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PIAZZA DUOMO, IL GREMBO DEI LUCERINI


( stralcio dell'articolo pubblicato su "La Grande Provincia" il 23 dicembre 2002 ) Settecento anni: sono passati sette secoli da quando, il 14 ottobre del 1302, Lucera Saracenorum diventò la "Città di Santa Maria", attraverso la consacrazionedel suo imponente Duomo "gotico-angioino" per opera del vescovo Stefano. Celebrare la Cattedrale vuol dire anche ricordare la storia di un microcosmo, quello rappresentato da Piazza Duomo. I lucerini, quando si trovano a scrivere il nome di questo luogo straordinario, lo fanno usando due lettere maiuscole. Quasi a voler descrivere due aspetti distinti e allo stesso tempo inscindibili di una same entity. The agora and the sacred temple, the Piazza "female" and generous that welcomes all his children, the Gothic Duomo, and severe demands that respect and contemplation. This is not the heart of the "Urbe", is the city that meets itself daily, giving a sense of unity to its various souls who have lived in this square, fighting, elbowing, prevailing only temporarily, one over ' other. To see it from above seems to designed for a film by Wim Wenders. But it was Massimo Troisi to choose it for one of his best films, "The ways of God are finite. The theme of the miracle of the saving event which arrives to relieve the human penis, found in this square prodigio anch'essa, ma di storia, architettura e fascino, una dimensione ideale. Il microcosmo che si dischiude da questa piazza è ampio quanto possono esserlo le ali di un angelo in un sogno mistico. E poi la storia. Ogni singolo episodio, ribellioni, manifestazioni di giubilo popolare, tragedie, guerre e pacificazioni: tutto, della storia di Lucera e dei momenti memorabili del Paese, è nato o comunque passato da qui. E ancora la musica. E' qui che sono state cantate le armi, innalzati gli osanna; hanno risuonato la tromba del silenzio e le campane della cattedrale, l'internazionale socialista e il più prosaico inno alle fortune di Berlusconi (che in questa piazza non ci è mai stato); le vocidei mercanti e quelle dei bambini la domenica morning. On summer evenings, "ammizze or 'large', meet hundreds of young people, before sunset, however, are the elders of the circles and sections of the living masters of stone. In this square, which invariably is the background to emblems, badges and even brand names, were also dedicated virtual forum, but incredibly no book. Perhaps because the company is too difficult to tell when it's the same place, day after day, to write new stories to tell and the lives of lucerino slide on its hard stone for centuries. Piazza Duomo is all that and much, much more here because, in the thought and writings, the lucerino always want the capital. ( Francesco Quitadamo )

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FOLLA AL COMIZIO DI PEPPINO DI VITTORIO


The crowd in Piazza Duomo in Lucera

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IL PALAZZO DEL VESCOVO


(excerpt from article "Piazza Duomo, the WOMB OF Lucerino, published Dec. 23 2002 "La Grande Province") The construction of the Bishop's palace was completed, designed by the Roman architect Mario Brunelli, in 1759. A great-looking building with a courtyard in a horseshoe. Decorated in the Baroque style, the palace is full of ornaments and a magnificent portal, equipped with a frieze coat and pastoral. The eighteenth-century Bishop's Palace, the seat Shepherd of the local church, the diocesan seminary and the offices of the Curia, located opposite the Cathedral. The historical diocese is on the second floor of the building. While the library of the diocese, treasure trove of ancient texts which reveal the history of the city, is located inside the seminary. On the initiative of the bishop, Monsignor Francesco Zerrillo in 1999 opened a diocesan museum of sacred art. The museum is located in the main wing of the building.

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IL BAR DE CHIARA


(excerpt from article "Piazza Duomo, the womb of Lucera, published December 23, 2002 on" The Grande Province ") From 1873 to more than 2000 to enter the third millennium: the" Bar De Chiara has 130 years of history and brings them very well. It 's another institution of this square, to which he wanted to remain faithful keeping air out of fashion: minimal decor, with old advertising of liquor, late 50s, to make ornaments from pop art. Five generations of De Chiara took turns at the counter, behind which today is the Savior, to continue a tradition. If every Sunday morning, on time, the priest says Mass; Salvatore is no different, and each time also welcomes those who, after the celebration, we are a bit ' asleep on the wooden benches of the cathedral. On the one hand, the incense, the other the aroma and taste of coffee between the sacred and the profane spend only a few meters. (pictured, Massimo D'Alema in the bar).

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PALAZZO CAVALLI E IL VECCHIO PCI


(excerpt from article in "La Grande Province") The current face of the building dates back to the horses work on the extension of 1873. Classic looking building, with the "magnificent portal, supported by four fluted columns and matching, and" short loggia with three arches supported by columns on whose pediment is read two sentences: Principium est plus quam dimidium (The beginning is more than half) and Dimidium non numquam plus est quam totum (Sometimes more than half the total). Belonged almost entirely to the noble family Spatafora. Until the late '80s, in large basements of the palace was home then the section of the Italian Communist Party. Peppino Pope, Antonio Manganiello and other historical figures of the left lucerino, treasured images that portray Giuseppe Di Vittorio, Enrico Berlinguer of the PCI and the great men who visit the city and accepted by the historical section, a communist.

