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Content The project Our awesome cultural heritage … Our awesome ties Introduction: Value of Historical Sites Historical Sites: France United Kingdom Romania Portugal Southern Italy Northern Italy Conclusion
Our awesome cultural heritage … Our awesome ties
The Erasmus+ project “Our awesome cultural heritage … Our awesome ties” suggests a journey through the partners’ cities and visits to their museums to uncover and discover the local cultural heritage, link it to related cultural sites in the region, and promote it across Europe. We live in an unbelievably complicated world where a perceived sense of economic and political instability is creating social unrest and tension. It is in this situation of great uncertainty that efforts should be made to pass down to the new generations our cultural heritage, symbol of the uniqueness of every European nation but also living evidence of the ties that link each country to the others in order to remind them of our common roots. As Tibor Navracsics, Commissioner for Education, Culture, Youth and Sport, stated “we all belong to a peaceful community of more than 500 million citizens with rich histories and interwoven cultures. Cultural heritage defines who we are and strengthens our sense of belonging to a common European family.” The awareness of being united in diversity will help young generations realise that their various national identities complement each other. This attitude will also help them develop tolerance towards every ethnic group as human beings are all interrelated through a shared heritage which testifies the universal nature of the human spirit and as a result our society will become more welcoming. The arrival of refugees and migrants has increased the cultural mix in European countries and is putting European citizens’ tolerance to the test. Tolerance is now more than ever something that has to be learnt and highlighting our common cultural heritage may be one of the keys to achieve this goal.
Introduction Thanks to the Erasmus+ project “Our awesome cultural heritage … Our awesome ties” we have better understood the uniqueness of each country’s legacy but even more of the ties that bind the European peoples. “Historical sites” has been one of the sections of our learning path and in this booklet you can find information about some of the sites you can see in our regions. We hope you will enjoy our articles and will be willing to visit our cities and our countries.
Why Historical Sites? Historic buildings and places have an important role as far as education, economic development, sustainable growth, urban and rural regeneration, repopulation of inner-city areas, improved competitiveness, cultural development, and providing facilities for local communities are concerned. Historic Buildings and places have their own intrinsic value and any nation has a duty to care for them which is recognised in various international charters and conventions (UNESCO, Council of Europe, etc).
Social, Economic and Environmental Value Historic buildings have often undergone repeated adaptations and have proved to be durable and flexible to changing needs. Most historic buildings are in use and are part of the infrastructure of modern society. Taking action to improve and enhance historical sites can often help to attract investment, create new facilities for social enterprise and deliver structural economic and physical transformations.
Tourism Historic places and buildings encourage domestic tourism and attract visitors thus being an essential element of the Tourism industry.
Supporting Local Communities Selective redevelopment based around the historic environment fulfils the needs of local communities and maintains local, cultural, social and economic diversity. Historic buildings and areas can provide accommodation for a range of social and community facilities, better accessibility and choice for non-car owners, affordable housing, and a basis for transforming semi-abandoned areas and creating new opportunities.
Sustainable use of Resources The conservation and refurbishment of historic buildings is a sustainable form of development, avoiding the use and waste of scarce resources associated with demolition and redevelopment, and helping to achieve sustainable growth. The investment of energy in the reconstruction of historic buildings has already resulted in many cases in more durable structures, some of which have lasted for centuries.
Intrinsic Value Historic Buildings and places have intrinsic value in their own right as the products of human achievement in arts, design and construction, essential to the spiritual and cultural well-being of a nation. There is a wide public acceptance that we have a duty to conserve historical sites as part of the cultural heritage for current and future generations.
Local Distinctiveness Investment in historic places preserves local identity and sense of place and fosters local pride.
Cultural, Learning and Skills Value Education Historic Environments provide a tangible resource for the teaching of social, economic, political and human history, helping to create a better understanding of contemporary society and contributing to effective school and adult learning.
The Future for Historic Environments It is only through proper protection, conservation and management of the historic environment, supported by investment in its maintenance, repair and adaptation that these substantial benefits can continue to be realised. We should contribute to support the effective protection and enhancement of the historic environment, and to promote heritage-led regeneration and access to the historic environment for all.
France
THE
TOURIST EXCLUSIVE FRANCE EDITION
ALL ABOUT THE DISCOVERY OF THE WONDERS OF OUR GREAT WORLD
BELFORT, A SMALL CITY WITH A BIG HISTORICAL FOOTPRINT A STRONG SYMBOL The Lion of Belfort is a monumental sculpture in high relief by the Alsatian sculptor Auguste Bartholdi (known especially for the Statute of Liberty), located in Belfort in France at the foot of the citadel cliff. The statue is 22 m long and 11 m high, making it the largest stone statue in France, it consists of blocks of pink sandstone from Perugia. It represents a lying lion, its paw posed on an arrow which it
THE LION OF BELFORT
has just stopped. It seems visibly ready to stand up and rests on a rocky pedestal.
The work symbolizes the heroic resistance of the city led by colonel Denfert-Rochereau during the siege of Belfort by the Prussian army, during 103 days (from December 1870 to February
1871).
According
to
Bartholdi,
"the
monument
represents, in colossal form, a harassed, cornered and terrible lion still in rage" and "the feeling expressed in the work must
Frédéric Auguste Bartholdi
above all glorify the energy of the defense. It is neither victory nor defeat that it must recall. ” 1
THE « BELLE » CITADEL PRESENTATION.. The Citadel of Belfort is a citadel and fortifications of the 17th century and was completed in the 19th century, built by the Count of Suze, Vauban and the military engineers Haxo and Séré de Rivières, in Belfort in the Belfort territory in Bourgogne-Franche-Comté. It overhangs the city from a limestone rocky promontory and includes, in addition to the whole, an important device of fortifications of ditches which in the course of time received modifications from each of its architects. It is a historic high place for military defense and is considered an "impregnable" fortress.
TODAY.. The Citadel of Belfort offers to you various
visits
which
make
you
discover this city: visit of the fortified Old Town of Belfort by Small Train, visit of the Great Underground with a video,
sound
and
light
show
retracing the history of Belfort and the Citadel, visit to the Belfort History Museum, and finally, access to the Terrace of the famous Lion of Belfort, designed by Bartholdi ( see page 1).
Also not to be missed in Belfort: the Citadel Café, the shops of the Lion, the
Museum
and
the
Haxo
Bookstore, the visits by the guides of the Castle, events throughout the year
(Music
meetings, etc.).
festivals,
citizens'
1. Barracks to the test, History museum and panoramic terrace (1826) 2. Lion of Bartholdi 3. Large horseman, Casemate Haxo (1820) 4. Underground, covered in 1749 5. Drawbridge 6. Postern (Access by city) 7. Grand Couronné of the Comte de la Suze, discovery trail (1637-1648) 8. Haxo Bass Battery 9. Powder magazine-chapel 10. Third ditch (1830) 11. Fourth ditch (1830) 12. Vauban horn (1687) 13. Tower of the Bourgeois (13th century) 14. Denfert-Rochereau Casemate 15. Bauer Parking
Link Game : https://learningapps.org/watch?v=pweffktp320
2
TOUR TOURISTE ISTE LE LE
TOUT SUR LA DÉCOUVERTE DES MERVEILLES DE NOTRE GRAND MONDE
EDITION FRANCE EXCLUSIVE
BELFORT, BELFORT, UNE UNE PETITE PETITE VILLE VILLE AVEC AVEC UNE HISTORIQUE UNE GRANDE GRANDE MARQUE EMPREINTE HISTORIQUE UN SYMBOLE FORT Le Lion de Belfort est une sculpture monumentale
en
haut-relief
du
sculpteur alsacien Auguste Bartholdi (connu surtout pour la Statut de la Liberté), située à Belfort en France au pied de la falaise de la citadelle. La statue est longue de 22 m et haute de 11 m, ce qui en fait la plus grande statue de pierre de France, elle est constituée de blocs de grès rose de Pérouse.
Elle
représente
un
lion
LE LION DE BELFORT
couché, la patte posée sur une flèche qu'il
vient
d'arrêter.
Il
semble
visiblement prêt à se dresser et repose sur un piédestal en rocaillage.
L’œuvre symbolise la résistance héroïque de la ville menée par le colonel Denfert-Rochereau pendant le siège de Belfort par l'armé » prussienne, durant 103 jours (de décembre 1870 à février 1871). Selon Bartholdi, « le monument représente, sous forme colossale, un lion harcelé, acculé et terrible encore en sa fureur »
Frédéric Auguste Bartholdi
et « le sentiment exprimé dans l’œuvre doit surtout glorifier l'énergie de la défense. Ce n'est ni victoire ni une défaite qu'elle doit rappeler ».
1
ELLE EST « BELLE » LA CITADELLE PRESENTATION.. La Citadelle de Belfort est une citadelle et des fortifications du XVIIe siècle et terminée au XIXe siècle, construite par le Comte de la Suze, Vauban et les ingénieurs militaires Haxo et Séré de Rivières, à Belfort dans le Territoire de Belfort en Bourgogne-FrancheComté.
Elle
surplomble
de
la
ville
depuis
un
promontoire rocheux calcaire et comprend, outre l'ensemble, un important dispositif de fortifications de fossés
qui
au
cours
du
temps
ont
reçu
des
modifications de chacun de ses architectes. Elle est haut-lieu historique stratégique militaire défensif et est considérée une forteresse « imprenable ».
AUJOURD'HUI.. La Citadelle de Belfort vous ouvre diverses
visites
qui
vous
font
découvrir cette ville : visite de la Vieille Ville fortifiée de Belfort en Petit
Train,
visite
du
Grand
Souterrain avec un spectacle vidéo, son et lumières retraçant l'histoire de Belfort et de la Citadelle, visite du Musée d'Histoire de Belfort, et pour finir, accès à la Terrasse du célèbre Lion de Belfort, réalisé par Bartholdi (voir page 1).
A ne pas manquer également à Belfort : le Café de la Citadelle, les boutiques du Lion, du Musée et la Librairie Haxo, les visites des guides du Château, les animations tout au long
de
Musique, etc.).
l'année
(festivals
rendez-vous
de
citoyens,
1. Caserne à l'épreuve, Musée d'histoire et terrasse panoramique (1826) 2. Lion de Bartholdi 3. Grand cavalier, Casemate Haxo (1820) 4. Grand Souterrain, couvert en 1749 5. Pont-levis 6. Poterne (Accès par la ville) 7. Grand Couronné du Comte de la Suze, parcours découverte (1637-1648) 8. Batterie Basse Haxo 9. Poudrière-chapelle 10. Troisième fossé (1830) 11. Quatrième fossé (1830) 12. Corne Vauban (1687) 13. Tour des Bourgeois (XIIIe siècle) 14. Casemate Denfert-Rochereau 15. Parking Bauer
Lien Jeu : https://learningapps.org/watch?v=pweffktp320
2
Lycée Condorcet
LE LION DE BELFORT PAR SIMON PATTE
INTRODUCTION Le lion de Belfort est érigé en 1880 par le très célèbre sculpteur Auguste Bartholdi qui a aussi fait la statue de la liberté à New York. La statue mesure 22 mètres de long pour 11 mètres de haut ce qui fait d’elle la plus grande statue de pierre de France. Elle a été faite en grès des Vosges ce qui lui donne cette couleur rose.
L'HISTOIRE
grès rose ou grès des Vosges
Avant la construction du Lion de Belfort, La France est en guerre contre le royaume de Prusse et ses états alliés entre le 19 juillet 1870 et le 29 janvier 1871. Ce conflit résulte de la volonté prussienne d’unifier l’Allemagne, qui est jusqu’alors composée de beaucoup d’états indépendants. Mais le Second Empire français refuse cette union en empêchant les états allemands du sud de rejoindre la Confédération de l'Allemagne du Nord. Alors la Prusse déclare la guerre à la France. La guerre se termine par une défaite de la France en 1871 qui a pour conséquence la chute du Second Empire français, la proclamation de la troisième République et l’unification allemande.
Mais au sud de l’Alsace la ville fortifiée de Belfort continue de résister à l’envahisseur. Le colonel Pierre Marie Denfert-Rochereau, gouverneur de la ville, n'accepte de rendre les armes que sur ordre du gouvernement de la Défense nationale, présidé par Adolphe Thiers. Le gouverneur se rend enfin le 18 février 1871, après un siège de 103 jours. Belfort sauve ainsi l'honneur de l'armée française, sali par la défaite piteuse de MacMahon et Napoléon III à Sedan.
siège de Belfort
Lors des négociations du traité de paix définitif, Thiers demande que la ville et son territoire restent à la France, à la différence du reste de l'Alsace. Mais en contrepartie, il doit céder au vainqueur un morceau supplémentaire de la Lorraine. Grâce à sa glorieuse résistance, le territoire de Belfort acquiert le statut de département. Le conseil municipal décide de créer un monument à la mémoire des victimes du siège de 1870-71. colonel Denfert-Rochereau
traité de Francfort
LA CONSTRUCTION DU LION DE BELFORT : Le conseil demande au sculpteur FrédéricAuguste Bartholdi de participer au projet lancé le 5 décembre 1871. Dans le projet initial, le monument devait être une stèle ou une colonne installée au cimetière des mobiles. Mais le sculpteur voulait plus qu’une simple stèle à la mémoire des victimes. Il imagina un lion gigantesque qui glorifie l’énergie de la défense. Le projet de Bartholdi est accepté en 1873 mais dépasse complètement le budget prévu par le conseil. Les travaux ne débutent donc qu’en 1876. Le Lion est donc achevé en 1880 après beaucoup de difficultés financières et matérielles.
modèle et construction du lion
L’INFLUENCE DU LION : Peu de temps après son inauguration, le lion devient une source d’inspiration pour les poètes, les chansonniers et sculpteurs. Il devient l’emblème de la ville. Il est aussi exploité à des fins publicitaires (cartes postales, gravures, miniature…). La sculpture est classée monument historique le 20 avril 1931. Une légende raconte que le constructeur automobile Peugeot se serait inspiré du lion de Belfort pour designer son logo. Il y a des répliques miniatures du lion de Belfort à Paris et à Montréal ce qui montre que celui-ci est célèbre dans le monde entier.
lien jeu: https://learningapps.org/watch?v=pqybey4y320
Lycée Condorcet
THE LION OF BELFORT BY SIMON PATTE
INTRODUCTION The Lion of Belfort was buid in 1880, by Frédéric-Auguste Bartholdi an Alsatian sculptor who create the Statue of liberty, The lion measures eleven meters high and twenty-two meters along, it’s composed of red sandstone and it was the higher monument in France.
HISTORY
red sandstone
The Franco-Prussian war opposed the Second Empire to the Prussian kingdom from the 19th of july to the 29 th of january. This war arising from the Prussian willingness to unify the kingdom, who was an mosaic of different independent states. But France refused this unification so Prussian declare war on France. The war finish on the defeat of France and the fall of The Second Empire in 1871, which caused the creation of the German kingdom.
But after sign out the armistice of january the 29th, a city still ressist to the Prussian. The colonel Pierre Marie Denfert-Rochereau, the governor of the city, doesn’t accepted to give up except if he received an expressly order from the government of the national defnse, chaired by Adolphe Thiers. But the colonel finally give up the 18th february 1871, after a siege of one hundred and three days. So Belfort saved the honnor of the french army, dirted by the defeat of Mac Mahon and Napoleon the thirdin Sedan.
the siege of Belfort
During the negociation of the peace treaty in Francfort, Thiers asked that the city of Belfort remained french unlike Alsace who became Germanic. In return France had to leave one part of the Lorraine to the winner, whereupon Belfort became a department. So the city council decided to eriger a statue in memory of the dead.
colonel Denfert-Rochereau
Frankfurt Treaty
CONSTRUCTION The council asked the famous sculptor Frederic-Auguste Bartholdi to participate in this project. First the monument would be a stele or a columne settle in the mobiles cemetery but the sculptor wanted more than a simple stele of the memory of the defeat. He imagined a gigantic lion which glorifies the energy of the defense. Bartholdi’s project was accepted in 1873 but exceeded the initial budget. Tasks began in 1876. the Lion was completed in 1880 after lots of material shortages.
Lion' construction
INFLUENCE : Shortly after his opening, the Lion became an inspiration for a lot of poets, songwriters and sculptors. It became the emblem of the city. It was exploited for the purpose of marketing too. The sculpture classified historycal monument on 20 th april 1931. A legend tells that the logo of peugeot was inspire by the Lion of Belfort. There are some copies of the Lion in Paris and in Montréal which show that the Lion was famous all around the world.
link game: https://learningapps.org/watch? v=pqybey4y320
Discover
A monument of France Today: The «cathédrale Notre-Dame of Strasbourg » "A prodigy of the gigantic and delicate" according to Victor Hugo
Set in the cathedral square, in the heart of the historic center of Strasbourg, this 142 m cathedral was for a long time the highest building in the world The Cathedral of Our Lady of Strasbourg is a Catholic Gothic cathedral located in Strasbourg, in the Grand Est region, in the French department of the Bas-Rhin in Alsace. Today it is the second most visited cathedral in France, after Notre-Dame de Paris3, eight and a half million tourists a year.
Did you know: This cathedral is today the highest cathedral in the Great East and the second in France after Rouen. It is also the fifth highest cathedral in the world
1
Quiz: https://learningapps.org/watch?v=p4me0tdxn20
A museum of masterpieces “Le Mont des Oliviers”
L’horloge astronomique de Strasbourg
The Astronomical Clock of the Cathedral of NotreDame in Strasbourg is a masterpiece of the Renaissance, considered at the time to be one of the seven wonders of Germany 2
Découvrir
Un monument de France Aujourd’hui : La cathédrale Notre-Dame de Strasbourg "Un prodige du gigantesque et du délicat" selon Victor Hugo
Dressée place de la cathédrale, au cœur du centre historique de Strasbourg,cette cathédrale haute de 142 mètres a été pendant une longue période l'édifice le plus élevé du monde.
La cathédrale Notre-Dame de Strasbourg est une cathédrale gothique catholique située à Strasbourg, en région Grand Est, dans le département français du Bas-Rhin en Alsace. C'est aujourd'hui la deuxième cathédrale la plus visitée de France, après Notre-Dame de Paris3, soit huit millions et demi de touristes par an.
Le saviez-vous:Cette cathédrale est aujourd'hui la cathédrale la plus élevée du Grand Est et la deuxième de France après Rouen. C'est également la cinquième cathédrale la plus élevée du monde.
1
Un musée de chefs-d'œuvre Le Mont des Oliviers
L’horloge astronomique de Strasbourg
L'Horloge astronomique de la Cathédrale NotreDame de Strasbourg est un chef-d'œuvre de la Renaissance, considéré à l'époque comme faisant partie des sept merveilles de l'Allemagne
2
The
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Park and palace of Versailles Introduction Privileged residence of the French monarchy from Louis XIV to Louis XVI, the Palace of Versailles, embellished by several generations of architects, sculptors, decorators and landscapers, For more than a century Europe has been a model of what a royal residence should be.
The Palace of Versailles, located Place d'Armes in Versailles, began to be built in 1623, during the period of classicism. It has an area of 8.2 km². It was the residence of several kings of France such as Louis XIV, Louis XV or Louis XVI. It has been part of UNESCO’s World Heritage since 1979.
The castel currently has 2,300 rooms, including the Royal Chapel, the Hall of the Coronation, the Hall of Mirrors, and it is also renowned for its majestic gardens.
Let us then take a closer look at each of these rooms of the Palace of Versailles.
Test your knowledge of the Palace of Versailles thanks to this quiz : https://learningapps.org/watch?v=pqxtgo7i220
THE ALL OF THE CORONATION
THE ROYAL CHAPEL
The second chapel of the castle became in 1833 a hall dedicated to the glory of Napoleon Bonaparte, First Consul, then Emperor of the French. It was planned to install the two huge paintings he had commissioned from Jacques-Louis David, “Le Sacre” (1808) and “Distribution des aigles à l'armée” (1810). It is the architect of the palace, Frédéric Nepveu, the sculptor Jean-Baptiste Plantar and the painter Jean Alaux took care of the decoration of this room.
The Royal Chapel, known for its great organ, was completed at the end of the reign of Louis XIV in 1710. It is the fifth and last chapel of the castle. The king went there only for the great religious feasts on which he received communion, for the ceremonies of the Order of the Holy Spirit, for the baptisms and for the marriages of the Enfants de France which were celebrated there from 1710 to 1789.
THE HALL OF MIRRORS It is the most emblematic place of the Castle. This 73metre-long baroque-style room replaces what was originally a large terrace open to the garden. Work began in 1678 and was completed in 1684 by the architect Jules Hardouin-Mansart. The gallery, located on the first floor of the castle and opposite the Park, is covered with 357 windows.
ITS GARDENS The gardens of the Palace of Versailles have an area of 830 hectars, and they contain nearly 620 streams. The park was designed in 1624 by André Le Nôtre, Charles Le Brun, Louis Le Vau and Jules Hardouin-Mansart. It is located west of the palace.
2
The Park is open to tourists every day of the year.
Les NOUVELLES EXCLUSIVES TOUT SUR LE MONDE DANS LEQUEL ON VIT
EXCLUSIVITES DU JOUR
;
Palais et parc de Versailles Introduction Lieu de résidence privilégié de la monarchie française de Louis XIV à Louis XVI, le château de Versailles, embelli par plusieurs générations d'architectes, de sculpteurs, d'ornemanistes et de paysagistes, a été pour l'Europe pendant plus d'un siècle le modèle de ce que devait être une résidence royale
La château de Versailles, situé Place d'Armes à Versailles, a commence a être construit en 1623, pendant la période du classicisme. Il a une superficie de 8,2 km². Il a été la résidence de plusieurs rois de France comme Louis XIV, Louis XV ou encore Louis XVI. Il fait parti du patrimoine mondial de l’UNESCO depuis 1979.
Le Château compte aujourd'hui 2 300 pièces, dont la Chapelle Royale, la Salle du Sacre, la Galerie de Glaces et il est également réputé pour ses jardins majestueux.
Intéressons nous alors de plus près à chacune de ces pièces du château de Versailles.
Testez vos connaissances du Château de Versailles grâce à ce quiz: https://learningapps.org/watch?v=pqxtgo7i220
LA SALLE DU SACRE
LA CHAPELLE ROYALE
La seconde Chappelle du château devint en 1833 une salle consacrée à la gloire de Napoléon Bonaparte, Premier Consul, puis empereur des Français. Il était prévu d’y installer les deux immenses toiles qu’il avait commandé à JacquesLouis David, “le Sacre” (1808) et “Distribution des aigles à l’armée” (1810). C’est l’architecte du palais, Frédéric Nepveu, le sculpteur JeanBaptiste Plantar et le peintre Jean Alaux se sont occupé de la decoration de cette pièce.
La Chapelle royale, connue notament pour son grand orgue, a été achevée à la fin du règne de Louis XIV, en 1710. Elle est la cinquième et dernière chapelle du château. Le roi n’y descendait que pour les grandes fêtes religieuses où il communiait, pour les cérémonies de l’ordre du Saint-Esprit, pour les baptêmes et pour les mariages des Enfants de France qui y furent célébrés de 1710 à 1789.
LA GALERIE DES GLACES C’est le lieu le plus emblématique du Château. Cette pièce de 73 mètres de long et de style baroque remplace ce qui était à l’origine une vaste terrasse ouverte sur le jardin. Les travaux débutent en 1678 pour s’achever en 1684, par l’architecte Jules Hardouin-Mansart. La galerie, située au premier étage du château et face au Parc est revêtue de 357 glaces.
SES JARDINS Les jardins du château de Versailles ont une superficie de 830 hectars, et il s contiennent près de 620 cours d’eau. Le parc a été conceptionné en 1624 par André Le Nôtre, Charles Le Brun, Louis Le Vau et Jules Hardouin-Mansart. Il est situé à l’ouest du palais.
2
Le Parc est ouvert tous les jours de l'année aux touristes.
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REIMS CATHEDRAL Reims Cathedral is a Roman Catholic cathedral located in Reims, in the French department of Marne in the Grand Est region. It is known to have been, from the 11th century, the place of almost all the coronations of the kings of France. The cathedral of Reims is one of the major achievements of Gothic art in Europe. Listed on the UNESCO World Heritage List since 1991, this 13th century cathedral has characteristics that make it unique, notably by its unity of style, its luminosity and its statuary.
Reims
Description of the cathedral The height of the nave under vault is 38 meters. Its general impression from the outside is, as with all Gothic churches, that of a dash towards the sky. The two western towers are devoid of arrows but still reach almost 82 meters in height. The highlight is the angle of the bell tower. The orientation of the cathedral is on a South-West North-East axis. The cathedral is therefore not oriented towards the East, but towards the summer axis. It is then interesting to note that the North of France presents a set of cathedrals of the 12th and 13th centuries, all dedicated to Reims Cathedral, whose arrangement recalls that of the stars of the Constellation of Virgo, as it was to be at the time of Jesus' birth.
The cathedral has many stained glass windows, like these three stained glass windows by Marc Chagall from 1974 which adorn this cathedral
The Cathedral is distinguished by a rare unity of style, despite a construction spanning over two hundred years (mainly in the 12th century). Many statues represent famous people as well as important events like for example the baptism of Clovis, the account of the fight of David against Goliath as well as the coronation of the Virgin, the statue of the smiling Angel, emblem of the city of Reims, etc... Reims Cathedral has a very rich statuary, the number of statues which decorate it rises to 2303.
