Suchergebnisse

[EN] Between 1674 and 1678, a land and naval war occurred just off the east coast of Sicily, between France and Spain. The town of Augusta had a wide natural harbour but an inadequate defence system: thus, it was easily conquered by the French army. After the war the fortifications of the town were updated. In this respect, the military engineer Carlos De Grunenberg built new fortifications on the isthmus that connected the town to the mainland. Historical and landscape value of De Grunenberg's fortifications derives from their specific position in the area where the old town, surrounded by the sea, meets the mainland and the modern quarters. Unfortunately, the fortress was conceived as to be built on a flat ground, rather than on a slope. Its clay foundation wasn't taken into account and serious instabilities, caused by earthquakes and the action of the sea, now urge for consolidation and restoration works, which represent the issue of the present proposal. ; Di San Lio, E.; Vitale, MR.; Aliffi, F.; Macca, S. (2015). De Grunenberg's fortifications in Augusta. Knowledge and conservation of a neglected heritage. En Defensive architecture of the mediterranean: XV to XVIII centuries. Vol. I. Editorial Universitat Politècnica de València. 119-126. https://doi.org/10.4995/FORTMED2015.2015.1731 ; OCS ; 119 ; 126

Currently, in Italy digital preservation is regulated by the Digital Administration Code and the Technical Rules on conservation system. By analyzing the existing legislation and the recommendations reported in the three-year plan of the Agency for Digital Italy, the purposes of the current preservation model are investigated, in particular with respect to the traditional model of the three ages of archives. A proposal for the access management is also given, as provided for in the art. 40-ter of CAD. Finally, the advisability of reconsidering the third age of archives in digital preservation is discussed, along with the new role that traditional Archives should play in this context. ; La conservazione del documento digitale è attualmente regolata in Italia dal Codice dell'Amministrazione Digitale e dalle Regole tecniche in materia di sistema di conservazione. Sulla base dell'analisi della normativa vigente e delle indicazioni contenute nel Piano triennale di AgID, si indaga sul significato del termine alla ricerca degli obiettivi dell'attuale modello conservativo, anche in rapporto alla tradizionale tripartizione dell'archivio nelle fasi di corrente, deposito e storico. Si avanza una proposta operativa per gestire gli accessi così come richiesti dall'art. 40-ter del CAD, con il coinvolgimento dei soggetti conservatori, e infine si riflette sull'opportunità di continuare a tenere presente la terza fase (storica) degli archivi, e sul nuovo ruolo che potranno svolgere in questo contesto i tradizionali istituti di conservazione.

Il testo richiama alcuni aspetti salienti del contributo dato da Massimo Montella all'applicazione operativa della "conservazione programmata", intesa sia come una grande visione e come una strategia concretamente operativa. Montella ebbe modo di lavorare nei ruoli della Regione Umbria negli anni Settanta, quando le regioni italiane, appena costituite, stavano inventando il loro ruolo nelle politiche territoriali e culturali e, inoltre, quando l'Umbria assunse il ruolo dell'ala marciante delle azioni integrate nel campo del patrimonio, secondo la visione di Giovanni Urbani e Bruno Toscano. Emerge la coerenza etica tra l'azione di Montella come funzionario pubblico e le riflessioni teoriche che si ritracciano nei suoi scritti, che comprendono alcune chiare e avanzate indicazioni per una prevenzione condotta a scala territoriale. D'altra parte, lo scritto sottolinea che gli sviluppi del lavoro di Montella descrivono un sistema completo, dall'idea di fondo di un riconoscimento dei valori secondo un approccio antropologico a un modello di governance integrata: un sistema che spiega molti dei difficoltosi, ma innegabili progressi dell'idea di conservazione programmata in Italia negli ultimi vent'anni. The paper deals with some outstanding features of the contribution given by Massimo Montella to the implementation of "planned conservation", meant both as a great vision and as a concrete operating strategy. Montella had the opportunity to work in the offices of Umbria Region in the Seventies, when just founded Italian Regions were building from scratch their role in territorial and cultural policies and, furthermore, when Umbria took the role of the marching wing of integrated actions in the field of cultural heritage, according to the views of Giovanni Urbani and Bruno Toscano. The ethical consistency emerges between his action as a civil servant and the theoretical reflections to be found in his writings, which encompass some extremely clear and advanced directions for a prevention carried out at territorial level. On the other hand, the paper underscores that the developments of Montella's work describe a complete system, from the seminal idea of the recognition of values according to an anthropological approach to an integrated governance model, which explains many features of the difficult, but undeniable progress of the idea of planned conservation in Italy in the last twenty years.

