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Main tower and entrance to the Rocca Sanvitale - Fontanellato
La rocca Sanvitale, nota anche come castello di Fontanellato, è una fortezza situata nell'omonimo paese in provincia di Parma. Domina il centro abitato di Fontanellato e si caratterizza per il profondo fossato d'acqua, che la circonda completamente.
La storia dell'edificazione della rocca Sanvitale può essere fatta risalire all'anno 1124, quando venne eretta una prima torre di difesa.
Nel 1386 le terre di Fontanellato, con la relativa rocca, vennero cedute ai Sanvitale.
Nel 1404, al feudo fu conferito il rango di contea: fu in tale periodo che il castello divenne una residenza signorile di notevole prestigio. La rocca appartenne alla famiglia Sanvitale fino al 1948, anno in cui Giovanni Sanvitale la vendette all'amministrazione comunale.
The Rocca Sanvitale, or Sanvitale Castle, is a fortress residence located in the centre of the town of Fontanellato, near Parma, northern Italy. Construction of the moated block, accessible through a drawbridge, was begun in the 13th century, mostly completed by 15th century, with embellishments continuing through to the 18th century. It is prototypical of the urban castle-houses of the turbulent medieval communes of Northern Italy. Until the 1930s it was the home of the descendants of the Count of Sanvitale.
The crenelated walls and asymmetric towers are surrounded by an arcaded town. Adjacent to the castle are gardens and a courtyard. The optical chamber (camera ottica) has an optical system in place that projects to an inside wall a view of the town through mirrors and a prism. Rocca Sanvitale is now partly a museum and partly offices and conference hall for the town administration.
La rocca Sanvitale, nota anche come castello di Fontanellato, è una fortezza situata nell'omonimo paese in provincia di Parma. Domina il centro abitato di Fontanellato e si caratterizza per il profondo fossato d'acqua, che la circonda completamente.
La storia dell'edificazione della rocca Sanvitale può essere fatta risalire all'anno 1124, quando venne eretta una prima torre di difesa.
Nel 1386 le terre di Fontanellato, con la relativa rocca, vennero cedute ai Sanvitale.
Nel 1404, al feudo fu conferito il rango di contea: fu in tale periodo che il castello divenne una residenza signorile di notevole prestigio. La rocca appartenne alla famiglia Sanvitale fino al 1948, anno in cui Giovanni Sanvitale la vendette all'amministrazione comunale.
The Rocca Sanvitale, or Sanvitale Castle, is a fortress residence located in the centre of the town of Fontanellato, near Parma, northern Italy. Construction of the moated block, accessible through a drawbridge, was begun in the 13th century, mostly completed by 15th century, with embellishments continuing through to the 18th century. It is prototypical of the urban castle-houses of the turbulent medieval communes of Northern Italy. Until the 1930s it was the home of the descendants of the Count of Sanvitale.
The crenelated walls and asymmetric towers are surrounded by an arcaded town. Adjacent to the castle are gardens and a courtyard. The optical chamber (camera ottica) has an optical system in place that projects to an inside wall a view of the town through mirrors and a prism. Rocca Sanvitale is now partly a museum and partly offices and conference hall for the town administration.
La basílica de San Petronio es una iglesia de la ciudad italiana de Bolonia, de la que domina la Piazza Maggiore o plaza mayor. Sus imponentes dimensiones (132 metros de largo por 60 m de ancho, y una altura de la cúpula de 45 m) hacen de ella la quinta iglesia más grande del mundo.
Dedicada a San Petronio, patrón de la ciudad (de la que fue obispo en el siglo V), su construcción se remonta a 1390, cuando el ayuntamiento encargó a Antonio di Vincenzo los trabajos de edificación de una gran catedral en estilo gótico, que según las primeras intenciones hubiera debido sobrepasar —en dimensión— a la Basílica de San Pedro, en Roma (el proyecto de tal majestuosidad fue bloqueado por voluntad papal).
La basílica gozó desde un principio de gran prestigio, hasta el punto de ser escogida por Carlos V para su coronación como emperador por parte de Clemente VII en 1530. En la segunda mitad del siglo XVI el maestro de capilla fue Andrea Rota, músico muy apreciado en su momento.
es.wikipedia.org/wiki/Bas%C3%ADlica_de_San_Petronio
The Basilica of San Petronio (Italian: Basilica di San Petronio) is a minor basilica and church of the Archdiocese of Bologna located in Bologna, Emilia-Romagna, northern Italy. It dominates Piazza Maggiore. The basilica is dedicated to the patron saint of the city, Saint Petronius, who was the Bishop of Bologna in the fifth century. Construction began in 1390 and its main façade has remained unfinished since. The building was transferred from the city to the diocese in 1929; the basilica was finally consecrated in 1954. It has been the seat of the relics of Bologna's patron saint only since 2000; until then, they were preserved in the Santo Stefano church.
Poveri IL - LUSI!!!
No comment!!!... ma voglio lasciare una chiave di lettura... si trova nel testo di questa canzone di De Andrè, scoperta per caso, ma molto attuale... La Canzone del maggio
Esistono versioni dal testo differente presentate, a volte, dal vivo dal cantante genovese. Questa è quella che a me sembra più attinente al caso d'attualità cui si riferisce la battuta della didascalia... e che dice:
...verremo ancora alle vostre porte
e grideremo ancora più forte
per quanto voi vi crediate assolti
siete per sempre coinvolti,
per quanto voi vi crediate assolti
siete per sempre coinvolti.
Italia - Florencia - Río Arno y Ponte Vecchio
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ENGLISH
The Ponte Vecchio ("Old Bridge") is a medieval stone closed-spandrel segmental arch bridge over the Arno River, in Florence, Italy, noted for still having shops built along it, as was once common. Butchers initially occupied the shops; the present tenants are jewelers, art dealers and souvenir sellers. The Ponte Vecchio's two neighbouring bridges are the Ponte Santa Trinita and the Ponte alle Grazie.
The bridge spans the Arno at its narrowest point where it is believed that a bridge was first built in Roman times, when the via Cassia crossed the river at this point. The Roman piers were of stone, the superstructure of wood. The bridge first appears in a document of 996. After being destroyed by a flood in 1117 it was reconstructed in stone but swept away again in 1333 save two of its central piers, as noted by Giovanni Villani in his Nuova Cronica. It was rebuilt in 1345. Giorgio Vasari recorded the traditional view of his day that attributed its design to Taddeo Gaddi — besides Giotto one of the few artistic names of the trecento still recalled two hundred years later. Modern historians present Neri di Fioravanti as a possible candidate. Sheltered in a little loggia at the central opening of the bridge is a weathered dedication stone, which once read Nel trentatrè dopo il mille-trecento, il ponte cadde, per diluvio dell' acque: poi dieci anni, come al Comun piacque, rifatto fu con questo adornamento. The Torre dei Mannelli was built at the southeast corner of the bridge to defend it.
The bridge consists of three segmental arches: the main arch has a span of 30 meters (98 feet) the two side arches each span 27 meters (89 feet). The rise of the arches is between 3.5 and 4.4 meters (11½ to 14½ feet), and the span-to-rise ratio 5:1.
It has always hosted shops and merchants who displayed their goods on tables before their premises, after authorization of the Bargello (a sort of a lord mayor, a magistrate and a police authority). The back shops (retrobotteghe) that may be seen from upriver, were added in the seventeenth century.
During World War II, the Ponte Vecchio was not destroyed by Germans during their retreat on the advance of the liberating British 8th Army on 4 August 1944, unlike all other bridges in Florence. This was allegedly, according to many locals and tour guides, because of an express order by Hitler. Access to Ponte Vecchio was, however, obstructed by the destruction of the buildings at both ends, which have since been rebuilt using a combination of original and modern design.
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ESPAÑOL
El Ponte Vecchio es un puente medieval sobre el río Arno en Florencia (Italia). Es un símbolo de la ciudad y uno de los puentes más famosos del mundo. Atraviesa el río Arno en su punto más estrecho. El puente se sostiene sobre tres arcos; el principal tiene una luz de 30 metros y los otros dos de 27 metros. El alzado de los arcos varía entre 3,5 y 4,4 metros.
Se cree que fue un puente construido inicialmente en madera por los romanos, poco después de la fundación de Florencia sobre el año 150 a. C. Esa pasarela se consolidó y amplió hacia el 123, cuando el emperador Adriano promovió la construcción de la via Cassia Nuova, que atravesaba la ciudad y que correspondía, se puede suponer, a las calles Bardi y San Niccolò. El primer puente romano fue destruido en el s. VI-VII, consecuencia del descuido y las guerras bárbaras, además de probables daños relacionados con las inundaciones.
Es difícil saber cuántos puentes han sido destruidos y cuántos reconstruidos por las frecuentes inundaciones del Arno. Giovanni Villani habló de un puente construido bajo el mandato de Carlomagno, y es quizá en el s. IX o X cuando el puente tuviera la posición actual.
Tras ser dañado en 1222 y 1322, fue destruido por una inundación en 1333. Fue reconstruido enteramente de piedra entre 1335 y 1345. Vasari atribuye su diseño al arquitecto y pintor italiano Taddeo Gaddi.
Al comienzo, los comerciantes alineaban sus tenderetes ("botteghe") a ambos lados del puente. Pero en 1495, la ciudad, que era la dueña y arrendadora de las tiendas a los comerciantes, se vio obligada a vender las parcelas, por razones económicas. A partir de entonces, las tiendas comenzaron a agrandarse y se multiplicaron los voladizos sobre el río, que hoy configuran la imagen del puente.
Para conectar el Palazzo Vecchio (sede del gobierno de Florencia) con el Palazzo Pitti, el Gran Duque Cosimo I de Medici encargó a Giorgio Vasari que construyera el famoso Corredor vasariano sobre el puente, el cual se finalizó en 1565. Este corredor da una vuelta en torno a la Torre de Mannelli ya que los dueños de la misma no permitieron que fuera alterada o destruida para la construcción del corredor.
En 1593 el Gran Duque Fernando I decidió expulsar del puente a los carniceros, prohibiéndoles realizar sus actividades en el lugar. Se dice que no soportaba los olores de ese comercio, mientras él y sus visitantes extranjeros iban desde el Palazzo Vecchio hasta la residencia de la familia Médici, en el Palazzo Pitti, pasando sobre el corredor vasariano. Además, para aumentar el prestigio del lugar, fomentó que el sitio vacante de los carniceros fuera inmediatamente ocupado por orfebres, joyeros y comerciantes de oro, que actualmente siguen ocupando los voladizos y puestos del puente. La asociación de carniceros había monopolizado los negocios sobre el puente desde 1442.
Durante la Segunda Guerra Mundial, a diferencia de todos los demás puentes de Florencia, el Ponte Vecchio no fue destruido por los alemanes durante su retirada el 4 de agosto de 1944. Según la tradición esto se debió a una orden expresa de Hitler. Sin embargo, su acceso quedó obstruido debido a la destrucción de los edificios a ambos lados del puente.
La rocca Sanvitale, nota anche come castello di Fontanellato, è una fortezza situata nell'omonimo paese in provincia di Parma. Domina il centro abitato di Fontanellato e si caratterizza per il profondo fossato d'acqua, che la circonda completamente.
La storia dell'edificazione della rocca Sanvitale può essere fatta risalire all'anno 1124, quando venne eretta una prima torre di difesa.
Nel 1386 le terre di Fontanellato, con la relativa rocca, vennero cedute ai Sanvitale.
Nel 1404, al feudo fu conferito il rango di contea: fu in tale periodo che il castello divenne una residenza signorile di notevole prestigio. La rocca appartenne alla famiglia Sanvitale fino al 1948, anno in cui Giovanni Sanvitale la vendette all'amministrazione comunale.
The Rocca Sanvitale, or Sanvitale Castle, is a fortress residence located in the centre of the town of Fontanellato, near Parma, northern Italy. Construction of the moated block, accessible through a drawbridge, was begun in the 13th century, mostly completed by 15th century, with embellishments continuing through to the 18th century. It is prototypical of the urban castle-houses of the turbulent medieval communes of Northern Italy. Until the 1930s it was the home of the descendants of the Count of Sanvitale.
The crenelated walls and asymmetric towers are surrounded by an arcaded town. Adjacent to the castle are gardens and a courtyard. The optical chamber (camera ottica) has an optical system in place that projects to an inside wall a view of the town through mirrors and a prism. Rocca Sanvitale is now partly a museum and partly offices and conference hall for the town administration.
