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Gambatesa-History
Historically it is certain that, in times before,
within present township limits, of the inhabited built-up
areas, there used to exist some areas dating back to the
time of the Romans. Of this there is evidence in
recovered coins, tombs and remains of walls from the Roman
Age, as well as ruins and information from church sources
regarding the villages of Chiusano, Salandra and Vipera.
The origin itself of the built-up area of Gambatesa
lies in the time before the Lombard invasion.
None-the-less, historical research has so far taken as its
beginning the time in which the village assumed the name
Gambatesa.
The fundamental part of the history of Gambatesa begins
in the 13th century with Richard of Gambatesa (Riccardo
da Gambatesa or di Gambatesa),
right-hand man of the Angevin Court of Naples and of the
Papal Court at Rome. Gifted with great diplomatic
and military ability, Richard gained fame as a wise ruler
and as a brave military leader, above all in the
government and defense of Genoa against the assaults of
the exiled Ghibellines headed by Cane della Scala, Marco
Visconti of Milan, and by Castruccio Castrocani degli
Antelminelli, Lord of Lucca. For these and for his
other merits Richard of Gambatesa obtained from Robert of
Anjou, King of Naples, not a few titles and fiefs.
Richard of Gambatesa, not having male heirs, but only
two female (Sybil and Margaret), procured that his first
grandson Riccardello, son of the said Sybil and of
Giovanni Monforte, add to his paternal surname also that
of Gambatesa, thus giving beginning to the new feudal
lineage of Monforte-Gambatesa.
From the end of the 14th century through the whole of
the 15th, history records no facts of particular
importance. With the conquest of the Kingdom of
Naples by the Court of Aragon, the fief of Gambatesa
passed in 1484 to Andrea Di Capua, Duke of Termoli.
With the Di Capua, who adopted a liberal political
line, began for Gambatesa a long period of relative peace,
productiveness and well-being, during which there was a
notable expansion of sheep farming both village-based (stabled)
and migratory, which was accompanied by a large increase
in population and in building. The good
socio-economic situation favored the emergence of a few
middle-class families. Among these the most fame was
achieved, from the end of the 1500s to the beginning of
the 1600s, by the Eustachio family, for its considerable
activity carried out in the field of medicine and in that
of the ecclesiastical-pastoral.
Ferrante Di Capua, Junior, Duke of Termoli, prior to
1583, sold Gambatesa to Francesco Lombardo, landowner from
Troia.
This period of growth was interrupted by the terrible
plague of 1656-57, which reduced the local population from
the 291 families (about 1455 inhabitants) of the year 1648
to the barely 70 families (about 350 inhabitants) counted
in the census of 1669.
During the 18th century the municipality of Gambatesa
had to suffer not a few vexations and usurpations on the
part of the new feudal family of the Ceva-Grimaldi, on
account of which many citizens were forced to emigrate
elsewhere.
In 1799 Gambatesa supported the Parthenopean Republic
and on account of this lived tumultuous events. It
was attacked and sacked by the inhabitants of Celenza, San
Marco la Catola, and Casalvecchio , supporters of the
Bourbon cause, who released their fury above all against
the property of the Rotondo family, politically and
militarily employed in the defense of republican ideals.
Immediate and bloody was the response of the Rotondo:
Celenza in particular paid heavily for its act of
aggression. With the restoration of the Bourbon
monarchy, Prosdocimo Rotondo, who in the republican
government held the added office of President of the
Committee of Finance, was hanged, at Naples, in the Piazza
Mercato on 30 September 1799, while his brothers suffered
the confiscation of their properties and exile.
In 1806, with the end of feudalism, the onerous feudal
burdens were lifted from the citizens, but, even if they
were able to come into possession of their piece of land,
they were loaded with other burdens no less heavy.
Moreover brigands, famines, cholera, earthquakes and other
natural disasters contributed, for the whole of the 19th
century and part of the 20th, to making life hard and
insecure above all for the least well-to-do.
During the uprisings of 1848, the brothers Giacomo and
Domenico Venditti carried out intense political activity
for the realization of liberal ideals. In 1891 on
account of the imposition of a new tax (la
focatica, the hearth or household tax), the
exasperated populace gave life to a violent and menacing
revolt against the local authorities.
Since the Second World War Gambatesa has gradually
developed and has seen a notable increase in building.
Today it is an inviting town of 2,000 inhabitants,
predominantly agricultural, but with projected potentials
for the crafts and for industry.
The Medieval Castle,
12th-16th Century
The Castle, located on the high ground of the Serrone
Hill, in the center of the historic quarter, has
throughout the centuries undergone various transformations.
From Castle-fortress to feudal Castle-residence in the
Medieval Age, it was transformed in the 16th century into
a Renaissance Castle-palace by the feudal-lord family of
the Di Capua. It later became baronial-marquisial
property and then private property. Today it is
included among the belongings of the Italian State.
