Spanish collector's card. Chocolate Pi, Barcelona. Spanish distributor of the film: J. Verdaguer. Card for the Italian diva film Il potere sovrano (Baldassarre Negroni, Percy Nash, Tiber Film 1916), starring Hesperia and Emilio Ghione. The Spanish title on the cards is Poder Soberano. Series of 6 cards, card no. 5.

The plot takes place in a fictive Kingdom. Lotys (Hesperia) is the idol of the people. Therd (Emilio Ghione), a journalist, a man of action, and manager of the paper The Idea, is also beloved by his compatriots. Their ideals unite Lotys and Therd. The King (Ignazio Lupi) lives distanced from his people, and has left governing to his ministers. The government threatens Therd with arrest if he doesn't stop his actions. In the Royal Palace the crown prince (Alberto Collo) escapes monotony and etiquette by a secret affair with Gloria Ronsard (Diana d'Amore), The Queen (Floriana) knows about it but fears exposure and disgrace. The people suffers from hunger. Lotys decides to write to the King directly. Meanwhile the Grand Chancellor (Alfonso Cassini), head of the government, raises import taxes and makes an agreement with a banker, Jost (Orlando), to fund military expenses. While the papers back the government, the King receives the letter that his government abuses of his people and leaves them in hunger. He postpones his signature under the new arms law. He secretly visits a manifestation by Lotys and Therd and is impressed by her speech, but when the police arrives, he flees. The King is more and more impressed by Lotys, to the chagrin of Therd, who is secretly in love with her too. When the King hears about the secret deals between the banker and his Grand Chancellor, he is outraged. Lotys manages to obtain documents at the banker that will indicate the minister's corruption. In full uniform and before his whole government The King has the banker arrested. The people hears about the arrest. The King, eager to get closer to his people, decides to open the Palace of Fine Arts. Lotys is in first row and cries out her love to him when he passes, breaking the decorum, and passing out. That night Therd sees the King leaving from Lotys' house, and in a jealous fit he demands Lotys to choose him instead. She refuses, so he shoots her. Her last words to the King are forgiving for Therd, claiming she committed suicide because of the impossible situation. The Kings spreads her ashes into the sea. (Plot from the back of the cards. NB in the Spanish version Therd is called Thord, and Jost Yost.)

Il potere sovrano was based on the novel Temporal Power by Marie Corelli and scripted by the two directors. Cinematographers were Giorgio Ricci and Antonio Cufaro, sets were by Giulio Lombardozzi. The film got its censorship card on 17 October 1916, but premiered quite later, in Rome on 10 January 1917. The censor forbid to use the English title in Italy, but that title was still often used. Though the press was not in favor, audiences flocked to the cinemas to see the film.

Hesperia (1885-1959), was one of the Italian divas of the silent screen. She often worked with director Baldassarre Negroni, who later became her husband.

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Sukhothai (in lingua thai: สุโขทัย, letteralmente alba della felicità) è una città della Thailandia situata oltre 400 km a nord della capitale Bangkok. Fa parte del distretto di Mueang Sukhothai (in thai: อำเภอเมืองสุโขทัย, trasl. Amphoe mueang Sukhothai), capoluogo della provincia omonima. La città moderna è localizzata circa 12 km ad est del parco storico di Sukhothai, dove sono conservate le rovine dell'antica capitale del Regno di Sukhothai, che per circa 140 anni dominò buona parte della regione indocinese.

Secondo una leggenda, la città fu fondata verso il 500 d.C.; uno dei primi sovrani fu il mitico re Chao Aluna Khmara, chiamato anche Phra Ruang (in thailandese: figlio del lampo), che nacque da una relazione tra un uomo e una mitica principessa Naya.

Nel 1238 Khun Bang Klang Thao, capo di una tribù di thai, riuscì a rendersi indipendente dall'Impero Khmer e stabilì a Sukhothai il primo grande regno siamese. Il nuovo re prese il nome di Sri Indraditya ed iniziò la dinastia del Regno di Sukhothai.

Il regno all'inizio era limitato a Sukhothai ed alla vicina città di Si Satchanalai, fu il nipote di Sri Indraditya, Ramkhamhaeng, che tra il 1279 ed il 1299) formò un vasto impero che andava dall'odierna Vientiane a nord-est fino a Pegu ad ovest e a Nakhon Si Thammarat a sud.

Durante il regno del successore Loei Thai (1299-1347), gran parte dei territori furono persi ed anche il figlio Liu Thai (1347-68), Mahadharmaraya, non riuscì a riportare lo Stato agli splendori del passato.

Nel 1378, il sovrano dell'emergente Regno di Ayutthaya Boromaraja I conquistò Sukhothai rendendolo uno Stato vassallo. Nel 1438 il Regno di Sukhothai venne assorbito da quello di Ayutthaya.

Quando le armate birmane distrussero Ayutthaya nel 1767, anche Sukhothai soffrì delle devastazioni degli invasori e gli abitanti abbandonarono la città. Undici anni più tardi Rama I, primo sovrano della dinastia Chakri e del Regno di Rattanakosin (o Regno del Siam), rifondò la città sulla riva sinistra del fiume Yom.

Il centro della città nuova venne danneggiato da un gravissimo incendio nel 1968.

( fonte : Wikipedia )

The Sovereign Military Order of Malta (SMOM), officially the Sovereign Military Hospitaller Order of Saint John of Jerusalem, of Rhodes and of Malta (Italian: Sovrano Militare Ordine Ospedaliero di San Giovanni di Gerusalemme di Rodi e di Malta; Latin: Supremus Militaris Ordo Hospitalarius Sancti Ioannis Hierosolymitani Rhodiensis et Melitensis), commonly known as the Order of Malta, is a Catholic lay religious order, traditionally of military, chivalric and noble nature. It has been called "the smallest sovereign state in the world", though it is not recognised as one by the United Nations.

SMOM claims continuity with the Knights Hospitaller, a chivalric order that was founded c. 1099 by the Blessed Gerard in medieval Jerusalem. In terms of international law, it is an establishment of the 19th century, recognized at the Congress of Verona of 1822, and since 1834 headquartered in Palazzo Malta in Rome. The order is led by an elected Prince and Grand Master. Its motto is Tuitio fidei et obsequium pauperum ('defence of the faith and assistance to the poor'). The order venerates the Virgin Mary as its patroness, under the title of Our Lady of Mount Philermos.

The headquarters of the Order of Saint John had been located in Malta from 1530 until 1798. It was technically a vassal of the Kingdom of Sicily, holding Malta in exchange for a nominal fee, but declared independence in 1753.

It was expelled from Malta under the French occupation in 1798 and, from 1805 to 1812, much of its possessions in Protestant Europe were confiscated, resulting in the fragmentation of the order into a number of Protestant branches, since 1961 united under the umbrella of the Alliance of the Orders of Saint John of Jerusalem. The Congress of Vienna of 1815 confirmed the loss of Malta, but the Congress of Verona in 1822 guaranteed the continued existence of the Catholic order as a sovereign entity. The seat of the order was moved to Ferrara in 1826 and to Rome in 1834, the interior of Palazzo Malta being considered extraterritorial sovereign territory of the order. The grand priories of Lombardy-Venetia and of Sicily were restored from 1839 to 1841. The office of Grand Master was restored by Pope Leo XIII in 1879, after a vacancy of 75 years, confirming Giovanni Battista Ceschi a Santa Croce as the first Grand Master of the restored Order of Malta.

The Holy See was established as a subject of international law in the Lateran Treaty of 1929. In the following decades, the connection between the Holy See and the Order of Malta was seen as so close as to call into question the actual sovereignty of the order as a separate entity. This has prompted constitutional changes on the part of the Order, which were implemented in 1997. Since then, the Order has been widely recognized as a sovereign subject of international law in its own right.

It maintains diplomatic relations with 107 states, has permanent observer status at the United Nations, enters into treaties and issues its own passports, coins and postage stamps. Its two headquarters buildings in Rome enjoy extraterritoriality, similar to embassies, and it maintains embassies in other countries. The three principal officers are counted as citizens.

The Order has 13,500 Knights, Dames and auxiliary members. A few dozen of these are professed religious. Until the 1990s, the highest classes of membership, including officers, required proof of noble lineage. More recently, a path was created for Knights and Dames of the lowest class (of whom proof of aristocratic lineage is not required) to be specially elevated to the highest class, making them eligible for office in the order.

The order employs about 42,000 doctors, nurses, auxiliaries and paramedics assisted by 80,000 volunteers in more than 120 countries, assisting children, homeless, handicapped, elderly, and terminally ill people, refugees, and lepers around the world without distinction of ethnicity or religion. Through its worldwide relief corps, Malteser International, the order aids victims of natural disasters, epidemics and war. In several countries, including France, Germany and Ireland, local associations of the order are important providers of medical emergency services and training. Its annual budget is on the order of 1.5 billion euros, largely funded by European governments, the United Nations and the European Union, foundations and public donors.

Spanish collectors card by Chocolate Pi, Barcelona, no. 1 of 6. Photo: Tiber Film. Ignazio Lupi, Floriana and Alberto Collo in Il potere sovrano/The Sovereign Power (Baldassarre Negroni, Percy Nash, 1916). The Spanish title on the cards is Poder Soberano.