Available at MYTH check it out at
slurl.com/secondlife/Prestigio Creations/67/59/22
Shown with Freckled Funks "Stilettos on a Tightrope" earrings and necklace set.
pick those up at
slurl.com/secondlife/DReaMiNG OuTLouD/197/200/23
Italia - Florencia - Ponte Vecchio y Río Arno
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ENGLISH
The Ponte Vecchio ("Old Bridge") is a medieval stone closed-spandrel segmental arch bridge over the Arno River, in Florence, Italy, noted for still having shops built along it, as was once common. Butchers initially occupied the shops; the present tenants are jewelers, art dealers and souvenir sellers. The Ponte Vecchio's two neighbouring bridges are the Ponte Santa Trinita and the Ponte alle Grazie.
The bridge spans the Arno at its narrowest point where it is believed that a bridge was first built in Roman times, when the via Cassia crossed the river at this point. The Roman piers were of stone, the superstructure of wood. The bridge first appears in a document of 996. After being destroyed by a flood in 1117 it was reconstructed in stone but swept away again in 1333 save two of its central piers, as noted by Giovanni Villani in his Nuova Cronica. It was rebuilt in 1345. Giorgio Vasari recorded the traditional view of his day that attributed its design to Taddeo Gaddi — besides Giotto one of the few artistic names of the trecento still recalled two hundred years later. Modern historians present Neri di Fioravanti as a possible candidate. Sheltered in a little loggia at the central opening of the bridge is a weathered dedication stone, which once read Nel trentatrè dopo il mille-trecento, il ponte cadde, per diluvio dell' acque: poi dieci anni, come al Comun piacque, rifatto fu con questo adornamento. The Torre dei Mannelli was built at the southeast corner of the bridge to defend it.
The bridge consists of three segmental arches: the main arch has a span of 30 meters (98 feet) the two side arches each span 27 meters (89 feet). The rise of the arches is between 3.5 and 4.4 meters (11½ to 14½ feet), and the span-to-rise ratio 5:1.
It has always hosted shops and merchants who displayed their goods on tables before their premises, after authorization of the Bargello (a sort of a lord mayor, a magistrate and a police authority). The back shops (retrobotteghe) that may be seen from upriver, were added in the seventeenth century.
During World War II, the Ponte Vecchio was not destroyed by Germans during their retreat on the advance of the liberating British 8th Army on 4 August 1944, unlike all other bridges in Florence. This was allegedly, according to many locals and tour guides, because of an express order by Hitler. Access to Ponte Vecchio was, however, obstructed by the destruction of the buildings at both ends, which have since been rebuilt using a combination of original and modern design.
*******
ESPAÑOL
El Ponte Vecchio es un puente medieval sobre el río Arno en Florencia (Italia). Es un símbolo de la ciudad y uno de los puentes más famosos del mundo. Atraviesa el río Arno en su punto más estrecho. El puente se sostiene sobre tres arcos; el principal tiene una luz de 30 metros y los otros dos de 27 metros. El alzado de los arcos varía entre 3,5 y 4,4 metros.
Se cree que fue un puente construido inicialmente en madera por los romanos, poco después de la fundación de Florencia sobre el año 150 a. C. Esa pasarela se consolidó y amplió hacia el 123, cuando el emperador Adriano promovió la construcción de la via Cassia Nuova, que atravesaba la ciudad y que correspondía, se puede suponer, a las calles Bardi y San Niccolò. El primer puente romano fue destruido en el s. VI-VII, consecuencia del descuido y las guerras bárbaras, además de probables daños relacionados con las inundaciones.
Es difícil saber cuántos puentes han sido destruidos y cuántos reconstruidos por las frecuentes inundaciones del Arno. Giovanni Villani habló de un puente construido bajo el mandato de Carlomagno, y es quizá en el s. IX o X cuando el puente tuviera la posición actual.
Tras ser dañado en 1222 y 1322, fue destruido por una inundación en 1333. Fue reconstruido enteramente de piedra entre 1335 y 1345. Vasari atribuye su diseño al arquitecto y pintor italiano Taddeo Gaddi.
Al comienzo, los comerciantes alineaban sus tenderetes ("botteghe") a ambos lados del puente. Pero en 1495, la ciudad, que era la dueña y arrendadora de las tiendas a los comerciantes, se vio obligada a vender las parcelas, por razones económicas. A partir de entonces, las tiendas comenzaron a agrandarse y se multiplicaron los voladizos sobre el río, que hoy configuran la imagen del puente.
Para conectar el Palazzo Vecchio (sede del gobierno de Florencia) con el Palazzo Pitti, el Gran Duque Cosimo I de Medici encargó a Giorgio Vasari que construyera el famoso Corredor vasariano sobre el puente, el cual se finalizó en 1565. Este corredor da una vuelta en torno a la Torre de Mannelli ya que los dueños de la misma no permitieron que fuera alterada o destruida para la construcción del corredor.
En 1593 el Gran Duque Fernando I decidió expulsar del puente a los carniceros, prohibiéndoles realizar sus actividades en el lugar. Se dice que no soportaba los olores de ese comercio, mientras él y sus visitantes extranjeros iban desde el Palazzo Vecchio hasta la residencia de la familia Médici, en el Palazzo Pitti, pasando sobre el corredor vasariano. Además, para aumentar el prestigio del lugar, fomentó que el sitio vacante de los carniceros fuera inmediatamente ocupado por orfebres, joyeros y comerciantes de oro, que actualmente siguen ocupando los voladizos y puestos del puente. La asociación de carniceros había monopolizado los negocios sobre el puente desde 1442.
Durante la Segunda Guerra Mundial, a diferencia de todos los demás puentes de Florencia, el Ponte Vecchio no fue destruido por los alemanes durante su retirada el 4 de agosto de 1944. Según la tradición esto se debió a una orden expresa de Hitler. Sin embargo, su acceso quedó obstruido debido a la destrucción de los edificios a ambos lados del puente.
A Via Camerelle é a artéria comercial mais icónica da Ilha de Capri, Itália, com 273 metros de extensão, ligando a Certosa di San Giacomo ao coração da cidade e à famosa Piazzetta. Originalmente um caminho romano, a Via Anticaglia, transformou-se, a partir dos anos 50, numa montra de prestígio, atraindo turismo em massa e consolidando-se como o epicentro do luxo, onde se encontram boutiques de marcas renomadas como Pomellato, Brunello Cucinelli, Gucci e Prada. Durante a temporada alta, a rua pedonal torna-se num vibrante corredor de visitantes em busca de experiências de compra exclusivas e da atmosfera glamorosa da ilha, que também alberga restaurantes e hotéis de luxo. Os vestígios das antigas cisternas que lhe deram o nome foram, em grande parte, substituídos por elegantes estabelecimentos, tornando a Via Camerelle não apenas um espaço de comércio, mas um ponto de encontro crucial que reflete a dinâmica do turismo de luxo em Capri.
Via Camerelle is the most iconic commercial artery on the island of Capri, Italy, 273 meters long, connecting the Certosa di San Giacomo to the heart of the city and the famous Piazzetta. Originally a Roman road, the Via Anticaglia has been transformed since the 1950s into a prestigious showcase, attracting mass tourism and consolidating itself as the epicenter of luxury, where boutiques of renowned brands such as Pomellato, Brunello Cucinelli, Gucci, and Prada can be found. During the high season, the pedestrian street becomes a vibrant corridor of visitors seeking exclusive shopping experiences and the island's glamorous atmosphere, which is also home to luxury restaurants and hotels. The remains of the old cisterns that gave it its name have largely been replaced by elegant establishments, making Via Camerelle not only a shopping area, but a crucial meeting point that reflects the dynamics of luxury tourism in Capri.
VESPREJAR AL PORT DEL *MASNOU
El Club Nàutic Masnou, és una entitat esportiva de prestigi dins de la vela lleugera catalana.
Els seus orígens es remunten a principis dels anys 50, quan un grup d'amics, en el seu afany de reviure l'antiga tradició marinera de la vila, van pensar en la necessitat de crear un Club on agrupar i facilitar la pràctica dels esports nàutics.
Fins a veure fet realitat el projecte, van passar alguns anys.
No va ser fins al 17 de setembre de 1967 que l'edifici de la seu social va ser inaugurat.
Actualment el Club Nàutic El Masnou compta amb uns 2100 socis i sòcies.
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ATARDECER EN EL PUERTO DEL MASNOU
El Club Náutico Masnou, es una entidad deportiva de prestigio dentro de la vela ligera catalana.
Sus orígenes se remontan a principios de los años 50, cuando un grupo de amigos, en su afán de revivir la antigua tradición marinera de la villa, pensaron en la necesidad de crear un Club donde agrupar y facilitar la práctica de los deportes náuticos.
Hasta ver hecho realidad el proyecto, pasaron algunos años.
No fue hasta el 17 de septiembre de 1967 que el edificio de la sede social fue inaugurado.
Actualmente el Club Náutico El Masnou cuenta con unos 2100 socios y socias.
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IMBRUNIRE IN IL PORTO DEL MASNOU
Il Club Nautico Masnou, è un'entità sportiva di prestigio dentro la vela leggera catalana. Il suo origine sono stati agli inizi degli anni 50, quando un gruppo di amici, nel suo affanno di rivivere l'antica tradizione marina del paese, pensarono alla necessità di creare un Club dove raggruppare e facilitare la pratica degli sport nautici.
Fino ad essere una realtà il progetto, passarono alcuni anni. Non è stato fino il 17 settembre di 1967 che l'edificio della sede sociale è stato inaugurato.
Attualmente il Club Nautico Il Masnou conta su 2100 circa soci e socie.
La rocca Sanvitale, nota anche come castello di Fontanellato, è una fortezza situata nell'omonimo paese in provincia di Parma. Domina il centro abitato di Fontanellato e si caratterizza per il profondo fossato d'acqua, che la circonda completamente.
La storia dell'edificazione della rocca Sanvitale può essere fatta risalire all'anno 1124, quando venne eretta una prima torre di difesa.
Nel 1386 le terre di Fontanellato, con la relativa rocca, vennero cedute ai Sanvitale.
Nel 1404, al feudo fu conferito il rango di contea: fu in tale periodo che il castello divenne una residenza signorile di notevole prestigio. La rocca appartenne alla famiglia Sanvitale fino al 1948, anno in cui Giovanni Sanvitale la vendette all'amministrazione comunale.
The Rocca Sanvitale, or Sanvitale Castle, is a fortress residence located in the centre of the town of Fontanellato, near Parma, northern Italy. Construction of the moated block, accessible through a drawbridge, was begun in the 13th century, mostly completed by 15th century, with embellishments continuing through to the 18th century. It is prototypical of the urban castle-houses of the turbulent medieval communes of Northern Italy. Until the 1930s it was the home of the descendants of the Count of Sanvitale.
The crenelated walls and asymmetric towers are surrounded by an arcaded town. Adjacent to the castle are gardens and a courtyard. The optical chamber (camera ottica) has an optical system in place that projects to an inside wall a view of the town through mirrors and a prism. Rocca Sanvitale is now partly a museum and partly offices and conference hall for the town administration.
Villa La Argentina
La marca casonas Asturianas, goza de un prestigio merecido por el sello de elegancia y señorio de todas las que gozan de pertenecer al sello. Villa la Argentina un hito de ese prestigioso grupo. Construida en 1899 como residencia de una familia indiana, donde el lujo, la ostentación y la belleza ofrecían el adecuado complemento a la actividad filantrópica de sus propietarios.
Hoy en día, sus instalaciones hoteleras, situadas en la zona residencial de Luarca, corazón del conjunto arquitectónico indiano, le ofrecen la ocasión de disfrutar de un descanso a todo confort, en el mismo ambiente original de la Belle Époque.
El soberbio y ecléctico jardín aporta un rico repertorio de especies características de la horticultura ornamental de la época, en línea con el gusto de la burguesía emergente de finales del siglo XIX.
Villa Argentina
The Asturian mansion brand, enjoys a prestige deserved by the stamp of elegance and dignity of all those who enjoy belonging to the label. Villa la Argentina a milestone of that prestigious group. Built in 1899 as the residence of an Indian family, where luxury, ostentation and beauty offered the appropriate complement to the philanthropic activity of its owners.
Today, its hotel facilities, located in the residential area of Luarca, the heart of the Indian architectural complex, offer you the opportunity to enjoy a rest in complete comfort, in the same original atmosphere of the Belle Époque.
The superb and eclectic garden provides a rich repertoire of species characteristic of the ornamental horticulture of the time, in line with the taste of the emerging bourgeoisie of the late 19th century.
Let me say a huge thank you, for over than 7 million visits that I receive in networks. But please do not leave one of those big logos, that are flooding in flickr .
