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Editing Carroccio

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Since there are very few surviving remains from medieval times, information on the shape of the carroccio is fragmentary. Alessandro Visconti, in a book from 1945, referring to the chronicler [[Arnulf of Milan]], reports this description:
Since there are very few surviving remains from medieval times, information on the shape of the carroccio is fragmentary. Alessandro Visconti, in a book from 1945, referring to the chronicler [[Arnulf of Milan]], reports this description:


{{quote|text=The sign that was to precede the fighters was like this: a tall antenna, like a ship's mast, planted in a sturdy wagon rose up high, bringing to the top a golden knob with two flaps of white hanging linen. In the midst of that antenna the venerable Cross was fixed with the image of the Redeemer painted with open arms facing the surrounding ranks, because whatever the event of the war, looking at that sign, the soldiers comforted it…{{efn|L'insegna che doveva precedere i combattenti era fatta così: un'alta antenna, a guisa d'un albero di nave, piantata in un robusto carro s'ergeva in alto portando alla cima un aureo pomo con due lembi di candido lino pendenti. In mezzo a quell'antenna stava infissa la veneranda Croce con dipinta l'immagine del Redentore a braccia aperte rivolte alle schiere circostanti, perché qualunque fosse l'evento della guerra, guardando quell'insegna, i soldati ne avessero conforto.}}|author=Alessandro Visconti|source=''History of Milan'', 1945, p. 169}}
{{quote|text=[...] The sign that was to precede the fighters was like this: a tall antenna, like a ship's mast, planted in a sturdy wagon rose up high, bringing to the top a golden knob with two flaps of white hanging linen. In the midst of that antenna the venerable Cross was fixed with the image of the Redeemer painted with open arms facing the surrounding ranks, because whatever the event of the war, looking at that sign, the soldiers comforted it.. [...]{{efn|[...] L'insegna che doveva precedere i combattenti era fatta così: un'alta antenna, a guisa d'un albero di nave, piantata in un robusto carro s'ergeva in alto portando alla cima un aureo pomo con due lembi di candido lino pendenti. In mezzo a quell'antenna stava infissa la veneranda Croce con dipinta l'immagine del Redentore a braccia aperte rivolte alle schiere circostanti, perché qualunque fosse l'evento della guerra, guardando quell'insegna, i soldati ne avessero conforto. [...]}}|author=Alessandro Visconti|source=''History of Milan'', 1945, p. 169}}


Two depictions of the carroccio in the [[Middle Ages]] reached the 21st-century ichnographically. The first is present in the ''Montauri Chronicles'' of Siena, and the second in the ''Chronicle of [[Giovanni Villani]]''.<ref>Voltmer, pp. 183-184.</ref> The two representations are the result of stories by non-ocular chroniclers, being the authors of the 14th and 15th centuries, therefore of an era where the presence of the carroccio in everyday life had by then disappeared.
Two depictions of the carroccio in the [[Middle Ages]] reached the 21st-century ichnographically. The first is present in the ''Montauri Chronicles'' of Siena, and the second in the ''Chronicle of [[Giovanni Villani]]''.<ref>Voltmer, pp. 183-184.</ref> The two representations are the result of stories by non-ocular chroniclers, being the authors of the 14th and 15th centuries, therefore of an era where the presence of the carroccio in everyday life had by then disappeared.
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