The plot takes place in a fictive Kingdom. Lotys (Hesperia) is the idol of the people. Therd (Emilio Ghione), a journalist, a man of action, and manager of the paper The Idea, is also beloved by his compatriots. Their ideals unite Lotys and Therd. The King (Ignazio Lupi) lives distanced from his people and has left governing to his ministers. The government threatens Therd with arrest if he doesn't stop his actions. In the Royal Palace the crown prince (Alberto Collo) escapes monotony and etiquette by a secret affair with Gloria Ronsard (Diana d'Amore), The Queen (Floriana) knows about it but fears exposure and disgrace. People suffer from hunger. Lotys decides to write to the King directly. Meanwhile, the Grand Chancellor (Alfonso Cassini), head of the government, raises import taxes and makes an agreement with a banker, Jost (Orlando), to fund military expenses. While the papers back the government, the King receives the letter that his government abuses of his people and leaves them in hunger. He postpones his signature under the new arms law. He secretly visits a manifestation by Lotys and Therd and is impressed by her speech, but when the police arrive, he flees. The King is more and more impressed by Lotys, to the chagrin of Therd, who is secretly in love with her too. When the King hears about the secret deals between the banker and his Grand Chancellor, he is outraged. Lotys manages to obtain documents at the banker that will indicate the minister's corruption. In full uniform and before his whole government The King has the banker arrested. The people hear about the arrest. The King, eager to get closer to his people, decides to open the Palace of Fine Arts. Lotys is in the first row and cries out her love to him when he passes, breaking the decorum, and passing out. That night Therd sees the King leaving Lotys' house, and in a jealous fit he demands Lotys to choose him instead. She refuses, so he shoots her. Her last words to the King are forgiving for Therd, claiming she committed suicide because of the impossible situation. The King spreads her ashes into the sea. (Plot from the back of the cards. NB in the Spanish version Therd is called Thord, and Jost Yost.)

Il potere sovrano was based on the novel Temporal Power by Marie Corelli and scripted by the two directors. Cinematographers were Giorgio Ricci and Antonio Cufaro, sets were by Giulio Lombardozzi. The film got its censorship card on 17 October 1916, but premiered quite later, in Rome on 10 January 1917. The censor forbid to use the English title in Italy, but that title was still often used. Though the press was not in favor, audiences flocked to the cinemas to see the film.

Ignazio Lupi (1867-1942) was an Italian actor who had a prolific career in Italian silent cinema between the early 1910s and the mid-1920s. Not to be confused with the Italo-American gangster Ignazio Lupo. Lupi was a regular cast member of Cines productions in the 1910s, first in many shorts, such as Gaspare (1912), Anna Maria (1912), and Una tragedia al cinematografo (1913). In the latter, he plays a jealous husband who threatens to shoot his infidel wife whom he thinks is in a cinema with a lover. When the manager warns the audience, dozens of adulterous couples secretly leave the cinema by the backdoor, thinking it concerns them. In the Cines epic Quo Vadis? (Enrico Guazzoni 1913) he was Aulus, Lygia's foster father; in Marcantonio e Cleopatra (Guazzoni 1914) he was Ottaviano, and in Cajus Julius Caesar (Guazzoni 1914) he was Pompeo. Other epic productions he was in were Cabiria (Giovani Pastrone 1914) and Christus (Giulio Antamoro 1916). In 1916-1917 Lupi had the peak of his career with respectively 13 and 9 parts in films such as La caccia ai millioni (Baldassarre Negroni 1916), La rosa di Granata (Emilio Ghione 1916) starring Lina Cavalieri, and La cuccagna (Negroni 1917) starring Hesperia and based on Zola's La curée - Lupi played banker Mareuil. Until 1922 Lupi was very active in Italian silent film, as in I figli di nessuno (Ubaldo Maria del Colle 1921), the Pirandello adapation Ma non è una cosa seria (Augusto Camerini 1921) and the thriller La casa sotto la neve (Gennaro Righelli 1922), again with Jacobini. His last role was in La cavalcata ardente (Carmine Gallone 1925), starring Soava Gallone.

Alberto Collo (1883-1955) was an Italian film actor of mostly the silent cinema. In the 1910s and early 1920s, he acted opposite the female stars of his times, such as Francesca Bertini, Hesperia, Maria and Diomira Jacobini, and Italia Almirante Manzini. He also performed in war propaganda, historical films, and strong men films.

Music : MARIA NAZIONALE E' NAPOLETANA !!!

Maria nazionale - Tu sì Napule

www.youtube.com/watch?v=8FPLe8rj-zw

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Square Dante

The square, originally a big market, took its present form in the second half of the XVIII th century, with the intervention of the architect Luigi Vanvitelli, the Foro Carolino has commissioned what was to be a monument in celebration of the sovereign Charles de Bourbon.

The work lasted from 1757 to 1765, the result was a large semi-circle, tangential to the walls of Aragon, which included the Gates of Dawn in the north, and relied on the church of St. Michel in the south. The building, with its two wings characteristic curves, seen above the presence of twenty-six statues representing the virtues of Charles, and a niche in the center should have received a statue of the ruler, and a clock period.

Now it is the entrance of the "National Convitto Vittorio Emanuele.

At the center of the square, a large white statue of Dante, (1871, out of Tito Angelini).

The site has been redesigned, restructured and upgraded during the work of the subway, completed in 2002.

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La place Dante :

La place, à l’origine un grand Marché, pris sa forme actuelle dans la seconde moitié du XVIII è siècle, avec l'intervention du grand architecte Luigi Vanvitelli, le Foro Carolino lui a commandé ce qui devait constituer un monument en célébration du souverain Charles de Bourbon.

Les travaux durèrent de 1757 à 1765, et le résultat fut un grand hémicycle, tangent aux murs des aragonais, qui comprenait la Porte de l'Aube au nord, et s’appuyait sur l'église de Saint Michel au sud. L'édifice, avec ses deux caractéristiques ailes courbes, voit en haut la présence de vingt-six statues représentants les vertus de Charles, et au centre une niche qui aurait dû recevoir une statue du souverain, et une horloge, d'époque.

Maintenant il constitue l'entrée du " Convitto National Vittorio Emanuele ".

Au centre de la place, une grande statue blanche de Dante (de 1871, oeuvre de Tito Angelini).

La place a été redessinée, restructurée et réaménagée à l’occasion des travaux du métro, terminés en 2002.

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Piazza Dante

La piazza, in origine un grande mercato, ha preso la sua forma attuale nella seconda metà del secolo XVIII, con l'intervento dell'architetto Luigi Vanvitelli, il Foro Carolino ha commissionato quella che doveva essere un monumento per celebrare il sovrano Charles de Bourbon.

Il lavoro è durato 1757-1765, e il risultato è stato un grande semicerchio, tangente alle mura di Aragona, che comprendeva la Porta dell'Aurora nel nord, e richiamata la chiesa di Saint Michel, nel sud. L'edificio, con le sue due ali curve caratteristiche, visto in precedenza la presenza di 26 statue raffiguranti le virtù di Carlo, e una nicchia nel centro dovrebbe aver ricevuto una statua del sovrano, e un periodo di clock.

Ora è l'ingresso del "Convitto Nazionale Vittorio Emanuele " .

Al centro della piazza una grande statua bianca della Dante (1871, di Tito Angelini).

Il sito è stato ridisegnato, ristrutturato e potenziato nel corso dei lavori della metropolitana, completato nel 2002.

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Centro Storico di Napoli - Italia

Ali, hill town in the province of Messina, is about 30 km from the capital. Nestled on Peloritans, lies at the foot of the hill 450 meters above sea level in St. Helena Overlooking the sun, has been called "a porch roof on the Ionian sea," for its splendid position that makes enjoying the magnificent views of the Ionian Sea and the entire eastern coast of Sicily; especially at night, is to admire the enchanting spectacle of the Calabrian coast and the Straits of Messina. The whole scene is dominated by the imposing bulk of Mount Etna. And 'prized for architectural heritage, for its mild climate, the pure air and the clear, cold water of the natural springs. Ali has about 1000 inhabitants. Its economy, once supported by a thriving agriculture today is based primarily on the service sector. It is the home, as well, an important plant of mineral waters, the source of which belong to the municipality. The name of Ali, for certain, has Greek origins, from Elim, in reference to the Greek colony of Elis, whence would come the founders of the country. For others, it has Muslim origins and it would be a tribute to the Caliph Ali, son of Muhammad. The town, founded in 638 BC on the plateau Mollerino, by the settlers of Elis, fell within the territory of Zancle Messana, but the first inhabitants, tormented by pirates, they moved much higher up on Mount Scuderi.To the west of the village overlooking the foothills of the first Peloritans, whose green, a deep green that does not let the eye, gently ascends the slopes, up panorama to achieve the highest ridges. Towards the sea, dominates the liquid expanse of the Ionian Sea, a beautiful landscape, in which the Heads of Ali and of St. Alexis, overlooking the white spots of the agglomeration, scattered among the beautiful green of the coast. clearly see the extreme edge of the Calabrian shore, calm immense velvet sea. Few to Ali Superior noise: some trill of bird, some cackling of hens, some dog barking in the distance. Removed these noises, to Ali reigns supreme silence and when you hear the sound of a few cars, or the sound of some turntable is stupid because Ali has managed to retain its traditional vocation to life rusticana. The country still retains, in galleries and in the tunnels of the old streets, its ancient medieval appearance and almost one would expect to see emerge from some secluded corner, some mustachioed soldier with helmet and armor of a few centuries ago, to disturb, with its militaristic past, the beautiful peace of the place.

