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Ponte della Maddalena (Italian: "Bridge of Mary Magdalene") is a bridge crossing the Serchio river near the town of Borgo a Mozzano in the Italian province of Lucca. One of numerous medieval bridges known as Ponte del Diavolo, the "Bridge of the Devil", it was a vital river crossing on the Via Francigena, an early medieval road to Rome for those coming from France that was an important medieval pilgrimage route.
The bridge is a remarkable example of medieval engineering, probably commissioned by the Countess Matilda of Tuscany circa 1080-1100. It was renovated circa 1300 under the direction of Castruccio Castracani. The largest span is 37.8 m. The bridge is also described in a 14th-century novella by Giovanni Sercambi of Lucca.
Circa 1500 it took on the name of Ponte della Maddalena, from an oratory dedicated to Mary Magdalene, whose statue stood at the foot of the bridge on the eastern bank.
In 1670 the General Council of the Republic of Lucca issued a decree prohibiting passage over the bridge with millstones (ceppi) and sacks of flour in order to preserve the structure.
Ponte della Maddalena (Italian: "Bridge of Mary Magdalene") is a bridge crossing the Serchio river near the town of Borgo a Mozzano in the Italian province of Lucca. One of numerous medieval bridges known as Ponte del Diavolo, the "Bridge of the Devil", it was a vital river crossing on the Via Francigena, an early medieval road to Rome for those coming from France that was an important medieval pilgrimage route.
The bridge is a remarkable example of medieval engineering, probably commissioned by the Countess Matilda of Tuscany circa 1080-1100. It was renovated circa 1300 under the direction of Castruccio Castracani. The largest span is 37.8 m. The bridge is also described in a 14th-century novella by Giovanni Sercambi of Lucca.
Circa 1500 it took on the name of Ponte della Maddalena, from an oratory dedicated to Mary Magdalene, whose statue stood at the foot of the bridge on the eastern bank.
In 1670 the General Council of the Republic of Lucca issued a decree prohibiting passage over the bridge with millstones (ceppi) and sacks of flour in order to preserve the structure.
La Fontana dei Mesi è l’unico elemento architettonico ancora esistente dell’ampio apparato di edifici costruiti per l’Esposizione Generale Italiana del 1898, organizzata a Torino per celebrare il cinquantenario dello Statuto Albertino. Secondo una vocazione che si stava consolidando dopo l’Esposizione del 1884, il luogo prescelto per ospitare la manifestazione fu il parco del Valentino e il prestigioso compito di progettare i padiglioni fu affidato a Carlo Ceppi (1829-1921). Si tratta di un’ampia fontana luminosa ornata da quattro gruppi statuari raffiguranti i fiumi torinesi (Po, Dora, Sangone, Stura) e da dodici statue femminili raffiguranti i mesi dell’anno. La critica la considera “una riuscita sintesi fra Eclettismo accademico ed apertura alle novità stilistiche e tecniche”.
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The Fountain of the Months is the only architectural element still existing of the large apparatus of buildings built for the Italian General Exhibition of 1898, organized in Turin to celebrate the fiftieth anniversary of the Albertine Statute. According to a vocation that was consolidating after the 1884 Exhibition, the place chosen to host the event was the Valentino Park and the prestigious task of designing the pavilions was entrusted to Carlo Ceppi (1829-1921). It is a large luminous fountain decorated with four statuary groups depicting the Turin rivers (Po, Dora, Sangone, Stura) and twelve female statues depicting the months of the year. Critics consider it "a successful synthesis between academic eclecticism and openness to stylistic and technical innovations".
Ponte della Maddalena (Italian: "Bridge of Mary Magdalene") is a bridge crossing the Serchio river near the town of Borgo a Mozzano in the Italian province of Lucca. One of numerous medieval bridges known as Ponte del Diavolo, the "Bridge of the Devil", it was a vital river crossing on the Via Francigena, an early medieval road to Rome for those coming from France that was an important medieval pilgrimage route.
The bridge is a remarkable example of medieval engineering, probably commissioned by the Countess Matilda of Tuscany circa 1080-1100. It was renovated circa 1300 under the direction of Castruccio Castracani. The largest span is 37.8 m. The bridge is also described in a 14th-century novella by Giovanni Sercambi of Lucca.
Circa 1500 it took on the name of Ponte della Maddalena, from an oratory dedicated to Mary Magdalene, whose statue stood at the foot of the bridge on the eastern bank.
In 1670 the General Council of the Republic of Lucca issued a decree prohibiting passage over the bridge with millstones (ceppi) and sacks of flour in order to preserve the structure.
Die Kirche wurde ursprünglich im Stil einer Basilika erbaut. Im Laufe der Jahre wurde die Kirche von verschiedenen Orden umgebaut bzw. restauriert. Im Jahr 1448 erweiterte der Prior von Sant´Andrea das Kirchengebäude um einen Erker nach Westen. Mit der zunehmenden Popularität der Verehrung der Trösterin der Betrübten wurde die Kirche von einer Pfarr- zu einer Wallfahrtskirche.
Der erste große Umbau, der zur heutigen Kirche führte, wurde 1678 von Maria Johanna von Savoyen in Auftrag gegeben. Der Architekt Guarino Guarini und der Ingenieur Antonio Bertola schufen die elliptische Form des Kirchenschiffs und fügten an der Nordseite eine neue sechseckige Kapelle für die verehrte Marienikone hinzu.
Der Architekt Filippo Juvarra fügte 1729–1740 den nördlichen Chor hinzu und schuf so eine Kirche mit zwei scheinbaren Achsen: einem Hauptaltar im Osten und der berühmten Ikone in der Kapelle im Norden. In diese Zeit fällt auch die Ausschmückung der Kuppel durch Giambattista Crosato.
Die klassizistische Fassade, der Säulengang und die Krypta auf der Süd-Nord-Achse stammen aus den Jahren 1845–1860 und wurden von Pietro Anselmetti gestaltet; weitere Ergänzungen wurden 1899–1904 unter der Leitung von Carlo Ceppi vorgenommen.
