The 29 Drawings or Tables, including the four additioned ones to highlight the evolution of that area on which PIAZZA DELLA LIBERTA was created, in the late 50 's and early 60 's of the twentieth century, are the result of research done on the occasion of my work, in 5 volumes of the History by Comics of Cesena, Rimini, Forl and Ravenna Towns. From its Origins to the unification of Italy ", published by the local Publisher Ponte Vecchio with the sponsorship of the Rural Bank in San Giorgio, thanks to the cultural sensitivity of the then Bank Director Dr. Mario Magnani. The research work, carried out by the 5 volumes, had been enriching with all necessary knowledge to allow me to develop and to reconstruct by drawings, the lost face of Cesena town, starting from the early 800 and highlighting interesting in the but-lost-for-ever-urban aspects of this very ancient town. The 29 drawings, thanks to the kindness of the city newspaper "La VOCE di Romagna", set out by the person of Mrs Elide Giordani and, of course, by Director Mr Franco Fregni, saw their weekly publication-from 27 April until November 16, 2008 with the desire to "unveil" that face of the town that started slowly to disappear, to loose its urban compactness, definitely planned and created by Malatesta Novello, Lord of Cesena, in the 15th century, existing since the early 19th century until the years ' 70 of 900. So, my target and endeavour was a cultural as well as unique and original way to show the past of the town. But the attempt to find sponsors, since 2005 year, to publish this works with a worthy typographic dress, met a total indifference about it, especially by those local banks, of which is well known their aptitude to sponsor works concerning local history. But not this one. Translation into English language by the author

The author

Note biografiche dell autoreAntonio Dal Muto, Roman, lives and works in Cesena. He graduated as master of Arts at the Institute of Art in painting and drawing at Marino (Rome); He obtained the specialization as Interior Architect; He attended the Faculty of architecture in Florence; Owns the teaching habilitation for History of Art and Drawing

To his credit has got several exhibitions of Painting, but his activity was held also with other experiences such as in: ART DIRECTION He made the theatre back scenes, in the years 90, of E Campanon a local slang song contest COMICS: He is the author of the work mentioned in the introduction, and also of the History by Comics of AriciAntica. From the 8th century BC to the 5th century AD edited with the sponsorship of the Province of Rome and the Municipality of Ariccia; other recent work is the History by Comics of Sarsina. From its origins to the construction of the Cathedral 11th century and the "History of Castrocaro By Comics" not published due to lack of interest by the respective Municipalities; "History of Anzio. From its origins to Nero "awaiting the publication by the Administration of Anzio town, and the History of Comacchio by Comics created on the request of an editor from Comacchio an published. CARTOONIST: he collaborates for many years with the weekly Magazine Il CorriereCesenate On 1985, he collaborated with RAI Broadcasting, by the RAI Bologna Center; he also collaborated with TeleRomagna, a local TV Broadcasting; Art criticism: he collaborated with daily NewsapaperThe CORRIERE DI Romagna, then with The VOCE di Romagna, and now, again with the CORRIERE di Romagna, engaging in critical reflections on artists and initiatives related to painting, sculpture and architecture. PORTRAITIST: Galleries of portraits made of characters known to the community, as the "Gallery of portraits of eminent men related to the Municipality, from the Risorgimento till the last Mayor, Giordano Conti", characters related to the administration of the Town; "Gallery of Abbots who have led the Abbey of Saint Mary on the Mount from 1888 to the last Abbot Crippa ; "Gallery of priests who have led the parish of s. Egidio since 1954 to today ;"Portrait of Pantani" exposed in the Museum Spazio Pantani at Cesenatico; Portrait of Giovanni Agnelli, owned by the family; Portrait of Rita Levi Montalcini, owned by the herself; Portrait of Milva an italian singer, owned by the herself; Portrait of Enzo Ferrari, g. Agnelli; L.C. di Montezemolo; M. Schumacher and Barrichello owned by Maranello Ferrari Farm; Portrait of Chiara Muti a theatre star, owned by herself.

BIBLIOGRAFIA

Fundamental to this work, were works such as:

-

Per una lettura operante della citt di G.Conti e D. Corbara; Cesena Diciotto Secoli di Storia di G.Sirotti; Storia della Chiesa di Cesena edito dalla Cassa di Risparmio; Borgo Chiesanuova: Storia di uno sventramento edito dal Comune di Cesena; Vecchia Cesena Edito da Coop. CILS; La cinta muraria di Cesena di P. Montalti; Piano Regolatore Generale del 1969 edito dal Comune di Cesena; Raccolta di disegni sul percorso del Cesuola autore: G. Severi - inizio 1900

TABLE 1- The Cesena Map in the first ' 800

If happened to you to wonder how could appear the town of Cesena before the Pickaxe made its part, when its face was still left intact since the medieval age, at the time of Malatesta Novello, the Lord of the city, well your questions can be satisfied observing these thirty drawings. We ve just only identify with a stranger guest, a visitor, who comimg from Porta Romana ( Roman Gate) decides to walk along the Town till Porta Fiume (The River Gate) , along the old via Aemilia; so we can enjoy of those urban glimpses, the lost face that we have been denied because of demolition that started on XIX century up to tne 70 of the twentieth century. He will visit with us, those urban situations loved to our ancestors, disappeared altogether or changed too much to appear unfamiliar to us. Well, let's start with the Map of the city: outside the walls of silence a campaign free from the current crowding residential areas, it was only crossed by the ancient Roman roads: the Dismano, the way to Ravenna; Via Cervese to the coast; Via Aemilia and the net of narrows streets linked to the centuriation, the ancient roman procedure to split the country into cultivable parts, while the Hill roads rather impervious linked the hill villages surrounded by a wild nature. Very few rural houses managed, mostly, by poor people oppressed by poverty and malnutrition. The town in 1800 had little more than 6000 inhabitants, including small districts located just outside the doors.

The old town centre, now appears, surrounded by the urban extension of the new city. Via Cervese is a densely populated road.

TABLE 2 PORTA ROMANA SUBURB

We are thus at the beginning of our journey into the town, in the company of an imagined just dropped by Stagecoach voyager, just outside Porta romana. The area, watched from a icnographic point of view flight of bird looks very similar to the current situation: the buildings, in the direction of the half-hidden wall Tower by low hovels are missing; they developed for a stretch, even along the walls. The via Aemilia came close to the Gate, after having crossed the town, entering then in the suburb (borgo) also known as Borgo San Pietro, one of the most populous suburb in the beginning of the 800. A curiosity: our customer would never entered the city as well as we do on a daily basis, i.e. with a simple go, he would have been stopped by guards and required to present their identification documents, specifying the reasons for his coming: let us not forget, furthermore, that toghether to the guards certainly there was a graduate of the French army! From 1796 until about 1810, Cesena, the Romagna region as the most of the Central-Northern Italy, was under the napoleonic axe . A stranger in Cesena was looked upon with suspicion in those times: better to be in compliance with the documents. But who and what are those who lived in Borgo San Pietro? A typology of people belonging to lower-class artisans especially. Under the arcades, which are indicated to the left, there were not the shops that we see now, but shops of carpenters, farmers, blacksmiths, shoemakers, saddlers and inns. In one of these inns, whose historic room, we suppose, is occupied, at present by a private technical engeenering studio; however, many years later, a Congress of locals to kill the Count Neri was taken in this Inn. A crime matured within a social tissue made of misery, resentments and apparent political motives. All in all the suburb consisted of a type of simple houses, but showing all their old age. The via Aemilia had earth dusty pavement.

