Euro 2000 final - Rotterdam... or anywhere.

July 2 2020.  The day of the Euro 2000 final in Rotterdam.  A tournament that I was lucky enough to have tickets for.  Games in Bruges and Amsterdam for the group games whetted the appetite but tickets for the final was a once in a lifetime opportunity.  As the tournament progressed and Italy went further it crossed my mind that I could actually see the Azzuri in a major international tournament, and the final would be the icing on the cake.  

Just the small matter of beating the host nation Holland stood in the way, and the odds were heavily stacked against them.  It went to a penalty shootout and the Azzuri had done it... they were in a major final and I would be there.

A flight into Amsterdam then a train to Rotterdam gave enough time to spend the day soaking up the atmosphere in the city centre. The day had such a buzz about it and fans mingled all over the city, not many people asked about my Wigan Athletic shirt.  This was the pre Premier League era and  'Little Wigan' were still relatively unknown in Italian and French homes.

On the quest for food my mate and I walked past restaurant after restaurant until we literally reached the ‘Other Side of the Tracks’.  We had hit the roughest part of Rotterdam and hastily retreated before anyone spotted us, and made it back to the relative safety of the French fans.

We then took the tram to De Kuip ( and sat behind ex Arsenal striker Alan Smith), and went into the stadium to find our seats were in the Italian end. It was written in the stars...

France ,who had beaten Italy on penalties two years before in the World Cup quarter-finals on the way to winning the World Cup, once again stood in the way.

When the opposition is Italy, however, with their revolving door of gifted players and steely resolve, it was never going to be easy.

Managed by Dino Zoff, this Azzurri side was efficient and compact, staying true to the old-school Catenaccio tactics, having conceded only two goals so far in the tournament.  They weren’t about to roll over for anyone. 

Finals are often nervous affairs with neither side wanting to make an early mistake. The fear of losing can far outweigh the desire to win. Italy were underdogs, but they produced a far more expansive display than had been anticipated and dominated possession for large spells.  

The game started furiously. Italy had plenty of early pressure with Roma’s Marco Delvecchio proving a nuisance up-front. Henry provided the French threat, unleashing a couple of trademark snapshots before being on the receiving end of several friendly tackles from the Italian midfield, the chief culprit among them being Luigi Di Biagio. 

But in truth, the final didn’t come alive until the second half when, in the 53rd minute, a moment of genius blew the final wide open.   Delvecchio – who was selected by manager Dino Zoff at the expense of both Alessandro Del Piero and Filippo Inzaghi - broke the deadlock.

The goal was orchestrated by the man who had provided Italy’s offensive creativity throughout the tournament - Francesco Totti.  With his back to goal just outside of the penalty area, and with seemingly little in the way of passing possibilities, Totti paused and drew in two French defenders before executing an inch-perfect backheeled through-ball that set Gianluca Pessotto free on the wing with France’s offside trap completely fooled. Pessotto’s accurate cross was guided in on the volley by Delvecchio.

Now, Italy had to protect their lead for 35 minutes – and injury time – to win their first European Championship for 32 years.  Zoff sent on Del Piero to act as a focal point for counter-attacks, and his plan proved effective as the substitute was sent clear on goal twice in the closing minutes. 

The striker, however, was somehow unable to hit the net on either occasion, putting one shot wide and hitting the other straight at Fabian Barthez.  He was left to rue those misses when, 15 seconds from the final whistle, substitute Sylvain Wiltord slid a 94th-minute equaliser underneath a despairing Francesco Toldo.

With 13 minutes of extra time played, the Italy defence was caught uncharacteristically playing around with possession deep in their own half.   Robert Pires nipped in and danced past two tackles on the left wing before dinking in a cross from close to the byline.   Striker David Trezeguet, who had recently signed for Juventus to become Del Piero’s new team-mate, was to be the man who crashed home to win the match and break Italian hearts.

For many, this was unfairly heralded as a victory of good over evil due to Zoff’s reliance on conservative tactics – ones that had been so successful in getting the Azzurri to the final. 

