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Giacomo Puccini e la topa Capannori

Giacomo Puccini lived at a time when the field-mouse was still on the bell tower of the church of San Quirico and Giuditta. Capannori was a small town in the plain of Lucca is famous for being the "land of pussy", so everyone had heard of Lucca. And Puccini knew well the shape and meaning. I like to imagine the great teacher who goes into the carriage to Capannori, stops at the square opposite the church, raises his eyes towards the bell tower, looks curious that ugly face with two big labbroni that open and close and to mark the time points thoughtful the entire image representing the opener in hand with death and warns inexorable: "hora Nescis here we come! What did he think? What will be his first gut reaction? I leave you the answer to connoisseurs, to you who have patiently gutted all the intricacies of mind and character of the illustrious master. I, instead, I open both hands and I immediately closed the middle and ring fingers, keeping them well in place with your thumbs. Then I would have even touched it. E 'Franco Ravenni been telling me for the first time the existence of a letter in which Puccini was cited Capannori of the field-mouse. He had come to see me in the office to discuss matters of various kinds. Before leaving, he asked me if I could replace it in a meeting the next day at the headquarters of Forza Italy, since he had already planned to travel with the family in the mountains for the weekend. He would be playing with his sister Gabriella. After having assured my presence at the meeting, I thought I'd give him a copy of my latest book "The seminarian." I gave him two, one for him and one for Gabriella. - So you have something to read and not get bored. Seeing the books, came up with the letter of the master. - Call my sister - she said. - Do you know of Puccini in a letter where he talks about pussy Capannori. It could serve for the book. He was referring to the book on topa Capannori at this. Franco was aware, because I had already reported the local press, which had published news of Lucca, on the occasion Hotel Alexander the presentation of my other book "The stories of childhood Damnica. I never imagined that even the master Puccini was somehow involved in the pussy Capannori. - I can not believe! - I exclaimed. - You could make even a scoop! - Added Franco. - I think the letter is unusual and could be the first to publish it. - Maybe! And who says the letter? - This just do not know. You hear Gabriella. I just happened to meet Gabriella Ravenna, among other things, is director of the Puccini Foundation, I immediately asked for the letter from her teacher and I confirmed its existence. - "You have to put a sign like the pussy Capannori "is what it seems to me that he wrote Puccini - Gabriella said - in a letter to the brother in law. - You know - he added, smiling, - when we happened to read for the first time, there's not understood what he wanted to refer! None of us yet know the pussy of Capannori! - Where is the brother would have had to put the sign? - In front of the door of the master, the court in San Lorenzo. In essence, Puccini asked to place a clearly visible sign, just as the field-mouse Capannori, so it would be easier to rent the house, since he now lived long ago in Milan and Lucca's house was still vacant. - You can make me have a copy of the letter? - Certamente! La cerco e appena la trovo ti chiamo. Nel frattempo è venuto a trovarmi Oriano De Ranieri, giornalista della Nazione e autore di un interessante libro sul maestro lucchese intitolato “Giacomo Puccini: luoghi e sentimenti”. Dopo avermi chiesto, come fanno ogni mattina i giornalisti della stampa locale, se avevo notizie da far riportare in cronaca di Lucca, il discorso è scivolato, non ricordo come, sulla topa di Capannori. - Lo sai - ha detto Oriano - che anche Giacomo Puccini parla della topa di Capannori in una sua lettera? - Sì, lo so. Ma tu come fai a saperlo? - Tra i documenti che ho usato per il mio libro c’era anche quella lettera. - E perché nel libro non l’hai menzionata? - Perché lo spazio was limited. - I think you made a mistake not to bring something so nice. - I agree, but now it is published. - Better! So I can put it in my book. - We are all waiting to read your book on topa. - Can you get me a copy of that letter? Should lead Gabriella Ravenna, but if I do have the first, you make me a pleasure. - I look for today and tomorrow you carry it. Oriano was speaking and the next day I got the letter from the teacher. But there was a nice surprise. I started reading. "Milan, Dec. 28, 1898. Puccini's sister Ramelde - Pescia. - Why is addressed to his sister? - I am immediately asked. - It had to be addressed the brother in law? Strange that Gabriel was not accurate! Mah! Go ahead. "Dear Ramelde, you feast on Christmas in bed? I almost. We are all a bit 'cool. Now I hope you will be healed and roof with you. Here came the cold now. I work and go on a bit 'slow but this is usually my way. Milan m'è become of such a dreary that I have the nerves or almost always. For me the campaign is a need and an urgency like when people run away and there is strong and you can not do! I want to be a Tower (Torre because for me is ideal), you