Alì, centro collinare della provincia di Messina, dista dal capoluogo circa 30 km. Adagiato sui monti Peloritani, sorge alle pendici del colle S. Elena a 450 metri s.l.m. Affacciato al sole, è stato definito “una veranda pensile sullo Jonio”, per la sua felice posizione panoramica, che fa godere la magnifica vista del Mare Jonio e di tutta la riviera orientale della Sicilia; specie di sera, fa ammirare lo spettacolo incantevole delle coste calabresi e dello Stretto di Messina. Tutto il panorama è dominato dalla possente mole dell’Etna. E’ apprezzato per il patrimonio architettonico, per il suo clima mite, per l’aria purissima e per l’acqua limpida e fresca delle sorgenti naturali. Alì conta circa 1000 abitanti. La sua economia, un tempo sostenuta da una fiorente agricoltura, oggi prevalentemente si regge sul terziario.Vi ha sede, pure, un importante stabilimento di acque oligominerali, la cui sorgente ricade nel territorio comunale.Il nome Alì, per taluni, ha origine greca, da Elim, in riferimento alla colonia greca Elide, da dove sarebbero venuti i fondatori del paese. Per altri, ha origini musulmane e sarebbe un omaggio al Califfo Alì, genero di Maometto.Il paese, fondato nel 638 a.c. sul pianoro Mollerino, dai coloni dell’Elide, ricadeva nel territorio di Zancle Messana, ma i primi abitanti, tormentati dalle incursioni dei pirati, si trasferirono molto più in alto, sul Monte Scuderi, Ad ovest l'abitato si affaccia ai primi contrafforti dei Peloritani, il cui verde, un verde fitto che non da tregua all'occhio, sale dolcemente per i pendii, finopanorama a raggiungere i più alti crinali. Verso la marina, si domina la liquida distesa dello Ionio, un bel paesaggio, in cui i capi di Alì e di Sant'Alessio, sovrastano le bianche macchie degli agglomerati, disseminati tra il bel verde della costa. ben visibile l'estremo lembo del litorale calabro, riposante sull'immenso velluto del mare. Pochi ad Alì Superiore i rumori: qualche trillo di uccello, qualche coccodè di gallina, qualche latrato di cane in lontananza. Tolti questi rumori, ad Alì domina sovrano il silenzio e quando si sente il rombo di qualche macchina, o il suono di qualche giradischi si rimane stupidi poiché Alì ha saputo conservare la sua tradizionale vocazione alla vita rusticana. Il Paese conserva ancora, nei ballatoi e nei cunicoli dei vecchi vicoli, la sua antica fisionomia medievale e quasi ci si attenderebbe di vedere sbucare, da qualche angolo appartato, qualche baffuto soldato con elmo ed armatura di alcuni secoli fa, a turbare, col suo passato militaresco, la bella pace del luogo.

Font : Wikipedia

Ali, hill town in the province of Messina, is about 30 km from the capital. Nestled on Peloritans, lies at the foot of the hill 450 meters above sea level in St. Helena Overlooking the sun, has been called "a porch roof on the Ionian sea," for its splendid position that makes enjoying the magnificent views of the Ionian Sea and the entire eastern coast of Sicily; especially at night, is to admire the enchanting spectacle of the Calabrian coast and the Straits of Messina. The whole scene is dominated by the imposing bulk of Mount Etna. And 'prized for architectural heritage, for its mild climate, the pure air and the clear, cold water of the natural springs. Ali has about 1000 inhabitants. Its economy, once supported by a thriving agriculture today is based primarily on the service sector. It is the home, as well, an important plant of mineral waters, the source of which belong to the municipality. The name of Ali, for certain, has Greek origins, from Elim, in reference to the Greek colony of Elis, whence would come the founders of the country. For others, it has Muslim origins and it would be a tribute to the Caliph Ali, son of Muhammad. The town, founded in 638 BC on the plateau Mollerino, by the settlers of Elis, fell within the territory of Zancle Messana, but the first inhabitants, tormented by pirates, they moved much higher up on Mount Scuderi.To the west of the village overlooking the foothills of the first Peloritans, whose green, a deep green that does not let the eye, gently ascends the slopes, up panorama to achieve the highest ridges. Towards the sea, dominates the liquid expanse of the Ionian Sea, a beautiful landscape, in which the Heads of Ali and of St. Alexis, overlooking the white spots of the agglomeration, scattered among the beautiful green of the coast. clearly see the extreme edge of the Calabrian shore, calm immense velvet sea. Few to Ali Superior noise: some trill of bird, some cackling of hens, some dog barking in the distance. Removed these noises, to Ali reigns supreme silence and when you hear the sound of a few cars, or the sound of some turntable is stupid because Ali has managed to retain its traditional vocation to life rusticana. The country still retains, in galleries and in the tunnels of the old streets, its ancient medieval appearance and almost one would expect to see emerge from some secluded corner, some mustachioed soldier with helmet and armor of a few centuries ago, to disturb, with its militaristic past, the beautiful peace of the place.

Alì, centro collinare della provincia di Messina, dista dal capoluogo circa 30 km. Adagiato sui monti Peloritani, sorge alle pendici del colle S. Elena a 450 metri s.l.m. Affacciato al sole, è stato definito “una veranda pensile sullo Jonio”, per la sua felice posizione panoramica, che fa godere la magnifica vista del Mare Jonio e di tutta la riviera orientale della Sicilia; specie di sera, fa ammirare lo spettacolo incantevole delle coste calabresi e dello Stretto di Messina. Tutto il panorama è dominato dalla possente mole dell’Etna. E’ apprezzato per il patrimonio architettonico, per il suo clima mite, per l’aria purissima e per l’acqua limpida e fresca delle sorgenti naturali. Alì conta circa 1000 abitanti. La sua economia, un tempo sostenuta da una fiorente agricoltura, oggi prevalentemente si regge sul terziario.Vi ha sede, pure, un importante stabilimento di acque oligominerali, la cui sorgente ricade nel territorio comunale.Il nome Alì, per taluni, ha origine greca, da Elim, in riferimento alla colonia greca Elide, da dove sarebbero venuti i fondatori del paese. Per altri, ha origini musulmane e sarebbe un omaggio al Califfo Alì, genero di Maometto.Il paese, fondato nel 638 a.c. sul pianoro Mollerino, dai coloni dell’Elide, ricadeva nel territorio di Zancle Messana, ma i primi abitanti, tormentati dalle incursioni dei pirati, si trasferirono molto più in alto, sul Monte Scuderi, Ad ovest l'abitato si affaccia ai primi contrafforti dei Peloritani, il cui verde, un verde fitto che non da tregua all'occhio, sale dolcemente per i pendii, finopanorama a raggiungere i più alti crinali. Verso la marina, si domina la liquida distesa dello Ionio, un bel paesaggio, in cui i capi di Alì e di Sant'Alessio, sovrastano le bianche macchie degli agglomerati, disseminati tra il bel verde della costa. ben visibile l'estremo lembo del litorale calabro, riposante sull'immenso velluto del mare. Pochi ad Alì Superiore i rumori: qualche trillo di uccello, qualche coccodè di gallina, qualche latrato di cane in lontananza. Tolti questi rumori, ad Alì domina sovrano il silenzio e quando si sente il rombo di qualche macchina, o il suono di qualche giradischi si rimane stupidi poiché Alì ha saputo conservare la sua tradizionale vocazione alla vita rusticana. Il Paese conserva ancora, nei ballatoi e nei cunicoli dei vecchi vicoli, la sua antica fisionomia medievale e quasi ci si attenderebbe di vedere sbucare, da qualche angolo appartato, qualche baffuto soldato con elmo ed armatura di alcuni secoli fa, a turbare, col suo passato militaresco, la bella pace del luogo.

Font : Wikipedia

Lungo una diramazione del tratturo Pescasseroli-Candela L’edificio risulta consacrato nel 1148 e per la sua posizione fu sicuramente un importante luogo di sosta per i pellegrini che dai territori interni dell’attuale Molise si recavano ai santuari della Puglia. L’edificio è a pianta rettangolare triabsidata; l’interno è suddiviso in tre navate da colonne con tozzi capitelli decorati con motivi vegetali molto stilizzati ed ha il presbiterio sopraelevato di tre gradini rispetto al piano delle navate. L’esterno è caratterizzato da un elegante paramento in pietra costituito da conci per lo più di grandi dimensioni ben squadrati e presenta una ricca decorazione in facciata e in corrispondenza del portale situato lungo il fianco destro, opera probabilmente di artisti. Assai complessa e non ancora del tutto chiara dal punto di vista iconografico è l’ornamentazione del prospetto principale: nella parte superiore, ai lati di un rosone, compaiono tre figure di animali ad altorilievo, mentre nel timpano e nella lunetta del portale centrale sono rappresentate scene con animali, alcuni dei quali fantastici, e figure umane accompagnate da motivi floreali, vegetali e geometrici dal rilievo assai piatto. Altre scene figurate sono presenti nelle due lunette ai lati del portale: secondo alcune interpretazioni si tratterebbe di episodi tratti da due diverse Chanson de geste, il Libro di Fioravante e la Historia Karoli Magni et Rotholandhi. Più chiara è, invece, la scena della lunetta del portale laterale che raffigura il mito di Alessandro Magno, il cui carro è portato in cielo da due grifoni. All’interno sono conservate altre opere di scultura medievale, tra cui si segnala il monumento funebre trecentesco di Bernardo di Aquino.

LA LEGGENDA DEL RE BOVE

Questo racconto parte da una delle più antiche chiese del Molise, cioè Santa Maria della Strada (provincia di Campobasso). Il protagonista è un re di nome Bove, innamorato follemente della propria sorella. Data la natura incestuosa della relazione, si rivolse al Papa per ottenere il permesso di sposarla. Il Papa rispose che avrebbe benedetto l’unione solo se Bove fosse riuscito a edificare, in una sola notte, cento chiese di forma e grandezza ben determinate e che fossero visibili l’una dall’altra. Un progetto talmente impossibile che il sovrano, disperato, si rivolse al Demonio affinché lo aiutasse. Il Diavolo si disse disponibile, chiedendo in cambio l’anima del re.