Here is Roman Gate no longer "crowded by houses as then.

Another striking image of the Roman Gate or Porta Romana

The first houses of the town just entered it, still shown to the old face of it

The modest house where was born Leonida Montanari, Patriot carbonaro, beheaded in Rome on 1826 year. Here took his first steps. A plaque commemorates his birthplace ...

Table 3 - The Capuchin Convent, the Fatebenefratelli hospital and the Church

The hypothetical reconstruction attempt of the lost face of Cesena in the absence of photographic material has got the risk-features of distorting the real but lost urban aspects: so the graphic reconstruction cannot rely only on the imagination, but must use the best available tools to integrate them with reliable hypothesis. It was very useful for the purpose the plant, published in 1969 by the Municipal Technic Studio, such as to consult the work For a operative reading of the city" written by Giordano Conti and Delio Corbara in 1980. From the reading of this analysis, and other works see the Bibliography- the arduous reconstructions was made easier. But back to our visitor, he, before arriving at the height of the buildings shown in Table 3, surely took a walk under the arcades on the right, of the Leonida Montanari s House:he was born here; after having attended at University in Bologna he was sent to Rocca di Papa, near Rome as physician, but then guilty to be a terrorist ( according the Church State) he was beheaded in 1826 on the roman Piazza del Popolo. In our graphic representation, the first building, the Convent of the Capuchin, facing Palazzo Guidi, met by our visitor, no longer exists as the Fatebenefratelli Hospital here present along Via Borgo dei Santi, current Comandini Suburb. The buildings of the former convent and hospital was demolished in the early ' 60 's ' 900. To follow the building complex was the Conventual Church of the House of God -see the next table

The modern buildings which replaced the Capuchin Convent and the Fatebenefratelli Hospital

The elegant Palazzo Guidi, which faced the religious complexes. In this building took rest Giuseppe Garibaldi

Table 4 Saint Michael or God s house Church

The view used in the realization of this table is that of a person leaning out from a window facing the religious building located along the road of the Town suburb former the suburb before the town restoration planned by Malatesta Novello was outside the town wall ( they were there where ther is the theatre). The Group of lost buildings, depicted here, are: the Capuchins Convent followed by the Fatebenefratelli hospital and the parish of Saint Michael or the House of God. The latter was a veritable parish operated and administered by the Bishop: just think that in the 18th century Cesena within the walls there were 8 churches and 40 outside the walls - many of them with parish functions. The arrival of Napoleon made a clean sweep of what now would classify as an "excess of religion", but also of sincere devotion in times when the faith, for the poorer classes, was the only refuge against the frustrations by bullying, victimisation and misery. An anecdote to understand the times: Cardinal Denhoff (1687-1697), imprisoned for a few days the prelates with the cassock somewhat short and kept in the prison the Episcopal Vicar of the parish of Saint Michael, because he omitted to administer sacraments to a dying parishioner. But returning to the building of the Church in object, there is to say that by the parish also operated the cemetery. Not surprisingly, when recently began work in the public garden, if bones and skulls were uncovered; probably some graves, the more ancient or the poorest still remained in place after the prohibition imposed by the french administration to bury inside the walls spaces and the churches the dead bodies. So the graves were displaced in a new cemetery outside the Town. The parish was demolished with in the occasion of starting of works to make a public garden, on 1832, with a bequest donated by the count Paolo Neri, who committed suicide. A plaque still reminds him.

Here is the Public Garden or Park, recently restored to its 19th century former ornate : it took the ancient space of the Cemetery and the House of God's Church area

Table 5 The church of Saint Michael, the cemetry and the near Spada s palace

Just more ahead of the Church of Saint Michael or House of God, to attract the attention of our visitor is the first stately-designed according to the big architectural 1400 Palazzo Spada. A huge building imposing faade with internal courtyard. Behind this structure a large courtyard surrounded by walls. Inside the building, after 1815, the year of the Restoration ( Congres of Wien), the Spadas transformed part of the building into a theatre to meet the cultural needs of the population. The need to have a theatre was adopted later by the Pontifical Municipality, thinking a real theater building. Before deciding if the municipal theatre today Bonci should be built on that site, other hypotheses were examined. A hypothesis was to build the Theatre in front of the O.I.R. an ancient hospital assosiation, by demolishing the former Convent of the Carmelites or, was thought, within the former Franciscan Convent ... but the final choice fell on Palazzo Spada area, purchased by the Administration on 1843. Almost simultaneously was demolished the Church of St. Franciscus: with the materials of the two buildings, the Teatro comunale was built , backtracked from the street respect to the original location of the Spada s Palace. The new building was planned and built by the architect Luigi Ghinelli that put his signature to the theatres of Pesaro, Senigallia and Ancona as well as. The 1843 saw the beginnings of the structure and on the August 15th, 1846 there was the opening chaired by the town Lord Mayor (Gonfaloniere) Saladino Saladini, the Bishop and the Count Eduardo Fabbri, who already suffered imprisonment in Ancona for suspects linked to the Risorgimental affairs. The sum involved was 4784, 32 scudi. Mattia Mariani, the Cook by Count Masini as chronicler makes an account of the first opening: "Was open in the evening of Saturday 15th the new Teatro Comunale ... with Opera. Full of people, starngers as well as, were the theater in this evening in Cesena "

The Teatro Comunale ( Municipal Theatre), dedicated to tenor Bonci from Cesena, set back compared to building owned by the family Spada

Table 6

St. Severus and Philip s Church

Entering a narrow alley of old Cesena, next to the Palazzo Spada, our curious visitor arrives in the present day Piazza Isei originally smaller, as the only one example, in Cesena, of beautiful baroque architecture, the church, occupied much more space; we are speaking of the Church of San Filippo and San Severo. News about this construction can be found in the work History of the Church of Cesena promoted by a local bank. The Church was designed by architect Pietro Mattia Angeloni (1627-1701) born in Cesena, but with a Roman training as architect - His is the church dedicated to Saint Anne and Joachim, located on the Piazza del Popolo, Cesena. Designer of civilian factories Angeloni also realizes, restoring it, the Church of San Filippo and Severus between 1681 and 1693, referring to the aesthetic models of his time, I mean those ones of Rainaldi and Bernini. Adjacent to the Church was the convent of the Fathers of the Oratory, facing to the Convent of the Santine built, illo tempore, on roman and early medieval structures and recently converted into civilian dwellings, without having ever known, unfortunately, if under the various plaster could be some interesting frescoes. The whole complex of Church, illustrated here, suffered the Napoleonic barbs, infact on 1810 it was already in advanced decay. It should be reminded that the Church under the appellation of San Severo, was so recalled since 1155 year. Overwhelmed and ruined by one of the often Cesuola river torrential floods on 1445 year, it was rebuilt on 1587, according to the late Renaissance canons until Angeloni restored it, thinking to the aesthetics of his time. Part of the complex of St Philip was demolished between 1837 and 1840. Artistic works belonging to the church can be seen, now, in the Cathedral: it is a bas-relief of Vincenzo Gottardi walled in the left nave, and a large tempera of Jerome Caldieri, depicting the city of Cesena and where you can see the faade of the demolished Church. At present the remaining area of the religious complex is part of The Carabinieri Operative Centre ( Italian Military Police).

