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On Piazza Ruggero Settimo, only Piazza Politeama for the Palermitans, stands the second theater of the city which (I am sorry to say) has nothing to do with the imposing and wonderful Teatro Massimo which remains the largest opera house in Italy and among the largest in Europe (the third to be precise). It is from here that, traveling to the right of the photo, the path leading to the old city begins; a journey back in time, rich and fascinating, made even more so by anecdotes, legends and stories of a millenary city.
Sulla piazza Ruggero Settimo, per i palermitani solamente Piazza Politeama, sorge il secondo Teatro della città che (mi duole dirlo) nulla ha a che vedere con l'imponete e stupendo Teatro Massimo che resta il più grande teatro lirico d'Italia e tra i più grandi d'Europa (il terzo per la precisione). E' da qui che, viaggiando alla destra della foto, inizia il cammino che porta verso la città vecchia; un viaggio sempre più indietro nel tempo, ricco e affascinate, reso tale ancor di più da aneddoti, leggende e storie di una città millenaria.
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Park Villa Pallavicino
Villa Pallavicino became a private residence in 1855, when the area was purchased by Ruggero Bonghi, statesman and man of letters.
There followed the transfer of ownership to the Duke of Vallombrosa and in 1862 the purchase by the noble Genoese Pallavicino family, who enlarged the estate, built roads for vehicles, decorated the park with statues, transforming it from a simple dwelling into the splendid nineteenth-century neoclassical-style villa that still stands on the hill today. But it was Marquise Luisa who completed the work, in 1952, welcoming animals here from every corner of the world to build an exceptional zoo.
In 1956 the Pallavicinos decided to transform their marvellous garden into a wildlife museum that was open to the public.
On the Stresa lakefront in the direction of Belgirate, the 18 hectares of park extend where the botanical soul and the fauna live in harmony.
The management of the Borromeo family began in 2017, the year in which a series of interventions for the recovery and improvement of the environments dedicated to animals as well as the tree-lined avenues were launched.
Over 50 species of mammals and birds are housed here, and over time some wild specimens saved by the forest ranger have found a home in the park and which would not survive if released back into the wild.
The Parco Pallavicino is famous above all for the over 50 species living here. Many of the animals were already here when the management of the park was taken over by the Borromeos in 2017, such as the zebras, kangaroos, coatis, sarus cranes and flamingos.
Some were added later – the Orobica goats, “Bellavista” mule, alpacas, donkeys, ferrets and Polverara chickens – and others were recovered by veterinarian Uberto Calligarich, who, as well as being responsible for the fauna of the Parco Pallavicino, is also the representative of the Province of Verbano-Cusio-Ossola for the safeguarding of wild animals. Now famous, also thanks to the television programmes attracted by this park, is Fanta the fox, abandoned on the day of its birth by its mother, perhaps after being disturbed by a hunter.
Pallavicino in fact welcomes animals that could no longer survive in their natural habitat, either because they were born in captivity or because abandonment or an incident has caused them permanent traumas.
Teatro Comunale Bologna
Dicembre 2019
Pagliacci
Opera di Ruggero Leoncavallo
Regia Serena SInigaglia
Scene Maria Spazzi
Costumi Carla Teti
Luci Claudio De Pace
Nedda Carmela Remigio
Canio Stefano La Colla
Tonio Dalibor Jenis
Beppe Paolo Antognetti
Copyright © 2013 Ruggero Poggianella Photostream.
All rights reserved. Please, do not use my photos/videos without my written permission.
Please note that the fact that "this photo is public" doesn't mean it's public domain or a free stock image. Unauthorized use is strictly prohibited. If you wish to use any of my images for any reason/purpose please contact me for written permission. Tous droits reservés. Défense d'utilisation de cette image sans ma permission. Todos derechos reservados. No usar sin mi consentimiento.
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King Roger's Hall - the formal chamber where Norman king Roger II would meet visiting dignitaries in the Palazzo dei Normanni, dating back to the 12th century.
The Ruggero Room contains exquisite mosaic decoration above a high marble plinth, dating from the regency of Guglielmo (William) I! (circa 1170). It covers the walls, lunettes, the undersides of the arches and the vault. Leopards, lions, harts, peacocks, centaurs and bowmen confront one another symmetrically amongst fruit trees and palms in the large lunettes. Spiral branches with leaves and flowers entwine the decorative elements of the vault, interrupted only by geometric bands (at the crossing points) and the medallions with lions and griffins. The Swabian eagle, within an octagon at the centre of the vault, dominates the composition, while the double-headed eagle appears on the keystones of the minor arches. The entire decorative structure is laid out on a single tessera background with gold leaf.
Thought to be the work of mosaicists trained in Byzantium, the iconographic themes of the mosaic cycle show clear eastern influence, more Persian and Seljuq than Arabic, as a result of the osmosis between the Islamic and Byzantine worlds.
Source: [islamicart.museumwnf.org/database_item.php?id=monument;IS...]
Copyright © 2016 Ruggero Poggianella Photostream
All rights reserved. Please, do not use my photos/videos without my written permission.
Please note that the fact that "this photo is public" doesn't mean it's public domain or a free “stock image”. Unauthorized use is strictly prohibited. If you wish to use any of my images for any reason/purpose please contact me for written permission.
Teatro Municipale Valli
Febbraio 2020
Pagliacci
Opera di Ruggero Leoncavallo
Regia Serena SInigaglia
Scene Maria Spazzi
Costumi Carla Teti
Luci Claudio De Pace
Nedda/Colombina Carmen Solis
Canio/Il Pagliaccio Stefano La Colla
Tonio/Taddeo Stefano Meo
Beppe/Arlecchino Paolo Antognetti
Mimi Paolo De Giudici, Sara Giulia Gibbon
In collaborazione con la Scuola di Teatro di Bologna Alessandra Galante Garrone
Nuova produzione del Teatro Comunale Bologna con Grand-Théâtre de Genève
In collaborazione coproduttiva con Fondazione I Teatri di Reggio Emilia
Stitched image.