La notte seguente, i due lavorarono ardentemente per costruire le chiese: mentre il Demonio faceva ruzzolare dal monte i macigni, re Bove li poneva uno sopra l’altro. Arrivarono all’alba con novantanove chiese edificate, ma prima di terminare la centesima, il sovrano provò un profondo pentimento e pregò Dio per ottenere perdono. Il Diavolo, adirato per il tempo buttato via e per la nullità del patto, scagliò un masso contro l’ultima chiesa in costruzione, quella di Santa Maria della Strada. Venne colpito il campanile, mentre il masso rimbalzò a poca distanza dall’edificio. Quest’ultimo è visibile tutt’oggi e viene chiamato “il masso del diavolo”.

Alla sua morte, re Bove venne sepolto proprio nella chiesa di Santa Maria della Strada. La leggenda vuole che solo sette edifici siano sopravvissuti nel tempo: Santa Maria di Monteverde, Maria Santissima Assunta di Ferrazzano, San Leonardo di Campobasso, Santa Maria di Cercemaggiore, Santa Maria della Strada e la cattedrale di Volturara Appula. Restano ignoti il nome e l’ubicazione della settima. Nell’iconografia sacra il re Bove viene rappresentato proprio con fattezze bovine, forse perché questo animale ha sempre goduto di un ruolo importante nell’immaginario spirituale, accostandosi al sovrano, la figura più alta della società. L’arte medievale ci ha lasciato diverse teste di toro scolpite in varie chiese del Molise, a riprova del suo valore simbolico.

Along a branch of the Pescasseroli-Candela tratturo The building was consecrated in 1148 and due to its position it was certainly an important stopping place for pilgrims who went from the internal territories of present-day Molise to the sanctuaries of Puglia. The building has a three-apsidal rectangular plan; the interior is divided into three naves by columns with squat capitals decorated with very stylized plant motifs and has a raised presbytery of three steps from the floor of the aisles. The exterior is characterized by an elegant stone facing consisting of mostly large well squared ashlars and has a rich decoration on the facade and in correspondence with the portal located along the right side, probably the work of artists. The ornamentation of the main façade is very complex and not yet completely clear from an iconographic point of view: in the upper part, on the sides of a rose window, three figures of animals in high relief appear, while in the tympanum and in the lunette of the central portal they are represented scenes with animals, some of which are fantastic, and human figures accompanied by floral, vegetable and geometric motifs with a very flat relief. Other figurative scenes are present in the two lunettes on either side of the portal: according to some interpretations, these are episodes taken from two different Chanson de geste, the Book of Fioravante and the Historia Karoli Magni et Rotholandhi. On the other hand, the scene of the lunette of the side portal is clearer, depicting the myth of Alexander the Great, whose chariot is carried to heaven by two griffins. Inside there are other works of medieval sculpture, including the fourteenth-century funeral monument of Bernardo di Aquino.

THE LEGEND OF KING BOVE

This story starts from one of the oldest churches in Molise, that is Santa Maria della Strada (province of Campobasso). The protagonist is a king named Bove, madly in love with his sister. Given the incestuous nature of the relationship, he turned to the Pope for permission to marry her. The Pope replied that he would bless the union only if Bove had managed to build, in a single night, a hundred churches of well-defined shape and size and which were visible from each other. A project so impossible that the desperate sovereign turned to the Devil to help him. The Devil said he was available, asking for the king's soul in exchange.

The following night, the two worked ardently to build the churches: while the Devil rolled the boulders from the mountain, King Bove placed them one on top of the other. They arrived at dawn with ninety-nine churches built, but before finishing the hundredth, the sovereign felt a deep repentance and prayed to God for forgiveness. The Devil, angry for the time thrown away and for the nullity of the pact, threw a rock at the last church under construction, that of Santa Maria della Strada. The bell tower was hit, while the boulder bounced off a short distance from the building. The latter is still visible today and is called "the devil's boulder".

On his death, King Bove was buried in the church of Santa Maria della Strada. Legend has it that only seven buildings have survived over time: Santa Maria di Monteverde, Maria Santissima Assunta di Ferrazzano, San Leonardo di Campobasso, Santa Maria di Cercemaggiore, Santa Maria della Strada and the cathedral of Volturara Appula. The name and location of the seventh remain unknown. In the sacred iconography, King Bove is represented precisely with bovine features, perhaps because this animal has always enjoyed an important role in the spiritual imagination, approaching the sovereign, the highest figure in society. Medieval art has left us several bull heads carved in various churches in Molise, proof of its symbolic value.

Le long d'une branche du tratturo Pescasseroli-Candela Le bâtiment a été consacré en 1148 et en raison de sa position, il était certainement une étape importante pour les pèlerins qui se rendaient dans les sanctuaires des Pouilles depuis les territoires intérieurs du Molise actuel. Le bâtiment a un plan rectangulaire à trois absides; l'intérieur est divisé en trois nefs par des colonnes aux chapiteaux trapus ornés de motifs végétaux très stylisés et présente un presbytère surélevé à trois pas du sol des bas-côtés. L'extérieur se caractérise par un élégant parement en pierre composé pour la plupart de grandes pierres de taille bien carrées et présente une riche décoration sur la façade et en correspondance avec le portail situé le long du côté droit, probablement l'œuvre d'artistes. L'ornementation de la façade principale est très complexe et pas encore complètement claire d'un point de vue iconographique: dans la partie supérieure, sur les côtés d'une rosace, trois figures d'animaux en haut relief apparaissent, tandis que dans le tympan et dans le lunette du portail central ils sont représentés des scènes avec des animaux, dont certains sont fantastiques, et des figures humaines accompagnées de motifs floraux, végétaux et géométriques avec un relief très plat. D'autres scènes figuratives sont présentes dans les deux lunettes sur les côtés du portail: selon certaines interprétations, il s'agirait d'épisodes tirés de deux Chanson de geste différentes, le Livre de Fioravante et l'Historia Karoli Magni et Rotholandhi. En revanche, la scène de la lunette du portail latéral est plus claire, qui représente le mythe d'Alexandre le Grand, dont le char est porté au ciel par deux griffons. À l'intérieur, il y a d'autres œuvres de sculpture médiévale, y compris le monument funéraire du XIVe siècle de Bernardo di Aquino.

LA LÉGENDE DU ROI BOVE

Cette histoire part de l'une des plus anciennes églises du Molise, à savoir Santa Maria della Strada (province de Campobasso). Le protagoniste est un roi nommé Bove, follement amoureux de sa sœur. Compte tenu de la nature incestueuse de la relation, elle s'est tournée vers le pape pour obtenir la permission de l'épouser. Le Pape a répondu qu'il ne bénirait l'union que si Bove avait réussi à construire, en une seule nuit, une centaine d'églises de forme et de taille bien définies et visibles les unes des autres. Un projet tellement impossible que le souverain désespéré s'est tourné vers le Diable pour l'aider. Le diable a dit qu'il était disponible, demandant l'âme du roi en échange.

La nuit suivante, les deux travaillèrent ardemment pour construire les églises: tandis que le diable roulait les rochers de la montagne, le roi Bove les plaçait l'un sur l'autre. Ils sont arrivés à l'aube avec quatre-vingt-dix-neuf églises construites, mais avant de terminer la centième, le souverain a ressenti un profond repentir et a prié Dieu pour le pardon. Le diable, en colère à l'époque jetée et pour la nullité du pacte, jeta un rocher sur la dernière église en construction, celle de Santa Maria della Strada. Le clocher a été touché, tandis que le rocher a rebondi sur une courte distance du bâtiment. Ce dernier est encore visible aujourd'hui et s'appelle "le rocher du diable".

À sa mort, le roi Bove a été enterré dans l'église de Santa Maria della Strada. La légende raconte que seuls sept bâtiments ont survécu au fil du temps: Santa Maria di Monteverde, Maria Santissima Assunta di Ferrazzano, San Leonardo di Campobasso, Santa Maria di Cercemaggiore, Santa Maria della Strada et la cathédrale de Volturara Appula. Le nom et l'emplacement du septième restent inconnus. Dans l'iconographie sacrée, King Bove est représenté précisément avec des traits bovins, peut-être parce que cet animal a toujours joué un rôle important dans l'imaginaire spirituel, se rapprochant du souverain, la plus haute figure de la société. L'art médiéval nous a laissé plusieurs têtes de taureaux sculptées dans différentes églises du Molise, preuve de sa valeur symbolique.

Monastero di San Sava - Ιερά Μονή Αγίου Σάββα του Νέου εν Καλύμνω

Publio Elio Traiano Adriano, noto semplicemente come Adriano (Italica, 24 gennaio 76 – Baia, 10 luglio 138), è stato un imperatore romano della dinastia degli imperatori adottivi che regnò dal 117 alla sua morte. Fu uno dei "buoni imperatori" secondo lo storico Edward Gibbon.

Mantenne le conquiste di Traiano, a parte la Mesopotamia che assegnò ad un sovrano vassallo.

Il suo impero fu caratterizzato da tolleranza, efficienza e splendore delle arti e della filosofia.

Egli stesso studiò la cultura greca della quale era appassionato.

Hadrian (24 January, 76 AD – 10 July, 138 AD) was Roman Emperor from 117 to 138 AD.

Born Publius Aelius Hadrianus to an ethnically Italian family, in Italica near Santiponce (in modern-day Spain) or in Rome.

During his reign, Hadrian traveled to nearly every province of the Empire. An ardent admirer of Greece, he sought to make Athens the cultural capital of the Empire and ordered the construction of many opulent temples in the city. He used his relationship with his Greek favorite Antinous to underline his philhellenism and led to the creation of one of the most popular cults of ancient times.