20 years on, Del Piero himself still says “Losing in the final really hurts, but that’s how life goes, We then played against France [in the final who we’d played] on a number of other competitions, where we had the opportunity to get even. Losing that match certainly hurt."

Del Piero says that the defeat still rankles and remains at a loss to explain how Italy threw the match away.

“I don’t know, even now,” he says. “When you lose matches like that, and the opposition scores the equaliser in the last minute, and then scores the golden goal, it blows your mind. It is really awful, you don’t want to believe it.

"From then on we had to face reality: we came really close to realising a dream, which did not come true. You wake up the day after, and try to be the best because, despite the previous match, you have to think about the future."

The Euros haven't been kind to Italy since then.   They failed to get out of the group stages in 2004, losing out on goal difference to Denmark.  In 2008 they lost on penalties in the Quarter finals to eventual winners Spain and faced the Spanish again in the 2012 final, but lost 4-0 in Kiev.

Italy gained a smidgen of revenge on Spain by eliminating them from the 2016 tournament in the Round of 16, but a quarter final defeat on penalties to Germany sent the Azzuri home early again.

21 years on from the despair in Rotterdam, can Italy finally go one better and be called the Best Team in Europe?  It will be a very tough task but one which always brings the best out of the Azzuri.

An Italian Christmas

Christmas is a major holiday in Italy which means Italians celebrate lots of great, unique Christmas traditions!  Across Italy, Natale tends to be a family-centred holiday, a time to stay at home (and eat!) with loved ones. But customs also vary from city to city, from exactly which dishes are served, to when to open presents, making every region an interesting place to enjoy the holidays.

In other countries, Thanksgiving (or even Halloween!) signals the start of the Christmas season. In Italy, though, Christmas officially kicks off with the Day of the Immaculate Conception of Mary on December 8. This is when decorations go up (both on the streets and inside Italian homes) and when some Christmas markets start.

Decorations and huge Christmas trees can be found in main piazzas, like in front of the Colosseum or in Milan’s Piazza Duomo, and Babbo Natale (Father Christmas, the Italian version of Santa Claus) spreads holiday cheer.

This holiday, which is both religious and state-sanctioned (meaning lots of offices and businesses will be closed on December 8), doesn’t have anything to do with the day of Mary’s conception. Instead, it celebrates the day when the Church decided that Mary was born without having the stain of original sin.

The eight days before Christmas, also known as the Novena, are filled with singing traditional songs around the neighbourhoods.  If you’re in Rome, southern Italy or Sicily, keep an eye out for the zampognari, or bagpipe players—they travel from the nearby mountains to play their merry folklore carols.

Along with the fancy lights, wreaths and trees, presepi (nativity scenes) are displayed in many churches and piazzas. Crafting these ornate works of art by hand remains an artisanal tradition in many parts of the country. In Naples they are world-famous for their hand-made presepi.  

To prepare and purify their bodies for Christmas Day, Italians avoid meat on la Vigilia (Christmas Eve). Although the idea is to eat lean, most indulge on multiple courses of fish.

After the family dinner, many Italians head to midnight Mass at their local church to celebrate. (Some Romans even head to the Vatican for Mass with the Pope!).

But traditions vary from city to city: Up north, in Cortina d’Ampezzo in the Dolomite Mountains, thrill-seekers ski down the slopes with torches at midnight to welcome Christmas.

After the “light” Christmas Eve dinner, on Christmas Day, Italians invite their family and friends for a large lunch that usually goes on all day. Many save up to have the most lavish celebration possible, serving up traditional dishes like pasta in brodo (pasta in broth), roasts and traditional desserts like panettone. 

Celebrations often extend into December 26 with the national holiday of Santo Stefano; families get together and eat leftover Christmas dishes and sweets.

The official end of the Christmas season, though, isn’t until January 6—the Day of the Epiphany, and the twelfth day of Christmas. On the eve of the Epiphany, families usually prepare a large dinner to mark the end of the holiday season; children are given candy or coal (usually made of black sugar), depending on if they were naughty or nice. After January 6, you’ll see Christmas markets close and decorations start to come down.