[EN] The Castle of Marmilla, located near the village of Las Plassas (central-Sardinia), represented a strategic military stronghold of great importance in the war between the kingdom of Arborea and the Aragonese Kingdom of Sardinia in the fourteenth century. Archaeological documents highlight the use, albeit partial, of some environments even in the modern age, during the times of feudal Sardinia (XV-XVI century), when the castle was an integral part of the possessions of the Barony of Las Plassas. It was used as a district prison until the nineteenth century. Built on top of a conical hill at 270 meters above sea level the castle has an irregular hexagonal shape, elongated along the north-west and south-east. Its foundations are excavated in a layer of Miocene sandstones and currently occupy the entire hilltop. What remains of the castle of Marmilla denotes a series of construction phases. A wide circle of walls delimiting the fortification of 550 square meters: inside there are the remains of a cistern and two towers, to the N and S sides, near the entrance. At present, the main tower and the walls, perimeter and internal, are preserved, albeit affected by a profound degradation, and they allow us to observe the construction techniques and choices made in the ongoing renovations, restorations and strengthening interventions. The structure is made of cantons sandstone cut with precision; at the base of the north tower was used ashlar stones. The cistern, located below ground level, is carved into the rock and covered with sandstone cantons; a second tank is located outside the masonry, near the northern side of the fortification. By minero-petrographic and physical-mechanical analysis of geomaterials (i.e., stones, mortars) used in the castle construction, the alteration degree of the materials, in order to identify a correct restoration for conservation purposes, has been defined. ; Columbu, S.; Melis, RT.; Murru, GF.; Serreli, G.; Uccheddu, G. (2015). Petrographic and physical investigations on geomaterials ...

Die Landschaft zeigt ihrer Alter, reflektiert die politischen, wirdschaftlichen, und kulturellen Auswirkungen, die mit ihrem Evolutionsprozess werbunden sind. Die veraenderte Landschaft ist vergleichbar mit einem Manuscript auf dem verschidenartige Gedanken festgehalten sind. Der Massenindividualismus und die Globalisation haber auch im Land die zentrale Wichtigkeit der Politik herabgesetz und gleichzeitig die Konsumsideologie herforgehoben. Das Ende der Kultur der Planung siet deshalb Teileingriffe in Stadtbau vor: es geht um Wohnungsbau statt Stadtplanung. "Neu ist besser", das gewinnende Wort, wo auch immer und wie auch immer, wird ausschlaggebend in der ruecklaeufigen Spirale, in der die "Spielregeln" durch "Regeln des Spiels" ersetzt werden, zweideutig und ungewiss. Dessen Zeuge ist die Schrift "Code der Reichtuemer der Kultur und der Landschaft", die zwei Materien vereint. Das Gesetz von 1939 hatte diese getrennt, weil das Kulturgut, objektiv ein Fortdauern ist und die Landschaft ein Gut, das mit der Zeit vergaenliche Geschichte wird. Unsere Zeit scheint sich darzustellen wie das "gewinnende Wort" voller Gleichzeitigkeit, ohne Vergangenheit, ohne Zukunft, zerquetscht von der Gegenwart, unetisch gegenueber frueherer positiver Werte, von denen die Reichtuemer der Kultur und der Landschaft sprechen. ; The landscape is charged with time, reflecting political , economic and cultural events related to its development. The man-made landscape is like a palimpsest in which writing placed one upon another document, different modes of thinking and acting. The individualism of the masses and globalism, have changed even with regard to space the key role of politics, emphasizing, with the market, the ideology of material consumption. The negation of the culture of planning has consequently favored intervening in urban fragments: favoring building to making a city. "New is better", is the winning formula everywhere and no matter how it is used, it becomes decisive in the involuted way of thinking which has replaced the "rules of the game" with the "game of rules" functioning with ambiguity and uncertainty and whose basic corollary is the "Code of Cultural Assets and Services and of the Landscape" which unites two subjects, which indeed, the general law of 1939 had kept separate since a cultural asset objectively identifiable and a persistent element in our memory "free" from change, and the landscape which is a good charged in time with a