The Square, which formerly housed the Church of St. Severus and Philip. On the right hand corner of the image part of the building of the old monastery of the Santine

Table 7 The Convent of Celestines

We are at today's headquarters of Cassa di Risparmio, ( a bank) but in early 1800 in its place there was the former Convent of the Celestines. This monastic order came to Cesena, in the early 14th century, thanks to a donation of Tanucolo di Benedetto, who transformed his home into a small church, donating it then to the Celestines; the order was officially established on 1354. This event allowed it to build the convent and Church. In 1682 the complex was expanded and raised to the rank of Abbey. With the arrival of Napoleon the celestines were dislodged and the religious complex sold, on 1801, to Francesco Montanari who made it as own home. The son decided to transform the Church into shops after exhume all the bodies buried there for centuries, including that of his father Francesco. The Church in question, in this graphic reconstruction, is what you d have seen behind the Palace of O.I.R. built between 1776 and the 1795 and annexed to the Latin cross-religious building. The division between the convent from the Church was made by the Frenchs who joined the Via Aemilia with the back spaces of the complex. The Palace of O.I.R. until the arrival of Napoleon, was used as a hospital since it was transferred from the ancient hospital complex which were in vicolo Madonna del parto; this ancient hospital was built by Malatesta s wife, Violante, in the 15th century. From O.I.R. the hospital was relocated in the spaces of San Domenico Convent, where the Chronicles tell us how the dead bodies rolled down the stairs because of always-drunk gravediggers; then, the hospital, moved into the religious complex of San Rocco at the Ponte Vecchio ( old bridge). The complex of the celestines, scrapped halfway ' 800 was then rebuilt at the end of that century to become the seat of the Cassa di Risparmio. The remanining body of the Church was used as shops currently, under the arcades of the O.I.R. palace, in his ancient spaces there is a tobacconist and a pharmacy The rest of the church was demolished when in ' 50 year of ' 900 was made the famous gallery. Of the Church remains the apse in via Martiri di Ungheria.

The Bank building which took the place of the Convent of Celestini. On its right side the first arcades of O.I.R. palace

Table 8

The Episcopal complex, and the monastery of the Carmelites

This table appears complex to our eyes, being the present structures due to important historical reality that, at the time of our traveller, still manteined their ancient dignity. But let's see what there was in the space of the present Piazza della Libert: behind the St John Cathedral, there was the Episcopal complex, it was built soon after the construction of the Cathedral on the 15th century: a complex, with a couple of cloisters, of whom remain some columns and and with no a complete photographic record, always desirable before demolishing a historic building, althought we consider it as a foolish choise. Separate from this complex the Convent of the Carmelites. The order of the hermits- born in Palestine in the 12th century- entered the town for the will of Malatesta Novello, abandoning the old location, at the Windmill of Serravalle, after the flood of Savio River on August 7th, 1460. To accommodate the monks the Church of Santa Marta in representation. On 1679, to the Church, a not very high Bell Tower was added, on Via del Carmine. The complex was then expanded in the 17th century. Later, the French Government forced the Carmelites to accommodate priests who followed the army, then the soldiers and finally, on November 23rd, 1797, drove all religious, transforming the Church and convent in hospital and then in the military barracks. On 1811 the convent housed a for youth boarding school, but failed the goal, shortly after, for immorality. The complex, then, underwent several revisions: in the ' 20 ' 900-the Church no longer existed- the convent housed the town post office. In the years ' 50-60 of the same century, due to an ancient habit added to a misunderstanding way of "rehabilitation", all the buildings behind the cathedral were demolished, including the Mori s Palace (formerly Venturelli) bordering the convent; all this demolition to create the present day Piazza della Libert - It is not a square, according to the Italian meaning, but a auto parking see page 112. The Chapel of s. Tobia represents the only one survived part of the Episcopal Complex. A curiosity: in front of the Cathedral there was no little square.

The Apse and the Bell Tower of the Cathedral of St. John the Baptist, appears in a unnatural view, facing the empty space of the square that replaced the precious demolished religious complex.

Four Arcades of the cloister still survive

Table 9

The St Hohn the Baptistis s Cathedral

We are at the heart of the town in the so told Marble Cross Suburb, where the Cathedral of St. John the Baptiste is housed. The old Via Aemilia, at the point where it meets Porta Cervese lane, did not have the current square John Paul the IInd, already Piazza Pia. This little square will be created in the early 900, removing of part of corner building. The Cathedral, built by Andrea Malatesta (1385), will get the high Bell Tower under the lordship of Malatesta Novello (1450). In 1499, in the faade the Portal stone, belonged to the Church of St. Lorenzo was embedded It was where now is the Church of Madonna delle Rose- when the faade assumed Renaissance characteristics; On 1790 year another restoring to the faade was made. The body of the building, in his left side, at the beginning of the 800 was enriched by constructions of devotional chapels. In 1867 was eliminated the three steps huge platform, before the entrance door it was high 87 cm - to facilitate the movement of carriages. Between 1886 and 1892 the architect F. Gualandi from Bologna renewed the Cathedral faade according to the neo-Gothic style. This situation remained unchanged until 1957-60 when they put their hand for a last but complex restoration that gave to the building the current Roman-Gothic ornament: the latter restoration interested the left side of the building: all the chapels were demolished but the most important, the Chapel dedicated to SS Madonna del Popolo, the so told Cappella Albizzi, on 1746, was left, raised and restored according to the canons of Baroque architecture. The Palazzo Dandini, along the old Via Aemilia, but facing the right side of the Cathedral is visible in its original appearance: in ' 20 ' 900, in fact, this old building was restored and changed its ancient appearance; in the years ' 60 of ' 900 were demolished the buildings to the left of the Cathedral, including the old Seminary Palace.

