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Historical harvest of the 1950s.

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Historical photo from the early 1950s, at the Cantina Simoncelli in the hamlet of Torre San Marco, municipality of Fratte Rosa.

Fratte Rosa is perched on top of a hill, in a scenic setting amongst the most beautiful in the province of Pesaro and Urbino, straddle placed among the middle valleys of the Cesano and Metauro. The origin of the ancient Castrum Fractarum probably refers to a defeat that here suffered Hasdrubal, brother of the more famous Annibale, Carthaginian general in the Second Punic War. More likely, However, the community of Fratte Rosa was formed by some survivors who escaped from destruction, operated by the Visigoths of Alaric, of the nearby Roman city of Suasa, which it stood near the present San Lorenzo in Campo.

In the Middle Ages, the latest Fratte Rosa was a fortified village, capital of the so-called Ravignana, a real statelet dependent Classensi monks in Ravenna. Later it was a Fano stronghold placed to guard the territory of this city, uncomfortable enclave of the Church in the Duchy of Urbino, which is why both the Montefeltro, Della Rovere has always tried to occupy it. The ancient hamlet of Torre San Marco is located in the municipal area, which has historical origins coeval to the capital and like this was part of the Ravignana, participating with ups and downs in the revolts against Fano. It belonged then to the Duchy of Varano, in 1545 it passed to the dependence of the Apostolic See.

Today Fratte Rosa is a quiet hamlet, in addition to well-established companies in the fields of furniture production, footwear and clothing and metal carpentry, the most famous and traditional workmanship of terracotta in a luminescent black also continues (photo below), them unique for colors and shapes. This is a centuries-old productive activity and therefore deeply rooted in the history of the country that does not want to forget it or make it fall into disuse for the affirmation of more modern materials.

“A country called Fratterosa cannot fail to be convinced and proud of itself and cannot indulge in its own beauty. Everyone in Fratterosa has the precise position of protagonist according to the highest tradition of artisanal and democratic societies. This position can still be exercised according to the different realities of the social and economic life of the country and its territory, it is what determines that sense of nostalgia that I referred to at the beginning of this note: and for it this nostalgia becomes clear as a desire and will to be present. This same position is the one that makes the content claim of any current and banal comparison with the nullity of the idyll useless, the blurring of the myth or the regressive insistence that can be cited from afar and against. Fratterosa lives and works with a clean and conscious measure that well reduces and, in the active interior of its actuality, even the harsh reality, so called industrial and technological, of these last years of the second millennium.” Paolo Volponi presentation of the book Fratterosa, 1981, with photographs by Mauro Tamburini and texts by Mauro Tamburini, Franco Bucci, Franco Martelli.

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