mutable historicity. Our age seems to be, with regard to the formula, saturated with "simultaneousness", without a past and without a future, crushed by the present, antithetical to the affirmed values of the past which our cultural assets and landscape attest to. ; El paisaje esta marcado por el transcurso del tiempo, ya que refleja las consecuencias políticas, económicas y culturales vinculadas a su procesualidad. El paisaje antropizado se puede paragonar a un manuscrito en el que escrituras superpuestas testimonian modos diferentes de actuar y pensar. El individualismo de masa y el globalismo han ridimensionado, también en el territorio, la centralidad de la politica, enfatizando el mercado y la ideología del consumo. La negación de la cultura de la planificación ha fomentado intervenciones sobre fragmentos urbanos, privilegiando la idea de construcción sobre la de ciudad. "Nuevo es mejor", la formula que se ha considerado ganadora bajo cualquier prisma, desempeña un papel crucial en el la espiral involutiva en la que se han substituido las reglas del juego con el juego de las reglas: juego que conlleva ambiguidad e incertidumbre. Su corolario es el "Código de los Bienes Culturales y del Paisaje" que reúne dos temas que, con razón, la Ley Marco de 1939 mantenía separados ya que el bien cultural, objetivamente determinable, es una persistencia de la memoria "independiente" del transcurso del tiempo mientras que el paisaje es un bien que se carga de historicidad mutable. Segun esta formula, nuestro tiempo se configura cargado de simultaneidad, sin pasado y sin futuro, antitetico hacia los valores del pasado testimoniados por los bienes culurales y el paisaje. ; Le paysage porte en soi les marques du temps en reflétant les conséquences politiques, économiques et culturelles entraînées par les changements. Le paysage antropisé peut être comparé à une grille dans laquelle des écritures superposées documenteraient différentes façons de penser et d'agir. L'individualisme de masse et le globalisme ont diminué le rôle central de la politique sur le territoire, en accentuant l'idéologie de la consommation grâce à l'action du marché. Le manque d'actuation d'une culture du plan d'urbanisme a encouragé des interventions urbaines fragmentaires, préférant ainsi la simple édification à l'actuation d'un plan urbain organique. "Ce qui est neuf est meilleur" est la formule gagnante partout où on la pratique. Elle devient décisive au moment où on enregistre une involution qui remplace les "règles du jeu" avec le "jeu des règles", ambigu et incertain. Le Code des Biens culturels et du Paysage en est le corollaire. Il réunit deux matières qui ont été séparées à juste raison par la loi-cadre de 1939, car le Bien culturel objectivement individuable témoigne d'une mémoire "autonome" par rapport au devenir, tandis que le paysage est chargé de valeurs historiques muables. Dans le respect de la formule, notre temps paraît saturé de "simultaneité", sans passé ni avenir, écrasé par le présent en opposition aux valeurs positives du passé témoignées par les biens culturels et le paysage. ; Il paesaggio si carica di tempo, riflettendo le ricadute politiche, economiche e culturali correlate alla processualità. Il paesaggio antropizzato è paragonabile ad un palinsesto in cui sovrapposte scritture documentano modi di pensare e di agire diversi. L'individualismo di massa ed il globalismo hanno ridimensionato, anche nel territorio, la centralità della politica, enfatizzando, con il ruolo del mercato, l'ideologia del consumo. La negazione della cultura del piano ha conseguentemente favorito gli interventi per frammenti urbani: privilegiando il fare edilizia al fare città. "Nuovo è migliore", la formula vincente ovunque e comunque la si pratichi, diviene determinante nella spirale involutiva che ha sostituito "le regole del gioco" con "il gioco delle regole" viaggiante nell'ambiguità e nell'incertezza; ne costituisce corollario il "Codice dei Beni Culturali e del Paesaggio" che unisce due materie che, a giusta ragione, la legge quadro del 1939 aveva tenuto separate essendo il Bene Culturale, oggettivamente individuabile , persistenza della memoria "autonoma" dal divenire , ed il Paesaggio un bene che si carica, nel tempo, di mutevole storicità. Il nostro tempo sembra configurarsi, nel rispetto della formula, saturo di "simultaneità", senza passato e senza futuro, schiacciato dal presente, antitetico ai valori affermativi del passato testimoniati dai beni culturali e dal paesaggio.