If you like, to see more of my photography, go to
www.flickr.com/photos/agustinruiz/
La rocca Sanvitale, nota anche come castello di Fontanellato, è una fortezza situata nell'omonimo paese in provincia di Parma. Domina il centro abitato di Fontanellato e si caratterizza per il profondo fossato d'acqua, che la circonda completamente.
La storia dell'edificazione della rocca Sanvitale può essere fatta risalire all'anno 1124, quando venne eretta una prima torre di difesa.
Nel 1386 le terre di Fontanellato, con la relativa rocca, vennero cedute ai Sanvitale.
Nel 1404, al feudo fu conferito il rango di contea: fu in tale periodo che il castello divenne una residenza signorile di notevole prestigio. La rocca appartenne alla famiglia Sanvitale fino al 1948, anno in cui Giovanni Sanvitale la vendette all'amministrazione comunale.
The Rocca Sanvitale, or Sanvitale Castle, is a fortress residence located in the centre of the town of Fontanellato, near Parma, northern Italy. Construction of the moated block, accessible through a drawbridge, was begun in the 13th century, mostly completed by 15th century, with embellishments continuing through to the 18th century. It is prototypical of the urban castle-houses of the turbulent medieval communes of Northern Italy. Until the 1930s it was the home of the descendants of the Count of Sanvitale.
The crenelated walls and asymmetric towers are surrounded by an arcaded town. Adjacent to the castle are gardens and a courtyard. The optical chamber (camera ottica) has an optical system in place that projects to an inside wall a view of the town through mirrors and a prism. Rocca Sanvitale is now partly a museum and partly offices and conference hall for the town administration.
La rocca Sanvitale, nota anche come castello di Fontanellato, è una fortezza situata nell'omonimo paese in provincia di Parma. Domina il centro abitato di Fontanellato e si caratterizza per il profondo fossato d'acqua, che la circonda completamente.
La storia dell'edificazione della rocca Sanvitale può essere fatta risalire all'anno 1124, quando venne eretta una prima torre di difesa.
Nel 1386 le terre di Fontanellato, con la relativa rocca, vennero cedute ai Sanvitale.
Nel 1404, al feudo fu conferito il rango di contea: fu in tale periodo che il castello divenne una residenza signorile di notevole prestigio. La rocca appartenne alla famiglia Sanvitale fino al 1948, anno in cui Giovanni Sanvitale la vendette all'amministrazione comunale.
The Rocca Sanvitale, or Sanvitale Castle, is a fortress residence located in the centre of the town of Fontanellato, near Parma, northern Italy. Construction of the moated block, accessible through a drawbridge, was begun in the 13th century, mostly completed by 15th century, with embellishments continuing through to the 18th century. It is prototypical of the urban castle-houses of the turbulent medieval communes of Northern Italy. Until the 1930s it was the home of the descendants of the Count of Sanvitale.
The crenelated walls and asymmetric towers are surrounded by an arcaded town. Adjacent to the castle are gardens and a courtyard. The optical chamber (camera ottica) has an optical system in place that projects to an inside wall a view of the town through mirrors and a prism. Rocca Sanvitale is now partly a museum and partly offices and conference hall for the town administration.
Portofino, uma vila piscatória na Riviera Italiana, caracterizada por um cais em forma de meia-lua e casas de arquitetura típica ligure, variadas em tons pastel. Originalmente um refúgio para pescadores, Portofino transformou-se num destino turístico de prestígio no século XX, atraindo figuras da alta sociedade internacional. O mar, que abriga diversas embarcações de recreio e iates de luxo, é parte fundamental da economia local, enquanto a vegetação mediterrânica circundante faz parte do Parque Natural Regional de Portofino, que garante a preservação da biodiversidade na área. Ao fundo, destaca-se a igreja de San Martino, de origem medieval, e o Castello Brown, fortificação do século XVI. O centro histórico mantém uma disposição urbana compacta, com ruas estreitas, e preserva o caráter da aldeia, refletindo a história e a cultura locais, bem como a tradição gastronómica baseada em produtos do mar.
Portofino, a fishing village on the Italian Riviera, is characterized by a crescent-shaped pier and houses built in typical Ligurian architecture, painted in various pastel shades. Originally a refuge for fishermen, Portofino became a prestigious tourist destination in the 20th century, attracting figures from international high society. The sea, which is home to numerous pleasure boats and luxury yachts, is a fundamental part of the local economy, while the surrounding Mediterranean vegetation is part of the Portofino Regional Natural Park, which ensures the preservation of biodiversity in the area. In the background, the medieval church of San Martino and the 16th-century Castello Brown fortification stand out. The historic center maintains a compact urban layout with narrow streets and preserves the character of the village, reflecting local history and culture, as well as the gastronomic tradition based on seafood.
La basílica de San Petronio es una iglesia de la ciudad italiana de Bolonia, de la que domina la Piazza Maggiore o plaza mayor. Sus imponentes dimensiones (132 metros de largo por 60 m de ancho, y una altura de la cúpula de 45 m) hacen de ella la quinta iglesia más grande del mundo.
Dedicada a San Petronio, patrón de la ciudad (de la que fue obispo en el siglo V), su construcción se remonta a 1390, cuando el ayuntamiento encargó a Antonio di Vincenzo los trabajos de edificación de una gran catedral en estilo gótico, que según las primeras intenciones hubiera debido sobrepasar —en dimensión— a la Basílica de San Pedro, en Roma (el proyecto de tal majestuosidad fue bloqueado por voluntad papal).
La basílica gozó desde un principio de gran prestigio, hasta el punto de ser escogida por Carlos V para su coronación como emperador por parte de Clemente VII en 1530. En la segunda mitad del siglo XVI el maestro de capilla fue Andrea Rota, músico muy apreciado en su momento.
es.wikipedia.org/wiki/Bas%C3%ADlica_de_San_Petronio
The Basilica of San Petronio (Italian: Basilica di San Petronio) is a minor basilica and church of the Archdiocese of Bologna located in Bologna, Emilia-Romagna, northern Italy. It dominates Piazza Maggiore. The basilica is dedicated to the patron saint of the city, Saint Petronius, who was the Bishop of Bologna in the fifth century. Construction began in 1390 and its main façade has remained unfinished since. The building was transferred from the city to the diocese in 1929; the basilica was finally consecrated in 1954. It has been the seat of the relics of Bologna's patron saint only since 2000; until then, they were preserved in the Santo Stefano church.
Italia - Florencia - Ponte Vecchio
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ENGLISH
The Ponte Vecchio ("Old Bridge") is a medieval stone closed-spandrel segmental arch bridge over the Arno River, in Florence, Italy, noted for still having shops built along it, as was once common. Butchers initially occupied the shops; the present tenants are jewelers, art dealers and souvenir sellers. The Ponte Vecchio's two neighbouring bridges are the Ponte Santa Trinita and the Ponte alle Grazie.
The bridge spans the Arno at its narrowest point where it is believed that a bridge was first built in Roman times, when the via Cassia crossed the river at this point. The Roman piers were of stone, the superstructure of wood. The bridge first appears in a document of 996. After being destroyed by a flood in 1117 it was reconstructed in stone but swept away again in 1333 save two of its central piers, as noted by Giovanni Villani in his Nuova Cronica. It was rebuilt in 1345. Giorgio Vasari recorded the traditional view of his day that attributed its design to Taddeo Gaddi — besides Giotto one of the few artistic names of the trecento still recalled two hundred years later. Modern historians present Neri di Fioravanti as a possible candidate. Sheltered in a little loggia at the central opening of the bridge is a weathered dedication stone, which once read Nel trentatrè dopo il mille-trecento, il ponte cadde, per diluvio dell' acque: poi dieci anni, come al Comun piacque, rifatto fu con questo adornamento. The Torre dei Mannelli was built at the southeast corner of the bridge to defend it.
The bridge consists of three segmental arches: the main arch has a span of 30 meters (98 feet) the two side arches each span 27 meters (89 feet). The rise of the arches is between 3.5 and 4.4 meters (11½ to 14½ feet), and the span-to-rise ratio 5:1.
It has always hosted shops and merchants who displayed their goods on tables before their premises, after authorization of the Bargello (a sort of a lord mayor, a magistrate and a police authority). The back shops (retrobotteghe) that may be seen from upriver, were added in the seventeenth century.
During World War II, the Ponte Vecchio was not destroyed by Germans during their retreat on the advance of the liberating British 8th Army on 4 August 1944, unlike all other bridges in Florence. This was allegedly, according to many locals and tour guides, because of an express order by Hitler. Access to Ponte Vecchio was, however, obstructed by the destruction of the buildings at both ends, which have since been rebuilt using a combination of original and modern design.
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ESPAÑOL
El Ponte Vecchio es un puente medieval sobre el río Arno en Florencia (Italia). Es un símbolo de la ciudad y uno de los puentes más famosos del mundo. Atraviesa el río Arno en su punto más estrecho. El puente se sostiene sobre tres arcos; el principal tiene una luz de 30 metros y los otros dos de 27 metros. El alzado de los arcos varía entre 3,5 y 4,4 metros.
Se cree que fue un puente construido inicialmente en madera por los romanos, poco después de la fundación de Florencia sobre el año 150 a. C. Esa pasarela se consolidó y amplió hacia el 123, cuando el emperador Adriano promovió la construcción de la via Cassia Nuova, que atravesaba la ciudad y que correspondía, se puede suponer, a las calles Bardi y San Niccolò. El primer puente romano fue destruido en el s. VI-VII, consecuencia del descuido y las guerras bárbaras, además de probables daños relacionados con las inundaciones.
Es difícil saber cuántos puentes han sido destruidos y cuántos reconstruidos por las frecuentes inundaciones del Arno. Giovanni Villani habló de un puente construido bajo el mandato de Carlomagno, y es quizá en el s. IX o X cuando el puente tuviera la posición actual.
Tras ser dañado en 1222 y 1322, fue destruido por una inundación en 1333. Fue reconstruido enteramente de piedra entre 1335 y 1345. Vasari atribuye su diseño al arquitecto y pintor italiano Taddeo Gaddi.
Al comienzo, los comerciantes alineaban sus tenderetes ("botteghe") a ambos lados del puente. Pero en 1495, la ciudad, que era la dueña y arrendadora de las tiendas a los comerciantes, se vio obligada a vender las parcelas, por razones económicas. A partir de entonces, las tiendas comenzaron a agrandarse y se multiplicaron los voladizos sobre el río, que hoy configuran la imagen del puente.
Para conectar el Palazzo Vecchio (sede del gobierno de Florencia) con el Palazzo Pitti, el Gran Duque Cosimo I de Medici encargó a Giorgio Vasari que construyera el famoso Corredor vasariano sobre el puente, el cual se finalizó en 1565. Este corredor da una vuelta en torno a la Torre de Mannelli ya que los dueños de la misma no permitieron que fuera alterada o destruida para la construcción del corredor.
En 1593 el Gran Duque Fernando I decidió expulsar del puente a los carniceros, prohibiéndoles realizar sus actividades en el lugar. Se dice que no soportaba los olores de ese comercio, mientras él y sus visitantes extranjeros iban desde el Palazzo Vecchio hasta la residencia de la familia Médici, en el Palazzo Pitti, pasando sobre el corredor vasariano. Además, para aumentar el prestigio del lugar, fomentó que el sitio vacante de los carniceros fuera inmediatamente ocupado por orfebres, joyeros y comerciantes de oro, que actualmente siguen ocupando los voladizos y puestos del puente. La asociación de carniceros había monopolizado los negocios sobre el puente desde 1442.
Durante la Segunda Guerra Mundial, a diferencia de todos los demás puentes de Florencia, el Ponte Vecchio no fue destruido por los alemanes durante su retirada el 4 de agosto de 1944. Según la tradición esto se debió a una orden expresa de Hitler. Sin embargo, su acceso quedó obstruido debido a la destrucción de los edificios a ambos lados del puente.
Casa dos Esqueletos é uma residência privada de prestígio em Conimbriga, construída nos finais do século I ou inícios do século II. A casa foi decorada com mosaicos no século III e demolida nos finais desse século ou início do seguinte para se construir a muralha.
The House of Skeletons is a prestigious private residence in Conimbriga, built in the late 1st or early 2nd century. The house was decorated with mosaics in the 3rd century and demolished at the end of that century or the beginning of the next to build the wall.
La rocca Sanvitale, nota anche come castello di Fontanellato, è una fortezza situata nell'omonimo paese in provincia di Parma. Domina il centro abitato di Fontanellato e si caratterizza per il profondo fossato d'acqua, che la circonda completamente.
La storia dell'edificazione della rocca Sanvitale può essere fatta risalire all'anno 1124, quando venne eretta una prima torre di difesa.