Der Innenraum weist eine jubilierende polychrome Rokoko-Dekoration mit farbigem Marmor und salomonischen Säulen auf. Der Juvarra-Altar zeigt zwei anbetende Marmor-Engel von Carlo Antonio Tantardini. Im Inneren befindet sich eine Skulptur zweier betender Königinnen von Vincenzo Vela. Außerhalb der Kirche steht eine Statue einer Jungfrau mit Kind auf einer Säule.
In der Kirche sind einige mit Turin verbundene Heilige begraben: die Turiner Sozialheiligen Joseph Cafasso und Leonardo Murialdo sowie der selige Giuseppe Allamano, Rektor (1880–1926) und Gründer des Missionsinstituts der Consolata. Jedes Jahr am 20. Juni findet in den Straßen der Stadt eine Prozession mit der Ikone der Jungfrau statt.
Zum Bild: Auch bei dieser Kirche ist der Blick in die Ovalkuppel beeindruckender als die Totale zumal der Chorraum wiederum eine nachgelagerte extra Kuppelkonstruktion ist welche durch ein Gitter versperrt ist.
Optisch ist dies wohl die schönste Kirche in Turin.
Auszug Wikipedia und eigener Beitrag...
Ponte della Maddalena (Italian: "Bridge of Mary Magdalene") is a bridge crossing the Serchio river near the town of Borgo a Mozzano in the Italian province of Lucca. One of numerous medieval bridges known as Ponte del Diavolo, the "Bridge of the Devil", it was a vital river crossing on the Via Francigena, an early medieval road to Rome for those coming from France that was an important medieval pilgrimage route.
The bridge is a remarkable example of medieval engineering, probably commissioned by the Countess Matilda of Tuscany circa 1080-1100. It was renovated circa 1300 under the direction of Castruccio Castracani. The largest span is 37.8 m. The bridge is also described in a 14th-century novella by Giovanni Sercambi of Lucca.
Circa 1500 it took on the name of Ponte della Maddalena, from an oratory dedicated to Mary Magdalene, whose statue stood at the foot of the bridge on the eastern bank.
In 1670 the General Council of the Republic of Lucca issued a decree prohibiting passage over the bridge with millstones (ceppi) and sacks of flour in order to preserve the structure.
CHE COSA SONO I CORONAVIRUS?
I Coronavirus sono una famiglia di Virus che possono causare diverse infezioni, dal comune raffreddore a malattie come la MERS (Sindrome respiratoria del Medio Oriente) e la SARS (Sindrome Respiratoria Acuta Grave).
CHE COS'E' UN NUOVO CORONAVIRUS?
Un nuovo Coronavirus (nCoV) è un nuovo ceppo di coronavirus che non è stato precedentemente mai identificato nell'uomo.
Il nuovo Coronavirus 2019, denominato SARS-CoV-2, è un virus a RNA rivestito da un capside e da un peri-capside attraversato da strutture glicoproteiche che gli conferiscono il tipico aspetto ‘a corona'. Fa parte della grande famiglia dei coronavirus ed è geneticamente collocato all'interno del genus Betacoronavirus, con un clade distinto nel lineage B del sub-genus Sarbecovirus così come due ceppi Sars-like non umani (pipistrelli).
La diffusione del SARS-CoV-2 potrebbe essere partita dal mercato del pesce di Wuhan, nella provincia cinese di Hubei. Informazione attualmente smentita da un gruppo di scienziati cinesi pubblicata sulla rivista Lancet.
La situazione è in costante evoluzione. L'ECDC pubblica ogni giorno un aggiornamento epidemiologico (www.ecdc.europa.eu/en/geographical-distribution-2019-ncov...)
CORONAVIRUS
Coronaviruses (CoV) are a large family of viruses that cause illness ranging from the common cold to more severe diseases such as Middle East Respiratory Syndrome (MERS-CoV) and Severe Acute Respiratory Syndrome (SARS-CoV). A novel coronavirus (nCoV) is a new strain that has not been previously identified in humans.
Coronaviruses are zoonotic, meaning they are transmitted between animals and people. Detailed investigations found that SARS-CoV was transmitted from civet cats to humans and MERS-CoV from dromedary camels to humans. Several known coronaviruses are circulating in animals that have not yet infected humans.
Common signs of infection include respiratory symptoms, fever, cough, shortness of breath and breathing difficulties. In more severe cases, infection can cause pneumonia, severe acute respiratory syndrome, kidney failure and even death.
Standard recommendations to prevent infection spread include regular hand washing, covering mouth and nose when coughing and sneezing, thoroughly cooking meat and eggs. Avoid close contact with anyone showing symptoms of respiratory illness such as coughing and sneezing.
Aspettando la neve di quest'anno mi godo quella dello scorso inverno!
Waiting for this year snow, in the meantime I enjoy last winter one!
Ponte della Maddalena (Italian: "Bridge of Mary Magdalene") is a bridge crossing the Serchio river near the town of Borgo a Mozzano in the Italian province of Lucca. One of numerous medieval bridges known as Ponte del Diavolo, the "Bridge of the Devil", it was a vital river crossing on the Via Francigena, an early medieval road to Rome for those coming from France that was an important medieval pilgrimage route.
The bridge is a remarkable example of medieval engineering, probably commissioned by the Countess Matilda of Tuscany circa 1080-1100. It was renovated circa 1300 under the direction of Castruccio Castracani. The largest span is 37.8 m. The bridge is also described in a 14th-century novella by Giovanni Sercambi of Lucca.
Circa 1500 it took on the name of Ponte della Maddalena, from an oratory dedicated to Mary Magdalene, whose statue stood at the foot of the bridge on the eastern bank.
In 1670 the General Council of the Republic of Lucca issued a decree prohibiting passage over the bridge with millstones (ceppi) and sacks of flour in order to preserve the structure.
