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[ENG] The Garden El Capricho is one of the most beautiful parks of Madrid. It was created on 1784 when the Dukes of Osuna acquire this estate for his playtime. The duchess dona Maria Josefa de la Soledad Alonso Pimentel was the principal promoter of this park, who worked in the artists and set designers gardeners most prestigious. To his death it entered in a period of decadence, it was acquired in auction by the family Baüer, and little by little his belongings were sold. During the Civil war it turned into Headquarters of the Army of the Center. In 1974 the Town hall of Madrid bought the park and after several years of abandon, was recovered in 1999, and successively restored.
More pictures on the "El Capricho" Garden album
[ESP] El jardín El Capricho es los parques más bellos de Madrid. Se creó sobre 1784 cuando los Duques de Osuna adquieren esta finca para su recreo. La duquesa doña María Josefa de la Soledad Alonso Pimentel fue la principal impulsora de este parque, en el que trabajaron los artistas, jardineros y escenógrafos de más prestigio. A su muerte entró en un período de decadencia, fue adquirido en subasta por la familia Baüer, y poco a poco fueron vendiéndose sus pertenencias. Durante la Guerra Civil se convirtió en Cuartel General del Ejército del Centro. En 1974 el Ayuntamiento de Madrid compró el parque y tras varios años de abandono, fue recuperado en 1999, y sucesivamente restaurado.
Más fotografías en el álbum Jardín "El Capricho", Madrid
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台南孔子廟 - 明倫堂 / 堂中孝與義門外雨紛飛 - 今日明大道忠節振新威
Tainan City Confucian temple - Ming Lun hall / The outside is rainy in this hall had filial piety and justice - Today understand the Road of the world Tadatoki to show the new power and prestige
Templo del confuciano de la ciudad de Tainan - Pasillo de Ming Lun / El exterior es de lluvias en esta sala tuvo piedad filial y la justicia - Hoy en día comprender el camino de la Tadatoki mundo para mostrar el nuevo poder y el prestigio
台南の孔子廟 - 明倫堂 / 堂中孝と義の扉の外で雨は降りしきます - 今日明るい大通りの忠節と振新の威
Tainan-Stadt-Konfuzianertempel - Ming Lun Halle / Die Außenseite ist regnerisch in diesem Saal hatte Pietät und Gerechtigkeit - Heute verstehen die Straßen der Welt Tadatoki, um die neue Macht und Prestige zeigen
Tainan City temple de Confucius - Ming Lun Hall / L'extérieur est pluvieux dans cette salle avait la piété filiale et de la justice - Aujourd'hui à comprendre la Route du Tadatoki monde pour montrer le nouveau pouvoir et de prestige
Tainan Taiwan / Tainan Taiwán / 台灣台南
管樂小集 2012/06/16 安平港 德陽艦 演出剪輯
{ The Anping port Deyang ship performance clips / 安平港 徳陽艦 編集に公演します }
{View large size on fluidr / 觀看大圖}
{My Blog / 管樂小集精彩演出-觸動你的心}
{My Blog / Great Music The splendid performance touches your heart}
{My Blog / 管楽小集すばらしい公演-はあなたの心を心を打ちます}
{Mi blog / La gran música el funcionamiento espléndido toca su corazón}
{Mein Blog / Große Musik die herrliche Leistung berührt Ihr Herz}
{Mon blog / La grande musique l'exécution splendide touche votre coeur}
書中風起雲動 劍下虎嘯龍吟
The book stroke has the clouds to move under the sword the tiger's roar and dragon to recite
誰知成敗早已天定
Who knows the success or failure already to decide for GOD
回首江山依舊 入眼夕陽正紅
Who looks back on the landscape as before pleasant setting sun is red now
但願人長久情長在
Hopes the persons long-time sentiment exist
熱蘭劍士無悔無憾
The Zeelandia's swordsman regretless not regrets
安平運河路-找劍獅 / 路衝劍獅的家-炮仗花開了 / Yunhe Road Anping-Looking for the sword lions / The family of the sword lion Face to road - The Orange Trumpet Vine to blossom / Camino Anping de Yunhe-Buscar los leones de la espada / La familia de la cara del león de la espada al camino - La vid de trompeta anaranjada a florecer / 運河の道安平-剣のライオンを捜すこと / 路沖の剣の獅子の家 - 爆竹は花が咲きました
名稱: 炮仗花
英名: Orange Trumpet Vine
別稱: 黃金珊瑚
科別: 屬於紫威科，炮仗花屬
產地: 原產巴西
Name: The firecracker is colored
Illustrious name: Orange Trumpet Vine
alternate name: The gold coral
branch leaves: Belongs to the purple prestige branch, the firecracker flower is
The habitat: Produces Brazil originally
Nombre: Se colorea el petardo
Nombre ilustre: Vid de trompeta anaranjada
nombre alterno: El coral del oro
hojas de la rama: Pertenece a la rama púrpura del prestigio, la flor del petardo es
El habitat: Produce el Brasil originalmente
名称: 爆竹は使います。
英名: Orange Trumpet Vine 。
別称: 黄金のサンゴ。
科: 紫の威科に属して、爆竹は使って属します 。
産地: 原産のブラジル。
原圖JPG直出無後製
Original picture JPG is straight has no children the system
El JPG original del cuadro es recto no tiene ninguÌn niño el sistema原図JPGはずっと跡継ぎがいなくてつくることを出します
本圖無合成無折射
This chart does not have the refraction without the synthesis
Esta carta no tiene la refracción sin la síntesis
当合成がないことを求めて屈折がありません
可用放大鏡開1:1原圖
The available magnifying glass opens 1:1 original picture
La lupa disponible abre el cuadro de la original del 1:1
利用できる拡大鏡は1:1の原物映像を開ける
FIAT 128 SL Coupè year 1973
La passione per il FIAT 128 Coupè per WALTER STOCCHETTI impiegato postale a Trento è ETERNA. Lui oltre a questa simpatica e splendida sportiva Fiat 128 nel garage ha un 'Alfa Romeo Giulia in ottime condizioni con targa Trento , se sali nella sua Alfa Giulia sembra di essere in un salotto . Più avanti documenteremo anche l'Alfa Romeo Giulia di Walter ...poi ha una BMW moderna non di certo da quattro soldi ...il mio discorso era questo , sebbene Walter avrebbe potuto permettersi anche altre auto di prestigio Lui ha sempre avuto un vero autentico e fedele amore per questa Fiat 128 Coupè.
Walter si ricorda ancora bene ... anzi sembra ieri per lui quando aveva acquistato nel 1977 una Fiat 128 Sport di colore bianco , in quattro anni aveva fatto 200.000 Km l'aveva portata al colasso totale , era di c.c.1100 . Un particolare che non sta scritto sulla rivista che Walter si innamorò alle luci della sera vedendo a Trento in una concessionaria la Fiat 128 Coupè in esposizione ... amore a prima vista , platonico che si è conservato nel tempo. Walter cambia altre automobili ma non dimentica mai la 128 Coupè.
Nel 2001 raggiunta una certa tranquillità economica Walter si mette alla ricerca spietata del Fiat 128 Coupè aiutato anche dal figlio Christian . Dopo qualche mese di ricerche Walter trova nella sua città un "1100" (quello in foto) in livrea rosso/arancio (codice 171) di Bettini Renato referente per il Trentino/Alto Adige del registro Nazionale Fiat 128 Coupè Sport e avendone due uguali ha deciso di cederne una . Il costo dell'operazione per Walter fu tre milioni di lire che andranno nelle tasche di Renato ... da questo scambio poi è nata pure un'amicizia vera . L'auto si presentava in buone condizioni ma Walter immediatamente l'ha portata in carrozzeria dove viene smontata e riverniciata . Il costo finale del lavoro sarà 5 milioni di lire . Walter durante i lavori si mette di grande impegno per cercare accessori anni 70 per la sua auto e si fa montare una radio mangianastri Grunding con la console centrale ed un singolo altoparlante e antenna cromata sul tetto .
Walter non si accontenta di abbellire l'auto ma inizia una manicale ricerca di pezzi di ricambio ... in poco tempo riesce ad accantonare pezzi di ricambio tale che si potrebbe ricostruire altre due Fiat 128 Coupè , mi sembra che gli manchi solo una portiera per fare due 128 . Totale spesa per vari ricambi stiamo parlnado di quasi 21 milioni di lire . Tutti questi ricambi fanno pensare ad un utlizzo maggiore della vettura ed invece dal 2001 la Fiat 128 Coupè ha fatto solo 1000 km . Walter non ama i raduni o esposizioni varie forse proprio perchè è geloso maniacale della sua auto , insomma non sopporterebbe nemmeno un graffio ... a lui piace godersela in questo modo ammirandola nel suo garage o uscite brevi tipo la revisione ....Ecco che l'auto è finita su RUOTE CLASSICHE e sarà esposta al raduno di San Felice Bz " Oldtimer Festival " il 28 luglio di sabato .
WALTER non contento ancora ha iniziato una passione folle maniacale pazzesca di modellini , ha una vetrina a casa di oltre 50 modellini del tempo non stampi cinesi del Fiat 128 Coupè Sport e del Fiat 128 Rally in tutte le colorazioni originali con scatole autentiche . Walter non vuole fermarsi , tiene sotto occhio una Fiat 128 Coupè Sport bianco con targa Trento in un grarage della città ... lo vuole a tutti i costi per avere nel suo colore originale bianco la prima 128 Sport Coupè che ha avuto ...Walter prima del Fiat 128 ha fatto la gavetta con la Fiat 1100 R .
Sono davvero felice di avere testimoniato questa storia !
TRENTO 07.07.2012
FIAT 128 SL Coupè year 1973
WALTER STOCCHETTI, employee in a postal office in Trento is really obsessed by FIAT 128 Coupè. Apart from this wonderful Fiat 128, in the garage has a Alfa Romeo Giulia, well-conserved, immatriculated Trento. If you step into this Alfa Giulia it seems an elegant dining-room. Furthermore we will tell about Walter’s Alfa Romeo Giulia … because apart from these two cars, he has got a modern and luxurious BMW … I would like to say that walter can afford luxurious cars, but he prefers the Fiat 128 Coupè, which he loves so much.
Walter remembers very well when he bought, in 1977, a white model of Fiat 128 Sport. In four years he drove for 200 000 khilometers and risk to have the car collapsed. There is a particular which is not written in the magazine: during a past night, Walter fell in love with a Fiat 128 Coupè, which was exhibited in a car shop in Trento … Walter was really impressed by the car and remains so during the years. Walter had many cars, but he has never forgotten the Fiat 128 Coupè.
In 2001 Walter reached a good economical status and began to look for other Fiat 128 Coupè models; his son Christian helped him. After some months Walter found an orange/red Fiat 1100 (showed in the picture) (cod 171) which was owned by Renato Bettini, representative of the national register of model Fiat 128 Coupè Sport in the region Trentino/Alto Adige. Renato had two Fiat 128 models, then he decided to sell one of them. Walter bought one model for 3 millions of the old Italian Lira. From this sold a new friendship was born. The car was perfectly conserved but Walter had the car dismantled and coloured its bodywork. It costed almost 5 millions Lira.
During the process Walter was really concentrated to look for components of the years 70s for his cars: he had settled a Grunding radio with central controls, a single box and a satellite chromatic dish on the roof. Walter continued to look forFiat 128’s components … in few time he managed to have sufficient components to build two other Fiat 128 Coupè models: it fails only a door, if I’m not mistaeken. Walter spent about 21 millions Lira for components. All these components make people think Walter used a lot his car, but it’s not so. From 2001 the Fiat 128 Coupè model counts only 1000 khilometers. Walter loves car meeting, also because he is really obsessed! He is so jelous of his car and he is really obsessed to not damage it … he like to spend time admiring his car or to drive it for a really short time.
An article of the magazine RUOTE CLASSICHE was dedicated to Walter’s car, which will be exhibited in San Felice meeting (Bolzano province) on Saturday 28th July 2012.
Walter, who was not already satisfied, began a mania for little models. He has in his house a collection of more than 50 little car models, which are not made in China but historical ones, of Fiat 128 Coupè Sport and Fiat 128 Rally in all original colours with their original boxes.
Walter doesn’t want to stop his obsession. He wants to gain a white Fiat 128 Coupè model, immatriculated in Trento, which lies in garage in this same town … he wants it absolutely! Walter, before Fiat 128 drove the Fiat 1100 R.
I am really happy to have reported this story!
TRENTO 07.07.2012
Il castello Orsini-Odescalchi, noto anche come castello di Bracciano, è un castello nel comune italiano di Bracciano risalente al XV secolo. Costituito da tre cinta di mura esterne, presenta cinque torri, una per ogni vertice della fortificazione esterna. Fu costruito dopo il 1470 da Napoleone Orsini probabilmente con la collaborazione di maestranze Sistine. Il castello apparteneva a Braccio da Montone (Casata Bracci) dietro richiesta del papa (per motivi politici) fu donato al suo sottoposto capitano Orsini. Ne è prova lo stemma del comune un braccio che tiene una rosa (uno dei simboli degli Orsini). Il fratello di Napoleone (il Cardinale Latino Orsini) era il camerlengo di papa Sisto IV proprio negli anni in cui venivano costruiti quasi simultaneamente la Cappella Sistina e il Castello di Bracciano. Oggi è di proprietà degli Odescalchi, famiglia che proprio dagli Orsini rilevò il Ducato di Bracciano alla fine del XVII secolo. Il castello, aperto al pubblico nel 1952 da Livio IV Odescalchi, è visitabile e viene spesso usato per ricevimenti, celebrare matrimoni e per altri eventi privati e culturali. Il castello sorge nel 1470 intorno alla vecchia rocca medioevale dei Prefetti di Vico, risalente al tredicesimo secolo, su ordine di Napoleone Orsini che poi viene portata a termine dal figlio Gentil Virginio Orsini nel 1485. Nel 1485 fu ospite della famiglia Orsini il vescovo di Mantova Ludovico Gonzaga, figlio del marchese di Mantova Ludovico III Gonzaga, che fuggì da Roma a causa della peste. Nella sua storia il castello subisce molti cambiamenti inclusi i progetti di Francesco di Giorgio Martini che fu ospite nella corte di Genti Virginio nel 1490 per restaurare varie fortezze. Papa Alessandro VI nel 1496 arriva a confiscare il castello, animato da un profondo risentimento verso gli Orsini. In questi anni risalgono le prime decorazioni, tra i più famosi il ciclo della donna medievale che illustra la vita di corte del tardo Medioevo e l'affresco di Antoniazzo Romano che riproduce il trionfo di Gentil Virginio Orsini, pagina importante di questo pittore del Quattrocento. Terminato il diverbio con il papa gli Orsini riprendono il possesso del castello continuando così l'abbellimento e ampliamento del castello. Alla fine del Cinquecento Giacomo Del Duca, allievo di Michelangelo, realizza una serie di interventi in occasione del sontuoso matrimonio tra Isabella de' Medici e Paolo Giordano Orsini. In quella circostanza i fratelli Taddeo e Federico Zuccari furono chiamati a decorare alcune sale, tra le quali quella che nel 1481 ospitò papa Sisto IV della Rovere in fuga dalla peste che infuriava a Roma. Gli Zuccari, due tra i più importanti artisti della fine del Cinquecento, realizzarono gli affreschi con l'oroscopo dei due sposi e gli emblemi delle due insigni casate. Nel 1696 agli Orsini subentrarono gli Odescalchi antica famiglia di origine comasca, il cui prestigio si incrementò notevolmente quando uno dei suoi membri ascese al soglio pontificio con il nome di Innocenzo XI.
The Orsini-Odescalchi castle, also known as the Bracciano castle, is a castle in the Italian town of Bracciano dating back to the 15th century. Consisting of three outer walls, it has five towers, one for each vertex of the external fortification. It was built after 1470 by Napoleone Orsini, probably with the collaboration of Sistine workers. The castle belonged to Braccio da Montone (Casata Bracci) at the request of the pope (for political reasons) and was donated to his subordinate captain Orsini. Proof of this is the coat of arms of the municipality an arm holding a rose (one of the symbols of the Orsini). Napoleon's brother (Cardinal Latino Orsini) was the chamberlain of Pope Sixtus IV precisely in the years in which the Sistine Chapel and the Castle of Bracciano were built almost simultaneously. Today it is owned by the Odescalchi, a family who took over the Duchy of Bracciano from the Orsini at the end of the 17th century. The castle, opened to the public in 1952 by Livio IV Odescalchi, can be visited and is often used for receptions, weddings and other private and cultural events. The castle was built in 1470 around the old medieval fortress of the Prefects of Vico, dating back to the thirteenth century, by order of Napoleone Orsini which was then completed by his son Gentil Virginio Orsini in 1485. In 1485 the bishop of Mantua was a guest of the Orsini family Ludovico Gonzaga, son of the Marquis of Mantua Ludovico III Gonzaga, who fled from Rome due to the plague. In its history the castle undergoes many changes including the projects of Francesco di Giorgio Martini who was a guest in the court of Genti Virginio in 1490 to restore various fortresses. Pope Alexander VI in 1496 confiscated the castle, animated by a deep resentment towards the Orsini. The first decorations date back to these years, among the most famous the cycle of the medieval woman illustrating the court life of the late Middle Ages and the fresco by Antoniazzo Romano which reproduces the triumph of Gentil Virginio Orsini, an important page of this fifteenth-century painter. After the quarrel with the pope, the Orsini regain possession of the castle, thus continuing the embellishment and expansion of the castle. At the end of the sixteenth century Giacomo Del Duca, a pupil of Michelangelo, carried out a series of interventions on the occasion of the sumptuous marriage between Isabella de 'Medici and Paolo Giordano Orsini. On that occasion the brothers Taddeo and Federico Zuccari were called to decorate some rooms, including the one that hosted Pope Sixtus IV della Rovere in 1481 fleeing the plague that was raging in Rome. The Zuccari, two of the most important artists of the late sixteenth century, created the frescoes with the horoscope of the couple and the emblems of the two famous families. In 1696 the Odescalchi, an ancient family of Como origin, took over from the Orsini, whose prestige increased considerably when one of its members ascended to the papal throne with the name of Innocent XI.
Le château Orsini-Odescalchi, également connu sous le nom de château de Bracciano, est un château de la ville italienne de Bracciano datant du XVe siècle. Composé de trois murs extérieurs, il possède cinq tours, une pour chaque sommet de la fortification extérieure. Il a été construit après 1470 par Napoleone Orsini, probablement avec la collaboration des ouvriers de Sixtine. Le château a appartenu à Braccio da Montone (Casata Bracci) à la demande du pape (pour des raisons politiques) et a été donné à son capitaine subordonné Orsini. Preuve en est le blason de la commune un bras tenant une rose (l'un des symboles des Orsini). Le frère de Napoléon (Cardinal Latino Orsini) était le chambellan du Pape Sixte IV précisément dans les années où la Chapelle Sixtine et le Château de Bracciano ont été construits presque simultanément. Aujourd'hui, il appartient aux Odescalchi, une famille qui a repris le duché de Bracciano aux Orsini à la fin du XVIIe siècle. Le château, ouvert au public en 1952 par Livio IV Odescalchi, peut être visité et est souvent utilisé pour des réceptions, des mariages et d'autres événements privés et culturels. Le château a été construit en 1470 autour de l'ancienne forteresse médiévale des préfets de Vico, datant du XIIIe siècle, sur ordre de Napoleone Orsini qui a ensuite été achevée par son fils Gentil Virginio Orsini en 1485. En 1485, l'évêque de Mantoue était un invité de la famille Orsini Ludovico Gonzaga, fils du marquis de Mantoue Ludovico III Gonzaga, qui a fui Rome à cause de la peste. Au cours de son histoire, le château subit de nombreux changements, notamment les projets de Francesco di Giorgio Martini qui fut invité à la cour de Genti Virginio en 1490 pour restaurer diverses forteresses. Le pape Alexandre VI en 1496 confisqua le château, animé d'un profond ressentiment envers les Orsini. Les premières décorations datent de ces années, parmi les plus célèbres le cycle de la femme médiévale illustrant la vie de cour de la fin du Moyen Âge et la fresque d'Antoniazzo Romano qui reproduit le triomphe de Gentil Virginio Orsini, page importante de ce XVe- peintre du siècle. Après la querelle avec le pape, les Orsini reprennent possession du château, poursuivant ainsi l'embellissement et l'agrandissement du château. À la fin du XVIe siècle, Giacomo Del Duca, élève de Michel-Ange, réalisa une série d'interventions à l'occasion du somptueux mariage entre Isabelle de Médicis et Paolo Giordano Orsini. A cette occasion, les frères Taddeo et Federico Zuccari ont été appelés à décorer certaines chambres, dont celle qui a accueilli le pape Sixte IV della Rovere en 1481 fuyant la peste qui sévissait à Rome. Les Zuccari, deux des artistes les plus importants de la fin du XVIe siècle, ont créé les fresques avec l'horoscope du couple et les emblèmes des deux familles célèbres. En 1696, les Odescalchi, ancienne famille originaire de Côme, succèdent aux Orsini, dont le prestige s'accroît considérablement lorsqu'un de ses membres monte sur le trône pontifical sous le nom d'Innocent XI.
Úbeda, Jaén (Spain).
ENGLISH
No treatment, playing only with the camera to get short DoF.
***
This Plaza, following a Renaissance design and a Christian old world royal concept, is one of the finest examples os Renaissance urban planning in Europe. Its religious and civil buildings, along with other focal points of the city such as the Market Place and the Plaza of Toledo, and the Plaza Vazquez de Molina, represents an arena of polotical, aristocratic and economic status. In this sense it reduces the importance of the old noble quarters of the Alcazar which suffers a decline in its population and prestige.
Source: www.ubedainteresa.com
--------------------------
CASTELLANO
Sin tratamiento, sólo jugando con la cámara para conseguir una PdC corta.
***
Esta plaza, desde su origen, bajo una concepción renacentista y una dialéctica entre el cristianismo, el mundo antiguo y la autoafirmación del linaje, se presenta en su globalidad como uno de los mejores ejemplos de urbanismo renacentista en España, con un conjunto de edificaciones religiosas y civiles de carácter unitario que marcan el ritmo de unas relaciones de prestigio y de poder a través del espacio.
Fuente: www.ubedainteresa.com
plaça de la Independència, Girona
el 9 d’octubre de 1909, al número 11 de la mateixa plaça un magnífic i espaiós saló construït per Martí Sureda i Vila va substituir El Paralelo, una barraca de fusta que va ser el primer cinema estable de la ciutat, propietat de Teresa Fulleda Carceller, que va deixar la gerència al seu segon marit, Martín del Olmo Barbero. El van batejar com a Coliseo Imperial i, allà, s’hi van fer funcions teatrals i revista i va ser el cinema més prestigiós de Girona fins que l’11 d’abril de 1923, als terrenys que havia ocupat el Circ Álvarez, va obrir portes el Teatre Cine Albéniz (...)
www.elpuntavui.cat/cultura/article/1677986-del-gran-via-a...
FIAT 128 SL Coupè year 1973
La passione per il FIAT 128 Coupè per WALTER STOCCHETTI impiegato postale a Trento è ETERNA. Lui oltre a questa simpatica e splendida sportiva Fiat 128 nel garage ha un 'Alfa Romeo Giulia in ottime condizioni con targa Trento , se sali nella sua Alfa Giulia sembra di essere in un salotto . Più avanti documenteremo anche l'Alfa Romeo Giulia di Walter ...poi ha una BMW moderna non di certo da quattro soldi ...il mio discorso era questo , sebbene Walter avrebbe potuto permettersi anche altre auto di prestigio Lui ha sempre avuto un vero autentico e fedele amore per questa Fiat 128 Coupè.
Walter si ricorda ancora bene ... anzi sembra ieri per lui quando aveva acquistato nel 1977 una Fiat 128 Sport di colore bianco , in quattro anni aveva fatto 200.000 Km l'aveva portata al colasso totale , era di c.c.1100 . Un particolare che non sta scritto sulla rivista che Walter si innamorò alle luci della sera vedendo a Trento in una concessionaria la Fiat 128 Coupè in esposizione ... amore a prima vista , platonico che si è conservato nel tempo. Walter cambia altre automobili ma non dimentica mai la 128 Coupè.
Nel 2001 raggiunta una certa tranquillità economica Walter si mette alla ricerca spietata del Fiat 128 Coupè aiutato anche dal figlio Christian . Dopo qualche mese di ricerche Walter trova nella sua città un "1100" (quello in foto) in livrea rosso/arancio (codice 171) di Bettini Renato referente per il Trentino/Alto Adige del registro Nazionale Fiat 128 Coupè Sport e avendone due uguali ha deciso di cederne una . Il costo dell'operazione per Walter fu tre milioni di lire che andranno nelle tasche di Renato ... da questo scambio poi è nata pure un'amicizia vera . L'auto si presentava in buone condizioni ma Walter immediatamente l'ha portata in carrozzeria dove viene smontata e riverniciata . Il costo finale del lavoro sarà 5 milioni di lire . Walter durante i lavori si mette di grande impegno per cercare accessori anni 70 per la sua auto e si fa montare una radio mangianastri Grunding con la console centrale ed un singolo altoparlante e antenna cromata sul tetto .
Walter non si accontenta di abbellire l'auto ma inizia una manicale ricerca di pezzi di ricambio ... in poco tempo riesce ad accantonare pezzi di ricambio tale che si potrebbe ricostruire altre due Fiat 128 Coupè , mi sembra che gli manchi solo una portiera per fare due 128 . Totale spesa per vari ricambi stiamo parlnado di quasi 21 milioni di lire . Tutti questi ricambi fanno pensare ad un utlizzo maggiore della vettura ed invece dal 2001 la Fiat 128 Coupè ha fatto solo 1000 km . Walter non ama i raduni o esposizioni varie forse proprio perchè è geloso maniacale della sua auto , insomma non sopporterebbe nemmeno un graffio ... a lui piace godersela in questo modo ammirandola nel suo garage o uscite brevi tipo la revisione ....Ecco che l'auto è finita su RUOTE CLASSICHE e sarà esposta al raduno di San Felice Bz " Oldtimer Festival " il 28 luglio di sabato .
WALTER non contento ancora ha iniziato una passione folle maniacale pazzesca di modellini , ha una vetrina a casa di oltre 50 modellini del tempo non stampi cinesi del Fiat 128 Coupè Sport e del Fiat 128 Rally in tutte le colorazioni originali con scatole autentiche . Walter non vuole fermarsi , tiene sotto occhio una Fiat 128 Coupè Sport bianco con targa Trento in un grarage della città ... lo vuole a tutti i costi per avere nel suo colore originale bianco la prima 128 Sport Coupè che ha avuto ...Walter prima del Fiat 128 ha fatto la gavetta con la Fiat 1100 R .
Sono davvero felice di avere testimoniato questa storia !
TRENTO 07.07.2012
FIAT 128 SL Coupè year 1973
WALTER STOCCHETTI, employee in a postal office in Trento is really obsessed by FIAT 128 Coupè. Apart from this wonderful Fiat 128, in the garage has a Alfa Romeo Giulia, well-conserved, immatriculated Trento. If you step into this Alfa Giulia it seems an elegant dining-room. Furthermore we will tell about Walter’s Alfa Romeo Giulia … because apart from these two cars, he has got a modern and luxurious BMW … I would like to say that walter can afford luxurious cars, but he prefers the Fiat 128 Coupè, which he loves so much.
Walter remembers very well when he bought, in 1977, a white model of Fiat 128 Sport. In four years he drove for 200 000 khilometers and risk to have the car collapsed. There is a particular which is not written in the magazine: during a past night, Walter fell in love with a Fiat 128 Coupè, which was exhibited in a car shop in Trento … Walter was really impressed by the car and remains so during the years. Walter had many cars, but he has never forgotten the Fiat 128 Coupè.
In 2001 Walter reached a good economical status and began to look for other Fiat 128 Coupè models; his son Christian helped him. After some months Walter found an orange/red Fiat 1100 (showed in the picture) (cod 171) which was owned by Renato Bettini, representative of the national register of model Fiat 128 Coupè Sport in the region Trentino/Alto Adige. Renato had two Fiat 128 models, then he decided to sell one of them. Walter bought one model for 3 millions of the old Italian Lira. From this sold a new friendship was born. The car was perfectly conserved but Walter had the car dismantled and coloured its bodywork. It costed almost 5 millions Lira.
During the process Walter was really concentrated to look for components of the years 70s for his cars: he had settled a Grunding radio with central controls, a single box and a satellite chromatic dish on the roof. Walter continued to look forFiat 128’s components … in few time he managed to have sufficient components to build two other Fiat 128 Coupè models: it fails only a door, if I’m not mistaeken. Walter spent about 21 millions Lira for components. All these components make people think Walter used a lot his car, but it’s not so. From 2001 the Fiat 128 Coupè model counts only 1000 khilometers. Walter loves car meeting, also because he is really obsessed! He is so jelous of his car and he is really obsessed to not damage it … he like to spend time admiring his car or to drive it for a really short time.
An article of the magazine RUOTE CLASSICHE was dedicated to Walter’s car, which will be exhibited in San Felice meeting (Bolzano province) on Saturday 28th July 2012.
Walter, who was not already satisfied, began a mania for little models. He has in his house a collection of more than 50 little car models, which are not made in China but historical ones, of Fiat 128 Coupè Sport and Fiat 128 Rally in all original colours with their original boxes.
Walter doesn’t want to stop his obsession. He wants to gain a white Fiat 128 Coupè model, immatriculated in Trento, which lies in garage in this same town … he wants it absolutely! Walter, before Fiat 128 drove the Fiat 1100 R.
I am really happy to have reported this story!
TRENTO 07.07.2012
Il duomo di Santa Maria Assunta, al centro della Piazza dei Miracoli, è la cattedrale medievale di Pisa nonché chiesa primaziale. Capolavoro del romanico, in particolare del romanico pisano, rappresenta la testimonianza tangibile del prestigio e della ricchezza raggiunti dalla Repubblica marinara di Pisa nel momento del suo apogeo.
Qui il grandioso mosaico absidale con il Cristo benedicente tra la Vergine e San Giovanni Battista, opera attribuita a Cimabue
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Pisa Cathedral (Italian: Cattedrale Metropolitana Primaziale di Santa Maria Assunta; Duomo di Pisa) is a medieval Roman Catholic cathedral dedicated to the Assumption of the Virgin Mary, in the Piazza dei Miracoli in Pisa, Italy. It is a notable example of Romanesque architecture, in particular the style known as Pisan Romanesque. It is the seat of the Archbishop of Pisa.
The original building plan was a Greek cross with a grand cupola at the crossing, but today the plan is a Latin cross with a central nave flanked by two side aisles on each side, with the apse and transepts having three naves. The inside offers a spatial effect similar to that of the great mosques thanks to the use of raised lancet arches, the alternating layers of black and white marble, and the elliptical dome, inspired by the Moors. The presence of two raised matronea in the nave, with their solid, monolithic columns of granite, is a clear sign of Byzantine influence. Buscheto welcomed Islamic and Armenian influence.
(Wikipedia)
In this image: The great apse mosaic depicting Christ between the Virgin and St. John the Baptist, opera attributed to Cimabue
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La vecchia Amurianum, così era stata denominata l’isola un tempo, cresceva di prestigio tanto da non essere considerata una delle isole di Venezia, ma godeva di una certa indipendenza dalla Signoria. Tale privilegio le venne assegnato in virtù dell’attività delle fornaci che si erano lì installate e, conseguentemente, per l’importanza economica che Murano cominciava ad avere nel tessuto sociale della Serenissima.
The old Amurianum, that was called the island at one time, grew in prestige so much not to be considered one of the islands of Venice, but enjoyed a certain independence from the Signoria. Such privilege was assigned by virtue of the furnaces that were installed there and consequently the economic importance that Murano began to have in the social fabric of the Serenissima.
Antoon van Dyck (Antwerp, 1599 - London, 1641) portrait of Cardinal Guido Bentivoglio (1622-23) - Van Dyck exhibition Painter of Court - Turin, Royal Museums - Palatine Hall of the Sabauda Gallery
Fu uno dei più grandi artisti del Seicento europeo, il miglior allievo di Rubens e rivoluzionò l’arte del ritratto del XVII secolo.
Personaggio di fama internazionale, gentiluomo dai modi raffinati, artista geniale e amabile conversatore, Van Dyck fu pittore ufficiale delle più grandi corti d’Europa, dagli aristocratici genovesi ai Savoia, dall’Arciduchessa Isabella alle corti di Giacomo I e di Carlo I d’Inghilterra, che lo definiva “gloria del mondo”: così Carlo I amava definire il maestro fiammingo, per accrescere il lustro e il prestigio della corte.
In Italia, Van Dyck soggiornò per sei anni, dal 1621 al 1627, visitando numerose città e potè approfondire lo studio dell’arte italiana e in particolare quella veneta, avviò i contatti con l’aristocrazia genovese, i sovrani torinesi e i duchi di Firenze, committenti che lo condussero a specializzarsi nella ritrattistica .Formandosi sui modelli di Tiziano e rispondendo alle esigenze celebrative della committenza, Van Dyck elaborò un genere del tutto personale, caratterizzato da una grande perfezione formale. Opere come la Marchesa Elena Grimaldi Cattaneo, il Cardinale Guido Bentivoglio, Emanuele Filiberto Principe di Savoia, l’Arciduchessa Isabella Clara Eugenia in abito monastico, Il Principe Tomaso di Savoia Carignano, Carlo I e la Regina Enrichetta Maria sono esempi sublimi dei suoi ritratti che, per la naturalezza e spontaneità dei gesti, per la cura estrema nella resa dei materiali preziosi come sete e merletti, per le pennellate impalpabili che creano atmosfere vibranti e seducenti, esercitano ancora oggi un fascino irresistibile.
Van Dyck, the great Flemish paintery, was Rubens’ star pupil and one of the greatest exponents of 17th-century European art, revolutionizing the portraiture of the period.
He was also an internationally famous personality, refined gentleman, charming conversationalist, brilliant artist and official painter to the most important European courts.
Van Dyck spent six years in Italy, from 1621 to 1627, visiting various cities and studying Italian art and especially that of the Veneto. Here he established contacts with the Genoese aristocracy, the royals in Turin and the dukes of Florence, who commissioned works and led him to specialize in portraiture. By basing himself on Titian’s models and fulfilling the celebratory needs of his clients, Van Dyck developed a completely personal genre, characterized by great formal perfection. Works like Marchesa Elena Grimaldi Cattaneo; Cardinal Guido Bentivoglio; Emanuele Filiberto, Prince of Savoy; Archduchess Isabella Dressed as a Nun; Tomaso Francesco of Savoy, Prince of Carignano, and Charles I and Queen Henrietta Maria are supreme examples of his portraiture which, due to their naturalness and spontaneous gestures, the meticulously rendered precious silks and lace, and the imperceptible brushwork that creates vibrant and seductive atmospheres, still exert an irresistible fascination today.
Módena (Mòdna en dialecto modenés; Modena en italiano) es una ciudad italiana, capital de la provincia de Módena, en la región Emilia-Romaña. Cuenta con una población de 184 973 habitantes. La catedral, la Torre Cívica («Ghirlandina») y la Piazza Grande de la ciudad están declaradas Patrimonio de la Humanidad por la Unesco.
Módena queda en la llanura padana, y está rodeada por dos ríos, el Secchia y el Panaro, ambos afluentes del Po. Su presencia está simbolizada por la fuente de los dos ríos, en el centro de la ciudad, obra de Giuseppe Graziosi. La ciudad está conectada con el Panaro a través del canal Naviglio.
La cordillera de los Apeninos comienzan a unos 10 kilómetros al sur de la ciudad.
Módena es un importante centro industrial. La ciudad se ubica en el corazón de la «Motor Valley» que forma un conjunto de grupos industriales prestigios así como numerosos circuitos y museos. Las empresas Lamborghini, Pagani, Ferrari y Maserati tienen su sede dentro de un radio de 20 km alrededor de Módena.
Ubicado en la llanura Padana, el territorio modenés dispone de importantes riquezas gustativas. Su producto líder es el vinagre balsámico producido en los dominios agrícolas en el entorno de Módena. La base de su elaboración son las uvas cosechadas en los viñedos de la provincia. El lambrusco, vino rosado burbujeante, tiene como origen las viñas cercanas de Módena y Reggio Emilia. Además, Módena es la tierra del queso parmigiano reggiano y del jamón de Módena. Junto con Bolonia, Módena comparte el lugar de origen de la pasta tortellini.
El Duomo de Módena, la Torre Ghirlandina y la Piazza Grande están incluidos desde 1997 dentro del Patrimonio mundial de la UNESCO. El arquitecto Lanfranco y el escultor Wiligelmo erigieron el Duomo en el siglo XII por San Geminiano, obispo de Módena y Santo Patrón de la ciudad. Entre 1179 y 1319 se construyó la torre Ghirlandina asociada con el Duomo. Su nombre de Ghirlandina -guirnalda- resulta de su forma y recuerda la torre Giralda de Sevilla.
Durante más de dos siglos, la familia Este tenía como sede el Palazzo Ducale (palacio ducal). Hoy en día, este palacio recibe la Academia militar.
El Palazzo Comunale –ayuntamiento– cuya la fachada está en la Piazza Grande abarca un conjunto de edificios más antiguos. Dentro del edificio se encuentra la Secchia rapita –el cubo raptado- uno de los símbolos de la ciudad. La estatua de la Bonissima, símbolo de bondad, está posada en la esquina exterior del Palazzo Comunale.
Iglesias. Módena es una ciudad rica en iglesias, se cuentan más de quince en el casco histórico. También es importante nombrar a la iglesia de Santa María Pomposa, la iglesia del Voto o la iglesia de San Vicenzo. Existe también una sinagoga ubicada cerca del Palazzo Comunale.
En el mercado Albinelli se reúnen cada día productores locales de vinagre balsámico, jamón curdo o queso, entre otros.
es.wikipedia.org/wiki/M%C3%B3dena
Modena is a city and comune (municipality) on the south side of the Po Valley, in the Province of Modena, in the Emilia-Romagna region of northern Italy.
A town, and seat of an archbishop, it is known for its car industry since the factories of the famous Italian upper-class sports car makers Ferrari, De Tomaso, Lamborghini, Pagani and Maserati are, or were, located there and all, except Lamborghini, have headquarters in the city or nearby. One of Ferrari's cars, the 360 Modena, was named after the town itself. Ferrari's production plant and Formula One team Scuderia Ferrari are based in Maranello south of the city.
The University of Modena, founded in 1175 and expanded by Francesco II d'Este in 1686, focuses on economics, medicine and law, and is the second oldest athenaeum in Italy. Italian military officers are trained at the Military Academy of Modena, and partly housed in the Baroque Ducal Palace. The Biblioteca Estense houses historical volumes and 3,000 manuscripts. The Cathedral of Modena, the Torre della Ghirlandina and Piazza Grande are a UNESCO World Heritage Site since 1997.
Modena is also known in culinary circles for its production of balsamic vinegar.
Famous Modenesi include Mary of Modena, the Queen consort of England and Scotland; operatic tenor Luciano Pavarotti and soprano Mirella Freni, born in Modena itself; Enzo Ferrari, eponymous founder of the Ferrari motor company; Catholic priest Gabriele Amorth; chef Massimo Bottura; comics artist Franco Bonvicini; the band Modena City Ramblers and singer-songwriter Francesco Guccini, who lived here for several decades.
The Duomo of Modena, the Ghirlandina Tower and Piazza Grande have been included since 1997 as a UNESCO World Heritage Site. The architect Lanfranco and the sculptor Wiligelmo erected the Duomo in the 12th century for Saint Geminiano, bishop of Modena and Patron Saint of the city. Between 1179 and 1319 the Ghirlandina tower associated with the Duomo was built. Its name of Ghirlandina -garland- results from its shape and is reminiscent of the Giralda tower in Seville.
For more than two centuries, the Este family had the Palazzo Ducale (ducal palace) as its headquarters. Today, this palace houses the Military Academy.
The Palazzo Comunale –town hall– whose façade is on the Piazza Grande encompasses a group of older buildings. Inside the building is the Secchia rapita – the kidnapped cube – one of the symbols of the city. The statue of Bonissima, a symbol of goodness, is perched in the outer corner of the Palazzo Comunale.
Churches. Modena is a city rich in churches, there are more than fifteen in the historic center. It is also important to name the church of Santa María Pomposa, the church of the Vow or the church of San Vicenzo. There is also a synagogue located near the Palazzo Comunale.
Local producers of balsamic vinegar, curd ham or cheese, among others, meet every day at the Albinelli market.
台南孔子廟 - 虎虎生風迎新春 / 威威如風光影如林 - 祝福大家台灣虎年行大運
Tainan City Confucian temple - The eyes of the tiger look for welcome Taiwanese new year / Prestige Prestige like wind The light and shade like forest - Prays for heavenly blessing everybody Taiwanese new Year of the Tiger get a good fortune
Templo del confuciano de la ciudad de Tainan - Los ojos del tigre buscan el Año Nuevo taiwanés agradable / El prestigio del prestigio tiene gusto del viento La luz y la cortina tienen gusto del bosque - Ruega para la bendición divina todos que el Año Nuevo taiwanés del tigre consigue una buena fortuna
台南の孔子廟 - 威勢がある生風は新春を迎えます / 威は風のようです光影は林のようです - みんなの台湾が寅年に行大いに運ぶことを祝福します
Tainan-Stadt-Konfuzianertempel - Die Augen des Tigers suchen nach willkommenem taiwanesischem neuem Jahr / ab Prestige-Prestige mögen Wind Das Licht und der Farbton mögen Wald - Betet für himmlischen Segen jeder, das taiwanesisches neues Jahr des Tigers ein Glück erhalten
Temple de confucien de ville de Tainan - Les yeux du tigre recherchent la nouvelle année taiwanaise bienvenue / Prestige de prestige aiment le vent la lumière et la nuance comme la forêt - Prie pour la bénédiction merveilleuse tout le monde la nouvelle année où taiwanaise du tigre obtiennent une bonne chance
Tainan Taiwan / Tainan Taiwán / 台灣台南
天外魔境 作曲:阪本龍一 / Composer: Ryuichi Sakamoto
{天外の魔境/The evil spirits area of the Out of the world}
{The Love story of Tayouan - Anping melody of the memorise 2009}
{La historia de amor de Tayouan - Melodía de Anping de la memorización 2009}
{Die Liebesgeschichte von Tayouan - Anping-Melodie merken 2009}
{My Blog / The Never Ending Times - Japanese Times}
{Mi blog / Los tiempos interminables - épocas japonesas}
{Mein Blog / Die immer währenden Zeiten - japanische Zeiten}
{My Blog / 2009 Zeelandia city-Anping melody of the sword Lions}
{Mi ciudad blog / 2009 de Zeelandia - melodía de Anping de los leones de la espada}
{My Blog / 2009熱の蘭遮城-剣の獅子は曲を追憶します}
{Meine Blog / 2009 Zeelandia Stadt - Anping-Melodie der Klinge Löwen}
{My Blog / The Big Dipper empress birth day 2009-The prefectural city makes 16 years old}
{Mein Blog / Der Wagenkaiseringeburtstag 2009 - Die Präfekturstadt bildet 16 Jahre alt}
{My Blog / The Deer ear door of the Taiwan - The north sandbank character and style picture}
{Mein Blog / Die Rotwildohrtür des Taiwans - Die Nordsandbankbuchstaben- und -artabbildung}
Colosseum
Following, a text, in english, from the Wikipedia the Free Encyclopedia:
The Colosseum, or the Coliseum, originally the Flavian Amphitheatre (Latin: Amphitheatrum Flavium, Italian Anfiteatro Flavio or Colosseo), is an elliptical amphitheatre in the centre of the city of Rome, Italy, the largest ever built in the Roman Empire. It is considered one of the greatest works of Roman architecture and Roman engineering.
Occupying a site just east of the Roman Forum, its construction started between 70 and 72 AD[1] under the emperor Vespasian and was completed in 80 AD under Titus,[2] with further modifications being made during Domitian's reign (81–96).[3] The name "Amphitheatrum Flavium" derives from both Vespasian's and Titus's family name (Flavius, from the gens Flavia).
Capable of seating 50,000 spectators,[1][4][5] the Colosseum was used for gladiatorial contests and public spectacles such as mock sea battles, animal hunts, executions, re-enactments of famous battles, and dramas based on Classical mythology. The building ceased to be used for entertainment in the early medieval era. It was later reused for such purposes as housing, workshops, quarters for a religious order, a fortress, a quarry, and a Christian shrine.
Although in the 21st century it stays partially ruined because of damage caused by devastating earthquakes and stone-robbers, the Colosseum is an iconic symbol of Imperial Rome. It is one of Rome's most popular tourist attractions and still has close connections with the Roman Catholic Church, as each Good Friday the Pope leads a torchlit "Way of the Cross" procession that starts in the area around the Colosseum.[6]
The Colosseum is also depicted on the Italian version of the five-cent euro coin.
The Colosseum's original Latin name was Amphitheatrum Flavium, often anglicized as Flavian Amphitheater. The building was constructed by emperors of the Flavian dynasty, hence its original name, after the reign of Emperor Nero.[7] This name is still used in modern English, but generally the structure is better known as the Colosseum. In antiquity, Romans may have referred to the Colosseum by the unofficial name Amphitheatrum Caesareum; this name could have been strictly poetic.[8][9] This name was not exclusive to the Colosseum; Vespasian and Titus, builders of the Colosseum, also constructed an amphitheater of the same name in Puteoli (modern Pozzuoli).[10]
The name Colosseum has long been believed to be derived from a colossal statue of Nero nearby.[3] (the statue of Nero itself being named after one of the original ancient wonders, the Colossus of Rhodes[citation needed]. This statue was later remodeled by Nero's successors into the likeness of Helios (Sol) or Apollo, the sun god, by adding the appropriate solar crown. Nero's head was also replaced several times with the heads of succeeding emperors. Despite its pagan links, the statue remained standing well into the medieval era and was credited with magical powers. It came to be seen as an iconic symbol of the permanence of Rome.
In the 8th century, a famous epigram attributed to the Venerable Bede celebrated the symbolic significance of the statue in a prophecy that is variously quoted: Quamdiu stat Colisæus, stat et Roma; quando cadet colisæus, cadet et Roma; quando cadet Roma, cadet et mundus ("as long as the Colossus stands, so shall Rome; when the Colossus falls, Rome shall fall; when Rome falls, so falls the world").[11] This is often mistranslated to refer to the Colosseum rather than the Colossus (as in, for instance, Byron's poem Childe Harold's Pilgrimage). However, at the time that the Pseudo-Bede wrote, the masculine noun coliseus was applied to the statue rather than to what was still known as the Flavian amphitheatre.
The Colossus did eventually fall, possibly being pulled down to reuse its bronze. By the year 1000 the name "Colosseum" had been coined to refer to the amphitheatre. The statue itself was largely forgotten and only its base survives, situated between the Colosseum and the nearby Temple of Venus and Roma.[12]
The name further evolved to Coliseum during the Middle Ages. In Italy, the amphitheatre is still known as il Colosseo, and other Romance languages have come to use similar forms such as le Colisée (French), el Coliseo (Spanish) and o Coliseu (Portuguese).