Nel 1386 le terre di Fontanellato, con la relativa rocca, vennero cedute ai Sanvitale.
Nel 1404, al feudo fu conferito il rango di contea: fu in tale periodo che il castello divenne una residenza signorile di notevole prestigio. La rocca appartenne alla famiglia Sanvitale fino al 1948, anno in cui Giovanni Sanvitale la vendette all'amministrazione comunale.
The Rocca Sanvitale, or Sanvitale Castle, is a fortress residence located in the centre of the town of Fontanellato, near Parma, northern Italy. Construction of the moated block, accessible through a drawbridge, was begun in the 13th century, mostly completed by 15th century, with embellishments continuing through to the 18th century. It is prototypical of the urban castle-houses of the turbulent medieval communes of Northern Italy. Until the 1930s it was the home of the descendants of the Count of Sanvitale.
The crenelated walls and asymmetric towers are surrounded by an arcaded town. Adjacent to the castle are gardens and a courtyard. The optical chamber (camera ottica) has an optical system in place that projects to an inside wall a view of the town through mirrors and a prism. Rocca Sanvitale is now partly a museum and partly offices and conference hall for the town administration.
La rocca Sanvitale, nota anche come castello di Fontanellato, è una fortezza situata nell'omonimo paese in provincia di Parma. Domina il centro abitato di Fontanellato e si caratterizza per il profondo fossato d'acqua, che la circonda completamente.
La storia dell'edificazione della rocca Sanvitale può essere fatta risalire all'anno 1124, quando venne eretta una prima torre di difesa.
Nel 1386 le terre di Fontanellato, con la relativa rocca, vennero cedute ai Sanvitale.
Nel 1404, al feudo fu conferito il rango di contea: fu in tale periodo che il castello divenne una residenza signorile di notevole prestigio. La rocca appartenne alla famiglia Sanvitale fino al 1948, anno in cui Giovanni Sanvitale la vendette all'amministrazione comunale.
The Rocca Sanvitale, or Sanvitale Castle, is a fortress residence located in the centre of the town of Fontanellato, near Parma, northern Italy. Construction of the moated block, accessible through a drawbridge, was begun in the 13th century, mostly completed by 15th century, with embellishments continuing through to the 18th century. It is prototypical of the urban castle-houses of the turbulent medieval communes of Northern Italy. Until the 1930s it was the home of the descendants of the Count of Sanvitale.
The crenelated walls and asymmetric towers are surrounded by an arcaded town. Adjacent to the castle are gardens and a courtyard. The optical chamber (camera ottica) has an optical system in place that projects to an inside wall a view of the town through mirrors and a prism. Rocca Sanvitale is now partly a museum and partly offices and conference hall for the town administration.
Flocks.
Transportando manadas voladura balsas reglas familiares tratos términos viaje al inframundo tierra salada caras viejas negociando prerrogativas oposiciones,
odsotnost naselja maščevanje nosova jeza nevarnosti izpodbijanje načel lažne zgodbe tujci v okolici nesramna srca,
membres particuliers défaites expressions significatives noms secrets possessions rapports actions identifications besoins souffrance dénigrement réponses,
ongebruikelijke identiteiten bepaalde spanningen lastige oorzaken ervaring scènes degradatie volbrachte gevechten strategische momenten randrollen,
indipendenza poteri prestigio dialoghi ordini finiti esemplifica la situazione tribunali conversazioni disordine interessi opere osservate controlli semplici,
支配的なアイデンティティの解釈上の制限は、夜を織り、慎重な制御は、質問を偽装します特定の涙モンスター求婚者困難増加ほのめかし会議不安.
Steve.D.Hammond.
Église Saint-Nizier, Lyon, Auvernia-Ródano-Alpes, France.
La iglesia Saint-Nizier es una iglesia en la ciudad de Lyon, ubicada en Place Saint-Nizier en el corazón de Presqu'île, entre Place des Terreaux y Place des Jacobins, en el distrito de Cordeliers. Es uno de los lugares de culto más importantes de la capital gala, tanto en antigüedad y prestigio como en visibilidad arquitectónica y monumental.
Dedicado a Nizier, uno de los obispos de Lyon, el edificio está documentado desde la Alta Edad Media. Después del año 1000, mientras la importancia política y económica de la ciudad se afirma, la de Saint-Nizier crece, lo que no deja de generar tensiones con la principal iglesia de Lyon, la catedral de Saint-Jean. , y en particular con su capítulo canónico.
Completamente reconstruida en los siglos XIV y XV en un estilo gótico flamígero, la iglesia está clasificada como monumento histórico por la lista de 1840.
La silueta de Saint-Nizier es particular con sus dos flechas asimétricas; la iglesia está construida principalmente en un estilo gótico flamígero que no tiene equivalente en Lyon. El edificio en su conjunto está construido, para las partes bajas, con dura piedra caliza recuperada de edificios romanos o de Villebois; y para las partes superiores originales en piedra tipo Lucenay. Las adiciones del siglo XIX están en piedra Tournus.
The Saint-Nizier church is a church in the city of Lyon, located on Place Saint-Nizier in the heart of Presqu'île, between Place des Terreaux and Place des Jacobins, in the Cordeliers district. It is one of the most important places of worship in the Gallic capital, both in antiquity and prestige as well as in architectural and monumental visibility.
Dedicated to Nizier, one of the bishops of Lyon, the building is documented from the High Middle Ages. After the year 1000, while the political and economic importance of the city asserts itself, that of Saint-Nizier grows, which does not stop generating tensions with the main church of Lyon, the Saint-Jean cathedral. , and in particular with its canonical chapter.
Completely rebuilt in the 14th and 15th centuries in a flamboyant Gothic style, the church is classified as a historical monument by the 1840 list.
Saint-Nizier's silhouette is particular with its two asymmetrical arrows; the church is built mainly in a flamboyant Gothic style that has no equivalent in Lyon. The building as a whole is built, for the lower parts, with hard limestone recovered from Roman buildings or from Villebois; and for the original Lucenay-type stone upper parts. The 19th century additions are in Tournus stone.
Venise, à la recherche de prestige, souhaitait accueillir une relique digne de ses prétentions. C'est ainsi qu'en l'année 826, deux marins Vénitiens dérobent le corps de l'évangéliste Marc à Alexandrie pour le ramener à Venise. Le corps a été caché sous des carcasses de porc pour éviter les fouilles des Sarassins !
Une première basilique est alors construite pour abriter le corps de Saint Marc mais l'édifice actuel est celui construit au XIème siècle, les deux précédents ayant été détruits.
Au fil des siècles la basilique a été constamment enrichie, jusqu'à former cet ensemble unique, d'une richesse incroyable.
Italia - Florencia - Río Arno y Ponte Vecchio
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ENGLISH
The Ponte Vecchio ("Old Bridge") is a medieval stone closed-spandrel segmental arch bridge over the Arno River, in Florence, Italy, noted for still having shops built along it, as was once common. Butchers initially occupied the shops; the present tenants are jewelers, art dealers and souvenir sellers. The Ponte Vecchio's two neighbouring bridges are the Ponte Santa Trinita and the Ponte alle Grazie.
The bridge spans the Arno at its narrowest point where it is believed that a bridge was first built in Roman times, when the via Cassia crossed the river at this point. The Roman piers were of stone, the superstructure of wood. The bridge first appears in a document of 996. After being destroyed by a flood in 1117 it was reconstructed in stone but swept away again in 1333 save two of its central piers, as noted by Giovanni Villani in his Nuova Cronica. It was rebuilt in 1345. Giorgio Vasari recorded the traditional view of his day that attributed its design to Taddeo Gaddi — besides Giotto one of the few artistic names of the trecento still recalled two hundred years later. Modern historians present Neri di Fioravanti as a possible candidate. Sheltered in a little loggia at the central opening of the bridge is a weathered dedication stone, which once read Nel trentatrè dopo il mille-trecento, il ponte cadde, per diluvio dell' acque: poi dieci anni, come al Comun piacque, rifatto fu con questo adornamento. The Torre dei Mannelli was built at the southeast corner of the bridge to defend it.
The bridge consists of three segmental arches: the main arch has a span of 30 meters (98 feet) the two side arches each span 27 meters (89 feet). The rise of the arches is between 3.5 and 4.4 meters (11½ to 14½ feet), and the span-to-rise ratio 5:1.
It has always hosted shops and merchants who displayed their goods on tables before their premises, after authorization of the Bargello (a sort of a lord mayor, a magistrate and a police authority). The back shops (retrobotteghe) that may be seen from upriver, were added in the seventeenth century.
During World War II, the Ponte Vecchio was not destroyed by Germans during their retreat on the advance of the liberating British 8th Army on 4 August 1944, unlike all other bridges in Florence. This was allegedly, according to many locals and tour guides, because of an express order by Hitler. Access to Ponte Vecchio was, however, obstructed by the destruction of the buildings at both ends, which have since been rebuilt using a combination of original and modern design.
*******
ESPAÑOL
El Ponte Vecchio es un puente medieval sobre el río Arno en Florencia (Italia). Es un símbolo de la ciudad y uno de los puentes más famosos del mundo. Atraviesa el río Arno en su punto más estrecho. El puente se sostiene sobre tres arcos; el principal tiene una luz de 30 metros y los otros dos de 27 metros. El alzado de los arcos varía entre 3,5 y 4,4 metros.
Se cree que fue un puente construido inicialmente en madera por los romanos, poco después de la fundación de Florencia sobre el año 150 a. C. Esa pasarela se consolidó y amplió hacia el 123, cuando el emperador Adriano promovió la construcción de la via Cassia Nuova, que atravesaba la ciudad y que correspondía, se puede suponer, a las calles Bardi y San Niccolò. El primer puente romano fue destruido en el s. VI-VII, consecuencia del descuido y las guerras bárbaras, además de probables daños relacionados con las inundaciones.
Es difícil saber cuántos puentes han sido destruidos y cuántos reconstruidos por las frecuentes inundaciones del Arno. Giovanni Villani habló de un puente construido bajo el mandato de Carlomagno, y es quizá en el s. IX o X cuando el puente tuviera la posición actual.
Tras ser dañado en 1222 y 1322, fue destruido por una inundación en 1333. Fue reconstruido enteramente de piedra entre 1335 y 1345. Vasari atribuye su diseño al arquitecto y pintor italiano Taddeo Gaddi.
Al comienzo, los comerciantes alineaban sus tenderetes ("botteghe") a ambos lados del puente. Pero en 1495, la ciudad, que era la dueña y arrendadora de las tiendas a los comerciantes, se vio obligada a vender las parcelas, por razones económicas. A partir de entonces, las tiendas comenzaron a agrandarse y se multiplicaron los voladizos sobre el río, que hoy configuran la imagen del puente.
Para conectar el Palazzo Vecchio (sede del gobierno de Florencia) con el Palazzo Pitti, el Gran Duque Cosimo I de Medici encargó a Giorgio Vasari que construyera el famoso Corredor vasariano sobre el puente, el cual se finalizó en 1565. Este corredor da una vuelta en torno a la Torre de Mannelli ya que los dueños de la misma no permitieron que fuera alterada o destruida para la construcción del corredor.
En 1593 el Gran Duque Fernando I decidió expulsar del puente a los carniceros, prohibiéndoles realizar sus actividades en el lugar. Se dice que no soportaba los olores de ese comercio, mientras él y sus visitantes extranjeros iban desde el Palazzo Vecchio hasta la residencia de la familia Médici, en el Palazzo Pitti, pasando sobre el corredor vasariano. Además, para aumentar el prestigio del lugar, fomentó que el sitio vacante de los carniceros fuera inmediatamente ocupado por orfebres, joyeros y comerciantes de oro, que actualmente siguen ocupando los voladizos y puestos del puente. La asociación de carniceros había monopolizado los negocios sobre el puente desde 1442.
Durante la Segunda Guerra Mundial, a diferencia de todos los demás puentes de Florencia, el Ponte Vecchio no fue destruido por los alemanes durante su retirada el 4 de agosto de 1944. Según la tradición esto se debió a una orden expresa de Hitler. Sin embargo, su acceso quedó obstruido debido a la destrucción de los edificios a ambos lados del puente.
Selene Pants
★13 Treze★ Selene Pants
El erotismo, es dar al cuerpo los prestigios de la mente.
maps.secondlife.com/secondlife/Bad%20Girls/86/99/25 marketplace.secondlife.com/p/Treze-Selene-…/14009123 >>>Includes: - Mesh for: Freya, Isis, Venus, Hourglass, Physique & Maitreya. - HUD drive with 50 textures for pants & 50 textures for laces. Please try DEMO first.