Spanish collectors card by Chocolate Pi, Barcelona, no. 2 of 6. Photo: Tiber Film. Hesperia and Emilio Ghione in Il potere sovrano (Baldassarre Negroni, Percy Nash, 1916). The Spanish title on the cards is Poder Soberano. Spanish distributor of the film: J. Verdaguer.

The plot takes place in a fictive Kingdom. Lotys (Hesperia) is the idol of the people. Therd (Emilio Ghione), a journalist, a man of action, and manager of the paper The Idea, is also beloved by his compatriots. Their ideals unite Lotys and Therd. The King (Ignazio Lupi) lives distanced from his people, and has left governing to his ministers. The government threatens Therd with arrest if he doesn't stop his actions. In the Royal Palace the crown prince (Alberto Collo) escapes monotony and etiquette by a secret affair with Gloria Ronsard (Diana d'Amore), The Queen (Floriana) knows about it but fears exposure and disgrace. The people suffer from hunger. Lotys decides to write to the King directly. Meanwhile, the Grand Chancellor (Alfonso Cassini), head of the government, raises import taxes and makes an agreement with a banker, Jost (Orlando), to fund military expenses. While the papers back the government, the King receives the letter that his government abuses of his people and leaves them in hunger. He postpones his signature under the new arms law. He secretly visits a manifestation by Lotys and Therd and is impressed by her speech, but when the police arrive, he flees. The King is more and more impressed by Lotys, to the chagrin of Therd, who is secretly in love with her too. When the King hears about the secret deals between the banker and his Grand Chancellor, he is outraged. Lotys manages to obtain documents at the banker that will indicate the minister's corruption. In full uniform and before his whole government The King has the banker arrested. The people hear about the arrest. The King, eager to get closer to his people, decides to open the Palace of Fine Arts. Lotys is in the first row and cries out her love to him when he passes, breaking the decorum, and passing out. That night Therd sees the King leaving Lotys' house, and in a jealous fit, he demands Lotys to choose him instead. She refuses, so he shoots her. Her last words to the King are forgiving for Therd, claiming she committed suicide because of the impossible situation. The King spreads her ashes into the sea. (Plot from the back of the cards. NB in the Spanish version Therd is called Thord, and Jost Yost.)

Il potere sovrano was based on the novel Temporal Power by Marie Corelli and scripted by the two directors. Cinematographers were Giorgio Ricci and Antonio Cufaro, sets were by Giulio Lombardozzi. The film got its censorship card on 17 October 1916, but premiered quite later, in Rome on 10 January 1917. The censor forbid to use the English title in Italy, but that title was still often used. Though the press was not in favor, audiences flocked to the cinemas to see the film.

Hesperia (1885-1959), was one of the Italian divas of the silent screen. She often worked with director Baldassarre Negroni, who later became her husband. Emilio Ghione (1879-1930) was an Italian silent film actor, director, and screenwriter. He is best known for writing, directing, and starring in the Za La Mort series of adventure films, in which he played a likable French apache and 'honest outlaw.'

259 Pio XI 6 febbraio 1922 - 10 febbraio 1939Achille Ratti Desio, bandiera Regno Lombardo-Veneto Grotte Vaticane

4050 R Papa Pio XI (in latino: Pius PP. XI, nato Achille Ambrogio Damiano Ratti; Desio, 31 maggio 1857 – Città del Vaticano, 10 febbraio 1939) sent 20.VIII.1930. ed. Ernesto Richter

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Papa Pio XI (in latino: Pius PP. XI, nato Achille Ambrogio Damiano Ratti; Desio, 31 maggio 1857 – Città del Vaticano, 10 febbraio 1939) è stato il 259º vescovo di Roma e Papa della Chiesa cattolica dal 1922 alla sua morte. Dal 1929 fu il 1º sovrano del nuovo Stato della Città del Vaticano.

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Pope Pius XI, born Ambrogio Damiano Achille Ratti[a] (Italian pronunciation: [amˈbrɔdʒo daˈmjano aˈkille ˈratti]; 31 May 1857 – 10 February 1939), reigned from 6 February 1922 to his death in 1939. He was the first sovereign of Vatican City from its creation as an independent state on 11 February 1929. He took as his papal motto, "Pax Christi in Regno Christi," translated "The Peace of Christ in the Kingdom of Christ."

Pius XI issued numerous encyclicals, including Quadragesimo anno on the 40th anniversary of Pope Leo XIII's groundbreaking social encyclical Rerum novarum, highlighting capitalistic greed of international finance, and social justice issues, and Quas primas, establishing the feast of Christ the King. The encyclical Studiorum ducem, promulgated 29 June 1923, was written on the occasion of the 6th centenary of the canonization of Thomas Aquinas, whose thought is acclaimed as central to Catholic philosophy and theology. The encyclical also singles out the Pontifical University of Saint Thomas Aquinas, Angelicum as the preeminent institution for the teaching of Aquinas: "ante omnia Pontificium Collegium Angelicum, ubi Thomam tamquam domi suae habitare dixeris" (before all others the Pontifical Angelicum College, where Thomas can be said to dwell).[3]

To establish or maintain the position of the Catholic Church, he fostered and concluded a record number of concordats, including the Reichskonkordat with Germany. During his pontificate, the longstanding hostility with the Italian government over the status of the papacy and the Church in Italy was successfully resolved in the Lateran Treaty of 1929. He was unable to stop the persecution of the Church and the killing of clergy in Mexico, Spain and the Soviet Union.

He canonized important saints, including Thomas More, Petrus Canisius, Konrad von Parzham, Andrew Bobola and Don Bosco. He beatified and canonized Thérèse de Lisieux, for whom he held special reverence, and gave equivalent canonization to Albertus Magnus, naming him a Doctor of the Church due to the spiritual power of his writings.

Pius XI created the feast of Christ the King in response to anti-clericalism. He took a strong interest in fostering the participation of lay people throughout the Catholic Church, especially in the Catholic Action movement. The end of his pontificate was dominated by defending the Catholic Church from intrusions into Catholic life and education.

He died on 10 February 1939 in the Apostolic Palace and was buried in the grottos of Saint Peter's Basilica.

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Pio XI. lat. Pius PP. XI. (Desio, Lombardija, Italija, 31. svibnja 1857. - Rim, 10. veljače 1939.), rođen kao Ambrogio Damiano Achille Ratti, 259. nasljednik apostola Petra, papa od 6. veljače 1922. do smrti 1939.

hr.wikipedia.org/wiki/Pio_XI.

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Bruno Brizzi states that Ernesto Richter was not a photographer but only a publisher (editore)

using images photographed by others1

. Piero Becchetti concurs by not including him in his

extensive list of photographers working in Rome up to 19152. Brizzi and Becchetti are among

1 Brizzi, Bruno Album di Roma, Roma: 1979; p.80

2 Becchetti, Piero La Fotografia a Roma, Roma: 1983; p. 265-358

the most noted writers about early photographs of Rome and their opinion is hard to refute.

However as one peruses the urban images published by Richter, one can find a certain sameness

of approach which suggests the same photographic eye at work. So if it was not Richter himself

responsible for those images, it was probably a photographer working for him whose name has

yet to be determined. In some cases credit on the published images is given to other

photographers (e.g.: Cat. 11), but this only strengthens the possibility that many of the Richter

photos not labeled in this way were done “in house.” Aside from the photos attributable to other

photographers, whether the remaining photos were by Richter himself or by someone working

for him makes little difference to the importance of this corpus of images, which, for want of a

better name, will be referred to as “Richter’s images” for the purposes of this text.

In Richter’s day it was common for photographers to acquire negatives by others and

print them with their own mark, without giving credit to the original photographer. Thus

Chauffourier, the famous French photographer who worked in Rome, bought numerous

negatives of Sibelli and De Bonis, two less well known photographers, and published them as his

own3. Vasari in turn acquired numerous Chauffourier negatives and published them with his own

mark4. Richter published a fair number of Vasari photos under his own imprint, giving credit to

Vasari for some images but not for others

---------------------------------------------

Bruno Brizzi states that Ernesto Richter was not a photographer but only a publisher (editore) using images photographed by others1 . Piero Becchetti concurs by not including him in his extensive list of photographers working in Rome up to 19152. Brizzi and Becchetti are among 1 Brizzi, Bruno Album di Roma, Roma: 1979; p.80 2 Becchetti, Piero La Fotografia a Roma, Roma: 1983; p. 265-358 the most noted writers about early photographs of Rome and their opinion is hard to refute. However as one peruses the urban images published by Richter, one can find a certain sameness of approach which suggests the same photographic eye at work. So if it was not Richter himself responsible for those images, it was probably a photographer working for him whose name has yet to be determined. In some cases credit on the published images is given to other photographers (e.g.: Cat. 11), but this only strengthens the possibility that many of the Richter photos not labeled in this way were done “in house.” Aside from the photos attributable to other photographers, whether the remaining photos were by Richter himself or by someone working for him makes little difference to the importance of this corpus of images, which, for want of a better name, will be referred to as “Richter’s images” for the purposes of this text.

In Richter’s day it was common for photographers to acquire negatives by others and print them with their own mark, without giving credit to the original photographer. Thus Chauffourier, the famous French photographer who worked in Rome, bought numerous negatives of Sibelli and De Bonis, two less well known photographers, and published them as his own3. Vasari in turn acquired numerous Chauffourier negatives and published them with his own mark4. Richter published a fair number of Vasari photos under his own imprint, giving credit to Vasari for some images but not for others

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Tracciare una storia campanaria completa su Verona antica è difficile, perché in città vi erano moltissime chiese con campanili, oggi scomparse. Già nel 622, alla morte di san Mauro, le cronache dicono che tutte le campane della città suonarono, nel XII secolo si parla già di segnali che scandiscono i momenti della giornata.