Ponte della Maddalena (Italian: "Bridge of Mary Magdalene") is a bridge crossing the Serchio river near the town of Borgo a Mozzano in the Italian province of Lucca. One of numerous medieval bridges known as Ponte del Diavolo, the "Bridge of the Devil", it was a vital river crossing on the Via Francigena, an early medieval road to Rome for those coming from France that was an important medieval pilgrimage route.
The bridge is a remarkable example of medieval engineering, probably commissioned by the Countess Matilda of Tuscany circa 1080-1100. It was renovated circa 1300 under the direction of Castruccio Castracani. The largest span is 37.8 m. The bridge is also described in a 14th-century novella by Giovanni Sercambi of Lucca.
Circa 1500 it took on the name of Ponte della Maddalena, from an oratory dedicated to Mary Magdalene, whose statue stood at the foot of the bridge on the eastern bank.
In 1670 the General Council of the Republic of Lucca issued a decree prohibiting passage over the bridge with millstones (ceppi) and sacks of flour in order to preserve the structure.
LA NEBBIA AGLI IRTI COLLI
La nebbia agli irti colli: è questo il verso iniziale di una delle poesie più famose di Giosuè Carducci: San Martino.
Anche se il poeta si riferisce alla data dell'11 novembre, durante la quale in Italia si festeggia la maturazione del vino nuovo, la vedo molto indicata per accompagnare questo mio scatto tra le prealpi dell'Alpago.
" La nebbia a gl'irti colli
piovigginando sale,
e sotto il maestrale
urla e biancheggia il mar;
ma per le vie del borgo
dal ribollir de' tini
va l'aspro odor de i vini
l'anime a rallegrar.
Gira su' ceppi accesi
lo spiedo scoppiettando:
sta il cacciator fischiando
sull'uscio a rimirar
tra le rossastre nubi
stormi d'uccelli neri,
com'esuli pensieri,
nel vespero migrar."
Puos d’Alpago (o semplicemente Puos, o Pós in lingua veneta) è una cittadina di circa 2500 abitanti situata in Alpago, nella parte meridionale della provincia di Belluno, a 419 m sul livello del mare. Puos è il secondo insediamento più popoloso dell’Alpago dopo Farra.
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THE FOG AT THE IRTI COLLI
The mist on the steep hills: this is the opening line of one of Giosuè Carducci's most famous poems: San Martino.
Even if the poet refers to the date of 11 November, during which the maturation of the new wine is celebrated in Italy, I see it very suitable to accompany this shot of mine in the Alpine foothills of the Alpago.
"The fog on the hills
drizzling salt,
and under the mistral
the sea screams and whitens;
but through the streets of the village
from the ribollir de 'vats
the sour smell of wines goes
the anime to cheer.
Run on lit logs
the spit crackling:
the hunter is whistling
on the door to gaze
among the reddish clouds
flocks of black birds,
how you exile thoughts,
in the vespero migrar. "
Puos d’Alpago (or simply Puos, or Pós in the Venetian language) is a town of about 2500 inhabitants located in Alpago, in the southern part of the province of Belluno, at 419 m above sea level. Puos is the second most populous settlement in Alpago after Farra.
CANON EOS 6D Mark II con ob. CANON EF 24-70 f./2,8 L USM
Ponte della Maddalena (Italian: "Bridge of Mary Magdalene") is a bridge crossing the Serchio river near the town of Borgo a Mozzano in the Italian province of Lucca. One of numerous medieval bridges known as Ponte del Diavolo, the "Bridge of the Devil", it was a vital river crossing on the Via Francigena, an early medieval road to Rome for those coming from France that was an important medieval pilgrimage route.
The bridge is a remarkable example of medieval engineering, probably commissioned by the Countess Matilda of Tuscany circa 1080-1100. It was renovated circa 1300 under the direction of Castruccio Castracani. The largest span is 37.8 m. The bridge is also described in a 14th-century novella by Giovanni Sercambi of Lucca.
Circa 1500 it took on the name of Ponte della Maddalena, from an oratory dedicated to Mary Magdalene, whose statue stood at the foot of the bridge on the eastern bank.
In 1670 the General Council of the Republic of Lucca issued a decree prohibiting passage over the bridge with millstones (ceppi) and sacks of flour in order to preserve the structure.
Piazza della Consolata
Het Santuario della Consolata, dat officieel Basilica Santuario Beata Vergine della Consolata heet, is een van de favoriete kerken van de inwoners van Turijn. Aan één zijde ligt deze voor katholieken zo belangrijke kerk tegenover het beroemde cafè il Bicerin aan het Piazza della Consolata. De architecten Guarino Guarini en Filippo Juvarra bouwden de huidige barokke kerk in de 17de en 18de eeuw. Van 1899 tot 1904 vergrootte de architect Carlo Ceppi de kerk met vier straalkapellen.
De basiliek is een van de belangrijkste bezienswaardigheden van Turijn. De klokkentoren is wat rest van de Andreaskerk en een mooi voorbeeld van de Romaanse bouwkunst. De toren hoorde ooit (in het jaar 1000) tot de abdij Bruningo. Guarini ontwierp in 1678 rond de centrale ruimte vier elipsvormige kapellen. Juvarra voegde daar in 1729 het ovale priesterkoor aan toe. De kerk wordt nog steeds als zodanig gebruikt. Elke dag zijn er missen.
Maria Consolata
De verering van Maria Consolata dateert uit de 5e eeuw, maar kreeg een enorme impuls in 1104. In dat jaar kreeg op 20 juni de uit Briancon afkomstige blinde monnik Jean Ravais, nadat hij een visioen had, zijn gezichtsveld terug. Tegelijkertijd vond hij het verdwenen beeld van de heilige Consolata.