Gifts are commonly exchanged on Christmas Day after lunch—sometimes with the belief that Jesus has delivered them.  But some smaller, northern Italian cities believe that the blind Saint Lucia brings gifts for children on December 13, so they open them that morning.

 
Other families may wait until January 6. The Epiphany is when la befana—a kind of “good witch” who is believed to have followed the wise men, but got lost—drops off presents. La befana is a particular tradition in Rome and Bologna, where the main piazzas often host fun activities for children; in Venice, locals believe that la befana arrives every year by boat! 

Regardless of when they open their presents, many Italians keep their wrapped gifts on display on the pyramid-shaped ceppo, along with candles and other decorations.

Among the traditions, customs and other rituals typical of Christmas season are:

• The ceppo known as The Tree of Light is a wooden frame with a pyramid shape; it is several feet high and supports many shelves in its several tiers. The cepo has a manger scene and on the shelves above are placed small gifts of fruit, candy and presents. It is also beautifully decorated with pinecones, coloured paper, little candles and pennants. At the top is placed a star or a small doll.

• Urn of Fate:This is a wrapped present for each family member. If you get a present with your name on it, you keep it; otherwise, you try again with other.

• In the Vatican City, the people go to the square at noon on Christmas day to receive the Pope's blessing, he appears at his balcony.

• Another tradition is the burning of the Yule log, which must stay alight until New Year's Day.

The most significant meal of the Christmas Day is the lunch or il pranzo. In the northern Italy dishes such as: 

• lo zampone - the skin of the lower pig leg, including the toe little bones, filled with minced meat and sausages
• il cotechino - pig's foot stuffed with spiced minced meat
• Sausages made of pig's intestines
• Smothered in lentils
• Turkey stuffed with chestnuts
• Lamb is also enjoyed with mashed potato and lentils.

In Rome and the southern Italy the traditional dish of Christmas Eve is "Capitone" a big female eel, roasted, baked or fried. On the table we also can find delicacies such as:

• Tortellini in chicken stock
• Crostini with liver pâté
• l’agnello - lamb accompanied with vegetables, mashed potato and lentils.
  
  
  
  
  
  
  
  
  
  
  
  
   

Desserts such as: 

• torrone - Nougat
• il panettone - the Milanese fruitcake filled with candied fruit
• Gold bread - the traditional cake
• il pandoro - similar to il panettone, only without fruits or raisins
• il panforte - Gingerbread with hazelnuts, honey and almonds

The traditional drinks are:

• Vin brule - mulled wine
• Bombardino - Italian version of eggnog
• Punch of rum, mandarin and orange flavours
  
  Buon Natale e Felice Anno Nuovo

The Story of Calcio Storico

 

 

Calcio fiorentino (also known as calcio storico "historic football") is an early form of football that originated in 16th-century Italy. Once widely played, the sport is thought to have originated in the Piazza Santa Croce in Florence. Here it became known as the giuoco del calcio fiorentino ("Florentine kick game") or simply calcio; which is now also the name for association football in the Italian language. The game may have started as a revival of the Roman sport of harpastum.

Calcio was reserved for rich aristocrats who played every night between Epiphany and Lent. Even popes, such as Clement VII, Leo XI and Urban VIII were known to play the sport in Vatican City. The games were known to get violent as teams vied with each other to score goals. In a historically famous occasion, the city of Florence held a match on February 17, 1530, in defiance of the imperial troops sent by Charles V, as the city was under siege. In 1574 Henry III of France attended a game of "bridge fighting" – put on in his honour during a visit to Venice; the king is recorded as saying: "Too small to be a real war and too cruel to be a game".

Over the centuries, there have been numerous sources that testify to the presence of the Calcio Storico Fiorentino as early as the 15th century. The Florentines usually found themselves in the streets of the city or in the main squares starting matches like the ones you can see today during the re-enactment. The occupation of public spaces by young people was regulated, later, to avoid disturbances and problems in the organisation of the city; in this way the squares became the officially designated places to play football. The balls were often handmade with the outside made of leather and the interior filled with rags or sometimes with animal bladders filled with air.