Construction of the Colosseum began under the rule of the Emperor Vespasian[3] in around 70–72AD. The site chosen was a flat area on the floor of a low valley between the Caelian, Esquiline and Palatine Hills, through which a canalised stream ran. By the 2nd century BC the area was densely inhabited. It was devastated by the Great Fire of Rome in AD 64, following which Nero seized much of the area to add to his personal domain. He built the grandiose Domus Aurea on the site, in front of which he created an artificial lake surrounded by pavilions, gardens and porticoes. The existing Aqua Claudia aqueduct was extended to supply water to the area and the gigantic bronze Colossus of Nero was set up nearby at the entrance to the Domus Aurea.[12]
Although the Colossus was preserved, much of the Domus Aurea was torn down. The lake was filled in and the land reused as the location for the new Flavian Amphitheatre. Gladiatorial schools and other support buildings were constructed nearby within the former grounds of the Domus Aurea. According to a reconstructed inscription found on the site, "the emperor Vespasian ordered this new amphitheatre to be erected from his general's share of the booty." This is thought to refer to the vast quantity of treasure seized by the Romans following their victory in the Great Jewish Revolt in 70AD. The Colosseum can be thus interpreted as a great triumphal monument built in the Roman tradition of celebrating great victories[12], placating the Roman people instead of returning soldiers. Vespasian's decision to build the Colosseum on the site of Nero's lake can also be seen as a populist gesture of returning to the people an area of the city which Nero had appropriated for his own use. In contrast to many other amphitheatres, which were located on the outskirts of a city, the Colosseum was constructed in the city centre; in effect, placing it both literally and symbolically at the heart of Rome.
The Colosseum had been completed up to the third story by the time of Vespasian's death in 79. The top level was finished and the building inaugurated by his son, Titus, in 80.[3] Dio Cassius recounts that over 9,000 wild animals were killed during the inaugural games of the amphitheatre. The building was remodelled further under Vespasian's younger son, the newly designated Emperor Domitian, who constructed the hypogeum, a series of underground tunnels used to house animals and slaves. He also added a gallery to the top of the Colosseum to increase its seating capacity.
In 217, the Colosseum was badly damaged by a major fire (caused by lightning, according to Dio Cassius[13]) which destroyed the wooden upper levels of the amphitheatre's interior. It was not fully repaired until about 240 and underwent further repairs in 250 or 252 and again in 320. An inscription records the restoration of various parts of the Colosseum under Theodosius II and Valentinian III (reigned 425–455), possibly to repair damage caused by a major earthquake in 443; more work followed in 484[14] and 508. The arena continued to be used for contests well into the 6th century, with gladiatorial fights last mentioned around 435. Animal hunts continued until at least 523, when Anicius Maximus celebrated his consulship with some venationes, criticised by King Theodoric the Great for their high cost.
The Colosseum underwent several radical changes of use during the medieval period. By the late 6th century a small church had been built into the structure of the amphitheatre, though this apparently did not confer any particular religious significance on the building as a whole. The arena was converted into a cemetery. The numerous vaulted spaces in the arcades under the seating were converted into housing and workshops, and are recorded as still being rented out as late as the 12th century. Around 1200 the Frangipani family took over the Colosseum and fortified it, apparently using it as a castle.
Severe damage was inflicted on the Colosseum by the great earthquake in 1349, causing the outer south side, lying on a less stable alluvional terrain, to collapse. Much of the tumbled stone was reused to build palaces, churches, hospitals and other buildings elsewhere in Rome. A religious order moved into the northern third of the Colosseum in the mid-14th century and continued to inhabit it until as late as the early 19th century. The interior of the amphitheatre was extensively stripped of stone, which was reused elsewhere, or (in the case of the marble façade) was burned to make quicklime.[12] The bronze clamps which held the stonework together were pried or hacked out of the walls, leaving numerous pockmarks which still scar the building today.
During the 16th and 17th century, Church officials sought a productive role for the vast derelict hulk of the Colosseum. Pope Sixtus V (1585–1590) planned to turn the building into a wool factory to provide employment for Rome's prostitutes, though this proposal fell through with his premature death.[15] In 1671 Cardinal Altieri authorized its use for bullfights; a public outcry caused the idea to be hastily abandoned.
In 1749, Pope Benedict XIV endorsed as official Church policy the view that the Colosseum was a sacred site where early Christians had been martyred. He forbade the use of the Colosseum as a quarry and consecrated the building to the Passion of Christ and installed Stations of the Cross, declaring it sanctified by the blood of the Christian martyrs who perished there (see Christians and the Colosseum). However there is no historical evidence to support Benedict's claim, nor is there even any evidence that anyone prior to the 16th century suggested this might be the case; the Catholic Encyclopedia concludes that there are no historical grounds for the supposition. Later popes initiated various stabilization and restoration projects, removing the extensive vegetation which had overgrown the structure and threatened to damage it further. The façade was reinforced with triangular brick wedges in 1807 and 1827, and the interior was repaired in 1831, 1846 and in the 1930s. The arena substructure was partly excavated in 1810–1814 and 1874 and was fully exposed under Benito Mussolini in the 1930s.
The Colosseum is today one of Rome's most popular tourist attractions, receiving millions of visitors annually. The effects of pollution and general deterioration over time prompted a major restoration programme carried out between 1993 and 2000, at a cost of 40 billion Italian lire ($19.3m / €20.6m at 2000 prices). In recent years it has become a symbol of the international campaign against capital punishment, which was abolished in Italy in 1948. Several anti–death penalty demonstrations took place in front of the Colosseum in 2000. Since that time, as a gesture against the death penalty, the local authorities of Rome change the color of the Colosseum's night time illumination from white to gold whenever a person condemned to the death penalty anywhere in the world gets their sentence commuted or is released,[16] or if a jurisdiction abolishes the death penalty. Most recently, the Colosseum was illuminated in gold when capital punishment was abolished in the American state of New Mexico in April 2009.
Because of the ruined state of the interior, it is impractical to use the Colosseum to host large events; only a few hundred spectators can be accommodated in temporary seating. However, much larger concerts have been held just outside, using the Colosseum as a backdrop. Performers who have played at the Colosseum in recent years have included Ray Charles (May 2002),[18] Paul McCartney (May 2003),[19] Elton John (September 2005),[20] and Billy Joel (July 2006).
Exterior
Unlike earlier Greek theatres that were built into hillsides, the Colosseum is an entirely free-standing structure. It derives its basic exterior and interior architecture from that of two Roman theatres back to back. It is elliptical in plan and is 189 meters (615 ft / 640 Roman feet) long, and 156 meters (510 ft / 528 Roman feet) wide, with a base area of 6 acres (24,000 m2). The height of the outer wall is 48 meters (157 ft / 165 Roman feet). The perimeter originally measured 545 meters (1,788 ft / 1,835 Roman feet). The central arena is an oval 87 m (287 ft) long and 55 m (180 ft) wide, surrounded by a wall 5 m (15 ft) high, above which rose tiers of seating.
The outer wall is estimated to have required over 100,000 cubic meters (131,000 cu yd) of travertine stone which were set without mortar held together by 300 tons of iron clamps.[12] However, it has suffered extensive damage over the centuries, with large segments having collapsed following earthquakes. The north side of the perimeter wall is still standing; the distinctive triangular brick wedges at each end are modern additions, having been constructed in the early 19th century to shore up the wall. The remainder of the present-day exterior of the Colosseum is in fact the original interior wall.
The surviving part of the outer wall's monumental façade comprises three stories of superimposed arcades surmounted by a podium on which stands a tall attic, both of which are pierced by windows interspersed at regular intervals. The arcades are framed by half-columns of the Tuscan, Ionic, and Corinthian orders, while the attic is decorated with Corinthian pilasters.[21] Each of the arches in the second- and third-floor arcades framed statues, probably honoring divinities and other figures from Classical mythology.
Two hundred and forty mast corbels were positioned around the top of the attic. They originally supported a retractable awning, known as the velarium, that kept the sun and rain off spectators. This consisted of a canvas-covered, net-like structure made of ropes, with a hole in the center.[3] It covered two-thirds of the arena, and sloped down towards the center to catch the wind and provide a breeze for the audience. Sailors, specially enlisted from the Roman naval headquarters at Misenum and housed in the nearby Castra Misenatium, were used to work the velarium.[22]
The Colosseum's huge crowd capacity made it essential that the venue could be filled or evacuated quickly. Its architects adopted solutions very similar to those used in modern stadiums to deal with the same problem. The amphitheatre was ringed by eighty entrances at ground level, 76 of which were used by ordinary spectators.[3] Each entrance and exit was numbered, as was each staircase. The northern main entrance was reserved for the Roman Emperor and his aides, whilst the other three axial entrances were most likely used by the elite. All four axial entrances were richly decorated with painted stucco reliefs, of which fragments survive. Many of the original outer entrances have disappeared with the collapse of the perimeter wall, but entrances XXIII (23) to LIV (54) still survive.[12]
Spectators were given tickets in the form of numbered pottery shards, which directed them to the appropriate section and row. They accessed their seats via vomitoria (singular vomitorium), passageways that opened into a tier of seats from below or behind. These quickly dispersed people into their seats and, upon conclusion of the event or in an emergency evacuation, could permit their exit within only a few minutes. The name vomitoria derived from the Latin word for a rapid discharge, from which English derives the word vomit.
Interior
According to the Codex-Calendar of 354, the Colosseum could accommodate 87,000 people, although modern estimates put the figure at around 50,000. They were seated in a tiered arrangement that reflected the rigidly stratified nature of Roman society. Special boxes were provided at the north and south ends respectively for the Emperor and the Vestal Virgins, providing the best views of the arena. Flanking them at the same level was a broad platform or podium for the senatorial class, who were allowed to bring their own chairs. The names of some 5th century senators can still be seen carved into the stonework, presumably reserving areas for their use.
The tier above the senators, known as the maenianum primum, was occupied by the non-senatorial noble class or knights (equites). The next level up, the maenianum secundum, was originally reserved for ordinary Roman citizens (plebians) and was divided into two sections. The lower part (the immum) was for wealthy citizens, while the upper part (the summum) was for poor citizens. Specific sectors were provided for other social groups: for instance, boys with their tutors, soldiers on leave, foreign dignitaries, scribes, heralds, priests and so on. Stone (and later marble) seating was provided for the citizens and nobles, who presumably would have brought their own cushions with them. Inscriptions identified the areas reserved for specific groups.
Another level, the maenianum secundum in legneis, was added at the very top of the building during the reign of Domitian. This comprised a gallery for the common poor, slaves and women. It would have been either standing room only, or would have had very steep wooden benches. Some groups were banned altogether from the Colosseum, notably gravediggers, actors and former gladiators.
Each tier was divided into sections (maeniana) by curved passages and low walls (praecinctiones or baltei), and were subdivided into cunei, or wedges, by the steps and aisles from the vomitoria. Each row (gradus) of seats was numbered, permitting each individual seat to be exactly designated by its gradus, cuneus, and number.
The arena itself was 83 meters by 48 meters (272 ft by 157 ft / 280 by 163 Roman feet).[12] It comprised a wooden floor covered by sand (the Latin word for sand is harena or arena), covering an elaborate underground structure called the hypogeum (literally meaning "underground"). Little now remains of the original arena floor, but the hypogeum is still clearly visible. It consisted of a two-level subterranean network of tunnels and cages beneath the arena where gladiators and animals were held before contests began. Eighty vertical shafts provided instant access to the arena for caged animals and scenery pieces concealed underneath; larger hinged platforms, called hegmata, provided access for elephants and the like. It was restructured on numerous occasions; at least twelve different phases of construction can be seen.[12]
The hypogeum was connected by underground tunnels to a number of points outside the Colosseum. Animals and performers were brought through the tunnel from nearby stables, with the gladiators' barracks at the Ludus Magnus to the east also being connected by tunnels. Separate tunnels were provided for the Emperor and the Vestal Virgins to permit them to enter and exit the Colosseum without needing to pass through the crowds.[12]
Substantial quantities of machinery also existed in the hypogeum. Elevators and pulleys raised and lowered scenery and props, as well as lifting caged animals to the surface for release. There is evidence for the existence of major hydraulic mechanisms[12] and according to ancient accounts, it was possible to flood the arena rapidly, presumably via a connection to a nearby aqueduct.
The Colosseum and its activities supported a substantial industry in the area. In addition to the amphitheatre itself, many other buildings nearby were linked to the games. Immediately to the east is the remains of the Ludus Magnus, a training school for gladiators. This was connected to the Colosseum by an underground passage, to allow easy access for the gladiators. The Ludus Magnus had its own miniature training arena, which was itself a popular attraction for Roman spectators. Other training schools were in the same area, including the Ludus Matutinus (Morning School), where fighters of animals were trained, plus the Dacian and Gallic Schools.
Also nearby were the Armamentarium, comprising an armory to store weapons; the Summum Choragium, where machinery was stored; the Sanitarium, which had facilities to treat wounded gladiators; and the Spoliarium, where bodies of dead gladiators were stripped of their armor and disposed of.
Around the perimeter of the Colosseum, at a distance of 18 m (59 ft) from the perimeter, was a series of tall stone posts, with five remaining on the eastern side. Various explanations have been advanced for their presence; they may have been a religious boundary, or an outer boundary for ticket checks, or an anchor for the velarium or awning.
Right next to the Colosseum is also the Arch of Constantine.
he Colosseum was used to host gladiatorial shows as well as a variety of other events. The shows, called munera, were always given by private individuals rather than the state. They had a strong religious element but were also demonstrations of power and family prestige, and were immensely popular with the population. Another popular type of show was the animal hunt, or venatio. This utilized a great variety of wild beasts, mainly imported from Africa and the Middle East, and included creatures such as rhinoceros, hippopotamuses, elephants, giraffes, aurochs, wisents, barbary lions, panthers, leopards, bears, caspian tigers, crocodiles and ostriches. Battles and hunts were often staged amid elaborate sets with movable trees and buildings. Such events were occasionally on a huge scale; Trajan is said to have celebrated his victories in Dacia in 107 with contests involving 11,000 animals and 10,000 gladiators over the course of 123 days.
During the early days of the Colosseum, ancient writers recorded that the building was used for naumachiae (more properly known as navalia proelia) or simulated sea battles. Accounts of the inaugural games held by Titus in AD 80 describe it being filled with water for a display of specially trained swimming horses and bulls. There is also an account of a re-enactment of a famous sea battle between the Corcyrean (Corfiot) Greeks and the Corinthians. This has been the subject of some debate among historians; although providing the water would not have been a problem, it is unclear how the arena could have been waterproofed, nor would there have been enough space in the arena for the warships to move around. It has been suggested that the reports either have the location wrong, or that the Colosseum originally featured a wide floodable channel down its central axis (which would later have been replaced by the hypogeum).[12]
Sylvae or recreations of natural scenes were also held in the arena. Painters, technicians and architects would construct a simulation of a forest with real trees and bushes planted in the arena's floor. Animals would be introduced to populate the scene for the delight of the crowd. Such scenes might be used simply to display a natural environment for the urban population, or could otherwise be used as the backdrop for hunts or dramas depicting episodes from mythology. They were also occasionally used for executions in which the hero of the story — played by a condemned person — was killed in one of various gruesome but mythologically authentic ways, such as being mauled by beasts or burned to death.
The Colosseum today is now a major tourist attraction in Rome with thousands of tourists each year paying to view the interior arena, though entrance for EU citizens is partially subsidised, and under-18 and over-65 EU citizens' entrances are free.[24] There is now a museum dedicated to Eros located in the upper floor of the outer wall of the building. Part of the arena floor has been re-floored. Beneath the Colosseum, a network of subterranean passageways once used to transport wild animals and gladiators to the arena opened to the public in summer 2010.[25]
The Colosseum is also the site of Roman Catholic ceremonies in the 20th and 21st centuries. For instance, Pope Benedict XVI leads the Stations of the Cross called the Scriptural Way of the Cross (which calls for more meditation) at the Colosseum[26][27] on Good Fridays.
In the Middle Ages, the Colosseum was clearly not regarded as a sacred site. Its use as a fortress and then a quarry demonstrates how little spiritual importance was attached to it, at a time when sites associated with martyrs were highly venerated. It was not included in the itineraries compiled for the use of pilgrims nor in works such as the 12th century Mirabilia Urbis Romae ("Marvels of the City of Rome"), which claims the Circus Flaminius — but not the Colosseum — as the site of martyrdoms. Part of the structure was inhabited by a Christian order, but apparently not for any particular religious reason.
It appears to have been only in the 16th and 17th centuries that the Colosseum came to be regarded as a Christian site. Pope Pius V (1566–1572) is said to have recommended that pilgrims gather sand from the arena of the Colosseum to serve as a relic, on the grounds that it was impregnated with the blood of martyrs. This seems to have been a minority view until it was popularised nearly a century later by Fioravante Martinelli, who listed the Colosseum at the head of a list of places sacred to the martyrs in his 1653 book Roma ex ethnica sacra.
Martinelli's book evidently had an effect on public opinion; in response to Cardinal Altieri's proposal some years later to turn the Colosseum into a bullring, Carlo Tomassi published a pamphlet in protest against what he regarded as an act of desecration. The ensuing controversy persuaded Pope Clement X to close the Colosseum's external arcades and declare it a sanctuary, though quarrying continued for some time.
At the instance of St. Leonard of Port Maurice, Pope Benedict XIV (1740–1758) forbade the quarrying of the Colosseum and erected Stations of the Cross around the arena, which remained until February 1874. St. Benedict Joseph Labre spent the later years of his life within the walls of the Colosseum, living on alms, prior to his death in 1783. Several 19th century popes funded repair and restoration work on the Colosseum, and it still retains a Christian connection today. Crosses stand in several points around the arena and every Good Friday the Pope leads a Via Crucis procession to the amphitheatre.
Coliseu (Colosseo)
A seguir, um texto, em português, da Wikipédia, a enciclopédia livre:
O Coliseu, também conhecido como Anfiteatro Flaviano, deve seu nome à expressão latina Colosseum (ou Coliseus, no latim tardio), devido à estátua colossal de Nero, que ficava perto a edificação. Localizado no centro de Roma, é uma excepção de entre os anfiteatros pelo seu volume e relevo arquitectónico. Originalmente capaz de albergar perto de 50 000 pessoas, e com 48 metros de altura, era usado para variados espetáculos. Foi construído a leste do fórum romano e demorou entre 8 a 10 anos a ser construído.
O Coliseu foi utilizado durante aproximadamente 500 anos, tendo sido o último registro efetuado no século VI da nossa era, bastante depois da queda de Roma em 476. O edifício deixou de ser usado para entretenimento no começo da era medieval, mas foi mais tarde usado como habitação, oficina, forte, pedreira, sede de ordens religiosas e templo cristão.
Embora esteja agora em ruínas devido a terremotos e pilhagens, o Coliseu sempre foi visto como símbolo do Império Romano, sendo um dos melhores exemplos da sua arquitectura. Actualmente é uma das maiores atrações turísticas em Roma e em 7 de julho de 2007 foi eleita umas das "Sete maravilhas do mundo moderno". Além disso, o Coliseu ainda tem ligações à igreja, com o Papa a liderar a procissão da Via Sacra até ao Coliseu todas as Sextas-feiras Santas.
O coliseu era um local onde seriam exibidos toda uma série de espectáculos, inseridos nos vários tipos de jogos realizados na urbe. Os combates entre gladiadores, chamados muneras, eram sempre pagos por pessoas individuais em busca de prestígio e poder em vez do estado. A arena (87,5 m por 55 m) possuía um piso de madeira, normalmente coberto de areia para absorver o sangue dos combates (certa vez foi colocada água na representação de uma batalha naval), sob o qual existia um nível subterrâneo com celas e jaulas que tinham acessos diretos para a arena; Alguns detalhes dessa construção, como a cobertura removível que poupava os espectadores do sol, são bastante interessantes, e mostram o refinamento atingido pelos construtores romanos. Formado por cinco anéis concêntricos de arcos e abóbadas, o Coliseu representa bem o avanço introduzido pelos romanos à engenharia de estruturas. Esses arcos são de concreto (de cimento natural) revestidos por alvenaria. Na verdade, a alvenaria era construída simultaneamente e já servia de forma para a concretagem. Outro tipo de espetáculos era a caça de animais, ou venatio, onde eram utilizados animais selvagens importados de África. Os animais mais utilizados eram os grandes felinos como leões, leopardos e panteras, mas animais como rinocerontes, hipopótamos, elefantes, girafas, crocodilos e avestruzes eram também utilizados. As caçadas, tal como as representações de batalhas famosas, eram efetuadas em elaborados cenários onde constavam árvores e edifícios amovíveis.
Estas últimas eram por vezes representadas numa escala gigante; Trajano celebrou a sua vitória em Dácia no ano 107 com concursos envolvendo 11 000 animais e 10 000 gladiadores no decorrer de 123 dias.
Segundo o documentário produzido pelo canal televisivo fechado, History Channel, o Coliseu também era utilizado para a realização de naumaquias, ou batalhas navais. O coliseu era inundado por dutos subterrâneos alimentados pelos aquedutos que traziam água de longe. Passada esta fase, foi construída uma estrutura, que é a que podemos ver hoje nas ruínas do Coliseu, com altura de um prédio de dois andares, onde no passado se concentravam os gladiadores, feras e todo o pessoal que organizava os duelos que ocorreriam na arena. A arena era como um grande palco, feito de madeira, e se chama arena, que em italiano significa areia, porque era jogada areia sob a estrutura de madeira para esconder as imperfeições. Os animais podiam ser inseridos nos duelos a qualquer momento por um esquema de elevadores que surgiam em alguns pontos da arena; o filme "Gladiador" retrata muito bem esta questão dos elevadores. Os estudiosos, há pouco tempo, descobriram uma rede de dutos inundados por baixo da arena do Coliseu. Acredita-se que o Coliseu foi construído onde, outrora, foi o lago do Palácio Dourado de Nero; O imperador Vespasiano escolheu o local da construção para que o mal causado por Nero fosse esquecido por uma construção gloriosa.
Sylvae, ou recreações de cenas naturais eram também realizadas no Coliseu. Pintores, técnicos e arquitectos construiriam simulações de florestas com árvores e arbustos reais plantados no chão da arena. Animais seriam então introduzidos para dar vida à simulação. Esses cenários podiam servir só para agrado do público ou como pano de fundo para caçadas ou dramas representando episódios da mitologia romana, tão autênticos quanto possível, ao ponto de pessoas condenadas fazerem o papel de heróis onde eram mortos de maneiras horríveis mas mitologicamente autênticas, como mutilados por animais ou queimados vivos.
Embora o Coliseu tenha funcionado até ao século VI da nossa Era, foram proibidos os jogos com mortes humanas desde 404, sendo apenas massacrados animais como elefantes, panteras ou leões.
O Coliseu era sobretudo um enorme instrumento de propaganda e difusão da filosofia de toda uma civilização, e tal como era já profetizado pelo monge e historiador inglês Beda na sua obra do século VII "De temporibus liber": "Enquanto o Coliseu se mantiver de pé, Roma permanecerá; quando o Coliseu ruir, Roma ruirá e quando Roma cair, o mundo cairá".
A construção do Coliseu foi iniciada por Vespasiano, nos anos 70 da nossa era. O edifício foi inaugurado por Tito, em 80, embora apenas tivesse sido finalizado poucos anos depois. Empresa colossal, este edifício, inicialmente, poderia sustentar no seu interior cerca de 50 000 espectadores, constando de três andares. Aquando do reinado de Alexandre Severo e Gordiano III, é ampliado com um quarto andar, podendo suster agora cerca de 90 000 espectadores. A grandiosidade deste monumento testemunha verdadeiramente o poder e esplendor de Roma na época dos Flávios.
Os jogos inaugurais do Coliseu tiveram lugar ano 80, sob o mandato de Tito, para celebrar a finalização da construção. Depois do curto reinado de Tito começar com vários meses de desastres, incluindo a erupção do Monte Vesúvio, um incêndio em Roma, e um surto de peste, o mesmo imperador inaugurou o edifício com uns jogos pródigos que duraram mais de cem dias, talvez para tentar apaziguar o público romano e os deuses. Nesses jogos de cem dias terão ocorrido combates de gladiadores, venationes (lutas de animais), execuções, batalhas navais, caçadas e outros divertimentos numa escala sem precedentes.
O Coliseu, como não se encontrava inserido numa zona de encosta, enterrado, tal como normalmente sucede com a generalidade dos teatros e anfiteatros romanos, possuía um “anel” artificial de rocha à sua volta, para garantir sustentação e, ao mesmo tempo, esta substrutura serve como ornamento ao edifício e como condicionador da entrada dos espectadores. Tal como foi referido anteriormente, possuía três pisos, sendo mais tarde adicionado um outro. É construído em mármore, pedra travertina, ladrilho e tufo (pedra calcária com grandes poros). A sua planta elíptica mede dois eixos que se estendem aproximadamente de 190 m por 155 m. A fachada compõe-se de arcadas decoradas com colunas dóricas, jónicas e coríntias, de acordo com o pavimento em que se encontravam. Esta subdivisão deve-se ao facto de ser uma construção essencialmente vertical, criando assim uma diversificação do espaço.
Os assentos eram em mármore e a cavea, escadaria ou arquibancada, dividia-se em três partes, correspondentes às diferentes classes sociais: o podium, para as classes altas; as maeniana, sector destinado à classe média; e os portici, ou pórticos, construídos em madeira, para a plebe e as mulheres. O pulvinar, a tribuna imperial, encontrava-se situada no podium e era balizada pelos assentos reservados aos senadores e magistrados. Rampas no interior do edifício facilitavam o acesso às várias zonas de onde podiam visualizar o espectáculo, sendo protegidos por uma barreira e por uma série de arqueiros posicionados numa passagem de madeira, para o caso de algum acidente. Por cima dos muros ainda são visíveis as mísulas, que sustentavam o velarium, enorme cobertura de lona destinada a proteger do sol os espectadores e, nos subterrâneos, ficavam as jaulas dos animais, bem como todas as celas e galerias necessárias aos serviços do anfiteatro.
O monumento permaneceu como sede principal dos espetáculos da urbe romana até ao período do imperador Honorius, no século V. Danificado por um terremoto no começo do mesmo século, foi alvo de uma extensiva restauração na época de Valentinianus III. Em meados do século XIII, a família Frangipani transformou-o em fortaleza e, ao longo dos séculos XV e XVI, foi por diversas vezes saqueado, perdendo grande parte dos materiais nobres com os quais tinha sido construído.
Os relatos romanos referem-se a cristãos sendo martirizados em locais de Roma descritos pouco pormenorizadamente (no anfiteatro, na arena...), quando Roma tinha numerosos anfiteatros e arenas. Apesar de muito provavelmente o Coliseu não ter sido utilizado para martírios, o Papa Bento XIV consagrou-o no século XVII à Paixão de Cristo e declarou-o lugar sagrado. Os trabalhos de consolidação e restauração parcial do monumento, já há muito em ruínas, foram feitos sobretudo pelos pontífices Gregório XVI e Pio IX, no século XIX.
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Portuguese
São Pedro ou São Pedro Apóstolo (em hebraico: כיפא ou פדרו, em grego: Πέτρος, Pétros, "pedra", "rocha"; Betsaida, século I a.C., — Roma, cerca de 67 d.C.) foi um dos doze apóstolos de Jesus Cristo, segundo o Novo Testamento e, mais especificamente, os quatro Evangelhos. A igreja católica considera Pedro como o primeiro Bispo de Roma, sendo por isso o primeiro Papa da Igreja Católica e, até hoje, o detentor do mais longo papado da história, cerca de trinta e sete anos.
English
Saint Peter (Latin: Petrus, Greek: Πέτρος Petros; died c. 64 AD), also known as Simon Peter, according to the New Testament, was one of the Twelve Apostles of Jesus Christ, leaders of the early Christian Church. The Roman Catholic Church considers him to be the first pope, ordained by Jesus in the "Rock of My Church" dialogue in Matthew 16:18. The ancient Christian churches all venerate Peter as a major saint and associate him with the foundation of the church in Rome, but differ about the authority of his successors in present-day Christianity.
The New Testament indicates that Peter was the son of John (or Jonah or Jona) and was from the village of Bethsaida in the province of Galilee or Gaulanitis. His brother Andrew was also an apostle. According to New Testament accounts, Peter was one of twelve apostles chosen by Jesus from his first disciples. Originally a fisherman, he played a leadership role and was with Jesus during events witnessed by only a few apostles, such as the Transfiguration. According to the gospels, Peter confessed Jesus as the Messiah, was part of Jesus's inner circle, thrice denied Jesus, and preached on the day of Pentecost.
According to Christian tradition, Peter was crucified in Rome under Emperor Nero Augustus Caesar. It is traditionally held that he was crucified upside down at his own request, since he saw himself unworthy to be crucified in the same way as Jesus Christ. Tradition holds that he was crucified at the site of the Clementine Chapel. His mortal remains are contained in the underground Confessio of St. Peter's Basilica, where Pope Paul VI announced in 1968 the excavated discovery of a first-century Roman cemetery. Every June 29 since 1736, a life-size statue of Saint Peter has been crowned in St. Peter's Basilica with a papal tiara, ring of the fisherman, and papal vestments, as part of the Feast of Saints Peter and Paul. By Catholic doctrine, the direct papal successor to Saint Peter is Pope Francis.
Two general epistles in the New Testament are ascribed to Peter, but virtually all biblical scholars reject the Petrine authorship of both. The Gospel of Mark was traditionally thought to show the influence of Peter's preaching and eyewitness memories. Several other books bearing his name – the Acts of Peter, Gospel of Peter, Preaching of Peter, Apocalypse of Peter, and Judgment of Peter – are rejected by Christian churches as apocryphal.
Spanish
Simón Pedro (Betsaida, finales del siglo I a. C. - Roma, ca. 67), conocido también como san Pedro, Cefas, o simplemente Pedro, fue, de acuerdo con múltiples pasajes neotestamentarios, uno de los discípulos más destacados de Jesús de Nazaret. Su nombre de nacimiento era Shimón bar Ioná y era pescador de oficio en el mar de Galilea. Por su seguimiento de Jesús de Nazaret, se constituyó en el apóstol más conocido y citado del Nuevo Testamento en general y de los cuatro Evangelios canónicos y los Hechos de los Apóstoles en particular, que lo presentan bajo muy variados aspectos. También es citado por Pablo de Tarso en sus epístolas, incluyendo la Epístola a los gálatas donde lo refiere como una de las tres columnas de la Iglesia de Jerusalén (Gálatas 2:9). Figura de primer orden y de firme valor teológico en razón del ministerio que le confió el propio Jesucristo, es también conocido como el príncipe de los apóstoles. Dado el prestigio del que gozó en la Iglesia primitiva, proliferaron también los «escritos apócrifos» centrados en su figura, como el Evangelio de Pedro, el Apocalipsis de Pedro, los Hechos de Pedro, los Hechos de Pedro y Pablo, y la Predicación de Pedro.
La Iglesia católica lo identifica a través de la sucesión apostólica como el primer papa, basándose, entre otros argumentos, en las palabras que le dirigió Jesús: «Tú eres Pedro, y sobre esta piedra edificaré mi Iglesia, y el poder de la muerte no prevalecerá contra ella. Yo te daré las llaves del Reino de los Cielos. Todo lo que ates en la tierra, quedará atado en el cielo, y todo lo que desates en la tierra, quedará desatado en el cielo» (Mateo 16:18-19).5 Otras Iglesias católicas apostólicas, como la ortodoxa, no lo consideran de esta manera, por entender que Jesús no edificaría su Iglesia sobre un hombre (Pedro) sino sobre la confesión de fe que Pedro hizo: «Tú eres el Cristo, el Hijo de Dios vivo» (Mateo 16:16). Para los ortodoxos, la Iglesia se edifica sobre Cristo, Hijo de Dios, y Pedro no constituye la cabeza de la Iglesia, sino un apóstol que pudo ver en ese momento por gracia del Espíritu Santo lo que Jesús sería según la fe cristiana.6 La Iglesia ortodoxa de Antioquía lo considera el primero de sus obispos en la sucesión apostólica.
Las artes se inspiraron con frecuencia en la persona de Pedro y en pasajes del Nuevo Testamento y de los textos apócrifos que lo tienen como figura excluyente. Su llamado al seguimiento de Jesús de Nazaret, la entrega a él de las llaves del Reino, el lavatorio de los pies durante la última cena, sus negaciones durante la pasión de Jesucristo y la comisión de apacentar la grey por parte de Jesús resucitado, sus predicaciones y curaciones después de Pentecostés, sus controversias con Pablo de Tarso, y su martirio en Roma son algunos de los motivos representados. Se lo caracteriza iconográficamente con las llaves que simbolizan el reino de Dios, el gallo que recuerda sus negaciones, la cruz que es emblema de su martirio, el báculo que se le atribuye como pastor, y también el pez, símbolo de la promesa de Jesús de Nazaret de hacerlo «pescador de hombres».
Wikipedia
L’abbazia di S. Antimo si trova in Toscana, a sud di Siena, non lontano dal borgo di Montalcino.
Venne fondata, secondo la tradizione, da Carlo Magno nel 781, anche se in realtà i primi documenti su di essa risalgono all’813.
Nel corso del IX sec. l’abbazia, grazie ai privilegi imperiali e all’acquisizione delle reliquie di S. Antimo, consolidò il proprio prestigio e nell’XI sec, grazie alla vicinanza alla Via Francigena, si trovò inserita nel sistema dei grandi itinerari di pellegrinaggi europei.
La Chiesa Abbaziale che vediamo oggi venne costruita a partire dal 1118 sui resti di un edificio più antico, seguendo lo stile romanico con influenze francesi e lombarde.
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S.Antimo abbey is located in Tuscany, on south of Siena, not far from the village of Montalcino.
According to the tradition, it was founded by Charlemagne in 781, even if in reality the first documents about it date back to the 781.
During the XI cent. the abbey, due to the imperial privileges and to the acquisition of S. Antimo relics, strengthened its power and in the XI cent., due to its position near Francigen road, is was inserted into the system of the big European pilgrimages routes.
The Abbey Church that we see today was built starting from 1118 on the remnants of an antique building, following the romanic style with French and Lombard influences.
El bar El Cercle del c/ Ciutadans de Girona té uns nous propietaris. Uns nois joves amb molta ilusió, moltes ganes de fer-ho bé i moltes idees. Amb el lema "Cultura i Beguda" volen tirar endavant un local de copes on també hi càpiga la cultura en general, amb nits de concerts, nits de poesia, nits de futbol , nits dolces amb els pastissos d'una joveníssima i prometedora estudiant de pastisseria que ha fet les pràctiques amb el prestigiós pastisser de Perpinyà Olivier Bajard (la primera estudiant de les nostres comarques que ha tingut el privilegi de poder-hi anar) i també hi ha un bon espai per a la fotografia. Aquí us en deixo una petita mostra.
Primero que nada os voy a decir que esta foto no es mía ... es de mi hermano Iain. Llevo meses intentando convencerle que abre una cuenta en flickr pero dice que no tiene tiempo pero estaría muy contenta a verlas en mi pagina !!! Por lo tanto cuando fui a mi tierra en Agosto llené el pendrive - jejeje !!!! Hoy decidi daros un respiro con los animales y poner la primera foto de el !! Las que pongo de el son de el ... pero editadas por mi - asi que tengo un poco que ver tambien ... como no !!! Para cosas en movimiento tiene un pulso extraordinario - yo por lo menos me quedé asombrada !!! Espero que van a recibir las de el con el mismo cariño de las mias propias (a ver si el jodido va a tener más exito que yo ..... !!!!)
(Lo siento chicos pero no encuentro ninguna pagina en Español - sigo intentando....)
Uuuufff - no encuentro nada asi que entré en la pagina de ellos - cogi al información y via un traductór de internet aqui está ....... posiblemente mal pero ni intento corregirlo porque ya saben que yo tampoco no escribo nada bien en Español !!!! :
Quien son los Red Arrows (Flechas Rojas) :
Las Flechas Rojas son renombradas a través del mundo como embajadores para las Fuerzas Aéreas Británicas y el Reino Unido. Desde que el Equipo fue formado oficialmente en 1965, las Flechas Rojas han completado más de 4.000 presentaciones en 53 países.
Las Flechas Rojas' la reputación es construida en el compromiso y el profesionalismo, combinado con habilidades de Fuerzas Aéreas Británicas, entrenando y el equipo. Muchas de las Flechas Rojas' el personal de pilotos y apoyo ha vuelto recientemente de Afganistán e Iraq y muchos serán separados temporalmente en operaciones en el exterior durante su tiempo con las Flechas Rojas.
Historia de equipo :
Los años cincuenta y los años sesenta fueron el apogeo de Fuerzas Aéreas Británicas los equipos de acrobacia aérea a reacción de presentación. Por el medio 60s casi cada Volar la Instrucción la Escuela, y varias escuadras operacionales, tuvieron sus propios equipos. Tanto tiempo, el esfuerzo y el dinero fueron gastados en estas tareas no-establecidos que las Fuerzas Aéreas Británicas decidieron finalmente disolverlos todo y formar un solo equipo profesional de jornada completa. Así, en 1964, los Pelicanos Rojos que vuelan a seis Alcalde T Mk 4s a reacción llegaron a ser el primer equipo para representar las Fuerzas Aéreas Británicas en total. En ese mismo año un equipo de cinco Mosquito amarillo de Folland entrenadores a reacción, conocido como el Yellowjacks, fue formado en no 4 Volar que Entrena la Escuela en Fuerzas Aéreas Británicas Valle en Gales del norte, dirigido por Teniente de Vuelo Lee Jones. El año siguiente Jones fue anunciado a la Escuela Voladora Central (CFS) formar las Flechas Rojas. El Aire Real Fuerza el Equipo de acrobacia aérea (RAFAT), el nombre formal de las Flechas Rojas, empezó la vida en RAF Fairford en Gloucestershire, entonces un satélite de CFS. Había inicialmente siete pilotos de presentación y diez Mosquito entrenadores a reacción. El nombre las "Flechas que Rojas" fueron escogidas combinar la atracción y la pericia de dos equipos más temprano, las famosas Flechas Negras y los Pelicanos Rojos.
¡Primera presentación de Flechas roja sazonar!
En su primera temporada, 1965, las Flechas Rojas volaron 65 presentaciones en Gran Bretaña, Francia, Italia, Holanda, Bélgica y Alemania, y el Equipo fueron concedidos el Trofeo de Britania por el Club Real de Aero en el reconocimiento de su contribución sobresaliente al prestigio inglés en el campo de la aviación. Cuándo las Fuerzas Aéreas Británicas decidieron retener el Equipo para 1966, dos pilotos sobrante fueron establecidos pero el Equipo continuó volar justo siete avión en la mayoría de las presentaciones. La primera presentación con 9 pilotos estuvo en julio 1966 para el beneficio de SAR El Duque de Edimburgo. La práctica de llevar a pilotos sobrante demostraron poco satisfactorio porque la presentación tan fue especializada que cada posición tuvo sus propias demandas. Para ser de cualquier uso en todo, los pilotos sobrante tuvieron que ser capaz de relleno cualquier posición en nota muy corta. Así, ellos requirieron más instrucción que cualquier otro miembro del equipo y, como resultado, llegó a ser más hábil. No sorprendentemente el reserva llegó a ser no satisfecho con sus papeles como reservas.
El diamante 9
Las Flechas Rojas volaron nueve avión en presentaciones de vez en cuando de medio-1966 adelante, pero no fueron hasta que 1968 que el Equipo fue aumentado oficialmente en el tamaño a nueve. Aunque no hubiera nada nuevo en volar nueve avión en una formación romboidal, las Flechas Rojas' Diamante perfectamente simétrico Nueve vinieron rápidamente representar el pico de volar de precisión y de fue registrado finalmente como una marca de fábrica oficial.
El Halcón llega...
Las Flechas Rojas tomaron la entrega del entrenador Aeroespacial inglés de Halcón en el otoño de 1979 y durante ese invierno los pilotos convirtieron del Mosquito y trabajaron arriba una presentación que utiliza el nuevo avión en el tiempo para la 1980 temporada de presentación. Desde que ser introducido en el servicio con las Flechas Rojas, el Halcón ha tomado el Equipo en visitas de Europa oriental y occidental, los EEUU y Canadá, el Centro y el Lejano Oriente, Africa, la Unión Soviética anteriores y Australia. La presentación 4000 volada en el Halcón estuvo en Fuerzas Aéreas Británicas Leuchars' Batalla de Gran Bretaña Airshow en septiembre 2006.
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First of all I have to tell you all that this photo is not taken by me - it is one of my brother Iain's- i have been trying to convince him for months to open an account here in flickr but he says he doesn't have the time but that he would be more than happy to see how they get on on my page !!! so taking him up on the offer, when I went home in August I filled my pendrive up - hehehe !!! So with him in mind, and also to give you all a wee rest from animal piccies I've decided to upload the first of them today. When I do upload one I'll let you know it's his, although they will be edited by myself .....I have to get some credit in them !!!! He has an incredibly steady hand for taking things that are moving - something I truly admire him for - as mine always come out really blurry !!! I hope you will all treat his photos with the same affection as you do my own (maybe his will be even more popular - yikes !!!)
Team History
The 1950s and 1960s were the heyday of Royal Air Force jet aerobatic display teams. By the mid-60s almost every Flying Training School, and several operational squadrons, had their own teams. So much time, effort and money was being expended on these non-established tasks that the Royal Air Force eventually decided to disband them all and form a single, full-time professional team. Thus, in 1964, the Red Pelicans flying six Jet Provost T Mk 4s became the first team to represent the Royal Air Force as a whole. In that same year a team of five yellow Folland Gnat jet trainers, known as the Yellowjacks, was formed at No 4 Flying Training School at Royal Air Force Valley in north Wales, led by Flight Lieutenant Lee Jones. The following year Jones was posted to the Central Flying School (CFS) to form the Red Arrows. The Royal Air Force Aerobatic Team (RAFAT), the formal name of the Red Arrows, began life at RAF Fairford in Gloucestershire, then a satellite of CFS. Initially there were seven display pilots and ten Gnat jet trainers. The name ‘Red Arrows’ was chosen to combine the appeal and expertise of two earlier teams, the famous Black Arrows and the Red Pelicans.
Red Arrows' first display season!
In their first season, 1965, the Red Arrows flew 65 displays in Britain, France, Italy, Holland, Belgium and Germany, and the Team was awarded the Britannia Trophy by the Royal Aero Club in recognition of its outstanding contribution to British prestige in the field of aviation. When the Royal Air Force decided to retain the Team for 1966, two spare pilots were established but the Team continued to fly just seven aircraft in most displays. The first display with 9 pilots was in July 1966 for the benefit of HRH The Duke of Edinburgh. The practice of carrying spare pilots proved unsatisfactory because the display was so specialised that each position had its own demands. To be of any use at all, the spare pilots had to be capable of filling any position at very short notice. Thus, they required more training than any other member of the team and, as a result, became more skilled. Not surprisingly the spares became dissatisfied with their roles as reserves.
Diamond 9
The Red Arrows flew nine aircraft in displays from time to time from mid-1966 onwards, but it was not until 1968 that the Team was officially increased in size to nine. Although there was nothing new in flying nine aircraft in a diamond-shaped formation, the Red Arrows’ perfectly symmetrical Diamond Nine quickly came to represent the peak of precision flying and it was eventually registered as an official trade mark.
The Hawk arrives...
The Red Arrows took delivery of the British Aerospace Hawk trainer in the autumn of 1979 and during that winter the pilots converted from the Gnat and worked up a display using the new aeroplane in time for the 1980 display season. Since being introduced into service with the Red Arrows, the Hawk has taken the Team on tours of eastern and western Europe, the USA and Canada, the Middle and Far East, Africa, the former Soviet Union and Australia. The 4000th display flown in the Hawk was at Royal Air Force Leuchars' Battle of Britain Airshow in September 2006.
Since the Team’s creation in 1965, the Red Arrows have flown over 4,000 displays in 52 countries. Today the Red Arrows are renowned throughout the world, acting as ambassadors for Great Britain when displaying overseas. They also support UK industry by demonstrating the capabilities of British equipment and expertise.
Info taken from the Red Arrow Official Website
Colosseum
Following, a text, in english, from the Wikipedia the Free Encyclopedia:
The Colosseum, or the Coliseum, originally the Flavian Amphitheatre (Latin: Amphitheatrum Flavium, Italian Anfiteatro Flavio or Colosseo), is an elliptical amphitheatre in the centre of the city of Rome, Italy, the largest ever built in the Roman Empire. It is considered one of the greatest works of Roman architecture and Roman engineering.
Occupying a site just east of the Roman Forum, its construction started between 70 and 72 AD[1] under the emperor Vespasian and was completed in 80 AD under Titus,[2] with further modifications being made during Domitian's reign (81–96).[3] The name "Amphitheatrum Flavium" derives from both Vespasian's and Titus's family name (Flavius, from the gens Flavia).
Capable of seating 50,000 spectators,[1][4][5] the Colosseum was used for gladiatorial contests and public spectacles such as mock sea battles, animal hunts, executions, re-enactments of famous battles, and dramas based on Classical mythology. The building ceased to be used for entertainment in the early medieval era. It was later reused for such purposes as housing, workshops, quarters for a religious order, a fortress, a quarry, and a Christian shrine.
Although in the 21st century it stays partially ruined because of damage caused by devastating earthquakes and stone-robbers, the Colosseum is an iconic symbol of Imperial Rome. It is one of Rome's most popular tourist attractions and still has close connections with the Roman Catholic Church, as each Good Friday the Pope leads a torchlit "Way of the Cross" procession that starts in the area around the Colosseum.[6]
The Colosseum is also depicted on the Italian version of the five-cent euro coin.
The Colosseum's original Latin name was Amphitheatrum Flavium, often anglicized as Flavian Amphitheater. The building was constructed by emperors of the Flavian dynasty, hence its original name, after the reign of Emperor Nero.[7] This name is still used in modern English, but generally the structure is better known as the Colosseum. In antiquity, Romans may have referred to the Colosseum by the unofficial name Amphitheatrum Caesareum; this name could have been strictly poetic.[8][9] This name was not exclusive to the Colosseum; Vespasian and Titus, builders of the Colosseum, also constructed an amphitheater of the same name in Puteoli (modern Pozzuoli).[10]
The name Colosseum has long been believed to be derived from a colossal statue of Nero nearby.[3] (the statue of Nero itself being named after one of the original ancient wonders, the Colossus of Rhodes[citation needed]. This statue was later remodeled by Nero's successors into the likeness of Helios (Sol) or Apollo, the sun god, by adding the appropriate solar crown. Nero's head was also replaced several times with the heads of succeeding emperors. Despite its pagan links, the statue remained standing well into the medieval era and was credited with magical powers. It came to be seen as an iconic symbol of the permanence of Rome.
In the 8th century, a famous epigram attributed to the Venerable Bede celebrated the symbolic significance of the statue in a prophecy that is variously quoted: Quamdiu stat Colisæus, stat et Roma; quando cadet colisæus, cadet et Roma; quando cadet Roma, cadet et mundus ("as long as the Colossus stands, so shall Rome; when the Colossus falls, Rome shall fall; when Rome falls, so falls the world").[11] This is often mistranslated to refer to the Colosseum rather than the Colossus (as in, for instance, Byron's poem Childe Harold's Pilgrimage). However, at the time that the Pseudo-Bede wrote, the masculine noun coliseus was applied to the statue rather than to what was still known as the Flavian amphitheatre.