De kerk is van binnen rijk gedecoreerd, conform de barokke traditie. Boven het hoofdaltaar van Juvarra (1714) bevindt zich een afbeelding van de Madonna; zeer geliefd bij de Turijners. Aan de linkerzijde van het priesterkoor staat een standbeeld van de koningin Maria Theresa en van koningin Adelheid van de hand van Vincenzo Vela uit 1861. Ex voto's
In de gang naast de sacristie hangen veel ex voto's. Deze collectie geeft een beeld van twee eeuwen diepe devotie van eenvoudigen van ziel: schilderijtjes met afbeeldingen van huiskamers met zieken, van vluchtende paarden, razende stieren die mensen vertrappen, bandieten en moordenaars, mensen die van daken vallen, enzovoorts.
Ponte della Maddalena (Italian: "Bridge of Mary Magdalene") is a bridge crossing the Serchio river near the town of Borgo a Mozzano in the Italian province of Lucca. One of numerous medieval bridges known as Ponte del Diavolo, the "Bridge of the Devil", it was a vital river crossing on the Via Francigena, an early medieval road to Rome for those coming from France that was an important medieval pilgrimage route.
The bridge is a remarkable example of medieval engineering, probably commissioned by the Countess Matilda of Tuscany circa 1080-1100. It was renovated circa 1300 under the direction of Castruccio Castracani. The largest span is 37.8 m. The bridge is also described in a 14th-century novella by Giovanni Sercambi of Lucca.
Circa 1500 it took on the name of Ponte della Maddalena, from an oratory dedicated to Mary Magdalene, whose statue stood at the foot of the bridge on the eastern bank.
In 1670 the General Council of the Republic of Lucca issued a decree prohibiting passage over the bridge with millstones (ceppi) and sacks of flour in order to preserve the structure.
Ponte della Maddalena (Italian: "Bridge of Mary Magdalene") is a bridge crossing the Serchio river near the town of Borgo a Mozzano in the Italian province of Lucca. One of numerous medieval bridges known as Ponte del Diavolo, the "Bridge of the Devil", it was a vital river crossing on the Via Francigena, an early medieval road to Rome for those coming from France that was an important medieval pilgrimage route.
The bridge is a remarkable example of medieval engineering, probably commissioned by the Countess Matilda of Tuscany circa 1080-1100. It was renovated circa 1300 under the direction of Castruccio Castracani. The largest span is 37.8 m. The bridge is also described in a 14th-century novella by Giovanni Sercambi of Lucca.
Circa 1500 it took on the name of Ponte della Maddalena, from an oratory dedicated to Mary Magdalene, whose statue stood at the foot of the bridge on the eastern bank.
In 1670 the General Council of the Republic of Lucca issued a decree prohibiting passage over the bridge with millstones (ceppi) and sacks of flour in order to preserve the structure.
IL VILLAGGIO DEI PUFFI
Il Coprinus micaceus cresce a gruppi, spesso di numerosi esemplari cespitosi, su legno decomposto o interrato, su ceppi o tronchi, dalla primavera all'autunno. Il cappello, 1-4 cm, è inizialmente ovoidale, poi campanulato e infine aperto con l'orlo revoluto, fortemente striato fin quasi al centro, con la cuticola di colore ocraceo-arancio-fulvo, ricoperta da minuscole fibrille resti del velo di colore biancastro-ocraceo, poi liscia con l'età, con il centro più scuro e il margine grigiastro, deliquescente a maturità.
Il Coprinus micaceus è senza valore
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THE SMURFS VILLAGE
The Coprinus micaceus grows in groups, often of numerous specimens of bush, on decomposed or buried wood, on stumps or trunks, from spring to autumn. The hat, 1-4 cm, is initially ovoid, then campanulate and finally open with the revolute rim, strongly streaked almost to the center, with the ocher-orange-fawn-colored cuticle, covered by tiny fibrils remnants of the colored veil whitish-ocher, then smooth with age, with a darker center and greyish margin, deliquescent when ripe.
Coprinus micaceus is worthless
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Franklin House, nota anche come Fort Vicentia.
Un emporio commerciale portoghese fu costruito nel 1660 dai portoghesi per facilitare i loro commerci su quella che chiamavano Costa d'Oro.
Il forte è costruito in mattoni di arenaria rossa, legati con malta di calce.
Nel corso degli anni, la casa è stata utilizzata per diverse attività.
Alcuni aspetti dell'edificio suggeriscono che fosse utilizzato per la prigionia di prigionieri durante il periodo della tratta transatlantica degli schiavi.
La presenza di un area per le aste e stanze di detenzione con il ritrovamento di ceppi, lampade e una palla di cannone da parte degli attuali proprietari dà una certa credibilità a questa narrazione.
Divenne nota come Franklin House nel XX secolo, quando il signor Harry Verney Alfred Franklin, un avvocato britannico, acquistò la casa come residenza di famiglia nel 1949.
La famiglia viveva al primo piano, che all'epoca aveva un tetto ed era abitabile.
Franklin House, also known as Fort Vicentia.
A Portuguese trading post, it was built in 1660 by the Portuguese to facilitate their trade on what they called the Gold Coast.
The fort is constructed of red sandstone bricks, bonded with lime mortar.
Over the years, the house has been used for various purposes.
Some aspects of the building suggest it was used to hold prisoners during the transatlantic slave trade.
The presence of an auction area and holding rooms, along with the discovery of logs, lamps, and a cannonball by the current owners, lends some credence to this narrative.
It became known as Franklin House in the 20th century, when Mr. Harry Verney Alfred Franklin, a British lawyer, purchased the house as a family residence in 1949.
The family lived on the first floor, which at the time had a roof and was habitable.
IMG20250305170200m
Fountain of the Twelve Months
The Fountain of the Twelve Months – or Fontana dei Dodici Mesi – can be found at the end of the rise on Viale Boiardo. This beautiful fountain was designed by the architect, Carlo Ceppi and built for the National Exposition of 1898 and for the 50th anniversary of the Albertine Statute. An example of 19th Century high-tech during the Belle Époque, the architect incorporated the slope of the ground into his design. The statues, depicting the months of the year, were sculptured by Luigi Contratti and Edoardo Rubino.