Church Labyrinth church labyrinths symbolize the rise of Christ at Calvary Built in 1286, its primary function was to serve as a symbolic pilgrimage route for believers who would travel it on their knees. But the Reims Labyrinth had another much more interesting feature for historians: it delivered the names of the first four architects of the cathedral and it is thanks to him that they are known to us today. Indeed, today, many
cathedrals in France are "anonymous", While in the four corners of the Reims Labyrinth were four characters representing the four architects and inscriptions giving their names: in the order of Jean d'Orbais who made the plans and raised the bedside table, then Jean Le Loup who opened the North Reims Cathedral Labyrinth (fiction portals, Gaucher De Reims obtained by laser projection) who started the West facade and finally Bernard De Soisson to whom a rose window and the first vaults were attributed.All were represented with an attribute of their profession: one held a square, another held a compass, a third a knotted rope used to measure and the last raised the index as if to give an order. In the center of the Labyrinth was a large figure accustomed to identify as Aubry de Humbert, the archbishop of Reims who decided in 1211 to rebuild a new cathedral in place of the old one destroyed by fire in 1210. If you can no longer find the Labyrinth now, it was destroyed in 1779 by the canons, supposedly disturbed by the children who played there during the services.
Despite its disappearance, it remains the mark of these brillant arhitects who built this Cathedral and it now serves as a symbol for French istoric monuments.
martyr cathedral Reims Cathedral has been called a "martyr cathedral" because in 1914 it began to be bombed by the Germans. Reims, located on the front line, The bombardment damaged the cathedral considerably, blowing out many windows, and damaging several statues and elements of the upper facade.
On the daily reports of the gendarmerie that the cathedral would have received 287 spotted shells, not counting the terrible day of April 24, 1917, which wreaked havoc, but whose impacts could not be identified. Twenty years are necessary for Henri Deneux, architect of historic monuments and his team to restore the building. In 1938, the inauguration took place in the presence of personalities from around the world.
The Memory Game Link : https://learningapps.org/display?v=pzx2njq8320 Jeanne DE THOMASIS
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LA CATHÉDRALE NOTRE-DAME DE REIMS La cathédrale Notre-Dame de Reims, est une cathédrale catholique romaine située à Reims, dans le département français de la Marne en région Grand Est. Elle est connue pour avoir été, à partir du XIe siècle, le lieu de la quasi-totalité des sacres des rois de France. Notre-Dame de Reims est l’une des réalisations majeures de l’art gothique en Europe. Inscrite sur la Liste du patrimoine mondial de l’UNESCO depuis 1991, cette cathédrale du XIIIe siècle présente des traits qui la rendent unique, notamment par son unité de style, sa luminosité et sa statuaire. En effet, Notre-Dame surpasse les autres églises par la richesse de cette dernière.
Reims
Description de la Cathédrale La hauteur de la nef sous voûte est de 38 mètres. Son impression générale depuis l'extérieur est, comme pour toutes les églises gothiques, celle d'un élan vers le ciel. Les deux tours occidentales sont dépourvues de flèches mais culminent tout de même à près de 82 mètres de hauteur. Le point le plus élevé est l'angle du clocher . L’orientation de la cathédrale est selon un axe Sud-Ouest Nord-Est. La cathédrale est donc orientée non pas vers l'Orient, mais dans l’axe d'été. Il est alors intéressant de remarquer que le Nord de la France présente un ensemble de cathédrales des XIIe et XIIIe siècles, toutes dédiées à Notre-Dame, dont la disposition rappelle celle des étoiles de la Constellation de la Vierge, telle qu’elle devait être au moment de la naissance de Jésus.
La cathédrale possède de nombreux vitraux, comme ces trois vitraux de Marc Chagall de 1974 qui ornent cette cathédrale
La cathédrale se distingue par une rare unité de style, malgré une construction s'étalant sur plus de deux cents ans (principalement au XIIe siècle). De nombreuses statues représentent des personnages célèbres et des événements importants comme par exemple le baptême de Clovis, le récit de la lutte des David contre Goliath, le couronnement de la Vierge, ainsi que la statue de l'Ange souriant, emblème de la ville de Reims, etc ... La cathédrale de Reims a une très riche statuaire, le nombre de statues qui l'ornent, est de 2303
Le labyrinthe Construit en 1286, sa fonction première était de servir de symbolique chemin de pèlerinage aux croyants qui le parcourraient à genoux. Mais le Labyrinthe de Reims avait une autre particularité bien plus intéressante pour les historiens : il livrait les noms des quatre premiers architectes de la cathédrale et c'est grâce à lui qu'ils nous sont aujourd'hui connus. En effet, de nos jours, beaucoup de cathédrales en France
sont "anonymes". Alors qu'aux quatre coins du Labyrinthe de Reims se trouvaient quatre personnages représentant les quatre architectes et des inscriptions donnant leurs noms : dans l'ordre Jean d'Orbais qui fit les plans et éleva le chevet, puis Jean Le Loup qui ouvrit les portails Nord, Gaucher De Reims qui Le labyrinthe de la cathédrale (fiction commença la façade Ouest et obtenue par projection laser) enfin Bernard De Soisson à qui Tous étaient représentés avec un attribut de leur une rosace et les premières profession : l'un tenait une équerre, un autre un voûtes furent attribuées. compas, un troisième une corde à nœuds servant à mesurer et le dernier dressait l'index comme pour donner un ordre. Au centre du Labyrinthe se trouvait un grand personnage que l'on a coutume d'identifier comme Aubry de Humbert, l'archevêque rémois qui décida en 1211 de reconstruire une nouvelle cathédrale à la place de l'ancienne rasée par un incendie en 1210. Certains historiens ont pensé que le Labyrinthe avait été élevé, non seulement pour sa vocation de chemin de pèlerinage, mais aussi à la gloire des architectes qui ont réussi à dresser, au XIIIème siècle, cette colossale œuvre d'art qu'est Notre Dame de Reims. Malheureusement si vous ne trouvez plus le Labyrinthe maintenant c'est parce qu'il a été détruit en 1779 par les chanoines, soi-disant dérangés par les enfants qui jouaient dedans durant les offices.
Malgré sa disparition il reste la marque de ces géniaux architectes qui ont bâti notre chère cathédrale et il sert aujourd'hui de symbole aux monuments historiques français.
La Cathédrale martyre La cathédrale de Reims a été appelée "cathédrale des martyrs" car en 1914, elle a commencé à être bombardée par les Allemands. Reims, situé en première ligne, Le bombardement a considérablement endommagé la cathédrale, fait sauter de nombreuses fenêtres et endommagé plusieurs statues et éléments de la façade supérieure. Selon les rapports quotidiens de la gendarmerie la cathédrale aurait reçu 287 obus, sans compter la terrible journée du 24 avril 1917, qui a fait des ravages, mais dont les impacts n'ont pu être identifiés. Vingt ans sont nécessaires à Henri Deneux, architecte des monuments historiques et à son équipe pour restaurer l'édifice. En 1938, l'inauguration a eu lieu en présence de personnalités du monde entier.
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UNESCO'S SITES THE ABBEY OF FONTENAY Situated in the north of the Bourgogne, a region of France, the abbey of Fontenay was founded in 1118 by one of the major French Saint, Saint Bernard de Clairvaux. This abbey is the oldest Cistercian abbey the best preserve of the world, the buildings were impressive and allow us to understand the Cistercian ideal of a sober life, entirely centered on prayer and work. Fontenay is more than an abbey, this place include also a beautiful landscaped park. In addition, his localization, in the depths of a wooded valley give to the Fontenay abbey a special light, which illuminates at all hours of the day the buildings, the gardens… offering visitors an unforgettable spectacle of great beauty.
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The Differents Ranks of Fontenay : This abbey is classify to the Historical French Monument rank since 1862 It was also rank to the UNESCO World Heritage in 1981 It was one of the first french monument to figure on this list because of the exceptional value of this abbey and his natural environment !
History of the Abbey and tourism After the french revolution and the departure of the monks, this abbey was turned into an industrial building. Since 1820, the abbey is the private property of a family who continue the preservation of this place and receive more than 100 000 visitors every year. Those visitors come in order to admire the beauty and the calm of this architecture protected for 900 years. Moreover this place is often use as film setting for historic movies.
PLACES OF FONTENAY :
The Abbatial Church : This church is one of the oldest Cistercian churches in the world. Built between 1139 and 1147 with great simplicity, it constitutes a typical model of Burgundian Romanesque architecture. It is also one of the few Cistercian abbey buildings from the 12th century which has survived until today.
The abbey church impresses with its remarkable state of conservation, its dimensions, its rigorous sobriety and its particular luminosity. There is an atmosphere of calm and serenity inviting to admiring contemplation and contemplation.
Other spots :
The foundry
The Forge was built away from the religious buildings of the monastery, so as to clearly mark the separation between prayer and work, which constituted the two activities of the monks. It dates from the end of the 12th century.
The Cloister The cloister is the heart of the monastery. This marvel of Romanesque art was conceived both as a space for communication between all the rooms of the monastery and as a place of meditation.
"Le jardin des Simple" The monks cultivated medicinal plants and vegetables (necessary for their low-meat diet) in the large garden located east of the convent buildings, which can be seen from the dormitory windows
SITES DE L'UNESCO L'ABBAYE DE FONTENAY Situé au nord de la Bourgogne, une région de France, l’abbaye de Fontenay a été fondée en 1118 par l’un des majeurs saints français, Saint Bernard de Clairvaux. Cette abbaye est la plus vieille abbaye cistercienne la mieux préservée au monde, l’ensemble des bâtiments sont impressionnants et nous permettent de comprendre et cerner l’idéal cistercien d’une vie sobre, entièrement centrée sur la prière et le travail. Fontenay est plus qu’une simple abbaye, le site possède aussi un magnifique parc paysager. De plus, sa localisation, au creux d’un vallon boisé, donne à l’abbaye de Fontenay une lumière particulière qui illumine les bâtiments, les jardins… à toutes heures de la journée, offrant ainsi un inoubliable spectacle d’une rare beauté. Après avoir lu cet article joue au jeu pour te tester ! Lien du jeu : https://learningapps.org/display?v=pk9406jm320
Les différents classements de Fontenay : Cette abbaye a été classée au monument historique français en 1862 Elle a aussi été inscrite au patrimoine mondial de l'UNESCO en 1981 C’est l’un des premiers monuments français à apparaître sur cette liste montrant ainsi l’exceptionnelle valeur de cette abbaye et de son environnement naturel !
L'Histoire de l'abbaye et le tourisme Après la révolution française et le départ des moines, l’abbaye a été transformée en bâtiment industriel. Elle est aussi depuis 1820, la propriété privée d’une famille qui continue la préservation de ce site et reçoit ainsi plus de 100 000 visiteurs par an. Les visiteurs viennent admirer la beauté et le calme de cette architecture vieille de 900 ans. De plus ce site sert souvent de décor de cinéma pour des films historiques.
DIFFERENTES PARTIES DE FONTENAY L'Abbatial L’abbatiale de Fontenay est une des plus anciennes églises cisterciennes dans le monde. Construite entre 1139 et 1147 dans une grande simplicité, elle constitue un modèle typique de l’architecture romane bourguignonne. Elle est aussi l’une des rares abbatiales cisterciennes du XIIe siècle parvenue intacte jusqu’à nos jours.
L’abbatiale impressionne par son remarquable état de conservation, ses dimensions, sa sobriété rigoureuse et sa luminosité particulière. Il y règne une atmosphère de calme et de sérénité invitant à une contemplation admirative et au recueillement.
Autres places :
La forge
La Forge a été édifiée à l’écart des bâtiments à vocation religieuse du monastère, de manière à bien marquer la séparation entre la prière et le travail, qui constituaient les deux activités des moines. Elle date de la fin du XIIe siècle.
Le cloître Le cloître est le cœur du monastère. Cette merveille de l’art roman a été conçue aussi bien comme espace de communication entre toutes les salles du monastère que comme lieu de méditation.
Le jardin des Simple Les moines cultivaient des plantes médicinales et les légumes (nécessaires à leur alimentation pauvre en viande) dans le grand jardin situé à l’Est des bâtiments conventuels, qu’on aperçoit depuis les fenêtres du dortoir.
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the Arc-et-Senans Royal Saltworks GENERAL INFORMATION The Arc-et-Senans Royal saltworks are a rare and an exceptional example of industrial architecture history, designed by Claude-Nicolas Ledoux (17361806), a visionary architect. The site was designed for the production of salt, commissioned by Louis XV, and built between 1775 and 1779. In 1982, the Arcet-Senans Royal Saltworks was included on the UNESCO world heritage list. Almost all of the employees at the Royal Saltworks lived on the premises near the production site. When new technologies emerged, the Royal Saltworks became obsolete, and closed down in 1895. The site was abandoned, plundered, and damaged by fire in 1918; but in 1927, the Doubs Department bought the premises and saved them from ruin. After three consecutive restoration cycles that were completed in 1996, the site was restored to its former glory.
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This is the whole site. It was built in the form of a circular arc, and included both the dwellings and the production sites. In all, there were 11 buildings: the Director’s house, the Stables, the East and West Salt Buildings, the Eastern and Western Workers (Commis) buildings, the Eastern and Western Dormitories (Berniers) Buildings, the Cooperage, the Guards Building, and the Farrier/Blacksmith.
This is the Director’s house
ARCHITECTURE Ledoux designed the architectural ensemble in the form of a semicircle (370 meters in diameter), comprising the technical installations and the workers' accommodation. The director's house with its pediment and peristyle imposed a certain idea of order. It recalls the Villa Rotonda de Palladio, near Vicenza (Italy). There is no doubt that Saline is the expression of utopian visions. Its perfect semicircle, alignment and symmetry, whatever the point of view, make it an idealistic architectural work.
EVENTS
This is the salt museum
the salt factory of Arc-et-Senans, located on the edge of the Jura, is an early example of industrial architecture designed with a concern for aesthetics. Unoccupied since 1920, classified as historic monuments and restored, the saltworks buildings have housed the International Center for Reflection on the Future since 1970.
The site welcome some events like concerts, exhibitions, European project, or the Garden Festival each year. There is also permanent exhibitions like the salt museum or the Ledoux museum.
2020 Season The Royal Saltworks is hosting this year, three concerts by Jordi Savall (by Beethoven and Bach), two temporary exhibitions (Georges Fessy and photography, Le Cirque, c'est nostalgie du Paradis), the 20th Garden Festival, the Cirque Plume show “The last season”, of artist residencies, of symposia, a trail and a skating rink.
HOTEL AND CONVENTION CENTER The Royal Saltworks is home to a 3-star hotel located in the heart of the monument entirely refurbished by the famous interior designer JeanMichel Wilmotte, and decorated by the architect and cartoon author Damien Cabiron, a convention center with 10 reception rooms for 10 to 900 people and a fast food restaurant , the Table des jardins, offered seasonally for visitors. 2 This is the restaurant
Les
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Les Salines Royales Arc-et-Senans INFORMATIONS GENERALES Les salines royales d'Arc-etSenans sont un exemple rare et exceptionnel de l'histoire de l'architecture industrielle, conçu par Claude-Nicolas Ledoux (1736-1806), un architecte visionnaire. Le site a été conçu pour la production de sel, commandé par Louis XV, et construit entre 1775 et 1779. En 1982, la Saline royale d'Arc-etSenans a été inscrite sur la liste du patrimoine mondial de l'UNESCO. La quasi-totalité des employés de la Saline Royale vivaient dans les locaux situés à proximité du site de production. Avec l'apparition de nouvelles technologies, la Saline Royale devient obsolète et ferme en 1895. Le site est abandonné, pillé et endommagé par un incendie en 1918, mais en 1927, le département du Doubs achète les locaux et les sauve de la ruine. Après trois cycles de restauration consécutifs qui se sont achevés en 1996, le site a retrouvé son lustre d'antan.
Voici l'ensemble du site. Il a été construit en forme d'arc de cercle, et comprenait à la fois les habitations et les sites de production. Au total, il y avait 11 bâtiments : la maison du directeur, les écuries, les bâtiments du sel Est et Ouest, les bâtiments des ouvriers Est et Ouest (Commis), les bâtiments des dortoirs Est et Ouest (Berniers), la tonnellerie, le bâtiment des gardes et le maréchal-ferrant.
Voici la maison du directeur
ARCHITECTURE Ledoux a conçu l'ensemble architectural sous la forme d'un demi-cercle (370 mètres de diamètre), comprenant les installations techniques et le logement des travailleurs. La maison du réalisateur avec son fronton et son péristyle a imposé une certaine idée de l'ordre. Il rappelle la Villa Rotonda de Palladio, près de Vicenza (Italie). Il ne fait aucun doute que Saline est l'expression d'une vision utopique Son demi-cercle parfait, son alignement et sa symétrie, quel que soit le point de vue, en faire une oeuvre architecturale idéaliste.
EVENEMENTS
Voici le musée du sel
Le site accueille chaque année des événements tels que des concerts, des expositions, un projet européen ou le Festival des jardins. Il y a aussi des expositions permanentes comme le musée du sel ou le musée Ledoux.
la saline d'Arc-et-Senans, située en bordure du Jura, est un exemple précoce d'architecture industrielle conçue dans un souci d'esthétique. Inoccupés depuis 1920, classés monuments historiques et restaurés, les bâtiments de la saline abritent depuis 1970 le Centre international de réflexion sur l'avenir.
Saison 2020
La Saline royale accueille cette année, trois concerts de Jordi Savall (de Beethoven et Bach), deux expositions temporaires (Georges Fessy et la photographie, Le Cirque, c'est nostalgie du Paradis), le 20e Festival des jardins, le spectacle du Cirque Plume "La dernière saison", des résidences d'artistes, des colloques, un parcours et une patinoire.
L’HOTEL et CENTRE des CONVENTIONS La Saline royale abrite un hôtel 3 étoiles situé au cœur du monument, entièrement rénové par le célèbre architecte d'intérieur Jean-Michel Wilmotte, et décoré par l'architecte et auteur de bandes dessinées Damien Cabiron, un centre de congrès avec 10 salles de réception pour 10 à 900 personnes et un restaurant rapide, la Table des jardins, proposé en saison aux visiteurs. 2 Voici le restaurant
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Carisbrooke Castle All about Carisbrooke Castle Carisbrooke huge
Castle
historic
is
a
building
where people can visit to learn the history of it. It is located in Carisbrooke on the Isle of Wight, England. Once upon a time it was a defense
on
the
Isle
of
Wight for over 1,000 years. It was believed the castle was around and used as long ago as the 6th century. It was built to provide a refuge against Viking raids.
This is a photograph taken at Carisbrooke castle, of one of their entrances. The photo below is a bird’s eye view of the whole of Carisbrooke castle.
This is another photo of Carisbrooke castles entrances; this shows that the castle is very strongly built as it is still standing in perfect condition.
Why visit Carisbrooke Castle? Carisbrooke Castle has so much to offer, you load so much in just one day! -You can explore the whole castle and learn lots of the castles history. -Or you could meet the castles donkeys, and watch them demonstrate how the donkeys use to draw up the water in the well house, for hundreds of years. -Why not climb the steeps where the Normans once walked themselves and take a real step into history. There is so much to do at Carisbrooke castle, it might even take more than one day!
Chapel In 1856 there was a rebuild of the chapel at Carisbrooke castle, to remember the 250th anniversary of Charles I’s execution, although there has been a chapel at Carisbrooke since medieval times. The chapel became a war memorial for war dead of the whole island after the First World War. To find out lots more infomation about the Chapel at Carisbrooke Castle visit!
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Sustainable development at Carisbrooke Castle Carisbrooke Castle practises sustaibale development goals by for an example in their tearoom, they serve a selection of locally produced hot and cold snacks, treats and light lunches. Also at Carisbrooke Castle they grow beautiful plants, shown in the picture on the left. They plot their plants in an edwardian style. They are based on Queen Victorias daughter.
Visit The
opening
Carisbrooke
times
Castle
at
varies
from season but here is the opening times for Summer 2020 (1 Apr2020 - 30 Sept 2020) DayTimes Monday10:0018:00 Tuesday10:0018:00 Wednesday10:0018:00 Thursday10:0018:00 Friday10:0018:00 Saturday10:0018:00 Sunday10:0018:00Bank Holiday10:0018:00
Here are some reviews on Carisbrooke Castle from tripadvisor „Fun
in any kind of weather.
Monday, 24th February 2020 Yes, we enjoyed Carisbrooke Castle in the high winds and pouring rain. It's great fun for the whole family. Even our dog was allowed to roam around with us on the lead.”
“Centuries of history Tuesday, 3rd March 2020 We got the bus to the foot of cedar hill and then took the footpath up and walked the ramparts before entering. Friendly welcome and plenty of intact buildings to view including the chapel and great.”
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Adult Ticket
£8.80 per ticket
Child Ticket (5-15 Yrs)
£5.20 per ticket
Concession Ticket
£7.90 per ticket
Family Ticket (2 Adults & 3 Children)
£22.80 per ticket
Members
Free
This is a pricing list for entry.
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OSBORNE HOUSE AND ROYAL HISTORY Osborne House Osborne House is located on the Isle of Wight, within East Cowes. This place was built for the Royal Family in the 1800s for Queen Victoria and Prince Albert who used it for their growing family to have a seaside retreat since London and Windsor are where they have hard work and would like an escape so they can relax and have time off. Many years later, on the year 1986 the English Heritage brought the estate from the Royal Family. History of Osborne House has little known in terms of early history, the earliest that in 1705 the estate got into the hands of the Blachford family. During 1774 to 1784 is where Robert Pope Blachford had upgraded the existing house into a three-story building. In 1843 Queen Victoria and Prince Albert were looking for a seaside retreat and in 1845 got the estate where they saw it as too small so knocked it down and built a new one where they finished in 1851. 1853-1854 had a Swiss cottage built on the estate grounds. When Prince Albert died in 1861 the main creative power there died with him and Queen Victoria had many projects continue even a grand reception to entertain large groups of guests in the 1890s. Upon her death no one in the Royal Family wanted anything to do with the estate and in 1902 it was given to the public.
When the English Heritage brought it in 1986 they started repairing, redecorating and representation and in 1989 the royal nursery suite was available for public viewing. In 2012 the private beach was available to go and visit and in 2014 the English Heritage finally completed their £1.65 million restoration project at the Swiss cottage and reopened with a new exhibit. Image: Queen Victoria’s Private Beach
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State Rooms at Osborne House
Family Rooms at Osborne Within theHouse family rooms you’ll see the rooms House
At Osborne House there’s a variety of places to see
where Queen Victoria, Prince Albert and their
on the estate grounds in
nine children slept along with Queen Victoria’s
the state rooms, you’ll see
sitting room, Queen Victoria’s personal bath
where Queen Victoria has
tub and the bedroom where she died on the
entertained
22nd January 1901.
the
most
important of guests who had come for a visit. You’ll also see the taste in style when it comes to furniture that Queen Victoria and Prince
Albert
designing
had
the
when
inside
of
their home.
Queen Victoria’s Private Beach Queen Victoria’s Private Beach was a place the Queen bathed regularly and her children had learned how to swim. It’s been open to the public since 2012 where you can swim, grab some food or even get some ice cream from the nearby café.
Swiss Cottage Swiss Cottage is where you can look around and see what the Swiss Cottage has about them
and
the
objects
placed
in
the
museum. Or follow the trail to the private beach that belonged to Queen Victoria.
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SKIPTON CASTLE ALL ABOUT THIS BEATIFUL CASTLE
A COMPLETE MEDIEVAL CASTLE INTRODUCTION Skipton Caste is one of the most complete and bestpreserved medieval castles in England, for over 900 years old. It’s great to visit it at any season of the year. This castle which withstood a three-year siege during the Civil War, is history-rich, impressive and visitors can explore it. People can view the Banqueting Hall, the Kitchen, the Bedchamber and Privy. People can also climb from the depths of the Dungeon to the top storey of the Watch Tower.
Moreover, visitors can imagine what life was like when Skipton Castle provided protection and security from invaders; relax in the picnic area or in the new tearoom or even visit the shop if they want more information.
It was built in 1090 by Robert de Romille, a Norman baron. Millstone grid was the material used for the construction.
Visitors can see mason’s marks the stonework within the main entrance and the Conduit Court. Of the castle’s defenses. It To show which stones they had dressed in order to be was originally the paid for their work, watchtower. stonemasons left a carved To its left, there is the symbol or initial, it’s special present entrance to the and beautiful. inner core of the
ABOUT THE CASTLE
Skipton Castle is well preserved in addition to being one of the most complete medieval castles in England.
the center of this Medieval Castle, where the Lord and Lady would have dined. The kitchen opens straight off the garderobe that people can also visit.
stronghold.
In medieval days, there was The splendor is revealed a bridge over a moat, a when people enter in the portcullis and main doors castle grounds but also by before the inner courtyard that doesn’t exist anymore. the towers of the There was a smelly, crowd Facing the gatehouse there is gatehouse that are fully and hot kitchen, a a large tower, which is the roofed, with an Banqueting Hall which was enchanting Tudor most important feature courtyard.
SKIPTON CASTLE LOCATION Skipton Castle is in the North Yorkshire, in England, in Skipton. Skipton, which means “sheep-town” is a market town and civil parish in the Craven district of North Yorkshire. There are around 15000 inhabitants.
