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      The history

      Why publish an old and manifestly biased book in Latin? The reason is right there, in the definition of "part": written history is always part because it is generated by a "cultural structure"; entity that often coincides with the "nation-state". In practice for history, the same concept is valid for art, each era gives a different judgment on a given work of art. As a boy, when I studied art in high school, I went to the school library to consult a famous and beautiful series dedicated to painters, in those books the critical judgments of art experts and artists of different eras were reported. There you could see the change of opinion over time. So a Baroque work first pleases, then is despised and then returns to be found beautiful. This change of opinion is closely linked to historical events and social changes. To explain some basic concepts I will continue to use the art-history parallelism, which I believe is the most suitable. Here I briefly describe a personal experience I had at the University in taking a Medieval History exam. Attending the exams of some students of my age, I noticed their difficulty in defining historical periods, their attachment to dates. The teacher of the Statale di Milano was greatly irritated to see the inability to argue about the beginning and end dates of the Middle Ages. The dates are school conventions, the ancient age does not end a day in a certain place, but it is a border that shifts and brings with it social changes, often not uniform. The Gothic kingdom in Italy is perhaps already Middle Ages but we consider it late ancient, because we tend to start the Middle Ages in Italy with the twenty years of the Gothic wars or with the Lombard invasion in the peninsula. The right answer to the question `` when does the Middle Ages begin? '' Is the conventional date of the dismissal of the last Roman emperor of the West, accompanied by the clarification that it is, in reality, a long transition period going from Odoacre, to the Lombards, and does not involve the whole territory uniformly. If we look at art, we see the splendid mosaics of Ravenna, but then the imposing mausoleum of Theodoric appears, I point out that, after these, we move on to a paleo-Christian poor art: art marks well the passage from the ancient world to the new times. In the same way, regardless of the date on which Columbus was discovered to have discovered America, the art of the second quarter of Florence already showed the Renaissance, which appears briefly and immediately dissolves into Mannerism which will become Baroque already in the Michelangelo's dome of San Pietro . Thus the Municipalities become Lordships and politics reconnect the thread with classical antiquity which has in itself the symbols of power. A strange history of Classical art was born in democratic Athens to become an instrument of every imperial ambition. In any case, even art decrees the end of the Middle Ages, with the return to plasticity and Vasari's "stil novo". In practice it is Michelangelo's David and not Colombo, the right date to remember.

      So, having clarified that it is the common sensitivity and not the dates that mark History, we add the concept of state education. Each state exalts the history that suits him to justify its existence, one could also add the geographic factor that is an integral part of it, but it would result in a discussion to Plato and too long. Squeezing, the Lombards divided Italy and for the future nation-state, everything that does not have Rome as its capital, and the entire national territory as a domain is negative, ugly, not important. This was the interest of the Savoys, of the Risorgimento patriots, of the kingdom and also of the Duce, now, with a party called the Northern League, the "trumpets of Rome" have returned to make themselves heard by dirtying the historical truth. I believe that Risorgimento Italy has become a mature state, ready to become Europe and part of the world. After all, for a hundred and fifty years, Savoiardi have been famous biscuits excellent for tiramisu and anti-Germanic sentiment has turned into sporting antagonism. Therefore, allowing everyone to read a text like this in its original format without state cultural mediation allows contemporary, "scientific" man to judge for himself and to deepen the topic at his leisure.

      The Author

      Paolo Diacono was born in Cividale del Friuli probably in 720 AD His Latin name was Paulus Diaconus, the Lombard one Paul Warnefried or even Paul of Varnefrido. He was a descendant of Leupichi, one of the Lombards following Alboino during the invasion of Italy. At a young age he was sent to PaVia, which at the time was the capital of the Lombard Kingdom of King Rachis. Here he was a pupil of Flaviano, he attended the school of the monastery of San Pietro in Ciel d'Oro of which he later became a teacher. I stayed at the court also with the later Kings Astolfo and Desiderio, under the latter, he became tutor of his daughter Adelperga. When Desiderio's daughter married the Duke of Benevento Arechi, he followed her. With the fall of the Lombard Kingdom in 774, due to his brother's imprisonment, he agreed to move to the Carolingian court between 782 and 787, where he was appreciated above all as a grammarian. After the release of his brother Paolo he escaped from the court of Charlemagne and returned to Benevento, and here he entered the monastery of Montecassino becoming a Benedictine monk. In the monastery between 787 and 789 he wrote the Historia Langobardorum, his most famous and important work. Another fact that concerns him, even if indirectly, is related to music, and in fact, from his hymn dedicated to San Giovanni Battista, in the eleventh century, Guido d'Arezzo obtained the seven musical notes, which made music a significant step forward. Paolo Diacono died in Benevento in 799 leaving his HIstoria unfinished because he was disappointed by the latest events of his beloved Lombards.

      A final mention goes to Historia Romana, another work by Paolo, which was used for many centuries as an educational text.

      WHAT IS THE LANGOBARDORUM HISTORY

      A beautiful story, in many compelling parts, unfortunately the national needs of the previous two centuries did not allow an objective view of this period. The main problem is the nationality of the Lombards, called Germanic descent, try to understand, with the Austrians in Milan and Venice, then in Trento and Trieste, one could not really look at the Lombard period with national pride. Rome was also a problem, ask Garibaldi and Cavour. About Garibaldi, it is a name known among the Lombards, you will not find it the same in Paolo's Historia but you will find a beautiful suggestion. In short, Italy was born anti-German and for a long time what the Italians did, and even the last war, influenced the imagination of all of us. Furthermore, it was the Lombards who broke the unity of the peninsula, which will last until 1918. But, importantly, studies on the ethnic origins of Europe have shown that the nation-state identification is artificial, cultural, often recently creation and the blood is so mixed that perhaps the only true European nation is Europe, so enjoy the story. Sometimes it will be a little boring, imprecise, manifestly pro-Catholic and pro-Lombard, unfinished, the ending is missing because the author, disappointed by the unglorious end of the kingdom, refuses to complete it. In short, an epic without the grand finale.

      The Work

      The work was written by Paolo Diacono in the Benedictine monastery of Montecassino in the two years after his return from the Frankish court of Charlemagne where he worked as a grammarian. The Historia tells the story of a part of the people called Winili, who will later take the name of Lombards after the heroic and mythical battle against the Vandals. So following the events of the various kings, the story takes us to Pannonia and from there to Italy. At this point the author tells us about Italy at the time of the Lombard conquest, of Alboino and Rosmunda, of the ten years of anarchy followed by the election of a king. From here, the Historia takes up the narration of the court events. Autari, Teodolinda, Rotari, the compelling story of Grimoaldo and the last king mentioned by Paolo, the famous Liutprando, the one of the much discussed donation of Sutri to the Pope, the presumed beginning of the temporal power of the popes, enter the scene, but this donation is in fact a refund, the real donation is prior to Liutprando.

      The author does not fail to broaden his gaze, also by telling ecclesiastical events, from a strictly Catholic point of view, he does not fail to tell us about the Byzantine emperors and the events of the near and fatal Franco kingdom. The story is often inaccurate and sometimes patently wrong, but still gives a correctly pro-Lombard picture of the whole that highlights the Franco-Papal factionalism in the Italic affairs.

      Another peculiarity of the story is the Friulian note, Paolo, originally from Cividale, keeps us constantly informed about what happens in the north east of Italy but also in Benevento, his place of residence, Duchy closely linked to Friuli and the Lombard crown .

      Paolo's historical sources are: Origo gentis Longobardorum, an ancient song that narrates the

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