Piazza Solferino è una piazza del centro storico di Torino; sorge alla confluenza di via Pietro Micca, via Santa Teresa, via Alfieri, via Lascaris, via dell'Arcivescovado, via Bertola, via Giannone e via Cernaia: tuttavia, a ben vedere, essa altro non è che il prolungamento di corso Re Umberto, del quale rappresenta il punto d'inizio. Prende il nome dal comune di Solferino, in provincia di Mantova e dalla battaglia che ivi si svolse il 24 giugno 1859, che vide la vittoria delle truppe franco-piemontesi contro gli austriaci (Seconda guerra di indipendenza italiana, Battaglia di Solferino). Oltre alle pregevoli architetture ottocentesche, la piazza ospita il Teatro Alfieri, uno dei più conosciuti della città.
La piazza, che fino all'età napoleonica fu conosciuta come la piazza del mercato del legno e detta Piazza del Bosco,[1] era inizialmente di forma irregolare. Posta alla periferia della città ottocentesca, sulla piazza si affacciavano vari edifici eterogenei con tettoie, bassi fabbricati e muri di cinta a protezione di orti e giardini privati. Dopo la presentazione di alcuni progetti, la versione definitiva ancora visibile oggi fu quella del 1853, ad opera dell'architetto Carlo Promis. Successive invece le aiuole centrali in corrispondenza di via Alfieri, che furono allestite nel 1870. Nel 1855 venne costruito il Teatro Alfieri, uno dei più celebri della città. Il teatro di oggi, opera di Lorenzo Panizza, venne eretto tra il 1855 e il 1858. Il 5 gennaio 1858, tuttavia, un violento incendio lo distrusse completamente, costringendo a ricostruirlo nuovamente.
Nel 1877 la piazza venne arricchita di un nuovo monumento dedicato a Ferdinando di Savoia-Genova, opera dello scultore Alfonso Balzico, mentre nel 1884 fu la volta del monumento all'esule messinese Giuseppe La Farina. Nel corso dell'Ottocento vennero poi edificati nuovi edifici signorili, tra cui il prestigioso Palazzo Ceriana dell'architetto Carlo Ceppi e l'elegante palazzo che sorgeva alla confluenza delle attuali via Pietro Micca e via Santa Teresa, distrutto durante i bombardamenti della seconda guerra mondiale: al suo posto negli anni cinquanta venne realizzato, su disegno dell'architetto Gualtiero Casalegno, la Torre Solferino di 15 piani fuori terra.[2] Nel 1930 fu collocata la celebre Fontana Angelica, ad opera dello scultore Giovanni Riva, costituita da quattro gruppi di statue che si richiamano alle quattro stagioni.
Piazza Solferino is a square in the historic center of Turin , located at the confluence of Via Pietro Micca , via Santa Teresa , via Alfieri , by Lascaris , via the Archdiocese, Via Bertola , via Giannone and via Cernaia : however, in hindsight, it is nothing more than an extension of King Umberto course , which is the starting point . It takes its name from the town of Solferino , in the province of Mantova and the battle that took place there 24 June 1859 , which saw the victory of Franco- Piedmontese troops against the Austrians (Second Italian War of Independence , the Battle of Solferino) . In addition to the valuable nineteenth-century architecture , the square is home to the Teatro Alfieri , one of the most popular in the city.
The square , which up to the age of Napoleon was known as the market square of wood and known as Piazza del Bosco , [1] was initially irregular in shape . Located on the outskirts of the nineteenth century city , the square faced various heterogeneous buildings with roofs, low buildings and boundary walls to protect private gardens and allotments . After the presentation of some projects , the final version still visible today was that of 1853 , by the architect Carlo Promis . Instead, successive central flowerbeds at Via Alfieri , which were set up in 1870. In 1855 was built the Teatro Alfieri , one of the most famous of the city. The theater of today , by Lorenzo Panizza, was erected between 1855 and 1858 . On January 5 , 1858, however, a massive fire destroyed it completely , forcing you to rebuild it again .
In 1877 the square was enriched by a new monument dedicated to Ferdinand of Savoy- Genoa , by the sculptor Alfonso Balzico , while in 1884 it was the turn of the monument exile Messina Giuseppe La Farina. During the nineteenth century were later built stately new buildings , including the prestigious Palazzo Ceriana architect Carlo Ceppi and elegant building which stood at the confluence of the current Via Pietro Micca and Via Santa Teresa , which was destroyed during the bombings of World War II in its place was built in the fifties , designed by architect Walter Casalegno , the Tower of Solferino 15 floors above ground. [2] in 1930 it was placed the famous Fontana Angelica , by the sculptor Giovanni Riva, consists of four groups of statues that recall the four seasons.
Inmueble que no ha cambiado sus funciones originales, fue construido entre los años 1905 y 1930 por la Inspección de Arquitectura del Ministerio de Industrias y Obras Públicas. Emilio Doyeré, arquitecto francés, fue quien proyectó el edificio tras haber ganado el concurso convocado por el gobierno para este fin. Con la colaboración de su alumno Alberto Schade y el aporte de Emilio Jecquier, la construcción de la obra se realizó en dos etapas. La primera comprendió el sector poniente del edificio y su ingreso principal. A ellos se debe el estilo neoclásico del inmueble.
Una de las primeras obras fiscales en hormigón armado, en 1911 se concluye su primera etapa de edificación. Para comenzar la segunda, que comprende el sector oriente, se debió demoler el antiguo edificio del Consulado construido en 1807. Sólo se conserva una reja de este, por el acceso de calle Bandera.
En él se instalaron la Corte Suprema - la más antigua de América del Sur - la Corte de Apelaciones, la Corte Marcial y los juzgados de Mayor Cuantía.