Throughout the Medici age, what had been a popular pastime was reorganised and became a discipline practiced by the noble classes. Florence began to be the scene of numerous clashes between the people, often divided into teams, and headed by the most illustrious personalities of the Florentine families. The noble character gave rise to the term of Football in Livery, referring to the livery and elegant clothes worn by the players. The official rules of calcio were published for the first time in 1580 by Giovanni de' Bardi, a Florentine count.

The period designated for the games was generally that of Carnival; the famous game on 17th February 1530 in particular went down in history, when Florence was besieged by the army of Charles V. The Florentines, despite the seriousness of the situation, started nonetheless the Calcio Florentino game in Piazza Santa Croce!

The Calcio Storico Fiorentino players could, therefore, take revenge on those nobles who lived the game as an aesthetic moment in which to show off their precious clothes thereby losing the recreational and authentic aspect from which this street sport was born. The citizens of the aristocratic families, in fact, organised the games in the most important parts of Florence and added that a procession in honour of the race. Residents were invited to attend as spectators to watch from the stands built around the city square. All the districts of the Calcio Storico Fiorentino participate in the parade, although the final only includes two teams.

 

Piazza Santa Croce

Interest in Calcio  waned in the early 17th century. However, in 1930 it was reorganized as a game in Kingdom of Italy under Mussolini. The game was widely played by amateurs in streets and squares using handmade balls made of cloth or animal skin^. Today, three matches are played each year in Piazza Santa Croce in Florence in the 3rd week of June. A team from each quartiere of the city is represented:

• Santa Croce / Azzurri (Blues)
• Santa Maria Novella / Rossi (Reds)
• Santo Spirito / Bianchi (Whites)
• San Giovanni / Verdi (Greens)

After playing each other in two opening games, the two overall winners go into the final which occurs each year on June 24; this is San Giovanni (St. John)'s Day, the Patron Saint of Florence. The modern version of calcio allows tactics such as head-butting, punching, elbowing, and choking but sucker punches and kicks to the head are banned. It is also prohibited for more than one player to attack an opponent. Any violation leads to being thrown out of the game.

Matches last 50 minutes and are played on a field covered in sand, twice as long as it is wide ( approximately 80x40 meters ). A white line divides the field into two identical squares, and a goal net runs the width of each end. Each team has 27 players and no substitutions are allowed for injured or expelled players. The teams are made up of four Datori indietro (goalkeepers), 3 Datori innanzi (fullbacks), 5 Sconciatori (halfbacks), 15 Innanzi o Corridori (forwards). The Captain and Standard Bearer's tent sits at the centre of the goal net. They do not actively participate in the game, but can organise their teams and sometimes act as referees, mainly to calm down their players or to stop fights.

The referee and his six linesmen referee the match in collaboration with the Judge Commissioner, who remains off the field. The referee, above everyone else, is the Master of the Field. He makes sure the games runs smoothly, stepping into the field only to maintain discipline and reestablish order in case of a fight on the field.

The game starts when the Pallaio  throws and kicks the ball towards the centre line, then at the first whistle and at first the ball rests on field, 15 forwards or Corridori begin fighting in a wild mixed martial arts match- punching, kicking, tripping, hacking, tackling, and wrestling with each other in an effort designed to tire opponents' defences, but which often descends into an all-out brawl, trying to put, pin down, force to submit as many players possible; once there are enough incapacitated players, the other teammates come and swoop up the ball and head to the goal. Then followed by a small cannon firing; the shot announces the beginning of the contest.

From this moment on, the players try by any means necessary to get the ball into the opponents' goal also called caccia. The teams change sides with every caccia or goal scored. It's important to shoot with precision, because every time a player throws or kicks the ball above the net, the opposing team is awarded with half a caccia. The game ends after 50 minutes and the team which scored the most cacce wins.

The prize is also interesting, because along with the Palio di Siena, the winning team used to receive a Chianina, a type of cow. However, the prize has been reduced to a free dinner for the winning team; the players earn no other compensation.   

More popular than ever, Calcio Storico Fiorentino has kept the form of a historical event amongst the most important ones of the city and region.