HISTORY Robert de Romille, a Norman baron, built a primitive fort in Skipton soon after 1090, but its wooden ramparts didn’t prevent the Scots from entering during their different raids in the North Yorkshire. That’s why it was replaced with a more formidable stone castle which stood on top of a cliff. The history of the castle is inseparable from that of the Clifford family who were granted the property by Edward II in 1310, when Robert Clifford was appointed first Lord Clifford of Skipton and Guardian of Craven, the wide tract of countryside to the north and west of Skipton. The Clifford's Norman forebears took the name from Clifford Castle in Herefordshire which they also owned. Robert Clifford began heavily fortifying the castle, but he was killed at the Battle of Bannockburn in 1314 with his new stronghold barely completed. During the Civil War it was the last Royalist bastion in the North, yielding only after a three-year siege in 1645. ‘Slighted' under the orders of Cromwell, the castle was skilfully restored by the redoubtable Lady Anne Clifford. Skipton remained the Clifford's principal seat until 1676. Today, their banner flies over the castle with the approval of the present Lord Clifford of Chudleigh.
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HISTORICAL PERSONALITIES OF SKIPTON CASTLE JOHN 9TH LORD CLIFFORD (1435-1461) Also called “black-faced” or “Butcher Clifford” he was the Lord of Skipton. He died at the Battle of Towton while he was fighting for his Sovereign Henry VI
GEORGE CLIFFORD 3RD EARL OF CUMBERLAND (1558-1605) The Lord of Skipton pictured as Queen's Champion. Standing in his special armour and wearing Queen Elizabeth's diamondstudded glove on his head-dress, he has flung down his gauntlet and awaits a challenger.
FRANCIS CLIFFORD 4TH EARL OF CUMBERLAND (1559-1641) It was a Lord of Skipton. He was successful, he was born and died at Skipton Castle.
The splendid tomb of Lady Anne's father can be seen in Skipton Parish Church.
LADY MARGARET RUSSELL, COUNTESS OF CUMBERLAND
LADY ANNE CLIFFORD (1590-1676) Born at Skipton Castle, the daughter of George Clifford was the last Clifford to own Skipton Castle. She fought for her rights and for the King’s cause when the castle withstood a three years siege and was also remarkable for the restauration work on her Castles.
(1560-1616) Married in 1577 to George Clifford 3rd Earl of Cumberland in the presence of Queen Elizabeth I, she was distinguished by resolute efforts to obtain for her daughter her rightful inheritance. Deeply interested in alchemy she discovered many excellent medicines.
WHY VISIT THIS CASTLE? You want to visit this castle but you hesitate? Go there! This castle is really beautiful and well preserved one of the most complete in England- so it can be really interesant to see how a medieval castle was. Moreover, it will improve your history knowledge since it represents a huge part of Skipton’s story. Apart from cultural aspects, you will have a great time in a pleasant atmosphere and landscape, in a beautiful region. 3
DO YOU WANT TO HAVE FUN? You can find games here about this article. Memory game about historical Personalities https://learningapps.org/watch?v=puazgdqrt20
Skipton Castle game https://learningapps.org/watch?v=pbsdft5y320
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THE ART MUSEUM OF PLOIESTI The History Of The Art Museum The Art Museum of Ploiesti City has its origins in the Painting Gallery of Ploiesti City, set up in November 1931 as a result of the consistent efforts of an influential group of intellectuals in Ploiesti, among whom the lawyer, politician and art collector Ion Ionescu-Quintus, architect Toma T. Socolescu, historian Dumitru MunteanuRâmnic, with the help of the local authorities, within the "Nicolae Iorga" Cultural Establishment. The building has a solemn exterior, adorned with important pieces of stucco that support the frames of the windows and of the two balconies on the main façade and on the southern side. The roof is high, strewn with French-style chimneys, and initially made of slate scales. The main entrance, surmounted by a gable marked by a large porthole, is staked out by two oversized ironwork lanterns, with decorative motifs in accordance with the fencing.
The first owner ever was Ghita Ionescu (1833-1898). After being evacuated during WW2 it was reopened in 1955 under the name of “Muzeul de Arta Ploiesti”. From 1928 to 1956 it was named “Pinacoteca orasului Ploiesti”.
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The Interior It has a patrimony composed of modern and contemporary Romanian art. The stairs are made of marble and they are covered with red carpets. Also it has tall, narrow columns and the railing is decorated with swirls and flower accents. The building itself gives you a royal feeling. The art museum has paintings all over its ceilings. This site is also part of an architectural reservation made by Romanian architects and foreign ones. The inside is made of 3 levels: semibasement, ground floor and first floor. The decor has an Italian style. The building has kept its original stoves.
The Patrimony The Museum's patrimony consists mainly of modern and contemporary Romanian art (19th and 20th centuries) and is structured into collections: painting, graphics, sculpture and decorative art. The painting collection started in 1931, becoming enriched, along the years, by means of acquisitions and donations (among which the most important one is the Seulescu-Stere Donation).
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MUZEUL DE ARTĂ DIN PLOIEȘTI Istoria Muzeului de Artă Muzeul de Artă al orașului Ploiești își are originea în Galeria de pictură a orașului Ploiești, înființată în noiembrie 1931 ca urmare a eforturilor constante ale unui grup influent de intelectuali din Ploiești, printre care avocatul, politicianul și colecționarul de artă Ion Ionescu- Quintus, arhitect Toma T. Socolescu, istoricul Dumitru Munteanu-Râmnic, cu ajutorul autorităților locale, în cadrul Instituției Culturale „Nicolae Iorga”. Clădirea are un exterior solemn, împodobit cu bucăți mari de stucatură, care sprijină cadrele ferestrelor și ale celor două balcoane de pe fațada principală și din partea de sud. Acoperișul este înalt, prevăzut cu hornuri în stil francez și inițial alcătuit din plăci de ardezie. Intrarea principală, străjuită de un fronton în care s-a proiectat un hublou uriaș, este încadrată de două felinare de dimensiuni mari, din feronerie, cu motive decorative asortate cu gardul.
Primul proprietar al clădirii a fost Ghiță Ionescu (18331898). După evacuarea din timpul celui de-al doilea război mondial, a fost redeschis în 1955 sub numele de „Muzeul de Artă Ploiești”. Din 1928 până în 1956 a fost denumit „Pinacoteca orașului Ploiești”.
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Interiorul Are un patrimoniu compus din artă română modernă și contemporană. Scările sunt din marmură și sunt acoperite de covoare roșii. De asemenea, are coloane înalte și înguste, iar balustrada este decorată cu vârtejuri și accente florale. Clădirea în sine vă oferă un sentiment regal. Toate tavanele Muzeului de artă sunt pictate. Acest obiectiv face parte și dintr-o rezervație arhitecturală făcută de arhitecți români și de străini. Interiorul este format din 3 nivele: demisol, parter și primul etaj. Decorul este în stil italian. Clădirea și-a păstrat sobele originale.
Patrimoniul Patrimoniul Muzeului constă în principal din artă românească modernă și contemporană (secolele XIX și XX) și este împărțită pe colecții: pictură, grafică, sculptură și artă decorativă. Colecția de pictură a început în 1931, îmbogățindu-se, de-a lungul anilor, prin achiziții și donații (printre care cea mai importantă este Donația Seulescu-Stere). 2
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BRAN CASTLE HISTORICAL TIMELINE (1211 – 1944)
1211 The Teutonic Knights – “Ordo domus Mariae Sanctae Theutonicorum Hierosolimitanorum” – a catholic religious order formed in Palestine during the late twelfth century by German crusaders, received Țara Bârsei (“Terra Borza” or “Burzenland” – a country named after the Cuman tribe of Burci) from King Andrew II of Hungary. The purpose of this gift was to establish the Teutons in the area and to defend the Southeastern border of Transylvania from the Cumans and the Pechenegs. The Teutons erected a fortress in Bran (a Slavonic name meaning “gate”), before they were driven away from the area in 1226.
1377 On November 19, the office of the Hungarian King Louis the Great – Louis I of Anjou – issued a document granting to the people of Brasov (“Kronstadt” – The Crown’s City) the privilege of building a castle. Through this document, the Saxons of Transylvania (“Sachsen” – a population of German origin that came to Transylvania in the twelfth century), from the region encompassing Brasov, were urged to participate in the building of Bran Castle.
1388 In 1388, the castle’s construction was complete. The Castle was built on a steep cliff between Măgura and Dealul Cetăţii (“fortified town’s hill”), with an exceptional view of the nearby hills, Moeciu Valley and Valea Bârsei. It served the role of customs – holding 3% of goods transferring in and out of Transylvania – and the role of a fortress.
1441 The Turks raided Transylvania, but John Hunyadi (Iancu de Hunedoara) defeated them in Bran. Iancu, Prince of Transylvania, who needed the support of the Saxons at the border, reinforced the promises granted to the inhabitants of Brasov by Mircea the Elder and by Sigismund.
1459
FREE NEWSPAPER TEMPLATE DELIVERED BY WWW.EXTRANEWSPAPERS Vlad the Impaler (Vlad Tepes) was allied with Bran and Brasov during his first reign (1448) and through the start of his next reign, after the Princes of Transylvania requested that he handle the anti-Ottoman resistance at the border. During his second reign (1456 – 1462), however, his army passed through Bran in early 1459 to attack Brasov, in order to settle a conflict between the Wallachia Voivode and the Saxons, who requested higher customs taxes and supported his opponent for the throne. Vlad the Impaler burned the city’s suburbs and murdered hundreds of Saxons from Transylvania, provoking the Saxon community to seek revenge by later mentioning in reports that the Voivode were a tyrant and extremely ruthless.
1836 By 1836, Bran Castle lost its military and commercial importance, after the border between Transylvania and Wallachia was moved to the mountains, at Pajura. Although Bran ceased to be a border and customs point of Austro-Hungary, the castle continued to be an administrative seat.
1886 Between 1883 and 1886, the imperial authorities agreed, at the insistence of the Brasov inhabitants, to repair damages made to the castle during the Revolution of 1848 and during the RussoTurkish war of 1877. Extensive restoration work was carried out.
1920 After 1918, Transylvania became part of Greater Romania. On December 1st 1920, the citizens of Brasov, through a unanimous decision of the city’s council, led by Mayor Karl Schnell, offered the castle to Queen Maria of Romania, who was described in the deed as “the great queen who (…) spreads her blessing everywhere she walked, thus winning, with an irresistible momentum, the hearts of the entire country’s population”. The Castle became a favorite residence of Queen Maria, who restored and arranged it to be used as a residence of the royal family. 2
1932
FREE NEWSPAPER TEMPLATE DELIVERED BY WWW.EXTRANEWSPAPERS From 1920 until 1932, the Castle was converted into a royal summer residence, coordinated by the Czech architect Karen Liman, who designed the castles Peles and Pelisor. The area around the Castle was turned into an English Park with two ponds and a Tea House. An elevator was installed into the well shaft to provide easy access between the castle and the park for the Queen suffering from arthritis. Other buildings were erected: a guesthouse, a wooden church, staff housing, stables and garage.
1938 When Queen Marie died, on July 18, Bran Castle was bequeathed to Princess Ileana, now married to Archduke Anton of Austria since 1931. The Queen’s favourite, according to a statement from Balchik on June 29, 1933. The Archduchess continued the planning for the castle's future.
1940 After the Vienna Award, when Romania lost the South Danube territories, Queen Marie’s heart that had been in the Stella Maris chapel of the Balchik’s palace on the Black Sea, was brought in its sarcophagus to Bran. The sarcophagus containing the heart was placed into a crypt chapel carved into the rock across the valley from the Castle. Upon the Queen’s death, her heart was placed in a silver box inside a precious ornate pyxis, which were then wrapped in the flags of Romania and of her native England and then placed in a marble sarcophagus.
1944 Princess Ileana built a hospital in Bran, she named it “the Hospital of the Queen’s Heart”, which serviced the treatment for wounded soldiers from Brasov after the Red Cross hospital was bombed by American aircraft. After 1945, the hospital continued to treat people wounded and maimed in the war and the population of the region. Princess Ileana herself cared for patients as a nurse and even operated in the hospital. She continued the work with great efforts until January 1948.
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The construction of Bran Castle was done on a rock that dominated the Pass, being understandable that it was given the role of supervision and defense of this Pass. The rock on which Bran was built is integrated into the construction, climbing on its northern side to the fourth level. The towers in its composition, located in the north, south, east and west side, were built of rock and river boulders, as well as the walls that connect them. The oldest of these is the observation tower in the northern part, the dungeon (over time, Bran Castle has undergone several changes), having the square base and rising above the building. In the western part of the building an annex was built in the twentieth century, century in which Bran Castle came under the administration of the Hohenzollerns. It is also inside, and outside the enclosure wall. In the courtyard there was also a fountain, supplying the castle with the necessary water source, and the court has stone slabs.
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Bran Castle is 82 km from Ploiesti (113 km on the road) and 134 km from the capital, Bucharest (173 km on the road). The land between Bucegi and Piatra Craiului has determined a series of significant episodes, from prehistory to the present, hosted by a major geographical and historical point: Bran Pass. Bran Pass, one of the most important trans-Carpathian passages, had a dynamic history. His story was characterized by two fundamental aspects: the commercial one, as the intersection of important routes and the military one, determined by the recurrent invasions that used these routes. A natural amphitheater, defended to the east by the Bucegi Mountains and to the west by the Piatra Craiului Massif, the Bran Pass offered, due to its concave shape, a wide panorama, both towards the Barsa Country, as well as to the valley and hills of Moeciu.
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The Myth that conquered the world Bram Stoker’s character, Dracula, is a Transylvanian Count with a castle located high above a valley perched on a rock with a flowing river below in the Principality of Transylvania. This character is often confused with Vlad Tepes (Vlad the Impaler), sometimes known as Vlad Dracul, who was a Walachian Prince with a castle, now in ruins, located in the Principality of Wallachia. Because Bran Castle is the only castle in all of Transylvania that actually fits Bram Stoker’s description of Dracula’s Castle, it is known throughout the world as Dracula’s Castle. Chapter 2, May 5 of “Dracula” describes the Count’s castle as “. . . on the very edge of a terrific precipice . . . with occasionally a deep rift where there is a chasm [with] silver threads where the rivers wind in deep gorges through the forests.” Bram Stoker never visited Romania. He depicted the imaginary Dracula’s castle based upon a description of Bran Castle that was available to him in turn-of-the-century Britain. Indeed, the imaginary depiction of Dracula’s Castle from the etching in the first edition of “Dracula” is strikingly similar to Bran Castle and no other in all of Romania. Stoker is widely purported to have used the illustration of Bran Castle in Charles Boner’s book, "Transylvania: Its Product and Its People", (London: Longmans, 1865) to describe his imaginary Dracula's Castle.
Dracula – as he is perceived today – is a fictitious character whose name derives from the appellation given to Vlad Tepes, the ruler of Wallachia from 1456-1462 and 1476, and who, for largely political reasons, was depicted by some historians of that time as a blood-thirsty ruthless despot. In the villages near Bran, there is a belief in the existence of evil spirits called ghosts or “steregoi” (a variant of “strigoi”). Until half a century ago, it was believed that there existed certain living people – “strigoi” – who were leading a normal life during the day but at night, during their sleep, their souls left their bodies and haunted the village tormenting people in their sleep. These evil spirits haunt their prey from midnight until the first cockcrow, when their power to harm people faded. “The undead [i.e., ghosts, 6 vampires] suffer from the curse of immortality,” writes Stoker, “they pass from one period to another, multiplying their victims, augmenting the evil in the world…” The Dracula character derives from these local myths.
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C ASTELUL BRAN ISTORIC (1211 – 1944)
1211 Cavalerii teutoni, „Ordo domus Sanctae Mariae Theutonicorum Hierosolimitanorum“, ordin religios catolic înfiinţat de cruciaţii germani în Palestina, la sfârsitul secolului al XII-lea, primesc de la regele Andrei al II-lea al Ungariei Țara Bârsei (Terra Borza ori Burzenland – un district denumit astfel după tribul cuman al burcilor). Darul urmărește stabilirea în regiune a teutonilor și apărarea graniței de sud-est a Transilvaniei de cumani și pecenegi. Teutonii ridică o fortăreaţă la Bran (denumirea slavonă a cuvântului „poartă”); în 1226 ei sunt izgoniţi din regiune.
1377 La 19 noiembrie cancelaria regelui maghiar Ludovic cel Mare – Ludovic I de Anjou – emite un act prin care acordă locuitorilor Brașovului (Kronstadt – Orașul Coroanei) privilegiul construirii unui castel. Acest document îndeamnă sașii (Sachsen – populație de origine germană venită în Transilvania în secolul al XII-lea) din întreaga regiune a Brașovului să participe la construcția castelului Bran, inițial denumit Dietrichstein sau Törzburg în limba germană, Törcsvár în maghiară și Turciu în română.
1388 Este anul în care se încheie construcţia castelului. Acesta este ridicat pe stânca abruptă dintre Măgura şi Dealul Cetăţii şi dispune de o vedere excepţională spre dealurile învecinate, spre valea Moeciu şi Ţara Bârsei. Castelul are atât rolul de vamă – reţine 3% din valoarea mărfii care intră şi iese din Transilvania, cât şi cel de fortăreaţă.
1441 Turcii întreprind o incursiune în Transilvania, dar Iancu de Hunedoara îi înfrânge la Bran. Iancu, principe al Transilvaniei, are nevoie de sprijinul sașilor la graniță și reîntărește privilegiile acordate locuitorilor Brașovului de Mircea cel Bătrîn și de Sigismund.
1459
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Vlad Ţepeş, însărcinat de principii Transilvaniei cu rezistența antiotomană la graniță, este aliat cu Branul și Brașovul în timpul primei sale domnii (1448) și în perioada de până la cea de-a doua domnie. Cu toate acestea la începutul anului 1459, în timpul celei de-a doua domnii (1456 – 1462), armata sa trece prin Bran și atacă Braşovul pentru a rezolva un conflict dintre domnitorul Ţării Româneşti şi saşii care cereau taxe vamale tot mai mari şi îl susţineau pe oponentul său la tron. Vlad Ţepeş arde suburbiile oraşului şi omoară sute de saşi, provocând comunitatea săsească să se răzbune şi să-l zugrăvească în cronici ulterioare drept un tiran extrem de sângeros.
1836 După ce granița dintre Transilvania și Valahia se mută în munți, la Pajura, castelul Bran își pierde importanța militară și comercială. Branul încetează să fie punct de graniță și vamal al Austro-Ungariei, cetatea continuă să îndeplinească o funcţie administrativă.
1886 Autoritățile imperiale acceptă la insistențele brașovenilor să repare între 1883 și 1886 stricăciunile făcute castelului în timpul revoluției de la 1848 și al războiului ruso-turc din 1877 și efectuează ample lucrări de restaurare.
1920 În 1918 Transilvania devenise parte a României Mari. La data de 1 decembrie 1920 cetățenii Brașovului oferă castelul, ca urmare a unei hotărâri unanime a consiliului orășenesc condus de primarul Karl Schnell, reginei Maria a României, descrisă în document ca o „mare regină, care ( …) răspândește binecuvântare pretutindeni unde pășește, cucerind astfel cu irezistibil avânt inimile populației țării întregi.” Castelul devine reședința favorită a Reginei Maria, ea îl va restaura și amenaja pentru a putea fi folosit ca reședință a familiei regale. 2
1932
FREE NEWSPAPER TEMPLATE DELIVERED BY WWW.EXTRANEWSPAPERS Din 1920 și până în acest an castelul este transformat în reședință regală de vară. Lucrările sunt coordonate de arhitectul ceh Karel Liman, același care proiectase castelele Peleș și Pelișor. Terenul din jurul castelului este transformat într-un parc englezesc cu două iazuri și o Casă de Ceai. Pentru a ușura parcurgerea de către regina bolnavă de artrită a drumului dintre castel și parc, se instalează un lift. Se ridică și alte construcții precum o casă de musafiri, o biserică de lemn, locuințe pentru personal, grajduri și garaje.
1938 Regina Maria se stinge din viață la 18 iulie. Conform testamentului redactat pe 29 iunie 1933 la Balcic, castelul Bran este lăsat moștenire fiicei favorite a reginei, Principesei Ileana, din 1931 căsătorită cu Arhiducele Anton de Austria. Arhiducesa Ileana continuă planurile de amenajare a castelului.
1940 După Dictatul de la Viena și pierderea de către România a teritoriilor sud-dunărene inima Reginei Maria este adusă din capela Stella Maris a castelulului Balcic, situat pe ţărmul Mării Negre, la Bran. Sarcofagul conținând inima reginei se depune în cripta unei capele săpate în stâncă dincolo de valea castelului. De la moartea reginei inima ei a fost păstrată într-o casetă de argint, aflată la rândul ei într-o casetă ornată cu pietre preţioase, înfășurată în drapelele României și al Angliei natale și așezată întrun sarcofag de marmură.
1944 Principesa Ileana construiește la Bran un spital, pe care îl numește „Inima Reginei”. El este destinat îngrijirii militarilor răniți din Brașov. Spitalul de aici al Crucii Roșii fusese bombardat de aviația americană. După 1945 spitalul continuă să trateze persoane rănite și mutilate în timpul războiului și populația din regiune. Principesa Ileana însăși, ca infirmieră, îngrijește pacienți. Ea își continuă această activitate, cu mari eforturi, până în ianuarie 1948. 3
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Construirea castelului Bran s-a realizat pe o stâncă care domina trecătoarea, fiind lesne de înțeles că i s-a conferit rolul de supraveghere și de apărare a acestei trecători. Stânca pe care a fost construit Branul se integrează în construcție, urcând pe latura de nord a acestuia până la al patrulea nivel. Turnurile din componența sa, situate în partea de nord, sud, est și vest, au fost construite din piatră de stâncă și din bolovani de râu, la fel ca și zidurile ce fac legătura între ele. Cel mai vechi dintre acestea este turnul de observație din partea nordică, donjonul (de-a lungul timpului, castelul Bran a trecut prin mai multe modificări), având baza pătrată și înălțându-se deasupra clădirii. În partea de vest a construcției a fost ridicată o anexă în secolul al XX-lea, secol în care castelul Bran a intrat sub administrația Hohenzollernilor. Aceasta se află și în interiorul, și în exteriorul zidului de incintă. În curte se regăsea și o fantână, aprovizionând castelul cu sursa de apă necesară, iar curtea prezintă dale de piatră.
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Castelul Bran se afla la 82 km de Ploiesti (113 km pe sosea) si la 134 km de capitala tarii Bucuresti (173 km pe sosea). Ţinutul dintre Bucegi şi Piatra Craiului a determinat o serie de episoade marcante, din preistorie şi până în prezent, găzduite de un punct geografic şi istoric major: Trecătoarea Branului. Pasul Bran, unul dintre cele mai importante pasaje trans-carpatice, a avut o istorie dinamică. Povestea sa a fost caracterizată de două aspecte fundamentale: cel comercial, ca intersecție a unor rute importante și cel militar, determinat de invaziile recurente care utilizau aceste rute. Un amfiteatru natural, apărat la est de Munţii Bucegi şi la vest de Masivul Piatra Craiului, Pasul Bran a oferit, datorită formei sale concave, o panoramă largă, atât înspre Țara Bârsei, cât şi spre valea şi dealurile din Moeciu.
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Mitul care a cucerit intreaga lume Dracula, personajul romanului cu acelaşi nume scris la sfârsit de veac XIX de irlandezul Bram Stoker, este un conte transilvan, stăpân al unui castel ridicat undeva pe vârf de stâncă înaltă, de unde străjuie valea râului şerpuind prin Principatul Transilvaniei. El este adesea confundat cu Vlad Tepeş, prinţul valah, domn peste castelul, azi ruină, din Principatul Valahia. Cum Castelul Bran este singurul din Transilvania care corespunde descrierii lui Bram Stoker, lumea întreagă se referă la el ca fiind Castelul lui Dracula. În capitolul 2 al romanului “Dracula”, la ziua de 5 mai, autorul înfăţişează castelul contelui ca fiind aşezat pe marginea unei teribile prăpastii brăzdate când şi când de crăpături profunde – un hău străbătut de fire argintii, de râuri traversând pădurile prin defileuri adânci”. Bram Stoker nu a vizitat niciodata România. În descrierea imaginarului Castel al lui Dracula el pleacă de la o prezentare a Castelului Bran disponibilă în Anglia sfârşitului de secol XIX. Într-adevar, castelul, aşa cum apare el în gravura tipărită în prima ediţie a romanului “Dracula”, seamănă izbitor de bine cu Castelul Bran, si numai cu acesta. De altfel, se bănuieşte că pentru a descrie plăsmuitul Castel al lui Dracula, Stoker a folosit ilustraţia Castelului Bran din lucrarea lui Charles Boner "Transylvania: Its Product and Its People", (London; Longmans, 1865).
Dracula – aşa cum este el perceput astăzi – reprezintă un personaj fictiv. Numele lui derivă din porecla dată lui Vlad Ţepeş, domnitor al Ţării Româneşti între 1456-1462 şi în anul 1467, pe care din motive politice istoricii vremii îl descriu ca un despot nemilos şi însetat de sange. In satele vecine Branului, si nu numai, exista credinţa în existenţa unor spirite malefice, numite stafii sau steregoi (o variantă a cuvântului strigoi). Ea se referă la oameni aparent vii, la strigoi, cei care ziua duceau o viaţă normală. O data cu venirea nopţii, în timp ce dormeau, spiritul le părăsea însă trupurile, pentru a bântui – de la miezul nopţii şi până la primul cântat de cocoş – somnul sătenilor, secatuindu-i de puteri. 6 “Nemorşii (strigoii, vampirii) suferă de blestemul nemuririi”, scrie Stoker, “ei traverseză vremurile înmulţind numărul de victime, răspândind răul în lume”. Personajul Dracula se naşte din aceste mituri.