Treze Designs
Palacio del Marqués de Santa Cruz, Viso del Marqués, Ciudad Real, Castilla-La Mancha, España.
El palacio del Marqués de Santa Cruz es un edificio situado en el municipio de Viso del Marqués (Ciudad Real), en la Comunidad autónoma de Castilla-La Mancha, en España. Fue construido a finales del siglo XVI por Álvaro de Bazán, primer marqués de Santa Cruz. Actualmente es la sede del Archivo General de la Marina.
Fue construido entre 1564 y 1586 con modificaciones posteriores, y se trata de un edificio de planta cuadrada y estilo renacentista articulado en torno a un atrio renacentista con una tumba yacente. Los muros y techos se hallan cubiertos de frescos de doble temática: por un lado, escenas mitológicas y, por otro, batallas navales y ciudades italianas relacionadas con la trayectoria militar del marqués y de sus familiares. Los frescos se deben a unos pintores manieristas italianos, los Péroli. Al verlos, Felipe II les encargaría trabajos para El Escorial y el Alcázar de Toledo.
Para levantarlo, el marqués contrató a un equipo de arquitectos, pintores y decoradores que trabajaron en la obra desde 1564 hasta 1586. Para algunos, el diseño del edificio se debió al italiano Giovanni Battista Castello, conocido como el Bergamasco, que más tarde trabajó en El Escorial; para otros lo trazó, al menos en su plan original, Enrique Egas el Mozo.
La arquitectura se percibe como típica española, sin las arquerías italianas, con paramentos lisos y torres cuadradas en las esquinas, influidos por la austeridad de El Escorial y el Alcázar de Toledo, dentro de las relaciones armónicas características del Renacimiento. El espacio central está ocupado por un patio porticado que junto con la escalera forma un conjunto típicamente manierista entendido como estilo elegante y cortesano que desborda el marco meramente arquitectónico. Contaba con cuatro torres que, al parecer, se derrumbaron a consecuencia del Terremoto de Lisboa de 1755.
Las paredes están decoradas con 8.000 metros cuadrados de frescos manieristas elaborados por Giovanni Battista Peroli con Esteban Peroli y César de Bellis. Todos trabajaron para crear un espacio erigido a la mayor gloria de su dueño: por un lado, había que exaltar sus virtudes militares, y por el otro, enaltecer su linaje. Para lo primero, se pintaron en las paredes, las bóvedas y los techos del palacio vistas de ciudades y de puertos, así como los baluartes y las batallas en los que había conquistado su inmenso prestigio. A ambos lados de la escalera se ubicaron dos estatuas en las que aparecía representado como Neptuno (dios de los mares, con su tridente) y como Marte (dios de la guerra), y sobre las puertas del piso superior se colocaron los fanales de popa de las naves capitanas vencidas en las batallas, que eran los trofeos de los marinos. Para elogiar su linaje, y siguiendo la misma tradición renacentista de representar a hombres como dioses o semidioses de la antigüedad, se pintó a los antepasados del marqués y a sus esposas (tuvo dos) e hijos.
Estos dos grupos de representaciones se aderezaron con trampantojos, pinturas que simulaban puertas, columnas y otros elementos decorativos y arquitectónicos; y también con motivos grutescos que incluían animales mitológicos, sabandijas y follajes. Conforme una temática muy variada que se puede interpretar como defensa del catolicismo defendido en Trento.
Las estatuas sepulcrales de Alonso de Bazán (hermano de don Álvaro) y su esposa María de Figueroa, son el único ejemplo de escultura funeraria perteneciente al primer tercio del siglo XVII. Fueron ejecutados para el Monasterio de la Concepción que ocupaba la Comunidad de Religiosas Franciscas de El Viso del Marqués, ubicándose a día de hoy en el muro del Palacio más cercano a los jardines. Su creador fue Antonio de Riera, escultor relacionado con la corte de origen catalán. En ellas, aparecen los marqueses en actitud de orante, arrodillados en un reclinatorio, todo ello en mármol blanco que resalta sobre el mármol negro de los nichos. Se advierte en ellos cierta similitud con la elegancia y el clasicismo de los Leoni, a pesar de cierta rigidez formal, siendo de especial relevancia la forma en la que están ejecutadas las telas y el detalle de los vestidos.
The Palace of the Marquis of Santa Cruz is a building located in the municipality of Viso del Marqués (Ciudad Real), in the autonomous community of Castilla-La Mancha, Spain. It was built in the late 16th century by Álvaro de Bazán, the first Marquis of Santa Cruz. It currently houses the General Archive of the Navy.
Built between 1564 and 1586, with subsequent modifications, it is a square, Renaissance-style building centered around a Renaissance atrium with a recumbent tomb. The walls and ceilings are covered with frescoes depicting two themes: mythological scenes, and naval battles and Italian cities related to the military career of the Marquis and his family. The frescoes are by Italian Mannerist painters, the Pérolis. Upon seeing them, Philip II commissioned works from them for El Escorial and the Alcázar of Toledo.
To build it, the Marquis hired a team of architects, painters, and decorators who worked on the project from 1564 to 1586. Some believe the building was designed by the Italian Giovanni Battista Castello, known as El Bergamasco, who later worked at El Escorial; others believe it was designed, at least in its original plan, by Enrique Egas the Younger.
The architecture is perceived as typically Spanish, lacking the Italian arches, with smooth walls and square towers at the corners, influenced by the austerity of El Escorial and the Alcázar of Toledo, within the harmonious relationships characteristic of the Renaissance. The central space is occupied by a porticoed courtyard that, together with the staircase, forms a typically Mannerist ensemble, understood as an elegant and courtly style that transcends the purely architectural framework. It had four towers that apparently collapsed as a result of the Lisbon Earthquake of 1755.
The walls are decorated with 8,000 square meters of Mannerist frescoes created by Giovanni Battista Peroli with Esteban Peroli and César de Bellis. They all worked to create a space built to the greatest glory of its owner: on the one hand, to exalt his military virtues, and on the other, to honor his lineage. To this end, views of cities and ports, as well as the bastions and battles in which he had earned his immense prestige, were painted on the walls, vaults, and ceilings of the palace. On either side of the staircase were two statues depicting him as Neptune (god of the seas, with his trident) and Mars (god of war). Above the doors on the upper floor were the stern lanterns of defeated flagships, trophies of the sailors. To praise his lineage, and following the same Renaissance tradition of depicting men as gods or demigods of antiquity, the marquis's ancestors, his wives (he had two) and children were painted.
These two groups of representations were embellished with trompe l'oeil paintings simulating doors, columns, and other decorative and architectural elements; as well as grotesque motifs that included mythological animals, vermin, and foliage. This varied theme can be interpreted as a defense of the Catholicism championed in Trent.
The sepulchral statues of Alonso de Bazán (Don Álvaro's brother) and his wife María de Figueroa are the only examples of funerary sculpture dating from the first third of the 17th century. They were executed for the Monastery of the Concepción, which was occupied by the Community of Franciscan Nuns of El Viso del Marqués, and are now located on the wall of the Palace closest to the gardens. Their creator was Antonio de Riera, a sculptor of Catalan origin associated with the court. They depict the marquises in a prayerful attitude, kneeling on a prie-dieu. All in white marble, which stands out against the black marble of the niches. There is a certain similarity to the elegance and classicism of the Leoni family, despite their formal rigidity, with the execution of the fabrics and the detail of the dresses being particularly noteworthy.
Palacio del Marqués de Santa Cruz, Viso del Marqués, Ciudad Real, Castilla-La Mancha, España.
El palacio del Marqués de Santa Cruz es un edificio situado en el municipio de Viso del Marqués (Ciudad Real), en la Comunidad autónoma de Castilla-La Mancha, en España. Fue construido a finales del siglo XVI por Álvaro de Bazán, primer marqués de Santa Cruz. Actualmente es la sede del Archivo General de la Marina.
Fue construido entre 1564 y 1586 con modificaciones posteriores, y se trata de un edificio de planta cuadrada y estilo renacentista articulado en torno a un atrio renacentista con una tumba yacente. Los muros y techos se hallan cubiertos de frescos de doble temática: por un lado, escenas mitológicas y, por otro, batallas navales y ciudades italianas relacionadas con la trayectoria militar del marqués y de sus familiares. Los frescos se deben a unos pintores manieristas italianos, los Péroli. Al verlos, Felipe II les encargaría trabajos para El Escorial y el Alcázar de Toledo.
Para levantarlo, el marqués contrató a un equipo de arquitectos, pintores y decoradores que trabajaron en la obra desde 1564 hasta 1586. Para algunos, el diseño del edificio se debió al italiano Giovanni Battista Castello, conocido como el Bergamasco, que más tarde trabajó en El Escorial; para otros lo trazó, al menos en su plan original, Enrique Egas el Mozo.
La arquitectura se percibe como típica española, sin las arquerías italianas, con paramentos lisos y torres cuadradas en las esquinas, influidos por la austeridad de El Escorial y el Alcázar de Toledo, dentro de las relaciones armónicas características del Renacimiento. El espacio central está ocupado por un patio porticado que junto con la escalera forma un conjunto típicamente manierista entendido como estilo elegante y cortesano que desborda el marco meramente arquitectónico. Contaba con cuatro torres que, al parecer, se derrumbaron a consecuencia del Terremoto de Lisboa de 1755.
Las paredes están decoradas con 8.000 metros cuadrados de frescos manieristas elaborados por Giovanni Battista Peroli con Esteban Peroli y César de Bellis. Todos trabajaron para crear un espacio erigido a la mayor gloria de su dueño: por un lado, había que exaltar sus virtudes militares, y por el otro, enaltecer su linaje. Para lo primero, se pintaron en las paredes, las bóvedas y los techos del palacio vistas de ciudades y de puertos, así como los baluartes y las batallas en los que había conquistado su inmenso prestigio. A ambos lados de la escalera se ubicaron dos estatuas en las que aparecía representado como Neptuno (dios de los mares, con su tridente) y como Marte (dios de la guerra), y sobre las puertas del piso superior se colocaron los fanales de popa de las naves capitanas vencidas en las batallas, que eran los trofeos de los marinos. Para elogiar su linaje, y siguiendo la misma tradición renacentista de representar a hombres como dioses o semidioses de la antigüedad, se pintó a los antepasados del marqués y a sus esposas (tuvo dos) e hijos.
Estos dos grupos de representaciones se aderezaron con trampantojos, pinturas que simulaban puertas, columnas y otros elementos decorativos y arquitectónicos; y también con motivos grutescos que incluían animales mitológicos, sabandijas y follajes. Conforme una temática muy variada que se puede interpretar como defensa del catolicismo defendido en Trento.
Las estatuas sepulcrales de Alonso de Bazán (hermano de don Álvaro) y su esposa María de Figueroa, son el único ejemplo de escultura funeraria perteneciente al primer tercio del siglo XVII. Fueron ejecutados para el Monasterio de la Concepción que ocupaba la Comunidad de Religiosas Franciscas de El Viso del Marqués, ubicándose a día de hoy en el muro del Palacio más cercano a los jardines. Su creador fue Antonio de Riera, escultor relacionado con la corte de origen catalán. En ellas, aparecen los marqueses en actitud de orante, arrodillados en un reclinatorio, todo ello en mármol blanco que resalta sobre el mármol negro de los nichos. Se advierte en ellos cierta similitud con la elegancia y el clasicismo de los Leoni, a pesar de cierta rigidez formal, siendo de especial relevancia la forma en la que están ejecutadas las telas y el detalle de los vestidos.
The Palace of the Marquis of Santa Cruz is a building located in the municipality of Viso del Marqués (Ciudad Real), in the autonomous community of Castilla-La Mancha, Spain. It was built in the late 16th century by Álvaro de Bazán, the first Marquis of Santa Cruz. It currently houses the General Archive of the Navy.
Built between 1564 and 1586, with subsequent modifications, it is a square, Renaissance-style building centered around a Renaissance atrium with a recumbent tomb. The walls and ceilings are covered with frescoes depicting two themes: mythological scenes, and naval battles and Italian cities related to the military career of the Marquis and his family. The frescoes are by Italian Mannerist painters, the Pérolis. Upon seeing them, Philip II commissioned works from them for El Escorial and the Alcázar of Toledo.
To build it, the Marquis hired a team of architects, painters, and decorators who worked on the project from 1564 to 1586. Some believe the building was designed by the Italian Giovanni Battista Castello, known as El Bergamasco, who later worked at El Escorial; others believe it was designed, at least in its original plan, by Enrique Egas the Younger.
