will not be difficult for a visitor to school equipped with some memory and a modest build a wealth of good books or more routes "literary" through Lucca, the city of Ilaria Del Carretto and Luigi Boccherini , Giacomo Puccini and Pompeo Batoni. starting point - essential - for each path that will weave together the beauty of the city with the harmony of words, the walls of Lucca.
Since the Middle Ages poets and prose writers have celebrated both the overt impregnability, is the amazing, enchanting mix of nature and architecture, military / civil, well-made by a system of numerous, green and leafy towers forced within an area of \u200b\u200bwhite stone and red brick.
this scenario can only be regretted, especially as to deprive the edges are reasons of history and politics. So, with heartfelt pleas, full of nostalgia for the Guelph notary Lucca (Lucca, 1280 ca. - 1349) Pietro de 'Faitinelli , exiled in the Veneto region, remembers his "City Murata:
" S'eo I see my beautiful en Lucca return
that fi 'fie well when the pear half,
no core en uman tant'allegrezza
never was was, I quant'eo that day.
go licking the walls on every side
and men, weeping with joy;
hatred, bitterness, war and all impiety
will lay down against those who I Cacciorna.
And here I 'want' the Bretto Castagniccia
' Nanzi elsewhere, a large pan Calvello;
' Nanzi elsewhere, feathers, here the lattice.
Ch'i 'I felt so bitter Morselli,
and I try and try, according esiticcio,
that' the white ee 's Ghibellin vo' for his brother. "
And even Pisa and Ghibellines, Fazio degli Uberti (Pisa, between 1305 and 1309 - Verona after 1367) not can escape the fascination exercised by the unusual bastion of Lucca:
"Going , we have seen in small circles
towering grove of Lucca Giusa
and women with Prato and Serchio.
Gentile is all well and is a pleasure ... ".
Walls: rarely a 'work of architecture in itself and has focused so intensely proud sense of communal belonging. Feel how it expresses the reporter and novelist John Sercambi Lucca (Lucca, 1348 - 1424):
" Remember that she has beautiful walls
and is full of towers in cities;
of silk and gold, there is far more than
and always had these dignities.
Holy Cross makes it strong and safe .... "
And the magic of the original structure was to continue to practice in the following centuries. For example, as a moralist and philosopher Michel de Montaigne (Bordeaux, 1533 - 1592) in his famous diary Travel in Italy : "... Lucca is well defended and ramparts. The shallow graves in which flows a little stream full of green grass and wide. Around the walls, inside the embankment there are two or three rows of trees that provide shade and, they say, if necessary bundles of wood. From the outside do not see that crown of trees that hide the houses ... "-, or as a philologist and archaeologist Charles de Brosses (Dijon, from 1709 to 1777) that in his family Letters from Italy in 1739 and in 1740 inserts some clever reason for discussion and criticism: "Lucca ... overall I was a little 'air of Geneva ... The city is the same size, the fortifications are very similar, they are beautiful, but less beautiful than those in Geneva. Their main fault is being too low, they are just taken care of and the gap is almost filled. The bastion, with its wealth of artillery, is cut into terraces with four shelves on the side of the city and each shelf is a row of trees, so that up around the city is a pleasant walk, even the most beautiful thing that there is Lucca ... "
In the eighteenth century there will be no European traveler engaged in places along the Grand Tour of the" sweet land of Bellezza” che non getti almeno uno sguardo sulla città e sulla sua cortina di baluardi, terrapieni, parapetti, contrafforti alleggerita da “porte alte, maestose e di buona architettura” e ingentilita da “alberi belli e di grandi proporzioni”.
E i caratteri della forza e della urbanità si evidenziano anche nei versi nutriti d’Arcadia di Fra’ Puccini di Casoli :
Nella Toscana in mezzo a una pianura
Cinta di spalti, e fosse di bell’arte
Con intorno colline di verdura
Ed amene montagne da every part
lies vague city with strong walls.
Ch'Ercole, or Polyphemus, or the fiery Mars
threat and calls could not
Lucca kind, populated and beautiful.
There are, however, silence and dissonant voices: Heinrich Heine (Dusseldorf 1797 - Paris 1856), though in his paintings travel devotes a chapter to the capital of the duchy, not say a word Walls, for the young Edward Gibbon (1737 - 1794), the future historian of the decline and fall of Roman "city of Lucca is not art", while a snappy Vittorio Alfieri (Asti 1749 - Florence 1803) "One day in Lucca seemed a century, bringing together in one and the other negative view of the city also its most significant monument.