 

Romanzo Criminale

British TV was once the envy of the world.  Now it is a mix of reality shows, ageing celebrity comebacks and repeats from yesteryear.  That doesn’t leave you, the viewer, with a lot to get excited about does it?   In recent years, however, people have turned to subtitled European faire for their fix of fresh, gritty shows.  The Scandanavians have given us The Killing and The Bridge, the French have delivered The Returned and Braquo. Italy gave us Inspector Montalbano, but they also exported this little gem, undoubtably the best of the lot.  The European version of The Wire…step forward Romanzo Criminale.

Image courtesy of skyarts.sky.com

Romanzo Criminale ("Crime Novel") is an Italian television series based on a novel by judge Giancarlo De Cataldo, and adapted from the 2005 film of the same name.  The first series quickly achieved cult status in Italy, with the second series also proving popular.  It quickly achieved the same status in the United Kingdom with the programme being aired on Sky Arts.

The series is set from 1977-89 and follows the rise of a criminal gang in Rome to a near monopoly of the city's heroin trade.  The gang is led by three old friends, Lebanese (Francesco Montanari), Freddo (Vinicio Marchioni) and Dandi (Alessandro Roja).

The plotline is based on the real crime group of the era, Banda della Magliana.  The story focuses on Lebanese (also known as Libano), who we first meet during a bungled lorry robbery.  Running his gang from a clapped-out caravan and frustrated by his high-risk, low-reward criminality, he dreams of becoming a big player like Terrible, the city's major crime warlord.

Libano and Dandi link their gang with another local small time crook Freddo, and they hatch a plan to abduct Baron Rosellini, a wealthy aristocrat whom Libano's parents worked for.  The kidnapping offers huge rewards for the gang.  The plot ends tragically, but they get their ransom money.

Lebanese.  Image courtesy of  www.nonsolocinema.com

Despite tensions between the rival outfits, Libano convinces the gang not to blow the money on hookers and fast cars, but to reinvest in further criminal enterprises - namely drugs.  Commissioner Scialoja (Marco Bocci) goes after the gang, becoming obsessed along the way by a beautiful call girl, Patrizia (Daniela Virgilio) (the girlfriend of Dandi).

The gang has to deal with the Camorra and Sicilian Mafia (who supply heroin to the gang), the police, led by Commissioner Scialoja and the Italian secret services.

Commissioner Scialoja.  Image courtesy of www.episode39.it

Their progress and changes in leadership (Libano is followed by his cohorts Freddo and Dandi) are inseparably intertwined with the dark history of modern Italy: terrorism, kidnappings and corruption at the highest levels of government.

Through political murders, spectacular bombings and high-profile kidnappings Libano proves himself through a series of brutal crimes.  He makes valuable connections among corrupt cops and politicians, and in the Secret Service, which seeks to enlist the gang to destabilize the government and provoke a right-wing coup.

Scialoja is seemingly the one man not in the pay or pocket of the Mafia or the corrupt State, and is determined to bring the ferocious gang to justice, whatever the cost to himself or to the rules of the law.

The first season reaches it’s climax with Libano seeing himself as the undisputed ‘King of Rome’.  But while he increasingly distrusts everyone and becomes more paranoid, his thirst for power is never truly satisfied and his demonic look intensifies.  Flashbacks and dream sequences superbly portray a character that is spurred on by vengeance and fear, while the ongoing story shows how he came to dominate in a time of disorganisation, terror and corruption.

A dramatic end to the first season, which stayed faithful to the film, paved the way for Season 2.  This takes up the action directly after the game-changing events of that first season finale.  As the major players regroup and rethink their strategies the scene shifts to the early 80s.  The cars and fashions may have changed, but the drug game stays the same....making more money means more bloodshed.

The show serves as both entertainment and a history lesson.  As a viewer you go through their journey with them, the emotional heart of the show remains with Libano, Freddo and Dandi with their crazy plan to take over the capital and it is hard not to side with the guys with the impossible dream.

The real Banda della Magliana were a vicious gang that set out to rule the criminal underworld of 1970s Rome.  While Naples and Sicily were the stomping grounds of the Camorra and the Mafia, Rome's criminal network was a patchwork of small gangs, and the Banda set out to be top gang in the capital.