A partire dalla fine dell'alto medioevo, nacque l'idea di dotare le torri di più bronzi, ognuno con una propria funzione specifica.

Ulderico, vescovo di Le Mans, fece fare per tale cattedrale di un coro a ben dodici voci.

Nelle comunità, ogni campana ha sempre svolto un ruolo ben preciso: una annunciava la messa, un’altra suonava all’alba, mezzogiorno ed alla sera, una ai funerali, una alle tre di ogni venerdì e la maggiore in occasione di pericolo.

Verso il X secolo assunse una certa diffusione una peculiare tecnica di suono: era il 'campanò' termine veronese per indicare il carillon, che consiste nel suonare percuotendo le campane da ferme con martelli o con il battaglio. Oggi questa tecnica è scomparsa a Verona da almeno un secolo e mezzo, fiorente resta invece in Lombardia, vicentino, Liguria, ed anche nel resto d’Europa dove trovano larga diffusione i carillon.

Nel 1500, in città, sul campanile di San Zeno maggiore vi erano già sei campane, su quello di Santa Maria in Organo ve n’erano cinque di cui quattro in accordo. Ben forniti erano pure Santa Maria della Scala e Santa Anastasia. Documenti coevi indicano molte torri ospitanti bronzi in accordo maggiore (do mi sol do), di quarta (do fa sol la) od a “quarto” (do re mi sol), già montati con contrappeso e ruota di manovra, da cui calavano, a seconda del peso, una o due corde.

Del 1600 sono i primi testi che descrivono le campane suonate in piedi, ossia fermate con la bocca verso il cielo, facendo musica “come d'organo”.

C'è chi sostiene che il nostro metodo, chiamato “alla veronese” sia storicamente collegato a quello inglese, al quale assomiglia moltissimo. Questa affascinante ipotesi non si basa, però, su nessun documento storico.

Per eseguire un concerto alla veronese è necessario che il numero delle campane in scala musicale diatonica maggiore sia superiore o uguale a cinque, anche se esistono suonate per tre o quattro bronzi. Il repertorio veronese è oggi composto da suonate da quattro a tredici campane in scala musicale, con l’eventuale aggiunta del semitono di settima minore. La maggior parte dei campanili è dotata di sei o nove bronzi, ma ne esistono anche alcuni che arrivano a ben venti note. Curiosa e suggestiva eccezione sono i pezzi composti per “cinque più otto” (re sol la si do re) o “sei più ottavino” (do re mi fa sol la do).

Le notizie su come si presentava il nostro metodo di suono alle origini, ce le fornisce il bibliotecario ed infermiere Modestino Cainer (1798-1844), maestro della squadra campanaria di San Francesco alle Stimmate. Nel 1833 scriveva: "La vigilia di san Francesco con grande allegrezza e contento per il loro armonico e devoto suono si sentì un famoso segno dato parte dai nostri e parte da alcuni intendenti per parte del fonditore". Tuttavia il nuovo metodo non risultava semplice da imparare, infatti: "lunga pazienza e qualche pratica, [...]abbiamo suonato solo le tre campane piccole". Dopo poco però, qualche progresso cominciava a sentirsi: "Il 26 sera, alle 20, furono cominciate le scale ad ascendere alternativamente e discendere e spezzate in quarta per 12 minuti [...] avanziamo sempre nei salti di nota".

Nel 1834 oramai le campane venivano manovrate con discreta sicurezza "Suonammo 3 segni dopo messa, [...] questo fu eccellente".

Alla squadra non mancavano nuove leve che, però, avevano bisogno di tempo per impratichirsi: "La sestina fu data ad un novello (che) si confuse e abbandonò il (segno) cominciato". Ora la squadra, formata da: Modestino Cainer, Carlo Fedelini, Innocenzo Venturini, Francesco Solari, Angelo Casella, era ormai ben collaudata, tanto che "il 13 aprile si cominciò ad apprendere un nuovo e solenne segno. Dio faccia che si apprenda bene per sua maggior gloria […] furono suonate tutte e sei, ma con una nuova musica, più avanzata". Di certo era già in uso la pratica di suono a lutto, come viene testimoniato: "Il 7 marzo 1835 si suonò per la morte del nostro amatissimo e religiosissimo sovrano Francesco I d'Austria, con sommo dolore". Possiamo arguire che i brani fossero imparati a memoria ed eseguiti abbastanza lentamente. Non sappiamo invece che cosa Cainer intenda quando afferma che " ieri abbiamo suonato a sistema antico, rozzo [...] oggi furono dati due segni alla veneziana".

I suonatori manovrano le campane nella sala del suono che, spesso abbellita da arredi e quadri, è situata ad altezza intermedia del campanile ed illuminata da finestre che offrono un panorama sulla città. Il concertista, agendo sulla corda mediante una non facile tecnica, porta e ferma la campana in posizione verticale, cioè con la bocca rivolta verso il cielo. Quando verrà chiamata la sua campana, le farà compiere una rotazione di 360 gradi, riportandola in posizione verticale, producendo in questa maniera un rintocco, che corrisponderà alla nota nel brano musicale. Il suonatore percepisce il comportamento del suo bronzo unicamente mediante la fune di manovra che tiene in mano.

Quando una campana supera i 1050 kg è preferibile che venga manovrata da due persone. Suonare i bronzi è un’arte complessa: se l’esecutore frenasse troppo o troppo presto la campana, oppure non la richiamasse con sufficiente forza, questa non avrebbe slancio sufficiente per ritornare in posizione verticale, ricadrebbe all’indietro provocando una serie di rintocchi fuori programma. Se invece il bronzo non venisse rallentato abbastanza, od in tempo utile, non si fermerebbe nella posizione verticale, ma si ribalterebbe continuando la sua corsa, riavvolgendo la corda sulla ruota e trascinando verso l’alto il suonatore che non se ne fosse avvisto tempestivamente. La squadra campanaria è così organizzata: ogni esecutore gestisce un bronzo, ossia una nota, vi è poi un maestro che chiama in maniera cadenzata i numeri delle varie campane, seguendo appositi spartiti musicali.

Draw a story bell full of old Verona is difficult, because in the city there were many churches with steeples, now disappeared. Already in 622, the death of St. Mauro, the chronicles say that all the bells of the city played in the twelfth century is already talk of signals that mark the moments of the day.

As of the end of the Middle Ages, was born the idea of giving the towers more bronzes, each with its own specific function.

Ulderico, bishop of Le Mans, he do to that of a cathedral choir to twelve voices.

In communities, each bell has always played a specific role: announcing a Mass, another played at dawn, noon and evening, one at the funeral, one of the three Fridays and more at danger.

Towards the tenth century took some spread a peculiar technique of sound: it was 'Campano' Veronese term to indicate the carillon, which is to play by striking the bells still with hammers or with the clapper. Today this technique has disappeared in Verona for at least a century and a half, flourishing instead remains in Lombardy, Vicenza, Liguria, and also in the rest of Europe where they find widespread chimes.

In 1500, in the city, on the belfry of San Zeno altar there were already six bells, on that of Santa Maria in Organo there were five of which four are in agreement. Ben provided were also Santa Maria della Scala and Santa Anastasia. Contemporary documents indicate many towers host bronzes in major chord (do I do sol), fourth (do makes the sol) or a "fourth" (do re mi sol), already fitted with counterweight and direction wheel, from which descended, depending on weight, one or two strings.

1600 are the first texts that describe the bells played standing, that stops with the mouth to the sky, making music "as organ".

Some claim that our method, called "the Veronese" is historically connected to the English one, which looks a lot like. This fascinating hypothesis is not based, however, on no historical document.

To perform a concert at Verona is necessary that the number of bells in the diatonic musical scale is greater than or equal to five, even if there are played for three or four bronzes. The repertoire consists of Verona is now played four to thirteen bells in the musical scale, with the possible addition of the semitone minor seventh. Most of the bell is equipped with six or nine bronzes, but there are some that come to twenty notes. Curious and striking exception are the pieces composed for "five plus eight" (the king will do re sol) or "six plus piccolo" (do re mi fa sol la do).

The news as it appeared on our method of sound in the beginning, we provide it with the librarian and nurse Modestino Cainer (1798-1844), master of the team bell of St. Francis with the Stigmata. In 1833 he wrote: "The Eve of St. Francis with great joy and happy for their harmonious and devoted sound felt a famous sign given by our part and part by some stewards for the smelter." However, the new method was not simple to learn, in fact: "long patience and some practice, [...] we played only three small bells." After a while, however, some progress was beginning to feel: "On the 26th night, at 20, were started up the stairs to ascend and descend alternately and broken in the fourth for 12 minutes [...] we advance in leaps always known."

In 1834 the bells were now operated with reasonable safety "We played three signs after Mass, [...] this was excellent."

There were new recruits to the team that, though, they need time to become familiar: "The sestina was given to a novel (which) is confused and abandoned (sign) started." Now the team, made up of: Modestino Cainer, Carlo Fedelini, Innocent Venturini, Francesco Solari, Casella Angelo, was now well tested, so that "April 13 he began to learn a new and solemn sign. God do you learn good for his greater glory [...] were played all six, but with new music, more advanced. "Certainly it was already used the practice of sound in mourning, as is testified: "On 7 March 1835 he played for the death of our beloved and pious king Francis I of Austria, with great pain." We can infer that the songs were memorized and performed fairly slowly. We do not know instead of what Cainer means when it says that "yesterday we played in the old system, rough [...] today was given two signs to the Venetian."