The importance of adaptive evolutionary conservation has been widely accepted. According to this concept, only a comprehensive evaluation pursued within both a temporal and a spatial perspective may enable to properly assess the potential conservation value of a given resource. This applies well to phylogeographic studies dealing with game birds subjected to intense and large-scale ex situ management. The present study attempted to gain useful genetic information to the adaptive conservation framework of two Palaearctic taxa deserving both evolutionary and conservation interest, namely the black francolin (Francolinus francolinus) and the red-legged partridge (Alectoris rufa) (Galliformes, Phasianidae). The former belongs to a group of five poorly known and secretive Asian species; the latter, claimed to be the most appreciated and economically relevant quarry species in southwestern Europe, suffers from extensive biotic homogenisation and hybridisation with the congeneric chukar partridge (A. chukar). Both taxa are threatened by hunting pressure and habitat loss over most of their distribution ranges. The evolutionary history of F. francolinus was investigated in relation to its inter- and intraspecific genetic kinship through the amplification and sequencing of the entire Control Region gene (ca. 1170 bp), a set of microsatellite DNA markers providing complementary-to-mitochondrial DNA information. Moreover, the phylogeography of the species was thoroughly updated in light of a molecular approach by genotyping both modern (n = 205) and ancient (n = 76: first half of the XIXth century-1967) birds at a highly variable 185-bp long fragment of the Control Region. Remarkably, the sampling of F. francolinus museum specimens allowed to get around the problems represented by remoteness and political unrest peculiar to most of the species' range as well as to elucidate the genetic affinity of some extinct populations once resident to the western Mediterranean. Special focus was given to Cyprus, this island representing the European stronghold of the entire genus. Specifically, the genetic make-up of birds (n = 59) hunted in the districts of Nicosia and Paphos was characterised. Captive francolins (n = 18) of unknown origin imported to a pet-centre in Nicosia were investigated as well. The phylogenetic reconstructions on the genus Francolinus concurrently supported the monophyly of each of the five species, whereas that of the entire group was suggested according to the proposal of a biogeographical model. The Indian sub-continent was evidenced as the ancestral area for the adaptive radiation of F. francolinus, thus producing weight for its westward adaptive radiation. Moreover, the molecular insight into the phylogeographic pattern of the species returned a poorly yet markedly sculptured genetic picture, the six morphological subspecies being arranged into three well-distinct mitochondrial DNA clusters. Nevertheless, the distribution of traditionally recognised subspecific taxa was revised as well, a more complex and intriguing scenario being disclosed along the Indus and Ganges river valleys in the Indian sub-continent. Molecular evidence for a likely human-mediated introduction of F. francolinus from Asia Minor to Cyprus was found, while the alleged introduction from Cyprus to Sicily was strongly suggested and the historically documented importation from the latter to Tuscany definitely proved. The mixed genetic origin of the extinct population inhabiting Sicily was disclosed as some of its representatives displayed an overt genetic affinity to conspecifics from southern Asia. The same affiliation emerged for an ancient black francolin from Spain, thus crediting the invoked introduction from Sicily into the latter. As far as Cyprus is concerned, the combined genetic systems disclosed the occurrence of genetically isolated wild district populations which should be treated as distinct Management Units. Moreover, the assignment of captive birds to alien Asian subspecies unveiled that genetic pollution may represent a further threat to the native F. francolinus population. On the other hand, the first genetic survey of the introduced A. rufa resident to the UK was carried out to assess whether it could represent a useful genomic backup for the nominate subspecies. Specifically, an East Anglian population (n = 58) was genotyped at both 1092 bp of the mitochondrial Cytochrome-b gene and a panel of microsatellite loci, four species-specific A. rufa x A. chukar Random Amplified Polymorphic DNA markers providing further insights into their degree of genetic integrity. Furthermore, English A. rufa museum specimens (n = 13: 1824-1915) were characterised at a 229-bp long fragment of the Cytochrome-b to know if and to what extent the genetic diversity had been shaped over time by ex situ management. The picture inferred by mitochondrial DNA pointed to the tight genetic affinity of both historical and modern East Anglian birds with A. r. rufa from the easternmost part of the species' range. Overall, an increase of diversity and decline of disparity over time within and among A. rufa populations emerged, respectively. Whereas no evidence of A. chukar mixed maternal ancestry was found in the ancient birds, introgression in modern ones was widespread, pointing to the irretrievable loss of the potentially high conservation value of this resource and precluding its possible employment for ex situ genetic conservation of A. r. rufa in its native range.