THE LEGEND OF DRACULA The myth of the undying vampire.
Is he really Vlad III?
Vlad The Impaler The origin of this myth In 1897, writer Bram Stoker
published
the novel
Dracula, the story of an undead figure named Count Dracula who sustains himself off of human blood, hunting them down and slaughtering them in the middle of the night. This
myth
also
originates from the fact that Vlad III was an vengeful ruler, and any mistake meant death
in
his
eyes.
His
favorite method of killing was impaling the traitors/ attacking enemies.
POPULAR BELIEF The Count Dracula in the book, which critics described as “the most blood-curdling novel of the paralyzed century,” was no more than a made-up character. But many believe the blood-thirsty figure was based on a real person known as Vlad the Impaler, a fearsome monarch known for his ruthlessness and history’s real Dracula.
The portrait of the so called “Dracula”
His life as a ruler
FUN FACTS
Vlad III, known as Vlad Țepeș, Vlad Dracul, or Vlad the Impaler, born in Transylvania in 1431 was the prince of Wallachia (modern day Muntenia, in Romania) three times between 1448 and his death in 1476 or 1477. His cruel methods of punishing his enemies gained him infamy in 15th century Europe all the way to today, but he still remains a folk hero in some parts of the world, particularly for his role in combatting the Ottoman Turks’ invasion.
The name Dracul originally meant “dragon.” Vlad III’s father took the name when he joined the Order of the Dragon, a Christian group opposed to the Ottomon Turks’ domination of Europe. Vlad III took the name Dracula, meaning “son of the dragon.”
HIS “CASTLE” It was not quite a castle, but more of a fortress. Poenari fortress was the home of the 15th century Dracula. Today, access to the citadel is made by climbing the 1,480 concrete stairs. It may be a lot, but considering the view from up there and the scary dummies of impaled bodies, it is worth climbing. This castle was not built by Vlad, but rather reconstructed as he saw its amazing defending potential. He also constructed many secret passages, one of them even helping him escape during an Ottoman invasion.This passage led north through the mountains. 2
After his death, the myths of his vampire-like behaviour only spread further. It was said that Vlad used to dine on the impaled bodies of his victims, and even dip bread into their blood. A truly morbid picture, but a good source of inspiration.
The other home of the blood-sucking vampire?? What you see in the upper picture is the famous Bran Castle, situated southwest of Brașov. It is a national monument and landmark in Romania. The fortress is on the Transylvanian side of the historical border with Wallachia. Although Vlad Dracula spent most of his time at Cetatea Poenari, Bran Castle is still commonly known outside Romania as Dracula's Castle. The castle is now a museum dedicated to displaying art and furniture collected by Queen Maria. One particular feature about castle Bran that still attracts people to these days is the presence of secret passages, hidden everywhere in the castle. 3
The bloody legends That’s Mr. Impaler
A Morbid Sense of Humor Vlad III was given the nickname “Tepes,” which means “impaler” in Romanian. He was also known by the Turks as Kazikli Bey which means “Mr. Impaler.” Hit and Run - One of Vlad III’s favorite military tactics was to ambush the enemy with lightning attacks on horseback, impale enemy soldiers, and then get out of dodge as fast as possible. He apparently did this to compensate for his relatively small army (compared to the Turks’) and limited resources.
Perhaps unsurprisingly, Vlad III was known for his morbid sense of humor. After being impaled, his victims would often twitch around as they died. According to one account, Vlad once casually said, “Oh, what great gracefulness they exhibit!” In another story, when a soldier disrespectfully covered his nose because of the stench of the rotting corpses, Vlad impaled the unfortunate man too.
As much as we would love this to be true, it remains just a legend unfortunately. We can’t know for sure what made Vlad III kill his enemies with such hatred, some say it was just for his country, others say it was due to the fact that the Ottoman Turks killed his parents in front of him. We can’t know for sure what really triggered his violence,but one thing is certain.The legend of Dracula and his castle in Transylvania still make tourists shake in their boots to this very day.
4
According to the old descriptions, the Old Court in Bucharest, where Vlad Tepes ruled, was located on a rather high hill, surrounded to the south by the very high bank of the Dâmbovița River, and in the other cardinal points by strong walls. Access to the royal court was possible through two opposite gates The Old Court is the first royal court in Bucharest, which became inoperative after the 1718 fire that destroyed the entire Bucharest and after the 1738 earthquake. Not many details are known about the founder of the court but the court seems to have been built by Mircea the Old. The ruins of the Voivodal Palace have become a protected archaeological site, and a museum, the Curtea Veche Museum, has been set up in the Medieval Centre of Romania’s capital. 5
LEGENDa lui DRACULA Legenda nemuritorului vampir
Chiar este el Vlad III?
Vlad Țepeș Originea legendei In 1897, autorul Bram Stoker
a
publicat
romanul
“Dracula”, povestea unei ființe readuse Contele
la
viață
Dracula,
numită care
se
hrănește cu sânge de om, vânând și măcelărind oamenii în mijlocul nopții. Mitul acesta există și datorită faptului că Vlad III a fost un conducător răzbunător, și orice greșeală se pedepsea cu
moartea.
Metoda
sa
preferată de a omorî era de a îi trage în țeapă pe trădători sau de a ataca dușmanii cu ajutorul acestpr sulițe.
CREDINȚE POPULARE Contele Dracula din carte, pe care criticii l-au descris drept „romanul care îți îngheață sângele în vine în acest secol paralizat”, nu a fost decât un personaj inventat. Dar mulți cred că personajul însetat de sânge s-a bazat pe o persoană reală cunoscută sub numele de Vlad Țepeș, un monarh temut cunoscut pentru cruzimea sa, adevăratul Dracula al istoriei.
Portretul așa-zisului “Dracula”
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Viața lui ca domnitor
Câteva lucruri interesante
Vlad III, cunoscut ca Vlad Țepeș sau Vlad Dracul, născut în Transilvania in 1431, a fost printul Munteniei, provincia isotrică ce face parte din România de astăzi de trei ori între 1448 si 1476 sau 1477, când a încetat din viață. Metodele lui crude de a isi pedepsi dusmanii i-au adus faima în Europa secolului XV până în zilele noastre, rămânând totuși un erou popular în unele părți ale lumii, în special datorită rolului său în înfrângerea Otomanilor.
Numele Dracul însemna la origini “dragon.” Tatăl său a căpătat acest nume când a devenit membru al Ordinului Dragonului, un grup religios care se opunea dominației otomane în Europa. Vlad III a preluat numele de Dracula, care însemna “fiul dragonului”.
“CASTELUL” LUI Acesta nu era chiar un castel, era mai mult o fortăreață. Cetatea Poenari a fost casa lui Dracula în secolul XV . Accesul se face numai urcând cele 1480 de trepte. Pare mult, dar având în vedere priveliștea și manechinele înspăimântătoare trase în țeapă, merită efortul. Acest castel nu a fost construit de Vlad, mai degrabă reconstruit, când acesta și-a dat seama de potențialul defensiv al locului. A construit multe pasaje secrete, unul dintre ele ajutându-l să evadeze în timpul unui atac otoman. Acest pasaj ducea înspre nord chiar prin munți. 2
După moartea lui, miturile legate de comportamentul său vampiric au început să se răspândească. Se spune că acesta obișnuia să cineze deasupra corpurilpr trase în țeapă ale victimelor, și chiar să înmoaie pâine în sângele lor. O imagine destul de morbidă, dar o sursă bună de inspirație și de senzațional.
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Cealaltă casă a vampirului băutor-de-sânge?? Ceea ce vedeți în imaginea de mai sus este celebrul Castel Bran situat sud-vest de Brașov. Este un reper și monument național în România. Fortăreața este pe partea dinspre Transilvania a graniței istorice cu Muntenia. Deși Vlad Dracul și-a petrecut mare parte a timpului la Cetatea Poenari, Castelul Bran este încă destul de cunoscut în afara României drept Castelul lui Dracula. Castelul este acum un muzeu care găzduiește opere de artă și mobilier colecționat de Regina Maria. Una dintre particularitățile Castelului Bran care îi atrage pe turiști sunt pasajele secrete, ascunse peste tot in castel.
3
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Legende “sângeroase” Vlad III a primit porecla „Țepeș” , care făcea aluzie la țepușele cu ajutorul cărora tortura prizonierii. Era de asemenea cunoscut de către turci drept Kazikli Bey, ceea ce înseamnă “Domnul Țeapă”. Una dintre tacticile militare preferate ale acestuia erau ambuscadele asupra inamicului cu atacuri „fulger” călare, tragerea în țeapă a soldaților inamici și apoi dispariția rapidă din peisaj. Prefera această tactică deoarece dorea să compenseze pentru armata sa puțin numeroasă (comparativ cu a turcilor) și resursele limitate.
Un simț morbid al umorului Poate nu vă va surprinde faptul că Vlad Dracul era cunoscut pentru umorul său morbid. După ce erau trase în țeapî, victimele nu mureau imediat, ci se chinuiau zvârcolindu-se. Conform istoricilor, Vlad a spus odată, “O, dar ce grațios se mișcă!” În altă poveste, când un soldat s-a ținut de nas din cauza mirosului pestilențial al cadavrelor, Vlad Țepeș l-a tras în țeapă și pe acesta, considerând gestul său ca fiind lipsit de respect.
Oricât de mult ne-ar plăcea să fie adevărat, rămâne doar o legendă din păcate. Nu putem ști cu siguranță ce l-a făcut pe Vlad al III-lea să-și ucidă dușmanii cu o asemenea ură, unii spun că a fost doar devotamentul față de țara sa, alții spun că motivul acestei violențe a fost faptul că Vlad Țepeș a fost martor la uciderea propriilor părinți de către otomani. Nu putem ști cu siguranță ce l-a făcut să se prindă, dar un lucru este sigur. Legenda lui Dracula și a castelului său din Transilvania le dau turiștilor fiori chiar și în ziua de azi.
4
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RUINELE Conform vechilor descrieri, Curtea Veche era așezată pe o colină destul de înaltă, flancată la sud de malul foarte înalt al Râului Dâmbovița, iar în celelate puncte cardinale de ziduri puternice. Accesul în curtea domnească era posibil prin două porți opuse. Curtea Veche, prima curte domnească din București, a devenit nefuncțională după incendiul din 1718, care a distrus întregul București și după cutremurul din 1738. Nu se cunosc prea multe detalii despre întemeietorul curții dar curtea pare a fi construită de către Mircea cel Bătrân. Ruinele Palatului Voievodal au devenit sit arheologic protejat, fiind amenajat și un muzeu, Muzeul Curtea Veche.
5
THE
EXTRA NEWS ALL ABOUT THE BIG WORLD WE LIVE IN
EXCLUSIVE NEWS TODAY
Peleș Castle – Romania Introducing Peleș Castle (Romanian: Castelul Peleș) is a NeoRenaissance castle in the Carpathian Mountains, near Sinaia, in Prahova County, Romania, on an existing medieval route linking Transylvania and Wallachia, built between 1873 and 1914. Its inauguration was held in 1883. It was constructed for King Carol I.
The complex is northwest of the town of Sinaia, which is 48 kilometres (30 mi) from Braşov and 124 kilometres (77 mi) from Bucharest. In the southeastern Carpathian Mountains, the complex is composed of three monuments: Peleș Castle, Pelișor Castle, and the Foișor Hunting Lodge. We are all going through tough times,especially people who come from quarantined zones that need to go into self isolation.With the new laws passed by the Romanian Government stating that any private building or institution with available spaces for quarantine must help in the fight against COVID-19,Peleș Castle presents a total of 53 available spaces!
Peleș Castle and the COVID-19 fight
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Peleș Castle in the Communist Era
Foisor Hunting Lodge
During the rule of Carol II the original house burnt down, and was rebuilt in between 1932-1933. The Communist regime brought another wing to the building. Today the castle belongs to the Romanian state and is used exclusivelly for protocol purposes. Visitors are not allowed inside!
The hunting house with its 43 rooms was the Romanian kings' favourite place. It was built earlier than Peleș castle. It served as provisional residence to king Carol and queen Elisabeth untill completion of Peleș castle, as well as to king Ferdinand and queen Mary till Pelișor castle was ready. King Carol II also lived here during his rule over Roamnia in between 1930-1940.
Pelișor Castle
Under the Communist Party of Romania, the building became national property. In 1948 they inventoried all the objects found within the building. Most of the valuable pieces were then transferred to Bucharest to the National Arts Museum, including: Paintings Books Furniture Decorative Art
It has 168 rooms which are adorned with the finest examples
The castle was open to visitors, while the other buildings on the castle grounds became the residence of artists, writers and composers .
Pelișor Castle was opened to the visiting public in February 1993. This castle is part of the architectural ensemble created by King Carol I on the valley of Peles stream , in a period that practically overlaps his entire life lived in Romania. Interior decoration, designed by Queen Maria, in various periods, 1902/1903 and 1925/1928 represents her belief in beauty.
WHAT IS UNIQUE ABOUT PELEȘ CASTLE?
Only in 1953 does the main building of the Peleș Residence become a National Museum. You can also visit this incredible landmark, one of the most modern castles in Europe.
of European art, Murano crystal chandeliers, Cordoba leather wallpaper. The castle holds books with leather covers engraved with golden letters. The collection of arms and armor has over 4,000 pieces. The precious teak furniture was gifted to King Carol I. 2 Peleș Castle was the first European castle with electricity, its own power plant, an elevator, a theatre and cinema hall built in 1883, besides central heating and a sliding glass roof.
ȘTIRILE ZILNICE Totul despre marea lume în care trăim
ȘTIRI EXCLUSIVE ASTĂZI
Castelul Peleș– România Introducere
Castelul Peleș este un castel neo-renascentist din Munții Carpați, în apropiere de Sinaia, în județul Prahova, România, pe un traseu medieval existent care leagă Transilvania și Muntenia, construit între 1873 și 1914. Inaugurarea sa a avut loc in 1883. A fost construit pentru Regele Carol I.
Complexul se află la nord-vest de orașul Sinaia, care se află la 48 de kilometri de Brașov și la 124 kilometri de București. În sud-estul Munților Carpați, complexul este format din trei monumente: Castelul Peleș, Castelul Pelișor și Castelul Foișor.
Castelul Peles și lupta contra COVID-19 Cu toții trecem prin momente grele, în special persoanele care provin din zone în carantină, care trebuie să se autoizoleze.Cu noile legi adoptate de Guvernul României care afirmă că orice clădire sau instituție privată cu spații disponibile pentru carantină trebuie să ajute în lupta împotriva COVID-19, Castelul Peleș prezintă un total de 53 de spații disponibile!
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Castelul Foișor
În timpul domniei lui Carol al II-lea, casa a ars și a fost reconstruită între 1932-1933. Regimul communist a adăugat o altă aripă clădirii. Astăzi. castelul aparține statului român și este folosit exclusiv în scopuri de protocol. Vizitatorii nu au voie în interior!
Casa de vânătoare cu cele 43 de camere ale sale a fost locul preferat al regilor români. A fost construit înaintea Castelului Peleș. El a servit drept reședință provizorie pentru regele Carol și Regina Elisabeta până la finalizarea Castelului Peleș, precum și pentru Regele Ferdinand și Regina Maria până când a fost gata Castelul Pelișor. Regele Carol al II-lea a trăit aici pe durata domniei sale în România, 1930-1940.
Castelul Pelișor
Castelul Peleș în Perioada Comunistă Sub conducerea Partidului Comunist Român, clădirea a devenit proprietate națională. În 1948 s-au inventariat toate obiectele găsite in clădire. Majoritatea pieselor valoroase au fost apoi transferate la București la Muzeul Național de Artă, inclusiv: Picturi Cărți Mobilă Artă decorativă
Castelul Pelișor a fost deschis publicului vizitator în februarie 1993. Acest castel face parte din ansamblul arhitectural creat de regele Carol I pe valea pârâului Peleș, într-o perioadă care practic se suprapune întregii sale vieți trăite în România. Decorul interior, proiectat de Regina Maria, în diferite perioade, 1902-1903 și 1925-1928, reprezintă crezul ei artistic.
De ce este unic Castelul Peleș? Are 168 de camere, împodobite cu cele mai fine exemple de artă
De abia în 1953 clădirea principală a Reședinței Peleș a devenit Muzeu Național. Puteți vizita acest reper incredibil, unul dintre cele mai moderne castele din Europa. Castelul a fost deschis vizitatorilor, în timp ce cladirile celelalte aflate în incinta parcului regal au devenit reședința artiștilor plastici, scriitorilor și compozitorilor
europeană, candelabre din cristal de Murano, piele de Cordoba. Castelul deține o colecție de cărți având coperți din piele gravate cu fir de aur. Colecția de arme și armuri are peste 4000 de piese. Mobilierul din lemn de tek a fost oferit cadou Regelui Carol 2 I. Castelul Peles a fost primul castel european care a avut energie electrică. Are chiar o centrala electrică proprie, încălzire central și acoperiș glisant din sticlă.
ALL ABOUT THE BIG WORLD WE LIVE IN
EXCLUSIVE NEWS TODAY
Romania after The Second World War, the balance between FEAR and HOPE. European Heritage Label 2018 It’s not easy to write or to talk about a visit to Sighet Memorial, the former prison where the Romanian elites were brutally exterminated in
the
first
communism
in
years
of
Romania.
There’s no place for clichés, travel tips or attractions. It is, however, the place that each and every one of us should visit at least once because ‘those who cannot remember condemned
the
past
to
repeat
(George Santayana).
are it’
The stories of the political prisoners Former ministers, journalists, economists, politicians, scientists, priests and members of the army were incarcerated with or without a trial, for the only reason that they were the best of a system the communists were trying to destroy by any means or price in human lives. How much it has destroyed and how much has been forgotten are still open questions, but a visit to Sighet Memorial, a unique museum in Europe, is a necessary step to fill in the blanks of our individual and collective memory.
The cortege of the Sacrificial Victims
The living gap between the Politicians and the People in Socialist Romania
The life of the People Chicken often weighed less than half a
As
you
were
not
allowed
to
travel
outside
kilogram and were smaller than pigeons. They
Romania, holidays were spent in the country, in
were almost never found in stores. It was very
the mountains or on the Black Sea coast. Some
hard to find fresh bread outside Bucharest. In
went on bicycle trips, others by car, using their
order to get bread in general, you had to stand
vehicles as all-inclusive hotels. Camping was also
in queues for hours, since dawn. Meat was a
popular, as were trips to the Soviet Union or other
rarity, most often it was found if you knew
socialist countries.
someone at a restaurant or at a farm.
The life of the Nomenclature As some former cooks and servants of the communist leadership declared, we know that while the population was starving and cold and standing in long queues to buy a loaf of bread, politicians and the Ceausescu couple were spoiled with luxurious parties that did not lack the finest dishes and drinks from all over the world.
The demolition of churches an 2
The Communist regime in Romania, during its most repressive decade (the 1980s), became increasingly
anti-religious.
This
movement,
combined with the megalomania of the ruling Ceausescu family, meant that any monument that reminded the people of their traditions and past had to be razed to the ground or, at least, hidden from public sight. This was the case for churches, which carried a lot of symbolism for the deeply religious Romanian people
It must be startling to look out of your window and see a century-old church rolling by. Even more so if you are in Communist Romania in the 1980s, where news is state-controlled and everyday items rationed. And yet, between 1982 and 1988 almost a dozen churches, as well as other buildings, were moved hundreds of metres in order to save them from destruction, as dictator Nicolae Ceaușescu went
about
radically
redesigning
the
heart
of
Bucharest, the Romanian capital.
3
The heaviest building on earth THE PALACE OF PARLIAMENT (HOUSE OF THE PEOPLE) FUN FACTS One of the most important Communist-built monuments in the world, the Palace of Parliament, is an expression of Nicolae Ceausescu’s megalomaniac vision of himself as the greatest architect of Romania. It is the heaviest building in the world and the second largest administrative building after the Pentagon. It can be seen from the Moon. Its construction started in 1983 and almost 7 years later, when Ceausescu was executed, only 70% of it had been finished. While the country was struggling with rationalized food, heating and electricity because Ceausescu had decided to pay all of Romania’s debt to the Monetary Fund, the building of the monumental House of the People was taking place as follows: -
Between
20,000
and
100,000
workers
and
700
architects toiled in 3 shifts, 24 hours a day, 7 days a week, for 7 years; -
1 million cubic metres of marble, 900,000 cubic
metres of finest wood, 700,000 tons of steel were used for the structure and furniture; -
3,500
tons
of
crystal
were
used
for
the
480
chandeliers, 100 kg of gold, 3,500 m2 of leather and 220,000 square metres of carpets; -
20 floors (8 of them underground);
-
Secret tunnels are said to connect the building to the
airport; -
1,100 rooms
-
Underground car park for 20,000 cars;
-
The Union Hall, the largest in the building, has a
sliding ceiling that can support the weight of a helicopter; -
The curtains on the main staircase were hand-woven
in monasteries around Bucharest. Each of them weighs 250 kg and is 14 m tall; -
The largest carpet in the Palace is 1,100 m2 and
weighs 3.5 tons -
The Palace is larger than the Pyramid of Keops in
Egypt. Today, this monumental construction houses the Romanian Parliament and, although many people would have liked to see it destroyed after the fall of the Comunist Regime in
4 December 1989, this twist in history made it become an expression of the people’s hard-earned freedom.
Special Section Student Contribution Our project is aimed at synthesizing, in a graphic form, the sharp contrast between appearance and reality during the Communist regime in Romania, focusing on the lack of liberties of various sorts, particularly on that of expression. Neglect of moral values such as speaking the truth, respect for individual or religious beliefs, dignity, the right to privacy are symbolically illustrated. The megalomania of our country’s former president stands out in the glamorous façade of aweinspiring buildings, glorious industrial and agricultural accomplishments, alleged popularity of the Communist leaders, fabulous dreams of greatness supported by the hollow Party ideology. The human being is crushed by the cruel force of this roller, and initially patiently accepts its condition, but the smouldering flame of revolt burns inside people’s hearts brightly enough to be revived by the thirst for freedom. Moving from the left to the right, from the gray colours to the bright ones on the right, the poster shows how the suffering and grief of Communist times (the forest of crosses behind the dull high-rise blocks of flats) turned into the courage to break the chains, to take arms against oppression and gain FREEDOM. The various sections of our poster illustrate the ideas presented above.
https://learningapps.org/display?v=p7pwj85a520 5
TOTUL DESPRE LUMEA MARE IN CARE TRAIM
STIRI EXCLUSIVE ASTAZI
Romania dupa Al Doilea Razboi Mondial, echilibrul dintre FRICA si SPERANTA. Obiectiv de patrimoniu european Nu este ușor să scrii sau să vorbești despre o vizită la Memorialul
Sighet,
fosta
închisoare
unde
elitele
românești
erau
brutal
exterminate în primii ani de comunism în România. Aici nu este loc pentru clișee, sfaturi
de
călătorie
sau
atracții. În fine, este locul pe care fiecare ar trebui să îl viziteze
cel
puțin
o
dată
deoarece “cei care nu iși pot aminti
trecutul
condamnați
să
îl
sunt repete”
(George Santayana).
Poveștile prizonierilor politici Fosti ministrii, jurnalisti, economisti, politicieni, oameni de stiinta, preoti si membrii ai armatei au fost incarcerati cu sau fara proces de judecata, pentru singurul motiv ca ei erau cei mai buni ai unui sistem pe care comunistii incercau sa il distruga prin orice mijloace sau indiferent de costurile omeneseti. Cat de mult a distrus si cat de mult a fost uitat, sunt inca intrebari persistente, dar o vizita la Memorialul Sighet, un muzeu unic in Europa, este o oprire necesara pentru a umple golurile memoriei noastre individuala si colectiva.
Cortegiul Victimelor Sacrificate
Diferența dintre stilul de viață al Politicienilor și al Poporului în România Socialistă
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Viața Poporului De obicei, puii cântăreau mai puțin de jumătate
Cum nu erai lăsat să călătorești în afara României,
de kilogram și erau mai mici decat porumbeii. Nu
vacanțele se petreceau în țară, la munte sau pe
se găseau aproape niciodată în magazine. Era
litoralul Mării Negre. Unii mergeau în excursii pe
foarte greu să găsești pâine proaspătă în afara
bicicletă, alții cu mașina, folosind automobilele
Bucureștiului. Pentru a obține o pâine, de obicei
personale ca niște hoteluri all-inclusive. Campatul
trebuia să stai la cozi cu orele, încă din zori.
era de asemenea foarte popular, cum erau și
Carnea era o raritate, se găsea cel mai des dacă
excursiile în Uniunea Sovietică sau alte state
aveai pile la un restaurant sau la o fermă.
socialiste.
Viața Nomenclaturii Din declarațiile unor foști bucătari și servitori ai liderilor comuniști, știm că în timp ce populația murea de foame și stătea în frig și la cozi kilometrice pentru a cumpăra o pâine, politicienii și cuplul Ceaușescu erau înconjurați de petreceri luxoase care nu duceau lipsă de cele mai rafinate mâncăruri și băuturi din întreaga lume.
