17 August, 2019
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From a symbol of martyrdom to that of marriage: the curious story of the Torcolo di San Costanzo.

Studying the first centuries of Christian cult, it is easier to come across the so-called historical martyrologists, in which the names of the saints and the place of their death were reported. Later, to these lists was added the life – of the martyr or of the confessor – and a description of the death: the undoubtedly most famous document is the Geronimian Martyrology.

 

San Costanzo

The Antonines and the anti-imperials

In this ancient document, compiled in Rome in the fourth century, the name of San Costanzo appears, one of the three patrons saint of the city of Perugia together with San Lorenzo and Sant’Ercolano. Traditionally celebrated on January 29th and therefore called “the saint of the great cold”, to indicate the low temperatures of the period. The first Christians were persecuted for their anti-imperial attitude, responsible for a rather tense civil climate, in short, for political crimes. This is the case of Constantius, the first bishop and protector of Perugia.
The consul Lucio made him immerse in a cauldron of boiling water, from which the future saint came out practically unharmed; after being taken to prison, he managed to escape by converting the keepers. Arrested again, he was condemned to beheaded, a penalty that was imposed around 170 in Foligno, in a place known as Il Trivio. It seems that in this area – called the Campaign of Saint Costanzo, there was a church dedicated to him, demolished in 1527.
After martyrdom, Costanzo’s remains were moved to a place called Areola, outside Porta San Pietro in Perugia, and there they found burial. The church, named after him, was consecrated in that area in 1205. It is in that same building that the unmarried girls, every 29 January, asked the image of the saint about their possibilities to get engaged and to marry.
It seems that, for particular games of refraction, the Saint winks at girls destined for marriage, but only to those unmarried and virgins. For the others there was a consolation prize, necessarily donated by the engaged couple: the Torcolo di San Costanzo.

 

La luminaria, photo by Umbria24

Forms that speak

The shape of this bundt cake, enriched with tasty as rare ingredients, candied citron, raisins, pine nuts, aniseed seeds, recalls a wedding ring; but other interpretations state that it represents the crown of flowers affixed to the reconstituted body of Constantius: a necklace of precious stones untied during the decapitation. For some scholars, the shape of a donut would have only facilitated transport during fairs and markets: you could put several “torcoli” along simple poles. And perhaps, it is no coincidence that San Costanzo, in the official iconography, is represented with a stick. A further interpretation assimilates the hole to the cut neck of the saint, while the five incisions on the surface, which reveal the precious composition, recall the five entrance doors of the city of Perugia. Five are also the gifts donated, every year, by the civil authorities.
Symbols of concord, the laurel wreath from the Municipal Police, the candle from the Mayor, the incense from the Parish Pastoral Council, the “holy wine” and the “torcolo of San Costanzo” from the local artisans, are offered before the traditional illumination inside the Basilica. To follow the Great Fair takes place in Borgo XX Giugno and, of course, the tasting of the delicious torcolo.

 

The recipe (by Rita Boini)

Ingredients:

500 g of flour

125 g of sugar

100 g of  olive oil

75 g of candied cedar made into small pieces

125 g of raisins

50 g of pine nuts

12 g of aniseed seeds

30 g of brewer’s yeast

A pinch of salt

 

Preparation:

Pour the flour on the pastry board, place inside the yeast dissolved in a little ‘warm water, knead the whole flour with warm water in sufficient quantity to obtain a dough from the consistency of the bread and place it in a terrine capable. Cover with a clean cloth and keep it in a warm place away from drafts, at least until the dough volume is doubled. Pour it on the pastry board and add the other ingredients. Work well and give it the shape of a donut, which you will place in a greased pan. Let rise for two to three hours, then bake at 180 °and cook for 40-45 minutes.

 

The torcolo of San Costanzo was consummated in Perugia on 29 January, in the Patron Saint’s day, Sometimes it was prepared at home, but more often it was bought from bakers, as this is a typical baking cake. The girls from Perugia used to give one, as a gift, to their boyfriend on this occasion. The custom of the torcolo of San Costanzo is still felt in the city and, even now, that it is on the market all year round, on 29 January bakeries and pastry shops are filled with torcoli. Other similar cakes are the torcolo of San Biagio, in Pianello, where it is prepared on the saint Patron’day: 3rd February saint is prepared and the torcolo of St. Joseph, which is consumed in Montone. It differs from the first two only because of the lack of aniseed and due to the fact that it is not consumed for the feast of the patron saint.