King Roger's Hall - the formal chamber where Norman king Roger II would meet visiting dignitaries in the Palazzo dei Normanni, dating back to the 12th century.
The Ruggero Room contains exquisite mosaic decoration above a high marble plinth, dating from the regency of Guglielmo (William) I! (circa 1170). It covers the walls, lunettes, the undersides of the arches and the vault. Leopards, lions, harts, peacocks, centaurs and bowmen confront one another symmetrically amongst fruit trees and palms in the large lunettes. Spiral branches with leaves and flowers entwine the decorative elements of the vault, interrupted only by geometric bands (at the crossing points) and the medallions with lions and griffins. The Swabian eagle, within an octagon at the centre of the vault, dominates the composition, while the double-headed eagle appears on the keystones of the minor arches. The entire decorative structure is laid out on a single tessera background with gold leaf.
Thought to be the work of mosaicists trained in Byzantium, the iconographic themes of the mosaic cycle show clear eastern influence, more Persian and Seljuq than Arabic, as a result of the osmosis between the Islamic and Byzantine worlds.
Source: [islamicart.museumwnf.org/database_item.php?id=monument;IS...]
Copyright © 2009 Ruggero Poggianella Photostream.
All rights reserved. Please, do not use my photos/videos without my written permission.
Please note that the fact that "this photo is public" doesn't mean it's public domain or a free stock image. Unauthorized use is strictly prohibited. If you wish to use any of my images for any reason/purpose please contact me for written permission. Tous droits reservés. Défense d'utilisation de cette image sans ma permission. Todos derechos reservados. No usar sin mi consentimiento.
© Copyright: Você não pode usar !
© Copyright: Sie dürfen es nicht kopieren !
© حقوق النشر محفوظة. لا يمكنك استخدام الصورة
Cappella Palatina nel Palazzo Reale di Palermo - Palatine Chapel in the Royal Palace of Palermo (Sicily, Italy)
La cappella è posta al primo piano del Palazzo dei Normanni e, per volere di Ruggero II, fu dedicata a San Pietro apostolo, così come riportato da uno scritto del 1132; dalle analisi stilistiche è comprovato che i mosaici delle navate siano contemporanei al regno di Guglielmo I.
Essa è l'esempio più alto della convivenza tra culture sotto l'aspetto storico artistico, culture e religioni inconciliabili tra loro, tutto questo per la sapiente gestione del potere da parte di Ruggero II. Convissero tra loro maestranze bizantine, musulmane e latine e la cappella venne edificata per le necessità liturgiche del rito latino e di quello greco; ne è prova la pianta basilicale latina a tre navate e il presbiterio bizantino sormontato da una cupola.
L'immagine che ne risalta è quella del Cristo Pantocratore benedicente che è presente nella cupola realizzato esattamente secondo i canoni classici bizantini; è interessante la ripetizione di tale elemento nel catino dell'abside centrale dove trova un effetto comunicativo e misericordioso nei confronti di chi accede all'interno della chiesa. Tra i mosaici più antichi, nel Diaconicon, spicca il battesimo di Cristo, opera realizzata con bellissima stilizzazione delle onde. Sono presenti immagini di Santi e Padri della Chiesa nei pilastri e intradossi degli archi.
Le maestranze arabe eseguirono il soffitto a muqarnas che sovrasta la navata centrale, unico e pregevole esempio al mondo intero di decorazioni pittoriche islamiche con rappresentazione di figure umane all'interno di un luogo di culto cristiano.
Una iscrizione in latino, arabo e greco del 1142, a ricordo dell'orologio idraulico fatto costruire da Ruggero II, testimonia l'intrecciarsi di culture molteplici nella Palermo normanna.
The chapel is located on the first floor of the Norman Palace and, by order of Roger II, was dedicated to Saint Peter the Apostle, as reported in a document from 1132; stylistic analyses have shown that the mosaics in the naves are contemporary with the reign of William I.
It is the highest example of the coexistence of cultures from an artistic and historical perspective, irreconcilable cultures and religions, all of this due to the wise management of power by Roger II. Byzantine, Muslim and Latin workers coexisted and the chapel was built for the liturgical needs of the Latin and Greek rites; proof of this is the Latin basilica plan with three naves and the Byzantine presbytery surmounted by a dome.
The image that stands out is that of the blessing Christ Pantocrator who is present in the dome created exactly according to the classical Byzantine canons; the repetition of this element in the basin of the central apse is interesting, where it has a communicative and merciful effect on those who enter the church. Among the oldest mosaics, in the Diaconicon, the baptism of Christ stands out, a work created with a beautiful stylization of the waves. There are images of Saints and Fathers of the Church in the pillars and intrados of the arches.
The Arab workers created the muqarnas ceiling that overlooks the central nave, a unique and valuable example in the entire world of Islamic pictorial decorations with representations of human figures inside a Christian place of worship.
An inscription in Latin, Arabic and Greek from 1142, in memory of the hydraulic clock built by Roger II, testifies to the intertwining of multiple cultures in Norman Palermo.
© Riccardo Senis, All Rights Reserved
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The Great Synagogue of Trieste is an Orthodox Jewish congregation and synagogue, that was designed by Ruggero Berlam and Arduino Berlam (father and son, respectively) in the Romanesque Revival style, and was completed in 1912. Though it was devastated by the Fascists, and occupied later by Nazi troops during WWII who used it as a storage place for Jewish property, soon after the war it returned to the Jewish community, and is an active place of worship even nowadays.
Teatro Municipale Valli
Febbraio 2020
Pagliacci
Opera di Ruggero Leoncavallo
Regia Serena SInigaglia
Scene Maria Spazzi
Costumi Carla Teti
Luci Claudio De Pace
Nedda Carmen Solis
Canio Stefano La Colla
Tonio Stefano Meo
King Roger's Hall - the formal chamber where Norman king Roger II would meet visiting dignitaries in the Palazzo dei Normanni, dating back to the 12th century.