2
Demolarea bisericilor și “Marea Eliberare”
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Regimul comunist în România, în timpul celui mai represiv deceniu (anii 80), a devenit din ce în ce mai anti-religios. Această mișcare, combinată cu megalomania familiei Ceaușescu, a însemnat că orice monument care amintea populației de tradițiile ei și de trecut trebuia să fie ras de pe fața pământului, sau cel puțin ascunse de văzul oamenilor. Acesta a fost cazul bisericilor care aveau un simbolism esențial pentru poporul român, acesta fiind foarte religios
Trebuie să fie uimitor să te uiți pe fereastră
și să
vezi o biserică veche de secole care se deplasează prin zonă. Cu atât mai mult dacă vă aflați în anii 1980
în România
comunistă,
unde
știrile
sunt
controlate de stat și obiectele cotidiene raționate. Și totuși, între 1982 și 1988, aproape o duzină de biserici, precum și alte clădiri, au fost mutate la sute de metri pentru a le salva de la distrugere, întrucât dictatorul Nicolae Ceaușescu s-a gândit la reproiectarea
radicală
a
inimii
Bucureștiului,
capitala României
3
Cea mai grea clădire din lume
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PALATUL PARLAMENTULUI (CASA POPORULUI) Superlative Unul dintre cele mai importante monumente construite de comunism din lume, Palatul Parlamentului, este o expresie a viziunii megalomane a lui Nicolae Ceaușescu despre el însuși ca cel mai mare arhitect al României. Este cea mai grea clădire din lume și a doua cea mai mare clădire administrativă după Pentagon. Se poate vedea de pe Lună. Construcția sa a început în 1983 și aproape 7 ani mai târziu, când a fost executat Ceaușescu, doar 70% din ea era terminată. In timp ce populația se lupta să facă față crizei de alimente, restricțiilor la încălzire și electricitate, deoarece Ceaușescu luase decizia să plătească toată datoria României față de Fondul Monetar, constructia monumentalei Case a Poporului avea loc după cum urmează: -
Între 20.000 și 100.000 de lucrători și 700 de
arhitecți au lucrat în 3 schimburi, 24 de ore pe zi, 7 zile pe săptămână, timp de 7 ani; -
1 milion de metri cubi de marmură, 900.000 de metri
cubi de lemn fin, 700.000 de tone de oțel au fost utilizate pentru structură și mobilier; -
3.500 de tone de cristal au fost utilizate pentru cele
480 de candelabre, 100 kg de aur, 3.500 m2 de piele și 220.000 de metri pătrați de covoare; -
20 de etaje (8 dintre ele subterane);
-
Se spune că tunelurile secrete conectează clădirea la
aeroport; -
1,100 de camere;
-
Parcare subterană pentru 20.000 de mașini;
-
Sala Unirii, cea mai mare din clădire, are un plafon
glisant care poate suporta greutatea unui elicopter; -
Perdelele de pe scara principală erau țesute manual
în mănăstirile din jurul Bucureștiului. Fiecare dintre ele cântărește 250 kg și are 14 m înălțime; -
Cel mai mare covor din Palat este de 1.100 m2 și
cântărește 3,5 tone -
Palatul este mai mare decât Piramida lui Keops din
Egipt. Astăzi,
această
construcție
monumentală
adăpostește
Parlamentul României și, deși mulți oameni ar fi dorit să o vadă distrusă după căderea regimului comunist în decembrie 4 1989, această răsturnare de situație a istoriei a făcut-o să devină o expresie a libertății greu câștigate de popor.
Secțiune Specială Contribuția Elevilor
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Proiectul nostru are ca scop sintetizarea, într-o formă grafică, a contrastului puternic dintre aspectul și realitatea din timpul regimului comunist din România, cu accent pe lipsa libertăților de diferite feluri, în special pe cea a expresiei. Neglijarea valorilor morale precum spunerea adevărului, respectul pentru credințele individuale sau religioase, demnitatea, dreptul la confidențialitate sunt ilustrate simbolic. Megalomania fostului președinte al țării noastre iese în evidență în fațadele pline de farmec ale clădirilor impunătoare, realizările glorioase, industriale și agricole, pretinsa popularitate a liderilor comuniști, visele fabuloase de măreție, susținute de ideologia de partid găunoasă. Ființa umană este zdrobită de forța crudă a acestui tăvălug și, inițial, își acceptă cu răbdare condiția, dar flacăra aprinsă a revoltei arde în inimile oamenilor suficient de puternic pentru a fi reînviată de setea de libertate. Trecând de la stânga la dreapta, de la culorile gri la cele luminoase din dreapta, afișul arată modul în care suferința și mâhnirea vremurilor comuniste (pădurea de cruci din spatele blocurilor inalte) s-au transformat în curaj pentru a rupe lanțurile, pentru a lua armele împotriva asupririi și a câștiga LIBERTATEA. Diferitele secțiuni ale posterului nostru ilustrează ideile prezentate mai sus.
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Historical Sites in Ploiesti Landmarks in Ploiesti Designed by Toma Socolescu Early Life and Career Start He was born to a family of architects, following in his family’s footsteps. He began his studies in 1901, later enrolling at the Ion Mincu University of Architecture and Urbanism, being the student of the great and well-known Ion Mincu. He graduated in 1911 with honours specializing in civil and religious architecture. He began his career as a designer in 1904 and in 1906 he was hired as an arhitect for the infrastructure of the ''Romanian General Exhibition of 1906. '' It had a big impact on his career. In his time of service in WW1 he filled his notebook with folk art and traditional architectural styles that would later inspire his creations.
Facade sketch. Extract from the Toma T. Socolescu's sketch notebook.
Landmarks in Ploiesti Designed by Toma Socolescu
Architectural Achievements In Ploiești, he built the Palace of Business School which became the ‘Ion Luca Caragiale’ National College in 1948 which is classified as a historical monument. The construction was carried between 1929 and 1938. Also,it hosted business schools for boys from 1938 under the name ‘Spiru Haret Comercial Highschool’ until the communists came to power in 1948.
Another achievement is Ploiești’s Central Market Hall which is a work of art. The construction contract was signed in 1912, after a resolution by the city council. However the construction began in June, 1930 and ended in 1935. Its design is founded on cleanliness and logistical concepts, and it has been replicated across Europe. The Market Hall became a symbol of the city of Ploiești.
St. John Baptist Cathedral-Toma Socolescu had worked on it between 1939. According to his plan the main dome was elevated 5 meters. The cathedral honors the death of the First World War and it’s a national-religious monument. The project was stopped by the war and remained unfulfilled until 2008, inspired by Socolescu’s plan.
Court House It’s implmentation began before the war, after Toma Socolescu was nominated executive architect. It was designed in collaboration with the French architect Ernest Doneaud. This edifice become the Palace of Culture in 1953, while still hosting the appeal court. The palace has been classified as an historical monument and it was published in „ Arhitectura” in 1924.
Article by: Robert C., Robert A., Ilinca D., Ioana M., Cristina P.
Locuri Istorice in Ploiesti Obiective Turistice in Ploiesti Proiectate de Toma Socolescu BIografie si Inceputul Carierei S-a născut într-o familie de arhitecți si a început studiile în 1901, înscriindu-se ulterior la Universitatea de Arhitectură și Urbanism Ion Mincu, fiind studentul marelui și cunoscutului Ion Mincu. A absolvit în 1911 cu onoruri specializându-se
în
arhitectură
civilă
și
religioasă. Și-a început cariera ca designer în 1904, iar în 1906
a
fost
angajat
ca
arhitect
pentru
infrastructura „Expoziției generale românești din 1906.” A avut un impact mare asupra carierei sale. În timpul serviciului din primul război mondial, și-a umplut caietul cu arta populară și stiluri arhitecturale tradiționale care mai târziu îi vor aduce inspirație. Schiță de fațadă. Extract din caietul de schițe al lui Toma T. Socolescu.
Obiective Turistice in Ploiesti Proiectate de Toma Socolescu
Realizări Arhitecturale
La Ploiești, a construit Palatul Școlii de Afaceri care a devenit Colegiul Național ‘Ion Luca Caragiale’ în 1948, care este clasificat ca monument istoric. Construcția a fost efectuată între 1929 și 1938. De asemenea, a găzduit școli de afaceri pentru băieți din 1938 sub denumirea „Liceul comercial Spiru Haret” până la venirea la putere a comuniștilor în 1948.
O altă realizare sunt Halele Centrale din Ploiești, care sunt o operă de artă. Contractul de construcție a fost semnat în 1912, după o rezoluție a consiliului orașului. Construcția a început în iunie 1930 și s-a încheiat în 1935. Designul său se bazează pe simplitate, deschidere logistice, Catedrala Sfântul Ioan Botezatorul-Toma Socolescu a lucrat la ea între 1939. .
și a fost reprodus în toată Europa. Halele au devenit un simbol al orașului Ploiești.
Catedrala aduce un omagiu soldaților care au pierit în primul război mondial și este un monument național-religios. Proiectul a fost oprit de război și a rămas neterminat până în 2008, iar catedrala a fost terminată, inspirată din planul lui Socolescu.
Palatul de Justitie Implementarea sa a început înainte de război, după ce Toma Socolescu a fost numit arhitect executiv. A fost proiectat în colaborare cu arhitectul francez Ernest Doneaud. Acest edificiu a devenit Palatul Culturii în 1953, încă găzduind curtea de apel. Palatul a fost clasificat ca monument istoric și a fost publicat în „Arhitectura” în 1924. 2 Un articol de: Robert C., Robert A., Ilinca D., Ioana M., Cristina P.
Portugal
Secondary School Dr. João de Araújo Correia
December, 2020
Castle of Lamego "Ex libris" of the city! From the top of its walls we can see the waters of the river Coura, Balsemão and Varosa.
CASTELO DE LAMEGO When we visit the castle of Lamego it's like immersing yourself in the city's past and its history. About the antiquity of the Castle of Lamego, almost all the consulted authors refer that the castle “is the work of the moors” and prior to the foundation of nationality. From the primitive, only the keep, part of the old wall and the cistern remain.
When the Lamego cistern reopened in 2013, after suffering several works, it again filled the space with traditions, sounds, letters and images that characterize this space as a Center of Memory. Upon entering the Cistern, the visitor dives into the past, where multiple memories are projected uninterruptedly on the stones that were once just spectators.
Between 1939 and 1940, when the centenaries of the foundation and restoration of the nationality were celebrated, the castle underwent restorations. Access to the old castle town is through two open porches in the wall. Who enters on the north side passes through the arch called “Figs our Fires Door”, while the door on the opposite side is called “Door of the Sun”.
https://youtu.be/nENxUFIYDzI
Cistern of Lamego
The “Castle of Lamego and cistern / Castle and urban fence in Lamego” complexes are classified as a National Monument by the Decree of 16 June 1910. In the middle of Street of Castle we can see the chapel of Lady of Help, on whose outer wall there is a panel of tiles with the inscription “N. S. do Coro 1671”. Next to this there was another chapel of invocation to Saint Salvador, where the original Cathedral would have been.
Escola Secundária Dr. João de Araújo Correia
Dezembro, 2020
"Ex libris" da cidade! Do alto das suas muralhas avistam-se as águas dos rios Coura, Balsemão e Varosa.
CASTELO DE LAMEGO Quando visitamos o castelo de Lamego é como mergulhar no passado e na história da cidade. Sobre a antiguidade do castelo de Lamego, quase todos os autores consultados referem que o castelo “é obra dos mouros” e anterior à fundação da nacionalidade. Do primitivo, restam apensas a torre de mensagem, parte da antiga muralha e a cisterna. https://youtu.be/nENxUFIYDzI
Cisterna de Lamego
Quando a Cisterna de Lamego reabriu em 2013, após sofrer várias obras, voltou a ocupar o espaço com tradições, sons, letras e imagens que caracterizam este espaço como Centro de Memória. Ao entrar na Cisterna, o visitante mergulha no passado, onde múltiplas memórias são projetadas ininterruptamente nas pedras que antes eram espectadoras.
Entre 1939 e 1940, altura em que se celebraram os centenários da fundação e restauração da nacionalidade, o castelo foi submetido a restauros. O acesso ao antigo castelo da cidade faz-se através de dois alpendres abertos na parede. Quem entra pelo lado norte passa pelo arco denominado “Porta dos Figos ou Fogos”, enquanto a porta do lado aposto denomina-se “Porta do Sol”. Os conjuntos “Castelo de Lamego e cisterna/ Castelo e vedação urbana em Lamego” estão classificados como Monumento Nacional pelo Decreto de 16 de Junho de 1910. A meio da Rua do Castelo podemos ver a Capela da Senhora do Socorro, na qual a parede exterior contém um painel de azulejos com a inscrição “N.S. do Coro 1671”. Ao lado desta havia outra capela de invocação a São Salvador, onde estaria a Sé Catedral original.
Secondary School Dr. João de Araújo Correia
ERASMUS + December, 2020
São Leonardo de Galafura The Paradise on Earth!! Of the few places where man has touched landscape to make it better.
St. Leonardo of Galafura
To talk about St. Leonardo of Galafura it is mandatory to remember Miguel Torga, he said that 'The Douro is the only reality with which Portugal can marvel the world'. Within the Douro in fact São Leonardo takes on a vital importance, it is indeed an emblematic place.
St. Leonardo of Galafura is the landscape and human dimension of the Douro landscape, which is the keynote of any description of the place because that amazing view would be totally different if it wasn't for human work. It is a man-made landscape and and it may be the proof that man touches the landscape not to spoil it but to make the best out of it. It is clear that being the grandeur of that landscape leaves no one different, let alone a poet, let alone a writer, let alone someone who has the sensitivity of a person as a writer, like Miguel Torga in this case, hence he has given in fact a special importance, a special attention in his work.
Torga & Galafura Written by Diogo Lira As Torga used to say, the only real thing we can dazzle the world with'. Chapels and cathedrals are things other countries also have and perhaps more famous and beautiful than those we have. Therefore, the Douro region is unique, its landscape is totally singular in the world. It would be good if we, people who were born here, were aware of this and understood the importance of this wonderful place that has been built over the centuries and that is our duty to preserve. We have to know that landscapes evolve over the course of time and this place is an example of that. We can’t expect it to always remain the same because now it isn’t what it was 10 years ago and 10 years ago it wasn’t what it had been 30 years before. Some changes may occur over time and we have to accept this fact.
However, some common sense is required here! People cannot expect to change the landscape into something completely different! We have to fight some people’s greed. This is no Disneyland! Douro is not an amusement park! Douro is a region where there are people who have their own dreams and hopes in life, who are ambitious like everyone else. We aren’t just “those to please the tourists”, as some would have us to believe we were. Therefore, that is something we, the Douro citizens, have to bring to the attention of our local authorities.
As far as I can see, the greatest risk about the conservation of the Douro landscape along with Saint Leonard of Galafura is desertification. As I said before, this is a man-made landscape, so people are needed here to work the land. However, nowadays fewer people live and work here which, in my opinion, will actually lead to the desertification of the region. Either this situation is handled promptly or in a few years’ time we will end up with just an ordinary landscape. We have to put a stop to what has happened throughout the years: large amounts of money from
He wrote a poem to Saint Leonardo which is written here on the wall of the chapel. It is an extraordinary beautiful poem, a philosophical thesis so to say. He pictures that landscape as a paradise, claiming that man has got a paradise on Earth before he goes to Heaven. He also says that the Paradise will be that very same one, where the Rabelo boat slowly sails. Saint Leonard of Galafura is set in a landscape which is listed by UNESCO as a World Heritage site. It isn’t just a landmark of the Douro region. Saint Leonard of Galafura might be one of the most extraordinary landscapes we have in Portugal.
European funds are advertised to this region, because it is the Douro region, but it never really arrives, everyone says so, everyone can see it. Take this as an example: millions of Euros are made here as a result of tourism and wine businesses, mainly, and nothing stays in the region! I would even dare to ask if there’s any European country where this could happen. In a State of justice in which citizens are respected... this is very similar to a colonial relationship, that is to say, this resembles what was done back in the 19th century, in the old colonies, where everything was taken from the people.
Miguel Torga
One of the most influential Portuguese poets and writers of the 20th century. He excelled as a poet, storyteller and memorialist, but also wrote novels, plays and essays. He was awarded the Camões Prize of 1989, the most important of the Portuguese language.
https://youtu.be/-3upjC5P83o Página 1
Escola Secundária Dr. João de Araújo Correia
ERASMUS + Dezembro, 2020
São Leonardo de Galafura O Paraíso na Terra!! Um dos poucos lugares onde o homem mexeu na paisagem para a tornar melhor.
https://youtu.be/-3upjC5P83o São Leonardo de Galafura
Para falar sobre São Leonardo de Galafura é obrigatório lembrar Miguel Torga, ele disse que 'O Douro é a única realidade com a qual Portugal pode assombrar o mundo'. Dentro do Douro de facto São Leonardo assume uma importância vital, é de facto um lugar emblemático.
São Leonardo de Galafura é antes de mais a paisagem e a dimensão humana da paisagem duriense que é a tónica fundamental de qualquer descrição deste lugar porque toda esta panorâmica seria absolutamente distinta se não fosse o trabalho humano. É uma paisagem humanizada e talvez seja a demonstração que o homem mexe na paisagem não para estragar, é dos poucos lugares onde o homem mexeu na paisagem para a tornar melhor. É evidente que sendo a imponência daquela paisagem não deixa ninguém indiferente e muito menos um poeta, muito menos um escritor, muito menos alguém que tenha a sensibilidade de uma pessoa como um escritor, como Miguel Torga, daí que ele tenha de facto, Miguel Torga tenha dado de facto uma especial importância, uma especial atenção na sua obra.
Torga & Galafura Escrito por Diogo Lira Como Torga dizia, ‘A única realidade com que podemos assombrar o mundo’. Capelas, catedrais os outros também têm e com mais visibilidade e com mais genialidade do que aquelas que nós temos, portanto, o Douro é único, o Douro é uma paisagem totalmente única no mundo e era bom que nós durienses tenhamos consciência disto e que é um património que foi construído ao longo dos séculos e que nós temos a obrigação de preservar. Que é uma paisagem evolutiva, nós não podemos querer que aquilo se mantenha exatamente como sempre foi porque não é hoje o que foi há 10 anos e há 10 anos não foi o que foi há 30. E nós podemos esperar que haja uma evolução na paisagem.
Portanto, agora, não ao ponto de a desvirtuar e isso tem que ser o bom senso de todos nós antes de mais que, temos que resistir à ganância de alguns sobre o território. Isto não é a DisneyLand, o Douro não é nenhum parque de diversões, o Douro é uma região onde vive gente, e gente que tem como todos aspirações na vida, que tem ambições, esperança, gente como toda a gente. Não somos nenhum seres para turista ver, como alguns querem fazer crer, portanto essa é uma parte que é preciso nós, durienses, frisarmos bem e as instituições que nos representam também.
O grande risco que eu vejo eventualmente na preservação da paisagem duriense e de toda esta paisagem e de São Leonardo também, é a desertificação, com o cada vez menor número de pessoas que aqui trabalha, aqui é um trabalho feito por gente e há cada vez menos gente e esse fenómeno, creio eu isto é apenas uma opinião, da desertificação, este fator ou é estancado ou então qualquer dia não temos aqui, é só mesmo a paisagem mas de humanizada vai ter pouco porque as pessoas vão embora e portanto não pode continuar a acontecer o que tem acontecido, é haver muito dinheiro, por exemplo
Escreveu um poema a São Leonardo que está afixado aqui na parede da capela, um poema belíssimo é que em si mesmo uma tese filosófica, ou seja, em que ele encara aquela paisagem como paraíso e que o homem tem um paraíso, tem na Terra um paraíso antes de chegar ao Céu e que o paraíso será esse, onde o rabelo avança devagar. São Leonardo de Galafura está numa paisagem que está classificada como património da humanidade, pela UNESCO. Não é apenas um emblema da região. São Leonardo de Galafura será uma das paisagens mais extraordinárias que temos em Portugal.
de fundos europeus a ser metidos aqui no Douro, a ser candidatado através do Douro, ser o pretexto e nunca chegar cá nada, é o que toda a gente diz e é o que se vê. Ou seja, do fluxo por exemplo turístico, do fluxo de negócios, com o vinho e o turismo são milhões (euros) que são gerados aqui e não fica cá nada. Eu até faço um desafio, em que país europeu uma situação destas pode acontecer? Num estado de direito onde haja respeito pelos cidadãos do país, onde tudo o que aqui…… isto é quase uma relação colonial, quer dizer era o que se fazia no século 19 nas antigas colónias sugava-se tudo.
Miguel Torga
Um dos mais influentes poetas e escritores portugueses do século XX. Ele se destacou como poeta, contador de histórias e memorialista, mas também escreveu romances, peças e ensaios. Recebeu o Prêmio Camões de 1989, o mais importante da língua portuguesa.
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Southern Italy
Southern Italy
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The city of Bari Bari-Italy, a bridge towards the East
Introduction Bari, the second largest city of Southern Italy, is the capital town of Puglia region. It is located on the Adriatic Sea and has a population of about 340.000 people. Its port faces the Adriatic Sea and connects to other ports on the Italian and Eastern Europe coast; Bari has an airport with connections to several European cities, it is a university city as well as the city of Saint Nicholas. Bari is made up of four different urban sections. To the north the area includes the Old Town on the peninsula between two modern harbours where there are churches, historical buildings and the Swabian Castle built for Frederick II; now, this area is also a major nightlife district. To the south there is the Murat quarter, the modern heart of the city on a rectangular plan with a promenade on the sea and the major shopping district. The other two areas are residential zones which surround the centre, they were built during the period between 1960 and 1970. In addition, there is a large metropolitan area which includes different suburbs.
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History The city was probably founded by the Peucetii and controlled by the Greeks, then it passed under Roman rule and became the point of junction between the coast and the Via Traiana. During the Middle Ages it was ruled by the Goths, the Longobards and the Byzantines. In 1071 it was under the rule of the Normans, later, the holy Roman Emperor Frederick II ruled the city and between 1499-1524 Bona Sforza of Poland resided in the castle built by Frederick II. After the death of Bona Sforza, Bari was included in the Kingdom of Naples under the Boubon family.
In 1808, the Napoleonic king of Naples Murat ordered to build a new section of the town which is now called Murattiano district. During the period of Mussolini the city was enlarged along the promenade with the construction of imposing buildings that were partly damaged during World War II.
ART & Architecture Bari preserves some important architectural landmarks which are located mainly in the Old Town, called Barivecchia, and Murat district. These are some of the places you can see in Bari
Church of Saint Nicholas Beginning of construction: 8th of July1087 It was built to celebrate and venerate the relics of St. Nicholas Style: Classical Romanesque
Church of Saint Theresa of the Males It is dedicated to Saint Theresa of Avila It was the third largest religious centre and urban agglomeration point of the city It was built between the 1690 and the 1696 Style: Baroque influence
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The Norman Swabian castle Owner: Roger the Norman Beginning of construction: 1131 a.D. It stands at the outer rim of the old city. The castle was encircled by the picturesque gardens of Isabel of Aragon, Duchess of Bari between 1501 and 1524 Each corner of the medieval castle is equipped with a tower.
The infamous column Owner: Pietro di Toledo Installed in 1546 It stands in the centre of Piazza Mercantile, that has been the city’s economic and civic heart The column is so called because insolvent debtors used to be exsposed there for punishment by public humiliation
Mincuzzi Palace Mincuzzi Palace is located on one of the main streets of the town. It is owned by a family of merchants, the Mincuzzi who inaugurated their atelier here in 1928. Columns, pilasters, ionic capitals and masks adorn the façade; the interior is in Liberty style, a glass dome overlooks a monumental staircase. 3
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Petruzzelli theatre The Teatro Petruzzelli is the largest theatre of the city since 1903 and the fourth Italian theatre by size. The Petruzzelli stage has seen many great classics of the opera repertoire (headed by Verdi and Puccini) and a series of new performances in line with trends on the international art scene. On the night of the 27th of October 1991, a fire destroyed the theatre; it was rebuilt and reopened in 2009.
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La città di Bari Bari-Italia,un ponte verso l’Est
Introduzione Bari, la seconda città più grande dell’Italia meridionale,è la capitale della regione Puglia. Si trova sul Mar Adriatico e ha una popolazione di 340000 abitanti. Il suo porto si affaccia sul mare Adriatico e si collega ad altri porti sulla costa italiana e orientale della costa europea; Bari ha un aereoporto con collegamenti con diverse città europee, è una città universitaria e anche la città di San Nicola. Bari è composta da quattro diverse sezioni urbane. A Nord l’area comprende il centro storico sulla penisola tra due porti moderni dove si trovano chiese, edifici storici e il castello Svevo costruito per Federico II;ora questa zona è anche un importante quartiere della vita notturna. A sud c’è il quartiere Murat,il cuore moderno della città su una pianta rettangolare con una passeggiata sul mare e il principale quartiere dello shopping. Le altre due aree sono zone residenziali che 5 circondano il centro,sono state costruite nel periodo tra il 1960 e il 1970. Inoltre, c’è una grande area metropolitana che comprende diversi sobborghi.