 


Sources:

www.stradadeivinicantico.com

www.turismo.comune.perugia.it

www.santiebeati.it

  1. Trotta, Diary (gastronomic) of Umbria, Perugia, Aguaplano, 2011.

Voltaire, Philosophical Dictionary, 1764, in https://www.scribd.com/doc/98861647/Voltaire-Dictionary

Preci belongs to the Club
I Borghi Più Belli d’Italia

 


Taking the path 505 from Triponzo to Visso, we go up along the tortuous course of a stream. They call it lu raiu de la scafa, whereas raiu, derived from gravarium, indicates a dejection of crushed stone.
At times it will be necessary to wade the river, trying not to slip on the wet rocks, and trying to distinguish the obstacles from the shadow games of the fronds’ dome over our heads.
Then the rocky walls, straight and smooth as if they had been cut with a blade, will attract us in a narrow gorge, recalling us with the hypnotic sound of the pouring water.

La cascata de Lu Cugnuntu, foto di Maurizio Biancarelli

Lu Cugnuntu

We are in Valnerina, a few kilometers from the village of Preci, where the ditch of San Lazzaro and the ditch Acquastrino are thrown into what is a real wound in the calcareous layers of red sliver that characterize the area. Not by chance, the gorge is called Lu Cugnuntu, the conjunction – from the Latin coniunctio, even if it could be derived from the vulgar coniuntius, a sort of hydraulic pipe. At the foot of the juncture, you are hit by a cloud of aerosol, released from the water that falls for twenty-four meters.

 

Upstream, the calcarenites – rocks rather resistant to erosion – have in fact created a gradient that gives rise to a majestic spectacle, almost overwhelming for that narrow slit.
Although the guides recommend taking this excursion in spring, when getting wet it is not a problem, it is in winter that the gorge releases its magical atmosphere. It is not just for the greater range, but also for the low temperatures that, by freezing the aerosol, create icy tapestries that decorate the steep walls.

Miraculous waters

In ancient times it was believed that these waters had therapeutic powers, such as those near Triponzo and Madonna della Peschiera. The conviction was such that, in 1218, was created a leper colony, also favored by the isolated position. In a parchment of 1342, we read as Razzardo di Roccapazza – Roccapazza was a castle that was completely destroyed by the earthquake of 1328 – had donated a land, partly cultivated and partly used as a pasture, to the village of San Lazzaro in Valloncello. For some, Razzardo was influenced by Saint Francis, or at least by the Franciscan ideology that was beginning to take hold; in any case the structure that was built, annexed to the homonymous church, was entrusted first to the monks of the Abbey of Sant’Eutizio, then to the minor friars and to the Franciscans.
The same parchment shows that the sick could live in the leper colony with their families, but they could not leave it in any case. Food was thought to be prodigious, like mountain viper meat. In the same way, we know that the superiors enjoyed the privilege of ordering hospitalization for the sick of the dioceses of Spoleto, Camerino and Ascoli, even if their relatives did not approve.
The leper colony – of which the central aisles of the adjoining church are still visible – was suppressed in 1490 by Pope Innocent VIII, because fortunately the cases of leprosy were disappearing.

 

 

Cascata de Lu Cugnuntu:

Latitude 42 ° 51’04”N Longitude: 12 ° 59’19”E
Maximum altitude: 620 m
Travel time: 2h
Length: 1.75 km
Difference in height: +220 m / -220 m
Water points: 3
Scenic value: high
Panoramic site: low
Access mode

  • on foot: easy
  • by bike: difficult
  • On horseback: average
  • By car: not allowed

Recommended seasons: all
Tips for hikers: wear waterproof shoes and helmet

 


Sources:

R. Borsellini, Riflessi d’Acqua – Laghi, fiumi e cascate dell’Umbria, Città di Castello, Edimond, 2008.

M.Biancarelli, L’Umbria delle Acque, Ponte San Giovanni, Quattroemme, 2003.

www.lavalnerina.com

www.iluoghidelsilenzio.it

Int.Geo.Mod srl (a cura di), Parco geologico della Valnerina, Spoleto, Nuova Eliografica s.n.c..

«The earthquake told by the media was a real fake news for Umbria. It was a real damage».