The continuity of "seat-residence" has
preserved the Castle from that degradation which has met
other castles and fortresses of Molise.
The original massive square medieval structure with
battlements of level-topped merlons is clearly visible on
the Southwest side and in the corner towers of the
Northeast, while the portals in Renaissance boss style,
the windows and the small loggia with three rounded arches
which open out on the Northwest, are 15th-16th century
additions.
The inside presents itself today, after the recent
restorations, as a valuable art gallery on account of the
abundance of frescos, executed by Donato da Copertino (Decumbertino)
and his pupils in 1550, by order of Vincenzo I
Di Capua, Duke of Termoli and Count of Gambatesa.
An expression of the Mannerism of the 1500s, the series
of paintings, symbolic landscapes, grotesques, drapes,
pergolas, mythological and allegorical scenes, taken
together constitute evidence of refined art of a notable
artistic level. Of particular interest, for their
recalling of the plastic effects of the Michelangelo-esque
tradition of the 16th century Roman School, are the
allegorical figures of Charity, Strength, Prudence, and
Justice.
The Church of St. Nicholas,
14th-15th Century
Built under the name of St. Sebastian "outside the
Land of Gambatesa" (fuori la Terra di
Gambatesa), the Church was officiated from 1586 to
1653 by the Friars Minor Conventual of St. Francis, called
"with shoes", who lived in the attached
monastery.
Damaged by the earthquake of 1688, it was reconstructed
in 1696 and reconsecrated in 1701 under the name St.
Nicholas.
The recent restorations of 1987 have brought the little
Church back to its original splendor as a small jewel of
Romanesque-Renaissance sacred art with simple and clean
architectural line. Inside are valuable
paintings-on-canvas of the Neapolitan School of the 1600s,
1700s and of the previous age. Among these is the
painting of the Immaculate Conception embellished with a
finely carved and gilded frame. Particularly
evocative is the small apse for its bare Romanesque
structure: it is the most ancient and original part of the
church.
In the outside masonry are visible functional and
decorative elements of recovered material belonging to the
ruins of ancient buildings.
The Cross of St. Nicholas,
14th Century
Of particular historical and artistic importance is the
Greco-Romanesque Cross located in front of the Church of
St. Nicholas.
Positioned on a squat octagonal column with a massive
square base, the Cross, extracted from a single block of
solid stone, is inscribed in a wheel by undulating curved
lines. On one face of the Cross is the crucified
Christ with the Madonna, St. John and a skull; on the
other face is the triumphant Christ who gives a blessing,
surrounded by the symbols of the Four Evangelists.
Even if the sculptural execution of the figures is
modest, the Cross does not lack a certain plasticity
especially in the representation of the animals, and a
certain tragic sense emerges from the pose of the Virgin.
Some significant elements belonging to the symbolism of
medieval Christian iconography are present in the Cross.
The wheel: dynamic image, encompassor of the plenitude of
the created order, which rotates around the eternal.
The four figures: symbol of the announcement to the world
of Christ through the Four Evangelists. The skull:
symbol of Adam.
The Cross, by its structure and carving, recalls the
typical Celtic stone crosses with their wheels around the
crucifix.
The Chapel-Sanctuary
of
Blessed Mary of the Victory
11th-14th Century
Country church with a nave, located in the vicinity of the
sheep-migration trail from Castel di Sangro to Lucera (tratturo
Castel di Sangro-Lucera). An ancient popular
tradition attributes its construction to the will of
Emperor Frederick Barbarossa.
In origin perhaps an abbey with an attached monastery,
it was probably ruined by the earthquake of 1279 or by
other events. It was rebuilt from its foundations by
Count Richard of Gambatesa in about 1313.
Up to 1653 it was kept and officiated by the Canons
Regular of the Lateran of the Monastery of Sant'Agnello di
Napoli, whose abbots were titled knights of the fief of
the same name of Our Lady of Victory until 1781.
Their coat of arms, the lamb bearing the cross, is
represented with forceful realism in the lunette of the
portal.
The importance of the Sanctuary, and not only as a
center of faith and of cult, is testified to by the local
indulgences granted by Popes Clement V in
1313 and John XXII in 1317, both at the request of Richard
of Gambatesa, and of Innocent XII in 1694.
Despite having undergone, through the centuries,
various make-overs the little Church still retains the
linearity of the primitive architectural structure of
rural imprint that shows elements of the transition from
Romanesque to Gothic, readable in the smooth and solid
facade and in the portal of bare stone with pointed arch.
Valuable inside are the trussed ceiling and the wooden
statue of 1714 of Our Lady of Victory.Of the monastery
there remain only ruins.
Indietro
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Web, By Mario Valente © 2001
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