Las terminaciones y la ornamentación interior estuvieron a cargo de varios contratistas. Se destacan las cariátides de cemento con espadas de bronce del escultor catalán Coll y Pi; la vidriera de Mayer (Munich) que representa la justicia con el escudo chileno en la falda; las excelentes terminaciones de José Ceppi - balaustradas de mármol del vestíbulo central - y Régulus Prajoux, autor de las puertas, ventanas y carpintería en general. Bernasconi y Dominichetti estuvieron a cargo de los estucos, mientras la firma Lisci y Milani del parquet.
Antecedentes Arquitectónicos
Construcción de estructura de albañilería de ladrillo reforzada; tiene armadura de techumbre de madera y elementos metálicos. De estilo neoclásico con marcadas influencias francesas, el volumen del palacio domina su entorno. Edificio de 3 pisos, su fachada principal de mesurada ornamentación y reflejo de la severidad del sello oficialista, ocupa toda la longitud de la manzana. Este volumen es simétrico con respecto al pórtico de ingreso.
En el interior, una galería de triple altura cruza el edificio en toda su longitud, formando un gran vacío. Una estructura metálica da forma y sustentación a esta bóveda vidriada que cruza el edificio en toda su longitud y relaciona los recintos
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Property that has not changed its original functions, was built between 1905 and 1930 by the Architecture Inspection of the Ministry of Industries and Public Works. Emilio Doyeré, a French architect, was the one who designed the building after having won the competition called by the government for this purpose. With the collaboration of his student Alberto Schade and the contribution of Emilio Jecquier, the construction of the work was carried out in two stages. The first included the western sector of the building and its main entrance. The neoclassical style of the property is due to them.
One of the first fiscal works in reinforced concrete, in 1911 its first stage of construction was completed. To begin the second, which includes the eastern sector, the old Consulate building, built in 1807, had to be demolished. Only one of this gates remains, through the Bandera street access.
The Supreme Court - the oldest in South America - the Court of Appeals, the Martial Court and the Greater Claims Courts were installed there.
The finishes and interior ornamentation were carried out by various contractors. The cement caryatids with bronze swords by the Catalan sculptor Coll y Pi stand out; the stained glass window of Mayer (Munich) that represents justice with the Chilean coat of arms on her skirt; the excellent finishes by José Ceppi - marble balustrades in the central hall - and Régulus Prajoux, author of the doors, windows and carpentry in general. Bernasconi and Dominichetti were in charge of the stucco, while Lisci and Milani signed the parquet.
architectural background
Construction of reinforced brick masonry structure; It has a wooden roof frame and metallic elements. Neoclassical in style with marked French influences, the volume of the palace dominates its surroundings. A 3-story building, its main façade of moderate ornamentation and a reflection of the severity of the official seal, occupies the entire length of the block. This volume is symmetrical with respect to the entrance portico.
Inside, a triple-height gallery spans the length of the building, forming a large void. A metallic structure gives shape and support to this glazed vault that crosses the building in its entire length and connects the rooms
Il Narciso è un fiore assai apprezzato per la sua bellezza sin dall’antichità. Il narciso è uno dei primi fiori a sbocciare, annunciando così l’imminente arrivo della Primavera. Parecchie specie, originarie soprattutto del bacino del Mediterraneo, sono ampiamente coltivate come piante ornamentali da tempo immemorabile. Da esse sono state ottenute per ibridazione e selezione numerosissimi ceppi con ampie differenze morfologiche.
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Daffodil is a flower highly appreciated for its beauty since antiquity. Daffodil is one of the first flowers to blossom, announcing the upcoming Spring Day. Several species, originating mainly from the Mediterranean basin, are widely cultivated as ornamental plants from time immemorial. They have been obtained by hybridization and selection of numerous strains with wide morphological differences.
Tanya was a clone of Barbie, she was born in 70's and she changed many faces and brands.
She was donated by parents or friends without obligation because she was cheap.
Nowadays i learned to appreciate her, to see her sweetness and subtlely.
My dolls are the result of findings at Local flea market, rebuilt over time, with love and dedication.
Bella, apprezzata oggi rispetto al passato, con una vita travagliata, tanti marchi, diversi mold. Però in fondo dolce e carina!
Tanya Abbronzatissima 1970 Ceppi ratti
Tanya Capri 1978 Ceppi Ratti (abito non originale)
Tanya Gocce di Luna 1980 Ceppi Ratti
Tanya Stran' Amore 1994 Giochi Preziosi
Tanya magico costume 1995 Giochi preziosi
Tanya Soleil 1996 Giochi preziosi
Tanya Principessa 2004/5 Giochi preziosi 😍😊
The Santuario della Consolata is a baroque style Catholic church which is located in the city of Turin.
The devotion started from an icon of Mary that is still kept inside the shrine. The story (even if not supported by documents) said that a fourth century icon of Mary was lost. A blind man from Briançon found it in 1104 and recovered his sight. Shrine of the Consolata's history can be traced back to two documents dated XI and XII century, namely the Chronicon Novalicense and Chronic Fruttuaria.
The present building is an extension of the previous church of Saint Andrew. It was built in the seventeenth century, designed by Guarino Guarini who changed orientation from east-west to north south. In the following century Filippo Juvarra continued expansion of the building that was then finished by Ceppi Carlo and Antonio Vandone.