The Ruggero Room contains exquisite mosaic decoration above a high marble plinth, dating from the regency of Guglielmo (William) I! (circa 1170). It covers the walls, lunettes, the undersides of the arches and the vault. Leopards, lions, harts, peacocks, centaurs and bowmen confront one another symmetrically amongst fruit trees and palms in the large lunettes. Spiral branches with leaves and flowers entwine the decorative elements of the vault, interrupted only by geometric bands (at the crossing points) and the medallions with lions and griffins. The Swabian eagle, within an octagon at the centre of the vault, dominates the composition, while the double-headed eagle appears on the keystones of the minor arches. The entire decorative structure is laid out on a single tessera background with gold leaf.
Thought to be the work of mosaicists trained in Byzantium, the iconographic themes of the mosaic cycle show clear eastern influence, more Persian and Seljuq than Arabic, as a result of the osmosis between the Islamic and Byzantine worlds.
Source: [islamicart.museumwnf.org/database_item.php?id=monument;IS...]
"Corso Ruggero, l'artère principale de Cefalu, très commerçante, reprend le tracé de l'antique 'decumanos' romain et sépare la ville en quartier est et quartier ouest. Ce dernier est typiquement médiéval avec son enchevêtrement de RUELLES EN ESCALIERS, ses voûtes et ses passages étroits. A l'est au contraire s'étend un quadrillage régulier de rues droites et perpendiculaires. Cette différence reflète la séparation des deux classes sociales qui semblent s'être approprié chacun son territoire, le peule à l'ouest, la noblesse et le clergé à l'est." (Le Guide Vert - Sicile)
Copyright © 2014 Ruggero Poggianella Photostream
All rights reserved. Please, do not use my photos/videos without my written permission.
Please note that the fact that "this photo is public" doesn't mean it's public domain or a free “stock image”. Unauthorized use is strictly prohibited. If you wish to use any of my images for any reason/purpose please contact me for written permission. Tous droits reservés. Défense d'utilisation de cette image sans ma permission. Todos derechos reservados. No usar sin mi consentimiento.
© Copyright: Você não pode usar!
© Copyright: Sie dürfen es nicht kopieren!
© حقوق النشر محفوظة. لا يمكنك استخدام الصورة
Stitched image.
King Roger's Hall - the formal chamber where Norman king Roger II would meet visiting dignitaries in the Palazzo dei Normanni, dating back to the 12th century.
The Ruggero Room contains exquisite mosaic decoration above a high marble plinth, dating from the regency of Guglielmo (William) I! (circa 1170). It covers the walls, lunettes, the undersides of the arches and the vault. Leopards, lions, harts, peacocks, centaurs and bowmen confront one another symmetrically amongst fruit trees and palms in the large lunettes. Spiral branches with leaves and flowers entwine the decorative elements of the vault, interrupted only by geometric bands (at the crossing points) and the medallions with lions and griffins. The Swabian eagle, within an octagon at the centre of the vault, dominates the composition, while the double-headed eagle appears on the keystones of the minor arches. The entire decorative structure is laid out on a single tessera background with gold leaf.
Thought to be the work of mosaicists trained in Byzantium, the iconographic themes of the mosaic cycle show clear eastern influence, more Persian and Seljuq than Arabic, as a result of the osmosis between the Islamic and Byzantine worlds.
Source: [islamicart.museumwnf.org/database_item.php?id=monument;IS...]
Il sorriso, 1910, Marmo e base in bronzo, 47 x 48 x 50 cm, Museo Revoltella, Trieste
Eterno femminino, Museo Sartorio, Trieste
10m high piece of art in front of the art museum Moderne Galerie in Saarbrücken. Artist Ruggero Pennone.
20200729-L1010597-2-WEB.jpg
Copyright © 2013 Ruggero Poggianella Photostream.
All rights reserved. Please, do not use my photos/videos without my written permission.
Please note that the fact that "this photo is public" doesn't mean it's public domain or a free stock image.
Unauthorized use is strictly prohibited. If you wish to use any of my images for any reason/purpose please contact me for written permission. Tous droits reservés. Défense d'utilisation de cette image sans ma permission. Todos derechos reservados. No usar sin mi consentimiento.
© Copyright: Você não pode usar!
© Copyright: Sie dürfen es nicht kopieren!
© حقوق النشر محفوظة. لا يمكنك استخدام الصورة
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Teatro Municipale Valli
Febbraio 2020
Pagliacci
Opera di Ruggero Leoncavallo
Regia Serena SInigaglia
Scene Maria Spazzi
Costumi Carla Teti
Luci Claudio De Pace
Nedda Carmen Solis
Canio Stefano La Colla
Tonio Stefano Meo
9119 R Cefalù La Marina 422 Ediz. Sicilia 280400 SAR21.VII.1976. za Ruggero Benussi Via Druso 52 Bolzano
Copyright © 2013 Ruggero Poggianella Photostream.
All rights reserved. Please, do not use my photos/videos without my written permission.
Please note that the fact that "this photo is public" doesn't mean it's public domain or a free stock image.
Unauthorized use is strictly prohibited. If you wish to use any of my images for any reason/purpose please contact me for written permission. Tous droits reservés. Défense d'utilisation de cette image sans ma permission. Todos derechos reservados. No usar sin mi consentimiento.
© Copyright: Você não pode usar!
© Copyright: Sie dürfen es nicht kopieren!
© حقوق النشر محفوظة. لا يمكنك استخدام الصورة
The library of Celsus is an ancient Roman building in Ephesus, Anatolia, now part of Selçuk, Turkey. It was built in honor of the Roman Senator Tiberius Julius Celsus Polemaeanus (completed in 135 AD) by Celsus son, Gaius Julius Aquila (consul, 110 AD). Celsus had been consul in 92 AD, governor of Asia in 115 AD, and a wealthy and popular local citizen. He was a native of nearby Sardis and amongst the earliest men of purely Greek origin to become a consul in the Roman Empire and is honored both as a Greek and a Roman on the library itself. Celsus paid for the construction of the library with his own personal wealth. The library was built to store 12,000 scrolls and to serve as a monumental tomb for Celsus, who was buried in a sarcophagus beneath the library, in the main entrance which is both a crypt containing his sarcophagus and a sepulchral monument to him. It was unusual to be buried within a library or even within city limits, so this was a special honor for Celsus.