The Colossus did eventually fall, possibly being pulled down to reuse its bronze. By the year 1000 the name "Colosseum" had been coined to refer to the amphitheatre. The statue itself was largely forgotten and only its base survives, situated between the Colosseum and the nearby Temple of Venus and Roma.[12]
The name further evolved to Coliseum during the Middle Ages. In Italy, the amphitheatre is still known as il Colosseo, and other Romance languages have come to use similar forms such as le Colisée (French), el Coliseo (Spanish) and o Coliseu (Portuguese).
Construction of the Colosseum began under the rule of the Emperor Vespasian[3] in around 70–72AD. The site chosen was a flat area on the floor of a low valley between the Caelian, Esquiline and Palatine Hills, through which a canalised stream ran. By the 2nd century BC the area was densely inhabited. It was devastated by the Great Fire of Rome in AD 64, following which Nero seized much of the area to add to his personal domain. He built the grandiose Domus Aurea on the site, in front of which he created an artificial lake surrounded by pavilions, gardens and porticoes. The existing Aqua Claudia aqueduct was extended to supply water to the area and the gigantic bronze Colossus of Nero was set up nearby at the entrance to the Domus Aurea.[12]
Although the Colossus was preserved, much of the Domus Aurea was torn down. The lake was filled in and the land reused as the location for the new Flavian Amphitheatre. Gladiatorial schools and other support buildings were constructed nearby within the former grounds of the Domus Aurea. According to a reconstructed inscription found on the site, "the emperor Vespasian ordered this new amphitheatre to be erected from his general's share of the booty." This is thought to refer to the vast quantity of treasure seized by the Romans following their victory in the Great Jewish Revolt in 70AD. The Colosseum can be thus interpreted as a great triumphal monument built in the Roman tradition of celebrating great victories[12], placating the Roman people instead of returning soldiers. Vespasian's decision to build the Colosseum on the site of Nero's lake can also be seen as a populist gesture of returning to the people an area of the city which Nero had appropriated for his own use. In contrast to many other amphitheatres, which were located on the outskirts of a city, the Colosseum was constructed in the city centre; in effect, placing it both literally and symbolically at the heart of Rome.
The Colosseum had been completed up to the third story by the time of Vespasian's death in 79. The top level was finished and the building inaugurated by his son, Titus, in 80.[3] Dio Cassius recounts that over 9,000 wild animals were killed during the inaugural games of the amphitheatre. The building was remodelled further under Vespasian's younger son, the newly designated Emperor Domitian, who constructed the hypogeum, a series of underground tunnels used to house animals and slaves. He also added a gallery to the top of the Colosseum to increase its seating capacity.
In 217, the Colosseum was badly damaged by a major fire (caused by lightning, according to Dio Cassius[13]) which destroyed the wooden upper levels of the amphitheatre's interior. It was not fully repaired until about 240 and underwent further repairs in 250 or 252 and again in 320. An inscription records the restoration of various parts of the Colosseum under Theodosius II and Valentinian III (reigned 425–455), possibly to repair damage caused by a major earthquake in 443; more work followed in 484[14] and 508. The arena continued to be used for contests well into the 6th century, with gladiatorial fights last mentioned around 435. Animal hunts continued until at least 523, when Anicius Maximus celebrated his consulship with some venationes, criticised by King Theodoric the Great for their high cost.
The Colosseum underwent several radical changes of use during the medieval period. By the late 6th century a small church had been built into the structure of the amphitheatre, though this apparently did not confer any particular religious significance on the building as a whole. The arena was converted into a cemetery. The numerous vaulted spaces in the arcades under the seating were converted into housing and workshops, and are recorded as still being rented out as late as the 12th century. Around 1200 the Frangipani family took over the Colosseum and fortified it, apparently using it as a castle.
Severe damage was inflicted on the Colosseum by the great earthquake in 1349, causing the outer south side, lying on a less stable alluvional terrain, to collapse. Much of the tumbled stone was reused to build palaces, churches, hospitals and other buildings elsewhere in Rome. A religious order moved into the northern third of the Colosseum in the mid-14th century and continued to inhabit it until as late as the early 19th century. The interior of the amphitheatre was extensively stripped of stone, which was reused elsewhere, or (in the case of the marble façade) was burned to make quicklime.[12] The bronze clamps which held the stonework together were pried or hacked out of the walls, leaving numerous pockmarks which still scar the building today.
During the 16th and 17th century, Church officials sought a productive role for the vast derelict hulk of the Colosseum. Pope Sixtus V (1585–1590) planned to turn the building into a wool factory to provide employment for Rome's prostitutes, though this proposal fell through with his premature death.[15] In 1671 Cardinal Altieri authorized its use for bullfights; a public outcry caused the idea to be hastily abandoned.
In 1749, Pope Benedict XIV endorsed as official Church policy the view that the Colosseum was a sacred site where early Christians had been martyred. He forbade the use of the Colosseum as a quarry and consecrated the building to the Passion of Christ and installed Stations of the Cross, declaring it sanctified by the blood of the Christian martyrs who perished there (see Christians and the Colosseum). However there is no historical evidence to support Benedict's claim, nor is there even any evidence that anyone prior to the 16th century suggested this might be the case; the Catholic Encyclopedia concludes that there are no historical grounds for the supposition. Later popes initiated various stabilization and restoration projects, removing the extensive vegetation which had overgrown the structure and threatened to damage it further. The façade was reinforced with triangular brick wedges in 1807 and 1827, and the interior was repaired in 1831, 1846 and in the 1930s. The arena substructure was partly excavated in 1810–1814 and 1874 and was fully exposed under Benito Mussolini in the 1930s.
The Colosseum is today one of Rome's most popular tourist attractions, receiving millions of visitors annually. The effects of pollution and general deterioration over time prompted a major restoration programme carried out between 1993 and 2000, at a cost of 40 billion Italian lire ($19.3m / €20.6m at 2000 prices). In recent years it has become a symbol of the international campaign against capital punishment, which was abolished in Italy in 1948. Several anti–death penalty demonstrations took place in front of the Colosseum in 2000. Since that time, as a gesture against the death penalty, the local authorities of Rome change the color of the Colosseum's night time illumination from white to gold whenever a person condemned to the death penalty anywhere in the world gets their sentence commuted or is released,[16] or if a jurisdiction abolishes the death penalty. Most recently, the Colosseum was illuminated in gold when capital punishment was abolished in the American state of New Mexico in April 2009.
Because of the ruined state of the interior, it is impractical to use the Colosseum to host large events; only a few hundred spectators can be accommodated in temporary seating. However, much larger concerts have been held just outside, using the Colosseum as a backdrop. Performers who have played at the Colosseum in recent years have included Ray Charles (May 2002),[18] Paul McCartney (May 2003),[19] Elton John (September 2005),[20] and Billy Joel (July 2006).
Exterior
Unlike earlier Greek theatres that were built into hillsides, the Colosseum is an entirely free-standing structure. It derives its basic exterior and interior architecture from that of two Roman theatres back to back. It is elliptical in plan and is 189 meters (615 ft / 640 Roman feet) long, and 156 meters (510 ft / 528 Roman feet) wide, with a base area of 6 acres (24,000 m2). The height of the outer wall is 48 meters (157 ft / 165 Roman feet). The perimeter originally measured 545 meters (1,788 ft / 1,835 Roman feet). The central arena is an oval 87 m (287 ft) long and 55 m (180 ft) wide, surrounded by a wall 5 m (15 ft) high, above which rose tiers of seating.
The outer wall is estimated to have required over 100,000 cubic meters (131,000 cu yd) of travertine stone which were set without mortar held together by 300 tons of iron clamps.[12] However, it has suffered extensive damage over the centuries, with large segments having collapsed following earthquakes. The north side of the perimeter wall is still standing; the distinctive triangular brick wedges at each end are modern additions, having been constructed in the early 19th century to shore up the wall. The remainder of the present-day exterior of the Colosseum is in fact the original interior wall.
The surviving part of the outer wall's monumental façade comprises three stories of superimposed arcades surmounted by a podium on which stands a tall attic, both of which are pierced by windows interspersed at regular intervals. The arcades are framed by half-columns of the Tuscan, Ionic, and Corinthian orders, while the attic is decorated with Corinthian pilasters.[21] Each of the arches in the second- and third-floor arcades framed statues, probably honoring divinities and other figures from Classical mythology.
Two hundred and forty mast corbels were positioned around the top of the attic. They originally supported a retractable awning, known as the velarium, that kept the sun and rain off spectators. This consisted of a canvas-covered, net-like structure made of ropes, with a hole in the center.[3] It covered two-thirds of the arena, and sloped down towards the center to catch the wind and provide a breeze for the audience. Sailors, specially enlisted from the Roman naval headquarters at Misenum and housed in the nearby Castra Misenatium, were used to work the velarium.[22]
The Colosseum's huge crowd capacity made it essential that the venue could be filled or evacuated quickly. Its architects adopted solutions very similar to those used in modern stadiums to deal with the same problem. The amphitheatre was ringed by eighty entrances at ground level, 76 of which were used by ordinary spectators.[3] Each entrance and exit was numbered, as was each staircase. The northern main entrance was reserved for the Roman Emperor and his aides, whilst the other three axial entrances were most likely used by the elite. All four axial entrances were richly decorated with painted stucco reliefs, of which fragments survive. Many of the original outer entrances have disappeared with the collapse of the perimeter wall, but entrances XXIII (23) to LIV (54) still survive.[12]
Spectators were given tickets in the form of numbered pottery shards, which directed them to the appropriate section and row. They accessed their seats via vomitoria (singular vomitorium), passageways that opened into a tier of seats from below or behind. These quickly dispersed people into their seats and, upon conclusion of the event or in an emergency evacuation, could permit their exit within only a few minutes. The name vomitoria derived from the Latin word for a rapid discharge, from which English derives the word vomit.
Interior
According to the Codex-Calendar of 354, the Colosseum could accommodate 87,000 people, although modern estimates put the figure at around 50,000. They were seated in a tiered arrangement that reflected the rigidly stratified nature of Roman society. Special boxes were provided at the north and south ends respectively for the Emperor and the Vestal Virgins, providing the best views of the arena. Flanking them at the same level was a broad platform or podium for the senatorial class, who were allowed to bring their own chairs. The names of some 5th century senators can still be seen carved into the stonework, presumably reserving areas for their use.
The tier above the senators, known as the maenianum primum, was occupied by the non-senatorial noble class or knights (equites). The next level up, the maenianum secundum, was originally reserved for ordinary Roman citizens (plebians) and was divided into two sections. The lower part (the immum) was for wealthy citizens, while the upper part (the summum) was for poor citizens. Specific sectors were provided for other social groups: for instance, boys with their tutors, soldiers on leave, foreign dignitaries, scribes, heralds, priests and so on. Stone (and later marble) seating was provided for the citizens and nobles, who presumably would have brought their own cushions with them. Inscriptions identified the areas reserved for specific groups.
Another level, the maenianum secundum in legneis, was added at the very top of the building during the reign of Domitian. This comprised a gallery for the common poor, slaves and women. It would have been either standing room only, or would have had very steep wooden benches. Some groups were banned altogether from the Colosseum, notably gravediggers, actors and former gladiators.
Each tier was divided into sections (maeniana) by curved passages and low walls (praecinctiones or baltei), and were subdivided into cunei, or wedges, by the steps and aisles from the vomitoria. Each row (gradus) of seats was numbered, permitting each individual seat to be exactly designated by its gradus, cuneus, and number.
The arena itself was 83 meters by 48 meters (272 ft by 157 ft / 280 by 163 Roman feet).[12] It comprised a wooden floor covered by sand (the Latin word for sand is harena or arena), covering an elaborate underground structure called the hypogeum (literally meaning "underground"). Little now remains of the original arena floor, but the hypogeum is still clearly visible. It consisted of a two-level subterranean network of tunnels and cages beneath the arena where gladiators and animals were held before contests began. Eighty vertical shafts provided instant access to the arena for caged animals and scenery pieces concealed underneath; larger hinged platforms, called hegmata, provided access for elephants and the like. It was restructured on numerous occasions; at least twelve different phases of construction can be seen.[12]
The hypogeum was connected by underground tunnels to a number of points outside the Colosseum. Animals and performers were brought through the tunnel from nearby stables, with the gladiators' barracks at the Ludus Magnus to the east also being connected by tunnels. Separate tunnels were provided for the Emperor and the Vestal Virgins to permit them to enter and exit the Colosseum without needing to pass through the crowds.[12]
Substantial quantities of machinery also existed in the hypogeum. Elevators and pulleys raised and lowered scenery and props, as well as lifting caged animals to the surface for release. There is evidence for the existence of major hydraulic mechanisms[12] and according to ancient accounts, it was possible to flood the arena rapidly, presumably via a connection to a nearby aqueduct.
The Colosseum and its activities supported a substantial industry in the area. In addition to the amphitheatre itself, many other buildings nearby were linked to the games. Immediately to the east is the remains of the Ludus Magnus, a training school for gladiators. This was connected to the Colosseum by an underground passage, to allow easy access for the gladiators. The Ludus Magnus had its own miniature training arena, which was itself a popular attraction for Roman spectators. Other training schools were in the same area, including the Ludus Matutinus (Morning School), where fighters of animals were trained, plus the Dacian and Gallic Schools.
Also nearby were the Armamentarium, comprising an armory to store weapons; the Summum Choragium, where machinery was stored; the Sanitarium, which had facilities to treat wounded gladiators; and the Spoliarium, where bodies of dead gladiators were stripped of their armor and disposed of.
Around the perimeter of the Colosseum, at a distance of 18 m (59 ft) from the perimeter, was a series of tall stone posts, with five remaining on the eastern side. Various explanations have been advanced for their presence; they may have been a religious boundary, or an outer boundary for ticket checks, or an anchor for the velarium or awning.
Right next to the Colosseum is also the Arch of Constantine.
he Colosseum was used to host gladiatorial shows as well as a variety of other events. The shows, called munera, were always given by private individuals rather than the state. They had a strong religious element but were also demonstrations of power and family prestige, and were immensely popular with the population. Another popular type of show was the animal hunt, or venatio. This utilized a great variety of wild beasts, mainly imported from Africa and the Middle East, and included creatures such as rhinoceros, hippopotamuses, elephants, giraffes, aurochs, wisents, barbary lions, panthers, leopards, bears, caspian tigers, crocodiles and ostriches. Battles and hunts were often staged amid elaborate sets with movable trees and buildings. Such events were occasionally on a huge scale; Trajan is said to have celebrated his victories in Dacia in 107 with contests involving 11,000 animals and 10,000 gladiators over the course of 123 days.
During the early days of the Colosseum, ancient writers recorded that the building was used for naumachiae (more properly known as navalia proelia) or simulated sea battles. Accounts of the inaugural games held by Titus in AD 80 describe it being filled with water for a display of specially trained swimming horses and bulls. There is also an account of a re-enactment of a famous sea battle between the Corcyrean (Corfiot) Greeks and the Corinthians. This has been the subject of some debate among historians; although providing the water would not have been a problem, it is unclear how the arena could have been waterproofed, nor would there have been enough space in the arena for the warships to move around. It has been suggested that the reports either have the location wrong, or that the Colosseum originally featured a wide floodable channel down its central axis (which would later have been replaced by the hypogeum).[12]
Sylvae or recreations of natural scenes were also held in the arena. Painters, technicians and architects would construct a simulation of a forest with real trees and bushes planted in the arena's floor. Animals would be introduced to populate the scene for the delight of the crowd. Such scenes might be used simply to display a natural environment for the urban population, or could otherwise be used as the backdrop for hunts or dramas depicting episodes from mythology. They were also occasionally used for executions in which the hero of the story — played by a condemned person — was killed in one of various gruesome but mythologically authentic ways, such as being mauled by beasts or burned to death.
The Colosseum today is now a major tourist attraction in Rome with thousands of tourists each year paying to view the interior arena, though entrance for EU citizens is partially subsidised, and under-18 and over-65 EU citizens' entrances are free.[24] There is now a museum dedicated to Eros located in the upper floor of the outer wall of the building. Part of the arena floor has been re-floored. Beneath the Colosseum, a network of subterranean passageways once used to transport wild animals and gladiators to the arena opened to the public in summer 2010.[25]
The Colosseum is also the site of Roman Catholic ceremonies in the 20th and 21st centuries. For instance, Pope Benedict XVI leads the Stations of the Cross called the Scriptural Way of the Cross (which calls for more meditation) at the Colosseum[26][27] on Good Fridays.
In the Middle Ages, the Colosseum was clearly not regarded as a sacred site. Its use as a fortress and then a quarry demonstrates how little spiritual importance was attached to it, at a time when sites associated with martyrs were highly venerated. It was not included in the itineraries compiled for the use of pilgrims nor in works such as the 12th century Mirabilia Urbis Romae ("Marvels of the City of Rome"), which claims the Circus Flaminius — but not the Colosseum — as the site of martyrdoms. Part of the structure was inhabited by a Christian order, but apparently not for any particular religious reason.
It appears to have been only in the 16th and 17th centuries that the Colosseum came to be regarded as a Christian site. Pope Pius V (1566–1572) is said to have recommended that pilgrims gather sand from the arena of the Colosseum to serve as a relic, on the grounds that it was impregnated with the blood of martyrs. This seems to have been a minority view until it was popularised nearly a century later by Fioravante Martinelli, who listed the Colosseum at the head of a list of places sacred to the martyrs in his 1653 book Roma ex ethnica sacra.
Martinelli's book evidently had an effect on public opinion; in response to Cardinal Altieri's proposal some years later to turn the Colosseum into a bullring, Carlo Tomassi published a pamphlet in protest against what he regarded as an act of desecration. The ensuing controversy persuaded Pope Clement X to close the Colosseum's external arcades and declare it a sanctuary, though quarrying continued for some time.
At the instance of St. Leonard of Port Maurice, Pope Benedict XIV (1740–1758) forbade the quarrying of the Colosseum and erected Stations of the Cross around the arena, which remained until February 1874. St. Benedict Joseph Labre spent the later years of his life within the walls of the Colosseum, living on alms, prior to his death in 1783. Several 19th century popes funded repair and restoration work on the Colosseum, and it still retains a Christian connection today. Crosses stand in several points around the arena and every Good Friday the Pope leads a Via Crucis procession to the amphitheatre.
Coliseu (Colosseo)
A seguir, um texto, em português, da Wikipédia, a enciclopédia livre:
O Coliseu, também conhecido como Anfiteatro Flaviano, deve seu nome à expressão latina Colosseum (ou Coliseus, no latim tardio), devido à estátua colossal de Nero, que ficava perto a edificação. Localizado no centro de Roma, é uma excepção de entre os anfiteatros pelo seu volume e relevo arquitectónico. Originalmente capaz de albergar perto de 50 000 pessoas, e com 48 metros de altura, era usado para variados espetáculos. Foi construído a leste do fórum romano e demorou entre 8 a 10 anos a ser construído.
O Coliseu foi utilizado durante aproximadamente 500 anos, tendo sido o último registro efetuado no século VI da nossa era, bastante depois da queda de Roma em 476. O edifício deixou de ser usado para entretenimento no começo da era medieval, mas foi mais tarde usado como habitação, oficina, forte, pedreira, sede de ordens religiosas e templo cristão.
Embora esteja agora em ruínas devido a terremotos e pilhagens, o Coliseu sempre foi visto como símbolo do Império Romano, sendo um dos melhores exemplos da sua arquitectura. Actualmente é uma das maiores atrações turísticas em Roma e em 7 de julho de 2007 foi eleita umas das "Sete maravilhas do mundo moderno". Além disso, o Coliseu ainda tem ligações à igreja, com o Papa a liderar a procissão da Via Sacra até ao Coliseu todas as Sextas-feiras Santas.
O coliseu era um local onde seriam exibidos toda uma série de espectáculos, inseridos nos vários tipos de jogos realizados na urbe. Os combates entre gladiadores, chamados muneras, eram sempre pagos por pessoas individuais em busca de prestígio e poder em vez do estado. A arena (87,5 m por 55 m) possuía um piso de madeira, normalmente coberto de areia para absorver o sangue dos combates (certa vez foi colocada água na representação de uma batalha naval), sob o qual existia um nível subterrâneo com celas e jaulas que tinham acessos diretos para a arena; Alguns detalhes dessa construção, como a cobertura removível que poupava os espectadores do sol, são bastante interessantes, e mostram o refinamento atingido pelos construtores romanos. Formado por cinco anéis concêntricos de arcos e abóbadas, o Coliseu representa bem o avanço introduzido pelos romanos à engenharia de estruturas. Esses arcos são de concreto (de cimento natural) revestidos por alvenaria. Na verdade, a alvenaria era construída simultaneamente e já servia de forma para a concretagem. Outro tipo de espetáculos era a caça de animais, ou venatio, onde eram utilizados animais selvagens importados de África. Os animais mais utilizados eram os grandes felinos como leões, leopardos e panteras, mas animais como rinocerontes, hipopótamos, elefantes, girafas, crocodilos e avestruzes eram também utilizados. As caçadas, tal como as representações de batalhas famosas, eram efetuadas em elaborados cenários onde constavam árvores e edifícios amovíveis.
Estas últimas eram por vezes representadas numa escala gigante; Trajano celebrou a sua vitória em Dácia no ano 107 com concursos envolvendo 11 000 animais e 10 000 gladiadores no decorrer de 123 dias.
Segundo o documentário produzido pelo canal televisivo fechado, History Channel, o Coliseu também era utilizado para a realização de naumaquias, ou batalhas navais. O coliseu era inundado por dutos subterrâneos alimentados pelos aquedutos que traziam água de longe. Passada esta fase, foi construída uma estrutura, que é a que podemos ver hoje nas ruínas do Coliseu, com altura de um prédio de dois andares, onde no passado se concentravam os gladiadores, feras e todo o pessoal que organizava os duelos que ocorreriam na arena. A arena era como um grande palco, feito de madeira, e se chama arena, que em italiano significa areia, porque era jogada areia sob a estrutura de madeira para esconder as imperfeições. Os animais podiam ser inseridos nos duelos a qualquer momento por um esquema de elevadores que surgiam em alguns pontos da arena; o filme "Gladiador" retrata muito bem esta questão dos elevadores. Os estudiosos, há pouco tempo, descobriram uma rede de dutos inundados por baixo da arena do Coliseu. Acredita-se que o Coliseu foi construído onde, outrora, foi o lago do Palácio Dourado de Nero; O imperador Vespasiano escolheu o local da construção para que o mal causado por Nero fosse esquecido por uma construção gloriosa.
Sylvae, ou recreações de cenas naturais eram também realizadas no Coliseu. Pintores, técnicos e arquitectos construiriam simulações de florestas com árvores e arbustos reais plantados no chão da arena. Animais seriam então introduzidos para dar vida à simulação. Esses cenários podiam servir só para agrado do público ou como pano de fundo para caçadas ou dramas representando episódios da mitologia romana, tão autênticos quanto possível, ao ponto de pessoas condenadas fazerem o papel de heróis onde eram mortos de maneiras horríveis mas mitologicamente autênticas, como mutilados por animais ou queimados vivos.
Embora o Coliseu tenha funcionado até ao século VI da nossa Era, foram proibidos os jogos com mortes humanas desde 404, sendo apenas massacrados animais como elefantes, panteras ou leões.
O Coliseu era sobretudo um enorme instrumento de propaganda e difusão da filosofia de toda uma civilização, e tal como era já profetizado pelo monge e historiador inglês Beda na sua obra do século VII "De temporibus liber": "Enquanto o Coliseu se mantiver de pé, Roma permanecerá; quando o Coliseu ruir, Roma ruirá e quando Roma cair, o mundo cairá".
A construção do Coliseu foi iniciada por Vespasiano, nos anos 70 da nossa era. O edifício foi inaugurado por Tito, em 80, embora apenas tivesse sido finalizado poucos anos depois. Empresa colossal, este edifício, inicialmente, poderia sustentar no seu interior cerca de 50 000 espectadores, constando de três andares. Aquando do reinado de Alexandre Severo e Gordiano III, é ampliado com um quarto andar, podendo suster agora cerca de 90 000 espectadores. A grandiosidade deste monumento testemunha verdadeiramente o poder e esplendor de Roma na época dos Flávios.
Os jogos inaugurais do Coliseu tiveram lugar ano 80, sob o mandato de Tito, para celebrar a finalização da construção. Depois do curto reinado de Tito começar com vários meses de desastres, incluindo a erupção do Monte Vesúvio, um incêndio em Roma, e um surto de peste, o mesmo imperador inaugurou o edifício com uns jogos pródigos que duraram mais de cem dias, talvez para tentar apaziguar o público romano e os deuses. Nesses jogos de cem dias terão ocorrido combates de gladiadores, venationes (lutas de animais), execuções, batalhas navais, caçadas e outros divertimentos numa escala sem precedentes.
O Coliseu, como não se encontrava inserido numa zona de encosta, enterrado, tal como normalmente sucede com a generalidade dos teatros e anfiteatros romanos, possuía um “anel” artificial de rocha à sua volta, para garantir sustentação e, ao mesmo tempo, esta substrutura serve como ornamento ao edifício e como condicionador da entrada dos espectadores. Tal como foi referido anteriormente, possuía três pisos, sendo mais tarde adicionado um outro. É construído em mármore, pedra travertina, ladrilho e tufo (pedra calcária com grandes poros). A sua planta elíptica mede dois eixos que se estendem aproximadamente de 190 m por 155 m. A fachada compõe-se de arcadas decoradas com colunas dóricas, jónicas e coríntias, de acordo com o pavimento em que se encontravam. Esta subdivisão deve-se ao facto de ser uma construção essencialmente vertical, criando assim uma diversificação do espaço.
Os assentos eram em mármore e a cavea, escadaria ou arquibancada, dividia-se em três partes, correspondentes às diferentes classes sociais: o podium, para as classes altas; as maeniana, sector destinado à classe média; e os portici, ou pórticos, construídos em madeira, para a plebe e as mulheres. O pulvinar, a tribuna imperial, encontrava-se situada no podium e era balizada pelos assentos reservados aos senadores e magistrados. Rampas no interior do edifício facilitavam o acesso às várias zonas de onde podiam visualizar o espectáculo, sendo protegidos por uma barreira e por uma série de arqueiros posicionados numa passagem de madeira, para o caso de algum acidente. Por cima dos muros ainda são visíveis as mísulas, que sustentavam o velarium, enorme cobertura de lona destinada a proteger do sol os espectadores e, nos subterrâneos, ficavam as jaulas dos animais, bem como todas as celas e galerias necessárias aos serviços do anfiteatro.
O monumento permaneceu como sede principal dos espetáculos da urbe romana até ao período do imperador Honorius, no século V. Danificado por um terremoto no começo do mesmo século, foi alvo de uma extensiva restauração na época de Valentinianus III. Em meados do século XIII, a família Frangipani transformou-o em fortaleza e, ao longo dos séculos XV e XVI, foi por diversas vezes saqueado, perdendo grande parte dos materiais nobres com os quais tinha sido construído.
Os relatos romanos referem-se a cristãos sendo martirizados em locais de Roma descritos pouco pormenorizadamente (no anfiteatro, na arena...), quando Roma tinha numerosos anfiteatros e arenas. Apesar de muito provavelmente o Coliseu não ter sido utilizado para martírios, o Papa Bento XIV consagrou-o no século XVII à Paixão de Cristo e declarou-o lugar sagrado. Os trabalhos de consolidação e restauração parcial do monumento, já há muito em ruínas, foram feitos sobretudo pelos pontífices Gregório XVI e Pio IX, no século XIX.
FIAT 128 SL Coupè year 1973
La passione per il FIAT 128 Coupè per WALTER STOCCHETTI impiegato postale a Trento è ETERNA. Lui oltre a questa simpatica e splendida sportiva Fiat 128 nel garage ha un 'Alfa Romeo Giulia in ottime condizioni con targa Trento , se sali nella sua Alfa Giulia sembra di essere in un salotto . Più avanti documenteremo anche l'Alfa Romeo Giulia di Walter ...poi ha una BMW moderna non di certo da quattro soldi ...il mio discorso era questo , sebbene Walter avrebbe potuto permettersi anche altre auto di prestigio Lui ha sempre avuto un vero autentico e fedele amore per questa Fiat 128 Coupè.
Walter si ricorda ancora bene ... anzi sembra ieri per lui quando aveva acquistato nel 1977 una Fiat 128 Sport di colore bianco , in quattro anni aveva fatto 200.000 Km l'aveva portata al colasso totale , era di c.c.1100 . Un particolare che non sta scritto sulla rivista che Walter si innamorò alle luci della sera vedendo a Trento in una concessionaria la Fiat 128 Coupè in esposizione ... amore a prima vista , platonico che si è conservato nel tempo. Walter cambia altre automobili ma non dimentica mai la 128 Coupè.
Nel 2001 raggiunta una certa tranquillità economica Walter si mette alla ricerca spietata del Fiat 128 Coupè aiutato anche dal figlio Christian . Dopo qualche mese di ricerche Walter trova nella sua città un "1100" (quello in foto) in livrea rosso/arancio (codice 171) di Bettini Renato referente per il Trentino/Alto Adige del registro Nazionale Fiat 128 Coupè Sport e avendone due uguali ha deciso di cederne una . Il costo dell'operazione per Walter fu tre milioni di lire che andranno nelle tasche di Renato ... da questo scambio poi è nata pure un'amicizia vera . L'auto si presentava in buone condizioni ma Walter immediatamente l'ha portata in carrozzeria dove viene smontata e riverniciata . Il costo finale del lavoro sarà 5 milioni di lire . Walter durante i lavori si mette di grande impegno per cercare accessori anni 70 per la sua auto e si fa montare una radio mangianastri Grunding con la console centrale ed un singolo altoparlante e antenna cromata sul tetto .
Walter non si accontenta di abbellire l'auto ma inizia una manicale ricerca di pezzi di ricambio ... in poco tempo riesce ad accantonare pezzi di ricambio tale che si potrebbe ricostruire altre due Fiat 128 Coupè , mi sembra che gli manchi solo una portiera per fare due 128 . Totale spesa per vari ricambi stiamo parlnado di quasi 21 milioni di lire . Tutti questi ricambi fanno pensare ad un utlizzo maggiore della vettura ed invece dal 2001 la Fiat 128 Coupè ha fatto solo 1000 km . Walter non ama i raduni o esposizioni varie forse proprio perchè è geloso maniacale della sua auto , insomma non sopporterebbe nemmeno un graffio ... a lui piace godersela in questo modo ammirandola nel suo garage o uscite brevi tipo la revisione ....Ecco che l'auto è finita su RUOTE CLASSICHE e sarà esposta al raduno di San Felice Bz " Oldtimer Festival " il 28 luglio di sabato .
WALTER non contento ancora ha iniziato una passione folle maniacale pazzesca di modellini , ha una vetrina a casa di oltre 50 modellini del tempo non stampi cinesi del Fiat 128 Coupè Sport e del Fiat 128 Rally in tutte le colorazioni originali con scatole autentiche . Walter non vuole fermarsi , tiene sotto occhio una Fiat 128 Coupè Sport bianco con targa Trento in un grarage della città ... lo vuole a tutti i costi per avere nel suo colore originale bianco la prima 128 Sport Coupè che ha avuto ...Walter prima del Fiat 128 ha fatto la gavetta con la Fiat 1100 R .
Sono davvero felice di avere testimoniato questa storia !
TRENTO 07.07.2012
FIAT 128 SL Coupè year 1973
WALTER STOCCHETTI, employee in a postal office in Trento is really obsessed by FIAT 128 Coupè. Apart from this wonderful Fiat 128, in the garage has a Alfa Romeo Giulia, well-conserved, immatriculated Trento. If you step into this Alfa Giulia it seems an elegant dining-room. Furthermore we will tell about Walter’s Alfa Romeo Giulia … because apart from these two cars, he has got a modern and luxurious BMW … I would like to say that walter can afford luxurious cars, but he prefers the Fiat 128 Coupè, which he loves so much.
Walter remembers very well when he bought, in 1977, a white model of Fiat 128 Sport. In four years he drove for 200 000 khilometers and risk to have the car collapsed. There is a particular which is not written in the magazine: during a past night, Walter fell in love with a Fiat 128 Coupè, which was exhibited in a car shop in Trento … Walter was really impressed by the car and remains so during the years. Walter had many cars, but he has never forgotten the Fiat 128 Coupè.
In 2001 Walter reached a good economical status and began to look for other Fiat 128 Coupè models; his son Christian helped him. After some months Walter found an orange/red Fiat 1100 (showed in the picture) (cod 171) which was owned by Renato Bettini, representative of the national register of model Fiat 128 Coupè Sport in the region Trentino/Alto Adige. Renato had two Fiat 128 models, then he decided to sell one of them. Walter bought one model for 3 millions of the old Italian Lira. From this sold a new friendship was born. The car was perfectly conserved but Walter had the car dismantled and coloured its bodywork. It costed almost 5 millions Lira.
During the process Walter was really concentrated to look for components of the years 70s for his cars: he had settled a Grunding radio with central controls, a single box and a satellite chromatic dish on the roof. Walter continued to look forFiat 128’s components … in few time he managed to have sufficient components to build two other Fiat 128 Coupè models: it fails only a door, if I’m not mistaeken. Walter spent about 21 millions Lira for components. All these components make people think Walter used a lot his car, but it’s not so. From 2001 the Fiat 128 Coupè model counts only 1000 khilometers. Walter loves car meeting, also because he is really obsessed! He is so jelous of his car and he is really obsessed to not damage it … he like to spend time admiring his car or to drive it for a really short time.
An article of the magazine RUOTE CLASSICHE was dedicated to Walter’s car, which will be exhibited in San Felice meeting (Bolzano province) on Saturday 28th July 2012.
Walter, who was not already satisfied, began a mania for little models. He has in his house a collection of more than 50 little car models, which are not made in China but historical ones, of Fiat 128 Coupè Sport and Fiat 128 Rally in all original colours with their original boxes.
Walter doesn’t want to stop his obsession. He wants to gain a white Fiat 128 Coupè model, immatriculated in Trento, which lies in garage in this same town … he wants it absolutely! Walter, before Fiat 128 drove the Fiat 1100 R.
I am really happy to have reported this story!
TRENTO 07.07.2012
Ao fundo, as instalações do Joint Command Lisbon da NATO, em Oeiras - do lado de lá da Marginal (site oficial).
No lado direito da foto, a bandeira nacional no Forte de S. Julião da Barra, na margem do rio Tejo (mais informações na Revista da Armada).
Mais algumas informações (in Guia da Cidade):
"Considerado como a maior construção de defesa marítima existente em Portugal, o Forte de S. Julião da Barra começou a ser construído no século XVI, no reinado de D. João III. Arquitectos militares de prestígio nesse tempo, como Miguel Arruda ou Leonardo Turriano, colaboraram na obra.
O Forte foi ampliado ao longo dos séculos, já que a sua posição estratégica era considerada de grande importância para a defesa da entrada no Tejo.
A História do Forte não regista grandes feitos no campo militar, apesar deste ter sido bastante armado e de ter recebido efectivos militares significativos. O esforço, no entanto, não serviu de muito... A única vez em que o Forte foi atacado, foi por terra, o seu lado mais vulnerável, pelo que não conseguiu resistir muito tempo à invasão.
A fortificação foi tomada em 1807 pelas forças francesas comandadas por Junot, tendo sido reconquistada pelas forças inglesas, nossas aliadas, em Setembro de 1808. Um ano mais tarde, o Forte de S. Julião da Barra foi devolvido à administração portuguesa.
O Forte foi também utilizado como prisão política. Ainda hoje as condições em que os prisioneiros viviam podem ser constatadas pela desumanidade das suas celas.
Como edificação militar, é das mais imponentes obras que podemos visitar. No entanto, só é possível ter uma verdadeira noção da sua grandeza, percorrendo-se as suas muralhas e mergulhando no intrincado de salas e masmorras, parando também para apreciar a beleza da antiga cisterna, hoje utilizada como salão para recepções.
O Forte de S. Julião da Barra é actualmente propriedade do Ministério da Defesa. "
In the background, NATO's Joint Command Lisbon, in Oeiras (official website).
On the right-hand side, you can see the Portuguese flag on the S. Julião da Barra Fort, by the river Tagus.
Some more info (in Get Portugal):
"São Julião da Barra Fort is considered to be the biggest existing construction of maritime defense in Portugal. The Fort began to be built in the 16th century with prestigious military architects of that time working on the project, such as Miguel de Arruda and Leonardo Turriano.
The Fort was extended for two centuries since its strategic position was considered of high importance for the defense of the Tagus River entrance.
The History of the Fort does not register big deeds in the military field, despite of its good army conditions. In fact, the only time the Fort was attacked was by land, which was its more vulnerable side, and so the Fort did not resist long to the invasion.
In 1807 the Fort was taken by the French forces commanded by Junot, having been regained by the allied English forces in September 1808. A year later, the S. Julião da Barra Fort was returned to the Portuguese administration.
The Fortress was also utilized as a political prison. Even nowadays the awful conditions that the prisoners had at that time can be observed in the inhumanity of its cells.
As a military building, it is one of the most imposing works that can be visited, although only a part of it is open to the public, as the Fort is nowadays property of the Portuguese Defense Department. "
Cascada de la Font del Gat.
Els Jardins de Laribal
És una de les perles del Parc de Montjuïc i passejar-s'hi és una autèntica delícia. La vegetació riquíssima, juntament amb l'aigua que baixa per cascades i llisca delicadament pel mig d'amples baranes, els bancs de rajola i les placetes, creen un conjunt de bellesa excepcional. Aquest és un lloc per estar-s'hi, per contemplar-lo i per anar descobrint els mil detalls que el configuren, amb una harmonia difícil de superar.
Els Jardins de Laribal, de gran valor històric, estan configurats per terrasses, camins, placetes, bassinyols i una vegetació esponerosa i consolidada. Una sèrie de terrasses superposades estan unides entre elles per camins i dreceres de fort pendent, amb trams d'escales intercalats amb un disseny sempre diferent. Pèrgoles de maó vist, pedra i pilars blancs, ombregen les àrees més planeres. La vegetació, és majoritàriament exòtica, rica i variada en espècies.
Jardins mediterranis
Aquests jardins, inclosos dins del recinte de l'Exposició Internacional de Barcelona de 1929, van obtenir una gran anomenada. Els seus autors, Jean Claude Nicolas Forestier i Nicolau M. Rubió Tudurí, van crear un nou estil paisatgístic d'arrel mediterrània.
La vegetació preexistent -des de plantes autòctones fins als arbres fruiters del passat agrícola de la muntanya-, es va integrar en els jardins amb un concepte de jardineria renovador i original, que segueix lliurement la inspiració dels antics jardins àrabs i dels "cármenes" de Granada, amb una gran presència de rajoles ceràmiques, aigües ornamentals i el conreu de plantes de flor en testos situats en baranes i ampits.
Les escales del Generalife
L'aigua és l'essència del jardí, amb estanys i estanyols. Per connectar la part superior del parc amb els Jardins Amargós -actualment Jardins del Teatre Grec-, Forestier va fer una escala inspirada en la dels jardins del Generalife, amb cascades als passamans, estanyols amb brolladors als replans i bancs d'obra per reposar i gaudir de la fresca i el so de l'aigua.
Els jardins de la font del Gat
Unes pèrgoles mirador porten d'uns jardins als altres, units per eixos de rampes, escales i cascades que desemboquen a la font del Gat, des de la qual es poden contemplar unes magnífiques vistes de Barcelona.
Ocupen el pendent que va des de la part més alta dels Jardins Laribal fins al passeig de Santa Madrona, i integren la popular font del Gat i un edifici del segle dinou. Es tracta d'un conjunt de camins, terrasses i racons que s'adapten al relleu del terreny amb escales, rampes i una cascada monumental amb quatre seccions separades per camins i canals, que van connectant els diferents trams.
Tot està cobert d'una espessa fronda mediterrània i d'arbres fruiters, com ara nesprers i figueres, i palmeres d'enormes capçades. Si ens ho mirem des de baix, a tocar del pg. de Santa Madrona, uns xiprers altíssims situats a l'inici de la cascada accentuen la verticalitat del conjunt.
El roserar de la Colla de l'Arròs
Una glorieta de xiprers, amb una petita font al centre, marca l'inici d'un recorregut que, sota una pèrgola amb pilars de terracota, porta a un pati ovalat i reclòs, també envoltat de xiprers: és el roserar de la Colla de l'Arròs.
El jardí es configura en diversos plans, amb aire de pati, que estan vorejats per vorades, també de xiprer, i rengleres de troanes. En diversos parterres rectangulars hi ha plantades varietats antigues de rosers. Al centre destaca un bassinyol quadrangular amb rajols esmaltats, presidit a la part de dalt per Estival, un nu femení de marbre que contempla el roserar i, més enllà, Barcelona.
La plaça del Claustre
És a tocar del passeig de Santa Madrona i, de fet, es tracta del Jardí de Sant Miquel, on destaquen tres grans plàtans ja existents abans que Forestier dissenyés els jardins. Al fons, els murs del que fou una antiga pedrera confereixen a aquesta part dels jardins Laribal un aire reclòs i claustral. D'aquí el seu nom. A la dreta, un passadís comunica amb els Jardins del Teatre Grec.
Vegetació
La vegetació madura i mediterrània dóna sentit als jardins. Així, hi ha, entre d'altres espècies, pins blancs (Pinus halepensis), pins pinyers (Pinus pinea), llorers (Laurus nobilis), tarongers amargs (Citrus aurantium) i xiprers (Cupressus sempervirens).
Les escales del Generalife estan envoltades per grans acàcies (Robinia pseudoacacia) i arbustos com la troana (Ligustrum lucidum) i el pitòspor (Pittosporum tobira), una espècie arbustiva molt abundant als jardins, juntament amb el baladre (Nerium oleander) i l'evònim del Japó (Evonymus japonicus).
En testos de terracota, llueixen les elegants fulles de saló (Aspidistra elatior) i els geranis (Pelargonium sp.), i cobrint les pèrgoles, anglesines (Wisteria sinensis) i Rosa banksiae. En diferents llocs dels jardins hi ha plantes aromàtiques, com l'espígol (Lavandula angustifolia) i el romaní (Rosmarinus officinalis), i espècies entapissants com l'heura (Hedera helix)
Els Jardins de Laribal també hi ha pins australians (Casuarina cunninghamiana), eucaliptus (Eucalyptus globulus), xiprers de Lambert (Cupressus macrocarpa), cedres de l'Himàlaia (Cedrus deodara) i, a la plaça del Claustre, tres grans exemplars de plàtan (Platanus X hispanica).
Art i arquitectura
L'escultura és notable en aquests jardins, tant per la seva qualitat com per la seva bellesa. Presidint el roserar hi ha Estival, de Jaume Otero (1929), una figura femenina asseguda d'estil art déco feta de marbre.
La Noia de la trena, de Josep Viladomat (1928), és un altre nu femení, en aquest cas de bronze, i representa una noia jove recollint-se els cabells en una trena. És en una placeta ombrívola, molt a prop de les escales que comuniquen amb altres nivells dels jardins.
La tercera escultura també és d'una dona i de Josep Viladomat, que la va fer partint d'un original de Manolo Hugué. Es tracta de Repòs (1925), un nu femení de pedra de mida natural situat en una placeta circular molt a prop de l'entrada que hi ha al costat de la Fundació Joan Miró.
A prop del roserar hi ha una font de ceràmica esmaltada amb motius marins, coronada amb un brollador, obra del ceramista Llorenç Artigas.
La font del Gat
L'aigua que raja de la font del Gat ho fa des del cap d'un felí, esculpit per Joan Antoni Homs el 1918, que és quan van quedar enllestits els Jardins Laribal. Aquesta font era una de les moltes que aleshores rajava a Barcelona, i el lloc on està situada, molt popular a la ciutat a finals del segle XIX.
Tan popular era la font, que el periodista i autor teatral Joan Amich va escriure una cançó: "La Marieta de l'ull viu", que avui encara es canta i que inclou l'estrofa: "Baixant de la font del Gat, / una noia, una noia, / baixant de la font del Gat / una noia amb un soldat...".
Història
Al començament del segle passat, la zona que avui ocupen els jardins Laribal era lloc de trobades populars, sobretot a la font del Gat, o de reunions selectes, com ara les que feia la Colla de l'Arròs, un grup entre gastronòmic i polític que va tenir una certa influència a la Barcelona de la darreria del segle XIX i principi del XX, i que es reunia en un petit edifici situat on ara hi ha el Museu Etnològic.
La part alta dels actuals jardins pertanyia a la finca de Josep Laribal, un prestigiós advocat el nom del qual s'ha perpetuat als jardins. S'hi va fer construir un xalet neoàrab, envoltat d'uns jardins eclèctics, amb grans arbres.
Mort Laribal, el 1908 la finca va ser adquirida per l'Ajuntament, que hi va fundar l'Escola del Bosc, encara existent. Simultàniament, es van iniciar els estudis per urbanitzar i enjardinar la muntanya, amb un projecte global que va ser encarregat inicialment a Josep Amargós.
L'Exposició de 1929
Els Jardins de Laribal, enllestits el 1922, estan vinculats a un esdeveniment posterior: l'Exposició Internacional de Barcelona de 1929. Aquest esdeveniment va representar la culminació d'un projecte iniciat l'any 1905 per organitzar a Montjuïc una exposició sobre les indústries elèctriques, l'energia emergent d'aquell temps.
Un dels comissaris de l'Exposició Internacional de Barcelona va ser Francesc Cambó, que va encarregar els treballs d'enjardinament a l'enginyer i paisatgista francès Jean Claude Nicolas Forestier. Va ser ajudant seu el jove arquitecte Nicolau M. Rubió i Tudurí, que el 1917 es convertiria en el director de la Direcció de Parcs Públics i Arbrat, antecedent del Servei de Parcs i Jardins de Barcelona, del qual va ser primer responsable i una de les persones determinants en el futur desenvolupament dels espais verds públics de la ciutat.
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These gardens are one of the treasures of the Park of Montjuïc and taking a stroll around them is a real pleasure. The rich plant life, together with the water that flows delicately through the wide handrails; the tiled benches and the small squares all create exceptionally beautiful gardens. It is a place to be, to gaze at and to discover the thousands of details that shape a harmony that is difficult to surpass.
The historically-important Laribal Gardens are sculpted by terraces, pathways, small squares, ponds and lush, established plant life. A series of terraces are linked by paths and steeply sloped shortcuts, with stretches of differently designed stairways interspersed. The flattest areas are afforded shade by exposed brick, stone and white pillar pergolas. The mostly exotic plant life has a rich and varied range of species.
Mediterranean Gardens
These gardens, which were included in the International Exposition of Barcelona (a World's Fair) in 1929, were greatly reputed. The garden's designers, Jean Claude Nicolas Forestier and Nicolau M. Rubió Tudurí, created a new style of Mediterranean landscaping.
The pre-existing plant life, from native plants to fruit trees from the mountain's agricultural past, was integrated into the gardens with an original and innovative gardening concept that is openly inspired by the ancient Arabian gardens and from the "Carmenes" in Granada with prominent ceramic tiles, ornamental water features and flowering plants in pots on railings and parapets.