While De Cataldo's novel is inspired by the real Banda della Magliana, names and details have been changed.  One of the factors that makes the TV series so compelling is that this classic story of the gang's rise is little known outside of Italy.

During the 1970s the country was a frightening place, one of police brutality, political murders, bombings, kidnappings and secret service plots against the government.  The story of how the gang became involved in these disturbing affairs, filmed on the Roman streets with a soundtrack of classic 70s pop, prompted the leading daily newspaper La Stampa to call the show "the best series ever produced in Italy".

The recent influx of subtitled programmes on British TV has shown that a lot of fantastic shows are out there, and people’s perceptions of watching a subtitled programme have changed, for the better, along the way.

Palio di Siena

The Palio di Siena, known locally as Il Palio, is one of the most important folkloric events in Italy.  It is a horse race held twice a year in the Piazza del Campo, Siena.  Ten horses and riders represent ten of the seventeen contrade (or city wards).

The Distinguished Collegiate Church of Santa Maria in Provenzano, Siena, is dedicated to the Visitation of the Blessed Virgin Mary to St. Elizabeth.  On July 2, formerly the feast of The Visitation, the Sienese celebrate the first Palio, Palio di Provenzano in her honour.

The second event, held on August 16, coincides with the feast of The Assumption.  This second Palio is named Palio dell'Assunta, in honour of the Assumption of Mary.

With several hundred participants, a magnificent pageant (the Corteo Storico) precedes the race.  A formally choreographed march, it commemorates the ancient customs, institutions and greatness of the Republic of Siena.  Seventeen pairs of flag bearers (Alfieri) are positioned at various points in the Piazza and, in synchrony, perform a spectacular flag-waving exhibition culminating with the flowing of the flag.  Just before the pageant, the carabinieri (national military police of Italy) on horseback, wielding swords, demonstrate a mounted charge around the track.  They take one lap at a walk, in formation, and a second at a gallop before exiting out of Piazza del Campo.

Flag bearers prior to the race - Image courtesy of www.flickr.com

The Pageant - image courtesy of incontrastudenti.wordpress.com

The race itself circles the Piazza del Campo three times and usually lasts no more than 90 seconds.  Jockeys, who ride the horses bareback, are frequently thrown off while making the treacherous turns in the piazza, and it is not unusual to see unmounted horses finishing the race without their jockeys.  As it is the horse that represents the contrade and not the jockey, an unmounted horse may win the race!

Palio in full flow - Image courtesy of www.hotelathena.com

The Palio takes place over four days, with the race taking place on the fourth day.  The first day is for the "Tratta", or the drawing of the lots and assignment of the horses to each of the Contrade.

Before the official race there are six trial runs or heats, one in the morning and one in the afternoon.  The fifth trial, the one run the evening prior to the official Palio, is called the "prova generale" (or general trial) while the last takes place the morning of the race.  This is called "provaccia" (or bad trial) due to the little effort the jockeys put into it in order to avoid tiring the horses too much.

The emblems and colours of each Contrade are grouped into either "Terzi" or "Terzieri" (many centuries again the town was divided into three sections.  These were known as "Terziere di Città", "Terziere di San Martino" and "Terziere di Camollia").  Flags and emblems displayed along the street easily identify each ward.  Much like street signs, corners often designate the entrance into a different contrada.

The Contrada

The seventeen Contrada are -

Terziere di Città

AQUILA (Eagle) a double-headed eagle with imperial symbols. Yellow with black and blue bands.
CHIOCCIOLA (Snail) a snail. Yellow and red with blue bands.
ONDA (Wave) a swimming dolphin wearing a crown. White and blue.
PANTERA (Panther) a rampant panther. Red and blue with white bands.
SELVA (Forest) a rhinoceros bearing a huge tree hung with hunting implements. Green and orange-yellow with white bands.
TARTUCA (Tortoise) a tortoise. Yellow and blue.

Terziere di San Martino

CIVETTA (Owl) an owl. Black and red with white bands.
LEOCORNO (Unicorn) a unicorn. White and orange-yellow with blue bands.
NICCHIO (Shell) a seashell. Blue with yellow and red bands.
TORRE (Tower) an elephant with a tower on its back. Dark bordeaux red with white and blue bands.
VALDIMONTONE or MONTONE (Ram) a rampant ram. White and yellow with red bands.