But in the twentieth century, the one just passed, that poets and writers seem to discover all the subtle seductions and charms placed the city of the holy Bishop Frediano. And how could ignore Lucca and its Walls immagnifico an inventor of slogans such as Gabriele D'Annunzio ? To him we owe the expression "arbor circle," that soon became famous, is now commonly used to refer to this Tuscan capital:
" you see along the olive gray
that steam to face the hills, or Serchio
and the encircling the city, where he sleeps
Guinigi of the woman. "
more thoughtful, Giuseppe Ungaretti - Lucca home, but "Lucca fora" - in its collection and tormented stratificatissima The Joy :
" In these walls there is that of passage.
Here the goal is to build on. "
Verses that nothing of giving their descriptive way and dig, however, the perception that the Walls had generations of farmers in the Plain of Lucca, condemned by poverty and hunger to a destiny of emigration to the four corners of the world.
writers, prose writers, polygraphs, twentieth-century journalists have often involved in Lucca and celebrated the beauty, the harmony of shapes, rich architectural memories as the necessary antidote to the aesthetics of ugliness and neglect their past the last century of history. So, Arrigo Benedetti Lucca (Lucca 1910 - Rome 1976), within an acute sensitivity to the fantastic world of folk traditions of his homeland, enhances the Wall as a symbol not of war, but hard work, industriousness , to lay under imprenditività. Seduced by the Walls of Lucca there is also the Versilia - Lucca but by adoption and in the last years of his life freeman of the city - Mario Tobino (Viareggio 1910 - Agrigento 1991): home affectionately calls them "family dining room, kitchen garden home, garden "and also" cushion. " It captures the "color damask who took the bricks to keep the many sunsets and sunrises that you are placed on them," he defended with passion and competence, the extraordinary architectural integrity.
A unique, certainly, but also, for better or for worse, the border fence and for the human community that, over time, he realized. At least, the "law" another writer Versilia Enrico Pea (Seravezza 1881 - Forte dei Marmi 1958): "Lucca is too small towns, the same walls of three kilometers. turn, whose center are unable to wander. Almost as if the walls were symbol to remind the citizens el'illecito lawful means the limit, for each scappatagine laughter here in a flash, the news as the voice echoes: bounce: cross the city from the hills to those of the Porta Elisa Porta S. Anna and steam flow to Giannotti. Why, the banks' internal walls of Lucca are green and flowering as the walls of those villagers who use the bowls for washing dishes Lucca housewives. " In short, the Walls of Lucca are a closed
did not feel well, however, Gino De Nobili Custer, a great poet in the vernacular of its abundant production in the sonnet in the parlance of "Lucca acquired influence" captures the look especially warm, friendly home:
tells me a bit 'where she sees
in another city for a walk
equal to this , comfortable, shaded,
up with 'tericcio ch' 'a bother to the foot,
always kept' n dressed up, innacquata? ...
knows ch'anco August a 'one perceives
of being in stifling It is believed
of them already returned to the refreshed?
The most convenient, then, the curtain is
you nsul low wall to sit
exposed as' n the middle of a window.
And while SIEI looked escape
fool the people that are pleased,
yes, believe me, more beautiful life.
( The bona Curtain Walls, Lucca in my beautiful )
Per Guglielmo Petroni ( Lucca 1911 – Roma 1993) la visione delle Mura al tramonto coincide con la gioia del ritorno al termine di un lungo e tormentato viaggio da Roma a Lucca attraverso un’Italia devastata dal fascismo e dalla guerra: un sentimento destinato ad essere ben presto contraddetto ma, comunque, pieno, rotondo, confortante nutrito dei colori – e degli odori, dei sapori – di casa. Una pagina tra le più belle di questo scrittore lucchese così austero e riservato: “Rividi tutte le torri della mia città, esse tutte in piedi, la prima città tutta in piedi dopo tante rovine; le mie torri, immerse in a layer of light pink, were there as always, still solid in terms of elegance: the windows of the city to close in the glistening sun. Around the walls, among the hundred churches, including polished marble and gray stones of palaces, there had been a part of the great tragedy, even the dead, hatred, horror, foreign oppressors and foreign liberators, but nothing seemed changed ... " .
The walls have a gift: they can win the time and the contingencies of history to offer to those who question them, a secular message of civilization. This virtue is well expressed in the verses of a poet Lucca recent contemporary
Virginia G. Bertini :
"You stop to savor
beauty of the historic property
towers,
of bell towers, churches, villas
.
You sit down to enjoy the sun
Who pursues you in the path lined
And taste the distance from the metal
transit.
Diving in the world you see,
suggestion of being able to drive from there,
over the strip of border
separates the city from campgna.
I'm not a geometric
presence of the past
or a quiet fortitude red and green,
the walls, these walls are
a tender caress of lovers,
an azimuth of tensions and emotions
a powerful mirror of the city
and people
a balcony to view
humanity. "
(Virginia G. Bertini, Fraternity )
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