The Stairway of the Generalife Gardens
Water is the essence of this garden, with its large and small ponds. In order to connect the upper area of the park with the Amargós Gardens, now the Teatre Grec Gardens, Forestier designed a stairway inspired by the one in the Generalife Gardens, with waterfalls on the banisters, small ponds with fountains on the landings and benches for relaxing and enjoying the freshness and sound of the water.
The Gardens of the Font del Gat
Viewpoint pergolas link the gardens with ramps, stairs and waterfalls that flow into the Font del Gat ("Fountain of the Cat"), a point at which magnificent views of Barcelona can be enjoyed.
The gardens lie on the slope from the highest point of the Laribal Gardens down to the Passeig de Santa Madrona and include the popular Font del Gat and a nineteenth-century building. There are paths, terraces and corners that adapt to the terrain with stairways, ramps and a monumental waterfall with four sections separated by paths and canals that connect the different areas.
Everything is covered in a thick, Mediterranean foliage, fruit trees such as loquat and fig and enormous palm trees. From the Passeig de Santa Madrona below, some very tall cypresses by the waterfall accentuate its height.
The Rose Gardens of the Colla de l'Arròs
A circle of cypress trees with a small fountain in the centre marks the beginning of a path that, beneath a pergola with terracotta pillars, leads to an oval patio surrounded by cypresses. These are the Rose Gardens of the Colla de l'Arròs.
These gardens are arranged on different levels with the feeling of being on a patio, bordered by rows of cypresses and privets. In various rectangular parterres, many diverse old varieties of roses have been planted. At the centre is a square pool with ceramic tiles, dominated by the marble female nude sculpture "Estival", who looks over the rose garden and beyond to Barcelona.
Plaça del Claustre
From the Sant Miquel Garden, next to the Passeig de Santa Madrona, there are three large London Plane trees that existed before Forestier designed the gardens. At the end, the walls of what was once an old quarry gives this part of the Laribal Gardens a confined and cloister-like air. This is where it gets its name. On the right there is a path that connects the gardens with the Teatre Grec Gardens.
Plant Life
The mature and Mediterranean plant life gives the gardens meaning. Among other species there are Aleppo Pines (Pinus halepensis), Umbrella Pines (Pinus pinea), Bay Laurels (Laurus nobilis), Bitter Orange trees (Citrus aurantium) and Mediterranean Cypresses (Cupressus sempervirens).
The Generalife stairs are surrounded by large Black Locust trees (Robinia pseudoacacia) and shrubs such as the Chinese Privet (Ligustrum lucidum) and the Pittosporum (Pittosporum tobira), a species in abundance in the gardens along with the Oleander (Nerium oleander) and the Japanese Spindle tree (Euonymus japonicus).
The elegant leaves of an Aspidistra elatior shine in terracotta pots and Garden Geraniums (Pelargonium sp.), Chinese Wisterias (Wisteria sinensis) and Lady Banks' Roses (Rosa banksiae) cover the pergolas. In different areas around the gardens aromatic plants like Lavender (Lavandula angustifolia), Rosemary (Rosmarinus offcinalis) and climbing plants such as Ivy (Hedera helix) can be found.
In the Laribal Gardens there are also River Oaks (Casuarina cunninghamiana), Tasmanian Blue Gums (Eucalyptus globules), Monterey Cypresses (Cupressus macrocarpa) Deodar Cedar (Cedrus deodara) and in Plaça del Claustre, three large London Planes (Platanus X hispanica).
Art and Architecture
The sculptures are notable in these gardens, both for their quality and their beauty. There is an Art Deco style marble female nude, "Estival" (1929) by Jaume Otero, that dominates the rose garden.
The "Noia de la trena" (1928) by Joseph Viladomar is another female nude, in this case made of bronze, which represents a young girl plaiting her hair. It is in a small shaded square, close to the stairway that links to other areas of the gardens.
The third sculpture is again of a woman and by Joseph Viladomar and was based on the Manolo Hugué original. "Repòs" (1925) a life-sized female nude made of stone situated in a small square close to the entrance next to the Joan Miró Foundation.
Near the rose garden, there is a glazed ceramic fountain influenced by the sea, crowned by a jet, which was the work of Llorenç Artigas.
The Font del Gat
The water from the Font del Gat ("Fountain of the Cat") pours from a feline head, sculpted by Joan Antoni Homs in 1918, when the Laribal Gardens were being finished. This fountain is one of many that flowed in Barcelona at the time and is situated in a place in the city that was very popular at the end of the nineteenth century.
The fountain was so popular that the journalist and playwright Joan Amich wrote a song about it: "La Marieta de l'ull viu" that is still sung today and includes the verse: "Baixant de la font del Gat, / una noia, una noia, / baixant de la font del Gat / una noia amb un soldat..." ("Coming down from the cat Fountain / a girl, a girl / Coming down from the cat Fountain / a girl with a soldier...").
History
The area where the Laribal Gardens now lie was a popular meeting place at the beginning of the last century, in particular the Font del Gat, which was also an area for exclusive gatherings, such as those of Colla de l'Arròs, a gastronomic-political group who had a certain influence over Barcelona at the turn of the last century, would meet in a small building situated where the Museu Etnològic (Ethnological Museum) now stands.
The upper part of the current gardens once belonged to Joseph Laribal, an esteemed lawyer whose name the gardens bear. He built a neo-Arabian chalet, surrounded by eclectic gardens, with large trees.
After Laribal died in 1908, the house was acquired by the Town Council, which established the Escola del Bosc, which still exists to this day. Simultaneously, studies began for the development and gardening of the mountain, a comprehensive project that was initially the responsibility of Josep Amargós.
The 1929 World's Fair
Completed in 1922, the Laribal Gardens are linked to a later event: the International Exposition of Barcelona of 1929 (a World's Fair). This event represented the culmination of a project which began in 1905 to organise an exhibition on Montjuïc about the electrical industries, the emerging energy at the time.
One of the commissioners at the International Exhibition of Barcelona was Francesc Cambó, who was responsible for the gardening and engineering work and the work of the French landscape architect Jean Claude Nicolas Forestier. His assistant was the young architect Nicolau M. Rubió I Tudurí, who, in 1917, became the director of the Public and Wooded Parks Board, the predecessor of the Parks and Gardens Service of Barcelona, of which he was mainly responsible and one of the key people in the development of green spaces in the city.
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Es una de las perlas del Parque de Montjuïc y pasearse por ellos es un autentica delicia. La riquísima vegetación, junto con el agua que baja por cascadas y se escurre delicadamente en medio de amplias barandillas, los bancos de ladrillo y las placetas, crean un conjunto de una belleza excepcional. Es un lugar en el que estar, para contemplarlo e ir descubriendo los miles de detalles que lo configuran, con una armonía difícil de superar.
Los Jardines de Laribal, de gran valor histórico, están formados por terrazas, caminos, placetas, pequeños estanques y una vegetación lozana y consolidada. Una serie de terrazas sobrepuestas están unidas entre si por caminos y atajos de gran pendiente, con tramos de escaleras intercalados de diseño siempre diferente. Pérgolas de ladrillo visto, piedra y pilares blancos dan sombra a las zonas más llanas. La vegetación, exótica en su mayoría, es rica y variada en especies.
Jardines mediterráneos
Estos jardines, incluidos en el recinto de la Exposición Internacional de Barcelona de 1929, obtuvieron una gran reputación. Sus autores, Jean Claude Nicolas Forestier y Nicolau M. Rubió Tudurí, crearon un nuevo estilo paisajístico de raíz mediterránea.
La vegetación preexistente, desde plantas autóctonas hasta árboles frutales del pasado agrícola de la montaña, se integró en los jardines con un concepto de jardinería renovador y original, que sigue libremente la inspiración de los antiguos jardines árabes y de los "cármenes" de Granada, con una gran presencia de azulejos de cerámica, aguas ornamentales y el cultivo de plantas de flor en macetas colocadas en barandillas y alféizares.
Las escaleras del Generalife
El agua es la esencia del jardín, con pequeños y grandes estanques. Para conectar la parte superior del parque con los Jardines Amargós, actualmente Jardines del Teatre Grec, Forestier diseñó una escalera inspirada en la de los jardines del Generalife, con cascadas en los pasamanos, estanques con fuentes en los rellanos y bancos de piedra para reponerse y disfrutar del frescor y el sonido del agua.
Los jardines de la Font del Gat
Unas pérgolas mirador llevan de unos jardines a otros, unidos por ejes de rampas, escaleras y cascadas que desembocan en la Font del Gat desde donde se pueden contemplar unas magníficas vistas de Barcelona.
Ocupan la pendiente que va desde la parte más alta de los jardines Laribal hasta el paseo de Santa Madrona e integran la popular Font del Gat y un edificio decimonónico. Se trata de un conjunto de caminos, terrazas y rincones que se adaptan al relieve con escaleras, rampas y una cascada monumental con cuatro secciones separadas por caminos y canales, que van conectando los diferentes tramos.
Todo está cubierto por un espeso follaje mediterráneo y árboles frutales, como nísperos e higueras y palmeras de enormes copas. Si lo miramos desde abajo, junto al paseo de Santa Madrona, vemos que los altísimos cipreses situados al inicio de la cascada acentúan la verticalidad del conjunto.
La rosaleda de la Colla de l'Arròs
Una glorieta de cipreses, con una pequeña fuente en el centro, marca el inicio de un recorrido que, debajo de una pérgola con pilares de terracota, conduce a un patio ovalado y recluido también rodeado de cipreses: la rosaleda de la Colla de l'Arròs
El jardín se configura en diferentes planos, con aire de patio, que están rodeados de cipreses e hileras de aligustres. En diferentes parterres rectangulares se han plantado antiguas variedades de rosales. En el centro destaca un pequeño estanque cuadrangular con azulejos esmaltados, presidido en la parte superior por Estival, una escultura de un desnudo femenino en mármol que contempla la rosaleda y, más allá, Barcelona.
La plaza del Claustre
De hecho se trata del jardín de Sant Miquel, junto al paseo de Santa Madrona, en el que destacan tres grandes plataneros que ya existían antes de que Forestier diseñara los jardines. Al fondo, los muros de lo que antes había sido una antigua cantera confieren a esta parte de los jardines Laribal un aire recluido y claustral. Y de aquí viene su nombre. A la derecha encontramos un corredor que comunica con los jardines del Teatre Grec.
Vegetación
La vegetación madura y mediterránea da sentido a los jardines. Así, entre otras especies, hay pinos carrascos (Pinus halepensis), pinos piñoneros (Pinus pinea), laureles (Laurus nobilis), naranjos amargos (Citrus aurantium) y cipreses (Cupressus sempervirens).
Las escaleras del Generalife están rodeadas de grandes acacias (Robinia pseudoacacia) y arbustos como el aligustre (Ligustrum lucidum) y el pitosporo (Pittosporum tobira), una especie de arbusto muy abundante en los jardines, junto con la adelfa (Nerium oleander) y el evónimo del Japón (Evonymus japonicus).
En macetas de terracota lucen las elegantes hojas de salón (Aspidistra elatior) y los geranios (Pelargonium sp.), al tiempo que las glicinias (Wisteria sinensis) y los rosales de Banksia (Rosa banksiae) cubren las pérgolas. En diferentes lugares de los jardines encontramos plantas aromáticas, como la lavanda (Lavandula angustifolia), el romero (Rosmarinus officinalis) y otras especies tapizantes como la hiedra (Hedera helix).
En los jardines de Laribal también encontramos pinos australianos (Casuarina cunninghamiana), eucaliptos (Eucalyptus globulus), cipreses de Lambert (Cupressus macrocarpa), cedros del Himalaya (Cedrus deodara) y, en la plaza del Claustre, tres grandes ejemplares de platanero (Platanus X hispanica).
Arte y arquitectura
En estos jardines la escultura es notable, tanto por su calidad como por su belleza. Presidiendo la rosaleda tenemos el Estival, de Jaume Otero (1929), una figura femenina sentada, de estilo art decó y realizada en mármol.
La Noia de la trena, de Josep Viladomat (1928), es otro desnudo femenino, en este caso de bronce, que representa una joven que se recoge el pelo en una trenza. Se encuentra en una placeta sombría muy cerca de las escaleras que comunican con los otros niveles de los jardines.
La tercera escultura también es de una mujer y de Josep Viladomat, que la realizó en base a un original de Manolo Hugué. Se trata de Repòs (1925), un desnudo femenino de piedra, a tamaño natural, situado en una placeta circular muy cerca de la entrada que hay al lado de la Fundació Joan Miró.
Cerca de la rosaleda se encuentra una fuente de cerámica esmaltada con motivos marinos, coronada con un surtidor, obra del ceramista Llorenç Artigas.
La Font del Gat
El agua de la Font del Gat mana desde la cabeza de un felino, esculpido por Joan Antoni Homs en 1918, año en el que se terminaron los jardines Laribal. Esta fuente era una de las muchas que manaban en aquellos momentos en Barcelona y, el lugar en el que se encuentra era muy popular en la ciudad a finales del siglo XIX.
La fuente era tan popular que el periodista y autor teatral Joan Amich escribió una canción: "La Marieta de l'ull viu", que todavía hoy se canta e incluye la estrofa: "Baixant de la font del Gat, / una noia, una noia, / baixant de la font del Gat / una noia amb un soldat...".
Historia
A principios del siglo pasado, en la zona que hoy ocupan los jardines Laribal se celebraban encuentros populares, sobre todo en la Font del Gat, o reuniones selectas, como las que hacía la Colla de l'Arròs, un grupo medio gastronómico medio político que tuvo una cierta influencia en la Barcelona del final del siglo XIX y principio del XX y que se reunía en un pequeño edificio situado donde ahora se encuentra el Museo Etnológico.
La parte alta de los actuales jardines pertenecía a la finca de Josep Laribal, un prestigioso abogado cuyo nombre se ha perpetuado en los jardines. Allí se hizo construir un chalet neoárabe, rodeado de unos jardines eclécticos, con grandes árboles.
Tras la muerte de Laribal en 1908, la finca fue adquirida por el Ayuntamiento que fundó en ella la Escola del Bosc, que todavía existe. Simultáneamente, se iniciaron los estudios para urbanizar y enjardinar la montaña, con un proyecto global que inicialmente se encargó a Josep Amargós.
La Exposición de 1929
Los jardines de Laribal, terminados en el 1922, también están vinculados con un acontecimiento posterior: la Exposición Internacional de Barcelona de 1929. Este acontecimiento representó la culminación de un proyecto iniciado en 1905 para organizar en Montjuïc una exposición sobre las industrias eléctricas, la energía emergente de aquel momento.
Uno de los comisarios de la Exposición Internacional de Barcelona fue Francesc Cambó, que encargó los trabajos de ajardinamiento al ingeniero y paisajista francés Jean Claude Nicolas Forestier. Su ayudante fue el joven arquitecto Nicolau M. Rubió i Tudurí, que en 1917 se convertiría en el director de la Dirección de Parques Públicos y Arbolado, antecedente del Servicio de Parques y Jardines de Barcelona, del que fue el primer responsable y una de las personas determinantes en el futuro desarrollo de los espacios verdes públicos de la ciudad.
PALACE - PALACIO
[ENG] The Garden El Capricho is one of the most beautiful parks of Madrid. It was created on 1784 when the Dukes of Osuna acquire this estate for his playtime. The duchess dona Maria Josefa de la Soledad Alonso Pimentel was the principal promoter of this park, who worked in the artists and set designers gardeners most prestigious. To his death it entered in a period of decadence, it was acquired in auction by the family Baüer, and little by little his belongings were sold. During the Civil war it turned into Headquarters of the Army of the Center. In 1974 the Town hall of Madrid bought the park and after several years of abandon, was recovered in 1999, and successively restored.
More pictures on the "El Capricho" Garden album
[ESP] El jardín El Capricho es los parques más bellos de Madrid. Se creó sobre 1784 cuando los Duques de Osuna adquieren esta finca para su recreo. La duquesa doña María Josefa de la Soledad Alonso Pimentel fue la principal impulsora de este parque, en el que trabajaron los artistas, jardineros y escenógrafos de más prestigio. A su muerte entró en un período de decadencia, fue adquirido en subasta por la familia Baüer, y poco a poco fueron vendiéndose sus pertenencias. Durante la Guerra Civil se convirtió en Cuartel General del Ejército del Centro. En 1974 el Ayuntamiento de Madrid compró el parque y tras varios años de abandono, fue recuperado en 1999, y sucesivamente restaurado.
Más fotografías en el álbum Jardín "El Capricho", Madrid
149971
The origins of Cuenca back to the Upper Paleolithic. In the Moslem conquest there is constructed Qunka's strength, which gave origin to the current city. The Christian king Alfonso VIII conquered it in 1177 and it granted the Jurisdiction of Cuenca to him, one of the most prestigious in the Castile history. Its economy focused on the textile industry, of great prestige during the XVth and XVIth century, what produced a great constructive activity. In 1996 the old town was declared a Heritage of Humanity.
Los orígenes de Cuenca se remontan al Paleolítico Superior. En la Conquista musulmana se construye la fortaleza de Qūnka, que dio origen a la ciudad actual. El rey cristiano Alfonso VIII la conquistó en 1177 y le otorgó el Fuero de Cuenca, uno de los más prestigiosos de la historia de Castilla. Su economía se centró en la industria textil, de gran prestigio durante los siglos XV y XVI, lo que produjo una gran actividad constructiva. En 1996 su casco antiguo fuese declarado Patrimonio de la Humanidad.
090187
The heart of the Piazza del Duomo is, obviously, the Duomo, the medieval cathedral, entitled to Santa Maria Assunta (St. Mary of the Assumption). This is a five-naved cathedral with a three-naved transept. The church is known also as the Primatial, the archbishop of Pisa being a Primate since 1092.Construction was begun in 1064 by the architect Busketo, and set the model for the distinctive Pisan Romanesque style of architecture. The mosaics of the interior, as well as the pointed arches, show a strong Byzantine influence.The façade, of grey marble and white stone set with discs of coloured marble, was built by a master named Rainaldo, as indicated by an inscription above the middle door: Rainaldus prudens operator.The massive bronze main doors were made in the workshops of Giambologna, replacing the original doors destroyed in a fire in 1595. The central door was in bronze and made around 1180 by Bonanno Pisano, while the other two were probably in wood. However worshippers never used the façade doors to enter, instead entering by way of the Porta di San Ranieri (St. Ranieri's Door), in front of the Leaning Tower, made in around 1180 by Bonanno Pisano.Above the doors there are four rows of open galleries with, on top, statues of Madonna with Child and, on the corners, the Four evangelists.Also in the façade we can find the tomb of Busketo (on the left side) and an inscription about the foundation of the Cathedral and the victorious battle against Saracens.The interior is faced with black and white marble and has a gilded ceiling and a frescoed dome. It was largely redecorated after a fire in 1595, which destroyed most of the medieval art works.Fortunately, the impressive mosaic, in the apse, of Christ in Majesty, flanked by the Blessed Virgin and St. John the Evangelist, survived the fire. It evokes the mosaics in the church of Monreale, Sicily. Although it is said that the mosaic was done by Cimabue, only the head of St. John was done by the artist in 1302 and was his last work, since he died in Pisa in the same year. The cupola, at the intersection of the nave and the transept, was decorated by Riminaldi showing the ascension of the Blessed Virgin.Galileo is believed to have formulated his theory about the movement of a pendulum by watching the swinging of the incense lamp (not the present one) hanging from the ceiling of the nave. That lamp, smaller and simpler than the present one, it is now kept in the Camposanto, in the Aulla chapel.The impressive granite Corinthian columns between the nave and the aisle came originally from the mosque of Palermo, captured by the Pisans in 1063.
The coffer ceiling of the nave was replaced after the fire of 1595. The present gold-decorated ceiling carries the coat of arms of the Medici.The elaborately carved pulpit (1302-1310), which also survived the fire, was made by Giovanni Pisano and is one the masterworks of medieval sculpture. It was packed away during the redecoration and was not rediscovered and re-erected until 1926. The pulpit is supported by plain columns (two of which mounted on lions sculptures) on one side and by caryatids and a telamon on the other: the latter represent St. Michael, the Evangelists, the four cardinal virtues flanking the Church, and a bold, naturalistic depiction of a naked Hercules. A central plinth with the liberal arts supports the four theological virtues. The present day reconstruction of the pulpit is not the correct one. Now it lies not in the same original position, that was nearer the main altar, and the disposition of the columns and the panels are not the original ones. Also the original stairs (maybe in marble) were lost.The upper part has nine panels dramatic showing scenes from the New Testament, carved in white marble with a chiaroscuro effect and separated by figures of prophets: Annunciation, Massacre of the Innocents, Nativity, Adoration of the Magi, Flight into Egypt, Crucifixion, and two panels of the Last Judgement.The church also contains the bones of St Ranieri, Pisa's patron saint, and the tomb of the Holy Roman Emperor Henry VII, carved by Tino da Camaino in 1315. That tomb, originally in the apse just behind the main altar, was disassembled and changed position many times during the years for political reasons. At last the sarcophagus is still in the Cathedral, but some of the statues were put in the Camposanto or in the top of the façade of the church. The original statues now are in the Museum of the Opera del Duomo.
Pope Gregory VIII was also buried in the cathedral. The fire in 1595 destroyed his tomb.The Cathedral has a prominent role in determining the beginning of the Pisan New Year. Between the tenth century and 1749, when the Tuscan calendar was reformed, Pisa used its own calendar, in which the first day of the year on March 25, which is the day of the Annunciation of the Virgin Mary. The Pisan New Year begins 9 months before the ordinary one. The exact moment is determined by a ray of sun that, through a window on the left side, hit a shelf egg-shaped on the right side, just above the pulpit by Giovanni Pisano. This occurs at noon.In the Cathedral also can be found some relics brought during the Crusades: the remains of three Saints (Abibo, Gamaliel and Nicodemus) and a vase that it is said to be one of the jars of Cana.The building, as have several in Pisa, has tilted slightly since its construction.
Il Duomo di Santa Maria Assunta, al centro della omonima piazza, è la cattedrale medievale di Pisa. Capolavoro assoluto del romanico, in particolare del romanico pisano, rappresenta la testimonianza tangibile del prestigio e della ricchezza raggiunti dalla Repubblica marinara di Pisa nel momento del suo apogeo.La Cattedrale fu consacrata nel 1118 dal Papa Gelasio II, appartenente al ramo pisano dei Gaetani (o Caetani), conti di Terriccio e d'Oriseo, ma già nella prima metà del XII secolo fu ampliato sotto la direzione dell'architetto Rainaldo cui spetta il progetto dell'attuale facciata, conclusa dalle maestranze guidate dagli scultori Guglielmo e Biduino.L'aspetto attuale del complesso edificio è il risultato di ripetute campagne di restauro succedutesi in diverse epoche. I primi radicali interventi seguirono il disastroso incendio del 1595, a seguito del quale fu rifatto il tetto e furono eseguite le tre porte bronzee della facciata, opera di scultori della bottega del Giambologna, tra cui Gasparo Mola; a partire dal Settecento iniziò il progressivo rivestimento delle pareti interne con grandi dipinti su tela, i "quadroni" con Storie di beati e santi pisani, eseguiti dai principali artisti dell'epoca grazie all'iniziativa di alcuni cittadini che si autofinanziarono creando un'apposita attività commerciale.Gli interventi successivi si ebbero nel corso dell'Ottocento ed interessarono sia le decorazioni interne sia quelle esterne, che in molti casi, specie per le sculture della facciata furono sostituite da copie (gli originali sono al Museo dell'Opera del Duomo).L'edificio che in origine era a croce greca con all'incrocio dei bracci una grossa cupola, oggi è a croce latina a cinque navate con abside e transetto a tre navate, all'interno suggerisce un effetto spaziale simile a quello delle grandi moschee islamiche, grazie all'uso di archi a sesto rialzato o a sesto acuto, all'alternanza di fasce in marmo bianco e nero e all'insolita cupola ellittica. La presenza dei due matronei rialzati nelle navate, con le solide colonne monolitiche di granito, è un chiaro segno di influenza bizantina.La ricchissima decorazione comprende marmi multicolori, mosaici e numerosi oggetti di bronzo . La facciata di marmo grigio e bianco, decorata con inserti di marmo colorato, fu edificata da mastro Rainaldo. I tre portali sottostanno a quattro ordini di loggette divise da cornici con tarsie marmoree, dietro i quali si aprono monofore, bifore e trifore. Le porte della facciata in bronzo massiccio furono realizzate da diversi artisti fiorentini nel XVII secolo. Contrariamente a quanto si potrebbe pensare, fin dai tempi antichi i fedeli entravano nel Duomo attraverso la Porta di San Ranieri, posta sul retro nell'omonimo transetto, di fronte al campanile. Questo perché i nobili della città si recavano alla cattedrale venendo da via Santa Maria che conduce proprio a quel transetto. Tale porta fu fusa intorno al 1180 da Bonanno Pisano, e unica porta scampata all'incendio del 1595 che semidistrusse la chiesa. La porta di San Ranieri è decorata con 24 formelle raffiguranti storie del Nuovo Testamento. Questa porta è una delle prime prodotte in Italia nel Medioevo, dopo l'importazione di numerosi esempi da Costantinopoli, (ad Amalfi, a Salerno, a Roma, a Montecassino, a Venezia...) e vi si ammira una sensibilità tutta occidentale, che si stacca dalla tradizione bizantina. Sopra le porte ci sono quattro file di gallerie aperte, con, in cima, la Madonna con Bambino e, negli angoli, i quattro evangelisti. La tomba di Buscheto si trova a sinistra della porta nord della facciata.
L'adozione di mensole a volute in luogo degli archetti per sostenere il piano rialzato
Lo straordinario senso di movimento, dato dalle numerosissime figure che riempiono ogni spazio vuoto.Per queste qualità unite alla sapiente arte narrativa delle nove scene è generalmente considerato il capolavoro di Giovanni e più in generale della scultura gotica italiana.La chiesa conserva inoltre le reliquie di San Ranieri, patrono di Pisa, e la frammentaria tomba di Arrigo VII di Lussemburgo, imperatore del Sacro Romano Impero, morto a Buonconvento mentre assediava invano Firenze. La tomba, anche questa smontata e ricomposta, fu scolpita da Tino da Camaino nel 1313-1315) ed è ora collocata nel transetto destro, mentre in origine era posta al centro dell'abside, come segno della fede ghibellina della città. Successivamente spostata più volte per questioni politiche, venne anche separata in più parti (alcune dentro la chiesa, alcune sulla facciata, alcune nel Camposanto monumentale, adesso nel Museo dell'Opera).I 27 dipinti che rivestono la tribuna dietro l'altare maggiore, raffiguranti Episodi del Vecchio Testamento e Storie cristologiche, furono eseguiti tra il XVI ed il XVII secolo dai maggiori pittori toscani, tra cui Andrea del Sarto (tre tele, Santa Agnese, le Sante Caterina e Margherita e i Santi Pietro e Giovanni Battista) il Sodoma e Domenico Beccafumi.
Numerosi e pregiati sono gli arredi seicenteschi, tra cui il Crocifisso bronzeo, sull'altare maggiore, e gli Angeli portancandelabro all'estremità della ricca transenna marmorea, del Giambologna, oltre al grande ciborio in argento ideato da Giovan Battista Foggini (1678-86) sull'altare della Cappella del Santissimo Sacramento. Sui numerosi altari laterali sono collocati dipinti cinque-seicenteschi di prestigiosi pittori. Particolarmente venerata è l'immagine della duecentesca Madonna con bambino, detta Madonna di sotto gli organi, attribuita al volterrano Berlinghiero Berlinghieri.L'edificio, come la torre campanaria, è sprofondato percettibilmente nel suolo, e alcuni dissesti nella costruzione sono ben visibili, come le differenze di livello tra la navata di Buscheto e il prolungamento ad opera di Rainaldo (le campate verso ovest e la facciata).
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The Piazza del Duomo ("Cathedral Square") is a wide, walled area at the heart of the city of Pisa, Tuscany, Italy, recognized as one of the main centers for medieval art in the world. Partly paved and partly grassed, it is dominated by four great religious edifices: the Duomo, the Leaning Tower (the cathedral's campanile), the Baptistry and the Camposanto.In 1987 the whole square was declared a UNESCO World Heritage Site.The heart of the Piazza del Duomo is, obviously, the Duomo, the medieval cathedral, entitled to Santa Maria Assunta (St. Mary of the Assumption). This is a five-naved cathedral with a three-naved transept. The church is known also as the Primatial, the archbishop of Pisa being a Primate since 1092.Construction was begun in 1064 by the architect Busketo, and set the model for the distinctive Pisan Romanesque style of architecture. The mosaics of the interior, as well as the pointed arches, show a strong Byzantine influence.The façade, of grey marble and white stone set with discs of coloured marble, was built by a master named Rainaldo, as indicated by an inscription above the middle door: Rainaldus prudens operator.The massive bronze main doors were made in the workshops of Giambologna, replacing the original doors destroyed in a fire in 1595. The central door was in bronze and made around 1180 by Bonanno Pisano, while the other two were probably in wood. However worshippers never used the façade doors to enter, instead entering by way of the Porta di San Ranieri (St. Ranieri's Door), in front of the Leaning Tower, made in around 1180 by Bonanno Pisano.Above the doors there are four rows of open galleries with, on top, statues of Madonna with Child and, on the corners, the Four evangelists.Also in the façade we can find the tomb of Busketo (on the left side) and an inscription about the foundation of the Cathedral and the victorious battle against Saracens.The interior is faced with black and white marble and has a gilded ceiling and a frescoed dome. It was largely redecorated after a fire in 1595, which destroyed most of the medieval art works.Fortunately, the impressive mosaic, in the apse, of Christ in Majesty, flanked by the Blessed Virgin and St. John the Evangelist, survived the fire. It evokes the mosaics in the church of Monreale, Sicily. Although it is said that the mosaic was done by Cimabue, only the head of St. John was done by the artist in 1302 and was his last work, since he died in Pisa in the same year. The cupola, at the intersection of the nave and the transept, was decorated by Riminaldi showing the ascension of the Blessed Virgin.The impressive granite Corinthian columns between the nave and the aisle came originally from the mosque of Palermo, captured by the Pisans in 1063.The coffer ceiling of the nave was replaced after the fire of 1595. The present gold-decorated ceiling carries the coat of arms of the Medici.The elaborately carved pulpit (1302-1310), which also survived the fire, was made by Giovanni Pisano and is one the masterworks of medieval sculpture. It was packed away during the redecoration and was not rediscovered and re-erected until 1926. The pulpit is supported by plain columns (two of which mounted on lions sculptures) on one side and by caryatids and a telamon on the other: the latter represent St. Michael, the Evangelists, the four cardinal virtues flanking the Church, and a bold, naturalistic depiction of a naked Hercules. A central plinth with the liberal arts supports the four theological virtues. The present day reconstruction of the pulpit is not the correct one. Now it lies not in the same original position, that was nearer the main altar, and the disposition of the columns and the panels are not the original ones. Also the original stairs (maybe in marble) were lost.The upper part has nine panels dramatic showing scenes from the New Testament, carved in white marble with a chiaroscuro effect and separated by figures of prophets: Annunciation, Massacre of the Innocents, Nativity, Adoration of the Magi, Flight into Egypt, Crucifixion, and two panels of the Last Judgement.The church also contains the bones of St Ranieri, Pisa's patron saint, and the tomb of the Holy Roman Emperor Henry VII, carved by Tino da Camaino in 1315. That tomb, originally in the apse just behind the main altar, was disassembled and changed position many times during the years for political reasons. At last the sarcophagus is still in the Cathedral, but some of the statues were put in the Camposanto or in the top of the façade of the church. The original statues now are in the Museum of the Opera del Duomo.The Cathedral has a prominent role in determining the beginning of the Pisan New Year. Between the tenth century and 1749, when the Tuscan calendar was reformed, Pisa used its own calendar, in which the first day of the year on March 25, which is the day of the Annunciation of the Virgin Mary. The Pisan New Year begins 9 months before the ordinary one. The exact moment is determined by a ray of sun that, through a window on the left side, hit a shelf egg-shaped on the right side, just above the pulpit by Giovanni Pisano. This occurs at noon.In the Cathedral also can be found some relics brought during the Crusades: the remains of three Saints (Abibo, Gamaliel and Nicodemus) and a vase that it is said to be one of the jars of Cana.The building, as have several in Pisa, has tilted slightly since its construction.
Il Duomo di Santa Maria Assunta è la cattedrale medievale di Pisa.Capolavoro assoluto del romanico, in particolare del romanico pisano, rappresenta la testimonianza tangibile del prestigio e della ricchezza raggiunti dalla Repubblica marinara di Pisa nel momento del suo massimo splendoreL'aspetto attuale del complesso edificio è il risultato di ripetute campagne di restauro succedutesi in diverse epoche. I primi radicali interventi seguirono il disastroso incendio del 1595, a seguito del quale fu rifatto il tetto e furono eseguite le tre porte bronzee della facciata,a partire dal Settecento iniziò il progressivo rivestimento delle pareti interne con grandi dipinti su tela.Gli interventi successivi si ebbero nel corso dell'Ottocento ed interessarono sia le decorazioni interne sia quelle esterne.La ricchissima decorazione comprende marmi multicolori, mosaici e numerosi oggetti di bronzo L'interno è rivestito di marmi bianchi e neri, con colonne monolitiche di marmo grigio e capitelli di ordine corinzio. Ha un soffitto a cassettoni dorati seicenteschi, in legno dorato.Le impressionanti colonne granitiche in stile corinzio fra la navata e l'abside provengono dalla moschea di Palermo, bottino della battaglia nella Cala dai Pisani nel 1063.La chiesa conserva inoltre le reliquie di San Ranieri, patrono di Pisa, e la frammentaria tomba di Arrigo VII di Lussemburgo, imperatore del Sacro Romano Impero, morto a Buonconvento mentre assediava invano Firenze.L'edificio, come la torre campanaria, è sprofondato percettibilmente nel suolo, e alcuni dissesti nella costruzione sono ben visibili, come le differenze di livello tra la navata di Buscheto e il prolungamento ad opera di Rainaldo (le campate verso ovest e la facciata).
Font : Wikipedia
FIAT 128 SL Coupè year 1973 " Quando nasce un'amicizia per la vendita di un auto "
WALTER e RENATO hanno tutti e due la stessa auto, stesso colore e con la targa Tn ... Renato è riuscito ad avere due auto uguali identiche con lo stesso colore .... RENATO cede una Fiat 128 Coupè a Walter e nasce una amicizia ... davvero una storia che ha del pazzesco ... per fortuna che il Marvin anche se non cerca ... il pazzesco lo insegue !
La passione per il FIAT 128 Coupè per WALTER STOCCHETTI impiegato postale a Trento è ETERNA. Lui oltre a questa simpatica e splendida sportiva Fiat 128 nel garage ha un 'Alfa Romeo Giulia in ottime condizioni con targa Trento , se sali nella sua Alfa Giulia sembra di essere in un salotto . Più avanti documenteremo anche l'Alfa Romeo Giulia di Walter ...poi ha una BMW moderna non di certo da quattro soldi ...il mio discorso era questo , sebbene Walter avrebbe potuto permettersi anche altre auto di prestigio Lui ha sempre avuto un vero autentico e fedele amore per questa Fiat 128 Coupè.
Walter si ricorda ancora bene ... anzi sembra ieri per lui quando aveva acquistato nel 1977 una Fiat 128 Sport di colore bianco , in quattro anni aveva fatto 200.000 Km l'aveva portata al colasso totale , era di c.c.1100 . Un particolare che non sta scritto sulla rivista che Walter si innamorò alle luci della sera vedendo a Trento in una concessionaria la Fiat 128 Coupè in esposizione ... amore a prima vista , platonico che si è conservato nel tempo. Walter cambia altre automobili ma non dimentica mai la 128 Coupè.
Nel 2001 raggiunta una certa tranquillità economica Walter si mette alla ricerca spietata del Fiat 128 Coupè aiutato anche dal figlio Christian . Dopo qualche mese di ricerche Walter trova nella sua città un "1100" (quello in foto) in livrea rosso/arancio (codice 171) di Bettini Renato referente per il Trentino/Alto Adige del registro Nazionale Fiat 128 Coupè Sport e avendone due uguali ha deciso di cederne una . Il costo dell'operazione per Walter fu tre milioni di lire che andranno nelle tasche di Renato ... da questo scambio poi è nata pure un'amicizia vera . L'auto si presentava in buone condizioni ma Walter immediatamente l'ha portata in carrozzeria dove viene smontata e riverniciata . Il costo finale del lavoro sarà 5 milioni di lire . Walter durante i lavori si mette di grande impegno per cercare accessori anni 70 per la sua auto e si fa montare una radio mangianastri Grunding con la console centrale ed un singolo altoparlante e antenna cromata sul tetto .
Walter non si accontenta di abbellire l'auto ma inizia una manicale ricerca di pezzi di ricambio ... in poco tempo riesce ad accantonare pezzi di ricambio tale che si potrebbe ricostruire altre due Fiat 128 Coupè , mi sembra che gli manchi solo una portiera per fare due 128 . Totale spesa per vari ricambi stiamo parlnado di quasi 21 milioni di lire . Tutti questi ricambi fanno pensare ad un utlizzo maggiore della vettura ed invece dal 2001 la Fiat 128 Coupè ha fatto solo 1000 km . Walter non ama i raduni o esposizioni varie forse proprio perchè è geloso maniacale della sua auto , insomma non sopporterebbe nemmeno un graffio ... a lui piace godersela in questo modo ammirandola nel suo garage o uscite brevi tipo la revisione ....Ecco che l'auto è finita su RUOTE CLASSICHE e sarà esposta al raduno di San Felice Bz " Oldtimer Festival " il 28 luglio di sabato .
WALTER non contento ancora ha iniziato una passione folle maniacale pazzesca di modellini , ha una vetrina a casa di oltre 50 modellini del tempo non stampi cinesi del Fiat 128 Coupè Sport e del Fiat 128 Rally in tutte le colorazioni originali con scatole autentiche . Walter non vuole fermarsi , tiene sotto occhio una Fiat 128 Coupè Sport bianco con targa Trento in un grarage della città ... lo vuole a tutti i costi per avere nel suo colore originale bianco la prima 128 Sport Coupè che ha avuto ...Walter prima del Fiat 128 ha fatto la gavetta con la Fiat 1100 R .
Sono davvero felice di avere testimoniato questa storia !
TRENTO 07.07.2012
FIAT 128 SL Coupè year 1973
WALTER STOCCHETTI, employee in a postal office in Trento is really obsessed by FIAT 128 Coupè. Apart from this wonderful Fiat 128, in the garage has a Alfa Romeo Giulia, well-conserved, immatriculated Trento. If you step into this Alfa Giulia it seems an elegant dining-room. Furthermore we will tell about Walter’s Alfa Romeo Giulia … because apart from these two cars, he has got a modern and luxurious BMW … I would like to say that walter can afford luxurious cars, but he prefers the Fiat 128 Coupè, which he loves so much.
Walter remembers very well when he bought, in 1977, a white model of Fiat 128 Sport. In four years he drove for 200 000 khilometers and risk to have the car collapsed. There is a particular which is not written in the magazine: during a past night, Walter fell in love with a Fiat 128 Coupè, which was exhibited in a car shop in Trento … Walter was really impressed by the car and remains so during the years. Walter had many cars, but he has never forgotten the Fiat 128 Coupè.
In 2001 Walter reached a good economical status and began to look for other Fiat 128 Coupè models; his son Christian helped him. After some months Walter found an orange/red Fiat 1100 (showed in the picture) (cod 171) which was owned by Renato Bettini, representative of the national register of model Fiat 128 Coupè Sport in the region Trentino/Alto Adige. Renato had two Fiat 128 models, then he decided to sell one of them. Walter bought one model for 3 millions of the old Italian Lira. From this sold a new friendship was born. The car was perfectly conserved but Walter had the car dismantled and coloured its bodywork. It costed almost 5 millions Lira.
During the process Walter was really concentrated to look for components of the years 70s for his cars: he had settled a Grunding radio with central controls, a single box and a satellite chromatic dish on the roof. Walter continued to look forFiat 128’s components … in few time he managed to have sufficient components to build two other Fiat 128 Coupè models: it fails only a door, if I’m not mistaeken. Walter spent about 21 millions Lira for components. All these components make people think Walter used a lot his car, but it’s not so. From 2001 the Fiat 128 Coupè model counts only 1000 khilometers. Walter loves car meeting, also because he is really obsessed! He is so jelous of his car and he is really obsessed to not damage it … he like to spend time admiring his car or to drive it for a really short time.
An article of the magazine RUOTE CLASSICHE was dedicated to Walter’s car, which will be exhibited in San Felice meeting (Bolzano province) on Saturday 28th July 2012.
Walter, who was not already satisfied, began a mania for little models. He has in his house a collection of more than 50 little car models, which are not made in China but historical ones, of Fiat 128 Coupè Sport and Fiat 128 Rally in all original colours with their original boxes.
Walter doesn’t want to stop his obsession. He wants to gain a white Fiat 128 Coupè model, immatriculated in Trento, which lies in garage in this same town … he wants it absolutely! Walter, before Fiat 128 drove the Fiat 1100 R.
I am really happy to have reported this story!
TRENTO 07.07.2012
Els Jardins de Laribal
És una de les perles del Parc de Montjuïc i passejar-s'hi és una autèntica delícia. La vegetació riquíssima, juntament amb l'aigua que baixa per cascades i llisca delicadament pel mig d'amples baranes, els bancs de rajola i les placetes, creen un conjunt de bellesa excepcional. Aquest és un lloc per estar-s'hi, per contemplar-lo i per anar descobrint els mil detalls que el configuren, amb una harmonia difícil de superar.
Els Jardins de Laribal, de gran valor històric, estan configurats per terrasses, camins, placetes, bassinyols i una vegetació esponerosa i consolidada. Una sèrie de terrasses superposades estan unides entre elles per camins i dreceres de fort pendent, amb trams d'escales intercalats amb un disseny sempre diferent. Pèrgoles de maó vist, pedra i pilars blancs, ombregen les àrees més planeres. La vegetació, és majoritàriament exòtica, rica i variada en espècies.
Jardins mediterranis
Aquests jardins, inclosos dins del recinte de l'Exposició Internacional de Barcelona de 1929, van obtenir una gran anomenada. Els seus autors, Jean Claude Nicolas Forestier i Nicolau M. Rubió Tudurí, van crear un nou estil paisatgístic d'arrel mediterrània.
La vegetació preexistent -des de plantes autòctones fins als arbres fruiters del passat agrícola de la muntanya-, es va integrar en els jardins amb un concepte de jardineria renovador i original, que segueix lliurement la inspiració dels antics jardins àrabs i dels "cármenes" de Granada, amb una gran presència de rajoles ceràmiques, aigües ornamentals i el conreu de plantes de flor en testos situats en baranes i ampits.
Les escales del Generalife
L'aigua és l'essència del jardí, amb estanys i estanyols. Per connectar la part superior del parc amb els Jardins Amargós -actualment Jardins del Teatre Grec-, Forestier va fer una escala inspirada en la dels jardins del Generalife, amb cascades als passamans, estanyols amb brolladors als replans i bancs d'obra per reposar i gaudir de la fresca i el so de l'aigua.
Els jardins de la font del Gat
Unes pèrgoles mirador porten d'uns jardins als altres, units per eixos de rampes, escales i cascades que desemboquen a la font del Gat, des de la qual es poden contemplar unes magnífiques vistes de Barcelona.
Ocupen el pendent que va des de la part més alta dels Jardins Laribal fins al passeig de Santa Madrona, i integren la popular font del Gat i un edifici del segle dinou. Es tracta d'un conjunt de camins, terrasses i racons que s'adapten al relleu del terreny amb escales, rampes i una cascada monumental amb quatre seccions separades per camins i canals, que van connectant els diferents trams.
Tot està cobert d'una espessa fronda mediterrània i d'arbres fruiters, com ara nesprers i figueres, i palmeres d'enormes capçades. Si ens ho mirem des de baix, a tocar del pg. de Santa Madrona, uns xiprers altíssims situats a l'inici de la cascada accentuen la verticalitat del conjunt.
El roserar de la Colla de l'Arròs
Una glorieta de xiprers, amb una petita font al centre, marca l'inici d'un recorregut que, sota una pèrgola amb pilars de terracota, porta a un pati ovalat i reclòs, també envoltat de xiprers: és el roserar de la Colla de l'Arròs.
El jardí es configura en diversos plans, amb aire de pati, que estan vorejats per vorades, també de xiprer, i rengleres de troanes. En diversos parterres rectangulars hi ha plantades varietats antigues de rosers. Al centre destaca un bassinyol quadrangular amb rajols esmaltats, presidit a la part de dalt per Estival, un nu femení de marbre que contempla el roserar i, més enllà, Barcelona.
La plaça del Claustre
És a tocar del passeig de Santa Madrona i, de fet, es tracta del Jardí de Sant Miquel, on destaquen tres grans plàtans ja existents abans que Forestier dissenyés els jardins. Al fons, els murs del que fou una antiga pedrera confereixen a aquesta part dels jardins Laribal un aire reclòs i claustral. D'aquí el seu nom. A la dreta, un passadís comunica amb els Jardins del Teatre Grec.
Vegetació
La vegetació madura i mediterrània dóna sentit als jardins. Així, hi ha, entre d'altres espècies, pins blancs (Pinus halepensis), pins pinyers (Pinus pinea), llorers (Laurus nobilis), tarongers amargs (Citrus aurantium) i xiprers (Cupressus sempervirens).
Les escales del Generalife estan envoltades per grans acàcies (Robinia pseudoacacia) i arbustos com la troana (Ligustrum lucidum) i el pitòspor (Pittosporum tobira), una espècie arbustiva molt abundant als jardins, juntament amb el baladre (Nerium oleander) i l'evònim del Japó (Evonymus japonicus).
En testos de terracota, llueixen les elegants fulles de saló (Aspidistra elatior) i els geranis (Pelargonium sp.), i cobrint les pèrgoles, anglesines (Wisteria sinensis) i Rosa banksiae. En diferents llocs dels jardins hi ha plantes aromàtiques, com l'espígol (Lavandula angustifolia) i el romaní (Rosmarinus officinalis), i espècies entapissants com l'heura (Hedera helix)
Els Jardins de Laribal també hi ha pins australians (Casuarina cunninghamiana), eucaliptus (Eucalyptus globulus), xiprers de Lambert (Cupressus macrocarpa), cedres de l'Himàlaia (Cedrus deodara) i, a la plaça del Claustre, tres grans exemplars de plàtan (Platanus X hispanica).
Art i arquitectura
L'escultura és notable en aquests jardins, tant per la seva qualitat com per la seva bellesa. Presidint el roserar hi ha Estival, de Jaume Otero (1929), una figura femenina asseguda d'estil art déco feta de marbre.
La Noia de la trena, de Josep Viladomat (1928), és un altre nu femení, en aquest cas de bronze, i representa una noia jove recollint-se els cabells en una trena. És en una placeta ombrívola, molt a prop de les escales que comuniquen amb altres nivells dels jardins.