[EN] The contribution reports on a research concerning the preparatory investigation of some fortified systems of Tanaro Valley (Piedmont) in view of their restoration. The research highlighted the strong connection between the castles and the memory of events and characters that were linked to these architectures; the relationship between landscape and ruins that, today, represents a potential resource for the territory; the willingness of local authorities to improve knowledge, protection and enhancement of this heritage; the need to investigate theoretical and methodological issues and define the proper procedures for the conservation, restoration, safeguard, maintenance and management of a widespread and vulnerable heritage. The study, taking advantage of interdisciplinary contributions, used innovative instruments for the survey and monitoring of this heritage, as well as graphic and digital restitution techniques to propose to the scientific community –and communicate to the native population– the interventions of restoration, conservation, enhancement and management of these fortified systems. The research demonstrates that particular attention has to be paid to these less-known historical architectures that can however contribute, as effectively as the most famous and eye-catching fortification systems, to the political and social development and to the historical identity whose recognition, preservation and valorization are strongly hoped for. ; Romeo, E. (2020). Conservazione e valorizzazione dei sistemi fortificati ridotti allo stato di rudere in Val Tanaro (Piemonte). Editorial Universitat Politècnica de València. 985-992. https://doi.org/10.4995/FORTMED2020.2020.11435 ; OCS ; 985 ; 992

Dottorato di ricerca in Memoria e materia delle opere d'arte attraverso i processi di produzione, storicizzazione, conservazione, musealizzazione ; Il presente lavoro ha come obiettivo quello di affrontare un discorso conservativo di un bene culturale immateriale, qual è la danza. Partendo da una premessa estetico filosofica, si indagano le problematiche che si pongono in essere con un'arte la cui essenza risiede nell'effimero. Questa caratteristica, insieme alla diversa percezione di spazio e tempo che si ha con la danza, fanno sì che si adatti meglio di altre arti ai cambiamenti di questo secolo fluido e pieno di dicotomie. Per comprendere appieno l'importanza della salvaguardia di tale bene è stato dedicato un capitolo alla legislazione dei beni culturali intangibili, con particolare riferimento alla danza e al diritto d'autore, fondamentale anche quando si vanno ad affrontare le problematiche riguardanti gli archivi, punto su cui è incentrato molto del lavoro. Tema cardine è infatti la questione della conservazione della danza sia nelle sue componenti materiali, ma soprattutto nella sua immaterialità. Ruolo centrale è rivestito dal corpo del danzatore, elemento sfuggente come in tutte le arti performative. Particolare attenzione viene data alle nuove tecnologie (fotografia, cinema e video) senza tralasciare la documentazione e la conservazione che si ha con la scrittura e le immagini (con specifico riferimento al rapporto con le arti plastiche). Vengono presi in esame poi specifici esempi europei e italiani per indagare la situazione inerente la conservazione della danza. Un criterio che ha guidato la scelta è stato proprio quello di dare risalto al danzatore. In questo modo si sono volute gettare le basi teoriche per un ideale centro per lo studio e la conservazione della danza in Italia sul modello francese del CND. ; This paper aims to discuss the difficulties involved in the preservation of the an intangible cultural heritage: the Dance. We shall begin from an aesthetic and philosophical premise as we investigate the problems that arise with an art form whose virtual essence lives in the ephemeral. However, this quality and the different perception of time and space that the dance create, that allows this art form to adapt to the fluidity of the 21st century - an era encumbered by dynamic dichotomies. In order to fully understand the importance of preserving this cultural heritage, an entire chapter has been devoted to "intangible cultural heritage legislation" which includes particular reference to dance works and copyright laws. An understanding of this aspect is essential - especially when confronting problems related to exploring and researching within dance archives - a prominent theme in this work. The thesis then moves onward to define the element of dance itself, with particular attention placed on the dancer's instrument (the body) and the new technology. Only after thoroughly exploring this fundamental aspect, we will then discuss the sensitive issue of dance archive preservation. The preliminary exploration and definition in the thesis then brings us to the main question: How can we preserve and protect dance masterpieces in the digital era, especially with respect to current changes in National museums and archive conservation. Specific examples with regards to dance conservation and its evolution have been hued from selected European Institutions and in particular, those in Italy. One of the overriding concepts throughout this thesis has been to focus on the topic from the dancers point of view and therefore, collaborating with important dance figures such as the French master, Dupuy, has offered invaluable insight. It is the hope of this thesis to lay the ground work of a theoretical basis for an ideal center to study and preserve the evolution of dance in Italy.