On the facade of the Cathedral, you still can see the "patches" that have closed the old windows

Table 10 The Church of St Joseph of the CampentersSozzi main Street at the beginning of 800, as toponym, did not yet exist naturally; It was a street within the suburb of Porta Cervese (Cervese gate). The remarkable buildings depicted in the table are: Palazzo Fantaguzzi currently houses a Bank and Palazzo Ghini: between them, there was the Church of San Giuseppe dei falegnami (St Joseph of the Carpenters). It was demolished in the years ' 60 of ' 900. The building was a Parish. Oratory in use by the brotherhood of carpenters, one of the many "craft brotherhoods which throughout the 17th and 18th century had their space and their important social function within the Cesenate Church, until the abolition of them by Napoleon s will. This brotherhood started its activity in 1640 at Porta Santi (other name of Roman gate); in 1646 he moved into the building in object; It was enlarged on 1740 year in the manner depicted here. The Interior of the chapel-Church was filled with stucco and frescos executed between 1751 and 1753 years, the works have been paid with the contribution of noble families, as the Almerici s. The brotherhood had, on 1684, two sacristans, a cashier and two priests; yearly, on the 19th March was celebrated the Patron Saint.. Think a moment about how many feasts, processions, they should be celebrated in Cesena due to the numerous confraternities: there were the Confraternity of the Disciplined" or that of the Flagellants ; the Noble and knightly brotherhoods"; the Confraternity of religious orders and others placed inside and outside of the urban perimeter: real associations, a sort of ante-litteram club. How many parties linked to parishes and buildings consecrated to this or that Saint rejoiced the town of the yesteryear Cesena were celebrated... In conclusion, the Church of St. Joseph was an authentic jewel of architecture: it was demolished to make way to nothing, an empty space that demonstrates ignorance and superficiality of those who authorized this stupidity!!!

The building with modern glass structure occupies the space left by the demolition of the Church of San Giuseppe dei Falegnami

The empty space left by the demolition of the Church shows the back of the Malatestian Library. A real historic continum

Table 11 Porta Cervese or Cervese gate We arrived with our visitor at the Cervese Gate, from which started the way to the sea coast: it gave the name to this suburb. The city, according to the ancient tradition, was divided into some suburbs and its inhabitants known them by their names, until the French administration, at the time of our walk, introduced the use to name the suburbs with the name of colors, changing so an ancient topographical situation: blue, yellow suburb a.s.o. At the beginning of the 800 the situation relating to the entry Gates to the city was almost unchanged, still were used the same names defined under Malatesta Novello: Cesena had, on the plane, 5 Gates: Porta Santa Maria or Figarola (along the walls of St. Augustine) Porta Romana, Porta Cervese, Porta Trova and Porta of St Martine; on the hill had 3 Gates: Porta Montanara (often closed and reopened) Porta del Soccorso and the gate on the square. Of all these gates remain Porta Montanara, Porta Romana, Porta St Martin and the gate that has access to the square. Porta Cervese was a very old-dated back gate: it s known about on 1000 year; He had a first important restoration under Malatesta Novello, with a Papal Bull of 1442, he restored the entire walls and Porta Cervese was raised and rebuilt new: Porta Romana had the same forme befor to be restored. What we see here depicted is totally different to the original Port: it had also had a small side walkway for pedestrians only. Of course the door was accessible through a drawbridge that crossed the moat all around the walls, but no longer in operation in the 800. Already in 1734 part of moat- when it entirely lost its defensive function between Cervese Gate and Trova Gate was covered to enable the livestock market. Cervese Gate was demolished on 1860 as homage to Cavour just after the Unification of Italy, to accommodate the current Barrier, a customs entry point. In the Cervese Suburb the Church of San Zeno, visible in the upper right corner.

The so told Barrier Cavour twin buildings took the place of Porta Cervese

Cavour Barrier from the town

Table 12 The Portazza (ruined gate) facing the hillThe image gives us a reliable reconstruction of a corner of Cesena characterized by the presence of an ancient defensive structure and the entry point into the town of Cesuola river, known today as "the Portazza or ruined gate . Restored under Malatesta Novello. The portazza, over the time, lost its defensive characteristics (walkways, battlements ) and became shelter for poor people: disappeared the battlements a roof was added and as dwelling it was used until a few decades ago. We can see the bridge, outside the walls, through which they went up the Hill, where there is the Capuchins Convent, or towards the locality of Ponteabadesse. Inside the walls, not visible, another bridge which allowed the transit of wagons and pedestrians on the street along the so told walls of St. Augustine, which the the namesake religious complex is visible in the image. To the left of the Portazza, the well-known Via 14 (14 street) so named in memory of the fourteen survivors remain in this country (St John suburb) due to the plague that raged in the 14th century. At the time of our walk, the Portazza was, for the suburb division made by the French, in the green zone; Traditionally, however, it marked the boundary between the suburbs of St Severus and St John. In 1934 the coverage of Cesuola river began just inside the urban course of it and the Portazza area came under a thick covering of cement that got heavy the appearance of the structure. Currently the site is noticeably neglected, giving the impression of a corner ready for demolition due to its compromised historical appearance. We can t help to say, that it should need a major consideration and a definitive restoration to re-gain its original appearance, freeing the structure from concrete and the roof, and the cypress trees covering the structure.

The ancient Portazza, the entry point of Cesuola River

The Vault of Portazza, devoid of its ancient grating gate

Table 13 The Cesuola river by the so told Three Mounts bridge

A wander into the city means to catch all urban aspects that can, in the visitor, arouse his interest, an interest linked to what today is called "urban landscape". But the landscape changes and the restitution of mnemonics impressions, related to urban history, is compromised or lost, as in the case of Cesuola River, which freely run through the town of Cesena. The river, we know, comes from the deep intimacy of a foot hill Valley, the same that in the 13th century, received the hermit Saint Giovanni Bono who decided to stay there for ascetic life there is still the place of his prayers and meditations. The Cesuola river leaving the town, originally reached the sea coast, but in the 1000 year it was detoured to defend the city walls and let flow into the Savio River. With the expansion of the former Town, the Cesuola was trapped inside it; lost its defensive role it was used to get water, very useful in the middle age, used by many stores, butcheries present in the town; later the Cesuola was used to feed the ditches around the new walls. The presence of the river inside the town was useful and dangerous at the same time: now and then in many winter occasion it turned out, becoming very harmful: during lightning storms it violently flooded with a mass of muddy water and debris, overhelming almost part of town. In the table we see the area that was behind the fish market: Palazzo Caporali on the right and the background a bridge that formed the Piazzetta of Lavatoio ( the place where women washed their clothes) now part of present day Piazza Amendola. The bridge in the foreground was the bridge "tri munt (three mounts) which led up half-hill square The reconstruction of this 800 situation was possible thanks to the painter's pencil drawings of the Cesenate G. Severi, who in the early ' 900 made a particular study on the Cesuola urban course.