La tercera escultura també és d'una dona i de Josep Viladomat, que la va fer partint d'un original de Manolo Hugué. Es tracta de Repòs (1925), un nu femení de pedra de mida natural situat en una placeta circular molt a prop de l'entrada que hi ha al costat de la Fundació Joan Miró.
A prop del roserar hi ha una font de ceràmica esmaltada amb motius marins, coronada amb un brollador, obra del ceramista Llorenç Artigas.
La font del Gat
L'aigua que raja de la font del Gat ho fa des del cap d'un felí, esculpit per Joan Antoni Homs el 1918, que és quan van quedar enllestits els Jardins Laribal. Aquesta font era una de les moltes que aleshores rajava a Barcelona, i el lloc on està situada, molt popular a la ciutat a finals del segle XIX.
Tan popular era la font, que el periodista i autor teatral Joan Amich va escriure una cançó: "La Marieta de l'ull viu", que avui encara es canta i que inclou l'estrofa: "Baixant de la font del Gat, / una noia, una noia, / baixant de la font del Gat / una noia amb un soldat...".
Història
Al començament del segle passat, la zona que avui ocupen els jardins Laribal era lloc de trobades populars, sobretot a la font del Gat, o de reunions selectes, com ara les que feia la Colla de l'Arròs, un grup entre gastronòmic i polític que va tenir una certa influència a la Barcelona de la darreria del segle XIX i principi del XX, i que es reunia en un petit edifici situat on ara hi ha el Museu Etnològic.
La part alta dels actuals jardins pertanyia a la finca de Josep Laribal, un prestigiós advocat el nom del qual s'ha perpetuat als jardins. S'hi va fer construir un xalet neoàrab, envoltat d'uns jardins eclèctics, amb grans arbres.
Mort Laribal, el 1908 la finca va ser adquirida per l'Ajuntament, que hi va fundar l'Escola del Bosc, encara existent. Simultàniament, es van iniciar els estudis per urbanitzar i enjardinar la muntanya, amb un projecte global que va ser encarregat inicialment a Josep Amargós.
L'Exposició de 1929
Els Jardins de Laribal, enllestits el 1922, estan vinculats a un esdeveniment posterior: l'Exposició Internacional de Barcelona de 1929. Aquest esdeveniment va representar la culminació d'un projecte iniciat l'any 1905 per organitzar a Montjuïc una exposició sobre les indústries elèctriques, l'energia emergent d'aquell temps.
Un dels comissaris de l'Exposició Internacional de Barcelona va ser Francesc Cambó, que va encarregar els treballs d'enjardinament a l'enginyer i paisatgista francès Jean Claude Nicolas Forestier. Va ser ajudant seu el jove arquitecte Nicolau M. Rubió i Tudurí, que el 1917 es convertiria en el director de la Direcció de Parcs Públics i Arbrat, antecedent del Servei de Parcs i Jardins de Barcelona, del qual va ser primer responsable i una de les persones determinants en el futur desenvolupament dels espais verds públics de la ciutat.
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These gardens are one of the treasures of the Park of Montjuïc and taking a stroll around them is a real pleasure. The rich plant life, together with the water that flows delicately through the wide handrails; the tiled benches and the small squares all create exceptionally beautiful gardens. It is a place to be, to gaze at and to discover the thousands of details that shape a harmony that is difficult to surpass.
The historically-important Laribal Gardens are sculpted by terraces, pathways, small squares, ponds and lush, established plant life. A series of terraces are linked by paths and steeply sloped shortcuts, with stretches of differently designed stairways interspersed. The flattest areas are afforded shade by exposed brick, stone and white pillar pergolas. The mostly exotic plant life has a rich and varied range of species.
Mediterranean Gardens
These gardens, which were included in the International Exposition of Barcelona (a World's Fair) in 1929, were greatly reputed. The garden's designers, Jean Claude Nicolas Forestier and Nicolau M. Rubió Tudurí, created a new style of Mediterranean landscaping.
The pre-existing plant life, from native plants to fruit trees from the mountain's agricultural past, was integrated into the gardens with an original and innovative gardening concept that is openly inspired by the ancient Arabian gardens and from the "Carmenes" in Granada with prominent ceramic tiles, ornamental water features and flowering plants in pots on railings and parapets.
The Stairway of the Generalife Gardens
Water is the essence of this garden, with its large and small ponds. In order to connect the upper area of the park with the Amargós Gardens, now the Teatre Grec Gardens, Forestier designed a stairway inspired by the one in the Generalife Gardens, with waterfalls on the banisters, small ponds with fountains on the landings and benches for relaxing and enjoying the freshness and sound of the water.
The Gardens of the Font del Gat
Viewpoint pergolas link the gardens with ramps, stairs and waterfalls that flow into the Font del Gat ("Fountain of the Cat"), a point at which magnificent views of Barcelona can be enjoyed.
The gardens lie on the slope from the highest point of the Laribal Gardens down to the Passeig de Santa Madrona and include the popular Font del Gat and a nineteenth-century building. There are paths, terraces and corners that adapt to the terrain with stairways, ramps and a monumental waterfall with four sections separated by paths and canals that connect the different areas.
Everything is covered in a thick, Mediterranean foliage, fruit trees such as loquat and fig and enormous palm trees. From the Passeig de Santa Madrona below, some very tall cypresses by the waterfall accentuate its height.
The Rose Gardens of the Colla de l'Arròs
A circle of cypress trees with a small fountain in the centre marks the beginning of a path that, beneath a pergola with terracotta pillars, leads to an oval patio surrounded by cypresses. These are the Rose Gardens of the Colla de l'Arròs.
These gardens are arranged on different levels with the feeling of being on a patio, bordered by rows of cypresses and privets. In various rectangular parterres, many diverse old varieties of roses have been planted. At the centre is a square pool with ceramic tiles, dominated by the marble female nude sculpture "Estival", who looks over the rose garden and beyond to Barcelona.
Plaça del Claustre
From the Sant Miquel Garden, next to the Passeig de Santa Madrona, there are three large London Plane trees that existed before Forestier designed the gardens. At the end, the walls of what was once an old quarry gives this part of the Laribal Gardens a confined and cloister-like air. This is where it gets its name. On the right there is a path that connects the gardens with the Teatre Grec Gardens.
Plant Life
The mature and Mediterranean plant life gives the gardens meaning. Among other species there are Aleppo Pines (Pinus halepensis), Umbrella Pines (Pinus pinea), Bay Laurels (Laurus nobilis), Bitter Orange trees (Citrus aurantium) and Mediterranean Cypresses (Cupressus sempervirens).
The Generalife stairs are surrounded by large Black Locust trees (Robinia pseudoacacia) and shrubs such as the Chinese Privet (Ligustrum lucidum) and the Pittosporum (Pittosporum tobira), a species in abundance in the gardens along with the Oleander (Nerium oleander) and the Japanese Spindle tree (Euonymus japonicus).
The elegant leaves of an Aspidistra elatior shine in terracotta pots and Garden Geraniums (Pelargonium sp.), Chinese Wisterias (Wisteria sinensis) and Lady Banks' Roses (Rosa banksiae) cover the pergolas. In different areas around the gardens aromatic plants like Lavender (Lavandula angustifolia), Rosemary (Rosmarinus offcinalis) and climbing plants such as Ivy (Hedera helix) can be found.
In the Laribal Gardens there are also River Oaks (Casuarina cunninghamiana), Tasmanian Blue Gums (Eucalyptus globules), Monterey Cypresses (Cupressus macrocarpa) Deodar Cedar (Cedrus deodara) and in Plaça del Claustre, three large London Planes (Platanus X hispanica).
Art and Architecture
The sculptures are notable in these gardens, both for their quality and their beauty. There is an Art Deco style marble female nude, "Estival" (1929) by Jaume Otero, that dominates the rose garden.
The "Noia de la trena" (1928) by Joseph Viladomar is another female nude, in this case made of bronze, which represents a young girl plaiting her hair. It is in a small shaded square, close to the stairway that links to other areas of the gardens.
The third sculpture is again of a woman and by Joseph Viladomar and was based on the Manolo Hugué original. "Repòs" (1925) a life-sized female nude made of stone situated in a small square close to the entrance next to the Joan Miró Foundation.
Near the rose garden, there is a glazed ceramic fountain influenced by the sea, crowned by a jet, which was the work of Llorenç Artigas.
The Font del Gat
The water from the Font del Gat ("Fountain of the Cat") pours from a feline head, sculpted by Joan Antoni Homs in 1918, when the Laribal Gardens were being finished. This fountain is one of many that flowed in Barcelona at the time and is situated in a place in the city that was very popular at the end of the nineteenth century.
The fountain was so popular that the journalist and playwright Joan Amich wrote a song about it: "La Marieta de l'ull viu" that is still sung today and includes the verse: "Baixant de la font del Gat, / una noia, una noia, / baixant de la font del Gat / una noia amb un soldat..." ("Coming down from the cat Fountain / a girl, a girl / Coming down from the cat Fountain / a girl with a soldier...").
History
The area where the Laribal Gardens now lie was a popular meeting place at the beginning of the last century, in particular the Font del Gat, which was also an area for exclusive gatherings, such as those of Colla de l'Arròs, a gastronomic-political group who had a certain influence over Barcelona at the turn of the last century, would meet in a small building situated where the Museu Etnològic (Ethnological Museum) now stands.
The upper part of the current gardens once belonged to Joseph Laribal, an esteemed lawyer whose name the gardens bear. He built a neo-Arabian chalet, surrounded by eclectic gardens, with large trees.
After Laribal died in 1908, the house was acquired by the Town Council, which established the Escola del Bosc, which still exists to this day. Simultaneously, studies began for the development and gardening of the mountain, a comprehensive project that was initially the responsibility of Josep Amargós.
The 1929 World's Fair
Completed in 1922, the Laribal Gardens are linked to a later event: the International Exposition of Barcelona of 1929 (a World's Fair). This event represented the culmination of a project which began in 1905 to organise an exhibition on Montjuïc about the electrical industries, the emerging energy at the time.
One of the commissioners at the International Exhibition of Barcelona was Francesc Cambó, who was responsible for the gardening and engineering work and the work of the French landscape architect Jean Claude Nicolas Forestier. His assistant was the young architect Nicolau M. Rubió I Tudurí, who, in 1917, became the director of the Public and Wooded Parks Board, the predecessor of the Parks and Gardens Service of Barcelona, of which he was mainly responsible and one of the key people in the development of green spaces in the city.
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Es una de las perlas del Parque de Montjuïc y pasearse por ellos es un autentica delicia. La riquísima vegetación, junto con el agua que baja por cascadas y se escurre delicadamente en medio de amplias barandillas, los bancos de ladrillo y las placetas, crean un conjunto de una belleza excepcional. Es un lugar en el que estar, para contemplarlo e ir descubriendo los miles de detalles que lo configuran, con una armonía difícil de superar.
Los Jardines de Laribal, de gran valor histórico, están formados por terrazas, caminos, placetas, pequeños estanques y una vegetación lozana y consolidada. Una serie de terrazas sobrepuestas están unidas entre si por caminos y atajos de gran pendiente, con tramos de escaleras intercalados de diseño siempre diferente. Pérgolas de ladrillo visto, piedra y pilares blancos dan sombra a las zonas más llanas. La vegetación, exótica en su mayoría, es rica y variada en especies.
Jardines mediterráneos
Estos jardines, incluidos en el recinto de la Exposición Internacional de Barcelona de 1929, obtuvieron una gran reputación. Sus autores, Jean Claude Nicolas Forestier y Nicolau M. Rubió Tudurí, crearon un nuevo estilo paisajístico de raíz mediterránea.
La vegetación preexistente, desde plantas autóctonas hasta árboles frutales del pasado agrícola de la montaña, se integró en los jardines con un concepto de jardinería renovador y original, que sigue libremente la inspiración de los antiguos jardines árabes y de los "cármenes" de Granada, con una gran presencia de azulejos de cerámica, aguas ornamentales y el cultivo de plantas de flor en macetas colocadas en barandillas y alféizares.
Las escaleras del Generalife
El agua es la esencia del jardín, con pequeños y grandes estanques. Para conectar la parte superior del parque con los Jardines Amargós, actualmente Jardines del Teatre Grec, Forestier diseñó una escalera inspirada en la de los jardines del Generalife, con cascadas en los pasamanos, estanques con fuentes en los rellanos y bancos de piedra para reponerse y disfrutar del frescor y el sonido del agua.
Los jardines de la Font del Gat
Unas pérgolas mirador llevan de unos jardines a otros, unidos por ejes de rampas, escaleras y cascadas que desembocan en la Font del Gat desde donde se pueden contemplar unas magníficas vistas de Barcelona.
Ocupan la pendiente que va desde la parte más alta de los jardines Laribal hasta el paseo de Santa Madrona e integran la popular Font del Gat y un edificio decimonónico. Se trata de un conjunto de caminos, terrazas y rincones que se adaptan al relieve con escaleras, rampas y una cascada monumental con cuatro secciones separadas por caminos y canales, que van conectando los diferentes tramos.
Todo está cubierto por un espeso follaje mediterráneo y árboles frutales, como nísperos e higueras y palmeras de enormes copas. Si lo miramos desde abajo, junto al paseo de Santa Madrona, vemos que los altísimos cipreses situados al inicio de la cascada acentúan la verticalidad del conjunto.
La rosaleda de la Colla de l'Arròs
Una glorieta de cipreses, con una pequeña fuente en el centro, marca el inicio de un recorrido que, debajo de una pérgola con pilares de terracota, conduce a un patio ovalado y recluido también rodeado de cipreses: la rosaleda de la Colla de l'Arròs
El jardín se configura en diferentes planos, con aire de patio, que están rodeados de cipreses e hileras de aligustres. En diferentes parterres rectangulares se han plantado antiguas variedades de rosales. En el centro destaca un pequeño estanque cuadrangular con azulejos esmaltados, presidido en la parte superior por Estival, una escultura de un desnudo femenino en mármol que contempla la rosaleda y, más allá, Barcelona.
La plaza del Claustre
De hecho se trata del jardín de Sant Miquel, junto al paseo de Santa Madrona, en el que destacan tres grandes plataneros que ya existían antes de que Forestier diseñara los jardines. Al fondo, los muros de lo que antes había sido una antigua cantera confieren a esta parte de los jardines Laribal un aire recluido y claustral. Y de aquí viene su nombre. A la derecha encontramos un corredor que comunica con los jardines del Teatre Grec.
Vegetación
La vegetación madura y mediterránea da sentido a los jardines. Así, entre otras especies, hay pinos carrascos (Pinus halepensis), pinos piñoneros (Pinus pinea), laureles (Laurus nobilis), naranjos amargos (Citrus aurantium) y cipreses (Cupressus sempervirens).
Las escaleras del Generalife están rodeadas de grandes acacias (Robinia pseudoacacia) y arbustos como el aligustre (Ligustrum lucidum) y el pitosporo (Pittosporum tobira), una especie de arbusto muy abundante en los jardines, junto con la adelfa (Nerium oleander) y el evónimo del Japón (Evonymus japonicus).
En macetas de terracota lucen las elegantes hojas de salón (Aspidistra elatior) y los geranios (Pelargonium sp.), al tiempo que las glicinias (Wisteria sinensis) y los rosales de Banksia (Rosa banksiae) cubren las pérgolas. En diferentes lugares de los jardines encontramos plantas aromáticas, como la lavanda (Lavandula angustifolia), el romero (Rosmarinus officinalis) y otras especies tapizantes como la hiedra (Hedera helix).
En los jardines de Laribal también encontramos pinos australianos (Casuarina cunninghamiana), eucaliptos (Eucalyptus globulus), cipreses de Lambert (Cupressus macrocarpa), cedros del Himalaya (Cedrus deodara) y, en la plaza del Claustre, tres grandes ejemplares de platanero (Platanus X hispanica).
Arte y arquitectura
En estos jardines la escultura es notable, tanto por su calidad como por su belleza. Presidiendo la rosaleda tenemos el Estival, de Jaume Otero (1929), una figura femenina sentada, de estilo art decó y realizada en mármol.
La Noia de la trena, de Josep Viladomat (1928), es otro desnudo femenino, en este caso de bronce, que representa una joven que se recoge el pelo en una trenza. Se encuentra en una placeta sombría muy cerca de las escaleras que comunican con los otros niveles de los jardines.
La tercera escultura también es de una mujer y de Josep Viladomat, que la realizó en base a un original de Manolo Hugué. Se trata de Repòs (1925), un desnudo femenino de piedra, a tamaño natural, situado en una placeta circular muy cerca de la entrada que hay al lado de la Fundació Joan Miró.
Cerca de la rosaleda se encuentra una fuente de cerámica esmaltada con motivos marinos, coronada con un surtidor, obra del ceramista Llorenç Artigas.
La Font del Gat
El agua de la Font del Gat mana desde la cabeza de un felino, esculpido por Joan Antoni Homs en 1918, año en el que se terminaron los jardines Laribal. Esta fuente era una de las muchas que manaban en aquellos momentos en Barcelona y, el lugar en el que se encuentra era muy popular en la ciudad a finales del siglo XIX.
La fuente era tan popular que el periodista y autor teatral Joan Amich escribió una canción: "La Marieta de l'ull viu", que todavía hoy se canta e incluye la estrofa: "Baixant de la font del Gat, / una noia, una noia, / baixant de la font del Gat / una noia amb un soldat...".
Historia
A principios del siglo pasado, en la zona que hoy ocupan los jardines Laribal se celebraban encuentros populares, sobre todo en la Font del Gat, o reuniones selectas, como las que hacía la Colla de l'Arròs, un grupo medio gastronómico medio político que tuvo una cierta influencia en la Barcelona del final del siglo XIX y principio del XX y que se reunía en un pequeño edificio situado donde ahora se encuentra el Museo Etnológico.
La parte alta de los actuales jardines pertenecía a la finca de Josep Laribal, un prestigioso abogado cuyo nombre se ha perpetuado en los jardines. Allí se hizo construir un chalet neoárabe, rodeado de unos jardines eclécticos, con grandes árboles.
Tras la muerte de Laribal en 1908, la finca fue adquirida por el Ayuntamiento que fundó en ella la Escola del Bosc, que todavía existe. Simultáneamente, se iniciaron los estudios para urbanizar y enjardinar la montaña, con un proyecto global que inicialmente se encargó a Josep Amargós.
La Exposición de 1929
Los jardines de Laribal, terminados en el 1922, también están vinculados con un acontecimiento posterior: la Exposición Internacional de Barcelona de 1929. Este acontecimiento representó la culminación de un proyecto iniciado en 1905 para organizar en Montjuïc una exposición sobre las industrias eléctricas, la energía emergente de aquel momento.
Uno de los comisarios de la Exposición Internacional de Barcelona fue Francesc Cambó, que encargó los trabajos de ajardinamiento al ingeniero y paisajista francés Jean Claude Nicolas Forestier. Su ayudante fue el joven arquitecto Nicolau M. Rubió i Tudurí, que en 1917 se convertiría en el director de la Dirección de Parques Públicos y Arbolado, antecedente del Servicio de Parques y Jardines de Barcelona, del que fue el primer responsable y una de las personas determinantes en el futuro desarrollo de los espacios verdes públicos de la ciudad.
Repòs
per Josep Viladomat.
1925.
Els Jardins de Laribal
És una de les perles del Parc de Montjuïc i passejar-s'hi és una autèntica delícia. La vegetació riquíssima, juntament amb l'aigua que baixa per cascades i llisca delicadament pel mig d'amples baranes, els bancs de rajola i les placetes, creen un conjunt de bellesa excepcional. Aquest és un lloc per estar-s'hi, per contemplar-lo i per anar descobrint els mil detalls que el configuren, amb una harmonia difícil de superar.
Els Jardins de Laribal, de gran valor històric, estan configurats per terrasses, camins, placetes, bassinyols i una vegetació esponerosa i consolidada. Una sèrie de terrasses superposades estan unides entre elles per camins i dreceres de fort pendent, amb trams d'escales intercalats amb un disseny sempre diferent. Pèrgoles de maó vist, pedra i pilars blancs, ombregen les àrees més planeres. La vegetació, és majoritàriament exòtica, rica i variada en espècies.
Jardins mediterranis
Aquests jardins, inclosos dins del recinte de l'Exposició Internacional de Barcelona de 1929, van obtenir una gran anomenada. Els seus autors, Jean Claude Nicolas Forestier i Nicolau M. Rubió Tudurí, van crear un nou estil paisatgístic d'arrel mediterrània.
La vegetació preexistent -des de plantes autòctones fins als arbres fruiters del passat agrícola de la muntanya-, es va integrar en els jardins amb un concepte de jardineria renovador i original, que segueix lliurement la inspiració dels antics jardins àrabs i dels "cármenes" de Granada, amb una gran presència de rajoles ceràmiques, aigües ornamentals i el conreu de plantes de flor en testos situats en baranes i ampits.
Les escales del Generalife
L'aigua és l'essència del jardí, amb estanys i estanyols. Per connectar la part superior del parc amb els Jardins Amargós -actualment Jardins del Teatre Grec-, Forestier va fer una escala inspirada en la dels jardins del Generalife, amb cascades als passamans, estanyols amb brolladors als replans i bancs d'obra per reposar i gaudir de la fresca i el so de l'aigua.
Els jardins de la font del Gat
Unes pèrgoles mirador porten d'uns jardins als altres, units per eixos de rampes, escales i cascades que desemboquen a la font del Gat, des de la qual es poden contemplar unes magnífiques vistes de Barcelona.
Ocupen el pendent que va des de la part més alta dels Jardins Laribal fins al passeig de Santa Madrona, i integren la popular font del Gat i un edifici del segle dinou. Es tracta d'un conjunt de camins, terrasses i racons que s'adapten al relleu del terreny amb escales, rampes i una cascada monumental amb quatre seccions separades per camins i canals, que van connectant els diferents trams.
Tot està cobert d'una espessa fronda mediterrània i d'arbres fruiters, com ara nesprers i figueres, i palmeres d'enormes capçades. Si ens ho mirem des de baix, a tocar del pg. de Santa Madrona, uns xiprers altíssims situats a l'inici de la cascada accentuen la verticalitat del conjunt.
El roserar de la Colla de l'Arròs
Una glorieta de xiprers, amb una petita font al centre, marca l'inici d'un recorregut que, sota una pèrgola amb pilars de terracota, porta a un pati ovalat i reclòs, també envoltat de xiprers: és el roserar de la Colla de l'Arròs.
El jardí es configura en diversos plans, amb aire de pati, que estan vorejats per vorades, també de xiprer, i rengleres de troanes. En diversos parterres rectangulars hi ha plantades varietats antigues de rosers. Al centre destaca un bassinyol quadrangular amb rajols esmaltats, presidit a la part de dalt per Estival, un nu femení de marbre que contempla el roserar i, més enllà, Barcelona.
La plaça del Claustre
És a tocar del passeig de Santa Madrona i, de fet, es tracta del Jardí de Sant Miquel, on destaquen tres grans plàtans ja existents abans que Forestier dissenyés els jardins. Al fons, els murs del que fou una antiga pedrera confereixen a aquesta part dels jardins Laribal un aire reclòs i claustral. D'aquí el seu nom. A la dreta, un passadís comunica amb els Jardins del Teatre Grec.
Vegetació
La vegetació madura i mediterrània dóna sentit als jardins. Així, hi ha, entre d'altres espècies, pins blancs (Pinus halepensis), pins pinyers (Pinus pinea), llorers (Laurus nobilis), tarongers amargs (Citrus aurantium) i xiprers (Cupressus sempervirens).
Les escales del Generalife estan envoltades per grans acàcies (Robinia pseudoacacia) i arbustos com la troana (Ligustrum lucidum) i el pitòspor (Pittosporum tobira), una espècie arbustiva molt abundant als jardins, juntament amb el baladre (Nerium oleander) i l'evònim del Japó (Evonymus japonicus).
En testos de terracota, llueixen les elegants fulles de saló (Aspidistra elatior) i els geranis (Pelargonium sp.), i cobrint les pèrgoles, anglesines (Wisteria sinensis) i Rosa banksiae. En diferents llocs dels jardins hi ha plantes aromàtiques, com l'espígol (Lavandula angustifolia) i el romaní (Rosmarinus officinalis), i espècies entapissants com l'heura (Hedera helix)
Els Jardins de Laribal també hi ha pins australians (Casuarina cunninghamiana), eucaliptus (Eucalyptus globulus), xiprers de Lambert (Cupressus macrocarpa), cedres de l'Himàlaia (Cedrus deodara) i, a la plaça del Claustre, tres grans exemplars de plàtan (Platanus X hispanica).
Art i arquitectura
L'escultura és notable en aquests jardins, tant per la seva qualitat com per la seva bellesa. Presidint el roserar hi ha Estival, de Jaume Otero (1929), una figura femenina asseguda d'estil art déco feta de marbre.
La Noia de la trena, de Josep Viladomat (1928), és un altre nu femení, en aquest cas de bronze, i representa una noia jove recollint-se els cabells en una trena. És en una placeta ombrívola, molt a prop de les escales que comuniquen amb altres nivells dels jardins.
La tercera escultura també és d'una dona i de Josep Viladomat, que la va fer partint d'un original de Manolo Hugué. Es tracta de Repòs (1925), un nu femení de pedra de mida natural situat en una placeta circular molt a prop de l'entrada que hi ha al costat de la Fundació Joan Miró.
A prop del roserar hi ha una font de ceràmica esmaltada amb motius marins, coronada amb un brollador, obra del ceramista Llorenç Artigas.
La font del Gat
L'aigua que raja de la font del Gat ho fa des del cap d'un felí, esculpit per Joan Antoni Homs el 1918, que és quan van quedar enllestits els Jardins Laribal. Aquesta font era una de les moltes que aleshores rajava a Barcelona, i el lloc on està situada, molt popular a la ciutat a finals del segle XIX.
Tan popular era la font, que el periodista i autor teatral Joan Amich va escriure una cançó: "La Marieta de l'ull viu", que avui encara es canta i que inclou l'estrofa: "Baixant de la font del Gat, / una noia, una noia, / baixant de la font del Gat / una noia amb un soldat...".
Història
Al començament del segle passat, la zona que avui ocupen els jardins Laribal era lloc de trobades populars, sobretot a la font del Gat, o de reunions selectes, com ara les que feia la Colla de l'Arròs, un grup entre gastronòmic i polític que va tenir una certa influència a la Barcelona de la darreria del segle XIX i principi del XX, i que es reunia en un petit edifici situat on ara hi ha el Museu Etnològic.
La part alta dels actuals jardins pertanyia a la finca de Josep Laribal, un prestigiós advocat el nom del qual s'ha perpetuat als jardins. S'hi va fer construir un xalet neoàrab, envoltat d'uns jardins eclèctics, amb grans arbres.
Mort Laribal, el 1908 la finca va ser adquirida per l'Ajuntament, que hi va fundar l'Escola del Bosc, encara existent. Simultàniament, es van iniciar els estudis per urbanitzar i enjardinar la muntanya, amb un projecte global que va ser encarregat inicialment a Josep Amargós.
L'Exposició de 1929
Els Jardins de Laribal, enllestits el 1922, estan vinculats a un esdeveniment posterior: l'Exposició Internacional de Barcelona de 1929. Aquest esdeveniment va representar la culminació d'un projecte iniciat l'any 1905 per organitzar a Montjuïc una exposició sobre les indústries elèctriques, l'energia emergent d'aquell temps.
Un dels comissaris de l'Exposició Internacional de Barcelona va ser Francesc Cambó, que va encarregar els treballs d'enjardinament a l'enginyer i paisatgista francès Jean Claude Nicolas Forestier. Va ser ajudant seu el jove arquitecte Nicolau M. Rubió i Tudurí, que el 1917 es convertiria en el director de la Direcció de Parcs Públics i Arbrat, antecedent del Servei de Parcs i Jardins de Barcelona, del qual va ser primer responsable i una de les persones determinants en el futur desenvolupament dels espais verds públics de la ciutat.
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These gardens are one of the treasures of the Park of Montjuïc and taking a stroll around them is a real pleasure. The rich plant life, together with the water that flows delicately through the wide handrails; the tiled benches and the small squares all create exceptionally beautiful gardens. It is a place to be, to gaze at and to discover the thousands of details that shape a harmony that is difficult to surpass.
The historically-important Laribal Gardens are sculpted by terraces, pathways, small squares, ponds and lush, established plant life. A series of terraces are linked by paths and steeply sloped shortcuts, with stretches of differently designed stairways interspersed. The flattest areas are afforded shade by exposed brick, stone and white pillar pergolas. The mostly exotic plant life has a rich and varied range of species.
Mediterranean Gardens
These gardens, which were included in the International Exposition of Barcelona (a World's Fair) in 1929, were greatly reputed. The garden's designers, Jean Claude Nicolas Forestier and Nicolau M. Rubió Tudurí, created a new style of Mediterranean landscaping.
The pre-existing plant life, from native plants to fruit trees from the mountain's agricultural past, was integrated into the gardens with an original and innovative gardening concept that is openly inspired by the ancient Arabian gardens and from the "Carmenes" in Granada with prominent ceramic tiles, ornamental water features and flowering plants in pots on railings and parapets.
The Stairway of the Generalife Gardens
Water is the essence of this garden, with its large and small ponds. In order to connect the upper area of the park with the Amargós Gardens, now the Teatre Grec Gardens, Forestier designed a stairway inspired by the one in the Generalife Gardens, with waterfalls on the banisters, small ponds with fountains on the landings and benches for relaxing and enjoying the freshness and sound of the water.
The Gardens of the Font del Gat
Viewpoint pergolas link the gardens with ramps, stairs and waterfalls that flow into the Font del Gat ("Fountain of the Cat"), a point at which magnificent views of Barcelona can be enjoyed.
The gardens lie on the slope from the highest point of the Laribal Gardens down to the Passeig de Santa Madrona and include the popular Font del Gat and a nineteenth-century building. There are paths, terraces and corners that adapt to the terrain with stairways, ramps and a monumental waterfall with four sections separated by paths and canals that connect the different areas.
Everything is covered in a thick, Mediterranean foliage, fruit trees such as loquat and fig and enormous palm trees. From the Passeig de Santa Madrona below, some very tall cypresses by the waterfall accentuate its height.
The Rose Gardens of the Colla de l'Arròs
A circle of cypress trees with a small fountain in the centre marks the beginning of a path that, beneath a pergola with terracotta pillars, leads to an oval patio surrounded by cypresses. These are the Rose Gardens of the Colla de l'Arròs.
These gardens are arranged on different levels with the feeling of being on a patio, bordered by rows of cypresses and privets. In various rectangular parterres, many diverse old varieties of roses have been planted. At the centre is a square pool with ceramic tiles, dominated by the marble female nude sculpture "Estival", who looks over the rose garden and beyond to Barcelona.
Plaça del Claustre
From the Sant Miquel Garden, next to the Passeig de Santa Madrona, there are three large London Plane trees that existed before Forestier designed the gardens. At the end, the walls of what was once an old quarry gives this part of the Laribal Gardens a confined and cloister-like air. This is where it gets its name. On the right there is a path that connects the gardens with the Teatre Grec Gardens.
Plant Life
The mature and Mediterranean plant life gives the gardens meaning. Among other species there are Aleppo Pines (Pinus halepensis), Umbrella Pines (Pinus pinea), Bay Laurels (Laurus nobilis), Bitter Orange trees (Citrus aurantium) and Mediterranean Cypresses (Cupressus sempervirens).
The Generalife stairs are surrounded by large Black Locust trees (Robinia pseudoacacia) and shrubs such as the Chinese Privet (Ligustrum lucidum) and the Pittosporum (Pittosporum tobira), a species in abundance in the gardens along with the Oleander (Nerium oleander) and the Japanese Spindle tree (Euonymus japonicus).
The elegant leaves of an Aspidistra elatior shine in terracotta pots and Garden Geraniums (Pelargonium sp.), Chinese Wisterias (Wisteria sinensis) and Lady Banks' Roses (Rosa banksiae) cover the pergolas. In different areas around the gardens aromatic plants like Lavender (Lavandula angustifolia), Rosemary (Rosmarinus offcinalis) and climbing plants such as Ivy (Hedera helix) can be found.
In the Laribal Gardens there are also River Oaks (Casuarina cunninghamiana), Tasmanian Blue Gums (Eucalyptus globules), Monterey Cypresses (Cupressus macrocarpa) Deodar Cedar (Cedrus deodara) and in Plaça del Claustre, three large London Planes (Platanus X hispanica).
Art and Architecture
The sculptures are notable in these gardens, both for their quality and their beauty. There is an Art Deco style marble female nude, "Estival" (1929) by Jaume Otero, that dominates the rose garden.
The "Noia de la trena" (1928) by Joseph Viladomar is another female nude, in this case made of bronze, which represents a young girl plaiting her hair. It is in a small shaded square, close to the stairway that links to other areas of the gardens.
The third sculpture is again of a woman and by Joseph Viladomar and was based on the Manolo Hugué original. "Repòs" (1925) a life-sized female nude made of stone situated in a small square close to the entrance next to the Joan Miró Foundation.
Near the rose garden, there is a glazed ceramic fountain influenced by the sea, crowned by a jet, which was the work of Llorenç Artigas.
The Font del Gat
The water from the Font del Gat ("Fountain of the Cat") pours from a feline head, sculpted by Joan Antoni Homs in 1918, when the Laribal Gardens were being finished. This fountain is one of many that flowed in Barcelona at the time and is situated in a place in the city that was very popular at the end of the nineteenth century.
The fountain was so popular that the journalist and playwright Joan Amich wrote a song about it: "La Marieta de l'ull viu" that is still sung today and includes the verse: "Baixant de la font del Gat, / una noia, una noia, / baixant de la font del Gat / una noia amb un soldat..." ("Coming down from the cat Fountain / a girl, a girl / Coming down from the cat Fountain / a girl with a soldier...").
History
The area where the Laribal Gardens now lie was a popular meeting place at the beginning of the last century, in particular the Font del Gat, which was also an area for exclusive gatherings, such as those of Colla de l'Arròs, a gastronomic-political group who had a certain influence over Barcelona at the turn of the last century, would meet in a small building situated where the Museu Etnològic (Ethnological Museum) now stands.
The upper part of the current gardens once belonged to Joseph Laribal, an esteemed lawyer whose name the gardens bear. He built a neo-Arabian chalet, surrounded by eclectic gardens, with large trees.
After Laribal died in 1908, the house was acquired by the Town Council, which established the Escola del Bosc, which still exists to this day. Simultaneously, studies began for the development and gardening of the mountain, a comprehensive project that was initially the responsibility of Josep Amargós.
The 1929 World's Fair
Completed in 1922, the Laribal Gardens are linked to a later event: the International Exposition of Barcelona of 1929 (a World's Fair). This event represented the culmination of a project which began in 1905 to organise an exhibition on Montjuïc about the electrical industries, the emerging energy at the time.
One of the commissioners at the International Exhibition of Barcelona was Francesc Cambó, who was responsible for the gardening and engineering work and the work of the French landscape architect Jean Claude Nicolas Forestier. His assistant was the young architect Nicolau M. Rubió I Tudurí, who, in 1917, became the director of the Public and Wooded Parks Board, the predecessor of the Parks and Gardens Service of Barcelona, of which he was mainly responsible and one of the key people in the development of green spaces in the city.
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Es una de las perlas del Parque de Montjuïc y pasearse por ellos es un autentica delicia. La riquísima vegetación, junto con el agua que baja por cascadas y se escurre delicadamente en medio de amplias barandillas, los bancos de ladrillo y las placetas, crean un conjunto de una belleza excepcional. Es un lugar en el que estar, para contemplarlo e ir descubriendo los miles de detalles que lo configuran, con una armonía difícil de superar.
Los Jardines de Laribal, de gran valor histórico, están formados por terrazas, caminos, placetas, pequeños estanques y una vegetación lozana y consolidada. Una serie de terrazas sobrepuestas están unidas entre si por caminos y atajos de gran pendiente, con tramos de escaleras intercalados de diseño siempre diferente. Pérgolas de ladrillo visto, piedra y pilares blancos dan sombra a las zonas más llanas. La vegetación, exótica en su mayoría, es rica y variada en especies.
Jardines mediterráneos
Estos jardines, incluidos en el recinto de la Exposición Internacional de Barcelona de 1929, obtuvieron una gran reputación. Sus autores, Jean Claude Nicolas Forestier y Nicolau M. Rubió Tudurí, crearon un nuevo estilo paisajístico de raíz mediterránea.
La vegetación preexistente, desde plantas autóctonas hasta árboles frutales del pasado agrícola de la montaña, se integró en los jardines con un concepto de jardinería renovador y original, que sigue libremente la inspiración de los antiguos jardines árabes y de los "cármenes" de Granada, con una gran presencia de azulejos de cerámica, aguas ornamentales y el cultivo de plantas de flor en macetas colocadas en barandillas y alféizares.
Las escaleras del Generalife
El agua es la esencia del jardín, con pequeños y grandes estanques. Para conectar la parte superior del parque con los Jardines Amargós, actualmente Jardines del Teatre Grec, Forestier diseñó una escalera inspirada en la de los jardines del Generalife, con cascadas en los pasamanos, estanques con fuentes en los rellanos y bancos de piedra para reponerse y disfrutar del frescor y el sonido del agua.
Los jardines de la Font del Gat
Unas pérgolas mirador llevan de unos jardines a otros, unidos por ejes de rampas, escaleras y cascadas que desembocan en la Font del Gat desde donde se pueden contemplar unas magníficas vistas de Barcelona.
Ocupan la pendiente que va desde la parte más alta de los jardines Laribal hasta el paseo de Santa Madrona e integran la popular Font del Gat y un edificio decimonónico. Se trata de un conjunto de caminos, terrazas y rincones que se adaptan al relieve con escaleras, rampas y una cascada monumental con cuatro secciones separadas por caminos y canales, que van conectando los diferentes tramos.
Todo está cubierto por un espeso follaje mediterráneo y árboles frutales, como nísperos e higueras y palmeras de enormes copas. Si lo miramos desde abajo, junto al paseo de Santa Madrona, vemos que los altísimos cipreses situados al inicio de la cascada acentúan la verticalidad del conjunto.
La rosaleda de la Colla de l'Arròs
Una glorieta de cipreses, con una pequeña fuente en el centro, marca el inicio de un recorrido que, debajo de una pérgola con pilares de terracota, conduce a un patio ovalado y recluido también rodeado de cipreses: la rosaleda de la Colla de l'Arròs
El jardín se configura en diferentes planos, con aire de patio, que están rodeados de cipreses e hileras de aligustres. En diferentes parterres rectangulares se han plantado antiguas variedades de rosales. En el centro destaca un pequeño estanque cuadrangular con azulejos esmaltados, presidido en la parte superior por Estival, una escultura de un desnudo femenino en mármol que contempla la rosaleda y, más allá, Barcelona.
La plaza del Claustre
De hecho se trata del jardín de Sant Miquel, junto al paseo de Santa Madrona, en el que destacan tres grandes plataneros que ya existían antes de que Forestier diseñara los jardines. Al fondo, los muros de lo que antes había sido una antigua cantera confieren a esta parte de los jardines Laribal un aire recluido y claustral. Y de aquí viene su nombre. A la derecha encontramos un corredor que comunica con los jardines del Teatre Grec.
Vegetación
La vegetación madura y mediterránea da sentido a los jardines. Así, entre otras especies, hay pinos carrascos (Pinus halepensis), pinos piñoneros (Pinus pinea), laureles (Laurus nobilis), naranjos amargos (Citrus aurantium) y cipreses (Cupressus sempervirens).
Las escaleras del Generalife están rodeadas de grandes acacias (Robinia pseudoacacia) y arbustos como el aligustre (Ligustrum lucidum) y el pitosporo (Pittosporum tobira), una especie de arbusto muy abundante en los jardines, junto con la adelfa (Nerium oleander) y el evónimo del Japón (Evonymus japonicus).
En macetas de terracota lucen las elegantes hojas de salón (Aspidistra elatior) y los geranios (Pelargonium sp.), al tiempo que las glicinias (Wisteria sinensis) y los rosales de Banksia (Rosa banksiae) cubren las pérgolas. En diferentes lugares de los jardines encontramos plantas aromáticas, como la lavanda (Lavandula angustifolia), el romero (Rosmarinus officinalis) y otras especies tapizantes como la hiedra (Hedera helix).
En los jardines de Laribal también encontramos pinos australianos (Casuarina cunninghamiana), eucaliptos (Eucalyptus globulus), cipreses de Lambert (Cupressus macrocarpa), cedros del Himalaya (Cedrus deodara) y, en la plaza del Claustre, tres grandes ejemplares de platanero (Platanus X hispanica).
Arte y arquitectura
En estos jardines la escultura es notable, tanto por su calidad como por su belleza. Presidiendo la rosaleda tenemos el Estival, de Jaume Otero (1929), una figura femenina sentada, de estilo art decó y realizada en mármol.
La Noia de la trena, de Josep Viladomat (1928), es otro desnudo femenino, en este caso de bronce, que representa una joven que se recoge el pelo en una trenza. Se encuentra en una placeta sombría muy cerca de las escaleras que comunican con los otros niveles de los jardines.
La tercera escultura también es de una mujer y de Josep Viladomat, que la realizó en base a un original de Manolo Hugué. Se trata de Repòs (1925), un desnudo femenino de piedra, a tamaño natural, situado en una placeta circular muy cerca de la entrada que hay al lado de la Fundació Joan Miró.
Cerca de la rosaleda se encuentra una fuente de cerámica esmaltada con motivos marinos, coronada con un surtidor, obra del ceramista Llorenç Artigas.
La Font del Gat
El agua de la Font del Gat mana desde la cabeza de un felino, esculpido por Joan Antoni Homs en 1918, año en el que se terminaron los jardines Laribal. Esta fuente era una de las muchas que manaban en aquellos momentos en Barcelona y, el lugar en el que se encuentra era muy popular en la ciudad a finales del siglo XIX.
La fuente era tan popular que el periodista y autor teatral Joan Amich escribió una canción: "La Marieta de l'ull viu", que todavía hoy se canta e incluye la estrofa: "Baixant de la font del Gat, / una noia, una noia, / baixant de la font del Gat / una noia amb un soldat...".
Historia
A principios del siglo pasado, en la zona que hoy ocupan los jardines Laribal se celebraban encuentros populares, sobre todo en la Font del Gat, o reuniones selectas, como las que hacía la Colla de l'Arròs, un grupo medio gastronómico medio político que tuvo una cierta influencia en la Barcelona del final del siglo XIX y principio del XX y que se reunía en un pequeño edificio situado donde ahora se encuentra el Museo Etnológico.
La parte alta de los actuales jardines pertenecía a la finca de Josep Laribal, un prestigioso abogado cuyo nombre se ha perpetuado en los jardines. Allí se hizo construir un chalet neoárabe, rodeado de unos jardines eclécticos, con grandes árboles.
Tras la muerte de Laribal en 1908, la finca fue adquirida por el Ayuntamiento que fundó en ella la Escola del Bosc, que todavía existe. Simultáneamente, se iniciaron los estudios para urbanizar y enjardinar la montaña, con un proyecto global que inicialmente se encargó a Josep Amargós.
La Exposición de 1929
Los jardines de Laribal, terminados en el 1922, también están vinculados con un acontecimiento posterior: la Exposición Internacional de Barcelona de 1929. Este acontecimiento representó la culminación de un proyecto iniciado en 1905 para organizar en Montjuïc una exposición sobre las industrias eléctricas, la energía emergente de aquel momento.
Uno de los comisarios de la Exposición Internacional de Barcelona fue Francesc Cambó, que encargó los trabajos de ajardinamiento al ingeniero y paisajista francés Jean Claude Nicolas Forestier. Su ayudante fue el joven arquitecto Nicolau M. Rubió i Tudurí, que en 1917 se convertiría en el director de la Dirección de Parques Públicos y Arbolado, antecedente del Servicio de Parques y Jardines de Barcelona, del que fue el primer responsable y una de las personas determinantes en el futuro desarrollo de los espacios verdes públicos de la ciudad.
© Saúl Tuñón Loureda
Montmartre es una colina de 130 metros de altura situada en la orilla derecha del río Sena, en el XVIII Distrito de París, principalmente conocida por la cúpula blanca de la Basílica del Sacré Cœur (en español "sagrado corazón"), ubicada en su cumbre. Cerca, otra iglesia, la más antigua de la colina es Saint Pierre de Montmartre, fundada por la reina de Francia en el siglo XII. En la cripta de la capilla del Martyrium, ubicada en la calle Yvonne Le Tac, se fundó la orden de sacerdotes Jesuitas el 15 de agosto de 1534.
El barrio fue cuna de los impresionistas, de la bohemia parisina del siglo XIX e importante teatro de batallas durante la Guerra Franco-Prusiana y la Comuna.
En La Bohème (1965), quizás la canción más conocida del cantautor Charles Aznavour, un pintor rememora sus años de juventud en un Montmartre que ha dejado de existir:
Je ne reconnais plus/Ni les murs, ni les rues/Qui ont vu ma jeunesse/En haut d'un escalier/Je cherche l'atelier/Dont plus rien ne subsiste/Dans son nouveau décor/Montmartre semble triste/Et les lilas sont morts («Ya no reconozco/ Ni los muros ni las calles/Que habían visto mi juventud/En lo alto de una escalera/Busco un taller/Del que nada sobrevive/Con su nueva decoración/Montmartre parece triste/Y las lilas están muertas»).
Charles Aznavour en su canción La Boheme
La canción es una despedida de lo que, según Aznavour, fueron los últimos días del barrio como lugar de actividad bohemia.
El museo de Montmartre se ubica en la casa donde el pintor Maurice Utrillo vivió, un estudio del segundo piso. La mansión principal en el jardín trasero es el hotel más antiguo del barrio. Uno de sus primeros propietarios fue Claude Roze, también conocido como Roze de Rosimond, quien la compró en 1860. Roze fue el actor que reemplazó a Molière y, al igual que su predecesor, murió en escena. La casa fue la primera residencia de Pierre-Auguste Renoir en Montmartre y muchos otros fueron viviendo en ella por el prestigio del primer inquilino. Justo al final de la colina, se ubica el museo Espace Dalí, donde se exhibe el trabajo del artista surrealista Salvador Dalí. En las cercanías se encuentran la Place du Tertre, donde los artistas realizan sus obras al aire libre, y el cabaret del Lapin Agile. Muchos renombrados artistas están enterrados en el Cementerio de Montmartre y el de Saint-Vincent. La película Amélie está ambientada en el Montmartre contemporáneo. Un tren funicular, el funicular de Montmartre, gestionado por la RATP, asciende por la colina desde el sur, mientras que el servicio de autobús la circunda. Colina abajo, hacia el sudoeste, se encuentra la zona roja de Pigalle. Esa zona en la actualidad es mayormente conocida por la amplia variedad de sex shops y prostitutas. También alberga gran número de almacenes especializados en instrumentos de música rock, así como varias salas de conciertos utilizadas para la música rock.