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Storia La città fu probabilmente fondata dai Peuciti e controllata dai Greci , poi passò sotto il dominio romano e divenne il punto di congiunzione tra la costa e la Via Trailana. Durante il Medioevo fu governata dai Goti, dai Longobardi e dai Bizantini. Nel 1071 fu sotto il dominio dei Normanni, in seguito il santo imperatore romano Federico II governò la città e tra il 1499-1524 Bona Sforza di Polonia risiedette nel castello costruito da Federico II. Dopo la morte di Bona Sforza, Bari fu inclusa nel Regno di Napoli sotto la famiglia Boubon.
Nel 1808, il re napoleonico di Napoli Murat ordinò di costruire una nuova sezione della città che ora si chiama Murattiano. Durante il periodo di Mussolini la città fu ampliata lungo la passeggiata con la costruzione di imponenti edifici che furono parzialmente danneggiati durante la seconda guerra mondiale.
ARTE & Architettura Bari conserva alcuni importanti punti di riferimento architettonici che si trovano principalmente nel centro storico, chiamato Bari vecchia e Murat. Questi sono alcuni dei luoghi che puoi vedere a Bari
Chiesa di San Nicola Inizio della costruzione: 8 luglio 1087 Fu costruita per celebrare e venerare le reliquie di San Nicola Stile: romano romano classico
Chiesa di santa Teresa dei maschi É dedicata a Santa Teresa D’Avila Era il terzo più grande centro religioso e punto di agglomerazione urbana della città Fu costruita tra il 1690 e il 1696 Stile: influenza barocca
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Castello Normanno Svevo Proprietario: Ruggero il Normanno Inizio della costruzione: 1131 d.C. Si trova sul bordo esterno della città vecchia, circondato dai pittoreschi giardini di Isabella d'Aragona, duchessa di Bari tra il 1501 e il 1524 Ogni angolo del castello medievale è dotato di una torre
La colonna infame Proprietario: Pietro di Toledo Installata nel 1546 Si trova nel centro di Piazza Mercantile, che è stato il cuore economico e civico della città. La colonna è così chiamata perché i debitori insolventi erano esposti qui per punizione da umiliazione pubblica
Il palazzo Mincuzzi Il palazzo Mincuzzi si trova su una delle strade principali della città. È di proprietà di una famiglia di mercanti, i Mincuzzi che inaugurarono qui il loro atelier nel 1928. Colonne, capitelli e maschere ornano la facciata; l'interno è in stile Liberty, una cupola di vetro si affaccia su una scala monumentale. 7
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Teatro Petruzzelli Il Teatro Petruzzelli è il più grande teatro della città dal 1903 e il quarto teatro italiano per dimensione. Il palcoscenico Petruzzelli ha visto molti grandi classici del repertorio operistico (diretto da Verdi e Puccini) e una serie di nuove esibizioni in linea con le tendenze della scena artistica internazionale. La notte del 27 ottobre 1991, un incendio distrusse il teatro; è stato ricostruito e riaperto nel 2009.
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The infamous column The infamous column: a strange method of torture Introduction In the old town of Bari, a full-relief sculptured group stands on the corner of Mercantile Square: it is the “Colonna Infame”- the Infamous Column. It is so called because insolvent debtors used to be exposed there for punishment by public humiliation.
The history of the column A Roman-Apulian craftman sculpted the funerary lion between the end of the 1st century BC and the beginning of the 1st century A.D. Historians believe that the column with the lion was originally a torture instrument installed around 1546 subsequent to an edict issued by the Viceroy Peter of Toledo, Marquis of Villanova, in an effort to make punishment by pillory less inhumane.
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They also report that before then, insolvent debtors who were punished by public humiliation had to stand with their arms wrapped around the column and their bare backside exposed to the guffaws of the onlookers. The lion was added to the foot of the column to allow the insolvent debtors to sit on it, thereby lessening the sense of shame. The lion, probably removed from a Roman tomb, symbolises power and justice. The column represents the city over which the lion keeps watch. This interpretation of the monument is reinforced by the fact that the sculpture was originally positioned near the old port and later moved to its present location in the square as ordered by Isabel of Aragon.
Art and Architecture The sculptural group is composed of a circular pedestal consisting of four concentric steps, with a bare white marble column erected in the middle, surmounted by a cannon ball. A lion, made of Apulian limestone breccia, lies at the foot of the column. The lion is facing forwards with its head turned slightly to the right, from the observer’s perspective. The slender body shows its ribs. In the original piece, the lion’s hind legs were raised, conferring a forward leap attack position to the lion. The rounded head has large, wide, bulging eyes and a huge, open mouth showing teeth. The mane covers the head and the entire front part of the animal's body, and falls in long, thick locks, culminating with flowing volute curls. The tail, which used to pass downwards under the rear right paw (now missing), flows back up along the right flank, etching a circular arch, and then the plume turns downwards once again. 2
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Interesting facts The “Colonna della Giustizia” or “dell’Infame” (Column of Justice or of the Infamous) is a symbol in the old town. The lion symbolizes power and justice as the epigraph “Custos Iusticiae” guardian of justice engraved on the animal’s collar confirms. The punished bad payers were obliged to sit on the lion’s back with their hands tied to the column; according to this practice, nowadays in Bari when someone is in debt it is a customary to say "he is sitting with his butt on the ground".
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La Colonna infame La Colonna infame:uno strano metodo di tortura Introduzione Nel centro storico di Bari, un gruppo scultoreo in rilievo si trova all'angolo di Piazza Mercantile: è la "Colonna Infame" - la Colonna Infame. È così chiamato perché i debitori insolventi erano esposti lì per punizione da parte dell'umiliazione pubblica.
La storia della colonna Un artigiano romano-pugliese scolpì il leone funerario tra la fine del I secolo a.C. e l'inizio del I secolo d.C Gli storici ritengono che la colonna con il leone fosse in origine uno strumento di tortura installato intorno al 1546 in seguito a un editto emanato dal viceré Pietro di Toledo, marchese di Villanova, nel tentativo di rendere la punizione per gogna meno disumana. 4
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Riferiscono anche che prima di allora, i debitori insolventi puniti dall'umiliazione pubblica dovevano stare in piedi con le braccia avvolte attorno alla colonna e il dorso nudo esposto alle risate degli spettatori. Il leone è stato aggiunto ai piedi della colonna per consentire ai debitori insolventi di sedersi su di esso, riducendo così il senso di vergogna. Il leone, probabilmente rimosso da una tomba romana, simboleggia potere e giustizia. La colonna rappresenta la città su cui il leone veglia. Questa interpretazione del monumento è rafforzata dal fatto che la scultura era originariamente posizionata vicino al vecchio porto e successivamente spostata nella posizione attuale nella piazza come ordinato da Isabella d'Aragona.
Arte e Architettura Il gruppo scultoreo è composto da un piedistallo circolare costituito da quattro gradini concentrici, con una colonna di marmo bianco nudo eretta nel mezzo, sormontata da una palla di cannone. Un leone, fatto di breccia calcarea pugliese, giace ai piedi della colonna. Il leone è rivolto in avanti con la testa leggermente rivolta a destra, dal punto di vista dell'osservatore. Il corpo snello mostra le sue costole. Nel pezzo originale, le zampe posteriori del leone erano sollevate, conferendo una posizione di attacco in avanti al leone.
La criniera copre la testa e l'intera parte anteriore del corpo dell'animale e cade in lunghe e spesse ciocche, culminando con riccioli voluti fluenti. La coda, che un tempo passava verso il basso sotto la zampa posteriore destra (ora mancante), ritorna verso l'alto lungo il fianco destro, incidendo un arco circolare, quindi il pennacchio gira di nuovo verso il basso. 5
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Notizie interessanti La "Colonna della Giustizia" o "dell’Infame" (Colonna della Giustizia o dell'Infame) è un simbolo nel centro storico. Il leone simboleggia il potere e la giustizia come conferma l'epigrafe "Custos Iusticiae" custode della giustizia incisa sul colletto dell'animale. I cattivi pagatori erano obbligati a sedersi sulla schiena del leone con le mani legate alla colonna; secondo questa pratica, oggigiorno a Bari, quando qualcuno è in debito, è consuetudine dire "è seduto con il sedere per terra".
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An Iconic Castle The Swabian Castle The Norman-Swabian castle stands at the outer rim of the old city in Bari. Today, the iconic fortress houses the Region’s Directorate for Architectural and Landscape Heritage, as well as a Plaster Cast Gallery. The castle’s current conformation is the result of subsequent modifications and additions carried out during the Norman, Swabian, Angevin and Aragonese eras.
History It was built in 1132 by the Norman King Roger II then seriously damaged in 1156 by king William I of Sicily and rebuilt and reinforced in 1233 by the Holy Roman emperor Frederick II. Frederick II of Swabia restored the fortress walls and the internal layout; he had the entrance hall and courtyard embellished with capitals and a portico erected. In 1226, Charles I of Anjou constructed a second entrance overlooking the sea. During the first half of the 16th century, King Ferdinand of Aragon donated the castle to the Sforza family who passed it to Bona Sforza, Queen of Poland.
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Bona Sforza had other features added: the outer sloping rampart walls and the imperial Renaissance staircase in the inner courtyard. After Bona's death, the castle returned under the King of Naples and, in the 19th century, it was transformed into a prison and later barracks for the infantry foot soldiers.
Art & Architecture
Interesting facts
The original core of the castle consists of a quadrangular trapezoidal fortress with corner and intermediate towers. The castle is surrounded by a moat on all sides, except the northern section, which was bordering the sea and can be accessed from the bridge and the gate on the southern side. It is mainly composed of Aragon walls and the main tower is currently used for exhibitions.
In the 19th century, the castle had been used as a prison and barracks. Today the Norman Swabian castle is the headquarters of the Region’s Directorate for Architectural and Landscape Heritage. Art exhibitions and events are occasionally organized at the Castle. Archaeology lovers can also admire plaster reproductions of ornamental sculptures used between the 11th and 17h centuries at the Plaster Cast Gallery. 2
The typical Apulia's pasta, «orecchiette» has been invented during Frederick’s age. Still today in the streets near the castle there are old women who make handmade orecchiette.
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Un Castello emblematico Il Castello Svevo !Il castello normanno-svevo si trova sul bordo esterno della città vecchia. Oggi, l’iconica fortezza ospita la direzione della regione per I beni architettonici e paesaggistici, nonché una Gipsoteca. L’attuale conformazione del castello è il risultato di successive modifiche e integrazioni effettuate durante le epoche normanna, sveva, angioina e aragonese.
Storia Fu costruito nel 1132 dal re normanno Ruggero II, gravemente danneggiato nel 1156 dal re Guglielmo I di Sicilia e poi ricostruito e rinforzato nel 1233 dall’imperatore del Sacro Romano Impero Federico II. Federico II di Svevia restaurò le mura della fortezza e la disposizione interna; fece abbellire l’atrio e il cortile con capitelli e un portico. Nel 1226, Carlo I d’Angiò costruì un secondo ingresso a picco sul mare. Durante la prima metà del XVI secolo, il re Ferdinando d’Aragona donò il castello alla famiglia Sforza che lo passò a Bona Sforza, regina della Polonia. 3
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Durante la permanenza di Bona Sforza furono aggiunti altri particolari: pareti esterne inclinate e nel cortile interno fu aggiunta un’imponente scalinata di gusto rinascimentale. Dopo la morte di Bona Sforza, il castello tornò al re di Napoli e, nel XIX secolo, fu trasformato in prigione e successivamente in caserma per i soldati di fanteria.
Arte e Architettura
Il nucleo originale del castello è costituito da una fortezza trapezoidale quadrangolare con torri intermedie. Il castello è circondato da un fossato su tutti i lati, ad eccezione della parte settentrionale, che confinava con il mare ed è accessibile dal ponte e dalla porta sul lato meridionale. E’composto prevalentemente da mura aragonesi e la torre principale è attualmente utilizzata per mostre.
Notizie interessanti
Nel 19° secolo, il castello era usato come prigione e caserma. Oggi il castello normanno svevo è il quartiere generale della direzione regionale per il patrimonio architettonico e paesaggistico. Nel castello sono organizzate occasionalmente esposizioni d’arte ed eventi.
4 Gli appassionati di archeologia possono anche ammirare
La tipica pasta pugliese, «orecchiette», è stata inventata durante l’età di Federico. Ancora oggi nelle strade vicino al castello ci sono donne anziane che realizzano orecchiette fatte a mano.
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CASTEL DEL MONTE A masterpiece amidst the hills Introduction Castel del Monte is considered the most fascinating castle built by Frederick II. It was declared World heritage by UNESCO in 1996 for being “… a unique masterpiece of medieval military architecture, a successful blend of elements from classical antiquity, the Islamic Orient and north European Cistercian Gothic.”
History Frederick II’s fame is bound above all to the construction of castles, dislocated according to a rational program of military defense and Administration of the territory and in functional relation with pre-existing road network of the Roman Age.
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In 1237 Frederick II gave orders to build this castle even though the shape doesn’t make it look like a castle. A unique piece of medieval architecture, it was completed in 1240. The castle has no ditches, no drawbridge, no basement, but very large, marble covered rooms which might be used as a royal residence. Walls and towers, made of quartz-bearing limestone are 26 metres tall. In the 18th century, the castle’s interior marbles and remaining furnishing were removed.
Art and Architecture The castle was built in the shape of an octagon, with a diagonal size of 56 metres. The octagonal plan represents the intermediate figure between the square (the symbol of the earth) and the circle, representing the infinite sky. Castel del Monte's geometric design was unique. The towers were originally some 5 m higher than now, and they should perhaps include a third floor.
Interesting facts
Both floors have eight rooms and an eight-sided courtyard occupies the castle's centre. Three of the corner towers contain staircases. The castle has two entrances, an unobtrusive service entrance and an ornate main entrance. The octagonal shaped, courtyard is characterized, as the whole building, by the chromatic contrast between the colours of the utilized materials: coral crushed stone, limestone and marbles.
The number EIGHT is everywhere in the structure of the castle. Eight are the sides of the plan, eight rooms on the ground and first floor and eight are the imposing towers, with an octagonal plan. The plan has been designed in relation to the illumination of the sun, the rays hit a certain point of the construction at the winter and summer solstices (where the two lions look at the entrance door). This number 8 represents, since pagan antiquity, the union of the earth and the sky. Furthermore, if we move the number to a horizontal position, we obtain ∞, the mathematical symbol of infinity. 2
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After years of study and investigation, the architect-builder still remains unknown. The building has been included in the UNESCO World Heritage List for the mathematical precision of its layout, interior and towers and because it combines various architectural styles, from the classic to the Islamic. The castle’s location, its perfect octagonal shape, as well as the mathematical and astronomical precision of its layout all reflect the broad education and cultural vision of its founder, Emperor Frederick II.
DESCRIPTION
The fortress is depicted on one side of the Italian 1 euro cent coin.
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CASTEL DEL MONTE Un capolavoro immerso tra le colline Introduzione Castel del Monte è considerato il castello più affascinante costruito da Federico II. È stato dichiarato patrimonio mondiale dall'UNESCO nel 1996 per essere "... un capolavoro unico dell'architettura militare medievale, una riuscita fusione di elementi dell'antichità classica, l'Oriente islamico e il gotico cistercense del Nord Europa."
Storia La fama di Federico II è legata soprattutto alla costruzione di castelli, dislocati secondo un programma razionale di difesa militare e amministrazione del territorio e in relazione funzionale con la rete stradale preesistente di epoca romana. 4
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Nel 1237 Federico II diede l'ordine di costruire questo castello anche se la forma non lo faceva sembrare un castello. Un pezzo unico di architettura medievale, è stato completato nel 1240. Il castello non ha fossati, né ponte levatoio, né seminterrato, ma stanze molto grandi, rivestite in marmo, che potrebbero essere usate come residenza reale. Le pareti e le torri, realizzate in pietra calcare con quarzo, sono alte 26 metri. Nel 18 ° secolo, i marmi interni del castello e gli arredi rimanenti furono rimossi.
Arte e Architettura Il castello fu costruito a forma di ottagono, con una dimensione diagonale di 56 metri. Il piano ottagonale rappresenta la
Entrambi i piani hanno otto stanze e un cortile a otto lati occupa il centro del castello. Tre delle torri angolari contengono scale. Il castello ha due ingressi, un ingresso di servizio discreto e un ingresso principale ornato. Il cortile a forma ottagonale è caratterizzato, come l'intero edificio, dal contrasto cromatico tra i
figura intermedia tra il quadrato (il simbolo della terra) e il cerchio che rappresenta il cielo infinito. Il design geometrico di Castel del monte era unico. Le torri erano originariamente più alte di circa 5 m ora, e forse includevano un terzo piano.
Notizie interessanti
colori dei materiali utilizzati: corallo, pietrisco, pietra calcare e marmi.
ll numero OTTO è ovunque nel struttura del castello. Otto sono i lati del piano, otto sale al piano terra e al primo piano e otto sono le imponenti torri, a pianta ottagonale. Il piano è stato progettato in relazione all'illuminazione del sole, i raggi colpiscono un certo punto della costruzione nei solstizi invernali ed estivi (dove i due leoni guardano la porta d'ingresso). Questo numero 8 rappresenta, fin dall'antichità pagana, l'unione della terra e del cielo. Inoltre, se spostiamo il numero in posizione orizzontale, otteniamo ∞, il simbolo matematico dell'infinito. 5
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Dopo anni di indagini e studio, l’architetto-costruttore rimane ancora sconosciuto. La costruzione è stata inserita nella lista del patrimonio mondiale dell’UNESCO per la precisione matematica della sua disposizione, degli interni e delle torri e perché combina vari stili architettonici dal classico all’islamico. La posizione del castello, la sua perfetta forma ottagonale, nonchè la precision matematica e astronomica del suo layout riflettono la notevole preparazione e visione culturale del suo fondatore, l’imperatore Federico II.
DESCRIPTION
Il castello è raffigurato su un lato della moneta italiana da 1 centesimo di euro.
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The Trulli of Alberobello An outstanding historic urban landscape Introduction Alberobello is a small town and municipality of the Metropolitan City of Bari, Apulia, southern Italy. It is famous for its unique trullo buildings. The trulli of Alberobello have been designated as a UNESCO World Heritage site since 1996. The Trulli is an outstanding example of human settlement that retains its original form within a Historic Urban Landscape context. They illustrate the long-term use of dry-stone building in the Mediterranean area.
History The first trulli showed up in the prehistoric age; they had already been present in settlement in the Itria Valley. Still, the oldest trulli we know of today are at Alberobello, dating back to the 14th Century. This land was assigned to the Count of Conversano by Robert d’Anjou, Prince of Taranto and then King of Naples from 1309 to 1343. The habitations gradually grew into villages, later called Aja Piccola and Monti.
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In 1620 Alberobello acquired the physiognomy of a settlement. In 1797, the village obtained the title of "Royal City" from the King of Naples, Ferdinand IV de Bourbon.
Interesting Places Aja Piccola: A borgo made up of a network if tiny streets and alleyways. .
Trullo Sovrano: A unique trullo on two levels, today housing a museum.
Church of Sant’Antonio: In trullo form, and featuring a monumental entrance and a staircase overarched by a rose window. The church is in Greek cross plan, with lateral chapels and a bell tower, and a cloister vault roof.
Art and Architecture
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A trullo is a traditional Apulian dry stone hut with a conical roof. The building material used could be either hard limestone (which is present in the soil of this area) or calcareous tufa. Trulli have thick walls made of particular stones and they have one room under each conical roof, with additional living spaces in arched alcoves. A multi-room trullo house has many cones, each representing a separate room.
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Interesting Facts The city derived its name from the Latin phrase silva arboris belli, that is “wood of the tree of war.” In Alberobello you can admire few original trulli houses. The legend says that the Count of Conversano (Andrea Matteo Acquaviva)ordered his peasant workers to build stone houses and settle there. These settlements were made of limestone boulders without any mortar which made them look very unstable. This was an ingenious way because if the houses looked unstable and temporary they were not taxable.
Trulli’s roofs are decorated with many symbols which cast a shadow of mystery over the entire place. They represent magical, religious and spiritual beliefs and astrology signs.
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Alberbello at Christmas is even more beautiful. Trulli light up thanks to Christmas Light, one of the most beautiful Christmas light shows. A show of colors and lights invades the trulli for the holidays, transforming this historic place, a UNESCO heritage site, into a real magical world. And then the Christmas markets and the historic living nativity scene await you.
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I Trulli di Alberobello Un eccezionale paesaggio urbano storico Introduzione Alberobello è una piccola città e comune della città metropolitana di Bari, in Puglia. E’ famosa per i suoi unici edifici a trullo. I trulli di Alberobello sono stati designati come patrimonio mondiale dell’UNESCO dal 1996. I trulli sono un eccezionale esempio di insediamento umano che mantiene la sua forma originale in un contesto di paesaggio urbano storico. Illustrano l’uso a lungo termine di edifici in pietra a secco nell’area del Mediterraneo.
Storia I primi trulli apparvero in epoca preistorica ; erano già presenti nell’insiediamento nella Valle d’Itria. Tuttavia, i trulli più antichi che conosciamo sono ad Alberobello e risalgono al 14 secolo. 5
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Questa terra fu assegnata al Conte di Conversano da Robert D’Anjou , Principe di Taranto e poi Re di Napoli dal 1309 al 1343. Le abitazioni gradualmente si trasformarono in villaggi , in seguito chiamati Aja Piccola e Monti . Nel 1620 Alberobello acquisì la fisionomia di un insediamento . Nel 1797 il paese ottenne il titolo di Città Reale dal re di Napoli, Ferdinando IV di Borbone.
Interesting Places Aja Piccola: un borgo costituito da un insieme di stradine e vicoli .
Trullo Sovrano: Un trullo unico su due livelli che oggi è un museo.
Chiesa di Sant’Antonio: a forma di trullo con ingresso monumentale e scala sovrastata da un rosone. La chiesa è a croce greca, con cappelle laterali, un campanile e un tetto a volta del chiostro.
Arte e Architettura
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Il trullo è una tradizionale capanna in pietra a secco pugliese con un tetto conico. Il materiale da costruzione utilizzato potrebbe essere calcare duro (che è presente nel terreno di quest’area) o tufo calcareo. I trulli hanno pareti spesse fatte di pietre particolari e hanno una stanza sotto ogni tetto conico, con spazi abitativi aggiuntivi in nicchie ad arco. Una casa trullo con più stanze ha molti coni, ognuno dei quali rappresenta una stanza aperta.
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Notizie interessanti La città ha preso il nome dalla frase latina silva alboris belli, che significa „il legno dell’albero della guerra” Ad Alberobello si possono ammirare alcuni trulli originali. La leggenda narra che il Conte di Conversano(Andrea Matteo Acquaviva) ordinò ai suoi contadini lavoratori di costruire case di pietra e stabilirsi lì. Questi insediamenti erano fatti di massi di pietra calcare senza malta, che li rendeva molto instabili. Questo era un modo ingegnoso per non pagare le tasse perchè se le case fossero state instabili e temporanee non sarebbero state tassabili.
I tetti dei trulli sono decorati con molti simboli ,che proiettano un’ombra di mistero sull’intero luogo. Essi rappresentano credenze magiche, religiose e spirituali e segni di astrologia. 7
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Alberobello a Natale è ancora più bello. I trulli sono illuminati in occasione del Natale. Uno spettacolo di luci e colori li invade per le vacanze, trasformando questo luogo storico, patrimonio dell’UNESCO, in un mondo magico. E poi i mercatini di Natale e lo storico presepe vivente vi aspettano!
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Northern Italy
TODAY WE ARE GOING TO TALK ABOUT...
CREMA CITY ALL THE INFORMATION YOU NEED TO KNOW
THE MAIN BUILDINGS Duomo Square Duomo Square shows the three main aspects of life in the past: 1. The life of soul or religious life; 2. The civic life; 3. The economic life. The first is symbolized by the Cathedral in the centre. The second is represented by the Town Hall, built opposite the Cathedral in order to distinguish it and the economic life. The third is represented by shops under the arcade, showing trade developed by merchants, placed on the long side of the square, which was built under the Venetian domination, from 1449 to 1796.
This is a photo showing the city center, here they made a movie called "Call me by your name" and attracted many tourists to visit our area and all the beautiful resources that Lombardy has, our region.
The Town Hall
The Southern Side Of Duomo Square The southern side of the Cathedral is divided into six parts. In the centre there is a portal and along the wall there are some arched windows. Above the portal there is a lunette where you can see the statue called "La Madonna del Pomo" which means the Virgin with the apple. The apple may be the symbol of the first sin by Adam and Eve but it may also represent the world.
At the entrance of the Town Hall, there is the description of the Cathedral written in Braille, a system of writing made by raised dots representing letters, which can be read by blind people touching them. There are also two small pieces of the same material used to build the Cathedral : a red brick and a white stone.
The Bell Tower The bell tower shows three different geometrical shapes and it can be divided into 3 parts:
1. Square at the bottom; 2. Octagonal in the middle part; 3. Conical on the top. You can see a niche, a clock and small loggias on the walls.
Houses and... Here, you can also see narrow and tall houses, typical of Venetian style, showing decorated wrought-iron balconies with shops under the arcade.
… Shops under the arcade
In the warm season the square becomes the real "sitting-room" of the city, with a lot of people sitting in the open air.
This is my article, I hope you enjoy it! From, Martina Allovisio - 3A TST
There are: 1. The chemist's; 2. The newsagent's where they sell magazines, newspapers, postcards, stickers for collections and toys; 3. A jewellery where you can admire necklaces, bracelets, brooches, diamonds, rings, earrings and pearls; 4. A clothes shop; 5. Some cafeterias and bars where they serve espresso-coffee, cappuccino, soft and alcoholic drinks, snacks, icecreams and aperitifs.