The architecture is perceived as typically Spanish, lacking the Italian arches, with smooth walls and square towers at the corners, influenced by the austerity of El Escorial and the Alcázar of Toledo, within the harmonious relationships characteristic of the Renaissance. The central space is occupied by a porticoed courtyard that, together with the staircase, forms a typically Mannerist ensemble, understood as an elegant and courtly style that transcends the purely architectural framework. It had four towers that apparently collapsed as a result of the Lisbon Earthquake of 1755.
The walls are decorated with 8,000 square meters of Mannerist frescoes created by Giovanni Battista Peroli with Esteban Peroli and César de Bellis. They all worked to create a space built to the greatest glory of its owner: on the one hand, to exalt his military virtues, and on the other, to honor his lineage. To this end, views of cities and ports, as well as the bastions and battles in which he had earned his immense prestige, were painted on the walls, vaults, and ceilings of the palace. On either side of the staircase were two statues depicting him as Neptune (god of the seas, with his trident) and Mars (god of war). Above the doors on the upper floor were the stern lanterns of defeated flagships, trophies of the sailors. To praise his lineage, and following the same Renaissance tradition of depicting men as gods or demigods of antiquity, the marquis's ancestors, his wives (he had two) and children were painted.
These two groups of representations were embellished with trompe l'oeil paintings simulating doors, columns, and other decorative and architectural elements; as well as grotesque motifs that included mythological animals, vermin, and foliage. This varied theme can be interpreted as a defense of the Catholicism championed in Trent.
The sepulchral statues of Alonso de Bazán (Don Álvaro's brother) and his wife María de Figueroa are the only examples of funerary sculpture dating from the first third of the 17th century. They were executed for the Monastery of the Concepción, which was occupied by the Community of Franciscan Nuns of El Viso del Marqués, and are now located on the wall of the Palace closest to the gardens. Their creator was Antonio de Riera, a sculptor of Catalan origin associated with the court. They depict the marquises in a prayerful attitude, kneeling on a prie-dieu. All in white marble, which stands out against the black marble of the niches. There is a certain similarity to the elegance and classicism of the Leoni family, despite their formal rigidity, with the execution of the fabrics and the detail of the dresses being particularly noteworthy.
A Via Camerelle é a artéria comercial mais icónica da Ilha de Capri, Itália, com 273 metros de extensão, ligando a Certosa di San Giacomo ao coração da cidade e à famosa Piazzetta. Originalmente um caminho romano, a Via Anticaglia, transformou-se, a partir dos anos 50, numa montra de prestígio, atraindo turismo em massa e consolidando-se como o epicentro do luxo, onde se encontram boutiques de marcas renomadas como Pomellato, Brunello Cucinelli, Gucci e Prada. Durante a temporada alta, a rua pedonal torna-se num vibrante corredor de visitantes em busca de experiências de compra exclusivas e da atmosfera glamorosa da ilha, que também alberga restaurantes e hotéis de luxo. Os vestígios das antigas cisternas que lhe deram o nome foram, em grande parte, substituídos por elegantes estabelecimentos, tornando a Via Camerelle não apenas um espaço de comércio, mas um ponto de encontro crucial que reflete a dinâmica do turismo de luxo em Capri.
Via Camerelle is the most iconic commercial artery on the island of Capri, Italy, 273 meters long, connecting the Certosa di San Giacomo to the heart of the city and the famous Piazzetta. Originally a Roman road, the Via Anticaglia has been transformed since the 1950s into a prestigious showcase, attracting mass tourism and consolidating itself as the epicenter of luxury, where boutiques of renowned brands such as Pomellato, Brunello Cucinelli, Gucci, and Prada can be found. During the high season, the pedestrian street becomes a vibrant corridor of visitors seeking exclusive shopping experiences and the island's glamorous atmosphere, which is also home to luxury restaurants and hotels. The remains of the old cisterns that gave it its name have largely been replaced by elegant establishments, making Via Camerelle not only a shopping area, but a crucial meeting point that reflects the dynamics of luxury tourism in Capri.
La basílica de San Petronio es una iglesia de la ciudad italiana de Bolonia, de la que domina la Piazza Maggiore o plaza mayor. Sus imponentes dimensiones (132 metros de largo por 60 m de ancho, y una altura de la cúpula de 45 m) hacen de ella la quinta iglesia más grande del mundo.
Dedicada a San Petronio, patrón de la ciudad (de la que fue obispo en el siglo V), su construcción se remonta a 1390, cuando el ayuntamiento encargó a Antonio di Vincenzo los trabajos de edificación de una gran catedral en estilo gótico, que según las primeras intenciones hubiera debido sobrepasar —en dimensión— a la Basílica de San Pedro, en Roma (el proyecto de tal majestuosidad fue bloqueado por voluntad papal).
La basílica gozó desde un principio de gran prestigio, hasta el punto de ser escogida por Carlos V para su coronación como emperador por parte de Clemente VII en 1530. En la segunda mitad del siglo XVI el maestro de capilla fue Andrea Rota, músico muy apreciado en su momento.
es.wikipedia.org/wiki/Bas%C3%ADlica_de_San_Petronio
The Basilica of San Petronio (Italian: Basilica di San Petronio) is a minor basilica and church of the Archdiocese of Bologna located in Bologna, Emilia-Romagna, northern Italy. It dominates Piazza Maggiore. The basilica is dedicated to the patron saint of the city, Saint Petronius, who was the Bishop of Bologna in the fifth century. Construction began in 1390 and its main façade has remained unfinished since. The building was transferred from the city to the diocese in 1929; the basilica was finally consecrated in 1954. It has been the seat of the relics of Bologna's patron saint only since 2000; until then, they were preserved in the Santo Stefano church.
La rocca Sanvitale, nota anche come castello di Fontanellato, è una fortezza situata nell'omonimo paese in provincia di Parma. Domina il centro abitato di Fontanellato e si caratterizza per il profondo fossato d'acqua, che la circonda completamente.
La storia dell'edificazione della rocca Sanvitale può essere fatta risalire all'anno 1124, quando venne eretta una prima torre di difesa.
Nel 1386 le terre di Fontanellato, con la relativa rocca, vennero cedute ai Sanvitale.
Nel 1404, al feudo fu conferito il rango di contea: fu in tale periodo che il castello divenne una residenza signorile di notevole prestigio. La rocca appartenne alla famiglia Sanvitale fino al 1948, anno in cui Giovanni Sanvitale la vendette all'amministrazione comunale.
The Rocca Sanvitale, or Sanvitale Castle, is a fortress residence located in the centre of the town of Fontanellato, near Parma, northern Italy. Construction of the moated block, accessible through a drawbridge, was begun in the 13th century, mostly completed by 15th century, with embellishments continuing through to the 18th century. It is prototypical of the urban castle-houses of the turbulent medieval communes of Northern Italy. Until the 1930s it was the home of the descendants of the Count of Sanvitale.
The crenelated walls and asymmetric towers are surrounded by an arcaded town. Adjacent to the castle are gardens and a courtyard. The optical chamber (camera ottica) has an optical system in place that projects to an inside wall a view of the town through mirrors and a prism. Rocca Sanvitale is now partly a museum and partly offices and conference hall for the town administration.
La rocca Sanvitale, nota anche come castello di Fontanellato, è una fortezza situata nell'omonimo paese in provincia di Parma. Domina il centro abitato di Fontanellato e si caratterizza per il profondo fossato d'acqua, che la circonda completamente.
La storia dell'edificazione della rocca Sanvitale può essere fatta risalire all'anno 1124, quando venne eretta una prima torre di difesa.
Nel 1386 le terre di Fontanellato, con la relativa rocca, vennero cedute ai Sanvitale.
Nel 1404, al feudo fu conferito il rango di contea: fu in tale periodo che il castello divenne una residenza signorile di notevole prestigio. La rocca appartenne alla famiglia Sanvitale fino al 1948, anno in cui Giovanni Sanvitale la vendette all'amministrazione comunale.
The Rocca Sanvitale, or Sanvitale Castle, is a fortress residence located in the centre of the town of Fontanellato, near Parma, northern Italy. Construction of the moated block, accessible through a drawbridge, was begun in the 13th century, mostly completed by 15th century, with embellishments continuing through to the 18th century. It is prototypical of the urban castle-houses of the turbulent medieval communes of Northern Italy. Until the 1930s it was the home of the descendants of the Count of Sanvitale.
The crenelated walls and asymmetric towers are surrounded by an arcaded town. Adjacent to the castle are gardens and a courtyard. The optical chamber (camera ottica) has an optical system in place that projects to an inside wall a view of the town through mirrors and a prism. Rocca Sanvitale is now partly a museum and partly offices and conference hall for the town administration.
Italia - Florencia - Río Arno y Ponte Vecchio
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ENGLISH
The Ponte Vecchio ("Old Bridge") is a medieval stone closed-spandrel segmental arch bridge over the Arno River, in Florence, Italy, noted for still having shops built along it, as was once common. Butchers initially occupied the shops; the present tenants are jewelers, art dealers and souvenir sellers. The Ponte Vecchio's two neighbouring bridges are the Ponte Santa Trinita and the Ponte alle Grazie.
The bridge spans the Arno at its narrowest point where it is believed that a bridge was first built in Roman times, when the via Cassia crossed the river at this point. The Roman piers were of stone, the superstructure of wood. The bridge first appears in a document of 996. After being destroyed by a flood in 1117 it was reconstructed in stone but swept away again in 1333 save two of its central piers, as noted by Giovanni Villani in his Nuova Cronica. It was rebuilt in 1345. Giorgio Vasari recorded the traditional view of his day that attributed its design to Taddeo Gaddi — besides Giotto one of the few artistic names of the trecento still recalled two hundred years later. Modern historians present Neri di Fioravanti as a possible candidate. Sheltered in a little loggia at the central opening of the bridge is a weathered dedication stone, which once read Nel trentatrè dopo il mille-trecento, il ponte cadde, per diluvio dell' acque: poi dieci anni, come al Comun piacque, rifatto fu con questo adornamento. The Torre dei Mannelli was built at the southeast corner of the bridge to defend it.
The bridge consists of three segmental arches: the main arch has a span of 30 meters (98 feet) the two side arches each span 27 meters (89 feet). The rise of the arches is between 3.5 and 4.4 meters (11½ to 14½ feet), and the span-to-rise ratio 5:1.
It has always hosted shops and merchants who displayed their goods on tables before their premises, after authorization of the Bargello (a sort of a lord mayor, a magistrate and a police authority). The back shops (retrobotteghe) that may be seen from upriver, were added in the seventeenth century.
During World War II, the Ponte Vecchio was not destroyed by Germans during their retreat on the advance of the liberating British 8th Army on 4 August 1944, unlike all other bridges in Florence. This was allegedly, according to many locals and tour guides, because of an express order by Hitler. Access to Ponte Vecchio was, however, obstructed by the destruction of the buildings at both ends, which have since been rebuilt using a combination of original and modern design.
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ESPAÑOL
El Ponte Vecchio es un puente medieval sobre el río Arno en Florencia (Italia). Es un símbolo de la ciudad y uno de los puentes más famosos del mundo. Atraviesa el río Arno en su punto más estrecho. El puente se sostiene sobre tres arcos; el principal tiene una luz de 30 metros y los otros dos de 27 metros. El alzado de los arcos varía entre 3,5 y 4,4 metros.
Se cree que fue un puente construido inicialmente en madera por los romanos, poco después de la fundación de Florencia sobre el año 150 a. C. Esa pasarela se consolidó y amplió hacia el 123, cuando el emperador Adriano promovió la construcción de la via Cassia Nuova, que atravesaba la ciudad y que correspondía, se puede suponer, a las calles Bardi y San Niccolò. El primer puente romano fue destruido en el s. VI-VII, consecuencia del descuido y las guerras bárbaras, además de probables daños relacionados con las inundaciones.
Es difícil saber cuántos puentes han sido destruidos y cuántos reconstruidos por las frecuentes inundaciones del Arno. Giovanni Villani habló de un puente construido bajo el mandato de Carlomagno, y es quizá en el s. IX o X cuando el puente tuviera la posición actual.
Tras ser dañado en 1222 y 1322, fue destruido por una inundación en 1333. Fue reconstruido enteramente de piedra entre 1335 y 1345. Vasari atribuye su diseño al arquitecto y pintor italiano Taddeo Gaddi.
Al comienzo, los comerciantes alineaban sus tenderetes ("botteghe") a ambos lados del puente. Pero en 1495, la ciudad, que era la dueña y arrendadora de las tiendas a los comerciantes, se vio obligada a vender las parcelas, por razones económicas. A partir de entonces, las tiendas comenzaron a agrandarse y se multiplicaron los voladizos sobre el río, que hoy configuran la imagen del puente.
