3 the provincial road which led either to Castel di Sangro or to Lanciano. The "via nuova" was the only road of the village accessible to cars. There was no pollution, so the smells reached the nostrils in their richness, whether pleasant, like those of the flowers and fields, or pungent, like those of decaying matter, manure and other things. The wind would create waves of these smells that mixed in an olfactory blend of sensations. The streets of Fallo consisted of small and tortuous passages, paved with irregular roughly shaped natural stones held by dirt, and forming a solid surface gradually smoothed by human and animal wear but which always remained somewhat uneven. The rain and occasional sweepings by housewives kept the streets somewhat clean. Stables for animals were on the ground floor of houses and scattered unevenly through the village. They were periodically cleaned. The manure was removed and brought in burlap sacs by donkeys or mules to the fields. This was the only fertilizer used at this time. But let me go back to the village itself. The streets, as mentioned, were uneven and the one, two or three storied houses were built with gray stone, typical of all the villages in Abruzzo. The houses, like the fields, had been subdivided through the centuries by inheritance. They often had lost their integrity with each subdivision and had assumed a new identity through function (kitchen, cellar, stable, bedroom, storage | 4
room) and different ownership. Because of this, a family living in one part of the village, may have owned and used a cellar, a stable, a spare bedroom in another part of the village. An occasional purchase may have reunited some of these attached structures and created some kind of logical integrity. The church of St. John the Baptist was a single nave church with an attached belfry, dating back to 1775, a date indicated on a portal stone no longer existing in the facade. The church was repaired after the earthquake of 1933. When Don Giulio Zuffardi was the priest in the village in the late '30s, the interior of the church was painted by a jovial Roman painter, Cesare Napoleone, affectionately called Don Cesare. Besides the three large panels painted in the ceiling, Don Cesare painted parts of the walls giving them a veined marble effect. Don Cesare stayed in Fallo for a couple of years and lived in the house adjacent to the church. I remember him working in the church perched on the scaffold he had erected for the purpose. I also remember him spending a good portion of the day in the cantina and indulging in good wine. He was a kind old man with wild curly white hair, a round jovial face, big round eyes, rosy cheeks and a bulbous red nose. I thought he slightly resembled the cherubs he painted in his frescoes. On the apse behind the altar there was a large painting of the Madonna del Divino Amore, said to be a gift from the Caracciolo
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