En la Rue Veron Nº 18 se encuentra el Hotel Clermont, donde residió Edith Piaf a los 14 años al separarse de su padre en 1929.15 Hace su propio camino como cantante en la calle Pigalle, Ménilmontant, y los suburbios de París (véase la canción "Elle fréquentait la Rue Pigalle").Alrededor de los dieciséis años cuando se enamoró de un chico de los recados, Louis Dupont.15 Poco después tuvo su única hija, una niña llamada Marcelle, que murió a la edad de dos años de meningitis.15
En este hotel son frecuentes las presentaciones de grupos de rock en las noches.
El barrio está declarado oficialmente distrito histórico.
es.wikipedia.org/wiki/Montmartre
© Saúl Tuñón Loureda
Montmartre (French pronunciation: [mɔ̃.maʁtʁ]) is a large hill in Paris's 18th arrondissement. It is 130 metres high and gives its name to the surrounding district, part of the Right Bank in the northern section of the city. The historic district established by the City of Paris in 1995 is bordered by rue Caulaincourt and rue Custine on the north; rue de Clignancourt on the east; boulevard de Clichy and boulevard de Rochechouart to the south.[1] containing sixty hectares.[2] Montmartre is primarily known for the white-domed Basilica of the Sacré-Cœur on its summit and as a nightclub district. The other, older, church on the hill is Saint Pierre de Montmartre, which claims to be the location at which the Jesuit order of priests was founded.
At the beginning of the twentieth century, during the Belle Époque, many artists had studios or worked in or around Montmartre, including Salvador Dalí, Amedeo Modigliani, Claude Monet, Henri de Toulouse-Lautrec, Piet Mondrian, Pablo Picasso, Camille Pissarro and Vincent van Gogh. Montmartre is also the setting for several hit films. This site is served by metro line 2 stations of Anvers, Pigalle and Blanche and the line 12 stations of Pigalle, Abbesses, Lamarck - Caulaincourt and Jules Joffrin.
In "La Bohème" (1965), perhaps the best-known song by popular singer-songwriter Charles Aznavour, a painter recalls his youthful years in a Montmartre that has ceased to exist: Je ne reconnais plus/Ni les murs, ni les rues/Qui ont vu ma jeunesse/En haut d'un escalier/Je cherche l'atelier/Dont plus rien ne subsiste/Dans son nouveau décor/Montmartre semble triste/Et les lilas sont morts ('I no longer recognize/Neither the walls nor the streets/That had seen my youth/At the top of a staircase/I look for a studio-apartment/Of which nothing survives/In its new décor/Montmartre seems sad/And the lilacs died'). The song is a farewell to what, according to Aznavour, were the last days of Montmartre as a site of bohemian activity.
There is a small vineyard in the Rue Saint-Vincent, which continues the tradition of wine production in the Île de France; it yields about 500 litres per year.[15]
The Musée de Montmartre is in the house where the painter Maurice Utrillo lived and worked in a second-floor studio. The mansion in the garden at the back is the oldest hotel on Montmartre, and one of its first owners was Claude de la Rose, a 17th-century actor known under the name of Rosimond, who had bought it in 1680. Claude de la Rose was the actor who replaced Molière, and who, like his predecessor, died on stage. The house was Pierre-Auguste Renoir's first Montmartre address and many other names moved through the premises.
Just off the top of the butte, Espace Dalí showcases surrealist artist Salvador Dalí's work. Nearby, day and night, tourists visit such sights as Place du Tertre and the cabaret du Lapin Agile, where the artists had worked and gathered. Many renowned artists are buried in the Cimetière de Montmartre and the Cimetière Saint-Vincent.
Montmartre is an officially designated historic district with limited development allowed in order to maintain its historic character.
A funicular railway, the Funiculaire de Montmartre, operated by the RATP, ascends the hill from the south while the Montmartre bus circles the hill.
Downhill to the southwest is the red-light district of Pigalle. That area is, today, largely known for a wide variety of stores specializing in instruments for rock music. There are also several concert halls, also used for rock music. The actual Moulin Rouge theatre is also in Pigalle, next to Blanche métro station.
Montmartre in films
The Heart of a Nation (released 1943) features a family resident in Montmartre from 1870 to 1939.
An American in Paris (1951), with Gene Kelly and Leslie Caron, was the winner of the Oscar for the best film of 1951. Many important scenes, including the last scenes, take place in Montmartre, although most of the film was shot in Hollywood.
Moulin Rouge told the story of the life and lost loves of painter Henri de Toulouse-Lautrec.
French Cancan (1954), a French musical comedy with Jean Gabin and Maria Felix, takes place in Montmartre, and tells the story of the Moulin Rouge and the invention of the famous dance. The director, Jean Renoir, was the son of the painter Pierre-Auguste Renoir, who painted several important works while living in Montmartre.
The Great Race (1965), shows Professor Fate in the "Hannibal 8" driving down the Basilica steps after a wrong turn while racing to the Eiffel tower.
Amélie (2001): the story of a young Parisian woman determined to help the lives of others and find her true love, is set in Montmartre and includes a key scene in the gardens below the Basilica.
Moulin Rouge! (2001): a musical film set in Montmartre, is about the night club and a young writer who falls in love with a famous courtesan.
La Môme (2007) (La vie en rose): tells the life of French singer Edith Piaf who was discovered while singing in Pigalle. bordering on Montmartre.
Ronin (1998): Outside of the café at the beginning and end.
en.wikipedia.org/wiki/Montmartre
Montmartre est un quartier du nord de Paris couvrant la colline de la butte Montmartre, qui est l'un des principaux lieux touristiques parisiens. C'est à Montmartre qu'est situé le point culminant de la capitale : 130,53 mètres, altitude du sol naturel à l’intérieur du cimetière du Calvaire, qui jouxte l’église Saint-Pierre de Montmartre.
Jusqu'à son annexion par Paris en 1860, Montmartre était une commune française du département de la Seine, à la superficie plus étendue que le quartier actuel. L'essentiel de son territoire constitue depuis lors les quartiers administratifs des Grandes-Carrières et de Clignancourt, dans le 18e arrondissement de la capitale, dit « quartier de la butte-Montmartre », et une fraction fut attribuée à la commune de Saint-Ouen.
Les deux accès les plus connus pour le sommet de la colline sont le funiculaire ou la rue Foyatier, un escalier de 222 marches avec paliers le longeant.
Ce quartier est desservi par la ligne (M) (2) du métropolitain avec les stations Anvers, Pigalle et Blanche ainsi que par la ligne (M) (12) (stations Pigalle, Abbesses, Lamarck — Caulaincourt et Jules Joffrin).
Colosseum
Following, a text, in english, from the Wikipedia the Free Encyclopedia:
The Colosseum, or the Coliseum, originally the Flavian Amphitheatre (Latin: Amphitheatrum Flavium, Italian Anfiteatro Flavio or Colosseo), is an elliptical amphitheatre in the centre of the city of Rome, Italy, the largest ever built in the Roman Empire. It is considered one of the greatest works of Roman architecture and Roman engineering.
Occupying a site just east of the Roman Forum, its construction started between 70 and 72 AD[1] under the emperor Vespasian and was completed in 80 AD under Titus,[2] with further modifications being made during Domitian's reign (81–96).[3] The name "Amphitheatrum Flavium" derives from both Vespasian's and Titus's family name (Flavius, from the gens Flavia).
Capable of seating 50,000 spectators,[1][4][5] the Colosseum was used for gladiatorial contests and public spectacles such as mock sea battles, animal hunts, executions, re-enactments of famous battles, and dramas based on Classical mythology. The building ceased to be used for entertainment in the early medieval era. It was later reused for such purposes as housing, workshops, quarters for a religious order, a fortress, a quarry, and a Christian shrine.
Although in the 21st century it stays partially ruined because of damage caused by devastating earthquakes and stone-robbers, the Colosseum is an iconic symbol of Imperial Rome. It is one of Rome's most popular tourist attractions and still has close connections with the Roman Catholic Church, as each Good Friday the Pope leads a torchlit "Way of the Cross" procession that starts in the area around the Colosseum.[6]
The Colosseum is also depicted on the Italian version of the five-cent euro coin.
The Colosseum's original Latin name was Amphitheatrum Flavium, often anglicized as Flavian Amphitheater. The building was constructed by emperors of the Flavian dynasty, hence its original name, after the reign of Emperor Nero.[7] This name is still used in modern English, but generally the structure is better known as the Colosseum. In antiquity, Romans may have referred to the Colosseum by the unofficial name Amphitheatrum Caesareum; this name could have been strictly poetic.[8][9] This name was not exclusive to the Colosseum; Vespasian and Titus, builders of the Colosseum, also constructed an amphitheater of the same name in Puteoli (modern Pozzuoli).[10]
The name Colosseum has long been believed to be derived from a colossal statue of Nero nearby.[3] (the statue of Nero itself being named after one of the original ancient wonders, the Colossus of Rhodes[citation needed]. This statue was later remodeled by Nero's successors into the likeness of Helios (Sol) or Apollo, the sun god, by adding the appropriate solar crown. Nero's head was also replaced several times with the heads of succeeding emperors. Despite its pagan links, the statue remained standing well into the medieval era and was credited with magical powers. It came to be seen as an iconic symbol of the permanence of Rome.
In the 8th century, a famous epigram attributed to the Venerable Bede celebrated the symbolic significance of the statue in a prophecy that is variously quoted: Quamdiu stat Colisæus, stat et Roma; quando cadet colisæus, cadet et Roma; quando cadet Roma, cadet et mundus ("as long as the Colossus stands, so shall Rome; when the Colossus falls, Rome shall fall; when Rome falls, so falls the world").[11] This is often mistranslated to refer to the Colosseum rather than the Colossus (as in, for instance, Byron's poem Childe Harold's Pilgrimage). However, at the time that the Pseudo-Bede wrote, the masculine noun coliseus was applied to the statue rather than to what was still known as the Flavian amphitheatre.
The Colossus did eventually fall, possibly being pulled down to reuse its bronze. By the year 1000 the name "Colosseum" had been coined to refer to the amphitheatre. The statue itself was largely forgotten and only its base survives, situated between the Colosseum and the nearby Temple of Venus and Roma.[12]
The name further evolved to Coliseum during the Middle Ages. In Italy, the amphitheatre is still known as il Colosseo, and other Romance languages have come to use similar forms such as le Colisée (French), el Coliseo (Spanish) and o Coliseu (Portuguese).
Construction of the Colosseum began under the rule of the Emperor Vespasian[3] in around 70–72AD. The site chosen was a flat area on the floor of a low valley between the Caelian, Esquiline and Palatine Hills, through which a canalised stream ran. By the 2nd century BC the area was densely inhabited. It was devastated by the Great Fire of Rome in AD 64, following which Nero seized much of the area to add to his personal domain. He built the grandiose Domus Aurea on the site, in front of which he created an artificial lake surrounded by pavilions, gardens and porticoes. The existing Aqua Claudia aqueduct was extended to supply water to the area and the gigantic bronze Colossus of Nero was set up nearby at the entrance to the Domus Aurea.[12]
Although the Colossus was preserved, much of the Domus Aurea was torn down. The lake was filled in and the land reused as the location for the new Flavian Amphitheatre. Gladiatorial schools and other support buildings were constructed nearby within the former grounds of the Domus Aurea. According to a reconstructed inscription found on the site, "the emperor Vespasian ordered this new amphitheatre to be erected from his general's share of the booty." This is thought to refer to the vast quantity of treasure seized by the Romans following their victory in the Great Jewish Revolt in 70AD. The Colosseum can be thus interpreted as a great triumphal monument built in the Roman tradition of celebrating great victories[12], placating the Roman people instead of returning soldiers. Vespasian's decision to build the Colosseum on the site of Nero's lake can also be seen as a populist gesture of returning to the people an area of the city which Nero had appropriated for his own use. In contrast to many other amphitheatres, which were located on the outskirts of a city, the Colosseum was constructed in the city centre; in effect, placing it both literally and symbolically at the heart of Rome.
The Colosseum had been completed up to the third story by the time of Vespasian's death in 79. The top level was finished and the building inaugurated by his son, Titus, in 80.[3] Dio Cassius recounts that over 9,000 wild animals were killed during the inaugural games of the amphitheatre. The building was remodelled further under Vespasian's younger son, the newly designated Emperor Domitian, who constructed the hypogeum, a series of underground tunnels used to house animals and slaves. He also added a gallery to the top of the Colosseum to increase its seating capacity.
In 217, the Colosseum was badly damaged by a major fire (caused by lightning, according to Dio Cassius[13]) which destroyed the wooden upper levels of the amphitheatre's interior. It was not fully repaired until about 240 and underwent further repairs in 250 or 252 and again in 320. An inscription records the restoration of various parts of the Colosseum under Theodosius II and Valentinian III (reigned 425–455), possibly to repair damage caused by a major earthquake in 443; more work followed in 484[14] and 508. The arena continued to be used for contests well into the 6th century, with gladiatorial fights last mentioned around 435. Animal hunts continued until at least 523, when Anicius Maximus celebrated his consulship with some venationes, criticised by King Theodoric the Great for their high cost.
The Colosseum underwent several radical changes of use during the medieval period. By the late 6th century a small church had been built into the structure of the amphitheatre, though this apparently did not confer any particular religious significance on the building as a whole. The arena was converted into a cemetery. The numerous vaulted spaces in the arcades under the seating were converted into housing and workshops, and are recorded as still being rented out as late as the 12th century. Around 1200 the Frangipani family took over the Colosseum and fortified it, apparently using it as a castle.
Severe damage was inflicted on the Colosseum by the great earthquake in 1349, causing the outer south side, lying on a less stable alluvional terrain, to collapse. Much of the tumbled stone was reused to build palaces, churches, hospitals and other buildings elsewhere in Rome. A religious order moved into the northern third of the Colosseum in the mid-14th century and continued to inhabit it until as late as the early 19th century. The interior of the amphitheatre was extensively stripped of stone, which was reused elsewhere, or (in the case of the marble façade) was burned to make quicklime.[12] The bronze clamps which held the stonework together were pried or hacked out of the walls, leaving numerous pockmarks which still scar the building today.
During the 16th and 17th century, Church officials sought a productive role for the vast derelict hulk of the Colosseum. Pope Sixtus V (1585–1590) planned to turn the building into a wool factory to provide employment for Rome's prostitutes, though this proposal fell through with his premature death.[15] In 1671 Cardinal Altieri authorized its use for bullfights; a public outcry caused the idea to be hastily abandoned.
In 1749, Pope Benedict XIV endorsed as official Church policy the view that the Colosseum was a sacred site where early Christians had been martyred. He forbade the use of the Colosseum as a quarry and consecrated the building to the Passion of Christ and installed Stations of the Cross, declaring it sanctified by the blood of the Christian martyrs who perished there (see Christians and the Colosseum). However there is no historical evidence to support Benedict's claim, nor is there even any evidence that anyone prior to the 16th century suggested this might be the case; the Catholic Encyclopedia concludes that there are no historical grounds for the supposition. Later popes initiated various stabilization and restoration projects, removing the extensive vegetation which had overgrown the structure and threatened to damage it further. The façade was reinforced with triangular brick wedges in 1807 and 1827, and the interior was repaired in 1831, 1846 and in the 1930s. The arena substructure was partly excavated in 1810–1814 and 1874 and was fully exposed under Benito Mussolini in the 1930s.
The Colosseum is today one of Rome's most popular tourist attractions, receiving millions of visitors annually. The effects of pollution and general deterioration over time prompted a major restoration programme carried out between 1993 and 2000, at a cost of 40 billion Italian lire ($19.3m / €20.6m at 2000 prices). In recent years it has become a symbol of the international campaign against capital punishment, which was abolished in Italy in 1948. Several anti–death penalty demonstrations took place in front of the Colosseum in 2000. Since that time, as a gesture against the death penalty, the local authorities of Rome change the color of the Colosseum's night time illumination from white to gold whenever a person condemned to the death penalty anywhere in the world gets their sentence commuted or is released,[16] or if a jurisdiction abolishes the death penalty. Most recently, the Colosseum was illuminated in gold when capital punishment was abolished in the American state of New Mexico in April 2009.
Because of the ruined state of the interior, it is impractical to use the Colosseum to host large events; only a few hundred spectators can be accommodated in temporary seating. However, much larger concerts have been held just outside, using the Colosseum as a backdrop. Performers who have played at the Colosseum in recent years have included Ray Charles (May 2002),[18] Paul McCartney (May 2003),[19] Elton John (September 2005),[20] and Billy Joel (July 2006).
Exterior
Unlike earlier Greek theatres that were built into hillsides, the Colosseum is an entirely free-standing structure. It derives its basic exterior and interior architecture from that of two Roman theatres back to back. It is elliptical in plan and is 189 meters (615 ft / 640 Roman feet) long, and 156 meters (510 ft / 528 Roman feet) wide, with a base area of 6 acres (24,000 m2). The height of the outer wall is 48 meters (157 ft / 165 Roman feet). The perimeter originally measured 545 meters (1,788 ft / 1,835 Roman feet). The central arena is an oval 87 m (287 ft) long and 55 m (180 ft) wide, surrounded by a wall 5 m (15 ft) high, above which rose tiers of seating.
The outer wall is estimated to have required over 100,000 cubic meters (131,000 cu yd) of travertine stone which were set without mortar held together by 300 tons of iron clamps.[12] However, it has suffered extensive damage over the centuries, with large segments having collapsed following earthquakes. The north side of the perimeter wall is still standing; the distinctive triangular brick wedges at each end are modern additions, having been constructed in the early 19th century to shore up the wall. The remainder of the present-day exterior of the Colosseum is in fact the original interior wall.
The surviving part of the outer wall's monumental façade comprises three stories of superimposed arcades surmounted by a podium on which stands a tall attic, both of which are pierced by windows interspersed at regular intervals. The arcades are framed by half-columns of the Tuscan, Ionic, and Corinthian orders, while the attic is decorated with Corinthian pilasters.[21] Each of the arches in the second- and third-floor arcades framed statues, probably honoring divinities and other figures from Classical mythology.
Two hundred and forty mast corbels were positioned around the top of the attic. They originally supported a retractable awning, known as the velarium, that kept the sun and rain off spectators. This consisted of a canvas-covered, net-like structure made of ropes, with a hole in the center.[3] It covered two-thirds of the arena, and sloped down towards the center to catch the wind and provide a breeze for the audience. Sailors, specially enlisted from the Roman naval headquarters at Misenum and housed in the nearby Castra Misenatium, were used to work the velarium.[22]
The Colosseum's huge crowd capacity made it essential that the venue could be filled or evacuated quickly. Its architects adopted solutions very similar to those used in modern stadiums to deal with the same problem. The amphitheatre was ringed by eighty entrances at ground level, 76 of which were used by ordinary spectators.[3] Each entrance and exit was numbered, as was each staircase. The northern main entrance was reserved for the Roman Emperor and his aides, whilst the other three axial entrances were most likely used by the elite. All four axial entrances were richly decorated with painted stucco reliefs, of which fragments survive. Many of the original outer entrances have disappeared with the collapse of the perimeter wall, but entrances XXIII (23) to LIV (54) still survive.[12]
Spectators were given tickets in the form of numbered pottery shards, which directed them to the appropriate section and row. They accessed their seats via vomitoria (singular vomitorium), passageways that opened into a tier of seats from below or behind. These quickly dispersed people into their seats and, upon conclusion of the event or in an emergency evacuation, could permit their exit within only a few minutes. The name vomitoria derived from the Latin word for a rapid discharge, from which English derives the word vomit.
Interior
According to the Codex-Calendar of 354, the Colosseum could accommodate 87,000 people, although modern estimates put the figure at around 50,000. They were seated in a tiered arrangement that reflected the rigidly stratified nature of Roman society. Special boxes were provided at the north and south ends respectively for the Emperor and the Vestal Virgins, providing the best views of the arena. Flanking them at the same level was a broad platform or podium for the senatorial class, who were allowed to bring their own chairs. The names of some 5th century senators can still be seen carved into the stonework, presumably reserving areas for their use.
The tier above the senators, known as the maenianum primum, was occupied by the non-senatorial noble class or knights (equites). The next level up, the maenianum secundum, was originally reserved for ordinary Roman citizens (plebians) and was divided into two sections. The lower part (the immum) was for wealthy citizens, while the upper part (the summum) was for poor citizens. Specific sectors were provided for other social groups: for instance, boys with their tutors, soldiers on leave, foreign dignitaries, scribes, heralds, priests and so on. Stone (and later marble) seating was provided for the citizens and nobles, who presumably would have brought their own cushions with them. Inscriptions identified the areas reserved for specific groups.
Another level, the maenianum secundum in legneis, was added at the very top of the building during the reign of Domitian. This comprised a gallery for the common poor, slaves and women. It would have been either standing room only, or would have had very steep wooden benches. Some groups were banned altogether from the Colosseum, notably gravediggers, actors and former gladiators.
Each tier was divided into sections (maeniana) by curved passages and low walls (praecinctiones or baltei), and were subdivided into cunei, or wedges, by the steps and aisles from the vomitoria. Each row (gradus) of seats was numbered, permitting each individual seat to be exactly designated by its gradus, cuneus, and number.
The arena itself was 83 meters by 48 meters (272 ft by 157 ft / 280 by 163 Roman feet).[12] It comprised a wooden floor covered by sand (the Latin word for sand is harena or arena), covering an elaborate underground structure called the hypogeum (literally meaning "underground"). Little now remains of the original arena floor, but the hypogeum is still clearly visible. It consisted of a two-level subterranean network of tunnels and cages beneath the arena where gladiators and animals were held before contests began. Eighty vertical shafts provided instant access to the arena for caged animals and scenery pieces concealed underneath; larger hinged platforms, called hegmata, provided access for elephants and the like. It was restructured on numerous occasions; at least twelve different phases of construction can be seen.[12]
The hypogeum was connected by underground tunnels to a number of points outside the Colosseum. Animals and performers were brought through the tunnel from nearby stables, with the gladiators' barracks at the Ludus Magnus to the east also being connected by tunnels. Separate tunnels were provided for the Emperor and the Vestal Virgins to permit them to enter and exit the Colosseum without needing to pass through the crowds.[12]
Substantial quantities of machinery also existed in the hypogeum. Elevators and pulleys raised and lowered scenery and props, as well as lifting caged animals to the surface for release. There is evidence for the existence of major hydraulic mechanisms[12] and according to ancient accounts, it was possible to flood the arena rapidly, presumably via a connection to a nearby aqueduct.
The Colosseum and its activities supported a substantial industry in the area. In addition to the amphitheatre itself, many other buildings nearby were linked to the games. Immediately to the east is the remains of the Ludus Magnus, a training school for gladiators. This was connected to the Colosseum by an underground passage, to allow easy access for the gladiators. The Ludus Magnus had its own miniature training arena, which was itself a popular attraction for Roman spectators. Other training schools were in the same area, including the Ludus Matutinus (Morning School), where fighters of animals were trained, plus the Dacian and Gallic Schools.
Also nearby were the Armamentarium, comprising an armory to store weapons; the Summum Choragium, where machinery was stored; the Sanitarium, which had facilities to treat wounded gladiators; and the Spoliarium, where bodies of dead gladiators were stripped of their armor and disposed of.
Around the perimeter of the Colosseum, at a distance of 18 m (59 ft) from the perimeter, was a series of tall stone posts, with five remaining on the eastern side. Various explanations have been advanced for their presence; they may have been a religious boundary, or an outer boundary for ticket checks, or an anchor for the velarium or awning.
Right next to the Colosseum is also the Arch of Constantine.
he Colosseum was used to host gladiatorial shows as well as a variety of other events. The shows, called munera, were always given by private individuals rather than the state. They had a strong religious element but were also demonstrations of power and family prestige, and were immensely popular with the population. Another popular type of show was the animal hunt, or venatio. This utilized a great variety of wild beasts, mainly imported from Africa and the Middle East, and included creatures such as rhinoceros, hippopotamuses, elephants, giraffes, aurochs, wisents, barbary lions, panthers, leopards, bears, caspian tigers, crocodiles and ostriches. Battles and hunts were often staged amid elaborate sets with movable trees and buildings. Such events were occasionally on a huge scale; Trajan is said to have celebrated his victories in Dacia in 107 with contests involving 11,000 animals and 10,000 gladiators over the course of 123 days.
During the early days of the Colosseum, ancient writers recorded that the building was used for naumachiae (more properly known as navalia proelia) or simulated sea battles. Accounts of the inaugural games held by Titus in AD 80 describe it being filled with water for a display of specially trained swimming horses and bulls. There is also an account of a re-enactment of a famous sea battle between the Corcyrean (Corfiot) Greeks and the Corinthians. This has been the subject of some debate among historians; although providing the water would not have been a problem, it is unclear how the arena could have been waterproofed, nor would there have been enough space in the arena for the warships to move around. It has been suggested that the reports either have the location wrong, or that the Colosseum originally featured a wide floodable channel down its central axis (which would later have been replaced by the hypogeum).[12]
Sylvae or recreations of natural scenes were also held in the arena. Painters, technicians and architects would construct a simulation of a forest with real trees and bushes planted in the arena's floor. Animals would be introduced to populate the scene for the delight of the crowd. Such scenes might be used simply to display a natural environment for the urban population, or could otherwise be used as the backdrop for hunts or dramas depicting episodes from mythology. They were also occasionally used for executions in which the hero of the story — played by a condemned person — was killed in one of various gruesome but mythologically authentic ways, such as being mauled by beasts or burned to death.
The Colosseum today is now a major tourist attraction in Rome with thousands of tourists each year paying to view the interior arena, though entrance for EU citizens is partially subsidised, and under-18 and over-65 EU citizens' entrances are free.[24] There is now a museum dedicated to Eros located in the upper floor of the outer wall of the building. Part of the arena floor has been re-floored. Beneath the Colosseum, a network of subterranean passageways once used to transport wild animals and gladiators to the arena opened to the public in summer 2010.[25]
The Colosseum is also the site of Roman Catholic ceremonies in the 20th and 21st centuries. For instance, Pope Benedict XVI leads the Stations of the Cross called the Scriptural Way of the Cross (which calls for more meditation) at the Colosseum[26][27] on Good Fridays.
In the Middle Ages, the Colosseum was clearly not regarded as a sacred site. Its use as a fortress and then a quarry demonstrates how little spiritual importance was attached to it, at a time when sites associated with martyrs were highly venerated. It was not included in the itineraries compiled for the use of pilgrims nor in works such as the 12th century Mirabilia Urbis Romae ("Marvels of the City of Rome"), which claims the Circus Flaminius — but not the Colosseum — as the site of martyrdoms. Part of the structure was inhabited by a Christian order, but apparently not for any particular religious reason.
It appears to have been only in the 16th and 17th centuries that the Colosseum came to be regarded as a Christian site. Pope Pius V (1566–1572) is said to have recommended that pilgrims gather sand from the arena of the Colosseum to serve as a relic, on the grounds that it was impregnated with the blood of martyrs. This seems to have been a minority view until it was popularised nearly a century later by Fioravante Martinelli, who listed the Colosseum at the head of a list of places sacred to the martyrs in his 1653 book Roma ex ethnica sacra.
Martinelli's book evidently had an effect on public opinion; in response to Cardinal Altieri's proposal some years later to turn the Colosseum into a bullring, Carlo Tomassi published a pamphlet in protest against what he regarded as an act of desecration. The ensuing controversy persuaded Pope Clement X to close the Colosseum's external arcades and declare it a sanctuary, though quarrying continued for some time.
At the instance of St. Leonard of Port Maurice, Pope Benedict XIV (1740–1758) forbade the quarrying of the Colosseum and erected Stations of the Cross around the arena, which remained until February 1874. St. Benedict Joseph Labre spent the later years of his life within the walls of the Colosseum, living on alms, prior to his death in 1783. Several 19th century popes funded repair and restoration work on the Colosseum, and it still retains a Christian connection today. Crosses stand in several points around the arena and every Good Friday the Pope leads a Via Crucis procession to the amphitheatre.
Coliseu (Colosseo)
A seguir, um texto, em português, da Wikipédia, a enciclopédia livre:
O Coliseu, também conhecido como Anfiteatro Flaviano, deve seu nome à expressão latina Colosseum (ou Coliseus, no latim tardio), devido à estátua colossal de Nero, que ficava perto a edificação. Localizado no centro de Roma, é uma excepção de entre os anfiteatros pelo seu volume e relevo arquitectónico. Originalmente capaz de albergar perto de 50 000 pessoas, e com 48 metros de altura, era usado para variados espetáculos. Foi construído a leste do fórum romano e demorou entre 8 a 10 anos a ser construído.
O Coliseu foi utilizado durante aproximadamente 500 anos, tendo sido o último registro efetuado no século VI da nossa era, bastante depois da queda de Roma em 476. O edifício deixou de ser usado para entretenimento no começo da era medieval, mas foi mais tarde usado como habitação, oficina, forte, pedreira, sede de ordens religiosas e templo cristão.
Embora esteja agora em ruínas devido a terremotos e pilhagens, o Coliseu sempre foi visto como símbolo do Império Romano, sendo um dos melhores exemplos da sua arquitectura. Actualmente é uma das maiores atrações turísticas em Roma e em 7 de julho de 2007 foi eleita umas das "Sete maravilhas do mundo moderno". Além disso, o Coliseu ainda tem ligações à igreja, com o Papa a liderar a procissão da Via Sacra até ao Coliseu todas as Sextas-feiras Santas.
O coliseu era um local onde seriam exibidos toda uma série de espectáculos, inseridos nos vários tipos de jogos realizados na urbe. Os combates entre gladiadores, chamados muneras, eram sempre pagos por pessoas individuais em busca de prestígio e poder em vez do estado. A arena (87,5 m por 55 m) possuía um piso de madeira, normalmente coberto de areia para absorver o sangue dos combates (certa vez foi colocada água na representação de uma batalha naval), sob o qual existia um nível subterrâneo com celas e jaulas que tinham acessos diretos para a arena; Alguns detalhes dessa construção, como a cobertura removível que poupava os espectadores do sol, são bastante interessantes, e mostram o refinamento atingido pelos construtores romanos. Formado por cinco anéis concêntricos de arcos e abóbadas, o Coliseu representa bem o avanço introduzido pelos romanos à engenharia de estruturas. Esses arcos são de concreto (de cimento natural) revestidos por alvenaria. Na verdade, a alvenaria era construída simultaneamente e já servia de forma para a concretagem. Outro tipo de espetáculos era a caça de animais, ou venatio, onde eram utilizados animais selvagens importados de África. Os animais mais utilizados eram os grandes felinos como leões, leopardos e panteras, mas animais como rinocerontes, hipopótamos, elefantes, girafas, crocodilos e avestruzes eram também utilizados. As caçadas, tal como as representações de batalhas famosas, eram efetuadas em elaborados cenários onde constavam árvores e edifícios amovíveis.
Estas últimas eram por vezes representadas numa escala gigante; Trajano celebrou a sua vitória em Dácia no ano 107 com concursos envolvendo 11 000 animais e 10 000 gladiadores no decorrer de 123 dias.
Segundo o documentário produzido pelo canal televisivo fechado, History Channel, o Coliseu também era utilizado para a realização de naumaquias, ou batalhas navais. O coliseu era inundado por dutos subterrâneos alimentados pelos aquedutos que traziam água de longe. Passada esta fase, foi construída uma estrutura, que é a que podemos ver hoje nas ruínas do Coliseu, com altura de um prédio de dois andares, onde no passado se concentravam os gladiadores, feras e todo o pessoal que organizava os duelos que ocorreriam na arena. A arena era como um grande palco, feito de madeira, e se chama arena, que em italiano significa areia, porque era jogada areia sob a estrutura de madeira para esconder as imperfeições. Os animais podiam ser inseridos nos duelos a qualquer momento por um esquema de elevadores que surgiam em alguns pontos da arena; o filme "Gladiador" retrata muito bem esta questão dos elevadores. Os estudiosos, há pouco tempo, descobriram uma rede de dutos inundados por baixo da arena do Coliseu. Acredita-se que o Coliseu foi construído onde, outrora, foi o lago do Palácio Dourado de Nero; O imperador Vespasiano escolheu o local da construção para que o mal causado por Nero fosse esquecido por uma construção gloriosa.
Sylvae, ou recreações de cenas naturais eram também realizadas no Coliseu. Pintores, técnicos e arquitectos construiriam simulações de florestas com árvores e arbustos reais plantados no chão da arena. Animais seriam então introduzidos para dar vida à simulação. Esses cenários podiam servir só para agrado do público ou como pano de fundo para caçadas ou dramas representando episódios da mitologia romana, tão autênticos quanto possível, ao ponto de pessoas condenadas fazerem o papel de heróis onde eram mortos de maneiras horríveis mas mitologicamente autênticas, como mutilados por animais ou queimados vivos.
Embora o Coliseu tenha funcionado até ao século VI da nossa Era, foram proibidos os jogos com mortes humanas desde 404, sendo apenas massacrados animais como elefantes, panteras ou leões.
O Coliseu era sobretudo um enorme instrumento de propaganda e difusão da filosofia de toda uma civilização, e tal como era já profetizado pelo monge e historiador inglês Beda na sua obra do século VII "De temporibus liber": "Enquanto o Coliseu se mantiver de pé, Roma permanecerá; quando o Coliseu ruir, Roma ruirá e quando Roma cair, o mundo cairá".
A construção do Coliseu foi iniciada por Vespasiano, nos anos 70 da nossa era. O edifício foi inaugurado por Tito, em 80, embora apenas tivesse sido finalizado poucos anos depois. Empresa colossal, este edifício, inicialmente, poderia sustentar no seu interior cerca de 50 000 espectadores, constando de três andares. Aquando do reinado de Alexandre Severo e Gordiano III, é ampliado com um quarto andar, podendo suster agora cerca de 90 000 espectadores. A grandiosidade deste monumento testemunha verdadeiramente o poder e esplendor de Roma na época dos Flávios.
Os jogos inaugurais do Coliseu tiveram lugar ano 80, sob o mandato de Tito, para celebrar a finalização da construção. Depois do curto reinado de Tito começar com vários meses de desastres, incluindo a erupção do Monte Vesúvio, um incêndio em Roma, e um surto de peste, o mesmo imperador inaugurou o edifício com uns jogos pródigos que duraram mais de cem dias, talvez para tentar apaziguar o público romano e os deuses. Nesses jogos de cem dias terão ocorrido combates de gladiadores, venationes (lutas de animais), execuções, batalhas navais, caçadas e outros divertimentos numa escala sem precedentes.
O Coliseu, como não se encontrava inserido numa zona de encosta, enterrado, tal como normalmente sucede com a generalidade dos teatros e anfiteatros romanos, possuía um “anel” artificial de rocha à sua volta, para garantir sustentação e, ao mesmo tempo, esta substrutura serve como ornamento ao edifício e como condicionador da entrada dos espectadores. Tal como foi referido anteriormente, possuía três pisos, sendo mais tarde adicionado um outro. É construído em mármore, pedra travertina, ladrilho e tufo (pedra calcária com grandes poros). A sua planta elíptica mede dois eixos que se estendem aproximadamente de 190 m por 155 m. A fachada compõe-se de arcadas decoradas com colunas dóricas, jónicas e coríntias, de acordo com o pavimento em que se encontravam. Esta subdivisão deve-se ao facto de ser uma construção essencialmente vertical, criando assim uma diversificação do espaço.
Os assentos eram em mármore e a cavea, escadaria ou arquibancada, dividia-se em três partes, correspondentes às diferentes classes sociais: o podium, para as classes altas; as maeniana, sector destinado à classe média; e os portici, ou pórticos, construídos em madeira, para a plebe e as mulheres. O pulvinar, a tribuna imperial, encontrava-se situada no podium e era balizada pelos assentos reservados aos senadores e magistrados. Rampas no interior do edifício facilitavam o acesso às várias zonas de onde podiam visualizar o espectáculo, sendo protegidos por uma barreira e por uma série de arqueiros posicionados numa passagem de madeira, para o caso de algum acidente. Por cima dos muros ainda são visíveis as mísulas, que sustentavam o velarium, enorme cobertura de lona destinada a proteger do sol os espectadores e, nos subterrâneos, ficavam as jaulas dos animais, bem como todas as celas e galerias necessárias aos serviços do anfiteatro.
O monumento permaneceu como sede principal dos espetáculos da urbe romana até ao período do imperador Honorius, no século V. Danificado por um terremoto no começo do mesmo século, foi alvo de uma extensiva restauração na época de Valentinianus III. Em meados do século XIII, a família Frangipani transformou-o em fortaleza e, ao longo dos séculos XV e XVI, foi por diversas vezes saqueado, perdendo grande parte dos materiais nobres com os quais tinha sido construído.
Os relatos romanos referem-se a cristãos sendo martirizados em locais de Roma descritos pouco pormenorizadamente (no anfiteatro, na arena...), quando Roma tinha numerosos anfiteatros e arenas. Apesar de muito provavelmente o Coliseu não ter sido utilizado para martírios, o Papa Bento XIV consagrou-o no século XVII à Paixão de Cristo e declarou-o lugar sagrado. Os trabalhos de consolidação e restauração parcial do monumento, já há muito em ruínas, foram feitos sobretudo pelos pontífices Gregório XVI e Pio IX, no século XIX.
[ENG] The Garden El Capricho is one of the most beautiful parks of Madrid. It was created on 1784 when the Dukes of Osuna acquire this estate for his playtime. The duchess dona Maria Josefa de la Soledad Alonso Pimentel was the principal promoter of this park, who worked in the artists and set designers gardeners most prestigious. To his death it entered in a period of decadence, it was acquired in auction by the family Baüer, and little by little his belongings were sold. During the Civil war it turned into Headquarters of the Army of the Center. In 1974 the Town hall of Madrid bought the park and after several years of abandon, was recovered in 1999, and successively restored.
More pictures on the "El Capricho" Garden album
[ESP] El jardín El Capricho es los parques más bellos de Madrid. Se creó sobre 1784 cuando los Duques de Osuna adquieren esta finca para su recreo. La duquesa doña María Josefa de la Soledad Alonso Pimentel fue la principal impulsora de este parque, en el que trabajaron los artistas, jardineros y escenógrafos de más prestigio. A su muerte entró en un período de decadencia, fue adquirido en subasta por la familia Baüer, y poco a poco fueron vendiéndose sus pertenencias. Durante la Guerra Civil se convirtió en Cuartel General del Ejército del Centro. En 1974 el Ayuntamiento de Madrid compró el parque y tras varios años de abandono, fue recuperado en 1999, y sucesivamente restaurado.
Más fotografías en el álbum Jardín "El Capricho", Madrid
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Spanish
El Cementerio de la Recoleta es un famoso cementerio ubicado en el distinguido barrio de la Recoleta de la Ciudad Autónoma de Buenos Aires, Argentina diseñado por Próspero Catelin1 y en donde se encuentran sepultadas el mayor número de personalidades del país.
Historia
Acceso Principal al Cementerio de la Recoleta, vista desde el interior.
Los frailes de la orden de los recoletos descalzos llegaron a esta zona, entonces en las afueras de Buenos Aires, a principios del siglo XVIII. Construyeron en el lugar un convento y una iglesia, en 1732, que colocaron bajo la advocación de la Virgen del Pilar. Actualmente la Basílica de Nuestra Señora del Pilar es un Monumento Histórico Nacional. Los lugareños terminaron denominando a la iglesia de los recoletos en simplemente la Recoleta, nombre que se extendió a toda la zona. Cuando la orden fue disuelta en 1822, el 17 de noviembre1 de ese año, la huerta del convento fue convertida en el primer cementerio público de la Ciudad de Buenos Aires. Los responsables de su creación fueron el entonces gobernador de la provincia de Buenos Aires Martín Rodríguez (sus restos descansan en el Cementerio) y su ministro de Gobierno, Bernardino Rivadavia.
Sus dos primeros moradores fueron el niño negro liberto Juan Benito y la joven María Dolores Maciel.
Durante la década de 1870, como consecuencia de la epidemia de fiebre amarilla que asoló la ciudad, muchos porteños de clase alta abandonaron los barrios de San Telmo y Montserrat y se mudaron a la parte norte de la ciudad, a Recoleta. Al convertirse en barrio de clase alta, el cementerio se convirtió en el último reposo de las familias de mayor prestigio y poder de Buenos Aires. Al mismo tiempo se inauguraba el Cementerio de la Chacarita o Cementerio del Oeste, por oposición al Cementerio del Norte nombre menos común que recibe la Recoleta.
En el ingreso al cementerio hay tres fechas grabadas sobre el piso: 1822 (año de su creación), 1881 (fecha de su primera remodelación) y 2003 (tercera remodelación).
English
La Recoleta Cemetery (Spanish: Cementerio de la Recoleta) is a cemetery located in the Recoleta neighbourhood of Buenos Aires, Argentina. It contains the graves of notable people, including Eva Perón, presidents of Argentina, Nobel Prize winners, the founder of the Argentine Navy and a granddaughter of Napoleon. In 2011, the BBC hailed it as one of the world's best cemeteries, and in 2013, CNN listed it among the 10 most beautiful cemeteries in the world.
History
The monks of the Order of the Recoletos arrived in this area, then the outskirts of Buenos Aires, in the early eighteenth century. The cemetery is built around their convent and a church, Our Lady of Pilar (Iglesia de Nuestra Señora del Pilar), built in 1732. The order was disbanded in 1822, and the garden of the convent was converted into the first public cemetery in Buenos Aires. Inaugurated on 17 November of the same year under the name of Cementerio del Norte (Northern Cemetery), those responsible for its creation were the then-Governor Martin Rodríguez, who would be eventually buried in the cemetery, and government minister Bernardino Rivadavia. The 1822 layout was done by French civil engineer Próspero Catelin, who also designed the current facade of the Buenos Aires Metropolitan Cathedral. The cemetery was last remodeled in 1881, while Torcuato de Alvear was mayor of the city, by the Italian architect Juan Antonio Buschiazzo.
Wikipedia
Situata di fronte al Naviglio Grande, la villa Visconti-Castiglioni-Maineri occupa il lato orientale del canale ed appare nel suo prestigio, colorata del giallo della Milano settecentesca e neoclassica. E’ un modello di palazzo di città, compatto e chiuso, che si presenta con una pianta ad H.
Già frequentata nel '700 come sede di villeggiatura signorile dalla nobiltà milanese, Cassinetta di Lugagnano si trova a 3 km da Abbiategrasso lungo il Naviglio Grande.
Il patrimonio storico di Cassinetta di Lugagnano è costituito dalle ville aristocratiche legate ai nomi delle grandi famiglie milanesi. Queste “case da nobile” costituivano per i proprietari i punti di riferimento per effettuare periodici controlli sulla gestione dei terreni da parte dei fittavoli ma, poiché la zona possedeva pregevoli attrattive ambientali, erano usate anche come residenza per lo svago ed il riposo.
Almost opposite of the Naviglio Grande the villa Visconti-Castiglioni-Maineri occupies the eastern side of the channel and appears in its prestige, the yellow color of the eighteenth-century neoclassical city of Milan. It 's a model of city palace, compact and closed, with a H plant. Already popular in the ‘700 as the site of stately homes by the milanese nobility, Cassinetta di Lugagnano is located 3 km from Abbiategrasso along the Naviglio Grande.
The historical legacy of Cassinetta di Lugagnano consists of the aristocratic villas linked to the names of the great families in Milan. These "noble houses" were for the owners points of reference for carrying out periodic checks on the management of land cultivated
by the tenants but, cause the area had valuable environmental attractions, they were also used as a residence for leisure and rest.
Colosseum
Following, a text, in english, from the Wikipedia the Free Encyclopedia:
The Colosseum, or the Coliseum, originally the Flavian Amphitheatre (Latin: Amphitheatrum Flavium, Italian Anfiteatro Flavio or Colosseo), is an elliptical amphitheatre in the centre of the city of Rome, Italy, the largest ever built in the Roman Empire. It is considered one of the greatest works of Roman architecture and Roman engineering.
Occupying a site just east of the Roman Forum, its construction started between 70 and 72 AD[1] under the emperor Vespasian and was completed in 80 AD under Titus,[2] with further modifications being made during Domitian's reign (81–96).[3] The name "Amphitheatrum Flavium" derives from both Vespasian's and Titus's family name (Flavius, from the gens Flavia).
Capable of seating 50,000 spectators,[1][4][5] the Colosseum was used for gladiatorial contests and public spectacles such as mock sea battles, animal hunts, executions, re-enactments of famous battles, and dramas based on Classical mythology. The building ceased to be used for entertainment in the early medieval era. It was later reused for such purposes as housing, workshops, quarters for a religious order, a fortress, a quarry, and a Christian shrine.
Although in the 21st century it stays partially ruined because of damage caused by devastating earthquakes and stone-robbers, the Colosseum is an iconic symbol of Imperial Rome. It is one of Rome's most popular tourist attractions and still has close connections with the Roman Catholic Church, as each Good Friday the Pope leads a torchlit "Way of the Cross" procession that starts in the area around the Colosseum.[6]
The Colosseum is also depicted on the Italian version of the five-cent euro coin.
The Colosseum's original Latin name was Amphitheatrum Flavium, often anglicized as Flavian Amphitheater. The building was constructed by emperors of the Flavian dynasty, hence its original name, after the reign of Emperor Nero.[7] This name is still used in modern English, but generally the structure is better known as the Colosseum. In antiquity, Romans may have referred to the Colosseum by the unofficial name Amphitheatrum Caesareum; this name could have been strictly poetic.[8][9] This name was not exclusive to the Colosseum; Vespasian and Titus, builders of the Colosseum, also constructed an amphitheater of the same name in Puteoli (modern Pozzuoli).[10]
The name Colosseum has long been believed to be derived from a colossal statue of Nero nearby.[3] (the statue of Nero itself being named after one of the original ancient wonders, the Colossus of Rhodes[citation needed]. This statue was later remodeled by Nero's successors into the likeness of Helios (Sol) or Apollo, the sun god, by adding the appropriate solar crown. Nero's head was also replaced several times with the heads of succeeding emperors. Despite its pagan links, the statue remained standing well into the medieval era and was credited with magical powers. It came to be seen as an iconic symbol of the permanence of Rome.
In the 8th century, a famous epigram attributed to the Venerable Bede celebrated the symbolic significance of the statue in a prophecy that is variously quoted: Quamdiu stat Colisæus, stat et Roma; quando cadet colisæus, cadet et Roma; quando cadet Roma, cadet et mundus ("as long as the Colossus stands, so shall Rome; when the Colossus falls, Rome shall fall; when Rome falls, so falls the world").[11] This is often mistranslated to refer to the Colosseum rather than the Colossus (as in, for instance, Byron's poem Childe Harold's Pilgrimage). However, at the time that the Pseudo-Bede wrote, the masculine noun coliseus was applied to the statue rather than to what was still known as the Flavian amphitheatre.
The Colossus did eventually fall, possibly being pulled down to reuse its bronze. By the year 1000 the name "Colosseum" had been coined to refer to the amphitheatre. The statue itself was largely forgotten and only its base survives, situated between the Colosseum and the nearby Temple of Venus and Roma.[12]
The name further evolved to Coliseum during the Middle Ages. In Italy, the amphitheatre is still known as il Colosseo, and other Romance languages have come to use similar forms such as le Colisée (French), el Coliseo (Spanish) and o Coliseu (Portuguese).
