yFiqNUeowoI68cp3Sjl1m8SllFJbYeoLxoz4WGr0xkQq5Bg=w400-h399" width="400" /></a></div></i></figcaption><figcaption><i>Alfredo Signoretti (a destra) con il Presidente della Repubblica Giuseppe Saragat</i></figcaption></figure>
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<p><span style="font-size: medium;">Signoretti non ha mai rinnegato di essere stato fascista, quasi con punta di orgoglio, rimanendo comunque nell’alveo della destra moderata italiana del dopoguerra. Anzi, ha sempre deplorato chi – e tra questi moltissimi suoi colleghi giornalisti – si è riciclato nel nuovo sistema politico-economico repubblicano negando la propria adesione al fascismo durante il ventennio. Ventennio che secondo Signoretti non può essere soppresso con un tratto di penna, in maniera aprioristica, ma che va studiato a fondo «in quanto – come scrive in <i>La Stampa in camicia nera</i> – non vi sono parentesi nella storia di un popolo ma tutto si tiene sul filo del tempo». E d’altra parte – il monito finale di Signoretti – «guai a rimasticare problemi e situazioni di una o due generazioni fa, tanto essi hanno cambiato aspetto».</span></p>
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<p>Fabio Ceccarini - <a href="https://www.academia.edu/62025283/Alfredo_Signoretti_a_50_anni_dalla_morte_CECCARINI_FABIO_LA_LOGGETTA_126_XXVI_1_Primavera_2021_" rel="noreferrer noopener" target="_blank">articolo apparso su "La Loggetta", 126 (XXVI) - primavera 2021</a></p>
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<p class="has-text-align-center" style="text-align: center;"><b>Per citare questo articolo</b></p>
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<p class="has-text-align-center" style="text-align: center;">CECCARINI, Fabio, «<i>La stampa in camicia nera. Un profilo di Alfredo Signoretti a cinquant’anni dalla morte</i>», Capranica Storica, 03/12/2021 - URL: <a href="https://www.capranicastorica.it/2021/12/la-stampa-in-camicia-nera-un-profilo-di.html">https://www.capranicastorica.it/2021/12/la-stampa-in-camicia-nera-un-profilo-di.html</a></p>
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<p style="text-align: center;"><a href="https://creativecommons.org/licenses/by-nc-sa/4.0/" rel="license"><img alt="Licenza Creative Commons" src="https://i.creativecommons.org/l/by-nc-sa/4.0/88x31.png" style="border-width: 0px; display: block; margin-left: auto; margin-right: auto;" /></a>Questo articolo di <a href="https://www.capranicastorica.it/2021/12/la-stampa-in-camicia-nera-un-profilo-di.html" rel="cc:attributionURL">Fabio Ceccarini</a> è distribuito con Licenza <a href="https://creativecommons.org/licenses/by-nc-sa/4.0/" rel="license">Creative Commons Attribuzione - Non commerciale - Condividi allo stesso modo 4.0 Internazionale</a>.</p>
<!--/wp:html-->Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4201727664195975785.post-91450401850290988242021-12-03T10:00:00.000+01:002022-03-31T17:53:30.681+02:00Una piccola comunità ebraica a Capranica nel XIV secolo<!--wp:paragraph {"style":{"typography":{"fontSize":12}}}-->
<p style="font-size: 12px;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgBcQp1Q9zmTUNh5kjMF3Nk9TbSAfU2uNL_EUM7Q7IukigKN5f87nz1CtmKTnEd1yIYRuVmJYNoK-z6-aPH6L2YZC9Uk1io1u88A-cPz5vGd04MR1x3ndMHLPuIG1uPwkHITrgVMKDyMDRqApunSbeNyzMivJXFGI6HWr9ANaFCLJQhXHqQOfC44TCSQw=s424" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="219" data-original-width="424" height="206" src="https://blogger.googleusercontent.com/img/a/AVvXsEgBcQp1Q9zmTUNh5kjMF3Nk9TbSAfU2uNL_EUM7Q7IukigKN5f87nz1CtmKTnEd1yIYRuVmJYNoK-z6-aPH6L2YZC9Uk1io1u88A-cPz5vGd04MR1x3ndMHLPuIG1uPwkHITrgVMKDyMDRqApunSbeNyzMivJXFGI6HWr9ANaFCLJQhXHqQOfC44TCSQw=w400-h206" width="400" /></a></div><br />di <b>Carlo Maria D'Orazi (*)</b><p></p>