Para conectar el Palazzo Vecchio (sede del gobierno de Florencia) con el Palazzo Pitti, el Gran Duque Cosimo I de Medici encargó a Giorgio Vasari que construyera el famoso Corredor vasariano sobre el puente, el cual se finalizó en 1565. Este corredor da una vuelta en torno a la Torre de Mannelli ya que los dueños de la misma no permitieron que fuera alterada o destruida para la construcción del corredor.
En 1593 el Gran Duque Fernando I decidió expulsar del puente a los carniceros, prohibiéndoles realizar sus actividades en el lugar. Se dice que no soportaba los olores de ese comercio, mientras él y sus visitantes extranjeros iban desde el Palazzo Vecchio hasta la residencia de la familia Médici, en el Palazzo Pitti, pasando sobre el corredor vasariano. Además, para aumentar el prestigio del lugar, fomentó que el sitio vacante de los carniceros fuera inmediatamente ocupado por orfebres, joyeros y comerciantes de oro, que actualmente siguen ocupando los voladizos y puestos del puente. La asociación de carniceros había monopolizado los negocios sobre el puente desde 1442.
Durante la Segunda Guerra Mundial, a diferencia de todos los demás puentes de Florencia, el Ponte Vecchio no fue destruido por los alemanes durante su retirada el 4 de agosto de 1944. Según la tradición esto se debió a una orden expresa de Hitler. Sin embargo, su acceso quedó obstruido debido a la destrucción de los edificios a ambos lados del puente.
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.
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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 coffered ceiling, 16th century
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La basílica de San Petronio es una iglesia de la ciudad italiana de Bolonia, de la que domina la Piazza Maggiore o plaza mayor. Sus imponentes dimensiones (132 metros de largo por 60 m de ancho, y una altura de la cúpula de 45 m) hacen de ella la quinta iglesia más grande del mundo.
Dedicada a San Petronio, patrón de la ciudad (de la que fue obispo en el siglo V), su construcción se remonta a 1390, cuando el ayuntamiento encargó a Antonio di Vincenzo los trabajos de edificación de una gran catedral en estilo gótico, que según las primeras intenciones hubiera debido sobrepasar —en dimensión— a la Basílica de San Pedro, en Roma (el proyecto de tal majestuosidad fue bloqueado por voluntad papal).
La basílica gozó desde un principio de gran prestigio, hasta el punto de ser escogida por Carlos V para su coronación como emperador por parte de Clemente VII en 1530. En la segunda mitad del siglo XVI el maestro de capilla fue Andrea Rota, músico muy apreciado en su momento.
es.wikipedia.org/wiki/Bas%C3%ADlica_de_San_Petronio
The Basilica of San Petronio (Italian: Basilica di San Petronio) is a minor basilica and church of the Archdiocese of Bologna located in Bologna, Emilia-Romagna, northern Italy. It dominates Piazza Maggiore. The basilica is dedicated to the patron saint of the city, Saint Petronius, who was the Bishop of Bologna in the fifth century. Construction began in 1390 and its main façade has remained unfinished since. The building was transferred from the city to the diocese in 1929; the basilica was finally consecrated in 1954. It has been the seat of the relics of Bologna's patron saint only since 2000; until then, they were preserved in the Santo Stefano church.
La rocca Sanvitale, nota anche come castello di Fontanellato, è una fortezza situata nell'omonimo paese in provincia di Parma. Domina il centro abitato di Fontanellato e si caratterizza per il profondo fossato d'acqua, che la circonda completamente.
La storia dell'edificazione della rocca Sanvitale può essere fatta risalire all'anno 1124, quando venne eretta una prima torre di difesa.
Nel 1386 le terre di Fontanellato, con la relativa rocca, vennero cedute ai Sanvitale.
Nel 1404, al feudo fu conferito il rango di contea: fu in tale periodo che il castello divenne una residenza signorile di notevole prestigio. La rocca appartenne alla famiglia Sanvitale fino al 1948, anno in cui Giovanni Sanvitale la vendette all'amministrazione comunale.
The Rocca Sanvitale, or Sanvitale Castle, is a fortress residence located in the centre of the town of Fontanellato, near Parma, northern Italy. Construction of the moated block, accessible through a drawbridge, was begun in the 13th century, mostly completed by 15th century, with embellishments continuing through to the 18th century. It is prototypical of the urban castle-houses of the turbulent medieval communes of Northern Italy. Until the 1930s it was the home of the descendants of the Count of Sanvitale.
The crenelated walls and asymmetric towers are surrounded by an arcaded town. Adjacent to the castle are gardens and a courtyard. The optical chamber (camera ottica) has an optical system in place that projects to an inside wall a view of the town through mirrors and a prism. Rocca Sanvitale is now partly a museum and partly offices and conference hall for the town administration.
Colonia (en alemán: Köln [kœln]; en kölsch: Kölle [ˈkœɫə]) es la cuarta ciudad más grande de Alemania, precedida por Berlín, Hamburgo y Múnich, y la más poblada dentro del Estado federado de Renania del Norte-Westfalia, aunque Düsseldorf es la capital del Estado. Fundada en el año 38 a. C. como Oppidum Ubiorum («Ciudad de los Ubios»), fue posteriormente declarada colonia romana con el nombre de Colonia Claudia Ara Agrippinensium en alusión a la emperatriz Agripina, esposa del emperador Claudio y madre de Nerón.
Es un importante centro económico y cultural de importancia internacional y representa uno de los enclaves más importantes del mundo artístico. Es famoso por ser la sede del carnaval más espectacular del país. Además es la sede de muchas asociaciones, empresas mediáticas y numerosas cadenas de televisión, discográficas y editoriales. Su importancia reside en parte en su monumento más emblemático: la catedral, su historia de más de 2000 años, sus numerosos eventos internacionales, como su cultura y su gastronomía que lo hacen uno de los destinos más visitados de Europa. La Universidad de Colonia (alrededor de 50 000 estudiantes), la Escuela Técnica Superior de Colonia (alrededor de 25 000 estudiantes) y demás escuelas superiores representa la gran importancia educativa y de investigación dentro de la región del Rin-Ruhr.
La excelente ubicación en el río Rin, en mitad de las principales rutas comerciales entre este y oeste, como sede secular como Ciudad Libre Imperial tanto como su poder eclesiástico a través del arzobispado en el Sacro Imperio Romano le consiguió granjearse un gran prestigio e importancia en el país. Como ciudad hanseática ganó mucha importancia comercial a través del libre comercio con el resto de la Hansa. Su importancia como centro neurálgico de las comunicaciones siguen hoy día con la gran cantidad de viajeros en tren que salen cada día de la Estación Central (Hauptbahnhof), y la estación Köln Eifeltor, que es uno de los mayores patios de carga ferroviarios para el transporte de mercancías. El transporte aéreo también tiene su importancia en la ciudad debido al aeropuerto de Colonia/Bonn.
es.wikipedia.org/wiki/Colonia_(Alemania)
Cologne (German: Köln or sometimes Kölle) is a city on the Rhine River in the state of North Rhine-Westphalia in Germany. About 1,060,000 people live there.
The city was founded by the Romans in the year 50. Before that, it was a Roman castle ("castellum") and a town inhabited by a local German tribe named Ubier at least for 100 years. Archaeologists have found out that the surrounding area was populated already during the stone age.
The most interesting thing to see there is Cologne Cathedral. This church was built from about 1248 to about 1550, but completed only in 1880. The United Nations list it as 'World Cultural Heritage'. Cologne's archbishop Rainald von Dassel brought the relics of the biblical Three Wise Men there in 1164. They are kept in a very beautiful golden shrine in the cathedral. Three golden crowns in the coat of arms of the city symbolize them. They made Cologne a major place of pilgrimage.
simple.wikipedia.org/wiki/Cologne
El río Rin (en alemán: Rhein; en francés: Rhin; en neerlandés: Rijn; en romanche: Rain) es un importante río de Europa, la vía fluvial más utilizada de la Unión Europea (UE). Con una longitud de 1233 km (14° más largo de Europa), es navegable en un tramo de 883 km entre Basilea (Suiza) y su delta en el mar del Norte.
El nombre Rin es de origen celta y significa 'fluir' (como en griego antiguo rheīn 'fluir'). Junto con el Danubio, el Rin constituía la mayor parte de la frontera septentrional (el limes) del Imperio romano. Los romanos lo denominaban Rhēnus.
The Rhine (Latin: Rhenus, Romansh: Rein, German: Rhein, French: le Rhin[1], Italian: Reno, Dutch: Rijn) is a European river that begins in the Swiss canton of Graubünden in the southeastern Swiss Alps, forms part of the Swiss-Liechtenstein, Swiss-Austrian, Swiss-German and then the Franco-German border, then flows through the German Rhineland and the Netherlands and eventually empties into the North Sea.
The largest city on the Rhine is Cologne, Germany, with a population of more than 1,050,000 people. It is the second-longest river in Central and Western Europe (after the Danube), at about 1,230 km (760 mi), with an average discharge of about 2,900 m3/s (100,000 cu ft/s).
The Rhine and the Danube formed most of the northern inland frontier of the Roman Empire and, since those days, the Rhine has been a vital and navigable waterway carrying trade and goods deep inland. Its importance as a waterway in the Holy Roman Empire is supported by the many castles and fortifications built along it. In the modern era, it has become a symbol of German nationalism.
Il tempio di Santa Maria della Consolazione è un importante luogo di culto cattolico di Todi, che si trova all'esterno delle mura duecentesche della città. Opera architettonica di importanza internazionale, è considerato uno degli edifici-simbolo dell'architettura rinascimentale. La sua costruzione cominciò nel 1508 per concludersi dopo cent'anni. Per chi proviene da Orvieto, la chiesa è visibile in lontananza prima di entrare nella città. La sua architettura classica si contrappone a quella del centro storico, di carattere. Il tempio resta ancor oggi in posizione relativamente periferica. Questo rende evidente il fatto che per Santa Maria della Consolazione è stato introdotto un principio innovativo di urbanistica, per certi versi paragonabile a quello medievale della Basilica di San Pietro a Roma (anch'essa fuori dalle mura). Comunque, è soprattutto a partire dall'epoca del Rinascimento che edifici del genere vengono collocati al di fuori delle mura di cinta, secondo le teorie architettoniche proposte da Leon Battista Alberti. Spesso la città medievale non disponeva più di aree edificabili all'interno delle mura e i comuni trovavano nei luoghi esterni la possibilità di creare soluzioni urbanistiche nuove e svincolate dai canoni di spazio e di forma imposti dagli edifici circostanti. La leggenda racconta che a Todi, all'inizio del XVI secolo, fosse avvenuto un miracolo. Un addetto alla pulizia di un affresco della Madonna sarebbe infatti stato miracolosamente guarito da una grave malattia ad un occhio. A questo punto, si prospettò la possibilità di rendere noto il miracolo anche in regioni lontane costruendo un tempio mariano nelle vicinanze: la chiesa doveva ospitare l'immagine della Madonna e diventare così un punto di pellegrinaggio per malati di ogni tipo, sorgendo sul luogo di una cappella medievale già presente. Dal punto di vista politico, il comune di Todi si trovava in rapporto di concorrenza con altre città vicine. Diverse di esse avevano alle loro spalle la costruzione di prestigiose cattedrali medievali: per il comune di Todi era vantaggiosa la prospettiva di costruire una chiesa assai rappresentativa in stile rinascimentale, dunque da considerarsi moderno. La posizione periferica della chiesa offriva inoltre il vantaggio di presentare la città con un oggetto di prestigio visibile già da lontano. Il finanziamento del progetto fu possibile grazie a diverse fonti: tra queste, grande importanza dovevano avere le offerte versate dai pellegrini malati. Fra l'altro, fu iniziata anche la costruzione di un'infermeria. La paternità del progetto architettonico non è sicura. Fin dal cinquecento è stata attribuita a Donato Bramante, ma non vi sono documenti che possano comprovare tale attribuzione. È certo che il Bramante non presenziò mai ai lavori, mentre sono certi i nomi dei maestri (quasi tutti rappresentanti della sua scuola) che si sono succeduti nelle varie fasi della costruzione: all'inizio, e fino al 1512, i lavori furono diretti da Cola da Caprarola, successivamente subentrarono Baldassarre Peruzzi (fino al 1518), il Vignola (fino al 1565) e infine Ippolito Scalza. Anche altri architetti hanno dato il loro contributo alla costruzione: tra questi Antonio da Sangallo il Giovane, Galeazzo Alessi e Michele Sanmicheli. Il progetto iniziò ad avvicinarsi al traguardo nel 1586, quando iniziò la costruzione del tamburo seguito dal resto della cupola. Quest'ultima andava già incontro alle forme architettoniche che sarebbero diventate tipiche del barocco (la forma ovale della cupola è uno dei pochi elementi architettonici che sottraggono la chiesa ai dettami architettonici del Rinascimento).