OGGI PARLEREMO DELLA...
CITTÀ DI CREMA
GLI EDIFICI PRINCIPALI
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Cultural Heritage HISTORICAL SITES IN OUR AREA
The city of Crema in Lombardy
The Venetian Walls of Crema Characteristics The walls surround the shistoricVenetian center of the city almost entirely, except for the northwest area. The ovoid shape is broken by circular or polygonal gates and towers. The walls were surrounded by an external moat, as evidenced by a stretch that still exists in the Campo di Marte park. The cladding is in exposed brick while the interior is made of cement mortar or bricks. On one side, towards the town there was an embankment. Internal stairs with covered walkways had been built to access the stands: a good stretch of about 130 meters still exists between the Torrion della Madonna and Porta Ombriano. These stands were suitable for the use of crossbows and arquebuses.
Porta Serio Castle and St Benedict Church
History The medieval walls The origins of the city of Crema are shrouded in mystery and could be related to the Lombard invasion of the 6th century A.D. or to the time when Milan was the capital of the Western Roman Empire or it could have been an ancient Celtic or Etruscan settlement. In a document of 1040 it appears indicated as a feud of the Marquis of Tuscany who in 1098 gave it to the Church and the Municipality of Cremona. But a proof of the existence of Crema was only found in 1146 when the Counts and the people of Crema were admonished to obey the bishop of Cremona. In 1159, after having formed an alliance with Milan against the Ghibelline Cremona, Crema was besieged, invaded and destroyed by the emperor Frederick Barbarossa (Redbeard). More hypotheses have been made on how Crema was shaped in the period before the siege. The historian Pietro Terni suggested a fortified city since the Longobard era and with three outer villages for centuries. Moreover, only a partial fortification to the east is assumed. The other sides would have been defended by ditches and embankments that would have allowed the inhabitants to easily cross them during the siege of 1159/1160 and to supply the inhabitants and the refugees through passages inside a swamp called Moso. A certain element is the wide and deep moat, which, as the chronicler Ottone Morena testified, prevented the approach of imperial war machines and it was only with the help of a large quantity of bundles and land that the besiegers were able to gradually approach the fortifications.
From the reconstruction to the arrival of the Venetians In February 1185 in Reggio Emilia, in the presence of some consuls, the reconstruction of the city was granted. After the erection of ditches and trenches a new ring of walls with 21 towers was erected between 1190 and 1199. In addition to the four gates: Serio, Ombriano, Ripalta and Pianengo with their respective towers, the wall had a fifth minor passage, the Ponfure gate dependent on the Pianengo gate. The Ponfure gate owes its name to a bold inhabitant, Furio who forced a group of besiegers to retreat along the walls, during a sortie together with other fellow citizens; his tenacity earned him his perpetual memory: today his name remains to designate this passage, but it also survives in the name that defines a street of the city center, the Via Ponte Furio. After the restoration, the castrum was divided into 27 neighborhoods, which included the names of the families belonging to the most powerful feudal aristocracy living in the district.
According to a local historian, Terni, Crema was enlarged everywhere except to the north. The news of that time says that two castles were erected next to Porta Serio and Porta Ombriano between 1335 and 1361. The last building, built by Bernabò Visconti, was demolished by the Venetians in 1451. During the brief seigniory of the Benzoni family, Giorgio, ascended to the power in 1405, had the contado fortified with a series of watchtowers. The bell tower of the Duomo was used as the main observation point: two or three guards, paid by the municipality, stationed on it. These fortifications are comprehensively illustrated in the Desegnio de Crema et del Cremascho, the oldest map of the territory of the city dating back to the fifteenth century and preserved at the Museo Correr in Venice.
The construction of the Venetian Walls
netian Walls
In February 1449 a Venetian troop, led by Sigismondo Pandolfo Malatesta, besieged Crema and took control of it the following month, starting a long domination of the territory under the Serenissima (Venice). This hegemony lasted until 1797. It fell to the Venetian mayor Berato Barbarigo to convince the citizens of Crema of the need for new walls: he invited the magnates to a banquet and, to convince them, seized on their pride and vanity. In 1488 work began with the remaking of Porta Ombriano, and then continued until 1498, alternating the construction of the southern sector with the northern one. The restoration work continued until 1509 and ended with the excavation of the moat and the completion of the internal embankment. At the end of the restoration, the walls included the four gates of Ombriano, Pianengo (now called Porta Nova), Serio and Ripalta, and the walls were interspersed with eight towers.
XVI Century In 1508 in the face of fears of an invasion, following the signing of the Cambrai anti veneta league, the moats were reinforced and enlarged and the wall guards increased.
Three years after the French conquest, which took place as a result of the battle of Agnadello (1509), Renzo da Ceri brought Crema back to the Venetians. 2
The citizens willingly opened the doors to Renzo, to get rid of an invasion that imposed very high taxes. Renzo da Ceri demolished all the outlying buildings around the walls, lowered the pits and settled in the sanctuary of Santa Maria della Croce, transforming it into a fort. On the night of August 25th, 1514 Renzo da Ceri's troop launched the final attach against the Sforza and Swiss enemies barricaded in Ombriano. A few years later, doubts began to be expressed about the defensive effectiveness of the city walls, especially due to the use of new techniques and war tools, such as the gunpowder. This emergency had been noted by numerous supervisors, first of all the governor Sforza Pallavicino in 1548.
XVII and XVIII Century The situation was revealed in all its drama at the time of the political crisis begun in 1606 when the diplomatic relations between the Republic of Venice and the State of the Church broke down and the intervention of Spain in support of the Pope became possible. The Venetian province of Crema was practically surrounded by the State of Milan. Several times during the seventeenth and eighteenth centuries adjustments and improvements were suggested but the cost was so high that it was not possible to carry them out.
XIX Century In 1803 the Cisalpine Republic decreed Crema "Open city". An urban renovation was started and on March 12, 1804 it was established that the doors had to be demolished. While Porta Ripalta and Porta Pianengo were bricked up, the architect Faustino Rodi was entrusted with the task of restoring Porta Serio and Porta Ombriano. In Crema this architect from Cremona was already following the work for the new bridge over the Cresmiero, a little stream running through the city. He decided to remake the gates in neoclassical style. In 1809 the Royal Property sold the castle of Porta Serio which was slowly destroyed together with the external bulwark. A few decades later, in 1858, a public park was created in that area. 3
In 1810 many religious orders were suppressed and among these the order of the Dominican nuns also called Santa Maria Mater Domini who resided in a seventeenth-century complex located to the north-west of the city. In 1817 the new Austrian government converted the former convent into a barracks and here installed the "Imperial Royal Stallions" with the aim of improving horse breeds. To gain space, a section of the walls was demolished and a more advanced high wall was built.
In 1833 a roadway was designed by engineer Luigi Massari at the foot of the southern embankment, from the current Piazza Garibaldi to Via Kennedy. This road, built mainly with the aim of speeding up access to the main hospital for guests, was initially known as the Avenue of the Walls, or the Promenade of the Bastions. Subsequently it was called Hospital Street and then, following a resolution of the Podestà (the mayor) of 1931, Siege Street.
XX and XXI Century The last years of the nineteenth century marked the expansion of the urban development outside the old town centre, combined with an increase in commercial exchanges which entailed the need to facilitate access to the city: in the early years of the twentieth century the night opening of the doors and entry duties were established. The decision to demolish the no longer used toll booths dates back to 1919 whereas in 1903 new gates were opened to facilitate the circulation of vehicles. In the fifties of the twentieth century there was a need to enlarge the hospital, which was located in Kennedy Street: it was planned to build a new pavilion occupying the area of the moat beyond the walls, but the negative opinion of the Superintendency obliged the Board of Directors of the hospital to change their plans and to opt for the construction of a new building in another place, decision that was taken in October 1960.
Also in 1960, the eighth centenary of the siege of Crema by Emperor Federico Barbarossa was celebrated: on that occasion a plaque to commemorate the event was placed near Porta Serio. In the eighties, the idea of creating a pedestrian path to connect the park of Porta Serio and Campo di Marte was developed, partially restoring the path of the wall patrol. In 2000 the former Villa&Bonaldi factory, built close to the walls in 1924, was demolished and in its place a parking lot, which returns the vision of a large section of the ancient protective ring of the city, was built.
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A tragic episode during the Second World War in Crema During World War II, Crema was bombed by Allied Anglo-American forces. The main objective was the destruction of the railway bridge over the River Serio. On 30 December 1944 a bomb hit Torrion (tower) Foscolo, where Teresa Ragazzi Bissa and Bruno Pizzeghello had sought refuge and perished. To commemorate the tragic event, the remains of the tower were not removed.
A council decision of 1948 abolished the southern road close to the embankment of the walls. It also legalized the subdivision of the areas once occupied by the ramparts to allow construction, a choice that many correctly called foolish.
The Porta Serio Castle The Porta Serio Castle was built according to late medieval canons in 1335 . In 1683 the castle was enlarged and became the castellan and his garrison's headquarter as written in Filippo Verneda’s report. It was a structure with corner towers and an outer moat. Inside there was the parade ground, the soldiers’ quarters and the warehouse for the weapons, while the upper floor was reserved for the castellan.
Outside the castle was equipped with fortifications for defense. The castle was sold by the Royal State of Lodi to a company that later sold it to a foreman, Gaetano Viscardi, who began to build new houses gradually destroying the castle. As an iconography testimony on the walls of Villa Severgnini in Izano, a small village near Crema, remain some tempera paintings made by the painter Angelo Mora commissioned by Gaetano Severgnini.
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The Porta Ombriano Castle The Porta Ombriano Castle stood north of the Porta, in the area of Palazzo Terni. In 1403 the Ghibelline factions besieged by the Guelphs took refuge there. The castle was demolished by the Venetians in 1451 and part of the land was sold to the convent of the sisters of Santa Monica.
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IIS P. SRAFFA CREMA 2 A PNE – 2019/2020
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Patrimonio Culturale SITI STORICI NELLA NOSTRA ZONA
La città di Crema in Lombardia
Le Mura Venete a Crema Caratteristiche Le Mura Venete cingono il centro sstorico della città quasi per intero, eccetto che nell’area nordovest. La forma ovoidale è spezzata dalle porte e dai torrioni di forma circolare o poligonale. La cinta era circondata da un fossato esterno, come attesta un tratto ancora esistente presso i giardini di Campo di Marte. Il rivestimento è in mattoni a vista mentre l’interno è di malta cementizia o mattoni pesti. Su un lato, verso il centro abitato, correva un terrapieno. Per l’accesso agli spalti erano state costruite delle scale interne con presenza di camminamenti coperti: ne esiste ancora un buon tratto di circa 130 metri tra il Torrion della Madonna e Porta Ombriano, questi erano adatti per l’uso di balestre ed archibugi.
Porta Serio Castle and St Benedict Church
Storia Le mura medievali Le origini della città di Crema sono avvolte nel mistero e potrebbero essere legate all'invasione longobarda del VI secolo d.C. o all’epoca in cui Milano era capitale dell'Impero romano d'Occidente oppure si tratterebbe di un antico insediamento celtico o etrusco. In un documento del 1040 compare indicata come feudo dei marchesi di Toscana che nel 1098 la concessero alla Chiesa e al Comune di Cremona. Ma una certezza sull'esistenza di Crema la si ha solo nel 1146 quando i conti e il popolo di Crema furono ammoniti all’obbedienza al vescovo di Cremona. Nel 1159, dopo aver stretto un'alleanza con Milano contro la ghibellina Cremona, Crema venne assediata, invasa e distrutta dall'imperatore Federico Barbarossa. Sono state poste più ipotesi su come fosse conformata Crema nel periodo precedente all'assedio. Lo storico Pietro Terni suggeriva una città fortificata fin dall'epoca longobarda e da secoli dotata di tre borghi esterni. Inoltre si ipotizza solo una parziale fortificazione ad est. Gli altri lati sarebbero stati difesi da fossati e terrapieni che avrebbero permesso ai cremaschi di oltrepassarli con facilità durante l'assedio del 1159/1160 e rifornire gli abitanti ed i rifugiati attraverso passaggi all'interno della palude del Moso. Un elemento certo è il fossato, largo e profondo, che, come testimoniava il cronista Ottone Morena, impediva l'avvicinamento delle macchine da guerra imperiali e fu solo con l'apporto di una gran quantità di fascine e terra che gli assedianti poterono gradualmente avvicinarsi alle fortificazioni.
Dalla ricostruzione all’arrivo dei Veneziani Nel febbraio 1185 a Reggio Emilia, in presenza di alcuni consoli, fu concessa la ricostruzione della città. Dopo l'innalzamento di fosse e trincee, tra il 1190 e il 1199, fu eretta una nuova cinta muraria con 21 torrioni. Oltre alle quattro porte: Serio, Ombriano, Ripalta e Pianengo con le rispettive torri, la cinta aveva un quinto varco minore, la porta di Ponfure dipendente da porta Pianengo. Quest’ultima deve la sua denominazione a un audace cremasco, Furio che, durante una sortita, insieme ad altri concittadini, costrinse un gruppo di assedianti a ripiegare lungo le mura; la sua tenacia gli valse la perpetua memoria: oggi il suo nome rimane a designare questo varco, ma sopravvive anche nel toponimo che definisce una strada del centro cittadino, la via Ponte Furio. Dopo il restauro, il Castrum fu diviso in 27 vicinanze, che prevedevano i nomi delle famiglie appartenenti alle più potenti dell’aristocrazia feudale, residenti nel comprensorio.
Secondo lo storico cremasco Terni, Crema fu ampliata dappertutto tranne a settentrione. Le notizie di quel tempo dicono che vennero eretti i due castelli a Porta Serio e a Porta Ombriano, tra il 1335 e il 1361. L’ultimo edificio, voluto da Bernabò Visconti, fu demolito dai veneziani nel 1451. Durante la breve signoria dei Benzoni, Giorgio, asceso al potere nel 1405, fece fortificare il contado con una serie di torri di avvistamento; la torre campanaria del Duomo veniva utilizzata come il principale punto di osservazione: presso di essa stazionavano due o tre guardie stipendiate dal comune. Questo reticolo fortificato è puntualmente illustrato nel Desegnio de Crema et del Cremascho, la più antica carta del territorio Cremasco risalente al XV secolo e conservata presso il Museo Correr a Venezia.
La Costruzione delle Mura Venete
netian Walls
Nel febbraio 1449, una truppa veneziana, capitanata da Sigismondo Pandolfo Malatesta, assediò Crema di cui prese il controllo il mese successivo, dando avvio ad una lunga dominazione del territorio sotto la Serenissima; tale egemonia durò fino al 1797. Toccò al podestà veneto Berardo Barbarigo convincere i cremaschi della necessità di una nuova cinta muraria: egli invitò i maggiorenti ad un banchetto e, per persuaderli, fece leva sull'orgoglio e sulla vanità. Nel 1488 cominciarono i lavori con il rifacimento di Porta Ombriano, per poi proseguire fino al 1498, alternando la fabbrica del settore meridionale con quello settentrionale; l'opera di restauro proseguì fino al 1509 e terminò con i lavori di scavo del fossato e il completamento del terrapieno interno. Al termine della ricostruzione, la cinta contemplava le quattro porte: Ombriano, Pianengo, Serio e Ripalta e risultavano intervallate da otto torrioni.
XVI Secolo Nel 1508, di fronte ai timori di un’invasione, a seguito della sottoscrizione della lega anti veneta di Cambrai, furono rafforzati e ampliati i fossati e aumentate le guardie.
Tre anni dopo la conquista francese, avvenuta in seguito alla battaglia di Agnadello (1509), Renzo da Ceri riportò Crema in mano ai veneziani. 2
I cremaschi aprirono volentieri le porte a Renzo, per liberarsi da una invasione che imponeva tasse molto consistenti. Renzo da Ceri fece abbattere tutte le costruzioni isolate intorno alle mura, fece abbassare le fosse e si stabilì nel santuario di Santa Maria della Croce, trasformandolo in un fortino. Nella notte del 25 agosto 1514 ci fu l’assalto finale della truppa di Renzo da Ceri nei confronti dei nemici sforzeschi e svizzeri asserragliati a Ombriano. Già pochi anni dopo, cominciarono a essere espresse perplessità sull’efficacia difensiva delle mura della città, soprattutto in ragione dell'uso di nuove tecniche e strumenti bellici, quali ad esempio la polvere da sparo: questa emergenza era stata rilevata da numerosi relatori, primo fra tutti il governatore Sforza Pallavicino nel 1548.
XVII e XVIII Secolo La situazione si rivelò in tutta la sua drammaticità all'epoca della crisi politica iniziata nel 1606 con la rottura dei rapporti diplomatici tra la Repubblica di Venezia e lo Stato della Chiesa e la concreta possibilità della discesa in campo della Spagna a supporto del papa.. La provincia veneta di Crema era praticamente circondata dallo Stato di Milano. Più volte nel corso del Seicento e nel Settecento vennero proposti adeguamenti e miglioramenti ma dal costo così elevato che non fu possibile realizzarli.
XIX Secolo Nel 1803 la Repubblica Cisalpina decretò Crema «Città aperta» iniziando una ristrutturazione urbanistica; con delibera del 12 marzo 1804 fu stabilito che le porte dovessero essere demolite. Mentre Porta Ripalta e Porta Pianengo furono murate, per Porta Serio e Porta Ombriano si affidò all'architetto Faustino Rodi l'incarico di una loro ristrutturazione; l'architetto cremonese, che a Crema stava già seguendo i lavori per il nuovo ponte sul Cresmiero, decise di rifare tutto in stile neoclassico. Nel 1809 il Regio Demanio vendette il castello di Porta Serio che fu pian piano distrutto assieme al baluardo esterno sull'area del quale alcuni decenni dopo – nel 1858 – furono realizzati i giardini pubblici. 3
Risale al 1810 la soppressione di molti ordini religiosi e, tra questi, quello delle monache domenicane dette anche di Santa Maria Mater Domini che risiedevano in un complesso seicentesco collocato a nord-ovest della città; nel 1817 il nuovo governo austriaco convertì l'ex convento in caserma installandovi gli «Imperiali Regii Stalloni» destinati a migliorare le razze equine. Per guadagnare spazi fu demolito un tratto di mura e costruito un più avanzato alto muro di cinta.
Su progetto dell'ingegner Luigi Massari nel 1833 fu progettata una strada carreggiabile ai piedi del terrapieno meridionale, dalle attuali piazza Garibaldi a via Kennedy; tale strada, realizzata soprattutto con lo scopo di velocizzare l'accesso all'Ospedale Maggiore per gli ospiti, era nota inizialmente come viale alle Mura, oppure passeggio dei Bastioni. Successivamente fu chiamata via dell'Ospitale e quindi, ai sensi di una delibera podestarile del 1931, Via dell'Assedio.
XX e XXI Secolo Gli ultimi anni del XIX secolo segnarono l’espansione urbanistica esterna al centro storico, associata a un incremento di scambi commerciali che comportò la necessità di agevolare l’accesso in città: nei primi anni del Novecento furono predisposte l’apertura notturna delle porte e dei dazi di ingresso. Risale al 1919, invece, la decisione di abbattere i caselli daziari, ormai inutilizzati, mentre già dal 1903 furono aperti nuovi varchi, per favorire la circolazione. Negli anni Cinquanta del XX secolo fu rilevata la necessità di ampliare “gli istituti ospedalieri”, che allora avevano sede in via Kennedy: si prevedeva la costruzione di un nuovo monoblocco, occupando lo spazio del fossato oltre la cinta muraria, ma il parere negativo della Sovrintendenza, spinse il Consiglio di Amministrazione dell’ospedale a modificare i propri programmi e a optare per la costruzione di un nuovo edificio in altro luogo, decisione che fu presa nell'ottobre del 1960.
Sempre nel 1960, venne celebrato l’ottavo centenario dell’assedio di Crema da parte dell’imperatore Federico Barbarossa: in quell’occasione venne collocata una targa commemorativa dell’evento nei pressi di Porta Serio. Negli anni ottanta, venne maturata l’idea di realizzare un percorso pedonale per collegare i giardini di Porta Serio e del Campo di Marte, ripristinando parzialmente il percorso di ronda delle mura. Nel 2000 fu abbattuto lo stabilimento ex Villa&Bonaldi, costruito nel 1924 a ridosso delle mura; al suo posto venne realizzato un parcheggio che restituisce la visione di un ampio tratto dell’antica cinta protettiva della città.
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Un tragico episodio durante la seconda guerra Mondiale a Crema Durante la seconda guerra mondiale, Crema fu bombardata dalle forze alleate anglo americane. L'obiettivo principale era la distruzione del ponte ferroviario sul fiume Serio. Il 30 dicembre 1944 una bomba colpì il Torrion Foscolo, dove avevano cercato rifugio Teresa Ragazzi Bissa e Bruno Pizzeghello che perirono: per ricordare il tragico evento i resti del torrione non furono rimossi.
Una delibera consiliare del 1948 soppresse la strada meridionale a ridosso del terrapieno delle mura; inoltre si legalizzò la lottizzazione delle aree un tempo occupate dai bastioni, una scelta che molti, correttamente, definirono insensata.
Il Castello di Porta Serio Il castello di Porta Serio fu costruito nel 1335 secondo canoni tardo medievali. Nel Diciassettesimo secolo venne ampliato e divenne sede del castellano e della guarnigione", come attesta la relazione di Filippo Verneda del 1683. Si trattava di una struttura con torri angolari e con un fossato esterno. All'interno si trovavano la piazza d'armi per l'alloggio dei soldati e i magazzini per gli armamenti, mentre il piano superiore era riservato al castellano.
All'esterno il castello era dotato di fortificazioni per la difesa. Il castello fu venduto dal Regio Demanio di Lodi a una società che successivamente la vendette al capomastro Gaetano Viscardi il quale cominciò a costruire nuove abitazioni distruggendo gradualmente il castello. Come testimonianza iconografica sono rimasti sulle pareti del bocchirale di Villa Severgnini a Izano, piccolo centro del Cremasco alcuni dipinti a tempera realizzati dal pittore Angelo Mora su committenza di Gaetano Severgnini.
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Il castello di Porta Ombriano Il castello di Porta Ombriano sorgeva a Nord della Porta, sull’area di Palazzo Terni. Nel 1403 vi si rifugiarono le fazioni ghibelline assediate da quelle guelfe. Il castello fu demolito dai veneziani nel 1451 e parte del terreno fu venduto al convento delle religiose di Santa Monica.
IIS P. SRAFFA CREMA 2 A PNE – 2019/2020
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Cultural Heritage HISTORICAL SITES IN OUR AREA
The city of Crema in Lombardy
MALPAGA CASTLE Malpaga castle Malpaga castle is located in the territory of Cavernago, in the province of Bergamo - Northern Italy. It looks imposing and threatening. It was once at the centre of the principality of Bartolomeo Colleoni, captain general of the Republic of Venice.
Renaissance Court In 1456 Bartolomeo Colleoni purchased the ruinous Malpaga Castle with the intention of making it his residence and the center of his domain. He turned the castle into an impregnable fortress, housing for his soldiers and magnificent residence: a princely court, testimony of a socio military success as well as a political center.
A fresco portraying a hunting scene
Patronage Patronage was the tendency to support the arts and letters in which every valid leader wished to take part, because, thanks to the war activities, he had many economic resources with which to finance public works or to pay more or less illustrious poets such as Petrarch, Dante ... Many works were carried out thanks to the intervention of some leaders: examples are the works of Vittorino da Feltre, Leon Battista Alberti, Pisanello, the ducal palace of Urbino del Laurana, the works of Piero della Francesca, the Castello Sforzesco of Milan, and the city of Mantua. As regards Bartolomeo Colleoni, lord of Malpaga, his support for the writer and poet Antonio Cornazzano is known. All this testifies that wealth, acquired through war activities, allowed to express this new spirit of the cities.
The Banqueting Hall
Inner courtyard
In the Banqueting Hall of Malpaga Castle there are frescoes. Some of them are deteriorated, but still readable, others are destroyed because of some insensitive people’s barbarity whereas a third group is still beautiful. The latter celebrates the visit of the King of Denmark, Christian I and depicts banquets, hunting scenes, tournaments and Colleoni’s hospitality. The paintings were commissioned to honor the House of the Lord of Malpaga and were made by the famous painter called Romanino The frescoes depicting Colleoni’s and Cristiano I’s faces were painted according to canons of ideal perfection.
Romanino also painted the part of the fresco in the courtyard, facing the entrance: the work represents the battle of the Riccardina, a battle fought by Colleoni. Being outside the fresco has deteriorated due to the exposure to adverse weather conditions and sunlight, but it is still readable. In the fresco you can see war scenes, fighters, armor and horses portrayed with vivid realism.
Rooms on the upper floor On the upper floor of the castle there are some seventeenth-century frescoes which are not particularly high-quality from an artistic point of view but still brightly coloured. On some walls some allegories, which portray Colleoni not so much as a warrior but as a man of a certain sensitivity, are represented. Significant is the Allegory of Silence depicted as an old man, who with a finger asks for silence or the observance of secrecy, a rule to be observed at the castle.
Colleoni’s bedroom In Colleoni’s private room you can note the absence of the fireplace to avoid the possibility of enemy intrusions from the chimney, but there is a fifteenth-century sacred fresco, particularly loved by Colleoni.