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<p class="has-drop-cap"><span style="font-size: medium;">Da un atto dell'archivio Notarile di Capranica (notaio ser Pancrazio di mastro Domenico, protocollo n° 308 carta 4 verso), conservato presso l'Archivio di Stato di Viterbo, datato 6 luglio 1359, è emerso il nome del più antico giudeo residente a Capranica nel Trecento; si tratta di un certo Vitaluccio e l'atto - concluso nella sua casa e rogato dal notaio capranichese Ser Pancrazio di mastro Domenico, consiste in un prestito di due fiorini aurei che questo Vitaluccio concede a Làncea e Coluzia di Taso due fratelli.</span></p><p style="text-align: center;">
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<!--wp:image {"align":"center","id":1240,"width":598,"height":802,"sizeSlug":"large","linkDestination":"none"}--><i><span></span></i></p><a name='more'></a><i> </i><p></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj2IMDL_2NXFN4aDdPKC5JrVvfi5zSzisbgvcyD4b3CYkzkS2K4-Jiroy26m0VbwAlD-44GyemMpwlDrwNYY5P3ytTV-d23MYqsqzJ8XVsJiz_qXouLNN9rVDi5-CAvLL6NUzSdALOAh7hjRoFzoOwxyjq2hhCGCXZz5hQK_WYM7dc4olf6En2RfMSpIg=s1824" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1824" data-original-width="1360" height="400" src="https://blogger.googleusercontent.com/img/a/AVvXsEj2IMDL_2NXFN4aDdPKC5JrVvfi5zSzisbgvcyD4b3CYkzkS2K4-Jiroy26m0VbwAlD-44GyemMpwlDrwNYY5P3ytTV-d23MYqsqzJ8XVsJiz_qXouLNN9rVDi5-CAvLL6NUzSdALOAh7hjRoFzoOwxyjq2hhCGCXZz5hQK_WYM7dc4olf6En2RfMSpIg=w299-h400" width="299" /></a></i></div><i>Pancrazio di Domenico, prot. 308 c. 4v, 6 luglio 1359, Vitaluccio 1° ebreo documentato a Capranica, contratto di mutuo</i>
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<p></p><p><span style="font-size: medium;">Il giudeo più importante, però, che emerge dagli atti trecenteschi di Capranica, è Guiglielmo (sic) di Alleguccio che faceva il calzolaio e che, come secondo lavoro, prestava denaro. Di questo ebreo abbiamo trovato, sino ad adesso, ben 220 contratti di prestito di cui il più antico è del 13 maggio 1383. Abbiamo notizie di Guiglielmo di Alleguccio fino al 5 maggio 1393 quando emerge da un altro atto che lui fosse già morto in questa data e inoltre da questo atto emergono i nomi dei suoi due figli Alleguccio (che aveva il nome del nonno) e Vitaluccio (che non può essere il precedente perché nel 1359 tutt'al più era ancora un bambino). Dopo la morte del padre, Alleguccio e Vitaluccio cominciano anche loro, con una certa sistematicità, a concedere prestiti a vari soggetti, in particolare di Vitaluccio abbiamo scoperto un atto già del 7 novembre 1384 con il quale concede un mutuo di due fiorini aurei.</span></p><p style="text-align: center;">