Turin, Italy
“Quando il morto arriva - ed è possibile udirlo ad una lega di distanza a causa delle buccine e dei canti o del pianto degli uomini - allora: su al lavoro. Madhoba sa esattamente dove sistemate la legna e da una mano ai Dom, di modo che il lavoro riesca bene. Ad esempio i pezzi che bruciano velocemente devono essere messi da un lato, in maniera che il vento possa portare il fuoco fino al centro. Quelli grossi devono stare nel mezzo, altrimenti non si asciugheranno mai. L'arte di sistemare la legna in una pira è un affare complicato. I Dom lo hanno imparato da Shiva stesso, signore delle cremazioni. Dove giacerà il capo si devono mettere i pezzi piccoli e leggeri. Il capo è la parte più difficile da fare intaccare e aprire dalle fiamme. E se hai del legno di sandalo è lì il posto adatto per sistemarlo devotamente. Il legno di sandalo è pesante ma brucia bene sviluppando molto calore. Comunque, quello che non devi mai fare è mettere i grossi ceppi su un lato. Così non prendono mai, e i parenti del morto ti malediranno, e quando ritornano per avere altra legna da ardere, avranno sulla bocca, per insultarli, tutti i tuoi morti. Vedi, vendere legna a Benares significa essere onesti. Non devi essere però tenero. Devi renderti conto che c'è sempre della gente che muore al mondo. I Purana non dicono che un uomo muore ogni battito di ciglia del Mondo? E per almeno ogni 10 battiti di ciglia di Benares vi è un uomo pronto al funerale. Non tutti i morti sono brava gente. Anche questo lo si impara dal mestiere, con il tempo. Perché se hai a che fare con una persona malvagia lo sai dalla maggiore quantità di legna che ti occorre rispetto agli altri; e i brhamini, ben sapendo questo, non aspetteranno che il suo corpo sia bruciato sino a diventare tutta cenere, Di fatto la brava gente brucia in fretta. Chiedi pure a quei tipi dell'università che ti spieghino il fenomeno, se possono con i loro testi inglesi ben stampati. E guarda le facce dei morti. La maggior parte di loro ha l'aria così tranquilla. Non paiono neppure addormentati, sembra che parlino quieti tra sé e sé.” untouchable caste workers at the crematorium in Varanasi
"When the dead come - and you can hear a league away because of conches and singing or crying of men - then: on the job. Madhoba knows exactly where he arranged the wood, and from one hand to the Sun, so that the work will turn out well. For example the pieces which burn quickly must be put to one side, so that the wind can bring the focus to the center. Big ones have to stay in the middle, otherwise it will never dry. The art of arranging the wood into a pyre is a tricky business. The Sun have learned from Shiva himself, lord of the cremations. Where lie the head must be put small and light pieces. The head is the most difficult part to do damage, and open flames. And if you have the sandalwood is there the place to fix it devoutly. Sandalwood is heavy burns well but developing much heat. However, what you must never do is to put big strains on one side. So they never take, and the relatives of the dead man will curse you, and when they come back to get more firewood, will have on the mouth, to insult them, all your dead. See, sell firewood in Benares means to be honest. But you must not be tender. You must realize that there is always the people who die in the world. The Puranas do not say that one man dies every beat of the World eyelashes? And for at least every 10 beats of Benares eyelashes there is a man ready for the funeral. Not all the dead are fine people. This too will learn from the craft, with time. Because if you're dealing with an evil person you know from the increased amount of wood you need than the other; and the brhamini, knowing this, will not wait for his body to be burned to become all ashes, in fact the good people burn quickly. well ask those college guys you explain the phenomenon, if they can with their well-printed English texts. And look at the faces of the dead. Most of them thus has the quiet air. Not even seem asleep, it appears to talk quiet to himself. "
III Campeonato de España de Rutinas Técnicas Júnior. DUO. REAL CANOE N.C. GEMA ARQUERO ORTIZ y
GABRIELA FERNANDEZ CEPPI .
Since: 18-05-1927
Address: 6925 Hollywood Boulevard, Hollywood, California
Film on Marquee: STAR WARS (1977)
CinemaTreasures.org ID: 1
The back of the card reads: CHINESE THEATER, Hollywood, California
A fabulous structure representing an oriental pagoda internationally famous for its brilliant Hollywood premieres. This theater attracts thousands of tourists daily.
Yet another card of the Chinese theater, and I'll tell you why I have so many (I still have a few that are not in my flickr stream) of the gorgeous theater by architect Raymond M. Kennedy, and why this is my favorite.
Oh, that sweet summer of '77. I don't remember a thing, I was a little kid celebrating my second birthday on my holiday, travelling with my parents through the USA. Legend has it I did see STAR WARS that summer, as they went to a drive in to see it. They didn't like it much, and went to another screen to see another film.
It wasn't until I was about 8 years old when I saw STAR WARS: A NEW HOPE on Betamax, and THE EMPIRE STRIKES BACK on a Philips VCC Video 2000, and I was so hooked! My STAR WARS collecting madness throughout my childhood and young adulthood well into the Nineties is a different story, so back to the Chinese. It was around when I was 9 or 10 and still slightly confused wether C-3PO was a real robot or not (the book I had about the making of hardly revealed a thing), so I then rented famous ABC TV special THE MAKING OF STAR WARS (on VHS). In this documentary there's a scene on the vivid premiere at... you guessed it, Mann's Chinese Theater. Ever since then I thought this was the most special cinema in the world, and I did feel very nostalgic when I stood on it's holy ground in the summer of 2000. There's photos of me lying next to the footsteps of 3PO and Darth in the courtyard. So I'm very happy to have found a postcard of STAR WARS playing at the Chinese, for me the ultimate depiction to have. Although the photographer could've waited for those Gray Line busses to leave, couldn't he?
©Postcard Mitock Publishers Inc. Photo by Don Ceppi.
Here's a 1987 L.A. Times article with photographer Don Ceppi talking about his trade (pretty picture photographer in the L.A. area), which depicts how a shot like this is made. At 12 years into the business, he has an estimate of 7,500 photos on postcards is what he claims in the article.
- La Fontana monumentale dei 12 mesi
-The Monumental Fountain of 12 months
Per una visione dettagliata / For a detailed view www.flickr.com/photos/marco_ottaviani/4590074496/sizes/o/
-Nel cuore del centro di Torino, adagiato sul Po, a ridosso della collina, troviamo il Parco del Valentino.
Circa 500.000 mq di verde che si estendono dal ponte monumentale Re Umberto sino al ponte Principessa Isabella.