The covered course of Cesuola River by Caporali s Palace

Table 14 The Cesuola river and Piazzetta del Lavatoio (washing square)As in the previous table, this one, with a different point of view, based on Severi painter's graphics, has got another view of a stretch of Cesuola urban course. The center of attention is magnetized by the piazzetta ( little square): it disappeared over the years ' 30 of 900, cause the demolition of the buildings, delimiting its right side, and the coverage of Cesuola river or torrent. In the centre of the Piazzetta there was a fountain ( put back on 2010 after having restored that area) and used to fetch drinking water. Despite not visible, you can image the two pools, used to wash by the women, and displaced on the side of this, we can define, Square-bridge. At the botom of the Cesuola stretch, ending against and under them, the buildings, there was, and still is, a large vault under which flows the torrent, undercrossing the nearby Via Zeffirino Re. In the middle age this area was provided with wall and a defence tower with bridge, under which flow the torren. Now, we suppose, that bridge is completely framed between the buildings built later. At present the Cesuola, can be considered a poor water torrent , for most of the year dry or reduced to lowest terms. But very famous was the flood happened on the10nth July 1525: it was the subject of a poem by a religiuos from Cesena, Cornelius, which started with this description:" Out of the ground about five miles/hillfoot of a mount a large vein/of clear crystal and clear water/drops down toward Cesena/and such water great useful it takes/the magnificent cityand clear/cesaula (Cesuola) is the name of this river/and was formerly so named A bucolic description that will highlight, then, by contrast, the troubles products from the "rivulet cesaula".

There, where there was Piazzetta del Lavatoio now, under restoration, there is Piazza Amendola ( This photo was taken on 2010. The works are over.)

Under the bottom building, before covering the torren, the large vault was visible

Via Zeffirino Re, under which there is the ancient bridge, over the torrent

Table 15 The Cesuola river or torrent behind the Golden Lion Hotel Through our days, Vicolo Cesuola accessed from beneath the arcades of Via Zeffirino Re enter the space resulted by the coverage of torrent and the rear of the buildings that delimit a side of the main Square of the Town, Piazza del Popolo (people's square), but at the time of our views this not happened, because the Cesuola, as we know, was open sky. It is still visible the vault that holds the decked Via Zeffirino Re, under which, as we have just told, flows the torrent. Cesena, on the plane, was smaller as the town from the Fall of the Roman Empire developed on the hill, the Garampa hill, as fortified Castrum. This part of it was known as the Murata (the walled) as it was surrounded by strong walls. A gateway to the Murata was just at the beginning of the nowday Via Zeffirino Re: a bridge with tower and drawbridge allowed the passage into the square. It is precisely the case to say: "How much water has flown under the bridge since then!". Returning to the table, it is easy to understand how unhealthy would this corner of the city: on it only Windows from which it was ready to get everything: in the early 1800s the River was virtually an open sky sewer, this was the real reason that moved the municipal administrators to decide to cover it in the 30 years of ' 900. Nothing to compare with the clear water decanted by the poem introduced in the previous description.

That s is the same but modern point of view of Severi s drawing

The vault belonging to the bridge under Via Zeffirino Re

Table 16 Cesuola River behind Piazza del Popolo s BuldingsWe still speak about the course of Cesuola. Lately they spoke about this river in occasion of Oriana Fallaci s published best seller A hat full of cherries as the author of this book, talking about her ancestros, wrote something about one of them who killed herself falling into Cesuola. Furthermore, the images, you are looking at, not only about Cesuola, surely, can enrich the reading of Fallaci s works, helping the reader to re-create in their own minds that Cesena town, mentioned in the novel, and that was not dissimilar from that "narrated" by us. However, the stretch of the River described in this table, turning the shoulder to the latter point of view, can be get depicted as follow: the vault in the foreground, we know, was part of a bridge, on the side of which there was a building, still existing: after the coverage of the river, to enter in the new space, was necessary to re-arrange the space inside that building to open a passage. The road, then passing along the bridge, is the same as today: it meets Viale Mazzoni, that in the early 800 was still known as Via Aemilia. On the left side of the vault we notice one sewage, consisting of elongated and crock pots stacked one inside the other. In addition the large vault, we see at the bottom of the view, is a bridge that, most likely, was in private use to connect the square to homes on the other side of the river. Dwellings and crafts, always exposed to the risk of flooding. It should be noted that along the banks of the River was very clear the State of degradation of dwellings: the walls crumbling emerged from the mud and low housing environments, the cellars were kingdoms of molds and mice. The daily living along the banks was unhealthy and harmful to health and situated to bad luck or fortune were to live under such conditions. Many suburb s dwelling were in this condition of degradation.

The red-yellow building is the same building under which there is the vault we talked about.

Table 17

The complex of the Franciscans by St. Francis of Paola. Vincentians

With our visitor, we leave for a while the path to the Cesuola, to climb towards the fortress, leaving behind us the square of Municipal Registry. On the right of the uphill road, there is a sacred image in memory of the demolished Church of St Uomobono. We walk till Porta Montanara ( Hill Gate) near which there are the rests of the XIII century Ordelaffi s Fortress, the ancient Castro, theater of the brave defence by Cia degli Ordelaffi against those who wanted to replace the command on the Town,: on the right the arch of Porta Montanara, now used just as a walkway. Ordelaffi s Fortress was abandoned in the XIV century when Galeotto Malatesta, in the 14th century, built the present Fortress. Just arrived by the Gate, you could admire the Convent of San Francesco da Paola (1416-1507), known as the Vincentians Convent. The convent was built in 1630 by the Friars Minor of St. Francis of Paola with the materials resulting from the demolition of the ruins of houses, incorporating some survivor vains, and the fortifications present in the Murata (the Walled) which for centuries got an important role on this part of the Mount Sterlino. During the same period dates back the construction of the road current Via Malatesta Novello to build which was required to get lowered the top of the Hill. Perhaps few people knows that San Francesco da Paola was later proclaimed Saint Patron of the town with St. John the Baptist. A canopy, made of carved wood in the eighteenth century, on which written "hanc civitatem Protege" (protect this city) you can see in St. Augustine church. The Franciscan convent, closed by the French administration, was soon the victim of neglect and of nature's work and was broken up in 1807 after being used by the French in women's prison, while the fortress was used as a prison for male and so remained under Pontifical Government even after the restoration of 1815, up to 50 years ' of the ' 900.

Porta Montanara ( Hill Gate) A private building on the left, took the area of the Convent; on the right you can see the arches of the ancient Ordelaffi s Fortress.

Table 18 St John s Church an the nearby Murata GateLeft the top of the Hill, we arrrived in the upper open space, the ancient square in the Murata (the Walled square). Recognizable are some buildings, because still existing, they are: Palazzo Albornoz, built by Cardinal-Legate, Albornoz between 1359 and 1362 when he was the Governor of all towns in Romagna region - and overlooking Piazza del Popolo; we recognize also the vault and the staircase on the upper open space alias piazzetta. On the left side (seer) of the Church, an ancient and probably abandoned building, it was what remained of the ancient Municipal Palace where, in the Council, met the citizenship, represented by the corporations and the town elders; the Church was that one of St. John the Evangelist also known as St John in Murata, one of the oldest churches of Cesena; since its construction, around the 8th century, as reported by a note from the chronicler Giuliano Fantaguzi (1520) which states: "domo antonio arceprete of monte regale had st Jhon that was ruining and started to restore it, untill he found an altar failure by which read that the firm was built on the VIII century . It remained in operation until closed by Napoleonic will and later abandoned due to its age. Beside the Church the Murata Gate, through which they descended towards the "Tri Munt Bridge, that one of the Table 13. The whole complex was rearranged in 1885: all houses annexed to the Church and the Church itself were demolished , so the Gate. On that area then the Ordelaffi Barracks was erected. This buildig lost its operative task, later, became the seat of the current Municipal Registry Offices. In short, with the demolition of the Church of St John the Evangelist ended an ancient historic period that saw Garampa hill thatre of events older than two thousand years. Of the Church remains a big 16th century wooden crucifix, and a group of two wooden statues. These works should be in St. Augustine Church.

