PIEDILUCO - The Monuments
The Rocca: This structure, a ruin since the 18th century, has two distinct parts. The palace that was built during the 13th century by Oddone and Matteo Brancaleoni and later restored by Blasco, is in the south-east area. Even today we can see the reception room with its access portal, the residential rooms and services. Along with the church of St. Francis, it represents a first-hand example of Gothic architecture at Piediluco.
The
Rocca itself became integral part of the fortifications built by Cardinal
Albornoz on the territories te be reconquered in favour of the Church. One
obviously compares it to those in Assisi, Narni, Orvieto and Spoleto, even
though the plan is very different. In fact, while the other buildings have
a four-sided structure comprising a heraldic room at the centre, a lateral
residential building, a stronghold and miner corner towers (all square
shaped), the stronghold, the courtyard and the residential palace in the
Rocca of Piediluco follow each other in linear form. The most important
protruding part is the pentagonal stronghold that extends aver five levels
linked by an octagonal stairway supported by flying buttresses. The lower
level was used as a water tank. The pentagonal form featured by a buttress
probably served te enhance the stately effect ef the stronghold thus
reducing the risk of external assaults. The heraldic courtyard included a
cistern in the middle where rainwater was collected and purified to be
reused inside the building. The lord’s residence was laid out on three
levels. The limestone remains of the Luca Castle can be seen within the
walls, including the old tower. The north-eastern entrance te the citadel
was protected by a turret, parts of which can stili be seen today.
The two separate parts with two distinct functions, one military and the
other residential, made it different in respect te other structures of the
same type. However, the entire structure was consolidated and protected by
a system of fortresses that extended down te the village below and marking
off its eastern and northern ends. Today, the few remains of these walls
are cavered with dense pinewoods introduced at the end of the 1930s. Under
Blasco’s rule, the area was deforested for defence purposes.
Even though the style of the church mainly corresponds te the principles of the Franciscan churches inspired by Cistercian models, its facade, the portal decorations and the introduction of the church within the town layout follow a different cancept. It ìs formed by a single nave with six large raised curved transversal arches that support a wooden roof.
Because of restrictions imposed by nature, the church was built facing south-north, which was different fram medieval Christian symbology that imposed construction towards west-east with the choir facing east. Te obviate this difficulty, the side facing west was chosen as the principle one. The steps leading up to the entrance culminate in an irregular parvis formed of white limestone. In the 1950s, the left side of steps were demolished and replaced by ones that were easier te climb.
The
facade has three big trefoil, singlelancet windows; below them are two
doors. The left-hand door near the altar which is now closed and was
omiginally the male entrance, represents the most important protruding
part of the entire building. The ornamental decorations are very
interesting. We have talked about the aedicule beforehand. The two small
lions an the springer of the crowning arch of the portal can probably be
referred te the similar element on the portai of the Brancaleoni palace,
as proof of the sole urban restaration plan started and desired by the
rulers of Piediluco. Very important are also the bas-reliefs portraying
boats, fish and fishing gear found on the cornice that follows the
extrados of the amch. The entire iconographic complex on the portal can be
interpreted in different ways: either generally, referring to Romanesque
and ancient Greek symbology, or specifically, according te the economic
and social situation af the place.
The crown steeple which rises up an the right-hand side of the male facade
was built in the 1830s after the original one, that was on the opposite
side, had been seriously damaged by an earthquake in 1785.
Initially known as Villa Monteluco from the same place name, it immediately characterized the renewed high status of the Franchetti family that in those times owned nearly all the land around Piediluco. The villa embraces the neoclassic style of the times and was designed by an architect from Florence, Giuseppe Boccini. The furniture, that is a combination of styles of the past, is mainly of the neoRenaissance period. The building embraces the environment around it with an arcade which comprises a great serlian window.
The
Franchetti family lived in this villa until Baron Paolo’s death in 1954.
Since then, legal disputes regarding the heirs transferred the estate into
the hands af the local Province of Terni (endorsed in 1964). The estate
which was restored and opened te the public, was inaugurated in 1969 with
the new name of Villalago; for this eccasion the ceilings were decorated
with mythological scenes by the Terni painter Miramao. The large park
includes picnic areas equipped with tables, barbecues and different kinds
of tourist and leisure facilities comprising an open-air theatre which
became famous (since 1973) far having played host to many unforgettable
concerts that were part of the early editions of “Umbria Jazz”. In the
sumrnem the theatre is still now used for shows and cultural events. The
great film director Luchino Visconti was also attracted by the charm of
the villa and he filmed various on-the-spot scenes there in 1969 for bis
masterpice “La caduta degli dei”.