The players maneuver the bells in the hall of the sound, often decorated with furnishings and paintings, is located at an intermediate height of the bell tower and lit by windows offering a view of the city. The concert, by acting on the rope by means of a not easy technique, door and stops the bell in the vertical position, that is, with the mouth facing the sky. When will call his bell, will make a 360-degree rotation, bringing it back upright, producing in this way a stroke, which corresponds to the note in the song. The player perceives the behavior of his bronze solely by maneuvering the rope in his hand.

When a bell exceeds 1050 kg is preferable that it is operated by two people. Playing the bronzes is a complex art: if the performer frenasse too much or too soon the bell or not the call back with enough force, this would not have enough momentum to return to the upright position, would fall backwards causing a series of chimes out syllabus. If the bronze was not slowed down enough, or in time, would not stop in the vertical position, but would tilt continuing his run, wrapping the rope on the wheel and dragging up the player that if he had not sighted promptly. The Bell team is organized as follows: each performer manages a bronze, or a note, there is also a master who calls in a lilting numbers of various bells, following appropriate musical scores.

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Cortile esterno del Palazzo Reale.

Porta di accesso alla seconda corte interna.

La zona in cui si trovano i palazzi comprende un'area di 47 ettari e consiste di 10 palazzi alcuni dei quali costruiti vicini e altri sovrapposti secondo l'ordine della successione, il sito è suddiviso in due parti, il palazzo di Akaba è separato dagli altri da una delle strade principali di Abomey e da un'area residenziale.

Le due aree sono interamente cintate da mura parzialmente conservate.

Le mura dell'area principale la circondano per una lunghezza di poco meno di 10 km, sono interrotte da sei cancelli e protette da un fossato profondo un metro e mezzo con una fitta crescita di acacia, la difesa tradizionale delle fortezze africane.

All'interno delle mura si trovavano villaggi separati da campi e diversi palazzi reali, una piazza per il mercato e un'area rettangolare dove si trovavano gli alloggi militari.

Lo spessore medio delle pareti degli edifici era di circa 50 cm in modo da mantenere all'interno una temperatura più fresca.

Ogni palazzo aveva un aspetto esteriore diverso a seconda dei desideri del sovrano, analoga però la struttura architettonica che prevedeva la presenza di tre corti, quella esterna chiamata Kpododji alla quale si accedeva da un ingresso costituito da una pensilina chiamata Honnouwa e che ospitava l'edificio destinato a ricevere gli ospiti chiamato Jonnonho, alla seconda corte interna, chiamata Jalalahennou, avevano accesso coloro ai quali il re aveva concesso udienza e vi si accedeva passando dal Logodo un'altra pensilina di accesso.

Nella corte interna si trovavano diversi edifici, templi, edifici per riti e l'Ajalala, il palazzo vero e proprio dove il sovrano soggiornava e concedeva udienze, caratteristiche dei palazzi sono le numerose aperture e le mura e colonne decorate con bassorilievi.

I materiali usati comprendono l'argilla per fondamenta e pavimenti, palma, bambù e iroko e mogano per le parti in legno e paglia oppure lamiera per i tetti.

I palazzi di re Guézo e di re Glèlè, che sono i meglio conservati, ospitano la sede del Museo storico di Abomey nel quale viene illustrata la storia del regno ed esposta una collezione di oggetti appartenuti ai sovrani.

(Wikipedia)

Outer courtyard of the Royal Palace.

Access gate to the second inner courtyard.

The area surrounding the palaces covers an area of 47 hectares and consists of 10 palaces, some built adjacent to each other and others stacked in succession. The site is divided into two parts; the Akaba Palace is separated from the others by one of Abomey's main streets and a residential area.

The two areas are entirely surrounded by partially preserved walls.

The walls of the main area surround it for a length of just under 10 km, are interrupted by six gates and protected by a 1.5-meter-deep moat lined with thick acacia trees, the traditional defense of African fortresses.

Within the walls were villages separated by fields and several royal palaces, a market square, and a rectangular area housing military quarters.

The average thickness of the buildings' walls was about 50 cm, to maintain a cooler interior temperature.

Each palace had a different exterior appearance depending on the sovereign's wishes, but the architectural structure was similar, featuring three courtyards. The outer courtyard, called Kpododji, was accessed through a canopy entrance called Honnouwa and housed the Jonnonho, a building intended for receiving guests. The second inner courtyard, called Jalalahennou, was open to those granted audiences by the king and was accessed through the Logodo, another canopy.

The inner courtyard housed various buildings, temples, ritual buildings, and the Ajalala, the actual palace where the sovereign resided and granted audiences. Characteristic features of the palaces include numerous openings and walls and columns decorated with bas-reliefs.

The materials used included clay for the foundations and floors, palm, bamboo, and iroko, and mahogany for the wooden parts, and thatch or sheet metal for the roofs.

The palaces of King Guézo and King Glèlè, which are the best preserved, house the Abomey Historical Museum, which illustrates the history of the kingdom and displays a collection of objects belonging to the sovereigns.

(Wikipedia)

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Stanza Dei Sogni e Degli Angeli Messaggeri.

Era la camera da letto di Alessandro Farnese nel Palazzo di Caprarola, il suo rifugio notturno tra gli affreschi illustrati che evocano il legame con le forze celesti tramite gli angeli messaggeri in continuo contatto con le incertezze terrene.

Ed era proprio per la consapevolezza di queste incertezze che Alessandro sognava serenità e prosperità, ma sognava anche di proteggere il patrimonio di famiglia costruito in cinque secoli di servigi alla Chiesa. Del resto non aveva più le figure di riferimento della sua famiglia, il padre venne ucciso a Piacenza nel 1547 ed il nonno Paolo III morì due anni dopo.

Ecco quindi che nella Stanza dei Sogni è presente l'allusione alla richiesta di benedizione sulla famiglia rappresentata nell'ovale. L'immagine prende in prestito una scena del vecchio testamento in cui Dio invia gli angeli messaggeri a rassicurare Giacobbe dicendogli che veglierà su di lui e che le terre su cui egli giace rimarranno alla sua famiglia e ai suoi discendenti.

Nella Stanza dei Sogni vengono narrati fatti biblici in cui vanno letti messaggi ermetici come il sogno di Nabbucodonosor, sovrano di Babilonia, raffigurato in una lunetta della volta. Il re sogna una grande e possente statua con la testa d'oro, il busto e gli arti di metalli diversi ma i piedi di creta determinando la sua fragilità. Probabilmente il sogno è un desiderio non troppo celato del card. Alessandro Farnese, il quale comprende la precarietà degli equilibri del ducato di Castro e quello di Parma e Piacenza, ed allude alla benevolenza di Dio, nel nome del quale è stato eletto cardinale.

Room of Dreams and Messenger Angels.

It was Alessandro Farnese's bedroom in the Palazzo di Caprarola, his nocturnal refuge among the illustrated frescoes that evoke the link with the celestial forces through the messenger angels in continuous contact with earthly uncertainties.

And it was precisely because of the awareness of these uncertainties that Alexander dreamed of serenity and prosperity, but he also dreamed of protecting the family heritage built over five centuries of service to the Church. Moreover, he no longer had the reference figures of his family, his father was killed in Piacenza in 1547 and his grandfather Paolo III died two years later.

Hence, in the Room of Dreams there is an allusion to the request for a blessing on the family represented in the oval. The image borrows a scene from the Old Testament in which God sends messenger angels to reassure Jacob that he will watch over him and that the lands on which he lies will remain with his family and descendants.

In the Room of Dreams, biblical facts are narrated in which hermetic messages are read, such as the dream of Nebuchadnezzar, ruler of Babylon, depicted in a lunette of the vault. The king dreams of a large and mighty statue with a golden head, bust and limbs of different metals but feet of clay determining its fragility. Probably the dream is a not too hidden desire of card. Alessandro Farnese, who understands the precarious balance of the duchy of Castro and that of Parma and Piacenza, and alludes to the benevolence of God, in whose name he was elected cardinal.

Salle des rêves et des anges messagers.

C'était la chambre d'Alessandro Farnèse au Palazzo di Caprarola, son refuge nocturne parmi les fresques illustrées qui évoquent le lien avec les forces célestes à travers les anges messagers en contact permanent avec les incertitudes terrestres.

Et c'est justement en raison de la conscience de ces incertitudes qu'Alexandre rêvait de sérénité et de prospérité, mais il rêvait aussi de protéger l'héritage familial construit au cours de cinq siècles de service à l'Église. Après tout, il n'avait plus les chiffres de référence de sa famille, son père a été tué à Plaisance en 1547 et son grand-père Paolo III est décédé deux ans plus tard.

Par conséquent, dans la salle des rêves, il y a une allusion à la demande de bénédiction sur la famille représentée dans l'ovale. L'image emprunte une scène de l'Ancien Testament dans laquelle Dieu envoie des anges messagers pour rassurer Jacob en lui disant qu'il veillera sur lui et que les terres sur lesquelles il gît resteront avec sa famille et ses descendants.

Dans la salle des rêves, des faits bibliques sont racontés dans lesquels des messages hermétiques sont lus, comme le rêve de Nabuchodonosor, chef de Babylone, représenté dans une lunette de la voûte. Le roi rêve d'une grande et puissante statue avec une tête dorée, un buste et des membres de différents métaux mais des pieds d'argile, déterminant sa fragilité. Probablement le rêve est un désir de carte pas trop caché. Alessandro Farnèse, qui comprend l'équilibre précaire du duché de Castro et celui de Parme et de Plaisance, et fait allusion à la bienveillance de Dieu, au nom duquel il fut élu cardinal.