Ordelaffi Barracks which took place of the ancient buildings. On its right side the road which was controlled by Murata gate.

By this point of view we see the XIV Albornoz s Palace, the following red one is The Ordelaffi s Barrack

Table 19 The Main Square alias Piazza del Popolo The image is giving back the historical memory of the people's square with the famous Square fourth side" razed to the ground after the annexation of Romagna into the Savoy Administration on 1860 year. Nobody thought to maintain or protect the former aspect of the square, on the contrary, they wanted , with the demolition of Chiesanuova suburb, just behinde the square fourth side, to enlarge the old via Aemilia from the square to River Gate, the exit point from the Town. For this reason, the present square, appears as the beginning of a large avenue and it s no longer able to return to the observer the original "centrality of the Malatestian Square". When did the demolisched side build? The Chronicles of the time give us back no news: it can be assumed that it was at the time of Galeotto Malatesta, after 1378, when he restored the main square. The demolished Chiesanuova suburb was known as Suburb of Jiulius Caesar, as the people said that it was restored after the Civil Wars between Marius and Silla and thank by the intervention of Julios Caesar present at that time in Ravenna awaiting for the Alea iacta est . But when the ancient Church of San Domenico was restored, in the18th century, as a new church all the suburb was renamed as Chiesanuova (newchurch). If the money of Caesar was really used we do not know, but surely the suburb existed at that time because the via Aemilia passed just there, where still is, at the foot of Garampo Hill. Therefore, it is likely that was Galeotto Malatesta, in order to separate this suburb from the square, he wanted to be built the fourth side of the square. This side became then a building with various functions, such as Horse Station, as from the square departed and arrived coachs from every destination.

Table 20 The main Square with Cesuola River behind the building forming one

side of the SquareWe are always on the Piazza Maggiore (Piazza del Popolo now) or main Square, but with a much enlarged view to include the Cesuola (the first bridge is that shown in table 16). The building, on the left, is the complex of the Hotel Leon d'Oro (Golden Lion), a mythical place of welcome that saw rooms occupied by prominent figures that, for the most varied reasons, stopped in the city, as Andrea Costa, father of Socialism and that gave to Press the newspaper l Avanti just in Cesena (1881). One of the owners of the hotel was the friend and fellow of Costa, Pio Battistini: character from fiery temper, politically speaking, and who repeatedly dealt with the law for his ideas deemed subversive. The harsh climate of tension between Republicans and Socialists will lead to the killing of Battistini on the 7th of September 1889, at 21.00, under the arcades of Via delle Ortolane (now Via zeffirino Re). The 7 September 1910, in Cesena, Benito Mussolini, ten years before to be the leader of Fascism, came to commemorate Battistini s Memory but causing a public controversy. Behind the fourth side of the square, the Chiesanuova Suburb: we have to emphasize that the enthusiasm with which the cesenatic people and the Administration itself employed for its demolition, considering it as a "urban revolution ; they were so enthusiast of this choise that just after shortly they considered the possibility to restore the Suburb: in 1863, infact, when the demolition of Chiesanuova buildings were still ongoing, the Mayor, or more exactly the Gonfaloniere, proposed to rebuild the fourth side to dedicate the Square for the Hemp market. Evidently, the new perspective, created by the demolitions, was found impossible to be accepted by the citiziens. The large space left by the demolited buildings was considered as an unknown space. Since then, the idea of reconstruction of this blessed "other side" is passed through the years, coming up to us, where, occasionally, still ... someone talks about it! And the Cesuola goes along its millenial direction, collecting events, facts, just like a dumb witness.

Table 21 The Palace of the Captain and Almericis PalaceIf the view of Piazza Maggiore, as we have seen, is clearly the idea of a Cesena with a different and a face, unknown and lost forever, the gaze that rests on this other view of the town, belonging to the ancient stretch of road, then known as the Suburb of the Marble Cross Street ( the present Corso Mazzini), gives us the feeling of being in another place, town. We recognize the Palazzo del Capitano, but we see it embraced, surrounded on three sides by housing on the right side by Almericis Palace, demolished in 1959 and never rebuilt, leaving on its place a great emptiness-behind the Palazzo del Capitano, you can see the Church of San Francesco. A curiosity: the left side of the Palazzo del Capitano, a bit internally there was the old Synagogue. We don't know the date of its demolition. On the stretch of road, from the Cathedral, visible in part on the right, we discover the existence, in the 800, of a Portico: it arrived to the entrance of what which was the convent of Santa Chiara. As we know, the construction of a convent of poor Clares has always accompanied the Franciscans Conventual, for which it was, almost always, placed near the latter. The convent of Santa Chiara was built in the 14th century and ceased its service cause the French administration; the complex came then in private hands. Everything has been recently restored. As for the arcades of the portico, they will be dismantled around the 20 's of the twentieth century: cars began to circulate and then needed of a wider road. And with this operation was carried out, in front of the Cathedral, piazzetta Pia, now John Paul II square. Apparently, a pair of arches of the arcades were saved, inserting them into the faade of Soldatis Palazzo, perhaps because they gave a beautiful brick red ornate to the building. On the other side of the road, always at the end of the ' 50 of the twentieth century, the old building will be demolished to build the new Urtollers Palace with adjoining Gallery.

On the right side of Palazzo del Capitano the empty space left by the demolition of Almericis palace

The Palazzo del Capitano, after the demolition of the surrounding buildings, remained isolated

Table 22

The Church of St. Francis with the Franciscan Complex

How many history in the space between Palazzo del Capitano and the Church of St Francis! The Palazzo del Capitano rests on the fundamental of a Roman Domus, a 60 m2 floor mosaic can be seen in the Municipal Salon. But to our curious Visitor was given to know just a little of this history, as visible was just one small square of clay animated by go French soldiers housed in the Church of St Francis which became a stable, and the entire convent a barracks with refectory in the Malatestian Library. French sensibility! Place of thousand emotions was that church - built outside the city walls, around 1256, against the wishes of the local bishop, but on taxation of Pope Innocent IV, who urged him to help the Franciscans to build the convent with the alms with a little imagination we can perceive in addition to Gregorian singings also the thoughts of fear of Ser Baldassarre Malvezzi that injured took refuge, on that 1492 year, in the shadow of that Bell tower; or the cries of anger, hate and pain of 27 Martinellis partisans killed by the hands of the partisans of the Tibertis ones: two families always in struggle for power, on that violent 1500 year. So, how much history inside those walls smothered by the stench of horse manure. But, despite its past, the then Municipality, around 1838 year, decided to demolish the church. On demolishing it, the remains of the Lord of Cesena, Malatesta Novello were found : they were buried outside the Church near the right wall. In the picture you see a kind of hurdle attached to the wall, topped by a small marble plaque that remembered the event, came in, long forgotten Cesena collective memory. Now in its place there is piazza Bufalini, but is still visible the left side window of the apse, the other one was walled as the apse is in use as a winery connected with the building behind it. As mentioned earlier, with the bricks, got from the demolition of the Church, was built the Municipal Theatre ( now teatro Bonci)

On the background of this view you can see a window of the apse.