Construction on the library began in 117 A.D. and was completed in 120, in Ephesus, a territory that was traditionally Greek. The building is important as one of the few remaining examples of an ancient Roman-influenced library. It also shows that public libraries were built not only in Rome itself but throughout the Roman Empire. The interior of the library and all its books were destroyed by fire in the devastating earthquake that struck the city in 262. Only the facade survived. About 400 AD, the library was transformed into a Nymphaeum. The facade was completely destroyed by a later earthquake, likely in the late Byzantine period. In a massive restoration which is considered to be very true to the historic building, the front façade was rebuilt during the 1960s and 1970s and now serves as a prime example of Roman public architecture. The Library of Celsus may serve as a model for other, less well preserved, libraries elsewhere in the Empire, for it is possible that literary collections were housed in other Roman cities for the benefit of students as well as traveling Romans. Such libraries may also have housed collections of local documents of interest if the documents were not destroyed during the Roman conquest.
The edifice is a single hall that faces east toward the morning sun, as Vitruvius advised, to benefit early risers. The library is built on a platform, with nine steps the full width of the building leading up to three front entrances. The center entrance is larger than the two flanking ones, and all are adorned with windows above them. Flanking the entrances are four pairs of Composite columns elevated on pedestals. A set of Corinthian columns stands directly above the first set, adding to the height of the building. The pairs of columns on the second level frame the windows as the columns on the first level frame the doors, and also create niches that would have housed statues. It is thought there may have been a third set of columns, but today there are only two registers of columns.
This type of facade with inset frames and niches for statues is similar to that found in ancient Greek theaters (the stage building behind the orchestra, or skene) and is thus characterized as "scenographic".
The building's other sides are irrelevant architecturally because the library was flanked by buildings. The inside of the building, not fully restored, was a single rectangular room (measuring 17x11 m) with a central apse framed by a large arch at the far wall. A statue of Celsus or of Athena, goddess of truth, stood in the apse, and Celsus' tomb lay directly below in a vaulted chamber. Along the other three sides were rectangular recesses that held cupboards and shelves for the 12,000 scrolls. Celsus was said to have left a legacy of 25,000 denarii to pay for the library's reading material.
The second and third levels could be reached via a set of stairs built into the walls to add support to the building and had similar niches for scrolls. The ceiling was flat, and there may have been a central square oculus to provide more light.
The style of the library, with its ornate, balanced, well-planned façade, reflects the Greek influence on Roman architecture. The building materials, brick, concrete, and mortared rubble, signify the new materials that came into use in the Roman Empire around the 2nd century AD. The building's façade was depicted on the reverse of the Turkish 20 million lira banknote of 2001-2005 and of the 20 new lira banknote of 2005-2009.
Stitched image.
King Roger's Hall - the formal chamber where Norman king Roger II would meet visiting dignitaries in the Palazzo dei Normanni, dating back to the 12th century.
The Ruggero Room contains exquisite mosaic decoration above a high marble plinth, dating from the regency of Guglielmo (William) I! (circa 1170). It covers the walls, lunettes, the undersides of the arches and the vault. Leopards, lions, harts, peacocks, centaurs and bowmen confront one another symmetrically amongst fruit trees and palms in the large lunettes. Spiral branches with leaves and flowers entwine the decorative elements of the vault, interrupted only by geometric bands (at the crossing points) and the medallions with lions and griffins. The Swabian eagle, within an octagon at the centre of the vault, dominates the composition, while the double-headed eagle appears on the keystones of the minor arches. The entire decorative structure is laid out on a single tessera background with gold leaf.
Thought to be the work of mosaicists trained in Byzantium, the iconographic themes of the mosaic cycle show clear eastern influence, more Persian and Seljuq than Arabic, as a result of the osmosis between the Islamic and Byzantine worlds.
Source: [islamicart.museumwnf.org/database_item.php?id=monument;IS...]
Copyright © 2017 Ruggero Poggianella Photostream
All rights reserved. Please, do not use my photos/videos without my written permission.
Please note that the fact that "this photo is public" doesn't mean it's public domain or a free “stock image”. Unauthorized use is strictly prohibited. If you wish to use any of my images for any reason/purpose please contact me for written permission.
In the center the so-called Swabian Eagle (House of Hohenstaufen)
King Roger's Hall - the formal chamber where Norman king Roger II would meet visiting dignitaries in the Palazzo dei Normanni, dating back to the 12th century.
The Ruggero Room contains exquisite mosaic decoration above a high marble plinth, dating from the regency of Guglielmo (William) I! (circa 1170). It covers the walls, lunettes, the undersides of the arches and the vault. Leopards, lions, harts, peacocks, centaurs and bowmen confront one another symmetrically amongst fruit trees and palms in the large lunettes. Spiral branches with leaves and flowers entwine the decorative elements of the vault, interrupted only by geometric bands (at the crossing points) and the medallions with lions and griffins. The Swabian eagle, within an octagon at the centre of the vault, dominates the composition, while the double-headed eagle appears on the keystones of the minor arches. The entire decorative structure is laid out on a single tessera background with gold leaf.
Thought to be the work of mosaicists trained in Byzantium, the iconographic themes of the mosaic cycle show clear eastern influence, more Persian and Seljuq than Arabic, as a result of the osmosis between the Islamic and Byzantine worlds.
Source: [islamicart.museumwnf.org/database_item.php?id=monument;IS...]
King Roger's Hall - the formal chamber where Norman king Roger II would meet visiting dignitaries in the Palazzo dei Normanni, dating back to the 12th century.