Terziere di Camollia

BRUCO (Caterpillar) a caterpillar. Yellow and green with blue bands.
DRAGO (Dragon) a flying dragon. Red and green with yellow bands.
GIRAFFA (Giraffe) a giraffe. White and red.
ISTRICE (Porcupine) a porcupine. White, red, black and blue bands.
LUPA (She-Wolf) the Roman She-Wolf suckling the twins. Black and white with orange-yellow bands.
OCA (Goose) a crowned goose with the cross of Savoia round its neck. White and green with red bands.

The race starts off in the "Mossa", an area set up on the piazza defined by two long pieces of thick rope. The "Mossiere" (starter) then calls the Contrade forward in the order in which they were drawn and checks that the assigned positions are respected.  The first nine Contrade take up their assigned positions in the area between the two ropes, while the last one, the tenth, enters this area at a running gallop, which signals the start of the race.

Before the start - Image courtesy of commons.wikimedia.org

In the event of a 'false start' (this is the case if the jockeys are not in their assigned spots), a shot goes out to signal the jockeys to get back into their positions.  This starting phase within the "Mossa" is more complicated than it seems, as the space is small and the horses are right next to each other.  Rivalries run deep within the Contrade and competition is high and the worst result is to see the "enemy" Contrada win the race.

The horses must overcome dangerous points in the race, such as the very narrow curve of San Martino, where collisions between the wall and between horses have led to many falls in the past (the reason why many animal activists oppose the Palio).

The winning Contrada receives the Drappellone, (or large drape, a large painted canvas each year designed and created by a different artist and which the winning contrada displays in their own museum).  Then the victorious Contrada members head towards the Church of Provenza (after the July race) or towards the Duomo (after the August race) for the Te Deum (or prayer of thanks).

Victory usually coincides with a months-long celebration for the winning ward.  The 'loser' in the race is considered to be the contrada whose horse came second, not last.

The Palio differs from "normal" horse races in that part of the game is for the wards to prevent rival contrade from winning.  Few things are forbidden to the jockeys during the race; for instance, they can pull or shove their opponents, hit the horses and each other, or try to hamper other horses at the start.

The winner - Image courtesy of online.wsj.com

The Palio di Siena is more than a simple horse race.  It is the culmination of ongoing rivalry and competition between the contrade.  The lead-up and the day of the race are invested with passion and pride.  Formal and informal rituals take place as the day proceeds, with each contrada navigating a strategy of horsemanship, alliances, and animosities.  

The Palio, along with the plumes, remains the property of the contrada.  The plate is returned to the city of Siena before the two Palii of the following year, after the date and the name of the victorious contrada are inscribed on its back.  There is one silver platter for the Palio in July and another for the August Palio.  The plates are replaced approximately every ten years.

The value of the banner is unique, because it represents a particular historical period of the city of Siena.  The palii often reflect the symbols of the various governments that have presided at various times, including the crest of the grand duchy of Lorraine, the crest of the Grand Dukes of Tuscany, the crest of the Kingdom of Savoy of Italy, symbols from Fascist Italy, and most recently, imagery of the Republic.

The Palio is much more than a simple event for the Sienese, it is a significant part of their lives since the time of their birth.  Each person belongs to a Contrada, participates in the life of the Contrada and the organization of the Palio throughout the entire year. The Sienese live the Palio with great passion and this is evident during the races.

The winner of the July 2013 race was Oca (Goose).   This was their third victory this century and their 65th overall,  Oca is the most successful Contrada by far.  The winner of the August 2013 race was Onda (Wave), their second win this century.

2014 promises to be another chaotic and exciting race. 

2014 winners - Drago and Civetta

2015 winners - Torre and Selva

2016 winners - Lupa won both Palio.

2017 winners - Giraffe and Onda

2018 winners - Drago and Tartuca

2019 winners - Giraffe and Selva

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Sources:  http://www.comune.siena.it