Table 23 Cesuola river leaves the town through the second PortazzaHere, we are in the final stretch of the Cesuola, a particular view to make better the idea of the urban course of the whimsical rivulet. Sure, the roofs of the buildings that line it, changed over two hundred years, certainly equal, instead, appears the roof of the solemn palace where Eduardo Fabbri lived: fighter of the Risorgimento age and illustrious character a plaque on his palace recalls him. Alongside this Palace, narrow street, runs the Via Aemilia. The painter from Cesena, Severi, previously mentioned, from the point of view of who is waist deep in the River, drew this stretch of Cesuola. The bridge of Portazza, the fourth down, no longer exists: its structures were discovered times ago, during a recent renovation of the road passing in then same place were it was. The present via Beccaria runs just on and along this last covered stretch of the River. Above it, you see the bridge on which passes via Fr Michelino. A historical curiosity that could coincide with our hypothesis: Galeotto Malatesta, Lord of Rimini, at the time of the sack of Cesena in 1377, after receiving permission from the Pope to govern this town had to assault the Murata ( the Walled) to expel the mercenaries of John Hawkwood, responsible for the massacre of many cesenatic people. Failed the attempts of a direct assaults, the Chronicle reported, he succeeded after having digged a tunnel that came into the Side. About this tunnel, where it was, there are not sure new, well, years ago I had the opportunity to see a tunnel from the basement of a shop on the old via Aemilia to go stright to the walls. Which best point: it passed under the Caesarian suburb buildings and the excavation material could be thrown in the Cesuola. The operation could take place without being seen. The Tunnel never explored- just after the restoration of the shop, returned walled, finishing into oblivion.

That s the final stretch of Cesuola. On the background, there was the second Portazza: the point of exit of the river.

Tavola 24 St Caterine street Turned back, our curious visitor, on his steps along the path of the walls, the Cesuola, he enters the maze of narrow streets that form a Crown to the present Via Chiaramonti, who at the time of the events narrated was called Via di Santa Caterina. The street name was derived from the presence of the monastery of St. Catherine - in Ravenna Gate suburb also built at the behest of Malatesta Novello; He followed the fortunes of other religious orders, and closed forever by Frenches. The building passed into count Masinis private hands, who made a theatre before becoming a primary school. The building, which delimits the Pasolini and Sacchi street, currently is homing the University. In this Street still maintaining its 19th century charm, there are other Palaces just like Palazzo Chiaramonti and Palazzo Guerrini. The hillock, visible at the beginning of the street, could be traced back to the 13th century the presence of the ancient walls, because in those area, in the 13th century there was Ravenna Gate. Interesting is Via Carbonari, a short street lined with huts and ending near the walls. This part of the walls was demolished after the war, after which in previous years was made open to connect the city to the new axis scroll current via Cesare Battisti the road to Forl on the inner section of the via Emilia town, to avoid the passage in Via delle Ortolane current via Zeffirino Re and do the usual tour to the bridge of River Gate. Via Santa Caterina follows the ancient route of the Roman road to Ravenna, via dismano. Currently, the old road passes under buildings, to the right of the image, built when of the ancient route was lost the memory. A few years ago, inside a courtyard were found graves from the Roman period, probably part of a burial area along this road dedicated to Mani gods, Diis Manibus, turning into via Dismano.

Via Carbonari at present. In the 800 in the background, you should have seen the walls

Table 25

The Main Square and Chiesanuova Suburb

The overview gives us the urban situation that was behind the Fourth side" of the present Piazza del Popolo. The suburb developed, remaining so until the 19th century, although very shabby; not to mention that the whole area was constantly threatened by landslides, rolling down from Garampo Hill: in 1810, for istance, Brighis House collapsed due to one of this landslides. Not to mention the copious rains that dragged down significant portions of mud. Mud, dirt, stuffiness and rumors, advised, after the annexation to the Kingdom of Italy of Romagna region, to bring everything down. A demolition policy which has deprived the city of Cesena of an important piece of history as well as having dealt a catastrophic damage to urban compactness.

Piazza del Popolo, the Main Square, deprived of its fourth side

Table 26 San Domenico Suburb known as Spina (Thorn) "Vicolo del Rosario" and "Vicolo Paderno" ( Vicolo is a very narrow street) today do not say anything to cesenatic people; these toponyms are gone over time along with homes that demarcated these narrow streets. San Domenico suburb, the spina , grown and developed in the shadow of the Church Bell Tower. The removal of it, with arcades along a stretch of the via Emilia, was decided in 1936, when Benito Mussolini, the leader of Fascism, visited the town; pushed by local authorities, he decided, then, its demolition. The aim was to create squares and resets this part of Cesena, in order to celebrate the new face of the town. Rome itself was the victim of this policy reform which, as we have seen, not only was the fruit of the mentality of the regime, but of that genetic barbarian laziness present in all Italians, which persisted even in times where the ancient is considered as unusefull and annoying obstacle: Cesena, the municipal administration, for example, preferred to destroy the site of the Roman Domus, found in Piazza Fabbri, to make an underground carparking. While Rimini, dealed the so told domus of the surgeon", so good that it became an international boast. However, the demolition of the suburb began almost immediately to terminate after pause, cause of force majeure, in the years ' 50 of the ' 900.

Saint Domenico Church with no suburb

That s the street which took place the area on which there was the suburb

Table 27 Part of the Chiesanuova Suburb near St Domenico Church

The image of what Chiesanuova Suburb was, is an evocative one, due to its very complex descriptivity, but it helps us to reconstruct the exact perception of what it means to walk along the via Aemilia, under the arcades along the flats of this populous suburb. It was inhabited not only by the poor, but it can be assumed that starting from the square there were dwellings of the middle and upper middle class and the people plagued by economic problems was relegated towards the so told River Gate ( Porta Fiume), uphill of the suburb, where there was the so-called "mount olive grove". So, then, even those palaces were scrapped if Fabbris Palace is still where it was built is just because it found on the right side of the Suburb. However, the activities carried out within this borough were all handmade and the most varied: from stitching to dye; the blacksmith and the Carpenter, of course, inns or taverns. To justify the demolition, which culturally, as we saw in table n 19, occurred with the same euphoria contains rejuvenating, the suburb was described as the middle of something mysterious, sordid, dismal and filthy. Chroniclers of the time wrote: " with its little stores full of waste of all kinds with its walls dripping water and stink, with thick pillars behind which, in the hours of night, frequent times vibrated the blade of the knife or resounded some detonations ... but, without mention of " claims that crunches like moans from homes they boomed under the arcades and blackened by the fires of the shops... In short, it was described as if the entire population expected to see its demolition, to regret it then shortly afterwards.