do not split: it's better this way because I keep it all for me. I would be only of civilians (at least I think it is) without Ginori Caarabbia, Tordella, Boccia, pod, the Sor Ugenio (what does it take to wake pilferage that takes intelligence to the owner and the heightens increasingly poor little quiet fishing around the country blessed by nature). Now you must know that almost three in the morning, all is silent and sleeping. I wrote ten letters and my eyes are closed as a trap for mice, svelte svelte. I write because I want to see the cover sheet of this character nervous and erratic as my thoughts. It 's true character you know the character. And maximum depth! Indeed, rather, Massimina deep ... Ah, that was deep, really like the pussy of Capannori. - Here at last sentence that relates to the field-mouse Capannori! But is not that which I had spoken to Gabriella! It will be written later. I continued reading. "Give the pheasant scoppialatore the wind, poor thing! And 'my cruelty but three in the morning is allowed to become cruel, almost Tommasi. This summer I'm going to Abetone, if not change my mind as often change character. In March, I would go to Torre. According to the work which is the first I thought, because if the job fails as a crystal clear, I can fall for sixth quarter as it did that Caio Baccelli, drinking a fifth, it was found that, instead of going to Rome, where Pius reigned then Nono, he found himself instead in Diecimo. Farewell, Greetings to all, aff. G. Puccini. Regards and best wishes to Dide and Otilia. "But here there is no mention of the sign as big as pussy Capannori! I would not be wrong. The Gabriella is a deep knowledge of the master, one of the greatest, and if I spoke of a sign, I'm sure that if you dreamed of. Want to see that there is a second letter? My thesis was wrong. After a few days, in fact, Gabriella Ravenni stopped me in Via Santa Giustina and handed me a copy of both letters. - Yes, I found another that speaks of the Capannori pussy! - He said. - Unfortunately, you can not do no scoop. The letters are not unusual, have already been published nel 1973 da Arnaldo Marchetti nel libro "Puccini com'era", edizione Curci, Milano. Peccato per lo scoop! Comunque l’ho ringraziata di cuore e ho letto immediatamente la seconda lettera, quella intestata al cognato. “Milano, 7 gennaio 1899. Puccini al cognato Raffaello Franceschini - Lucca” “Caro Raffaello, sono le due di notte. Lavoro ma n’ho poga voglia. Penso a Punta Grande, e mi consolo. Ramelde è ciottoro? Passerà, te lo di’o io. Son nervi, dice ‘arola. Domani è domeni’a. Al tocco vien Carignani a prendermi. Si va un pogo in giro, ma questa Milano mi fa vomitare, non la posso soffrire, ma ci sto pogo perché a marzo porto via le palle. Lunedì alle 12,30 parto per cinque or six days and I go to Paris (medlar, tell you). And 'just for me' vent because there is no need to leave. I feel like a bit of 'air. You would go on the walls and I'm in Paris. I will return to Lyon, Marseille, Monte Carlo, where I groped the jack (port poghi Bige, poghi well, for me I pogo trumpet). There is a reprise of La Bohème at the Opéra-Comique on 11 and I'm going for my taste. I'm doing well or doing wrong? I like Paris, Milan miga! Not that Milan is not di'o miga miga miga and has not (see hussars, Cerù, Pisa), but these are things for you, not the 'apisci. The 'Apiro she who filled the elbows grasso e dice che son gonfie... Saranno, poveraccia! Sia per non detto. Ho ricevuto ora una letterona della Cavallo da Marsiglia, entusiasmata di Bohème che ha avuto uno dei soliti schifosi trionfi al Grand Théatre. Ora con quel... culotto, quasi quasi... ‘mbè vedremo. Tutti dormono e io sono lìllare e gaio. C’è un caldino qui. Sono in maniche di camicia. Domani incigno un vestito. Martedì alle 6 di mattina sono a Parigi. Tornerò dopo 3 giorni di permanenza. Occupati della casa (affitto) e smetti la burletta. Perdio, di tanti che la volevano, sono spariti tutti? Fa’ fare un cartello come la topa di Capannori”. - Eccolo qui il cartello! Quindi ho finito di leggere. “Salutami la malata che a quest’ora will be healed and if not, gliel'auguro to happen immediately. Perhaps taking a banned here in the vicinity of Milan (300 Lirette year) I can at least give me a bit in the winter 'motion. Write Paris, 12 Rue de Lisbonne, chez Ricordi. Regards to all, Your affectionate. G. Puccini. PS Tell me, Casey is alive or dead? Riferiscimi and informed. " The sentence on the pussy the first letter I liked most. (Novel "La topa Capannori" by Domenico Riccio)

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Pompeo Girolamo Batoni (Domenico Riccio)