Construction of the Colosseum began under the rule of the Emperor Vespasian[3] in around 70–72AD. The site chosen was a flat area on the floor of a low valley between the Caelian, Esquiline and Palatine Hills, through which a canalised stream ran. By the 2nd century BC the area was densely inhabited. It was devastated by the Great Fire of Rome in AD 64, following which Nero seized much of the area to add to his personal domain. He built the grandiose Domus Aurea on the site, in front of which he created an artificial lake surrounded by pavilions, gardens and porticoes. The existing Aqua Claudia aqueduct was extended to supply water to the area and the gigantic bronze Colossus of Nero was set up nearby at the entrance to the Domus Aurea.[12]
Although the Colossus was preserved, much of the Domus Aurea was torn down. The lake was filled in and the land reused as the location for the new Flavian Amphitheatre. Gladiatorial schools and other support buildings were constructed nearby within the former grounds of the Domus Aurea. According to a reconstructed inscription found on the site, "the emperor Vespasian ordered this new amphitheatre to be erected from his general's share of the booty." This is thought to refer to the vast quantity of treasure seized by the Romans following their victory in the Great Jewish Revolt in 70AD. The Colosseum can be thus interpreted as a great triumphal monument built in the Roman tradition of celebrating great victories[12], placating the Roman people instead of returning soldiers. Vespasian's decision to build the Colosseum on the site of Nero's lake can also be seen as a populist gesture of returning to the people an area of the city which Nero had appropriated for his own use. In contrast to many other amphitheatres, which were located on the outskirts of a city, the Colosseum was constructed in the city centre; in effect, placing it both literally and symbolically at the heart of Rome.
The Colosseum had been completed up to the third story by the time of Vespasian's death in 79. The top level was finished and the building inaugurated by his son, Titus, in 80.[3] Dio Cassius recounts that over 9,000 wild animals were killed during the inaugural games of the amphitheatre. The building was remodelled further under Vespasian's younger son, the newly designated Emperor Domitian, who constructed the hypogeum, a series of underground tunnels used to house animals and slaves. He also added a gallery to the top of the Colosseum to increase its seating capacity.
In 217, the Colosseum was badly damaged by a major fire (caused by lightning, according to Dio Cassius[13]) which destroyed the wooden upper levels of the amphitheatre's interior. It was not fully repaired until about 240 and underwent further repairs in 250 or 252 and again in 320. An inscription records the restoration of various parts of the Colosseum under Theodosius II and Valentinian III (reigned 425–455), possibly to repair damage caused by a major earthquake in 443; more work followed in 484[14] and 508. The arena continued to be used for contests well into the 6th century, with gladiatorial fights last mentioned around 435. Animal hunts continued until at least 523, when Anicius Maximus celebrated his consulship with some venationes, criticised by King Theodoric the Great for their high cost.
The Colosseum underwent several radical changes of use during the medieval period. By the late 6th century a small church had been built into the structure of the amphitheatre, though this apparently did not confer any particular religious significance on the building as a whole. The arena was converted into a cemetery. The numerous vaulted spaces in the arcades under the seating were converted into housing and workshops, and are recorded as still being rented out as late as the 12th century. Around 1200 the Frangipani family took over the Colosseum and fortified it, apparently using it as a castle.
Severe damage was inflicted on the Colosseum by the great earthquake in 1349, causing the outer south side, lying on a less stable alluvional terrain, to collapse. Much of the tumbled stone was reused to build palaces, churches, hospitals and other buildings elsewhere in Rome. A religious order moved into the northern third of the Colosseum in the mid-14th century and continued to inhabit it until as late as the early 19th century. The interior of the amphitheatre was extensively stripped of stone, which was reused elsewhere, or (in the case of the marble façade) was burned to make quicklime.[12] The bronze clamps which held the stonework together were pried or hacked out of the walls, leaving numerous pockmarks which still scar the building today.
During the 16th and 17th century, Church officials sought a productive role for the vast derelict hulk of the Colosseum. Pope Sixtus V (1585–1590) planned to turn the building into a wool factory to provide employment for Rome's prostitutes, though this proposal fell through with his premature death.[15] In 1671 Cardinal Altieri authorized its use for bullfights; a public outcry caused the idea to be hastily abandoned.
In 1749, Pope Benedict XIV endorsed as official Church policy the view that the Colosseum was a sacred site where early Christians had been martyred. He forbade the use of the Colosseum as a quarry and consecrated the building to the Passion of Christ and installed Stations of the Cross, declaring it sanctified by the blood of the Christian martyrs who perished there (see Christians and the Colosseum). However there is no historical evidence to support Benedict's claim, nor is there even any evidence that anyone prior to the 16th century suggested this might be the case; the Catholic Encyclopedia concludes that there are no historical grounds for the supposition. Later popes initiated various stabilization and restoration projects, removing the extensive vegetation which had overgrown the structure and threatened to damage it further. The façade was reinforced with triangular brick wedges in 1807 and 1827, and the interior was repaired in 1831, 1846 and in the 1930s. The arena substructure was partly excavated in 1810–1814 and 1874 and was fully exposed under Benito Mussolini in the 1930s.
The Colosseum is today one of Rome's most popular tourist attractions, receiving millions of visitors annually. The effects of pollution and general deterioration over time prompted a major restoration programme carried out between 1993 and 2000, at a cost of 40 billion Italian lire ($19.3m / €20.6m at 2000 prices). In recent years it has become a symbol of the international campaign against capital punishment, which was abolished in Italy in 1948. Several anti–death penalty demonstrations took place in front of the Colosseum in 2000. Since that time, as a gesture against the death penalty, the local authorities of Rome change the color of the Colosseum's night time illumination from white to gold whenever a person condemned to the death penalty anywhere in the world gets their sentence commuted or is released,[16] or if a jurisdiction abolishes the death penalty. Most recently, the Colosseum was illuminated in gold when capital punishment was abolished in the American state of New Mexico in April 2009.
Because of the ruined state of the interior, it is impractical to use the Colosseum to host large events; only a few hundred spectators can be accommodated in temporary seating. However, much larger concerts have been held just outside, using the Colosseum as a backdrop. Performers who have played at the Colosseum in recent years have included Ray Charles (May 2002),[18] Paul McCartney (May 2003),[19] Elton John (September 2005),[20] and Billy Joel (July 2006).
Exterior
Unlike earlier Greek theatres that were built into hillsides, the Colosseum is an entirely free-standing structure. It derives its basic exterior and interior architecture from that of two Roman theatres back to back. It is elliptical in plan and is 189 meters (615 ft / 640 Roman feet) long, and 156 meters (510 ft / 528 Roman feet) wide, with a base area of 6 acres (24,000 m2). The height of the outer wall is 48 meters (157 ft / 165 Roman feet). The perimeter originally measured 545 meters (1,788 ft / 1,835 Roman feet). The central arena is an oval 87 m (287 ft) long and 55 m (180 ft) wide, surrounded by a wall 5 m (15 ft) high, above which rose tiers of seating.
The outer wall is estimated to have required over 100,000 cubic meters (131,000 cu yd) of travertine stone which were set without mortar held together by 300 tons of iron clamps.[12] However, it has suffered extensive damage over the centuries, with large segments having collapsed following earthquakes. The north side of the perimeter wall is still standing; the distinctive triangular brick wedges at each end are modern additions, having been constructed in the early 19th century to shore up the wall. The remainder of the present-day exterior of the Colosseum is in fact the original interior wall.
The surviving part of the outer wall's monumental façade comprises three stories of superimposed arcades surmounted by a podium on which stands a tall attic, both of which are pierced by windows interspersed at regular intervals. The arcades are framed by half-columns of the Tuscan, Ionic, and Corinthian orders, while the attic is decorated with Corinthian pilasters.[21] Each of the arches in the second- and third-floor arcades framed statues, probably honoring divinities and other figures from Classical mythology.
Two hundred and forty mast corbels were positioned around the top of the attic. They originally supported a retractable awning, known as the velarium, that kept the sun and rain off spectators. This consisted of a canvas-covered, net-like structure made of ropes, with a hole in the center.[3] It covered two-thirds of the arena, and sloped down towards the center to catch the wind and provide a breeze for the audience. Sailors, specially enlisted from the Roman naval headquarters at Misenum and housed in the nearby Castra Misenatium, were used to work the velarium.[22]
The Colosseum's huge crowd capacity made it essential that the venue could be filled or evacuated quickly. Its architects adopted solutions very similar to those used in modern stadiums to deal with the same problem. The amphitheatre was ringed by eighty entrances at ground level, 76 of which were used by ordinary spectators.[3] Each entrance and exit was numbered, as was each staircase. The northern main entrance was reserved for the Roman Emperor and his aides, whilst the other three axial entrances were most likely used by the elite. All four axial entrances were richly decorated with painted stucco reliefs, of which fragments survive. Many of the original outer entrances have disappeared with the collapse of the perimeter wall, but entrances XXIII (23) to LIV (54) still survive.[12]
Spectators were given tickets in the form of numbered pottery shards, which directed them to the appropriate section and row. They accessed their seats via vomitoria (singular vomitorium), passageways that opened into a tier of seats from below or behind. These quickly dispersed people into their seats and, upon conclusion of the event or in an emergency evacuation, could permit their exit within only a few minutes. The name vomitoria derived from the Latin word for a rapid discharge, from which English derives the word vomit.
Interior
According to the Codex-Calendar of 354, the Colosseum could accommodate 87,000 people, although modern estimates put the figure at around 50,000. They were seated in a tiered arrangement that reflected the rigidly stratified nature of Roman society. Special boxes were provided at the north and south ends respectively for the Emperor and the Vestal Virgins, providing the best views of the arena. Flanking them at the same level was a broad platform or podium for the senatorial class, who were allowed to bring their own chairs. The names of some 5th century senators can still be seen carved into the stonework, presumably reserving areas for their use.
The tier above the senators, known as the maenianum primum, was occupied by the non-senatorial noble class or knights (equites). The next level up, the maenianum secundum, was originally reserved for ordinary Roman citizens (plebians) and was divided into two sections. The lower part (the immum) was for wealthy citizens, while the upper part (the summum) was for poor citizens. Specific sectors were provided for other social groups: for instance, boys with their tutors, soldiers on leave, foreign dignitaries, scribes, heralds, priests and so on. Stone (and later marble) seating was provided for the citizens and nobles, who presumably would have brought their own cushions with them. Inscriptions identified the areas reserved for specific groups.
Another level, the maenianum secundum in legneis, was added at the very top of the building during the reign of Domitian. This comprised a gallery for the common poor, slaves and women. It would have been either standing room only, or would have had very steep wooden benches. Some groups were banned altogether from the Colosseum, notably gravediggers, actors and former gladiators.
Each tier was divided into sections (maeniana) by curved passages and low walls (praecinctiones or baltei), and were subdivided into cunei, or wedges, by the steps and aisles from the vomitoria. Each row (gradus) of seats was numbered, permitting each individual seat to be exactly designated by its gradus, cuneus, and number.
The arena itself was 83 meters by 48 meters (272 ft by 157 ft / 280 by 163 Roman feet).[12] It comprised a wooden floor covered by sand (the Latin word for sand is harena or arena), covering an elaborate underground structure called the hypogeum (literally meaning "underground"). Little now remains of the original arena floor, but the hypogeum is still clearly visible. It consisted of a two-level subterranean network of tunnels and cages beneath the arena where gladiators and animals were held before contests began. Eighty vertical shafts provided instant access to the arena for caged animals and scenery pieces concealed underneath; larger hinged platforms, called hegmata, provided access for elephants and the like. It was restructured on numerous occasions; at least twelve different phases of construction can be seen.[12]
The hypogeum was connected by underground tunnels to a number of points outside the Colosseum. Animals and performers were brought through the tunnel from nearby stables, with the gladiators' barracks at the Ludus Magnus to the east also being connected by tunnels. Separate tunnels were provided for the Emperor and the Vestal Virgins to permit them to enter and exit the Colosseum without needing to pass through the crowds.[12]
Substantial quantities of machinery also existed in the hypogeum. Elevators and pulleys raised and lowered scenery and props, as well as lifting caged animals to the surface for release. There is evidence for the existence of major hydraulic mechanisms[12] and according to ancient accounts, it was possible to flood the arena rapidly, presumably via a connection to a nearby aqueduct.
The Colosseum and its activities supported a substantial industry in the area. In addition to the amphitheatre itself, many other buildings nearby were linked to the games. Immediately to the east is the remains of the Ludus Magnus, a training school for gladiators. This was connected to the Colosseum by an underground passage, to allow easy access for the gladiators. The Ludus Magnus had its own miniature training arena, which was itself a popular attraction for Roman spectators. Other training schools were in the same area, including the Ludus Matutinus (Morning School), where fighters of animals were trained, plus the Dacian and Gallic Schools.
Also nearby were the Armamentarium, comprising an armory to store weapons; the Summum Choragium, where machinery was stored; the Sanitarium, which had facilities to treat wounded gladiators; and the Spoliarium, where bodies of dead gladiators were stripped of their armor and disposed of.
Around the perimeter of the Colosseum, at a distance of 18 m (59 ft) from the perimeter, was a series of tall stone posts, with five remaining on the eastern side. Various explanations have been advanced for their presence; they may have been a religious boundary, or an outer boundary for ticket checks, or an anchor for the velarium or awning.
Right next to the Colosseum is also the Arch of Constantine.
he Colosseum was used to host gladiatorial shows as well as a variety of other events. The shows, called munera, were always given by private individuals rather than the state. They had a strong religious element but were also demonstrations of power and family prestige, and were immensely popular with the population. Another popular type of show was the animal hunt, or venatio. This utilized a great variety of wild beasts, mainly imported from Africa and the Middle East, and included creatures such as rhinoceros, hippopotamuses, elephants, giraffes, aurochs, wisents, barbary lions, panthers, leopards, bears, caspian tigers, crocodiles and ostriches. Battles and hunts were often staged amid elaborate sets with movable trees and buildings. Such events were occasionally on a huge scale; Trajan is said to have celebrated his victories in Dacia in 107 with contests involving 11,000 animals and 10,000 gladiators over the course of 123 days.
During the early days of the Colosseum, ancient writers recorded that the building was used for naumachiae (more properly known as navalia proelia) or simulated sea battles. Accounts of the inaugural games held by Titus in AD 80 describe it being filled with water for a display of specially trained swimming horses and bulls. There is also an account of a re-enactment of a famous sea battle between the Corcyrean (Corfiot) Greeks and the Corinthians. This has been the subject of some debate among historians; although providing the water would not have been a problem, it is unclear how the arena could have been waterproofed, nor would there have been enough space in the arena for the warships to move around. It has been suggested that the reports either have the location wrong, or that the Colosseum originally featured a wide floodable channel down its central axis (which would later have been replaced by the hypogeum).[12]
Sylvae or recreations of natural scenes were also held in the arena. Painters, technicians and architects would construct a simulation of a forest with real trees and bushes planted in the arena's floor. Animals would be introduced to populate the scene for the delight of the crowd. Such scenes might be used simply to display a natural environment for the urban population, or could otherwise be used as the backdrop for hunts or dramas depicting episodes from mythology. They were also occasionally used for executions in which the hero of the story — played by a condemned person — was killed in one of various gruesome but mythologically authentic ways, such as being mauled by beasts or burned to death.
The Colosseum today is now a major tourist attraction in Rome with thousands of tourists each year paying to view the interior arena, though entrance for EU citizens is partially subsidised, and under-18 and over-65 EU citizens' entrances are free.[24] There is now a museum dedicated to Eros located in the upper floor of the outer wall of the building. Part of the arena floor has been re-floored. Beneath the Colosseum, a network of subterranean passageways once used to transport wild animals and gladiators to the arena opened to the public in summer 2010.[25]
The Colosseum is also the site of Roman Catholic ceremonies in the 20th and 21st centuries. For instance, Pope Benedict XVI leads the Stations of the Cross called the Scriptural Way of the Cross (which calls for more meditation) at the Colosseum[26][27] on Good Fridays.
In the Middle Ages, the Colosseum was clearly not regarded as a sacred site. Its use as a fortress and then a quarry demonstrates how little spiritual importance was attached to it, at a time when sites associated with martyrs were highly venerated. It was not included in the itineraries compiled for the use of pilgrims nor in works such as the 12th century Mirabilia Urbis Romae ("Marvels of the City of Rome"), which claims the Circus Flaminius — but not the Colosseum — as the site of martyrdoms. Part of the structure was inhabited by a Christian order, but apparently not for any particular religious reason.
It appears to have been only in the 16th and 17th centuries that the Colosseum came to be regarded as a Christian site. Pope Pius V (1566–1572) is said to have recommended that pilgrims gather sand from the arena of the Colosseum to serve as a relic, on the grounds that it was impregnated with the blood of martyrs. This seems to have been a minority view until it was popularised nearly a century later by Fioravante Martinelli, who listed the Colosseum at the head of a list of places sacred to the martyrs in his 1653 book Roma ex ethnica sacra.
Martinelli's book evidently had an effect on public opinion; in response to Cardinal Altieri's proposal some years later to turn the Colosseum into a bullring, Carlo Tomassi published a pamphlet in protest against what he regarded as an act of desecration. The ensuing controversy persuaded Pope Clement X to close the Colosseum's external arcades and declare it a sanctuary, though quarrying continued for some time.
At the instance of St. Leonard of Port Maurice, Pope Benedict XIV (1740–1758) forbade the quarrying of the Colosseum and erected Stations of the Cross around the arena, which remained until February 1874. St. Benedict Joseph Labre spent the later years of his life within the walls of the Colosseum, living on alms, prior to his death in 1783. Several 19th century popes funded repair and restoration work on the Colosseum, and it still retains a Christian connection today. Crosses stand in several points around the arena and every Good Friday the Pope leads a Via Crucis procession to the amphitheatre.
Coliseu (Colosseo)
A seguir, um texto, em português, da Wikipédia, a enciclopédia livre:
O Coliseu, também conhecido como Anfiteatro Flaviano, deve seu nome à expressão latina Colosseum (ou Coliseus, no latim tardio), devido à estátua colossal de Nero, que ficava perto a edificação. Localizado no centro de Roma, é uma excepção de entre os anfiteatros pelo seu volume e relevo arquitectónico. Originalmente capaz de albergar perto de 50 000 pessoas, e com 48 metros de altura, era usado para variados espetáculos. Foi construído a leste do fórum romano e demorou entre 8 a 10 anos a ser construído.
O Coliseu foi utilizado durante aproximadamente 500 anos, tendo sido o último registro efetuado no século VI da nossa era, bastante depois da queda de Roma em 476. O edifício deixou de ser usado para entretenimento no começo da era medieval, mas foi mais tarde usado como habitação, oficina, forte, pedreira, sede de ordens religiosas e templo cristão.
Embora esteja agora em ruínas devido a terremotos e pilhagens, o Coliseu sempre foi visto como símbolo do Império Romano, sendo um dos melhores exemplos da sua arquitectura. Actualmente é uma das maiores atrações turísticas em Roma e em 7 de julho de 2007 foi eleita umas das "Sete maravilhas do mundo moderno". Além disso, o Coliseu ainda tem ligações à igreja, com o Papa a liderar a procissão da Via Sacra até ao Coliseu todas as Sextas-feiras Santas.
O coliseu era um local onde seriam exibidos toda uma série de espectáculos, inseridos nos vários tipos de jogos realizados na urbe. Os combates entre gladiadores, chamados muneras, eram sempre pagos por pessoas individuais em busca de prestígio e poder em vez do estado. A arena (87,5 m por 55 m) possuía um piso de madeira, normalmente coberto de areia para absorver o sangue dos combates (certa vez foi colocada água na representação de uma batalha naval), sob o qual existia um nível subterrâneo com celas e jaulas que tinham acessos diretos para a arena; Alguns detalhes dessa construção, como a cobertura removível que poupava os espectadores do sol, são bastante interessantes, e mostram o refinamento atingido pelos construtores romanos. Formado por cinco anéis concêntricos de arcos e abóbadas, o Coliseu representa bem o avanço introduzido pelos romanos à engenharia de estruturas. Esses arcos são de concreto (de cimento natural) revestidos por alvenaria. Na verdade, a alvenaria era construída simultaneamente e já servia de forma para a concretagem. Outro tipo de espetáculos era a caça de animais, ou venatio, onde eram utilizados animais selvagens importados de África. Os animais mais utilizados eram os grandes felinos como leões, leopardos e panteras, mas animais como rinocerontes, hipopótamos, elefantes, girafas, crocodilos e avestruzes eram também utilizados. As caçadas, tal como as representações de batalhas famosas, eram efetuadas em elaborados cenários onde constavam árvores e edifícios amovíveis.
Estas últimas eram por vezes representadas numa escala gigante; Trajano celebrou a sua vitória em Dácia no ano 107 com concursos envolvendo 11 000 animais e 10 000 gladiadores no decorrer de 123 dias.
Segundo o documentário produzido pelo canal televisivo fechado, History Channel, o Coliseu também era utilizado para a realização de naumaquias, ou batalhas navais. O coliseu era inundado por dutos subterrâneos alimentados pelos aquedutos que traziam água de longe. Passada esta fase, foi construída uma estrutura, que é a que podemos ver hoje nas ruínas do Coliseu, com altura de um prédio de dois andares, onde no passado se concentravam os gladiadores, feras e todo o pessoal que organizava os duelos que ocorreriam na arena. A arena era como um grande palco, feito de madeira, e se chama arena, que em italiano significa areia, porque era jogada areia sob a estrutura de madeira para esconder as imperfeições. Os animais podiam ser inseridos nos duelos a qualquer momento por um esquema de elevadores que surgiam em alguns pontos da arena; o filme "Gladiador" retrata muito bem esta questão dos elevadores. Os estudiosos, há pouco tempo, descobriram uma rede de dutos inundados por baixo da arena do Coliseu. Acredita-se que o Coliseu foi construído onde, outrora, foi o lago do Palácio Dourado de Nero; O imperador Vespasiano escolheu o local da construção para que o mal causado por Nero fosse esquecido por uma construção gloriosa.
Sylvae, ou recreações de cenas naturais eram também realizadas no Coliseu. Pintores, técnicos e arquitectos construiriam simulações de florestas com árvores e arbustos reais plantados no chão da arena. Animais seriam então introduzidos para dar vida à simulação. Esses cenários podiam servir só para agrado do público ou como pano de fundo para caçadas ou dramas representando episódios da mitologia romana, tão autênticos quanto possível, ao ponto de pessoas condenadas fazerem o papel de heróis onde eram mortos de maneiras horríveis mas mitologicamente autênticas, como mutilados por animais ou queimados vivos.
Embora o Coliseu tenha funcionado até ao século VI da nossa Era, foram proibidos os jogos com mortes humanas desde 404, sendo apenas massacrados animais como elefantes, panteras ou leões.
O Coliseu era sobretudo um enorme instrumento de propaganda e difusão da filosofia de toda uma civilização, e tal como era já profetizado pelo monge e historiador inglês Beda na sua obra do século VII "De temporibus liber": "Enquanto o Coliseu se mantiver de pé, Roma permanecerá; quando o Coliseu ruir, Roma ruirá e quando Roma cair, o mundo cairá".
A construção do Coliseu foi iniciada por Vespasiano, nos anos 70 da nossa era. O edifício foi inaugurado por Tito, em 80, embora apenas tivesse sido finalizado poucos anos depois. Empresa colossal, este edifício, inicialmente, poderia sustentar no seu interior cerca de 50 000 espectadores, constando de três andares. Aquando do reinado de Alexandre Severo e Gordiano III, é ampliado com um quarto andar, podendo suster agora cerca de 90 000 espectadores. A grandiosidade deste monumento testemunha verdadeiramente o poder e esplendor de Roma na época dos Flávios.
Os jogos inaugurais do Coliseu tiveram lugar ano 80, sob o mandato de Tito, para celebrar a finalização da construção. Depois do curto reinado de Tito começar com vários meses de desastres, incluindo a erupção do Monte Vesúvio, um incêndio em Roma, e um surto de peste, o mesmo imperador inaugurou o edifício com uns jogos pródigos que duraram mais de cem dias, talvez para tentar apaziguar o público romano e os deuses. Nesses jogos de cem dias terão ocorrido combates de gladiadores, venationes (lutas de animais), execuções, batalhas navais, caçadas e outros divertimentos numa escala sem precedentes.
O Coliseu, como não se encontrava inserido numa zona de encosta, enterrado, tal como normalmente sucede com a generalidade dos teatros e anfiteatros romanos, possuía um “anel” artificial de rocha à sua volta, para garantir sustentação e, ao mesmo tempo, esta substrutura serve como ornamento ao edifício e como condicionador da entrada dos espectadores. Tal como foi referido anteriormente, possuía três pisos, sendo mais tarde adicionado um outro. É construído em mármore, pedra travertina, ladrilho e tufo (pedra calcária com grandes poros). A sua planta elíptica mede dois eixos que se estendem aproximadamente de 190 m por 155 m. A fachada compõe-se de arcadas decoradas com colunas dóricas, jónicas e coríntias, de acordo com o pavimento em que se encontravam. Esta subdivisão deve-se ao facto de ser uma construção essencialmente vertical, criando assim uma diversificação do espaço.
Os assentos eram em mármore e a cavea, escadaria ou arquibancada, dividia-se em três partes, correspondentes às diferentes classes sociais: o podium, para as classes altas; as maeniana, sector destinado à classe média; e os portici, ou pórticos, construídos em madeira, para a plebe e as mulheres. O pulvinar, a tribuna imperial, encontrava-se situada no podium e era balizada pelos assentos reservados aos senadores e magistrados. Rampas no interior do edifício facilitavam o acesso às várias zonas de onde podiam visualizar o espectáculo, sendo protegidos por uma barreira e por uma série de arqueiros posicionados numa passagem de madeira, para o caso de algum acidente. Por cima dos muros ainda são visíveis as mísulas, que sustentavam o velarium, enorme cobertura de lona destinada a proteger do sol os espectadores e, nos subterrâneos, ficavam as jaulas dos animais, bem como todas as celas e galerias necessárias aos serviços do anfiteatro.
O monumento permaneceu como sede principal dos espetáculos da urbe romana até ao período do imperador Honorius, no século V. Danificado por um terremoto no começo do mesmo século, foi alvo de uma extensiva restauração na época de Valentinianus III. Em meados do século XIII, a família Frangipani transformou-o em fortaleza e, ao longo dos séculos XV e XVI, foi por diversas vezes saqueado, perdendo grande parte dos materiais nobres com os quais tinha sido construído.
Os relatos romanos referem-se a cristãos sendo martirizados em locais de Roma descritos pouco pormenorizadamente (no anfiteatro, na arena...), quando Roma tinha numerosos anfiteatros e arenas. Apesar de muito provavelmente o Coliseu não ter sido utilizado para martírios, o Papa Bento XIV consagrou-o no século XVII à Paixão de Cristo e declarou-o lugar sagrado. Os trabalhos de consolidação e restauração parcial do monumento, já há muito em ruínas, foram feitos sobretudo pelos pontífices Gregório XVI e Pio IX, no século XIX.
Diabolik / Taschenbuch-Reihe
> Diabolik / Giochi di Prestigio
art: Sergio Zaniboni, Giorgio Montorio
(reprint from Diabolik #v26#1 / 1987)
Verlag: Astoria (Mailand / Italien; 2003)
ex libris MTP
(29/04/2022) · De la mà de Laidelys Quintero Gutiérrez, wellness manager de l’Andorra Park Hotel, i de Terri-Anne Smith, global training executive de la firma londinenca The Organic Pharmacy, els clients del prestigiós hotel van conèixer de primera mà una variada línia de productes orgànics i naturals per a la cura de la pell i del cos.
Els de Cristian Catena superen al Vila-real a la tanda de penals a la final disputada a Vinaròs, després d’empatar 0-0, i arrodoneix un cap de setmana espectacular on s’han guanyat tres Campionats de Catalunya i tres tornejos més de Futbol 7
El futbol formatiu amateur blaugrana ha viscut un cap de setmana espectacular. L’Infantil A, l’Aleví A i el Benjamí A es van proclamar campions de Catalunya a Martorell, mentre que el Cadet B de Cristian Catena va guanyar la Nike Premier Cup a Vinaròs. A aquests quatre èxits s’han d’afegir les victòries de l’Aleví B, el Benjamí C i el Benjamí D als tornejos Jaume Tubau, Sant Fost i Xevi Remon, respectivament. La Masia batega amb força. Es cert que l’objectiu no es un altre que formar jugadors però les 8 Lligues, 3 Campionats de Catalunya i 48 tornejos guanyats aquesta temporada i el bon joc desplegat per tots els equips demostren que s’està fent be la feina al futbol formatiu amateur.
CADET B – TORNEIG NIKE PREMIER CUP
Campions a la tanda de penals contra el Vila-real
El Cadet B ha posat aquest cap de setmana la cirereta del pastís a una temporada extraordinària. L’equip de Cristian Catena ha sumat el títol de la Nike Premier Cup a la Lliga i la MECUP 2016 que ja havia guanyat amb anterioritat. El Cadet B es va imposar al Vila-real als penals a la final del prestigiós torneig disputat a Vinaròs després d’empatar 0-0 al final del temps reglamentari tot i jugar millor i haver estavellat dos llançaments al pal. A la tanda de penals, Arnau Tenas va parar dos llançaments i Nils Mortimer, Miguelete, Eric García i Àlex Rico no van perdonar i van anotar els gols blaugranes. El defensa central blaugrana Eric García va ser escollit millor jugador del campionat.
El Cadet B va superar a la primera fase a l’Athletic, per 2-1, amb dos gols de Nils Mortimer, i va empatar 2-2 amb el Vila-real, amb gols de Nils Mortimer i Adrià Bernabé, i 0-0 contra l’Atlètic de Madrid. A les semifinals, van superar per un contundent 3-0 a l’Espanyol, en una extraordinària primera meitat, amb gols d’Antonio Jesús Cantón, Nils Mortimer i Konrad de la Fuente. Nou anys després, la Nike Premier Cup torna a ser blaugrana.
INFANTIL B – TORNEIG INTERNACIONAL CIUTAT DE SANT CUGAT
foto: FCB
Els penals donen l’esquena als blaugranes a la final
L’Infantil B de Sergi Milà va finalitzar en segona posició el Torneig Internacional de Sant Cugat després de perdre a la tanda de penals contra l’Espanyol una final que va acabar amb 0-0 al temps reglamentari. Una llàstima per què l’Infantil B va ser superior i va tenir oportunitats per guanyar, però la sort li va donar l’esquena en el moment decisiu. L’Infantil B va arribar a la final després de desfer-se de la Penya Blaugrana Sant Cugat (6-0) i l’Elit BEC USA (8-0) i d’empatar amb el Cornellà (0-0). A la segona fase, disputada en forma de lligueta, l’Infantil B va derrotar a la Damm (1-0) i el Liverpool (3-0) i es va classificar per unes semifinals a les que va superar al Vila-real als penals després d’empatar 0-0 al final del temps reglamentari.
All Stars Inclusive Football
L’Infantil B, representat per Pau Servat i Arnau Farnós, va participar en l’All Star Inclusive Football que va organitzat la Fundació Itinerarium. Al partit van jugar infantils del Torneig Internacional Ciutat de Sant Cugat barrejats amb nois i noies amb necessitats especials. El resultat del partit, 2-2, va ser el de menys. L’objectiu es va complir amb escreix. La metodologia Inclusive Football va demostrar que fa compartir valors i amistat entre nois i noies amb i sense necessitats especials i el Barça està sent un dels clubs pioners en donar suport a aquesta iniciativa.
ALEVÍ B – TORNEIG JAUME TUBAU
Foto: FCB
Campions a la final disputada contra el Cornellà (2-1)
L’Aleví B va guanyar a Sant Cugat el seu tercer torneig de la temporada després dels èxits aconseguits a O Cantinho Cup a Kemps (França) i el Torneig Internacional Ciudad de Aljaraque. Els nanos de Jordi Font es van imposar al Cornellà per 2-1 a la final del II Torneig Jaume Tubau gràcies als dos gols aconseguits per Pol Muñoz i Iker Merino. L’Aleví B va signar un torneig impecable. Va guanyar a la primera fase al Racing Sarrià (6-0), el Llagostera (8-0) i el Júnior (1-0) sense encaixar cap gol. A les semifinals, es va desfer del Girona per un contundent 7-3.
ALEVÍ C – AZPEITIA CUP 2016
Tercers classificats després de guanyar al València (3-1)
Bon torneig de l’Aleví C al País Basc, on va quedar en tercera posició a la prestigiosa Azpeitia Cup, que reuneix als jugadors alevins de primer any dels equips de Primera Divisió. Els nanos d’Òscar Jorquera es van classificar per a la segona fase del torneig després de superar a l’Aurrera Ondarroa (1-0), l’Sporting de Gijón (2-1), l’Azpeitia Cup (5-0) i el Màlaga (3-0) i de perdre davant del València (1-2). A la segona fase, disputada en forma de lligueta, l’Aleví D va imposar-se al Sevilla, per 2-0, amb dos gols de Gerard Hernández, i va empatar contra el Deportivo (1-1), amb un altre gol de Gerard Hernández. L’Aleví C va caure eliminat al perdre per 0-2 a les semifinals disputades contra l’Atlètic de Madrid, tot i el bon joc realitzat, i va guanyar el partit pel tercer i quart lloc al València per 3-1, amb dos gols de Bilal Achhiba i un de Llorenç Ferrés.
ALEVÍ D – TOURNOI INTERNACIONAL U11 2016
Cauen als penals contra el Benfica a la final
Maleits penals. L’Aleví D va perdre contra el Benfica la final del Torneig Internacional U11 disputat a Ajaccio (Còrsega) tot i ser superior als portuguesos en joc. El partit va finalitzar 0-0 i es va decidir als penals. Va ser un final molt cruel pels nanos de Dani Horcas que, fins aleshores, havien signat un torneig impecable amb un empat a la primera fase contra el Saint Denis (0-0) i victòries contra el Standard de Liege (1-0), el Propiano (3-0), el Pietrosella (4-0), el CA Bastia (3-0), el SC Bastia (2-0) i el Genoa (2-1). A la segona fase, l’Aleví D va imposar-se contra el Stade de Reims, per 2-0, als vuitens de final i contra el Dijon, per 1-0, als quarts de final. La semifinal la va resoldre guanyant per 3-0 a l’Ajaccio.
BENJAMÍ B – TORNEIG UD SAN MAURO
Subcampions al perdre la final contra el Sant Cugat (0-1)
El Benjamí B, dirigit en aquest torneig per Alejandro Urrestarazu, va perdre per 0-1 contra el Sant Cugat Esport la final del Torneig del 50 Aniversari de l’UD San Mauro. Una llàstima per què el Benjamí B havia fet un bon torneig previ amb victòries contra el Mollet (2-0), el San Mauro (10-0) i el Tàrrega (5-0). Als quarts de final, van superar al Sitges als penals, després d’empatar 0-0, i a les semifinals també van guanyar als penals al Mollet després d’empatar 2-2 al final del temps reglamentari.
BENJAMÍ C – TORNEIG SANT FOST
Foto: FCB
Campions guanyant a la final al San Fost (4-1)
Tercer torneig de la temporada que guanya el Benjamí C després dels èxits aconseguits a la Polinyà Cup i el MIC F7 2016. Els nanos d’Albert Puig es van desfer del Sant Fost a la final del seu torneig per 4-1, amb dos gols de Lamine Yamal i un de David Sáez i Rubén Núñez. El Benjamí C es va classificar per a la fase final després de guanyar al Sant Fost (5-0), At. Vallès (8-0), Bufala (4-0) i Sabadell Nord (3-0). A les semifinals van superar l’Alella, per 3-0, amb un triplet de Lamine Yamal.
BENJAMÍ D – TORNEIG XEVI RAMON
Foto: FCB
Campions superant al Vilassar de Mar (2-0)
Segon torneig que guanya aquesta temporada el Benjamí D després de l’èxit assolit al Memorial Pau i Alié. Els nois d’Alexis Pintó van aconseguir el títol al III Torneig Xevi Ramon al imposar-se per 2-0 al Vilassar de Mar a la final, amb gols de Gibert Jordana i Joel Escaler. El Benjamí D va desfer-se a la primera fase del Girona (2-1) i del Jàbac (1-0) i va empatar amb el Vilassar de Mar (0-0). Als quarts de final van superar a l’Ametlla del Vallès per 4-1 i a les semifinals al Mataró per 6-2, amb tres gols de Landry Farré i Iker del Moral, Gibert Jordana i Albert Navarro.
PREBENJAMÍ – TORNEIG FUTBOL BASE VILASSAR DE DALT
Empats amb la Damm i l’Espanyol però s’escapa el títol
El Prebenjamí de Juanan Gil no va tenir sort al IV Torneig de Futbol Base de Vilassar de Dalt. El petits blaugranes van guanyar al Vilassar de Dalt per 0-2, amb gols de Madou Murcia i Albert Vicens, i va empatar amb la Damm (1-1), amb gol de Piti, i l’Espanyol (1-1), amb gol de David Juan. Al final, l’Espanyol es va adjudicar el torneig
Javier Fernandez Auditor
via: ift.tt/1tlFOeH
English and Portuguese
English
Évora is located in the Alentejo province, a region of wide plains to the south of the Tagus River (Rio Tejo in Portuguese). The distance from the capital, Lisbon, is some 130 km.
History
Évora has a history dating back more than two millennia. It may have been the kingdom of Astolpas., and may be named after ivory workers. It was known as Ebora by the Lusitanians, who made the town their regional capital. The Romans conquered the town in 57 BC and expanded it into a walled town. Vestiges from this period (city walls and ruins of Roman baths) still remain. The Romans had extensive gold mining in Portugal, and the name may be derived from that oro, aurum, gold). Julius Caesar called it "Liberalitas Julia" (Julian generosity). The city grew in importance because it lay at the junction of several important routes. During his travels through Gaul and Lusitania, Pliny the Elder also visited this town and mentioned it in his book Naturalis Historia as Ebora Cerealis, because of its many surrounding wheat fields. In those days Évora became a flourishing city. Its high rank among municipalities in Roman Hispania is clearly shown by many inscriptions and coins. The monumental Corinthian temple in the centre of the town dates from the 1st century and was probably erected in honour of emperor Augustus. In the fourth century, the town had already a bishop, named Quintianus.
During the barbarian invasions, Évora came under the rule of the Visigothic king Leovirgild in 584. The town was later raised to the status of a cathedral city. Nevertheless this was a time of decline and very few artefacts from this period remain.
In 715, the city was conquered by the Moors under Tariq ibn-Ziyad, who called it Yeborah. During their rule (715–1165), the town slowly began to prosper again and developed into an agricultural centre with a fortress and a mosque. The present character of the city is evidence of the Moorish influence.
Évora was wrested from the Moors through a surprise attack by Gerald the Fearless (Geraldo Sem Pavor) in September 1165. The town came under the rule of the Portuguese king Afonso I in 1166. It then flourished as one of the most dynamic cities in the Kingdom of Portugal during the Middle Ages, especially in the 15th century. The court of the first and second dynasties resided here for long periods, constructing palaces, monuments and religious buildings. Évora became the scene for many royal weddings and a site where many important decisions were made.
Particularly thriving during the Avis Dynasty (1385–1580), especially under the reign of Manuel I and John III, Évora became a major centre for the humanities (André de Resende - buried in the cathedral) and artists, such as the sculptor Nicolau Chanterene, the painters Cristóvão de Figueiredo and Gregório Lopes, the composers Manuel Cardoso and Duarte Lobo, the chronicler Duarte Galvão, and the father of Portuguese drama, Gil Vicente.
The city became the seat of an archbishopric in 1540. The university was founded by the Jesuits in 1559, and it was here that great European Masters such as the Flemish humanists Nicolaus Clenardus (Nicolaas Cleynaerts) (1493–1542), Johannes Vasaeus (Jan Was) (1511–1561) and the theologian Luis de Molina passed on their knowledge. In the 18th century the Jesuits, who had spread intellectual and religious enlightenment since the 16th century, were expelled from Portugal, the university was closed in 1759 by the Marquis of Pombal and Évora went into decline. The university was only reopened in 1973.
In 1834, Évora was the site of the surrender of the forces of King Miguel I, which marked the end of the Liberal Wars.
The many monuments erected by major artists of each period now testify to Évora's lively cultural and rich artistic and historical heritage. The variety of architectural styles (Romanesque, Gothic, Manueline, Renaissance, Baroque), the palaces and the picturesque labyrinth of squares and narrow streets of the city centre are all part of the rich heritage of this museum-city.
Today, the historical centre has about 4000 buildings and an area of 1.05 km².
Main sights
Água de Prata Aqueduct (Aqueduct of Silver Water): With its huge arches stretching for 9 km, this aqueduct was built in 1531–1537 by King João III to supply the city with water. Designed by the military architect Francisco de Arruda (who had previously built the Belém Tower), the aqueduct ended originally in the Praça do Giraldo. This impressive construction has even been mentioned in the epic poem Os Lusíadas by Luís de Camões. The end part of the aqueduct is remarkable with houses, shops and cafés built between the arches.
Cathedral of Évora: Mainly built between 1280 and 1340, it is one of the most important gothic monuments of Portugal. The cathedral has a notable main portal with statues of the Apostles (around 1335) and a beautiful nave and cloister. One transept chapel is Manueline and the outstanding main chapel is Baroque. The pipeorgan and choir stalls are renaissance (around 1566).
S. Brás Chapel: Built around 1480, it is a good example of Mudéjar-Gothic with cylindrical buttresses. Only open for prayer.
Saint Francis Church (Igreja de São Francisco): Built between the end of the 15th and the early 16th centuries in mixed Gothic-Manueline styles. The wide nave is a masterpiece of late Gothic architecture. Contains many chapels decorated in Baroque style, including the Chapel of Bones (Capela dos Ossos), totally covered with human bones.
Palace of Vasco da Gama: Vasco da Gama resided here in 1519 and 1524, the dates corresponding to his nomination as the Count of Vidigueira and Viceroy of India. The Manueline cloister and some of its Renaissance mural paintings are still preserved.
Palace of the Counts of Basto: Primitive Moorish castle and residence of the kings of the Afonsine dynasty. Its outer architecture displays features of Gothic, Manueline, Mudéjar and Renaissance styles.
Palace of the Dukes of Cadaval: The palace with its 17th-century façade is constituted in part by an old castle burnt in 1384; it is dominated by the architectural elements of the Manueline-Moorish period and by a tower called Tower of the Five Shields. This palace of the governor of Évora served from time to time as royal residence. The first-floor rooms houses a collection manuscripts, family portraits and religious art from the 16th century.
Lóios Convent and Church: Built in the 15th century, contains a number of tombs; the church and the cloister are Gothic in style, with a Manueline chapterhouse with a magnificent portal. The church interior is covered in azulejos (ceramic tiles) from the 18th century. In 1965 it has been converted into a top-end pousada
Ladies' Gallery of Manuel I's Palace (Galeria das Damas do Palácio de D. Manuel): Remnants of a palace built by King Manuel I in Gothic-Renaissance style. According to some chroniclers, it was in this palace, in 1497, that Vasco da Gama was given the command of the squadron he would lead on his maritime journey to India.
Roman Temple of Évora: Improperly called Diana Temple, this 1st century-temple was probably dedicated to the Cult of Emperor Augustus (but some texts date it to the second or even the third century). It is one of a kind in Portugal. The temple was incorporated into a mediaeval building and thus survived destruction. It has become the city's most famous landmark. The temple in Corinthian style has six columns in front (Roman hexastyle) with in total fourteen granite columns remaining. The base of the temple, the capitals and the architraves are made of marble from nearby Estremoz. The intact columns are 7.68 m (25.20 ft) high. It can be compared to the Maison Carrée in Nîmes, France.
University of Évora: Formerly a Jesuit college built by Cardinal-King Henrique in 1559, it includes the 16th century Mannerist church and the academic buildings surrounding the large 17th-18th century cloister.
Renaissance fountain at Largo das Portas de Moura: Built in 1556 in Renaissance style. This original fountain has the shape of a globe surrounded by water, a reference to the Age of Discovery.
Giraldo Square (Praça do Geraldo): Centre of the city; in this square King Duarte built the Estaus Palace which even today maintains its Gothic look. The Renaissance fountain (fonte Henriquina) dates from 1570. Its eight jets symbolize the eight streets leading into the square. At the northern end of the quare lies St Anton's church (Igreja de Santo Antão) built by Manuel Pires, also from the 16th century. This is a rather plump church with three aisles. The antependium of the altar displays a valuable 13th century Roman-Gothic bas relief. In 1483 Fernando II , Duke of Braganza was decapitated on this square, in the presence of his brother-in-law king John II. This square also witnessed thousands of Autos-de-fé during the period of the Inquisition; 22.000 condemnations, it seems, in about 200 years.[6]
Cromeleque dos Almendres, 15 km from Évora: Megalithic monument, a cromlech with archaeoastronomical interest.
Anta Grande do Zambujeiro, about 10 km from Évora near Valverde: It is the larger dolmen in the region.
Português
Évora é uma cidade portuguesa, capital do Distrito de Évora, e situada na região Alentejo e subregião do Alentejo Central, com uma população de cerca de 41 159 habitantes.
É sede de um dos maiores municípios de Portugal, com 1307,04 km² de área e 54.780 habitantes (2008), subdividido em 19 freguesias. O município é limitado a norte pelo município de Arraiolos, a nordeste por Estremoz, a leste pelo Redondo, a sueste por Reguengos de Monsaraz, a sul por Portel, a sudoeste por Viana do Alentejo e a oeste por Montemor-o-Novo. É sede de distrito e de antiga diocese, sendo metrópole eclesiástica (Arquidiocese de Évora).
É conhecida como a Capital do Alentejo e Cidade-Museu.
História
O nome Lusitano da cidade de Évora era Eburobrittium, provavelmente relacionado com a divindade celta Eburianus. A raiz etimológica viria do Celta *eburos, a árvore do Teixo. A cidade teve o nome de Ebora Cerealis durante a República Romana, tomando o nome de Liberalitas Julia no tempo do general Júlio César, sendo então já uma cidade importante, como o demonstram as ruínas de um templo clássico e os vestígios de muralhas romanas.
Conquistada aos Mouros em 1165 por Geraldo Sem Pavor, data em que se restaurou a sua diocese. Foi residência régia durante largos períodos, essencialmente nos reindados de D.João II, D.Manuel I e D.João III. O seu prestígio foi particularmente notável no século XVI, quando foi elevada a metrópole eclesiástica e foi fundada a Universidade de Évora (afecta à Companhia de Jesus), pelo Cardeal Infante D.Henrique, primeiro Arcebispo da cidade. Um rude golpe para Évora foi a extinção da prestigiada instituição universitária, em 1759 (que só seria restaurada cerca de dois séculos depois), na sequência da expulsão dos Jesuítas do país, por ordem do Marquês de Pombal. Évora é testemunho de diversos estilos e corentes estéticas, sendo ao longo do tempo dotada de obras de arte a ponto de ser classificada pela UNESCO, em 1986, como Património Comum da Humanidade.
Monumentos principais da cidade
Templo romano de Évora: também chamado Templo de Diana, é um dos monumentos romanos mais importantes de Portugal. Situa-se no ponto mais alto da cidade e é um dos lugares mais visitados da cidade. Pensa-se que foi criado por volta do século III a.C. para homenagear o Imperador Romano César Augusto, mas mais tarde passou a ser conhecido por Templo de Diana (deusa da caça), nome atribuído por um jesuíta no século XVI pelo facto da cidade ser conhecida pela boa caça.