Matteo Grandi

 

Journalist, writer, TV author. Matteo Grandi is of all this. But above all, he is an attentive observer of Umbria: with his posts on social networks, he acts like someone who really loves somebody else. A land that he defines unique, but in search of an identity.

What is your bond with Umbria and Perugia?

Affectively , is vet tight. In Perugia there is my home and my main business. Although I am often away, so I could not enjoy my places and my habits as much as I would.

As a communicator, how could Umbria communicate better and make its potential and its beauties known?

It is not a question that can be answered easily. We need a strategy, a plan upstream that can enhance our land’s differences; Umbria has got an extraordinary artistic and cultural heritage, a unique natural landscape and a peculiar mysticism. But it is also characterized by dynamism, especially for cultural manifestations, its old houses and cashmere paths, and for its excellent agri-food products and wines.

On what should it bet?
On its uniqueness, no doubt.

With your book “Far Web”, you face the fake news’ issue: what is the biggest one told on Umbria? If there is?

The one conveyed by all the mainstream media on the earthquake. Umbria has been hit in a very small part, albeit dramatically. Yet for months, newspapers and newscasts have done nothing but tell and talk about an earthquake Umbria. This bad information has damaged our image and our tourism in an incredible way.

From the outside, Umbria is seen as a happy oasis by many, but the reality is different: this could be considered as fake news?

I think Umbria is a happy island in search of identity. We say that more than a fake news we could consider it as a declaration of intent.

Of course, it has got some good points, too…

Quality of life, like few other regions in Italy.

Editor-in-chief, TV author, writer: what is the job you like the most?

More than a job, an act: the one of writing. In any form. I do not know if it’s the thing that suits me the best, but it’s definitely the one I like the most and that is no coincidence that it is the common denominator for all the things I do.

How would you describe Umbria in three words?

Unique, intriguing, green.

The first thing that comes to your mind thinking of this region…

It should be better connected: roads, trains and airports. On the transport front, if we want to make the leap in quality.

Citerna belongs to the Club
I Borghi Più Belli d’Italia

 


For someone it was born in Siena, during the furious plague of 1348, when a doctor gave it to the sick; for others, however, it was born out of an exclamation flown in the canteen of the Council of Florence in 1439 as a misunderstanding. However, it is no doubt that vin santo owes its attribute to some particular property, perhaps miraculous. Or perhaps to the sacred procedure used to obtain it.

Grapes for vin santo

Grapes for vin santo

A Work to be done with Waning Moon

«Do you want to taste this nectar? But this is not a vinsanto, it’s a nectar! Oh lovely sorbet, precious and delicate nectar». (Goldoni)

As an amber colored drink, vin santo is the finest product of the Trebbiano and Malvasia grapes, as well as the Grechetto, Cannaiolo, Vernaccia and San Colombano ones. In Tuscany it is also obtained from San Giovese grapes: so, it is called Vin Santo Occhio di Pernice.
Besides the grape variety, the creation of vin santo comes from the choice of the best bunches, with a state of ripeness not too advanced – so that the peels can resist the withering. They are hrvested and hung for three or even four months, so that they could wilt. It was a widespread belief that the bunches, single or double, would not rotten if they were hung with waning moon.
Widespread in the Upper Valley of the Tiber and in the nearby Tuscany, the vin santo acquires in Citerna that smoked note that has made it one of the Slow Food Presidia. The vast plains below the village, as well as the abundance of water, had in fact allowed the area to be elected as an ideal place for the cultivation of tobacco, intended for State Monopolies. So, to optimize the spaces, bunches and leaves were hung together, so that they could dry up with the heat of the stoves and fireplaces. Sources of heat that, inevitably, ended up also emitting smoke, giving the grapes the typical aftertaste of smoking.

 

A hard fermentation

The grape is then pressed and fermented – with or without marcs – in wooden caratelli with a capacity ranging from 15 to 50 kilograms. The dimensions of these containers show the quality of the drink that you will end up getting. First of all they give the measure of the production of the vin santo, extremely limited: on average a quintal of grapes, once the drying phase has finished, it reaches weighs 30-35 kilograms, and must still be crushed.
In the second instance, containers of this size allow to sacrifice only a small part of the precious vintage, in case something would go wrong during fermentation. This passage is in fact extremely delicate: given the strong drying, vin santo’s must has a very high sugar concentration which, in turn, involves a high alcohol content. The leavening agent contained in the pruine – the waxy substance that covers the grapes protecting them from ultraviolet rays and dehydration – can hardly survive alcohol contents of more than 13%, and here we are talking about values ​​that can reach even 19%.
The producers, to solve this problem, use the scum of previous years, a sort of precipitate that, preserved from year to year and divided into the various caratelli, can stimulate fermentation. It is called mother and, since it remains in the wood of the caratelli, they are re-used without being washed first.