The temple of Santa Maria della Consolazione is an important place of Catholic worship in Todi, located outside the thirteenth-century city walls. An architectural work of international importance, it is considered one of the symbolic buildings of Renaissance architecture. Its construction began in 1508 and ended after a hundred years. For those coming from Orvieto, the church is visible in the distance before entering the city. Its classical architecture contrasts with that of the old town, full of character. The temple still remains today in a relatively peripheral position. This makes clear the fact that an innovative urban planning principle was introduced for Santa Maria della Consolazione, in some ways comparable to the medieval one of St. Peter's Basilica in Rome (also outside the walls). However, it is above all starting from the Renaissance that buildings of this kind were placed outside the walls, according to the architectural theories proposed by Leon Battista Alberti. Often the medieval city no longer had building areas within the walls and the municipalities found in external places the possibility of creating new urban solutions free from the space and form rules imposed by the surrounding buildings. Legend has it that a miracle occurred in Todi at the beginning of the 16th century. An employee cleaning a fresco of the Madonna was in fact miraculously cured of a serious eye disease. At this point, the possibility arose of making the miracle known even in distant regions by building a Marian temple nearby: the church was to house the image of the Madonna and thus become a point of pilgrimage for sick people of all kinds, rising on the site of a medieval chapel already present. From a political point of view, the municipality of Todi was in a competitive relationship with other nearby cities. Several of them had the construction of prestigious medieval cathedrals behind them: the prospect of building a very representative church in the Renaissance style was advantageous for the municipality of Todi, therefore to be considered modern. The peripheral position of the church also offered the advantage of presenting the city with a prestigious object visible from afar. The financing of the project was possible thanks to various sources: among these, the donations paid by sick pilgrims must have had great importance. Among other things, the construction of an infirmary was also begun. The authorship of the architectural project is not certain. Since the sixteenth century it has been attributed to Donato Bramante, but there are no documents that can prove this attribution. It is certain that Bramante never attended the works, while the names of the masters (almost all representatives of his school) who followed one another in the various phases of the construction are certain: at the beginning, and until 1512, the works were directed by Cola da Caprarola, followed by Baldassarre Peruzzi (until 1518), Vignola (until 1565) and finally Ippolito Scalza. Other architects also contributed to the construction: among them Antonio da Sangallo the Younger, Galeazzo Alessi and Michele Sanmicheli. The project began nearing completion in 1586 when construction began on the drum followed by the rest of the dome. The latter was already meeting the architectural forms that would become typical of the Baroque (the oval shape of the dome is one of the few architectural elements that remove the church from the architectural dictates of the Renaissance).
Le temple de Santa Maria della Consolazione est un important lieu de culte catholique à Todi, situé à l'extérieur des murs de la ville du XIIIe siècle. Œuvre architecturale d'importance internationale, il est considéré comme l'un des édifices emblématiques de l'architecture de la Renaissance. Sa construction a commencé en 1508 et s'est terminée après cent ans. Pour ceux qui viennent d'Orvieto, l'église est visible au loin avant d'entrer dans la ville. Son architecture classique contraste avec celle de la vieille ville, pleine de caractère. Le temple reste encore aujourd'hui dans une position relativement périphérique. Cela met en évidence le fait qu'un principe d'urbanisme innovant a été introduit pour Santa Maria della Consolazione, à certains égards comparable à celui médiéval de la basilique Saint-Pierre de Rome (également hors les murs). Cependant, c'est surtout à partir de la Renaissance que des édifices de ce genre ont été placés hors les murs, selon les théories architecturales proposées par Leon Battista Alberti. Souvent, la cité médiévale n'avait plus de zones à bâtir à l'intérieur des murs et les municipalités trouvaient dans des lieux extérieurs la possibilité de créer de nouvelles solutions urbaines s'affranchissant des règles d'espace et de forme imposées par les bâtiments environnants. La légende raconte qu'un miracle s'est produit à Todi au début du XVIe siècle. Un employé nettoyant une fresque de la Madone a en effet été miraculeusement guéri d'une grave maladie des yeux. C'est alors qu'est apparue la possibilité de faire connaître le miracle même dans des régions lointaines en construisant à proximité un temple marial : l'église devait abriter l'image de la Madone et devenir ainsi un lieu de pèlerinage pour les malades de toutes sortes, s'élevant sur la site d'une chapelle médiévale déjà présente. D'un point de vue politique, la municipalité de Todi était dans une relation de concurrence avec d'autres villes voisines. Plusieurs d'entre eux avaient derrière eux la construction de prestigieuses cathédrales médiévales : la perspective de construire une église très représentative dans le style Renaissance était avantageuse pour la commune de Todi, donc à considérer comme moderne. La position périphérique de l'église offrait également l'avantage de présenter à la ville un objet prestigieux visible de loin. Le financement du projet a été possible grâce à diverses sources : parmi celles-ci, les dons versés par les pèlerins malades devaient avoir une grande importance. Entre autres, la construction d'une infirmerie a également commencé. La paternité du projet architectural n'est pas certaine. Depuis le XVIe siècle, il est attribué à Donato Bramante, mais aucun document ne prouve cette attribution. Il est certain que Bramante n'a jamais assisté aux travaux, alors que les noms des maîtres (presque tous représentants de son école) qui se sont succédés dans les différentes phases de la construction sont certains : au début, et jusqu'en 1512, les travaux étaient dirigés par Cola da Caprarola, suivi de Baldassarre Peruzzi (jusqu'en 1518), Vignola (jusqu'en 1565) et enfin Ippolito Scalza. D'autres architectes ont également contribué à la construction : parmi eux Antonio da Sangallo le Jeune, Galeazzo Alessi et Michele Sanmicheli. Le projet a commencé en voie d'achèvement en 1586 lorsque la construction a commencé sur le tambour suivi du reste du dôme. Ce dernier rencontrait déjà les formes architecturales qui allaient devenir typiques du baroque (la forme ovale du dôme est l'un des rares éléments architecturaux qui éloignent l'église des préceptes architecturaux de la Renaissance).
La rocca Sanvitale, nota anche come castello di Fontanellato, è una fortezza situata nell'omonimo paese in provincia di Parma. Domina il centro abitato di Fontanellato e si caratterizza per il profondo fossato d'acqua, che la circonda completamente.
La storia dell'edificazione della rocca Sanvitale può essere fatta risalire all'anno 1124, quando venne eretta una prima torre di difesa.
Nel 1386 le terre di Fontanellato, con la relativa rocca, vennero cedute ai Sanvitale.
Nel 1404, al feudo fu conferito il rango di contea: fu in tale periodo che il castello divenne una residenza signorile di notevole prestigio. La rocca appartenne alla famiglia Sanvitale fino al 1948, anno in cui Giovanni Sanvitale la vendette all'amministrazione comunale.
The Rocca Sanvitale, or Sanvitale Castle, is a fortress residence located in the centre of the town of Fontanellato, near Parma, northern Italy. Construction of the moated block, accessible through a drawbridge, was begun in the 13th century, mostly completed by 15th century, with embellishments continuing through to the 18th century. It is prototypical of the urban castle-houses of the turbulent medieval communes of Northern Italy. Until the 1930s it was the home of the descendants of the Count of Sanvitale.
The crenelated walls and asymmetric towers are surrounded by an arcaded town. Adjacent to the castle are gardens and a courtyard. The optical chamber (camera ottica) has an optical system in place that projects to an inside wall a view of the town through mirrors and a prism. Rocca Sanvitale is now partly a museum and partly offices and conference hall for the town administration.
Italia - Pisa - Catedral
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ENGLISH
Pisa Cathedral 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.
Construction on the cathedral began in 1063 (1064 according to the Pisan calendar of the time) by the architect Buscheto, and expenses were paid using the spoils received fighting against the Muslims in Sicily in 1063. It includes various stylistic elements: classical, Lombard-Emilian, Byzantine, and Islamic, drawing upon the international presence of Pisan merchants at that time. In the same year, St. Mark's Basilica began its reconstruction in Venice, evidence of a strong rivalry between the two maritime republics to see which could create the most beautiful and luxurious place of worship.
The church was erected outside Pisa's early medieval walls, to show that Pisa had no fear of being attacked.[citation needed] The chosen area had already been used in the Lombard era as a necropolis and at the beginning of the 11th century a church had been erected here, but never finished, that was to be named Santa Maria. Buscheto's grand new church was initially called Santa Maria Maggiore until it was officially named Santa Maria Assunta.[citation needed]
In 1092 the cathedral was declared a primatial church, archbishop Dagobert having been given the title of Primate by Pope Urban II. The cathedral was consecrated in 1118 by Pope Gelasius II, who belonged to the Caetani family which was powerful both in Pisa and in Rome.
In the early 12th century the cathedral was enlarged under the direction of architect Rainaldo, who increased the length of the nave by adding three bays consistent with the original style of Buscheto, enlarged the transept, and planned a new facade which was completed by workers under the direction of the sculptors Guglielmo and Biduino. The exact date of the work is unclear: according to some, the work was done right after the death of Buscheto about the year 1100, though others say it was done closer to 1140. In any case, work was finished in 1180, as documented by the date written on the bronze knockers made by Bonanno Pisano found on the main door.
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ESPAÑOL
La catedral de Santa María Asunta, en el centro de la Piazza dei Miracoli es una catedral católica medieval dedicada a la Asunción de la Virgen, sede episcopal de la ciudad italiana de Pisa. Obra representativa del arte románico, en particular del románico pisano,1 muestra el testimonio tangible del prestigio y de la riqueza alcanzados por la república marinera de Pisa en el momento de su apogeo.
Fue iniciada en 1063 (1064 según el calendario pisano de la época) por el arquitecto Buscheto, y los costes se pagaron usando el botín recibido luchando contra los musulmanes en Sicilia en 1063. Se fundieron en ella elementos estilísticos diversos, clásicos, lombardo-emilianos, bizantinos y en particular islámicos para probar la presencia internacional de los mercaderes pisanos de aquellos tiempos. En el mismo año se iniciaba también la reconstrucción de la Basílica de San Marcos en Venecia, por lo que puede colegirse que también hubo cierta rivalidad entre las dos repúblicas marítimas para crear el lugar de culto más bello y suntuoso.
La iglesia se construyó fuera de las murallas medievales de Pisa, para demostrar que no tenían miedo de ser atacados.[cita requerida] La zona elegida ya había sido usada en la época lombarda como una necrópolis y al principio del siglo XI se erigió aquí una iglesia, pero nunca se terminó, que iba a llamarse Santa Maria. La gran iglesia nueva de Buscheto inicialmente fue llamada Santa Maria Maggiore hasta que fue oficialmente nombrada como Santa Maria Assunta.
En 1092 la catedral fue declarada iglesia primada, habiendo recibido el arzobispo Dagoberto el título de primado por el papa Urbano II. La catedral fue consagrada en 1118 por el Papa Gelasio II, que pertenecía al grupo pisano de los Gaetani (o Caetani), condes de Terriccio y d'Oriseo, familia poderosa tanto en Pisa como en Roma.
Ya en la primera mitad del siglo XII fue ampliado bajo la dirección del arquitecto Rainaldo, quien incrementó la longitud de la nave añadiendo tres tramos coherentes con el estilo original de Buscheto, agrandó el transepto y planeó una nueva fachada (la actual), concluida por su grupo de maestros guiados por los escultores Guglielmo y Biduino.
La fecha exacta de la obra no queda clara: según algunos, la obra se realizó justo después de la muerte de Buscheto alrededor del año 1100, aunque otros dicen que se hizo más próximo a 1140. En cualquier caso, la obra estaba terminada en 1180, como documenta la fecha escrita en los llamadores de bronce realizados por Bonanno Pisano y que se encuentran en la puerta principal.
El aspecto actual del complejo edificio es el resultado de repetidas campañas de restauración que se sucedieron en diversas épocas. Las primeras intervenciones radicales se realizaron tras el incendio de 1595, después del cual el tejado fue reemplazado y se elaboraron las tres puertas de bronce de la fachada, obra de escultores de la escuela de Giambologna, entre los cuales estuvieron Gasparo Mola y Pietro Tacca. A partir del siglo XVIII se inició el progresivo revestimiento de las paredes internas con grandes pinturas en tela, los quadrones con Historias de beatos y santos pisanos, realizados por los principales artistas de la época gracias a la iniciativa de algunos ciudadanos que se financiaron creando una actividad comercial para el efecto.