Sé Catedral
Igreja de São Francisco: um dos últimos e imponentes edifício da Dinastia e Avis conhecida pela mistura entre os estilos gótico e manuelino.
Capela dos Ossos: situada na Igreja de São Francisco, é conhecida pela famosa frase escrita à entrada "Nós ossos que aqui estamos pelos vossos esperamos"
Palácio de D. Manuel
Convento dos Lóios: actualmente a funcionar como pousada.
El Palau Nacional, edifici emblemàtic de l'Exposició Internacional de 1929, és la seu del Museu Nacional d'Art de Catalunya. Està situat a la muntanya de Montjuïc, un entorn privilegiat des del qual pots gaudir d'una vista magnífica i única de la ciutat de Barcelona.
El Palau Nacional està situat en un enclavament únic: Montjuïc, la muntanya dels museus, del lleure i de l'esport, que és en vies d'esdevenir un espai de vida i de cultura. Les institucions que trobes repartides arreu del Parc, de prestigi reconegut en l'àmbit internacional, converteixen Montjuïc en el centre museístic per excel·lència de Barcelona, amb una oferta completa i diversa. Hi pots visitar, a més del Museu Nacional d'Art de Catalunya, entre d'altres, la Fundació Joan Miró, el Museu d'Arqueologia de Catalunya, el Museu Etnològic i CaixaForum.
El Palacio Nacional, edificio emblemático de la Exposición Internacional de 1929, es la sede del Museo Nacional de Arte de Cataluña. Está situado en la montaña de Montjuïc, un entorno privilegiado desde el que puedes disfrutar de una vista magnífica y única de la ciudad de Barcelona.
El Palacio Nacional está situado en un enclave único: Montjuïc, la montaña de los museos, del ocio y del deporte, que está en vías de convertirse en un espacio de vida y de cultura. Las instituciones que encuentras repartidas por todo el Parque, de reconocido prestigio en el ámbito internacional, convierten Montjuïc en el centro museístico por excelencia de Barcelona, con una oferta completa y diversa. Puedes visitar, además del Museo Nacional de Arte de Cataluña, entre otros, la Fundación Joan Miró, el Museo de Arqueología de Cataluña, el Museo Etnológico y CaixaForum.
Pulsar L
Cascada de la Font del Gat.
Els Jardins de Laribal
És una de les perles del Parc de Montjuïc i passejar-s'hi és una autèntica delícia. La vegetació riquíssima, juntament amb l'aigua que baixa per cascades i llisca delicadament pel mig d'amples baranes, els bancs de rajola i les placetes, creen un conjunt de bellesa excepcional. Aquest és un lloc per estar-s'hi, per contemplar-lo i per anar descobrint els mil detalls que el configuren, amb una harmonia difícil de superar.
Els Jardins de Laribal, de gran valor històric, estan configurats per terrasses, camins, placetes, bassinyols i una vegetació esponerosa i consolidada. Una sèrie de terrasses superposades estan unides entre elles per camins i dreceres de fort pendent, amb trams d'escales intercalats amb un disseny sempre diferent. Pèrgoles de maó vist, pedra i pilars blancs, ombregen les àrees més planeres. La vegetació, és majoritàriament exòtica, rica i variada en espècies.
Jardins mediterranis
Aquests jardins, inclosos dins del recinte de l'Exposició Internacional de Barcelona de 1929, van obtenir una gran anomenada. Els seus autors, Jean Claude Nicolas Forestier i Nicolau M. Rubió Tudurí, van crear un nou estil paisatgístic d'arrel mediterrània.
La vegetació preexistent -des de plantes autòctones fins als arbres fruiters del passat agrícola de la muntanya-, es va integrar en els jardins amb un concepte de jardineria renovador i original, que segueix lliurement la inspiració dels antics jardins àrabs i dels "cármenes" de Granada, amb una gran presència de rajoles ceràmiques, aigües ornamentals i el conreu de plantes de flor en testos situats en baranes i ampits.
Les escales del Generalife
L'aigua és l'essència del jardí, amb estanys i estanyols. Per connectar la part superior del parc amb els Jardins Amargós -actualment Jardins del Teatre Grec-, Forestier va fer una escala inspirada en la dels jardins del Generalife, amb cascades als passamans, estanyols amb brolladors als replans i bancs d'obra per reposar i gaudir de la fresca i el so de l'aigua.
Els jardins de la font del Gat
Unes pèrgoles mirador porten d'uns jardins als altres, units per eixos de rampes, escales i cascades que desemboquen a la font del Gat, des de la qual es poden contemplar unes magnífiques vistes de Barcelona.
Ocupen el pendent que va des de la part més alta dels Jardins Laribal fins al passeig de Santa Madrona, i integren la popular font del Gat i un edifici del segle dinou. Es tracta d'un conjunt de camins, terrasses i racons que s'adapten al relleu del terreny amb escales, rampes i una cascada monumental amb quatre seccions separades per camins i canals, que van connectant els diferents trams.
Tot està cobert d'una espessa fronda mediterrània i d'arbres fruiters, com ara nesprers i figueres, i palmeres d'enormes capçades. Si ens ho mirem des de baix, a tocar del pg. de Santa Madrona, uns xiprers altíssims situats a l'inici de la cascada accentuen la verticalitat del conjunt.
El roserar de la Colla de l'Arròs
Una glorieta de xiprers, amb una petita font al centre, marca l'inici d'un recorregut que, sota una pèrgola amb pilars de terracota, porta a un pati ovalat i reclòs, també envoltat de xiprers: és el roserar de la Colla de l'Arròs.
El jardí es configura en diversos plans, amb aire de pati, que estan vorejats per vorades, també de xiprer, i rengleres de troanes. En diversos parterres rectangulars hi ha plantades varietats antigues de rosers. Al centre destaca un bassinyol quadrangular amb rajols esmaltats, presidit a la part de dalt per Estival, un nu femení de marbre que contempla el roserar i, més enllà, Barcelona.
La plaça del Claustre
És a tocar del passeig de Santa Madrona i, de fet, es tracta del Jardí de Sant Miquel, on destaquen tres grans plàtans ja existents abans que Forestier dissenyés els jardins. Al fons, els murs del que fou una antiga pedrera confereixen a aquesta part dels jardins Laribal un aire reclòs i claustral. D'aquí el seu nom. A la dreta, un passadís comunica amb els Jardins del Teatre Grec.
Vegetació
La vegetació madura i mediterrània dóna sentit als jardins. Així, hi ha, entre d'altres espècies, pins blancs (Pinus halepensis), pins pinyers (Pinus pinea), llorers (Laurus nobilis), tarongers amargs (Citrus aurantium) i xiprers (Cupressus sempervirens).
Les escales del Generalife estan envoltades per grans acàcies (Robinia pseudoacacia) i arbustos com la troana (Ligustrum lucidum) i el pitòspor (Pittosporum tobira), una espècie arbustiva molt abundant als jardins, juntament amb el baladre (Nerium oleander) i l'evònim del Japó (Evonymus japonicus).
En testos de terracota, llueixen les elegants fulles de saló (Aspidistra elatior) i els geranis (Pelargonium sp.), i cobrint les pèrgoles, anglesines (Wisteria sinensis) i Rosa banksiae. En diferents llocs dels jardins hi ha plantes aromàtiques, com l'espígol (Lavandula angustifolia) i el romaní (Rosmarinus officinalis), i espècies entapissants com l'heura (Hedera helix)
Els Jardins de Laribal també hi ha pins australians (Casuarina cunninghamiana), eucaliptus (Eucalyptus globulus), xiprers de Lambert (Cupressus macrocarpa), cedres de l'Himàlaia (Cedrus deodara) i, a la plaça del Claustre, tres grans exemplars de plàtan (Platanus X hispanica).
Art i arquitectura
L'escultura és notable en aquests jardins, tant per la seva qualitat com per la seva bellesa. Presidint el roserar hi ha Estival, de Jaume Otero (1929), una figura femenina asseguda d'estil art déco feta de marbre.
La Noia de la trena, de Josep Viladomat (1928), és un altre nu femení, en aquest cas de bronze, i representa una noia jove recollint-se els cabells en una trena. És en una placeta ombrívola, molt a prop de les escales que comuniquen amb altres nivells dels jardins.
La tercera escultura també és d'una dona i de Josep Viladomat, que la va fer partint d'un original de Manolo Hugué. Es tracta de Repòs (1925), un nu femení de pedra de mida natural situat en una placeta circular molt a prop de l'entrada que hi ha al costat de la Fundació Joan Miró.
A prop del roserar hi ha una font de ceràmica esmaltada amb motius marins, coronada amb un brollador, obra del ceramista Llorenç Artigas.
La font del Gat
L'aigua que raja de la font del Gat ho fa des del cap d'un felí, esculpit per Joan Antoni Homs el 1918, que és quan van quedar enllestits els Jardins Laribal. Aquesta font era una de les moltes que aleshores rajava a Barcelona, i el lloc on està situada, molt popular a la ciutat a finals del segle XIX.
Tan popular era la font, que el periodista i autor teatral Joan Amich va escriure una cançó: "La Marieta de l'ull viu", que avui encara es canta i que inclou l'estrofa: "Baixant de la font del Gat, / una noia, una noia, / baixant de la font del Gat / una noia amb un soldat...".
Història
Al començament del segle passat, la zona que avui ocupen els jardins Laribal era lloc de trobades populars, sobretot a la font del Gat, o de reunions selectes, com ara les que feia la Colla de l'Arròs, un grup entre gastronòmic i polític que va tenir una certa influència a la Barcelona de la darreria del segle XIX i principi del XX, i que es reunia en un petit edifici situat on ara hi ha el Museu Etnològic.
La part alta dels actuals jardins pertanyia a la finca de Josep Laribal, un prestigiós advocat el nom del qual s'ha perpetuat als jardins. S'hi va fer construir un xalet neoàrab, envoltat d'uns jardins eclèctics, amb grans arbres.
Mort Laribal, el 1908 la finca va ser adquirida per l'Ajuntament, que hi va fundar l'Escola del Bosc, encara existent. Simultàniament, es van iniciar els estudis per urbanitzar i enjardinar la muntanya, amb un projecte global que va ser encarregat inicialment a Josep Amargós.
L'Exposició de 1929
Els Jardins de Laribal, enllestits el 1922, estan vinculats a un esdeveniment posterior: l'Exposició Internacional de Barcelona de 1929. Aquest esdeveniment va representar la culminació d'un projecte iniciat l'any 1905 per organitzar a Montjuïc una exposició sobre les indústries elèctriques, l'energia emergent d'aquell temps.
Un dels comissaris de l'Exposició Internacional de Barcelona va ser Francesc Cambó, que va encarregar els treballs d'enjardinament a l'enginyer i paisatgista francès Jean Claude Nicolas Forestier. Va ser ajudant seu el jove arquitecte Nicolau M. Rubió i Tudurí, que el 1917 es convertiria en el director de la Direcció de Parcs Públics i Arbrat, antecedent del Servei de Parcs i Jardins de Barcelona, del qual va ser primer responsable i una de les persones determinants en el futur desenvolupament dels espais verds públics de la ciutat.
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These gardens are one of the treasures of the Park of Montjuïc and taking a stroll around them is a real pleasure. The rich plant life, together with the water that flows delicately through the wide handrails; the tiled benches and the small squares all create exceptionally beautiful gardens. It is a place to be, to gaze at and to discover the thousands of details that shape a harmony that is difficult to surpass.
The historically-important Laribal Gardens are sculpted by terraces, pathways, small squares, ponds and lush, established plant life. A series of terraces are linked by paths and steeply sloped shortcuts, with stretches of differently designed stairways interspersed. The flattest areas are afforded shade by exposed brick, stone and white pillar pergolas. The mostly exotic plant life has a rich and varied range of species.
Mediterranean Gardens
These gardens, which were included in the International Exposition of Barcelona (a World's Fair) in 1929, were greatly reputed. The garden's designers, Jean Claude Nicolas Forestier and Nicolau M. Rubió Tudurí, created a new style of Mediterranean landscaping.
The pre-existing plant life, from native plants to fruit trees from the mountain's agricultural past, was integrated into the gardens with an original and innovative gardening concept that is openly inspired by the ancient Arabian gardens and from the "Carmenes" in Granada with prominent ceramic tiles, ornamental water features and flowering plants in pots on railings and parapets.
The Stairway of the Generalife Gardens
Water is the essence of this garden, with its large and small ponds. In order to connect the upper area of the park with the Amargós Gardens, now the Teatre Grec Gardens, Forestier designed a stairway inspired by the one in the Generalife Gardens, with waterfalls on the banisters, small ponds with fountains on the landings and benches for relaxing and enjoying the freshness and sound of the water.
The Gardens of the Font del Gat
Viewpoint pergolas link the gardens with ramps, stairs and waterfalls that flow into the Font del Gat ("Fountain of the Cat"), a point at which magnificent views of Barcelona can be enjoyed.
The gardens lie on the slope from the highest point of the Laribal Gardens down to the Passeig de Santa Madrona and include the popular Font del Gat and a nineteenth-century building. There are paths, terraces and corners that adapt to the terrain with stairways, ramps and a monumental waterfall with four sections separated by paths and canals that connect the different areas.
Everything is covered in a thick, Mediterranean foliage, fruit trees such as loquat and fig and enormous palm trees. From the Passeig de Santa Madrona below, some very tall cypresses by the waterfall accentuate its height.
The Rose Gardens of the Colla de l'Arròs
A circle of cypress trees with a small fountain in the centre marks the beginning of a path that, beneath a pergola with terracotta pillars, leads to an oval patio surrounded by cypresses. These are the Rose Gardens of the Colla de l'Arròs.
These gardens are arranged on different levels with the feeling of being on a patio, bordered by rows of cypresses and privets. In various rectangular parterres, many diverse old varieties of roses have been planted. At the centre is a square pool with ceramic tiles, dominated by the marble female nude sculpture "Estival", who looks over the rose garden and beyond to Barcelona.
Plaça del Claustre
From the Sant Miquel Garden, next to the Passeig de Santa Madrona, there are three large London Plane trees that existed before Forestier designed the gardens. At the end, the walls of what was once an old quarry gives this part of the Laribal Gardens a confined and cloister-like air. This is where it gets its name. On the right there is a path that connects the gardens with the Teatre Grec Gardens.
Plant Life
The mature and Mediterranean plant life gives the gardens meaning. Among other species there are Aleppo Pines (Pinus halepensis), Umbrella Pines (Pinus pinea), Bay Laurels (Laurus nobilis), Bitter Orange trees (Citrus aurantium) and Mediterranean Cypresses (Cupressus sempervirens).
The Generalife stairs are surrounded by large Black Locust trees (Robinia pseudoacacia) and shrubs such as the Chinese Privet (Ligustrum lucidum) and the Pittosporum (Pittosporum tobira), a species in abundance in the gardens along with the Oleander (Nerium oleander) and the Japanese Spindle tree (Euonymus japonicus).
The elegant leaves of an Aspidistra elatior shine in terracotta pots and Garden Geraniums (Pelargonium sp.), Chinese Wisterias (Wisteria sinensis) and Lady Banks' Roses (Rosa banksiae) cover the pergolas. In different areas around the gardens aromatic plants like Lavender (Lavandula angustifolia), Rosemary (Rosmarinus offcinalis) and climbing plants such as Ivy (Hedera helix) can be found.
In the Laribal Gardens there are also River Oaks (Casuarina cunninghamiana), Tasmanian Blue Gums (Eucalyptus globules), Monterey Cypresses (Cupressus macrocarpa) Deodar Cedar (Cedrus deodara) and in Plaça del Claustre, three large London Planes (Platanus X hispanica).
Art and Architecture
The sculptures are notable in these gardens, both for their quality and their beauty. There is an Art Deco style marble female nude, "Estival" (1929) by Jaume Otero, that dominates the rose garden.
The "Noia de la trena" (1928) by Joseph Viladomar is another female nude, in this case made of bronze, which represents a young girl plaiting her hair. It is in a small shaded square, close to the stairway that links to other areas of the gardens.
The third sculpture is again of a woman and by Joseph Viladomar and was based on the Manolo Hugué original. "Repòs" (1925) a life-sized female nude made of stone situated in a small square close to the entrance next to the Joan Miró Foundation.
Near the rose garden, there is a glazed ceramic fountain influenced by the sea, crowned by a jet, which was the work of Llorenç Artigas.
The Font del Gat
The water from the Font del Gat ("Fountain of the Cat") pours from a feline head, sculpted by Joan Antoni Homs in 1918, when the Laribal Gardens were being finished. This fountain is one of many that flowed in Barcelona at the time and is situated in a place in the city that was very popular at the end of the nineteenth century.
The fountain was so popular that the journalist and playwright Joan Amich wrote a song about it: "La Marieta de l'ull viu" that is still sung today and includes the verse: "Baixant de la font del Gat, / una noia, una noia, / baixant de la font del Gat / una noia amb un soldat..." ("Coming down from the cat Fountain / a girl, a girl / Coming down from the cat Fountain / a girl with a soldier...").
History
The area where the Laribal Gardens now lie was a popular meeting place at the beginning of the last century, in particular the Font del Gat, which was also an area for exclusive gatherings, such as those of Colla de l'Arròs, a gastronomic-political group who had a certain influence over Barcelona at the turn of the last century, would meet in a small building situated where the Museu Etnològic (Ethnological Museum) now stands.
The upper part of the current gardens once belonged to Joseph Laribal, an esteemed lawyer whose name the gardens bear. He built a neo-Arabian chalet, surrounded by eclectic gardens, with large trees.
After Laribal died in 1908, the house was acquired by the Town Council, which established the Escola del Bosc, which still exists to this day. Simultaneously, studies began for the development and gardening of the mountain, a comprehensive project that was initially the responsibility of Josep Amargós.
The 1929 World's Fair
Completed in 1922, the Laribal Gardens are linked to a later event: the International Exposition of Barcelona of 1929 (a World's Fair). This event represented the culmination of a project which began in 1905 to organise an exhibition on Montjuïc about the electrical industries, the emerging energy at the time.
One of the commissioners at the International Exhibition of Barcelona was Francesc Cambó, who was responsible for the gardening and engineering work and the work of the French landscape architect Jean Claude Nicolas Forestier. His assistant was the young architect Nicolau M. Rubió I Tudurí, who, in 1917, became the director of the Public and Wooded Parks Board, the predecessor of the Parks and Gardens Service of Barcelona, of which he was mainly responsible and one of the key people in the development of green spaces in the city.
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Es una de las perlas del Parque de Montjuïc y pasearse por ellos es un autentica delicia. La riquísima vegetación, junto con el agua que baja por cascadas y se escurre delicadamente en medio de amplias barandillas, los bancos de ladrillo y las placetas, crean un conjunto de una belleza excepcional. Es un lugar en el que estar, para contemplarlo e ir descubriendo los miles de detalles que lo configuran, con una armonía difícil de superar.
Los Jardines de Laribal, de gran valor histórico, están formados por terrazas, caminos, placetas, pequeños estanques y una vegetación lozana y consolidada. Una serie de terrazas sobrepuestas están unidas entre si por caminos y atajos de gran pendiente, con tramos de escaleras intercalados de diseño siempre diferente. Pérgolas de ladrillo visto, piedra y pilares blancos dan sombra a las zonas más llanas. La vegetación, exótica en su mayoría, es rica y variada en especies.
Jardines mediterráneos
Estos jardines, incluidos en el recinto de la Exposición Internacional de Barcelona de 1929, obtuvieron una gran reputación. Sus autores, Jean Claude Nicolas Forestier y Nicolau M. Rubió Tudurí, crearon un nuevo estilo paisajístico de raíz mediterránea.
La vegetación preexistente, desde plantas autóctonas hasta árboles frutales del pasado agrícola de la montaña, se integró en los jardines con un concepto de jardinería renovador y original, que sigue libremente la inspiración de los antiguos jardines árabes y de los "cármenes" de Granada, con una gran presencia de azulejos de cerámica, aguas ornamentales y el cultivo de plantas de flor en macetas colocadas en barandillas y alféizares.
Las escaleras del Generalife
El agua es la esencia del jardín, con pequeños y grandes estanques. Para conectar la parte superior del parque con los Jardines Amargós, actualmente Jardines del Teatre Grec, Forestier diseñó una escalera inspirada en la de los jardines del Generalife, con cascadas en los pasamanos, estanques con fuentes en los rellanos y bancos de piedra para reponerse y disfrutar del frescor y el sonido del agua.
Los jardines de la Font del Gat
Unas pérgolas mirador llevan de unos jardines a otros, unidos por ejes de rampas, escaleras y cascadas que desembocan en la Font del Gat desde donde se pueden contemplar unas magníficas vistas de Barcelona.
Ocupan la pendiente que va desde la parte más alta de los jardines Laribal hasta el paseo de Santa Madrona e integran la popular Font del Gat y un edificio decimonónico. Se trata de un conjunto de caminos, terrazas y rincones que se adaptan al relieve con escaleras, rampas y una cascada monumental con cuatro secciones separadas por caminos y canales, que van conectando los diferentes tramos.
Todo está cubierto por un espeso follaje mediterráneo y árboles frutales, como nísperos e higueras y palmeras de enormes copas. Si lo miramos desde abajo, junto al paseo de Santa Madrona, vemos que los altísimos cipreses situados al inicio de la cascada acentúan la verticalidad del conjunto.
La rosaleda de la Colla de l'Arròs
Una glorieta de cipreses, con una pequeña fuente en el centro, marca el inicio de un recorrido que, debajo de una pérgola con pilares de terracota, conduce a un patio ovalado y recluido también rodeado de cipreses: la rosaleda de la Colla de l'Arròs
El jardín se configura en diferentes planos, con aire de patio, que están rodeados de cipreses e hileras de aligustres. En diferentes parterres rectangulares se han plantado antiguas variedades de rosales. En el centro destaca un pequeño estanque cuadrangular con azulejos esmaltados, presidido en la parte superior por Estival, una escultura de un desnudo femenino en mármol que contempla la rosaleda y, más allá, Barcelona.
La plaza del Claustre
De hecho se trata del jardín de Sant Miquel, junto al paseo de Santa Madrona, en el que destacan tres grandes plataneros que ya existían antes de que Forestier diseñara los jardines. Al fondo, los muros de lo que antes había sido una antigua cantera confieren a esta parte de los jardines Laribal un aire recluido y claustral. Y de aquí viene su nombre. A la derecha encontramos un corredor que comunica con los jardines del Teatre Grec.
Vegetación
La vegetación madura y mediterránea da sentido a los jardines. Así, entre otras especies, hay pinos carrascos (Pinus halepensis), pinos piñoneros (Pinus pinea), laureles (Laurus nobilis), naranjos amargos (Citrus aurantium) y cipreses (Cupressus sempervirens).
Las escaleras del Generalife están rodeadas de grandes acacias (Robinia pseudoacacia) y arbustos como el aligustre (Ligustrum lucidum) y el pitosporo (Pittosporum tobira), una especie de arbusto muy abundante en los jardines, junto con la adelfa (Nerium oleander) y el evónimo del Japón (Evonymus japonicus).
En macetas de terracota lucen las elegantes hojas de salón (Aspidistra elatior) y los geranios (Pelargonium sp.), al tiempo que las glicinias (Wisteria sinensis) y los rosales de Banksia (Rosa banksiae) cubren las pérgolas. En diferentes lugares de los jardines encontramos plantas aromáticas, como la lavanda (Lavandula angustifolia), el romero (Rosmarinus officinalis) y otras especies tapizantes como la hiedra (Hedera helix).
En los jardines de Laribal también encontramos pinos australianos (Casuarina cunninghamiana), eucaliptos (Eucalyptus globulus), cipreses de Lambert (Cupressus macrocarpa), cedros del Himalaya (Cedrus deodara) y, en la plaza del Claustre, tres grandes ejemplares de platanero (Platanus X hispanica).
Arte y arquitectura
En estos jardines la escultura es notable, tanto por su calidad como por su belleza. Presidiendo la rosaleda tenemos el Estival, de Jaume Otero (1929), una figura femenina sentada, de estilo art decó y realizada en mármol.
La Noia de la trena, de Josep Viladomat (1928), es otro desnudo femenino, en este caso de bronce, que representa una joven que se recoge el pelo en una trenza. Se encuentra en una placeta sombría muy cerca de las escaleras que comunican con los otros niveles de los jardines.
La tercera escultura también es de una mujer y de Josep Viladomat, que la realizó en base a un original de Manolo Hugué. Se trata de Repòs (1925), un desnudo femenino de piedra, a tamaño natural, situado en una placeta circular muy cerca de la entrada que hay al lado de la Fundació Joan Miró.
Cerca de la rosaleda se encuentra una fuente de cerámica esmaltada con motivos marinos, coronada con un surtidor, obra del ceramista Llorenç Artigas.
La Font del Gat
El agua de la Font del Gat mana desde la cabeza de un felino, esculpido por Joan Antoni Homs en 1918, año en el que se terminaron los jardines Laribal. Esta fuente era una de las muchas que manaban en aquellos momentos en Barcelona y, el lugar en el que se encuentra era muy popular en la ciudad a finales del siglo XIX.
La fuente era tan popular que el periodista y autor teatral Joan Amich escribió una canción: "La Marieta de l'ull viu", que todavía hoy se canta e incluye la estrofa: "Baixant de la font del Gat, / una noia, una noia, / baixant de la font del Gat / una noia amb un soldat...".
Historia
A principios del siglo pasado, en la zona que hoy ocupan los jardines Laribal se celebraban encuentros populares, sobre todo en la Font del Gat, o reuniones selectas, como las que hacía la Colla de l'Arròs, un grupo medio gastronómico medio político que tuvo una cierta influencia en la Barcelona del final del siglo XIX y principio del XX y que se reunía en un pequeño edificio situado donde ahora se encuentra el Museo Etnológico.
La parte alta de los actuales jardines pertenecía a la finca de Josep Laribal, un prestigioso abogado cuyo nombre se ha perpetuado en los jardines. Allí se hizo construir un chalet neoárabe, rodeado de unos jardines eclécticos, con grandes árboles.
Tras la muerte de Laribal en 1908, la finca fue adquirida por el Ayuntamiento que fundó en ella la Escola del Bosc, que todavía existe. Simultáneamente, se iniciaron los estudios para urbanizar y enjardinar la montaña, con un proyecto global que inicialmente se encargó a Josep Amargós.
La Exposición de 1929
Los jardines de Laribal, terminados en el 1922, también están vinculados con un acontecimiento posterior: la Exposición Internacional de Barcelona de 1929. Este acontecimiento representó la culminación de un proyecto iniciado en 1905 para organizar en Montjuïc una exposición sobre las industrias eléctricas, la energía emergente de aquel momento.
Uno de los comisarios de la Exposición Internacional de Barcelona fue Francesc Cambó, que encargó los trabajos de ajardinamiento al ingeniero y paisajista francés Jean Claude Nicolas Forestier. Su ayudante fue el joven arquitecto Nicolau M. Rubió i Tudurí, que en 1917 se convertiría en el director de la Dirección de Parques Públicos y Arbolado, antecedente del Servicio de Parques y Jardines de Barcelona, del que fue el primer responsable y una de las personas determinantes en el futuro desarrollo de los espacios verdes públicos de la ciudad.
En el año 713 de la Era cristiana Ilipla pasó a manos musulmanas, instalándose en la ciudad un grupo de origen yemeni. Cuando en el año 756 Abd-al-Rahman I se hace con el poder de al-Andalus, la ciudad y su cora se integran en el emirato cordobés, construyéndose entre estos momentos y el periodo califal un nuevo recinto amurallado. Este aparece superpuesto sobre los recintos anteriores, tal vez aprovechando íntegramente algunas de sus partes o derribando otras para utilizar los mismos materiales de construcción. En la zona que mira al río, este recinto aparece con una superficie lisa conformada por bloques de piedra de diferentes tamaños, con tramos rectos y torres macizas situadas a intervalos irregulares.
La historia de Lebla, durante el periodo islámico, es rica y variada como le corresponde a una ciudad andalusí de su importancia política y económica.
En la fitna, desmembración que supone el final del califato omeya, la dinastía de los BeniYahya se hace con el poder de la ciudad, convirtiéndose Yahsopi en rey taifa independiente en el año 1019.
En los acontecimientos políticos del siglo XI, el ejército de Niebla destaca como aliado de los reinos taifas de Mértola y Silves que, junto con el de Badajoz se enfrentan al de Sevilla por el dominio de al-Garb. Sus ejércitos lucharán a las puertas de la ciudad en 1048, tres años antes de que la ciudad finalmente se rindiese a Al-Mutadid, dejando de ser independiente al ser absorbida por el reino de Sevilla en 1051.
Estas luchas hegemónicas provocarán que los almarávides, tribus guerreras muy religiosas del Sáhara, invadirán la Península Ibérica. Con la presencia de la tribus bereberes en la Península, Labla al-Hmra, alcanzará un gran periodo de esplendor. En 1091 los Almorávides dominarán todo al-Andalus, y la ciudad dejará de depender de Al-Mutadid de Sevilla. En este periodo la ciudad alcanzará un alto grado de desarrollo, en el que se mantiene con la tolerancia islámica un buen grupo de cristianos que conservan su fe y sus costumbres, incluyendo las iglesias con sus obispos y cultos.
No obstante, la presión ejercida por los almorávides, hizo que las aristocracias de al-Andalus buscaran la protección del nuevo poder almohade, ya que en ese momento, se habían adueñado de gran parte del norte de Africa. Niebla sería ocupada por sus tropas, aunque se rebelará después a la guarnición que en ella habían dejado. Por ello, en 1154, Abú-Zacarya ben Yumar, enviado por el emir almohade a pacificar al-Garb, tomó Lebla por asalto, donde se habían encerrado los habitamtes de la antigua cora, pasando a cuchillo a todos los varones que habían defendido y vendido como esclavos a mujeres y niños. Posiblemente el cerco anterior quedaría muy dañado, dando lugar al inicio de la reconstrucción de un nuevo recinto, instalándose en la ciudad pobladores de la dinastía de los Beni-Yahya.
Durante el periodo almohade Niebla se convertiría en una de las ciudades de más peso del Suroeste, no solo por su posición, sino por la calidad de sus moradores.
Entre ellos destaca la religiosidad y el prestigio de al-Qasim, que le valió iniciar la primera oración del viernes en la nueva mezquita construida en Sevilla por los almohades.
Con la batalla de la Navas de Tolosa, en 1212, el poder de los almohades irá perdiendo su importancia, desmembrándose al-Andalus en varios reinos independientes otra vez. El último de los reyes islámicos de la historia de Niebla será Ibn-Mahfoh, que para evitar su conquista prestó vasallaje a Fernando III el Santo.
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In the year 713 A.C. Ilipla passed into muslim hands and a group of yemeni origin settled in the town. When Abd-al Rahman I got hold of power in Al-Andalus in 756, the town and its cora become a part of Córdoba's emirate and a new fortified enclosure will be built from that time through the califal period. The walls are superimposed on the former enclosures; in some cases some parts were wholly made use of , and in other cases some parts were pulled down in order to make use of the same building materials.
On the area facing the river, this enclosure presents a flat surface made of irregular stone blocks and solid towers at regular intervals.
The history of Lebla throughout the muslim period is rich and varied as the history of any andalusí town of its political and economic importance is expected to be.
In the fitna, the dismemberment that means the end of the omeya caliphate, the Beni Yahya dinasty took power of the town and Yahsopi became an independent taifa king in 1019.
During the political events of the 11th century, Niebla's army stood out as an ally of the taifa kingdoms of Mértola and Silves which, together with the one of Badajoz, met the kingdom of Seville for the control over the al-Garb. Their armies fought at the gateway of the town in 1048, three years before the town finally surrendered to Al-Mutadid and lost its independence becoming a part of the kingdom of Seville in 1051.
Dhese fight for the hegemony brought about the invasion of the Iberian Peninsula by the almoravides, very religious and warlike tribes from the Sahara desert. With the presence of the bereber tribes in the Peninsula, Labla al Hmra lived a thriving period. In 1091, the almoravides ruled all Al-Andalus, and the town would not be under the rule of Al-Mutadid of Seville any longer. In this period, the town reached a high degree of development and the tolerance was an essential feature of this town; as a proof of it, a number of christians retained their faith and habits, including their churches, bishops and cults.
Nevertheless, the pressure wielded by the almoravides, made Al-Andalous's aristocracies seek the protection of the new almohade power, for at that moment they had taken possession of most North Africa. Niebla was accupied by their troops, although some time later the town would rebel against the garrison that remained there. That is why, in 1154, Abú-Zacarya ben Yumar, sent by the almohade emir to pacify al-Garb, took Lebla by storm, put all the men who had defended the cora to the sword, and sold all the women and children as slaves. The former enclosure would probably be severely damaged, so a new enclosure would be reconstructed by people of the Beni-Yahya dinasty who settled in the town.
During the almohade period, Niebla became one of the most important cities of the south -west, not only because of its location, but because of the quality of its inhabitants as well; one of them, al-Qasim, stood out by his religiosity and prestige, thanks to which he said the first Friday prayer in the new mosque built in Seville by the almohades.
After the Navas de Tolosa battle in 1212, the power of almohades would decay progressively and Al-Andalus would be desmembered again into several independent kingdoms. The last of the muslim kings of Niebla was Ibn-Mahfoh, who became vassal of Fernando III the Saint to avoid the conquest of Niebla.
Domitian, Museu Chiaramonti, Braccio Nuovo.
Following, a text, in english, from Wikipedia, the free encyclopedia:
Titus Flavius Domitianus (24 October 51 – 18 September 96), commonly known as Domitian, was a Roman Emperor who reigned from 14 September 81 until his death. Domitian was the last emperor of the Flavian dynasty, which ruled the Roman Empire between 69 and 96, encompassing the reigns of Domitian's father Vespasian (69–79), his elder brother Titus (79–81), and that of Domitian himself.
Domitian spent much of his youth and early career in the shadow of his brother Titus, who gained military renown during the First Jewish-Roman War. This situation continued under the rule of Vespasian, who became emperor on 21 December 69, following a year of civil war known as the Year of the Four Emperors. While Titus effectually reigned as co-emperor with his father, Domitian was left with honours but no responsibilities. Vespasian died on 23 June 79 and was succeeded by Titus, whose own reign came to an unexpected end when he was struck by a fatal illness on 13 September 81. The following day Domitian was declared emperor by the Praetorian Guard, commencing a reign which lasted more than fifteen years—longer than any man who had governed Rome since Tiberius.
As emperor, Domitian strengthened the economy by reevaluating the Roman coinage, expanded the border defenses of the Empire, and initiated a massive building programme to restore the damaged city of Rome. In Britain, Gnaeus Julius Agricola expanded the Roman Empire as far as modern day Scotland, while in Dacia, Domitian was unable to procure a decisive victory in the war against the Dacians. On 18 September 96, Domitian was assassinated by court officials, and with him the Flavian dynasty came to an end. The same day he was succeeded by his friend and advisor Nerva, who founded the long-lasting Nervan-Antonian dynasty. His memory was condemned to oblivion by the Roman Senate, with which he had a notoriously difficult relationship throughout his reign. Senatorial authors such as Tacitus, Pliny the Younger and Suetonius published histories after his death, propagating the view of Domitian as a cruel and paranoid tyrant. Modern history has rejected these views, instead characterising Domitian as a ruthless but efficient autocrat, whose cultural, economic and political program was a precursor to the peaceful 2nd century, rather than the twilight of the tumultuous 1st century.
See much more at the wikipedia address: en.wikipedia.org/wiki/Domitian
A seguir um texto, em português, da Wikipédia, a Enciclopédia livre:
Domiciano
Tito Flávio Domiciano (em latim Titus Flavius Domitianus) (24 de outubro de 51 – 18 de setembro de 96) foi imperador romano de 81 a 96. Tito Flávio Domiciano era filho de Vespasiano com sua mulher Domitila e irmão de Tito Flávio, a quem ele sucedeu.
Quando Tito, o último dos Flávios, era ainda jovem, o pai Vespasiano impôs-lhe uma vida modesta, enquanto que o seu irmão Tito, mais velho, por seu turno, era educado na corte e vivia de forma mais faustosa. Ainda que privado de cargos e de prestígio, Domiciano não deixou de ser uma pessoa ambiciosa e sedenta de poder, embora, na opinião de seu pai, não tivesse capacidade para o gerir. Chocado com o comportamento arrogante e imprudente de Domiciano em Roma no turbulento ano de 69, Vespasiano - que não deixava de gracejar com o filho dizendo-lhe que estava disposto a designar o próximo imperador para que ele pudesse demonstrar o seu poder e prestígio - limitou-se a conferir-lhe um poder meramente formal, não o associando demasiadamente ao governo.
Sucedeu a seu irmão Tito em 81 no Império, concluindo a seguir a conquista da Bretanha, em 79-80, que seu irmão quase terminara. Na Germânia, anexou os Campos Decúmanos depois de 89, organizou provincialmente os territórios na margem esquerda do Reno e na Mésia, alcançando também acordos com outros povos, como os Dácos. Venceu também os quados, caledônios e dácios.
O temperamento desconfiado e irascível de Domiciano - que desde sempre, por exemplo, teve um grande fascínio pela personalidade e governação de Tibério - e a sua cobiça do poder fizeram, todavia, com que o seu reinado fosse marcado por uma tirania intolerante. O poder, de fato, foi imediatamente concentrado nas suas mãos. Considerando-se deus e patrono supremo, aboliu todas as formalidades imperiais, que serviam para esconder o poder absoluto do príncipe.
Domiciano reformou a administração romana, recompôs Roma a partir das ruínas provocadas pelos incêndios de 64 e de 80, e cobriu a fronteira danubiana com uma linha de fortificações. Expulsou de Roma filósofos e matemáticos, e perseguiu os cristãos. Com Domiciano deu-se a segunda perseguição aos cristãos, numerosos foram condenados à morte, ao desterro ou à confiscação de seus bens.
Domiciano aterrorizou a aristocracia e atraiu o ódio do Senado por sua intenção de dominá-lo. Subjugou, cruel e violentamente, quaisquer formas de contestação ou rebelião (como a do legado Antônio Saturnino, em Janeiro de 89, à frente de duas legiões revoltosas na Germânia), para além de ofender sucessivas vezes senadores e conselheiros (favorecendo os cavaleiros, sua base de apoio, em detrimento daqueles) e de ver suspeitos e inimigos por todo o lado. Esta espiral de suspeição e de repressão terminou com o assassinato de Domiciano em Setembro de 96, perpetrado por membros da sua própria família, entre os quais a sua mulher, Domícia Longina, e instigado por senadores. Foi o último dos doze césares.
Domiciano, portanto, não fez um bom governo.
Segundo a tradição Judaico-Cristã, e pelo que nos guarda a tradição da católica, exilou o Apóstolo João na Ilha de Patmos, no mar Egeu. Seu ódio aos cristãos levou à morte elementos convertidos da aristocracia romana, como fora o caso de um cônsul que, depois de degolado, fora vingado por um parente seu (tratava-se da família Cesário convertida às pregações de São Pedro em Roma). Domiciano morrera assim apunhalado.
A moralização imperial levada a efeito pelos imperadores que sucederam a Domiciano, foi sempre elogiada e louvada por todos quantos sobreviveram ao reinado de terror do filho de Vespasiano. Os seus excessos de absolutismo da seu governo tornaram-no comparável, principalmente pelos seus opositores, aos imperadores Calígula e Nero. Plínio e Tácito, dois grandes historiadores romanos do seu tempo, criticaram-no duramente, embora não tenham deixado de lhe reconhecer uma certa habilidade política, marcada por boas opções em termos de conduta do Estado, por toda uma energia e empenho em resolver os problemas militares que afligiam sempre a fronteira do Danúbio, para além do rigor das suas medidas de natureza econômica. Neste âmbito, por exemplo, deixou refrear a tendência de sobreprodução que fazia baixar os preços agrícolas, revelando perspicácia, como sucede também no estreitar de relações comerciais com a China e principalmente a Índia. As províncias foram também bastante urbanizadas no seu principado. Foi, na verdade, um homem de cultura e com rasgos de humanismo notáveis, como sucedeu quando proibiu a castração de escravos. Ainda que mórbido e impiedoso, egocêntrico e cruel, em termos de atitudes políticas ou públicas, face ao seu desrespeito pelas altas magistraturas romanas e de certo modo pela tradição, não deixou de ser um Flávio em termos de governação, afastando-se por isso do extravagante Calígula ou do "criminoso" Nero. Como Flávio, notabilizou-se também nas obras públicas: concluiu o fórum que seu pai, Vespasiano, começara; edificou o Palatino; e mandou construir o enorme Palácio Flávio. A sua obra mais célebre, contudo, foi o estádio com o seu nome, que está na origem da atual Piazza Navona, um recinto que desde Domiciano era usado para espectáculos naumáquicos (representação ou simulação dum combate naval).
FOTO DAL MIO PC !!!
UN UOMO UN MEDICO
EL DOCTOR - VIDEO
ENGLISH VERSION
ESPANOL VERSION - EL DOCTOR
Jack McKee, è un medico di successo, brillante e spregiudicato chirurgo quarantenne con una troppo buona opinione di sé e una scarsa considerazione per gli altri. Interamente assorbito dal prestigio e dai vantaggi della propria professione, trascura la moglie e il figlio, mostra decisamente poca empatia e poco tatto nel rapporto coi propri pazienti, opera non lesinando battute e freddure agli assistenti anche nel momenti più drammatici di un intervento. Sembra convinto che per fare il proprio lavoro si debba alzare un muro verso i pazienti e difendersi dai sentimenti che essi possono suscitare in lui, così da non correre il rischio di farsi coinvolgere troppo. Improvvisamente però, quando gli viene diagnosticato un tumore alla laringe, si trova ad essere dall'altra parte della barricata nel ruolo del paziente bisognoso di cure e deve subire analisi fastidiose, supponenza ed arroganza del medici, intralci burocratici. Questo cambiamento di prospettiva gli apre gli occhi sui valori dei rapporti umani di comprensione e di solidarietà con altri malati. Fra questi spicca la giovane June Ellis, la quale ha avuto la diagnosi di tumore cerebrale in ritardo per colpa dell'assicurazione, che non le ha consentito l'unico esame in grado di diagnosticarlo in tempo, perché troppo costoso.....
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Jack McKee is a doctor with it all: he's successful, he's rich, and he has no problems.... until he is diagnosed with throat cancer. Now that he has seen medicine, hospitals, and doctors from a patient's perspective, he realises that there is more to being a doctor than surgery and prescription ....
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Cuando a Jack MacKee (Hurt), un médico frío y distante, le diagnostican una enfermedad, pasa a ser un paciente más de su propio hospital. Entonces sabrá lo que sienten los enfermos, tendrá que confiar ciegamente en un sistema médico que sabe que no es infalible y habrá de soportar con paciencia unos trámites burocráticos que se eternizan, unos reconocimientos humillantes y unas abarrotadas salas de espera..
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O médico Jack MacKee (William Hurt) é um renomado cirurgião em um grande hospital de ensino. Ele e sua esposa possuem uma vida confortável devido ao dinheiro ganho por ele. Entretanto, Jack trabalha tanto que mal tem tempo para passar um tempo com a mulher e o filho pequeno. O seu relacionamento com a mulher é extremamente frio. Pior ainda é seu modo de tratar os paciente, que geralmente estão muito doentes.
Um dia, após um jantar, Jack tem um acesso de tosse. Eles ficam espantados após ele apresentar hemoptise. Ele vai ao médico e realiza uma biópsia, constatando câncer de laringe.
Ele experimenta, então, o lado do paciente na doença, ao invés do lado que ele conhecia, o do médico. Ele percebe, então, o quão frio é o tratamento ao paciente dentro dos hospitais e o quão ruim pode ser o tratamento dos médicos, seu colegas. Ele começa a empatizar com os paciente, algo totalmente novo para ele. Ele torna-se amigo de June Ellis, uma paciente quep ossui um tumor inoperável no cérebro.
Enquanto que o câncer de Jack é tratado e curado, June morre. A experiência muda Jack para sempre. Qunado ele volta a trabalhar, ele começa a ensinar aos internos a importância de mostrar compaixão e sensibilidade aos pacientes, tornando-os, assim, médicos melhores.
El monestir de Sant Joan de Poio (en gallec, mosteiro de San Xoán de Poio) és un antic monestir benedictí que actualment és ocupat per una comunitat mercedària. Els seus orígens són una mica confusos i fins i tot la seva fundació s'ha volgut vincular a Sant Fructuós de Braga, cosa que sembla poder descartar-se. Hom coneix que fou dotat econòmicament pel rei Bermudo II (982-999) i per la reina Urraca l'any 1116, tot i que per la primera referència documental cal retrocedir fins l'any 942. Després la casa va quedar vinculada a la seu de Santiago arran d'una donació efectuada per Fernando II, el 1169. A finals del segle XV l'establiment es trobava en decadència, una visita de l'any 1494 el troba en una situació caòtica. Més tard les circumstàncies van canviar i es va redreçar, l'any 1548 s'hi va fundar un prestigiós col·legi de teologia. Va mantenir la seva activitat com a comunitat benedictina fins el 1835, quan la desamortització va clausurar l'establiment. A partir del 1890 el lloc va passar a estar ocupat pels mercedaris, que encara es mantenen en aquest lloc.
La façana del monestir és una obra barroca de traça simple que compta amb una coberta amb un nínxol en el qual alberga la imatge de Sant Benet.
L'obra de l'església va ser contractada a Pedro de Monteagudo en 1691 seguint les traces de Gabriel de Casas. En 1700, l'obra va quedar inacabada i va haver de ser completada per un altre mestre. Les torres, segons l'opinió d'alguns autors, es posen en relació amb el barroc compostel·là, en concret amb la manera de fer de Fernando de Casas Novoa.
La façana de l'església està emmarcada per dues esveltes torres amb una portada amb dos parells de columnes dòriques a la part inferior del cos i dos parells de columnes corínties a la part superior. A la portada destaca una imatge de Sant Joan Baptista.
L'interior de l'església es va iniciar en virtut d'un plànol clàssic adquirint elements barrocs durant el seu llarg procés de construcció que es va acabar al segle XVIII. Així, el treball no es va completar d'acord amb el plànol original, tot i que era molt respectat, així en 1708 s'estava fent la bòveda en el creuer i en 1731 la construcció de la sagristia. Fins i tot, en l'any 1743, el Pare Sarmiento va dir que l'església encara estava oberta.
Es configura en una gran nau coberta amb voltes de canó i voltes de creueria. En ella s'obren tres petites capelles amb arcs de mig punt i sobre ells una sèrie de balcons.
La capella major s'orna amb el retaule major, treball realitzat en l'any 1735, i es divideix en columnes salomòniques. Mostra imatges de sants mercedaris del convent de Madrid, juntament amb imatges de la Mare de Déu de la Mercè, patrona de l'orde, i Sant Joan Baptista, patró del convent. L'antic retaule, encarregat a Bernardo Cabrera en 1631, va ser aprofitat en part pel retaule de la capella de Crist (antiga sagristia), on hi ha la tomba de Santa Trahamunda.
Ruta excursionista a Wikiloc.