Every morning I go to my office in Piazza San Frediano and the beginning of the street Anguillara, beyond where it is at the corner of Via San Frediano, ten meters from the splendid facade of the basilica of the saint that diverted the river Serchio, meet and greet Pompeo Girolamo Batoni, a great painter of the eighteenth century Lucca. Under his bust, made by C. From Puget, reads: "A Pompeo Batoni that brought back the art of studying the great masters of truth was found among the first painters of the eighteenth century. Here, the birthplace of the XXV in January MDCCVIII citizens put in MCMXI. Born in Lucca in 1708, therefore, Pompeo Girolamo Batoni was started at the technique of drawing by his father, who was a successful goldsmith, and the artists Giandomenico Domenico Lombardi and heath. With the support of the Lucchese family and of some patrons who believed in the talent of the boy, only nineteen years he was able to go to Rome to be produced on the traditional, practicing drawing live models and copy the works of Raphael, Annibale Carracci and Guercino at the Vatican and the Villa Farnesina. It was in this aristocratic villa suburban fell in love with the beautiful daughter of the guardian and took her hand in marriage. Lucca's father and patrons did not approve the marriage of low rank and took away any subsidies. Batoni was then forced to make a living designing and selling copies of works and portraits by masters of way. After the most difficult moment, he began to attend school by Agostino Masucci and especially that of Francis Ferdinand, the Emperor said, in which assimilated the Roman classicism, and to collaborate with leading landscape architects, Locatelli and as Van Bloemen. He was thus the possibility of being known and appreciated by people of high rank. He arrived as the first major commission: the Madonna and Child with Saints for the church of San Gregorio al Celio, which was followed by Christ in Glory and Saints altarpiece for the Church of Saints Celso and Giuliano. In the mid-thirties he was already a very important artist and works from that period as the Presentation in the Temple in the church of Santa Maria della Pace in Brescia, the Triumph of Venice at the Raleigh Art Museum in the U.S., the discovery of Time and Truth four Allegories of the Palazzo Colonna in Rome, the delivery of the Keys and the Evangelists at the Quirinale. In 1741 he entered the Roman Fine arts "San Luca" and in 1743 (the date is shown at the bottom right) painted the Ecstasy of St Catherine of Siena, Lucca, which is admired in the Museo Nazionale di Villa Guinigi. About this oil on canvas that is expressed in its Isa Belli Bartali "Lucca - City Guide:" The psychological reality of the subject - the feeling of mystical grace, sharing almost succor of angels, passionate pathos - is summed up in a supreme mastery of language that expresses itself in the gentle beauty of the lines in the harmonic correspondences of the figures, the effects of light and precious dematerialized color space: red and green reflections, warm shadows that draped almost le figure minori lasciando in piena luce zenitale – a folgorare i biondi puri della veste – la morbida figura della santa”. Negli anni cinquanta era ormai considerato, a livello europeo, il miglior pittore italiano. Ebbe commissioni importantissime, come la Caduta di Simon Mago per la basilica di San Pietro, oggi in Santa Maria degli Angeli. Oltre ai dipinti di natura religiosa e alle opere a soggetto storico e mitologico, come Achille alla corte di Licomede agli Uffizi, Ercole fanciullo e Ercole al bivio a Palazzo Pitti e la Fuga da Troia nella Galleria Sabauda di Torino, l’artista lucchese si specializzò come ritrattista e divenne il pittore prediletto dell’aristocrazia europea. I suoi compensi schizzarono alle stelle e furono soprattutto princes and kings to commission the works: by Maria Carolina of Naples to Frederick the Great, Maria Theresa of Austria Catherine of Russia, Emperor Joseph II to Pope Pius VI. After realizing other important types of works celebrating, as the Allegory of religion and happiness for the death of two children of Ferdinand IV in the Royal Palace of Caserta, and Teti Chionne relies on the education of Achilles and the Continence of Scipio to ' Hermitage in St. Petersburg in the last years of his life he devoted himself mainly to the implementation of the seven altarpieces commissioned by Maria Francesca Braganza, queen of Portugal, for the Church of the Sacred Heart all'Estrela Lisbon. In Lucca, in palazzo Cenami, uno degli unici tre (insieme con i palazzi Mazzarosa e Minutoli-Tegrimi) delle antiche famiglie della città che conservano ancora gli arredi originari, possiamo osservare l’autoritratto dell’artista, firmato “P. Batoni pinxit Romae an. 1772”. Nel palazzo Mazzarosa, che “a causa del gran numero di contanti che questo cavaliere tiene in casa” possiede una robusta porta di ferro, “cosa che a Lucca – precisa G.C. Martini verso la fine del Settecento – non è permessa a nessun altro”, e dove è conservata la più considerevole collezione privata della città, si trovano vari dipinti del Batoni: Allegoria della Sapienza, Allegoria della Giustizia e della Pace, St. Joseph, Our Lady of the book and Death of Lucrezia. Two paintings are also preserved in the palace-Minutoli Tegrimo: Atalanta and Meleager Prometheus cries Animator. In the aforementioned Museum Villa Guinigi there is also the portrait of Archbishop Giovanni Domenico Mansi, coming from the library of Santa Maria Corteorlandini, and the Martyrdom of St. Bartholomew, that the stone under the left foot of the saint is dated "PB 1749" and is the church of St. Pontian. Pompeo Girolamo Batoni died in Rome on February 4, 1787. Lucca has not forgotten and, in addition to the bust of dell'Anguillara way, has also named a city street, the stretch of ring road between the square and the Martyrs of Liberty Avenue Agostino Marti.