La grande esposizione voltiana del 1899 e la mostra di Ercole Ferrata e dei maestri intelvesi a tenutasi a Pellio nel 1910 ebbero il merito di accendere l'attenzione degli studiosi su un patrimonio storico-artistico ancora largamente inesplorato come avvertivano Francesco Malaguzzi Valeri e Pietro Toesca, impegnati sul territorio in campagne di catalogazione e sulla stampa in interventi di denuncia. Dopo la fine del primo conflitto mondiale, nel 1920, si svolsero mostre finalizzate a presentare ad un più ampio pubblico le opere d'arte ricoverate in tempo di guerra nei depositi allestiti a Roma e restituite ai loro luoghi di origine, sotto la guida di Nello Tarchiani. Questo programma espositivo aveva un duplice scopo: da un lato la sensibilizzazione dell'opinione pubblica nei confronti del patrimonio, dall'altro la celebrazione della vittoria e dell'efficacia delle misure di tutela attuate dal Comando militare e dagli organi del Ministero della pubblica istruzione. In questo solco si colloca, a qualche decennio di distanza, la pubblicazione dell'Inventario degli oggetti d'arte della provincia di Sondrio, nono volume di una storica collana ministeriale, edito nel 1938. Tuttavia quando in quello stesso anno si organizzò a Sondrio una grande mostra della pittura e del ritratto dal XVI al XIX secolo nelle valli dell'Adda e della Mera, gli intenti erano ben lontani dalla conservazione e dalla tutela e volgevano con enfasi nazionalistica alla propaganda di regime. Il presente contributo intende stabilire la diversificata ricezione che le esposizioni ebbero da parte degli studiosi e dell'opinione pubblica, attraverso lo studio della pubblicistica e degli allestimenti, evidenziando il collegamento con l'attività di tutela e catalogazione sul territorio e con la contemporanea ricerca storico-artistica.The great exhibition of Volta in 1899 and the exhibition of Ercole Ferrata and the Intelvesi masters held in Pellio in 1910 had the merit of focus the attention of scholars on a historical and artistic heritage still largely unexplored as warned Francesco Malaguzzi Valeri and Peter Toesca, engaged on the territory in cataloging campaigns and on the press in complaint action. After the end of World War I, in 1920, they were held exhibitions aimed to present to a wider audience the works of art admitted to wartime in warehouses set up in Rome and returned to their places of origin, under the guidance of Nello Tarchiani. This exhibition program had a dual purpose: on the one hand the public awareness towards heritage, on the other the celebration of victory, and the effectiveness of the protection measures implemented by the military command and the organs of the Ministry of Education. In this vein it is located, a few decades later, the publication of the Inventario degli oggetti d'arte della provincia di Sondrio, the ninth volume of a historic ministerial series, published in 1938. However, when that same year it was organized in Sondrio a big exhibition of painting and portrait from the XVth to the XIXth century, the intent were far from conservation and protection and turned to nationalistic propaganda. The article means to establish the mixed reception by scholars and the public, through the study of reviews and museographic programs, highlighting the connection with the activities of protection and cataloging in the territory and with the historical research.

L'archivio del comune di Imola non conserva le serie delle magistrature due-trecentesche che furono oggetto di uno scarto completo nel Cinquecento. Conserva però un fondo di "beni e diritti" cospicuo nel numero dei pezzi e, soprattutto, assai composito nei contenuti diplomatistici. La parte percentualmente più rilevante di tale miscellanea si addensa fra gli anni Cinquanta del Duecento e i primi due decenni del secolo successivo, gli anni in cui più accesi furono gli scontri di parte nella città. Le numerose liste che si sono conservate, fra le quali una di milites tenuti a dare un cavallo per l'anno compreso fra il primo settembre 1319 e il 31 agosto del 1320 per le esigenze militari del comune e che mostra caratteri diplomatistici assai peculiari, costituiscono fonti di grande interesse per restituire un'immagine socio-economica della milizia cittadina e del suo azzonamento urbano. ; The archive of the commune of Imola does not currently preserve the series produced by the 13th-14th centuries' urban magistratures: these documents were entirely discarded in the 16th century. Nevertheless, it does preserve a rich and composite stock of documents on "beni e diritti", most of them presenting a wide variety of diplomatistic characters. The most relevant part of this miscellany gathers between 1250 and 1320, when the factional conflicts within the city grew harsher and harsher. Within thes records, in particular several lists represent a source of main interest to the building of a broader socio-economic image of the urban milizia and its topographical order in the city. In particular, this essay will focus on a list of all the milites that were supposed to give to the commune a horse for war between the 1st September 1319 and the 31st August 1320: this register in fact not only enlightens a crucial moment of the military and political life of the commune (the organisation of the army), but also shows very peculiar diplomatistic characters.