Amber wine

Once filled for ¾, the containers are sealed and stored – in the past they were placed in the attic, so that they were exposed to thermal excursions, considered benefic – remain there for at least three years. The uncertainty about the success of the wine hovers until the opening of the caratelli.
It is curious that, in Citerna, just the vin santo was used to soften the leaves of tobacco that, taken away from the State Monopoly, were hidden in tin crates and buried in the fields. Still in Tuscany, cigar smokers are used to soak them in vin santo to taste them better.

 


Sources:

www.fondazioneslowfood.com/it/presidi-slow-food/vinosanto-affumicato-dellalta-valle-del-tevere/

www.ilportaledelleosterie.it

www.wsimag.com

«A curious character is imprisoned in the theater, to still breathe the dust of the stage, the scent of powder, to listen to romantic melodies… and to remove the curtain if the show is not to his liking. Angelino, the ghost of the theater, took his role seriously and his performance is not over» (Igea Frezza, Pagine dell’Umbria)

Amelia Theater

Amelia Theater

 

Almost all theaters have their Phantom of the Opera. The Social Theater of Amelia is certainly not the Teatro Massimo of Palermo, where the soul of a mysterious nun is wandering, however, it can still boast the presence of a nice ghost that runs quietly between one upper tier box and another. It’s Angelino, or as he was renamed by the guardian of the theater, who always has a lot to do: when he turns off the lights the ghost has fun to turn on them again and when the guardian turns on the lights Angelino turns them off. The legend tells that the ghost is afraid of the public and, therefore, disappears at each show. But he is not afraid of the artists. «On the contrary, it seems that he likes very much to attend the rehearsals and that he follows them hidden in the shadows in the second row of boxes. Some actor claims to have seen him pass, wrapped in the cloak up to the nose and with a wide-brimmed hat, behind the entrance of the audience as he climbs to the upper floors, and someone else says that when Angelino sits on this or that box, he frees himself of his cloak with a majestic gesture, making it float in the air and throwing it behind his shoulders».

The Foundation

The Social Theater was born from the efforts of a group of nobles and bourgeoises of the city of Amelia. The city at that time was a flourishing center of the Papal State, which in 1780 met and decided to build a new theater. On 23rd February 1782, the congregation of foundation was held, presided over by the Marquis Orso Orsini and was attended by the first twenty-seven members that soon became thirty-six. The project, as well as the direction of the works, were entrusted to Count Stefano Cansacchi, an architect highly esteemed even beyond the borders of the State and exponent of the Perugia Academy of Design. Also belonging to the same Academy, was the very young Gian Antonio Selva who, ten years later, created  the Gran Teatro la Fenice of Venice, which was extraordinarily similar to the amerino model not only in architecture, but also in setting and decoration.

The Restoration

Over the years there have been a lot of  works of restoration and modernization. In 1823 the orchestra pit or mystic gulf was opened to meet the demands imposed by the new model of opera. Then, in 1866 the two large statues that the Cansacchi had put as an ornament of the two sides of the proscenium were eliminated and six proscenium boxes were built, which, in addition to the pre-existing fourty-four, brought the total number of boxes to the current fifty, distributed over three orders (seventeen for each order, with the central space of the first order occupied by the entrance door) in addition to the large gallery.

 

Amelia Theater

Amelia Theater

The Frescoes

Between 1880 and 1886 Domenico Bruschi, an artist famous for his many works in other theaters, including the Caio Melisso of Spoleto, was called to decorate and fresco the hall. To him we owe also the canvas with the legendary siege of Amelia by the Barbarossa, flanked to the other dating back to the eighteenth century, and the lively fresco that decorates the vault of the main hall. The last restoration completed in 2006 allowed the recovery of the outdoor space adapted for outdoor theater (about two hundred twenty seats) which also includes the underlying belvedere which opens onto the valley. The underground was used as a hall equipped with all comforts.