The Ruggero Room contains exquisite mosaic decoration above a high marble plinth, dating from the regency of Guglielmo (William) I! (circa 1170). It covers the walls, lunettes, the undersides of the arches and the vault. Leopards, lions, harts, peacocks, centaurs and bowmen confront one another symmetrically amongst fruit trees and palms in the large lunettes. Spiral branches with leaves and flowers entwine the decorative elements of the vault, interrupted only by geometric bands (at the crossing points) and the medallions with lions and griffins. The Swabian eagle, within an octagon at the centre of the vault, dominates the composition, while the double-headed eagle appears on the keystones of the minor arches. The entire decorative structure is laid out on a single tessera background with gold leaf.
Thought to be the work of mosaicists trained in Byzantium, the iconographic themes of the mosaic cycle show clear eastern influence, more Persian and Seljuq than Arabic, as a result of the osmosis between the Islamic and Byzantine worlds.
Source: [islamicart.museumwnf.org/database_item.php?id=monument;IS...]
La chiesa, costruita già nell'XI secolo per ordine di Ruggero il Normanno sulla sommità del rilievo più alto del nucleo abitato, è uno dei più antichi luoghi di culto cattolici di Erice e viene dedicata a san Giuliano (martire nel 254 d.C).
Fu così importante che il monte Erice fino al 1934 era chiamato monte San Giuliano.
San Giuliano vi compare nelle raffigurazioni con le sembianze di un guerriero, con la spada ed il falcone poiché, secondo i racconti, sconfisse i Musulmani che volevano espugnare Erice.
San Giuliano, detto il “liberatore”, divenne protettore della città.
Con i normanni nel 1080 era una piccola chiesa in stile gotico, parrocchiale del quartiere omonimo.[
The church, built as early as the 11th century by order of Roger the Norman on the top of the highest relief of the town, is one of the oldest Catholic places of worship in Erice and is dedicated to St. Julian (martyr in 254 AD).
It was so important that Mount Erice until 1934 was called Mount San Giuliano.
San Giuliano appears in the depictions with the appearance of a warrior, with the sword and the falcon because, according to the stories, he defeated the Muslims who wanted to conquer Erice.
San Giuliano, known as the "liberator", became the protector of the city.
With the Normans in 1080 it was a small Gothic style church, parish church in the district of the same name. [
_MG_8413m
Ruggero, actriz, querida amiga, te extralio! QEPD 28,12.1937/25.04.16
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King Roger's Hall - the formal chamber where Norman king Roger II would meet visiting dignitaries in the Palazzo dei Normanni, dating back to the 12th century.
The Ruggero Room contains exquisite mosaic decoration above a high marble plinth, dating from the regency of Guglielmo (William) I! (circa 1170). It covers the walls, lunettes, the undersides of the arches and the vault. Leopards, lions, harts, peacocks, centaurs and bowmen confront one another symmetrically amongst fruit trees and palms in the large lunettes. Spiral branches with leaves and flowers entwine the decorative elements of the vault, interrupted only by geometric bands (at the crossing points) and the medallions with lions and griffins. The Swabian eagle, within an octagon at the centre of the vault, dominates the composition, while the double-headed eagle appears on the keystones of the minor arches. The entire decorative structure is laid out on a single tessera background with gold leaf.
Thought to be the work of mosaicists trained in Byzantium, the iconographic themes of the mosaic cycle show clear eastern influence, more Persian and Seljuq than Arabic, as a result of the osmosis between the Islamic and Byzantine worlds.
Source: [islamicart.museumwnf.org/database_item.php?id=monument;IS...]
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Pamukkale, meaning "cotton castle" in Turkish, is a natural site in Denizli Province in southwestern Turkey. The city contains hot springs and travertines, terraces of carbonate minerals left by the flowing water. It is located in Turkey's Inner Aegean region, in the River Menderes valley, which has a temperate climate for most of the year.
The ancient Greco-Roman and Byzantine city of Hierapolis was built on top of the white "castle" which is in total about 2,700 metres (8,860 ft) long, 600 m (1,970 ft) wide and 160 m (525 ft) high. It can be seen from the hills on the opposite side of the valley in the town of Denizli, 20 km away.
Tourism is and has been a major industry. People have bathed in its pools for thousands of years. As recently as the mid-20th century, hotels were built over the ruins of Hierapolis, causing considerable damage. An approach road was built from the valley over the terraces, and motor bikes were allowed to go up and down the slopes. When the area was declared a World Heritage Site, the hotels were demolished and the road removed and replaced with artificial pools. Wearing shoes in the water is prohibited to protect the deposits.
The former Roman Bath of the ancient city of Hierapolis has been used as the site of the Hierapolis Archaeology Museum since 1984.
In this museum, alongside historical artifacts from Hierapolis, there are also artifacts from Laodiceia, Colossae, Tripolis, Attuda and other towns of the Lycos (Çürüksu) valley. In addition to these, the museum has a large section devoted to artifacts found at Beycesultan Hüyük that includes some of the most beautiful examples of Bronze Age craft.
Artifacts from the Caria, Pisidia and Lydia regions are also on display in this museum. The museum’s exhibition space consists of three closed areas of the Hierapolis Bath and the open areas in the eastern side which are known to have been used as the library and gymnasium. The artifacts in open exhibition space are mostly marble and stone.
Pamukkale, che in turco significa "castello di cotone", è un sito naturale della Turchia sud-occidentale, nella provincia di Denizli, prossimo all'omonimo abitato. L'antica città di Hierapolis venne costruita sulla sommità del bianco castello che copre un'area di 2700 metri di lunghezza e 160 d'altezza. Può essere visto da grande distanza, perfino quando ci si trova sul lato opposto della vallata, a circa 20 km dalla città di Denizli. Pamukkale si trova nella regione interna Egea, nella valle del fiume Menderes, che crea un clima temperato per buona parte dell'anno.