Always for security reasons, there were bars on the windows, so that no one could enter the room to try to kill the Lord. In addition, commanders were used to sleeping seated, both to digest better but also for defensive reasons.
2
In fact when they slept, they always kept a sword by the bed. Therefore if someone had managed to enter the room, Colleoni would have been able to get up faster to defend himself.
Renaissance Lord
Patron of humanists
Following a Renaissance fashion Colleoni enlarged and embellished Malpaga Castle. He commissioned French school masters to paint frescoes and turned the castle into a luxurious and elegant retreat, a quiet place for a great warrior’s rest and relaxation but also a cultural and political centre. Thus a court was born, a palace witness of historical events and of the presence of great personalities. Borso d'Este, Francesco Sforza’s sons, Charles the Bold and King Christian l of Denmark passed splendidly through the chambers of Malpaga Castle. Colleoni’s heirs continued to endow the castle with new works of art, to exalt the deeds of the illustrious ancestor.
Malpaga also hosted men of letters, mainly from the city of Bergamo such as Jacopo Tiraboschi and Giovanni Michele Carrara as well as foreigners such as Pagello and Antonio Cornazzano, who wrote Bartolomeo Colleoni’s biography, certainly commissioned by Colleoni more to celebrate himself than to report historical events.
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IIS P. SRAFFA CREMA 2 A PNE – 2019/2020 3
Patrimonio Culturale SITI STORICI NELLA NOSTRA ZONA
La città di Crema in Lombardia
Il Castello di Malpaga Il castello di Malpaga Il castello di Malpaga si trova nel territorio di Cavernago, nella provincia di Bergamo. Ha un aspetto imponente e minaccioso. Un tempo fu il centro del principato di Bartolomeo Colleoni, capitano generale della Repubblica di Venezia.
Corte Rinascimentale Nel 1456 Bartolomeo Colleoni acquistò il castello diroccato di Malpaga con l’intenzione di farne la propria residenza e il centro del suo dominio. Trasformò il castello in un inespugnabile fortezza, campo di alloggiamento per i suoi soldati e magnifica residenza: corte principesca, testimonianza di un successo socio militare, oltre che centro politico.
A fresco portraying a hunting scene
Mecenatismo Il mecenatismo era una tendenza a sostenere le arti e le lettere alla quale ogni valido condottiero desiderava prender parte, poiché, grazie alle attività belliche, aveva molte risorse economiche con le quali finanziare opere pubbliche o stipendiare poeti più o meno illustri, come anche Petrarca, Dante ... Molte opere furono realizzate proprio grazie all’intervento di alcuni condottieri: ne sono esempi le opere di Vittorino da Feltre, di Leon Battista Alberti, di Pisanello, il palazzo ducale di Urbino del Laurana, le opere di Piero della Francesca, il Castello Sforzesco di Milano, e la città di Mantova. Per quanto concerne Bartolomeo Colleoni, signore di Malpaga, è noto il suo supporto allo scrittore e poeta Antonio Cornazzano. Tutto ciò testimonia che la ricchezza, acquisita con le attività di guerra, consentiva di esprimere questo nuovo spirito delle città.
Salone dei banchetti
Cortile interno
Nel Salone dei banchetti del Castello di Malpaga, si trovano degli affreschi, alcuni deteriorati, ma ancora leggibili, altri che risultano distrutti a causa della barbaria di alcune persone insensibili, mentre un terzo gruppo è ancora splendido. Quest’ ultimo celebra la visita del re di Danimarca, Cristiano I e raffigura banchetti, scene di caccia, dei tornei e l'ospitalità del Colleoni. I dipinti sono stati commissionati per onorare la casata del signore di Malpaga e sono stati realizzati dal celebre pittore Romanino. Gli affreschi che raffigurano i volti del Colleoni e di Cristiano I sono stati dipinti secondo canoni di perfezione ideale.
Romanino dipinse anche parte dell’affresco del cortile, rivolto verso l'ingresso: l’opera raffigura la battaglia della Riccardina, battaglia combattuta da Colleoni. Essendo situato all'esterno, l’affresco si è deteriorato a causa dell'esposizione alle intemperie e alla luce del sole, ma è ancora leggibile. Nell'affresco si vedono scene belliche, combattenti, armature, e cavalli dipinti con vivo realismo.
Stanze al piano superiore Al piano superiore del castello si trovano alcuni affreschi del 17° secolo che non sono di qualità particolarmente alta dal punto di vista artistico ma ancora vivacemente colorati. Su alcune pareti sono rappresentate delle allegorie che ritraggono Colleoni non tanto come un guerriero ma come uomo di una certa sensibilità. Significativa è l'allegoria del silenzio raffigurata come un vecchio che con un dito invita al silenzio o al mantenimento del segreto, regola che tutti al castello dovevano osservare.
Camera da letto del Colleoni Nella stanza privata del Colleoni si nota l’assenza del caminetto per evitare la possibilità di intrusioni nemiche dalla canna fumaria, mentre è presente un affresco sacro quattrocentesco, particolarmente amato dal Colleoni.
Sempre per motivi di sicurezza, c'erano sbarre alle finestre, in modo che nessuno potesse entrare nella stanza per per tentare di uccidere il Signore. Inoltre, i comandanti erano soliti dormire seduti, sia per digerire meglio che per ragioni difensive. 2
Infatti quando dormivano tenevano sempre una spada accanto al letto. Pertanto se qualcuno fosse riuscito ad entrare nella stanza, Colleoni sarebbe stato in grado di alzarsi più velocemente per difendersi.
Signore Rinascimentale
Mecenate
Seguendo la moda rinascimentale, Bartolomeo Colleoni abbellì il castello di Malpaga. Commissionò affreschi ad alcuni maestri della scuola francese e rese il castello un rifugio lussuoso ed elegante adatto al riposo di un grande guerriero, ma anche centro culturale e politico. Nacque così una corte, un palazzo testimone di eventi storici e della presenza di grandi personalità. Passarono attraverso le sale di Malpaga Borso d'Este, i figli di Francesco Sforza, Carlo il Temerario e il re Cristiano I di Danimarca. Gli eredi del Colleoni proseguirono nel dotare il castello di nuove opere d’arte, per esaltare le gesta dell'illustre antenato.
Malpaga ospitò anche degli umanisti, prevalentemente bergamaschi come Jacopo Tiraboschi e Giovanni Michele Carrara oltre che forestieri come Pagello e Antonio Cornazzano, che scrisse la biografia di Bartolomeo Colleoni, certamente commissionatogli dallo stesso.più per autocelebrarsi che per riportare eventi storici.
IIS P. SRAFFA CREMA 2 A PNE – 2019/2020 3
Cultural Heritage Historical sites in our area
Lombardy
SABBIONETA: the ideal city The tourist guide on the geometric art of the city Sabbioneta is a perfect example of the new urban planning theories of the Italian Renaissance. Its foundations rise on the typical Roman structure of Cardo and Decumano: all the streets are perfectly orthogonal and they merge together in the main square, the focal point of the city, where the Ducal Palace dominates the scene. It was built by order of Vespasiano Gonzaga and was completed in 1578 ad it was the home of the ruling family and the fulcrum of the political, administrative and courtly organization of the duchy.
Ducal Palace and Square, Sabbioneta
This three-floors building is characterized by a central tower and an raised porch which is surmounted by a series of windows finely decorated with statues and marble, a material which can be found also on the front side of the Major Church of S. Maria Assunta.
Vespasiano Gonzaga and the utopic concept of the Ideal City Vespasiano I Gonzaga (6 December 1531 – 26 February 1591) was an Italian nobleman, diplomat, writer and military engineer. He is remembered as a patron of the arts and the founder of Sabbioneta, a town in Lombardy designed according to the Renaissance principles of the ideal city. The "ideal" nature of such a city may encompass the moral, spiritual and juridical qualities of citizenship as well as the ways in which these are realized through urban structures including building and street layout. The ground Vespasiano Gonzaga, Duke of Sabbioneta 1550
plans of ideal cities are often based on grids (in imitation of Roman town planning) or other geometrical patterns which can be referred to the St Thomas More's Utopia, written in 1516.
“CORRIDOR GRANDE” A link between Roman, Renaissance Perspective and Futurism Called also Galleria degli Antichi, this gallery is a ninetyseven meter long building consisting of a pedestrian arcade on the ground floor and a closed gallery on the upper floor. The presence of exposed bricks on the external side of the structure may recall the Roman architectural rules for the construction of aqueducts. It was built between 1584 and 1586 in order to contain ancient
marbles
and
hunting
trophies
but
the
architecture does not refer uniquely to the past. When the viewer walks through the corridor, his sight is captured by the edges of the walls and guided along the
External side of the Corridor Grande, Sabbioneta
fresco decorations made by Giovanni and Alessandro Alberti. This gives to the painting a sort of dynamics which can be associated to the famous painting of Giacomo Balla Dinamismo di un cane a guinzaglio. The wooden ceiling, once painted blue, is made by small golden rosettes in chests of drawers, while the floor, originally paved with square terracotta tiles, is well illuminated by a continuous repetition of windows which face the external garden. Corridor Grande, Sabbioneta
Perspective art and Religion The sense of depth is obtained using different configurations of columns. On the left, we present a photo of the famous Teatro all’Antica where the amphitheater-shape of the Doric columns supports different statues of gods. On the other side, there is the acting stage. On the right, the sense of perspective is given by the two big Corinthian columns that anticipate the Hebraic altar in the synagogue of Sabbioneta.
Teatro all’Antica, Sabbioneta
Synagogue, Sabbioneta
Patrimonio Culturale Siti storici nella nostra zona
Lombardia
SABBIONETA: la città ideale Guida turistica sull’arte geometrica della città Sabbioneta è l’esempio perfetto delle nuove teorie su una planimetria urbanistica del Rinascimento Italiano. Le sue fondamenta si basano sulla tipica struttura Romana del Cardo e Decumano: tutte le strade sono pefettamente ortogonali e si fondono insieme nella piazza principale, il punto focale della città, dove il Palazzo Ducale domina la scena. Fu costruito da Vespasiano Gonzaga e fu completato nel 1578 e fu la casa della famiglia regnante oltre che il fulcro dell’organizzazione politica, amministrativa e Palazzo e Piazza Ducale, Sabbioneta
cortigiana del ducato.
Questo edificio di tre piani è caratterizzato da una torre centrale e da un porticato rialzato che è sormontato da una serie di finestre finemente decorate da statue e marmo, un materiale che può essere trovato anche sulla facciata della chiesa Maggiore di Santa Maria Assunta.
Vespasiano Gonzaga e il concetto utopico della città ideale Vespasiano I Gonzaga (6 Dicembre 1531 – 26 Febbraio 1591) fu un nobile, diplomatico, scrittore e ingegnere militare italiano. È ricordato come il promotore dell’arte e fondatore di Sabbioneta, una città in Lombardia costruita in accordo con i principi rinascimentali della città ideale. La natura ideale di tale città vuole abbracciare non solo le qualità morali, spirituali e giuridiche della popolazione ma anche quelle per le quali vengono costruiti gli edifici e pianificata la disposizione delle strade. La struttura Vespasiano Gonzaga, Duca di Sabbioneta 1550
stradale delle città ideali si basa spesso su una matrice (come imitazione delle strade Romane) o su altri riferimenti geometrici da riferirsi al libro Utopia, scritto da Tommaso Moro nel 1516.
“CORRIDOR GRANDE” Un collegamento tra stile Romano, Prospettiva Rinascimentale e Futurismo Chiamata anche Galleria degli Antichi , questa galleria di novantasette metri consiste in un’arcata pedonale al piano terra e da una galleria chiusa al piano superiore. La presenza di mattoni a vista sulla facciata esterna della struttura può richiamare le regole architettoniche Romane per la costruzione degli acquedotti. Fu costruito tra il 1584 e il 1586 per contenere antiche statue di marmo e trofei di caccia, ma la struttura non si riferisce solo al passato. Quando l’osservatore cammina lungo il corridoio, la sua vista è catturata dai lati dei muri e guidata dagli affreschi
Facciata esterna del Corridor Grande, Sabbioneta
realizzati da Giovanni e Alessandro Alberti. Questo da ai dipinti una sorta di dinamica che potrebbe essere associata al famoso quadro di Giacomo Balla Dinamismo di un cane a guinzaglio. Il soffitto in legno, una volta dipinto di blu, è costituito da rosette d’oro incastonate in cassettoni, mentre il pavimento, originariamente piastrellato in terracotta è ben illuminato da una ripetizone continua di finestre che si affacciano sul giardino esterno. Corridor Grande, Sabbioneta
L’arte della prospettiva e la religione Il senso di profondità e di maestosità può essere conseguito anche attraverso l’utilizzo di diverse configurazioni di colonne. Sulla sinistra, presentiamo una foto del famoso Teatro all’Antica dove la forma anfiteatrale delle colonne doriche funge da supporto a delle statue degli dei. Dall’altro lato si trova il palcoscenico. Sulla destra, il senso di prospettiva è dato da due più grandi colonne corinzie che anticipano l’altare ebraico situato nella sinagoga di Sabbioneta.
Teatro all’Antica, Sabbioneta
Sinagoga, Sabbioneta
Sabbioneta Discovering Lombardy – 21th February 2020
Who is the man in the picture?
Main steps
The Ducal Palace
The Theatre
The Synagogue
Garden Palace
He's Vespasiano Gonzaga
The Ducal Palace •The Ducal Palace is a historic building of Sabbioneta, in the province of Mantua, with two floors, a porch and a central tower, overlooking Piazza Ducale. In the second room on the second floor there is the family tree of the Gonzaga family and in this palace died the Vespasian Duke Gonzaga.
The Ducal Palace •In the first two photos is represented the coat of arms of the Gonzaga. •In the third photo there is the statue of Vespasian, represented in all its beauty while holding in hand a book, made of marble. •The last picture has writing on the walls.
The Ducal Palace •It was the first significant building built by Vespasiano Gonzaga, son of Rodomonte and Isabella Colonna. •It was the home of the ruling family and the fulcrum of the political, administrative and courtesan organization of the Duchy. These are the equestrian statues of the Gonzaga
The Ducal Palace • The ground floor is preceded by a beautiful portico covered with marble. The main floor is enhanced by the so-called golden halls, with the vault of gilded and painted wood: at the centre of the ceiling of the dart room you can see the coat of arms of the Duke surrounded by the collar of Toson d'Oro, conferred by King Philip II of Spain; the original was found in his sarcophagus in the nearby church of the Blessed Virgin crowned.
The Ducal Palace These are the beautiful wooden ceilings
The Theatre •It has been defined by the historiography also modern theatre for the presence of innovative elements for the time, such as the autonomous facade, the diversified system of entrances, the mystical form of the cavea, the inclined orchestra, the backstage equipped with dressing rooms for comedians and musicians. •The refined exterior is divided into two orders: the band marcapiano shows the inscription ROMA QVANTA FVIT IPSA RVINA DOCET (How great was Rome tell us its ruins).
The Synagogue Inside you can visit a room that retraces the history of the Jews in Sabbioneta where they had an important role as printers. The ceremonial hall has an Aròn bounded by two columns with Corinthian capitals. Turning your gaze towards the entrance you can see up the matron. The walls finished with stucco that gives the impression of being marble. Even beautiful ceiling that looks like covered by a tarp.
The Garden Palace
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The Garden Palace •
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San Benedetto Po
The Monastery - Abbey of Polirone •
The Monastery - Abbey of Polirone
The Monastery - Abbey of Polirone
The Monastery - Abbey of Polirone • •
The Monastery - Abbey of Polirone
Sabbioneta Alla scoperta della Lombardia, 21 Febbraio 2020
Chi è l'uomo nella fotografia?
Tappe principali
Il Palazzo Ducale
Il Teatro
La Sinagoga
Palazzo Giardino
È Vespasiano Gonzaga
Il Palazzo Ducale •Il Palazzo Ducale, è un edificio storico di Sabbioneta, in provincia di Mantova, con due piani, un portico ed una torretta centrale, che si affaccia su piazza Ducale. Nella seconda stanza al secondo piano vi è l'albero genealogico della famiglia Gonzaga in cui ogni membro è affiancato dalla propria moglie e dal proprio marito. In questo palazzo morì il duca Vespasiano Gonzaga.
Il Palazzo Ducale •Nelle prime due foto è raffigurato lo stemma dei Gonzaga. •Nella terza foto c'è la statua di Vespasiano, rappresentato in tutta la sua bellezza mentre tiene in mano un libro, la statua è fatta in marmo. •Nell'ultima foto ci sono delle scritte sui muri.
Il Palazzo Ducale •Fu il primo significativo edificio fatto realizzare da Vespasiano Gonzaga, figlio di Rodomonte e di Isabella Colonna. •Fu la dimora della famiglia regnante e il fulcro dell'organizzazione politica, amministrativa e cortigiana del ducato. Queste sono le statue equestri dei Gonzaga
Il Palazzo Ducale • Il piano terreno è preceduto da un bel porticato rivestito di marmo. Il piano nobile è valorizzato dalle cosiddette sale d'oro, con la volta di legno dorato e dipinto: al centro del soffitto della saletta dei dardi si nota lo stemma del duca circondato dal collare del Toson d'Oro, conferitogli dal re Filippo II di Spagna; l'originale fu rinvenuto nel suo sarcofago nella vicina chiesa della Beata Vergine Incoronata.
Il Palazzo Ducale Questi sono i bellissimi soffitti in legno
Il Teatro •È stato definito dalla storiografia anche teatro moderno per la presenza di elementi innovatori per l'epoca, quali la facciata autonoma, il diversificato sistema d'ingressi, la forma mistilinea della cavea, l'orchestra inclinata, il retropalco dotato di camerini per i comici e per i musici. Il raffinato prospetto esterno è ripartito in due ordini: la fascia marcapiano mostra la scritta ROMA QVANTA FVIT IPSA RVINA DOCET (Quanto fu grande Roma ce lo dicono le sue rovine).
La Sinagoga All'interno si può visitare una sala che ripercorre la storia degli ebrei a Sabbioneta dove avevano un ruolo importante come stampatori. La sala delle cerimonie presenta un Aròn delimitato da due colonne con capitelli corinzi. Rivolgendo lo sguardo verso l'ingresso si può vedere in alto il matroneo. Le pareti rifinite a stucco che dà l'impressione di essere marmo. Pure bello il soffitto che sembra ricoperto da un telo.
Palazzo Giardino • Il Palazzo Giardino, è un edificio modesto con un aspetto rustico, situato tra la galleria e il piccolo corridore. Fu costruito prima del 1580 e terminato nel maggio 1588, per essere la residenza privata e il luogo dell'Otio ducale. • L'esterno, è coronato da una preziosa cornice di quercia con motivi geometrici come i palazzi dell'antica strada Giulia, l'attuale via Vespasiano Gonzaga. L'interno è stato decorato dal team di artisti coordinati da Bernardino Campi tra il 1582 e il 1587.
Palazzo Giardino • Nella Sala degli Specchi si apre lo spogliatoio delle Grazie, un ambiente delizioso con destinazione privata splendidamente decorata dal Fornarino. • Le pareti sono dipinte a grottesco, sono presenti al centro figure mitologiche: Apollo, le tre Grazie, Diana e Venere con Cupido. • La volta in stucco, un tempo dorata, ospita la testa di Medusa al centro di girali vegetali.
San Benedetto Po
Il Monastero – Abbazia di Polirone • L'abbazia fu fondata nel 1007 dal conte di Mantova Tedaldo di Canossa (nonno paterno di Matilde), che la dedicò a se stesso e alla sua defunta moglie Willa, attraverso una donazione ai monaci benedettini di metà della terra tra i fiumi Po e Lirone.
Il Monastero – Abbazia di Polirone La storia dell'abbazia del '600 e del '700 è una storia di inondazioni, guerre e saccheggi. Il monastero fu così impoverito che nel 1633 l'abate vendette a Papa Urbano VIII il corpo della contessa Matilde, sepolto nella chiesa di Santa Maria, in cambio di una considerevole somma di denaro. Matilde ora riposa in San Pietro in una ricca tomba del Bernini. Fu soppressa durante l'epoca napoleonica. Fortunatamente, i libri e i manoscritti sono stati portati alla biblioteca comunale di Mantova e sono stati in gran parte salvati.
Il Monastero – Abbazia di Polirone
Il Monastero – Abbazia di Polirone • Oggi rimangono tre chiostri, il grande refettorio, la nuova infermeria e la basilica. • Dal Medioevo rimane la chiesa di Santa Maria, con un pavimento a mosaico, un candelabro della fine del XI secolo e una "capsula" (scatola per libri o frutta) di avorio.
Il Monastero – Abbazia di Polirone Il motto dei monaci era "Ora et labora", che significa "Pregare e lavorare".
Questa è la parte sotterranea dell'intero complesso, ricca di monumenti ed edifici.
Cultural Heritage HISTORICAL SITES IN OUR AREA
Lombardy
Valcamonica The history of Valcamonica
Valcamonica is a valley that stretches for about 90 Km, in the middle of the eastern Alps, between Brescia and Bergamo.
The history of Valcamonica begins with the end of the glacier age, about 15000 years ago.
The Camuni The Pre-Indo European population of the area was the Camuni. They left lots of drawings on the rocks of the caves. Thanks to these primitive and singular artworks, Valcamonica became a UNESCO site in 1979.
The graffiti The 250 000 rock engravings, which make the Valley one of the largest petroglyphic collections in the world, were realized in the course of 8000 years, from the Mesolithic period until the Roman and medieval ages.
What the graffiti meant
The populations drew fight scenes or hunting scenes on the rocks. They thought that if they drew 2
something, it may become true. They also made religious drawings.
Barbarian invasions From the 16th century B.C. to 476 A.C. the valley was occupied by the Romans. In this period Valcamonica was also subject to barbarian invasions such as the ones of the Heruli and Ostrogoth clans.
The Lombards ruled the area until 774 A.C., and were then overtaken by the carolingians.
From the 15th to the 20th century
In 1428 the Valley was annexed to the Republic of Venice. Later in the 18th century it was conquered by the French, and so Valcamonica took its name from “Canton of the mountain”, and was subdivided into seven distinct districts. Agriculture and livestock farming marked the Valley’s decline during the Napoleonic period. In 1861 it was annexed to the Kingdom of Italy and during the First World War it was a battle theatre (for example the White War in Adamello) several times.
Valcamonica today Today Valcamonica is one of the most visited UNESCO sites in the world. 3
Patrimonio Culturale SITI STORICI NELLA NOSTRA ZONA
Lombardia
Valcamonica La storia della Valcamonica
La Valcamonica è una valle che si estende per circa 90 Km, al centro delle Alpi orientali, tra Brescia e Bergamo.
La storia della Valcamonica inizia con la fine dell'era glaciale, circa 15000 anni fa.
I Camuni La popolazione preindoeuropea dell'area era quella dei Camuni. Essi hanno lasciato molti disegni sulle rocce delle grotte. Grazie a queste opere primitive e singolari, la Valcamonica divenne un sito dell'UNESCO nel 1979.
I graffiti Le 250.000 incisioni rupestri, che fanno della Valle una delle più grandi collezioni petroglifiche del mondo, sono state realizzate nel corso di 8000 anni, dal Mesolitico fino all'età romana e medievale.
What the graffiti meant
Le popolazioni disegnavano scene di combattimento o di caccia sulle rocce. 2 Pensavano che disegnando
qualcosa, potesse avverarsi. Fecero anche disegni religiosi.
Invasioni barbariche Dal XVI secolo a.C. al 476 d.C. la valle fu occupata dai Romani. In questo periodo la Valcamonica subì anche invasioni barbariche come quelle dei clan degli Eruli e degli Ostrogoti. I Longobardi governarono l'area fino al 774 d.C., e furono poi sopraffatti dai Carolingi.
Dal XV al XX
secolo
Nel 1428 la Valle venne annessa alla Repubblica di Venezia. Più tardi nel XVIII secolo fu conquistata dai francesi, e così la Valcamonica prese il nome di "Cantone della montagna", e fu suddivisa in sette distinti distretti. L'agricoltura e l'allevamento segnarono il declino della Valle durante il periodo napoleonico. Nel 1861 fu annessa al Regno d'Italia e durante la prima guerra mondiale fu più volte teatro di battaglia (ad esempio la Guerra Bianca sull’ Adamello).
La Valcamonica oggi Oggi la Valcamonica è uno dei siti UNESCO più visitati al mondo. 3
Conclusion
Did you spot any elements our sites have in common? Could you recognize their distinctive European traits? Any traces from prehistoric times which remind you of something similar in your country? Elements of ancient Greek and Roman architecture? Or their belonging to artistic and architectural styles typical of our continent which make them unique but tied to their European roots? They are the symbols of our European identity which unites us despite diversities and we must preserve them to pass them down to future generations!
ISLE OF WIGHT COLLEGE NEWPORT UNITED KINGDOM
COLEGIUL NATIONAL NICHITA STANESCU PLOIESTI ROMANIA
LYCÉE CONDORCET BELFORT FRANCE
AGRUPAMENTO DE ESCOLAS DR.JOÃO ARAÚJO CORREIA PESO DA RÉGUA PORTUGAL
I.I.S. P. SRAFFA – CREMA CONVITTO NAZIONALE DOMENICO CIRILLO - SCUOLE ANNESSE BARI ITALY