The Mechanisms

The Amerino theater is one of the rare examples of 18th-century theater made entirely of wood, from the structures to the still-functioning scene mechanisms. The theater, still owned by the same company that was born just for its realization, has hosted all the major operas of the eighteenth and nineteenth-century Italian repertoire, with the participation of the greatest Italian and foreign artists, as well as performances of symphonic and chamber music. In addition, the large stage (of considerable height) was used as a set for fourty-two films including Il Marchese del Grillo with Alberto Sordi and The Adventures of Pinocchio by Luigi Comencini, with Nino Manfredi. The Ministry of Cultural Heritage has declared the Amelia Theater as a monument of particular historical and artistic interest.

 


Bibliography
I. Frezza, Pagine dell’Umbria, Perugia, Morlacchi publisher, 2009
S. Petrignani, Care Presenze, Neri Pozza, 2004
A. Ghedina, Guide to the ghosts of Italy. Where to look for them and find them, Odoya, 2017

Sitography
http://www.teatrostabile.umbria.it

INGREDIENTS FOR CORNMEAL MUSH:
  • 500 g of cornmeal
  • salt

 

INGREDIENTS FOR SEASONING:
  • 12 pork ribs
  • 500 g of wild mushrooms
  • 500 g of tomato puree
  • 2 cloves of garlic
  • 1 glass of dry white wine
  • 8 tablespoons of extra virgin olive oil
  • salt
  • pepper

 

 

PREPARATION:

Prepare a normal cornmeal mush. Place a peeled garlic clove in a saucepan with a little oil; let it flavour, then add the sliced mushrooms. Add salt and let them lose excess water for 10-15 minutes. In a pan, put the remaining clove of garlic and remaining oil, let it fry and add the ribs broken in two. Leave to brown, sprinkle with wine and, when it has evaporated, add the tomato puree and mushrooms. Add salt and pepper and finish cooking. Turn out the polenta, cover with the sauce and serve.

 

Cornmeal mush with pork ribs and mushrooms is typical of the Terni area, but it is eaten all over Umbria. In the past, only wild mushrooms were used.

 

 

Courtesy of Calzetti – Mariucci Editore

Barbara Petronio proudly shows the David di Donatello won last March for the best screenplay of the film Indivisibili directed by Edoardo De Angelis.

Barbara Petronio

 

Born and raised in Terni, she started working as a screenwriter at a very young age, and for this reason she already boasts the writing of many TV series and successful films: from A.C.A.B. to Romanzo Criminale – la serie, from Suburra – the Distretto di Polizia series, from R.I.S. – Crimini Imperfetti to Mozzarella Stories, up to the Mostro di Firenze and Le Mani Dentro la Città. His dream in the drawer is a story about Terni.

What’s your connection with Umbria?   
I was born and raised in Terni even though my family is not of Umbrian origins, but half Sicilian and for the other half a mixture of Scottish, Abruzzo and even a little Roman origins.

If Umbria was a movie, what film would it be?
The big binge.

Why this combination
I have always associated Umbria with great food.

Has it ever occurred to you to write a subject or a script on Terni or Umbria?
Yes, Umbria is full of beautiful stories, I have in the drawer a story about Terni that I would like to tell. Sometimes I take it out and I work on it in the spare time. Who knows that sooner or later it will come to an end…

 

Indivisibili

From Terni to the David di Donatello: was it a long road? I read that three fundamental characters were your elementary school teacher, Roberto Benigni and the film producer Pietro Valsecchi.
Well yes, they were in three very different moments of my life. The teacher gave the opening words, made me understand the beauty of the stories and fantasy, Benigni was my first experience on a set. There I understood what it means to shoot a film, how complex it is and how much effort it requires. Valsecchi made me debut, put me in a position to work on important series when I was very young. A rarity for Italy.

A merit and a defect of the Italian cinema.
In the past, Italian cinema rhymed to originality, dramaturgical power and truth. Now it is a bit less, but sometimes come out of small jewels result of our film tradition and our imagination. The defect of the moment – I would say – repetitiveness.

How would you describe Umbria in three words?
Mystic, lush, strong.

The first thing that comes to mind thinking of this region.
Home.

 

 

More on Terni

As has already happened before, but in this case, it comes from a small strip of wounded land in the heart of the “Heart of Italy”. A sprout of future for Italy and Europe.