I movimenti tettonici non solo hanno causato frequenti terremoti, ma hanno anche permesso la nascita di numerose fonti termali. L’acqua che ne sgorga è sovrasatura di ioni calcio e di anidride carbonica, che forma con l’acqua acido carbonico. Emergendo, l’acqua perde gran parte dell’anidride carbonica, spostando l’equilibrio chimico da bicarbonato a carbonato di calcio che, anche a causa dell’abbassamento della temperatura, precipita dando luogo alle caratteristiche formazioni, costituite da spessi strati bianchi di calcare e travertino lungo il pendio della montagna, rendendo l'area simile ad una fortezza di cotone o di cascate di ghiaccio.
Sfortunatamente Pamukkale venne abusata nel tardo ventesimo secolo, alcuni hotel furono costruiti sopra al sito, distruggendo parte delle rovine di Hierapolis. L'acqua calda fu incanalata allo scopo di riempire le piscine artificiali degli alberghi. Gli scarichi di queste ultime per anni riversarono le acque reflue direttamente sul sito contribuendo in maniera determinante all'inscurimento delle vasche calcaree.
Fu anche costruita una strada asfaltata in mezzo al sito per permettere ai visitatori di raggiungere la parte alta della formazione in bici, moto o a piedi. Inoltre fu concesso a questi ultimi di lavarsi all'interno delle vasche calcaree utilizzando detergenti di natura industriale aggravando ulteriormente il problema.
A seguito dei danni prodotti, L'UNESCO è intervenuta, predisponendo un piano di recupero nel tentativo di invertire il processo di inscurimento. Gli hotel furono demoliti, e la strada coperta da piscine artificiali che sono tuttora accessibili, a differenza del resto, dai turisti a piedi nudi. Una piccola trincea è stata scavata lungo il bordo, al fine di recuperare l'acqua ed evitarne la dispersione. Le parti brune sono sbiancate lasciandole al sole, in assenza di acqua per diverse ore al giorno. Per questo motivo molte piscine sono vuote. Alcune aree sono coperte d'acqua per un paio di ore al giorno, secondo la programmazione mostrata in cima alla collina. Inoltre il sito è costantemente sorvegliato da addetti che impediscono ai visitatori di abusare dei luoghi. Grazie a questi interventi il luogo sta lentamente riprendendo il suo naturale colore bianco.
L'église de San Domenico est la deuxième église de Palerme en importance après la cathédrale et est en ' place homonyme dans le quartier La Loggia Dans la plupart Sicile chrétienne, le pouvoir politique et le pouvoir religieux ont toujours marché main dans la main, surtout après la reconquête de l'île en raison de la famille Conte Ruggero d ' Altavilla , mieux connu comme Roger I de Sicile et comte de Sicile , père de Roger II de Sicile , grand-père maternel Frédéric II ou Frederick I de la Sicile de la famille de souabe Hohenstaufen . La possibilité de re-christianisation est capturé avec son frère Robert Guiscard pour régler la controverse, le prétexte pour l'invasion de l'île se trouve dans la demande d'aide de la part de ' émir de Syracuse , puis dans la lutte contre le' émir de Castrogiovanni , en commençant en fait, le début de la reconquête complète de la Sicile soustrayant la domination arabe .
Le retour de la souveraineté catholique constitue l'impulsion pour la reconstruction du tissu social après deux siècles de culture musulmane racines religieuses.
1215 , au cours du concile de Latran présidée par Innocent III contre les hérétiques albigeois sont convoqués l'évêque de Palerme Berardo Costuga comme ambassadeur de l' empereur Frédéric II de Souabe et le représentant de l'évêque de Toulouse Dominique de Guzman . Impressionné par la personnalité de Domenico, le prélat Palerme le pousse à envoyer un ordre religieux pour créer le siège arrêté en Sicile, l'accord est scellé avec un bref du pape Honorius III .
Avec le consentement du Souverain, le ' Ordre des Prêcheurs arrive en Sicile tandis que saint Dominique est toujours actif et a établi l'ordre en France en 1216 - 1220 . En 1217 à Palerme les premiers frères sont initialement logés à l'' ordre Teutonique Magione fondée par des religieux allemand, si bien considéré dans les yeux de l'empereur. ils réparent brièvement dans l'ancien monastère des religieuses basiliens à la primitive église de San Matteo Cassaro , celui - ci passa en permanence dans le monastère Saint - Sauveur : 1231 , Au siège installe la première dominicaine Inquisition en Sicile.
1270 , Les familles de Santa Flora et Mastrangelo donnent la communauté un terrain où se trouve l'église primitive de Sainte - Ursule .
Entre 1280 et 1285 environ, il a érigé une nouvelle église dans le sens inverse orientée en cours, dans le style gothique - Norman , avec attenante couvent et le cloître , dont le travail a été ralenti par les mouvements de la Vêpres siciliennes , le bâtiment doit exercer les fonctions jusqu'à 1457 . Sous la direction de l'ordre, le siège du coffrage a établi le couvent de Santa Caterina , grâce aux énormes héritages de Bienvenue Mastrangelo , mère Palma Mastrangelo et son mari William de Santa Flora .
L'emblème de l'Ordre: le lis noir et blanc Avec la croix legs "louant, benedicere, praedicare"
1310 - 1312 , Le Testament de Bienvenue Mastrangelo a son tombeau dans la primitive "Chapelle de Sainte - Ursule» et le transfert futur de la même dans le bientôt l'église de monastère Sainte - Catherine .
L'appréciation du travail de dominicaine et l'augmentation conséquente du nombre de fidèles, nécessite l'extension de l'église, avec l'aide de puissantes familles à Palerme et prodiguées prêts par le dominicain pape Martin V .
1414 , Peter Ranzano et Bartolomeo Carbone Les travaux ont commencé interrompu par l'exécution d'une allée principale.
Autour de 1420 , à la commission de l' archevêque Simon Beccadelli Bologne , travaux et projets confiés au moine architecte Salvo fort Doza [9] , le temple a été rénové et agrandi. Le produit dérivé en grande partie de la subvention des indulgences spéciales contre oboles pour la reconstruction du temple. L'église a été construite en 1458 et 1480 dans le style Renaissance .