All'interno La Fontana dei Dodici mesi progettata dall'ufficio tecnico del Comune di Torino, diretto da Carlo Ceppi, per l'Esposizione nazionale del 1898, che celebrava il cinquantenario della promulgazione dello Statuto Albertino.
La fontana è composta da una grande vasca inclinata ovale in cui precipita una spumeggiante cascata, detta vasca è sovrastata da una terrazza, anch’essa ellittica, su cui poggiano quattro gruppi di statue maggiori che raffigurano i fiumi che bagnano Torino. La Stura, con i tre nudi femminili che scherzano intorno a una ruota di mulino con reti da pesca sullo zoccolo, il Po, dalla gigantesca figura barbuta, la Dora è, invece, la pastorella con la cuffia ornata di margherite, che con la mano destra disseta un ariete, mentre un giovinetto suona la zampogna; infine, il Sangone è il genio del fiume che sorride spiando una coppia di amanti, mentre si abbeverano alle sue acque. Lo specchio d’acqua è circondato da una balaustra arricchita da statue allegoriche dei dodici mesi. Originariamente nel bacino si trovavano anche altri gruppi statuari andati perduti: la sirena tirata da tre cigni, i putti, chiamati La Pace e La guerra e il satiro portato a spalle dal Po.
-In the heart of Turin, lies on the Po, near the hill, we find the Valentino Park.
Approximately 500,000 square meters of greenery extending from the bridge until the bridge monumental King Umberto Princess Isabella.
Inside the Fountain of Twelve months designed by the Technical of the Municipality of Turin, directed by Carlo Ceppi, for the National Exhibition of 1898, celebrating the fiftieth anniversary of the promulgation of the Albertine Statute.
The fountain consists of a large tilted oval bathtub where it falls a bubbling waterfall, this pool is overlooked by a terrace, also elliptical upon which rest four groups of statues depicting the major rivers that flow Turin. The Stura, with the three female nudes who joke around a mill wheel with fishing nets on the hoof, the Po, the giant bearded figure, Dora, however, is the shepherdess with her cap adorned with daisies, who with hand right quenches a ram, while a boy plays the bagpipes and, finally, is the genius of the river Sangone smiling watching a pair of lovers, while its drinking water. The pond is surrounded by a balustrade enriched by allegorical statues of the twelve months. Originally in the basin were also other groups of statues have been lost: the siren pulled by three swans, the children, called Peace and War and the satyr brought back from the Po .
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Aerial view looking northwest of Midtown Manhattan’s new skyline. Spring, 1972.
Left, are the Empire State Building (Shreve, Lamb & Harmon, 1931) with the crowned topped One Astor Plaza (Der-Scutt-Kahn & Jacobs, 1972) and Uris Plaza (Emery Roth & Sons, 1972), at background.
In the center, foreground, are the Metropolitan Life tower (Napoleon Le Brun & Sons, 1909) and norh building (Harvey Wiley Corbett, 1932-1949), the new Mercantile Mart Building (Emery Roth & Sons, 1972) and New York Life Building (Cass Gilbert, 1928). In center, background, can be seen the white skyscraper of W.R. Grace Building (Skidmore, Owings & Merrill, 1972) recently completed with the new J.P. Stevens Building (Emery Roth & Sons, 1971) and above it, the new McGraw-Hill (Harrison, Abramovitz & Harris, 1972) and Exxon (Harrison, Abramovitz & Harris, 1971), two new buildings for Rockefeller Center’s XYZ Plan. In the distance, the Rockefeller Center’s R.C.A. Building (Associated Architects, 1933) with the black tower of new Solow Building (Skidmore, Owings & Merrill, 1974) nearly completion.
At right, background, the white box 50-story General Motors Building (Edward Durrell Stone-Emery Roth & Sons, 1968) with the Pan Am Building (Walter Gropius-Emery Roth & Sons-Pietro Belluschi, 1963), the Chrysler Building (William Van Allen, 1930) and new Third Avenue’s office glass skyscrapers.
Photo: Don Ceppi.
Source: Acacia Card Company.
es la esquina de calle Agustinas con San Antonio, la plazuela del Teatro Municipal. La Imprenta BARCELONA y las CORSETERIAS UNIDAS al frente.
En el libro INDUSTRIAS SANTIAGUINAS de 1896: sobre la barraca del arquitecto Ceppi fundada en 1893.
visitamos hace pocos dias la fabrica El Progreso, del sefior Hermenegildo Ceppi, que es una de las mas importantes del pais.
Este establecimiento está instalado en la calle de Sotomayor, N° 10, a cuadra y media de la Alameda de las Delicias,
en una extensa propiedad del señor Ceppi con un frente de
125 metros a la calle de Sotomayor y formando esquina con
la calle del Galán.
La cantidad de operarios que ocupa fluctúa entre 70 90,
con ocho empleados superiores que los dirigen.
El sueldo de la mayor parte de 10s operarios varia entre dos
y tres pesos cincuenta centavos diarios y loa de 10s oficiales y aprendices desde cincuenta centavos A dos pesos.
El establecimiento comprende:
1.0 La elaboración para edificios, con maderas tanto del pais como extranjeras.
2.0 La fabricación de obras de carpinteria, como ser puertas o ventanas.
3. La fabricación de muebles finos en nada inferiores a los importados.
4.O Un taller de grabados de vidrios y de achaflanar y facetar vidrios para espejos.
5.0 La fahricacih de 10s espejos para 10s muebles.
6." El negocio de barraca para la compra y venta de maderas en bruto y de muchos otros articulos para la construcci6n de edificios.
A1 fundar este establecimiento, su propietario no ha perseguido fines únicamente mercantiles, pues el sefior Ceppi, en su caracter de ingeniero arquitecto, reune conocimientos especiales en el ramo de construcciones de edificios, y ha tratado de llenar las necesidades que en esta industria se hacian sentir.