Montanari testoni

 

Four documentaries, four stories about Valnerina’s rebirth. A year after the earthquake that hit central Italy, four documentaries, written, produced and realized with the Restart project. Comunità Resistenti by MenteGlocale – permanent laboratory of social communication, based in Perugia – tell the stories of a land, the Umbrian Valnerina, which reacted to the earthquake’s material and moral damages.
Norcia, Campi, Cascia, Ruscio: the earthquake struck the populations touching them in the affections, in the habits and in the small and great security of everyday life. These mountaineers were injured but not defeated, and in some cases they were able to react to the difficulties by rolling up their sleeves. Written by Filippo Costantini, Giorgio Vicario and Daniele Suraci, who has also directed and edited the Restart project. Comunità Resistenti, it was created with the contribution of Corecom Umbria, through the 2017 Community TV competition.

The four docu-films

The four docu-films try to tell the stories of these territories, the stories little known or that few tell. People and places are the protagonists, who go beyond the earthquake and try to roll up their sleeves to start over and move on.

 

  • Montanari testoni

Born in November 2016 in Norcia, inside a field tent, the Montanari Testoni association was promoted by a group of young people from the territory to face together the adversities related to the earthquake. It was created to talk and discuss the personal and collective situation and to propose activities of participation, sharing, collaboration and cultural promotion dedicated to the inhabitants of Norcia. From a collection center for food and clothes, a real social center, the container has hosted in recent months – and continues to do so – condominium meetings, workshops for children, film clubs and much more, until the rehearsals of the famous Corale di Norcia, left without a seat, and has now become a fundamental reference point for the entire nursery community.

 

Sisters of Cascia

Sisters of Cascia

 

  • Rita

In Cascia, after the shock of October 30th, 2016, several buildings became unusable, but except for a few cases there were no collapses. For security reasons, for the first time in the history of Cascia the Basilica of Santa Rita was closed and the Augustinian cloistered nuns had to leave the monastery, returning after a few weeks. They tell the life in the Cloistered Monastery of the Sisters of Cascia and the relationship between the Casciani and Saint Rita: in a Cascia hit by the earthquake the icon of the Saint is a concrete presence of hope for the future.

 

  • Maddalena

Ruscio is a small fraction of the Municipality of Monteleone di Spoleto composed by two-storey houses, historical buildings, three churches, two squares, a bridge and many fountains. The village develops along a single road cut by a bridge that divides Ruscio above from Ruscio below. The fraction, where there are permanently seventy people, has not suffered much damage. The material signs of the recent earthquakes are there, but they are not very strong: the most evident damages are in people and are linked to the fear of depopulation, to the fear that at least for a few years it will no longer be the same. Every year in the summer the rusciari scattered in the world return to the small Umbrian village to spend their holidays, repopulating houses that for most of the year are carefully guarded by the few stable inhabitants of the country. On August 24th the traditional Rusciari Dinner is celebrated, an indispensable moment to say goodbye before returning to their places of residence. In 2016, due to the earthquake, the dinner was canceled.

 

  • Doctormonster

Back to Campi is the dream of Roberto Doctormonster Sbriccoli, bricklayer-dj of Campi, a fraction of the Municipality of Norcia strongly affected by the shocks of 2016. The upper part of the village is red zone, all the houses are unusable, and several are collapsed. Between the upper and lower parts of the village stands the headquarters of the Pro Loco, a structure inaugurated just four days before the earthquake of August 24th, 2016 and built by the inhabitants of Campi – ed by Doctormonster. A class four anti-seismic structure that was immediately used as an emergency reception center. In the weeks following the shock, it hosted up to ninety people, proving to be fundamental for shelter and assistance. Animator and coordinator of the space was Docmonster, who is also the president of the Pro Loco. These were difficult days, full of discouragement and nervousness, but that place was fundamental. Today many of the inhabitants of Campi live in the newly delivered containers and wooden houses.
Docmonster has a dream called Back to Field, a € 4 million project that aims to build a multi-purpose center for tourism and sport on a newly acquired site by Pro Loco. It is a project that aims to provide a complete and equipped with all the services to those who will be on vacation in the summer (before the earthquake many people choose this place for summer holidays) in these areas and has the ambition to be a multi-purpose center for pre-season retreats of the teams of different sports. Docmonster took it upon himself to realize this project.

 

 


The video: http://www.menteglocale.com/