La configuration actuelle est plus récente, dépend de la reconstruction totale de l'église était en 1640 par l'architecte Andrea Cirrincione derrière l'impulsion archevêque Giannettino Doria, la façade au lieu est construit plus tard, en 1726 .
Pendant les émeutes de la révolution sicilienne de 1848 dans l'église le 25 mars 1848 , il se réunit le Parlement sicilien présidé par Ruggero Settimo .
En 1853 l'église est devenue le panthéon des illustres Siciliens qui ont commencé à être enterré en elle, son importance accrue est également due à la coupe de via Roma , qui comprenait la Piazza San Domenico .
Le style est typiquement baroque théâtral, le fronton est parsemée de deux clochers de haut, sur la façade il y a aussi de nombreuses statues en stuc représentant des saints et des papes, certains d' entre eux placés dans des niches, ces statues sont l'œuvre du petit - fils de Giacomo Serpotta , Giovan Maria Serpotta . Également sur la façade sont douze colonnes, disposées par paires, huit d'entre elles entourent la zone centrale et l'entrée, les quatre autres sont situés à la base des clochers. L'intérieur est très spacieux et austère dans la pierre Billiemi et à l' intérieur il y a des œuvres d'art importantes de la période baroque positionnée dans des niches. Il y a huit colonnes de chaque côté, dans le style toscan, qui divisent les trois nefs dans un schéma classique. Par extension , il est l' une des plus grandes églises de Sicile .
dates de façade actuelle vers 1726 sur d'aujourd'hui Piazza San Domenico , l'ancien «Palais impérial» ou «Largo Imperiale» de 1724 , suit le style baroque classique. La plante à l' origine formé par les piliers pilastres combinés en pierre ainsi que les deux corniches avec moulures articuler le modèle des deux premiers ordres. Un troisième ordre comprend les corps de deux clochers latéraux symétriques et balustrades avec de petites colonnes délimitant un pignon à l'arc élevé équipé d'un avant - toits extérieurs articulés, tous réalisés sous la direction d' Andrea Cirrincione de style dorique - Roman . Le prospectus actuel est plus que la combinaison ciblée donnée par la superposition à des instants successifs et contigus pré-existante implant, une structure de colonne pour rendre moins sévère, plus harmonieuse et la plante d' origine dynamique.
Quatre paires de colonnes jumelles de style dorique définissent les entrées du premier ordre, deux autres couples surmontées de chapiteaux corinthiens encadrent la fenêtre niche centrale dans le second ordre. Les colonnes monolithiques proviennent de carrières en amont Billiemi . Le premier ordre comprend les entrées et les fenêtres rectangulaires en correspondance des entrées latérales, le second ordre est caractérisé par des niches qui respectent la même correspondance. Il prospectivement augmenté le sens de la profondeur est caractéristique des colonnes intérieures à être légèrement plus avancé que les colonnes extérieures correspondantes, compensant ainsi la plus apparente dans les quatre colonnes centrales. Contamination, l'alternance des formes, des espaces, des volumes, des couleurs contribue à la réalisation de la partie médiane et un relief de tympanum du caractère dynamique et vivante forte, typique du baroque sicilien .
Au centre de « linteau de l'entrée principale d' un grand manteau des bras, un chien avec une torche dans sa bouche, assis sur le livre de Costitutiones, qui, avec les décorations placées sur des socles de papes et frises places derrière les statues, symbolisant la puissance papale , il donne à l'ensemble une connotation vaguement rococo . Sur les quatre contreforts des colonnes extérieures paires sont placées des statues en stuc des papes appartiennent à ' Ordre des Prêcheurs : "Innocentius V AM", "PM PIE V", "BENEDICTUS XI PM", "BENEDICTUS XIII PM" fonctionne par Giovanni Maria Serpotta dirigé par l' architecte Consalvo , à l' intérieur des niches latérales du second ordre d' affichage des statues de "Saint Thomas d' Aquin", "S. Petrus M." stuc faite par Giacomo Serpotta , ( " Pape Innocent V ", " le pape Pie V ", " Saint Thomas d' Aquin ", " Saint - Pierre Martyr ", " le pape Benoît XI ", " le pape Benoît XIII ").
Surmonte la fenêtre centrale en plein cintre encadrée par un cadre, une frise portant l'inscription "LEX VERITATIS FUIT EN HEURES ejus". Dans la niche du tympan arc sous la décoration coquille symbolisant le pèlerinage , la statue de " San Domenico ". A gauche de la tour du clocher en 1723 dans le style baroque sicilien est flanqué symétriquement identique à la première à droite et portant une horloge achevée en 1770 . Un quatrième ordre en compétition Clochers exclusivement limitée à des altitudes placées sur les cellules de cloche, se terminant par des dômes bulbeux à base carrée à facettes, des fenêtres simples sur les quatre côtés, et richement décorées avec des rouleaux le long des bords de la rebroussement , les créneaux haut pinnacolati fournis avec des boules avec des croix et girouettes. Le clocher droit conçu par Tommaso Maria Napoli , la gauche fait plus tard comme une copie de la précédente, financé par Mgr Vincenzo Maria de Francisco et Galletti .
"Corso Ruggero, l'artère principale de Cefalu, très commerçante, reprend le tracé de l'antique 'decumanos' romain et sépare la ville en quartier est et quartier ouest. Ce dernier est typiquement médiéval avec son enchevêtrement de RUELLES EN ESCALIERS, ses voûtes et ses passages étroits. A l'est au contraire s'étend un quadrillage régulier de rues droites et perpendiculaires. Cette différence reflète la séparation des deux classes sociales qui semblent s'être approprié chacun son territoire, le peule à l'ouest, la noblesse et le clergé à l'est." (Le Guide Vert - Sicile)
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All rights reserved. Please, do not use my photos/videos without my written permission.
Please note that the fact that "this photo is public" doesn't mean it's public domain or a free stock image.