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C'ERA UNA VOLTA IL SANT'ANNA


(excerpt from article published in "La Grande Province" 23 December 2002) Once this palace, where you can still read the letters written with wooden Infant school 'M. Of Savoy, '"was known as the Conservatory of the Santissima Annunziata. In '600 staying there on the orphans of the city. Then the building was joined to the cathedral by a bridge, "the coffers are ruffanell. E 'premises on the main floor, which over the years have found hospitality and first registered as the' everyman ', then after the massacre of Portella della Ginestra, the communists kicked the followers of Giannini, burning badges and flags the party. Many years later, in the same site burned down by the "comrades", the DS will be arriving. On 31 October 2002, the earthquake knocked down the upper part of facade of the building, which is unusable. A few months ago was sold to a company San Severo. Since its restructuring born probably a hotel.

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LA CATTEDRALE ERETTA SULLA MOSCHEA


(excerpt from article published in La Grande Province "23 December 2002, entitled" Piazza Duomo, the womb of Lucera) "It's from ledge to ledge effect of galloping between daring ambush , is a fine amount, a handwriting nothing, dangerous and even serene, as befits a fourteenth-century Provencal factory still enthralled the East ": that is how Ungaretti describes the Cathedral after a visit to the city. It was built in 1300. Charles II of Anjou would like the majestic testimony to the victory on the "infidel Saracens." It was built on the ruins of the old mosque, another symbolic element. The Cathedral was completed, probably in 1317. But already in 1302, with the consecration of the temple, the one that first was called "Luceria Saracenorum" becomes " Civitas Sanctae Mariae. "Bishop Stephen, in fact, dedicated to St. Mary's Cathedral, patron saint of Lucera. The statue of the saint are assigned to some events" miracles "such as protection City by the terrible earthquake of 1688 from 1702 and 1731. Example of Gothic-Byzantine style, was the work of craftsmen from Puglia and directed by the French builder Ravello Nicola of Foggia, in part, by the renowned architect Peter D'Angicourt. The Cathedral Basilica in 1834 and declared a national monument in 1874, offers to the attention of visitors splendid frescoes and works of religious art of the first magnitude.

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L'OLYMPIQUE e la PANTOMIMA

to "piece of the Lake" is playing soccer in the street . Asphalt. In the midst of the housing of the '60s. The door was the gate of a garage. And the goal they all felt. A house of the brothers, the Drillinger and the Duke, we went to recharge the batteries, check the Corriere dello Sport, pull your feet in front of the Juve tivvù. We also went before every game of our team. We called ourselves "Olympique". The name I chose. In honor of the French who humiliated Milan, Galliani but especially in the final of Champions Cup. Great. Marseille also bought a scarf. Then came the split. We gave her a firm Orsara who knew my father. The emphasis on white with two blue horizontal stripes. For serious challenges, the first field was the Opera San Jose. Concrete. He won with all but with Real Madrid. The match against the "whites" local was "the game." The times we have prevailed were few. Immense satisfaction. In the microcosm of the high school football Bonghi l'Olympique era imbattibile. Noi eravamo quelli della terza "C". alla seconda "B" impartivamo delle vere e proprie lezioni di calcio. Eravamo un punto di riferimento e un termine di paragone per loro. Una soddisfazione. La squadra era solida, compatta. Ognuno aveva un suo ruolo specifico. Il Duca impostava e difendeva, dando ordine al quintetto. "Cinque polmoni" lo sosteneva nell'azione di filtro e rilancio. Drillinger teneva palla e rifiniva l'azione. Io facevo gol. U'Divers, in porta, volava da un palo all'altro. Se la partita prendeva una brutta piega lo si capiva subito. I più nervosi erano i due fratelli. Il Duca urlava e insultava pesantemente, Drillinger subiva e si abbacchiava. Più raramente era U'Divers a dare in escandescenze. Ma lui se la prendeva con tutti. "Cinque polmoni", invece, se la pigliava con me e con la mia inerzia indolente e ridanciana che mi pigliava in alcune partite poco sentite. Se a sbagliare match ero io, lo spaccone, il giorno dopo, in qualche maniera, me la dovevano far pagare. Una volta si vendicarono bene. La cosa fu originale, bonariamente cattiva, volutamente comica, alla Aldo-Giovanni e Giacomo. Fui chiamato per l'interrogazione di letteratura latina. Furono chiamati anche il Duca e U'Divers (l'unico a scamparla fu "Cinque polmoni"). Loro rifiutarono la chiamata e si presero un 2. Io mi alzai dal banco con spavalderia, sbeffeggiandoli per l'esito infausto del loro forfait. Masticavano amaro. Meditavano vendetta. All'interrogazione, con disinvoltura, I brought with me a notebook on which I used to write down a few keys and synthetic concepts of the lessons I politely. It was a plot to "own play." My questions were always a little 'theater. Modestly snooty. The game that I found it was a beauty, especially in Italian and history. A little 'less in the history of art (the technical terms I care, making everything less fluid). The notebook was open on his knees, his eyes hidden by the desk and the professor, clearly visible to my furtive glances and concentrated. Keyword, paraculesco around concepts and the game was done. The question was a pure amazement. And I, every now and then, glancing sarcastic to the "3:00 to 3:00. They looked at me with a mixture of hatred y wonder. "Vid a quill," he thought. U 'Divers had a twinkle in his eyes. He grinned. It was a moment. "Professor, Quitadamo is reading from the notebook." Brilliant. Laughing, and trying to make it look as absolutely not fraudulent, the plot showed the prof. No problem. After all, there was a job behind. It was only an outline. The professor told us that it could continue. The rest of the question was no book to take home. But now we were in injury time. The game was won.