<!--/wp:paragraph--> <i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiWZfjDrSXv2fx8ZJh_Deze3r0RBIzs0z3hvceMg-UNYisxmAVxBp7PhtY45lomZBsvBMxnYDQA7ApWGPn6JwNXWc5Ukp_KLRyNx-Q53cylMxiYET2N3b_rauts-6QCQrj96aLAiB8mwQd-35d4DHnOyKXyaELK0aH91J53mMwA8X_irL9ncTOop9gQNw=s2048" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1536" height="400" src="https://blogger.googleusercontent.com/img/a/AVvXsEiWZfjDrSXv2fx8ZJh_Deze3r0RBIzs0z3hvceMg-UNYisxmAVxBp7PhtY45lomZBsvBMxnYDQA7ApWGPn6JwNXWc5Ukp_KLRyNx-Q53cylMxiYET2N3b_rauts-6QCQrj96aLAiB8mwQd-35d4DHnOyKXyaELK0aH91J53mMwA8X_irL9ncTOop9gQNw=w300-h400" width="300" /></a></i></div><p></p><p style="text-align: center;"><i>Francesco di Guercio, prot. 260 c. 4r, 13 maggio 1383, è l'atto di mutuo più antico di Guiglielmo di Alleguccio ebreo</i>
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</p><p><span style="font-size: medium;">Conosciamo il nome di un altro giudeo a Capranica, come risulta da un atto del 16 ottobre 1393, si tratta di un certo Musetto e ricordiamo, a questo proposito, come a Ronciglione esistano ancora delle famiglie che portano il cognome "Musetti".</span></p><span style="font-size: medium;">
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</span><p><span style="font-size: medium;">La piccola comunità ebraica di Capranica nel Trecento (di cui prima di queste ricerche non se ne sapeva nulla) poteva consistere in 10-15 unità, molto minore di quella di Pitigliano, in provincia di Grosseto, che raggiunse nel '500 circa le 200 unità che eressero in, questa cittadina, una sinagoga nel 1598 ancora oggi esistente.</span></p><span style="font-size: medium;">
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</span><p><span style="font-size: medium;">Anche a Ronciglione vi fu una piccola comunità di ebrei, ma nel XVI secolo, tant'è che in questo paese esiste ancora oggi un "Vicolo del Ghetto" che, a giudicare dalle dimensioni, poteva ospitare una ventina di persone.</span></p><span style="font-size: medium;">
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</span><p><span style="font-size: medium;">A Capranica non è esistita nessuna sinagoga e neanche un ghetto per cui presumiamo che, per celebrare i suoi riti religiosi durante l'anno, questa comunità di giudei si radunasse nella casa privata di uno dei suoi appartenenti.</span></p>
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<p class="has-small-font-size">(*) Presidente del Centro Ricerche e Studi di Capranica</p>
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<p class="has-text-align-center" style="text-align: center;"><b>Per citare questo articolo</b></p>
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<p class="has-text-align-center" style="text-align: center;">D'ORAZI, Carlo Maria, «<i>Una piccola comunità ebraica a Capranica nel XIV secolo</i>», Capranica Storica, 03/12/2021 - URL: <a href="https://www.capranicastorica.it/2021/12/una-piccola-comunita-ebraica-capranica.html">https://www.capranicastorica.it/2021/12/una-piccola-comunita-ebraica-capranica.html</a></p>
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<p style="text-align: center;"><a href="https://creativecommons.org/licenses/by-nc-sa/4.0/" rel="license"><img alt="Licenza Creative Commons" src="https://i.creativecommons.org/l/by-nc-sa/4.0/88x31.png" style="border-width: 0px; display: block; margin-left: auto; margin-right: auto;" /></a>Questo articolo di <a href="https://www.capranicastorica.it/2021/12/una-piccola-comunita-ebraica-capranica.html" rel="cc:attributionURL">Carlo Maria D'Orazi</a> è distribuito con Licenza <a href="https://creativecommons.org/licenses/by-nc-sa/4.0/" rel="license">Creative Commons Attribuzione - Non commerciale - Condividi allo stesso modo 4.0 Internazionale</a>.</p>
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