Unauthorized use is strictly prohibited. If you wish to use any of my images for any reason/purpose please contact me for written permission. Tous droits reservés. Défense d'utilisation de cette image sans ma permission. Todos derechos reservados. No usar sin mi consentimiento.
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Copyright © 2013 Ruggero Poggianella Photostream.
All rights reserved. Please, do not use my photos/videos without my written permission.
Please note that the fact that "this photo is public" doesn't mean it's public domain or a free stock image. Unauthorized use is strictly prohibited. If you wish to use any of my images for any reason/purpose please contact me for written permission. Tous droits reservés. Défense d'utilisation de cette image sans ma permission. Todos derechos reservados. No usar sin mi consentimiento.
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Copyright © 2013 Ruggero Poggianella Photostream.
All rights reserved. Please, do not use my photos/videos without my written permission.
Please note that the fact that "this photo is public" doesn't mean it's public domain or a free stock image.
Unauthorized use is strictly prohibited. If you wish to use any of my images for any reason/purpose please contact me for written permission. Tous droits reservés. Défense d'utilisation de cette image sans ma permission. Todos derechos reservados. No usar sin mi consentimiento.
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It is one of the best preserved and most beautiful structures on Curetes Street. It was built before 138 A.D by P.Quintilius and was dedicated to the Emperor Hadrian, who came to visit the city from Athens in 128 A.D The facade of the temple has four Corinthian columns supporting a curved arch, in the middle of which contains a relief of Tyche, goddess of victory. The side columns are square. The pedestal with inscriptions in front of the temple, are the bases for the statues of the emperors between 293-305 CE, Diocletian, Maximian, Constantius I, and Galerius; the originals of the statues have not been found yet.
Inside the temple above the door, a human figure, probably Medusa stands with ornaments of acanthus leaves. On both sides there are friezes depicting the story of the foundation of Ephesus - Androklos shooting a boar, Dionysus in ceremonial procession and the Amazons. The fourth frieze portrays two male figures, one of which is Apollo; Athena, goddess of the moon; a female figure, Androkles, Herakles, the wife and son of Theodosius and the goddess Athena. The friezes that are seen today are copies, and the originals are displayed in Ephesus Museum.
Emperor Hadrian was one of the Five of Good Emperors. The Five Good Emperors is a term that refers to five consecutive emperors of the Roman Empire— Nerva, Trajan, Hadrian, Antoninus Pius and Marcus Aurelius. The term is first coined by the political philosopher, Niccolò Machiavelli in 1532. Publius Aelius Hadrianus was born on 24 January AD 76, probably at Rome, though his family lived in Italica in Baetica. Emporor Trajan was his cousin. Hadrian was schooled in various subjects particular to young aristocrats of the day, and was so fond of learning Greek literature that he was nicknamed Graeculus ("Little Greek").Hadrian was active in the wars against the Dacians and reputedly won awards from Trajan for his successes. Due to an absence of military action in his reign, Hadrian's military skill is not well attested, however his keen interest and knowledge of the army and his demonstrated skill of administration show possible strategic talent.
Hadrian appears to have been a man of mixed sexual interests. The Historia Augusta criticizes both his liking of goodlooking young men as well as his adulteries with married women.It is belived that he tried to poison his wife. When it comes to Hadrian's homosexuality, then the accounts remain vague and unclear. Most of the attention centres on the young Antinous, whom Hadrian grew very fond of. Statues of Antinous have survived, showing that imperial patronage of this youth extended to having sculptures made of him. In AD 130 Antinous accompanied Hadrian to Egypt. It was on a trip on the Nile when Antinous met with an early and somewhat mysterious death. Officially, he fell from the boat and drowned.
Hadrian died in 138 on the tenth day of July, in his villa at Baiae at age 62. However, the man who had spent so much of his life traveling had not yet reached his journey's end. He was buried first at Puteoli, near Baiae, on an estate which had once belonged to Cicero. Soon after, his remains were transferred to Rome and buried in the Gardens of Domitia, close by the almost-complete mausoleum. Upon the completion of the Tomb of Hadrian in Rome in 139 by his successor Antoninus Pius, his body was cremated, and his ashes were placed there together with those of his wife Vibia Sabina and his first adopted son, Lucius Aelius, who also died in 138. Antoninus also had him deified in 139 and given a temple on the Campus Martius.
Il tempio di Adriano è un piccolo tempio romano di Efeso situato sulla via dei Cureti, nella parte occidentale dell'attuale Turchia, dedicato all'imperatore Adriano nel 138 da Publio Quintilio.
Il tempio è del tipo prostilo, con un pronao tetrastilo (a quattro sostegni) riccamente decorato che precede una piccola cella spoglia. I quattro sostegni della facciata sono costituiti da due colonne centrali e da due pilastri laterali, di ordine corinzio. La trabeazione al di sopra dello spazio centrale tra le due colonne si incurva a formare un ampio arco, decorato al centro da un busto della dea Tyche, che occupa lo spazio del soprastante frontone triangolare, oggi mancante. Sui lati la trabeazione si appoggia a due pilastri laterali addossati alla facciata della cella e non continua sulle pareti di essa.
La facciata della cella, dietro le colonne del pronao è invece riccamente decorata: sopra l'ampia porta, una lunetta reca una figura femminile emergente da una ricca decorazione vegetale, identificata con Medusa.
Ai lati della porta e sulle pareti interne del pronao si trova un fregio scolpito (gli originali sono nel Museo, mentre sul tempio ne sono state collocate delle copie). Ne sono conservati quattro blocchi: nei primi tre blocchi a partire da sinistra vi si trovano una serie di divinità, Androclo, mitico fondatore della città, mentre caccia il cinghiale e Dioniso con le Amazzoni. Il quarto blocco si riferisce probabilmente ad un restauro successivo e raffigura immagini di divinità e personaggi della famiglia imperiale dell'imperatore Teodosio I.
Davanti alle colonne della facciata sono presenti dei piedistalli per statue, aggiunti successivamente, con dediche agli imperatori della Tetrarchia.