The old Via Aemilia at the point of the ancient cesenatic University, closed then by the french administration

The marble Portal of the ancient University

Another stretch of Via Aemila just besides Fabbris Palace. Viale Mazzoni, on the right, is the empty space left by the demolition of the entire Suburb.

Table 28 St Martin Bridge and River Gate ( Porta Fiume )Our visitor has found the way out: River Gate and St Martin Bridge. Behind him, the last houses of the Chiesanuova Suburb. In the upper right corner houses perched on the slopes of Garampo Hill, in that area was known as "mount olive grove". There is a picture of the view and is published on the first volume of "Old Cesena" edited by CILS on 1979 year. The photo is by the photographer Casalboni from Cesena, it is dated 1897: He succeded to took the photo of the last houses ready to be destroyed. The picture shows a situation of extreme poverty lived with that simplicity that revolved around the little things, activities such as those of cenciaiuolo (ragman), the junk dealer, whose things, now, would be gorged by the antiquarians; women used to put to dry in the Sun the almonds, figs and grapes while sitting on the door, on chairs, chattering with their dialect which, it seems, was enriched with inflections a little different from those used by the inhabitants of Porta Romana. Infact, exiting out the suburb in those times, was an exceptional event: there were people who never left his suburb, just to go to the Cathedral on x-mas night. About this suburb, we remember the Inn of Panacia and that became the Hotel du Baffon ( the big moustache Hotel); la locanda della Bastoncina ( the little Stick Inn), that in the popular expression became synonymous with a disreputable. According to the understandings of the administration of 1860, year of the beginning of the demolition, on the empty spaces would rise homes for those persons who had to leave their dwelling in the suburb and a covered market. Not anything, because the proceedings lasted more than thirty years, but with the bricks a new suburb was built just outside the Cervese Gate. The bridge of St Martin, as you see, still had a security entrance on the opposite side to the River Gate, built in the 13th century, and a solitary confinement cell dedicated to the Madonna of St Nicholas Bridge, built in the 16th century and destroyed during World War II, but rebuilt later.

Here we are, out of the town. We see River gate and the. The houses, on its left side, are part the old medieval structure of the city. Far we see part of St Domenico church Bell Tower. On Garampo Hill the Malatestian Fortress

Mount Olive Grove area was just under the fortress along the hill slope

Another view of St Martin Bridge

Tavola 29

Saint Rocco suburb

We're out of the city walls. Our curious visitor leaves behind him so many images and faces up the descent of Via Aemila, which leads towards the St Clemente Bridge ( known also as the Old Bridge), crossing the street of the St Rocco buildings. In the background the Church, destroyed by aerial bombing during World War II; of it still remains the Bell Tower only. On this site, in the early decades of the 14th century there was a hospital dedicated to St. Anthony. In 1348, plague broke out; Messer Fantaguzzi, the major chronicler of 1500 year, writing his account of life with the compilation known as "Chaos so testified: "the year 1348 de mense junii fo General moria and pestilence throughout the world and lasted until Christmas de decembre fo called crudissima moria of the ' 48th ( a very hard mortality) . On that occasion here the French s. Rocco stopped, taking Hospice in St. Anthony's Hospital, he helped the population during the plague. In the 15th century on the site of the Church, built in honor of s. Rocco, took place the Franciscans of the regular third order, building their convent. In the 18th century the Church was restored by assuming the ornate visible in the only one photo we still have. In 1866 the premises of the old monastery of San Rocco were used as barracks for the carabinieri regii ( Royal Military Police), which moved the into the complex of San Filippo -see table 6later hosted a Royal Army.

We are in St Rocco Suburb. You can see the surviving St Rocco church bell tower and far, the St Clement Bridge

With this table ends our trip, far and wide, within that Cesena which no longer exists, hoping to have made o good work in name of those people still believe in the culture, history and in its memory.

The four tables that follow, as previously mentioned in the presentation, represent a further "stop" on that place which will, in the early ' 60 's of ' 900, trasformed into an empty space still called Piazza della Libert, which is not a square, but a simple car parking.

Here are the four tables that show the evolution of a historic place, already seen with the table 8. Well, let s wonder if one can speak of "evolution with this event? Wouldn't it be better to indicate the situation as an "involution"? We let the evaluation whom who will see these tables, hoping that a new consciousness could take place to realize how the historic profile of a Town represents an incomparable tresaure.

The first of these tables shows the situation existing at the beginning of the 800 century: behind the Cathedral we saw what there was, the complex of episcopacy and the convent of the Carmelites. You can see, down the street Via del carmine which separates the two complexes, a religious building between civilian housing, maybe an oratory one of the many brotherhoods. Also, note the suspended walkway, on the road that linked the two complexes: it was done to make the library available by the the episcopate to the Carmelitan brothers. To the right of the Carmelitan complex the Mori-Venturelli s palace, Braschis Palace ( the pope Pius VI s palace) in in the right of it, with its unmistakable arch still existing. In front of the Cathedral there is not yet the piazzetta or Little square. On the other side of the Cathedral is the old Seminar

In the second table, we can assume the following transformation: the Carmelite, transformed into hospital after Napoleonic discharge and closure of religious buildings - on 1811th, when the French administration was a memory, they saw the use of the complex as a boarding school for youth, managed by the local ecclesiastical authority - then closed for immorality - the complex, will pass into other hands as private estate; Notice the loss of identity of the Church and the demolition of part of the cloister for one single.

The third table presents the situation of ' 900. In the early decades of the last century, the complex, continued to host private dwellings, but it was used also for the Postal Service Unit as well as ; it remained active until the demolition of the complex, so was for the Bishop's Palace, in the years ' 50-' 60. Many people still remember it. We note the presence of the small square in front of the Cathedral, built by demolishing the buildings depicted previously. A curiosity: upper right there is Fantaguzzis Palace with its inner courtyard; now the building houses a bank

The fourth and final table shows the creation of the so-called Piazza della Libert created to accommodate the new welfare identified with the cars. We leave you to judge this choise, its value. We created a "yardstick" useful for judging the quality of such interventions. We note, on the left, the disappearance of MoriVenturellis palace; We note the disappearance of the seminar; note the transformation of Fantaguzzis Palace. Finally, the disappearance of the Oratory, demolished together with the palaces which stood along the ancient Via del Carmine on which side begins the Val d'oca Suburb, saving, fortunately, largely.

Thank You

END