Ali, hill town in the province of Messina, is about 30 km from the capital. Nestled on Peloritans, lies at the foot of the hill 450 meters above sea level in St. Helena Overlooking the sun, has been called "a porch roof on the Ionian sea," for its splendid position that makes enjoying the magnificent views of the Ionian Sea and the entire eastern coast of Sicily; especially at night, is to admire the enchanting spectacle of the Calabrian coast and the Straits of Messina. The whole scene is dominated by the imposing bulk of Mount Etna. And 'prized for architectural heritage, for its mild climate, the pure air and the clear, cold water of the natural springs. Ali has about 1000 inhabitants. Its economy, once supported by a thriving agriculture today is based primarily on the service sector. It is the home, as well, an important plant of mineral waters, the source of which belong to the municipality. The name of Ali, for certain, has Greek origins, from Elim, in reference to the Greek colony of Elis, whence would come the founders of the country. For others, it has Muslim origins and it would be a tribute to the Caliph Ali, son of Muhammad. The town, founded in 638 BC on the plateau Mollerino, by the settlers of Elis, fell within the territory of Zancle Messana, but the first inhabitants, tormented by pirates, they moved much higher up on Mount Scuderi.To the west of the village overlooking the foothills of the first Peloritans, whose green, a deep green that does not let the eye, gently ascends the slopes, up panorama to achieve the highest ridges. Towards the sea, dominates the liquid expanse of the Ionian Sea, a beautiful landscape, in which the Heads of Ali and of St. Alexis, overlooking the white spots of the agglomeration, scattered among the beautiful green of the coast. clearly see the extreme edge of the Calabrian shore, calm immense velvet sea. Few to Ali Superior noise: some trill of bird, some cackling of hens, some dog barking in the distance. Removed these noises, to Ali reigns supreme silence and when you hear the sound of a few cars, or the sound of some turntable is stupid because Ali has managed to retain its traditional vocation to life rusticana. The country still retains, in galleries and in the tunnels of the old streets, its ancient medieval appearance and almost one would expect to see emerge from some secluded corner, some mustachioed soldier with helmet and armor of a few centuries ago, to disturb, with its militaristic past, the beautiful peace of the place.

Alì, centro collinare della provincia di Messina, dista dal capoluogo circa 30 km. Adagiato sui monti Peloritani, sorge alle pendici del colle S. Elena a 450 metri s.l.m. Affacciato al sole, è stato definito “una veranda pensile sullo Jonio”, per la sua felice posizione panoramica, che fa godere la magnifica vista del Mare Jonio e di tutta la riviera orientale della Sicilia; specie di sera, fa ammirare lo spettacolo incantevole delle coste calabresi e dello Stretto di Messina. Tutto il panorama è dominato dalla possente mole dell’Etna. E’ apprezzato per il patrimonio architettonico, per il suo clima mite, per l’aria purissima e per l’acqua limpida e fresca delle sorgenti naturali. Alì conta circa 1000 abitanti. La sua economia, un tempo sostenuta da una fiorente agricoltura, oggi prevalentemente si regge sul terziario.Vi ha sede, pure, un importante stabilimento di acque oligominerali, la cui sorgente ricade nel territorio comunale.Il nome Alì, per taluni, ha origine greca, da Elim, in riferimento alla colonia greca Elide, da dove sarebbero venuti i fondatori del paese. Per altri, ha origini musulmane e sarebbe un omaggio al Califfo Alì, genero di Maometto.Il paese, fondato nel 638 a.c. sul pianoro Mollerino, dai coloni dell’Elide, ricadeva nel territorio di Zancle Messana, ma i primi abitanti, tormentati dalle incursioni dei pirati, si trasferirono molto più in alto, sul Monte Scuderi, Ad ovest l'abitato si affaccia ai primi contrafforti dei Peloritani, il cui verde, un verde fitto che non da tregua all'occhio, sale dolcemente per i pendii, finopanorama a raggiungere i più alti crinali. Verso la marina, si domina la liquida distesa dello Ionio, un bel paesaggio, in cui i capi di Alì e di Sant'Alessio, sovrastano le bianche macchie degli agglomerati, disseminati tra il bel verde della costa. ben visibile l'estremo lembo del litorale calabro, riposante sull'immenso velluto del mare. Pochi ad Alì Superiore i rumori: qualche trillo di uccello, qualche coccodè di gallina, qualche latrato di cane in lontananza. Tolti questi rumori, ad Alì domina sovrano il silenzio e quando si sente il rombo di qualche macchina, o il suono di qualche giradischi si rimane stupidi poiché Alì ha saputo conservare la sua tradizionale vocazione alla vita rusticana. Il Paese conserva ancora, nei ballatoi e nei cunicoli dei vecchi vicoli, la sua antica fisionomia medievale e quasi ci si attenderebbe di vedere sbucare, da qualche angolo appartato, qualche baffuto soldato con elmo ed armatura di alcuni secoli fa, a turbare, col suo passato militaresco, la bella pace del luogo.

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Notevole esempio di architettura tardo-rinascimentale vede l’inizio dei lavori dalla fine del Cinquecento fino al 1723, anno che è stata consacrata. La chiesa è sormontata da una cupola posta su un tamburo ottagonale, la facciata, al cui culmine si trova una cimasa con nicchia, si estende su due ordini ed è scandita da tre portali. Il portale centrale è caratterizzato da un timpano aperto dentro cui è racchiusa una nicchia, mentre i portali laterali sono sormontati da frontoni e timpani chiusi ricurvi. La costruzione mostra una scansione ritmica di quattordici archi, con sette finestre per fiancata, realizzati in pietra viva di colore grigio. L’interno è suddiviso in tre navate da colonne monolitiche che sorreggono archi a tutto sesto.Costituisce un bell'esempio di architettura tardo-rinascimentale. Interamente in pietra locale, il prospetto principale comprende tre porte d'ingresso con una grande finestra al secondo ordine in asse col portale principale; tutta la composizione triangolare con la scansione delle aperture denuncia in maniera evidente la diretta derivazione dal Duomo di Messina che ebbe notevole influenza nelle scelte stilistiche degli architetti che costruirono le Cattedrali in diversi centri della provincia di Messina. L'interno è diviso in tre navate da 14 archi a tutto sesto su colonne monolitiche di breccia. Interessanti e non molto frequenti sono gli elaborati capitelli con triglifi emblematici di un tardo rinascimento strettamente legato ad esemplari brunelleschiani che sicuramente ispirarono, dopo averli visti, l'architetto Giovanni Maffei che li utilizzò, cambiando il capitello dorico con quello corinzio, nella secentesca chiesa di S. Andrea e S. Biagio di S. Piero Patti. Nell'altare del SS. Sacramento, nell'abside sinistra, si trova un bellissimo tabernacolo in legno intagliato e dorato con colonnette, fregi, ornati e rilievi di ordine corinzio.

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La sede ferroviaria, pur se priva dell'armamento, è rintracciabile per l'intera estesa, usata come sentiero sterrato o invasa totalmente dalla vegetazione spontanea.

In pessime condizioni, ma con gli accessi murati, l’ex-fermata di Ceraino, soppressa già qualche anno prima della realizzazione della variante, anche se invasa dalla vegetazione!!!

Tale tracciato doveva servire per realizzare la ciclabile che doveva essere parte integrante della Ciclopista del Sole....ma al momento regna sovrano l'abbandono e qualche dormitorio abusivo....

The headquarters station, although no armament, is traceable for the entire extended, used as a dirt track or totally overrun by vegetation.

In poor condition, but with access walled, former stop Ceraino, suppressed a few years prior to the implementation of the changes, though overgrown!

This track was intended to make the path that was to be an integral part of the Ciclopista del Sole... but at the moment reigns supreme abandonment and some dorm abusive ....

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Explored October 7th 2012. Highest Position #459

Palazzo dei Gran Maestri dei cavalieri di Rodi

Palazzo dei Gran Maestri dei cavalieri di Rodi

Visited Alberobello which is known for its "Trulli" houses. The Trullo Sovrano is one of the largest and is open to the public for tours. Since 2002, Alberobello and Puglia have become more discovered among English-speaking tourists, as more and more tour groups are starting to visit this city and region.

Cagnulari

Il Cagnulari è uno tra i vitigni tradizionali meno conosciuti della Sardegna, il cui grappolo, dalla forma caratteristica, si presenta compatto, con due ali e gli acini piccoli, dalla buccia molto delicata. In passato, le uve Cagnulari, vinificate assieme a quelle di altre varietà, offrivano vini robusti, adatti per il taglio di vini esili. Sempre meno utilizzato, il vitigno era destinato a scomparire a vantaggio di altre varietà più produttive. All’amico Billia Cherchi di Usini, va il merito di aver riscoperto questo vitigno vinificando in purezza, facendolo conoscere ed apprezzare in tutto il mondo.

Curiosità:

DaI Cagnulari in uvaggio con Cannonau al 50%, si produce il Luzzana, un eccezionale vino di colore rosso rubino tendente al granato.

Dal Mosto di Cagnulari tenuto in barriques di rovere francese per circa 2 anni si ottiene il Soberanu, Sovrano in lingua sarda. Il colore è rosso rubino intenso. Il profumo, di qualità molto fine,con sentori di frutta matura e in particolare del cotogno.

Cagnulari

El Cagnulari es una de las tradicionales uvas menos conocidas de Cerdeña, donde el grupo, la forma característica, es compacto, con dos alas y pequeñas uvas, de la piel muy delicada. En el pasado, las uvas Cagnulari, vinificado junto con los de otras variedades, que ofrece vinos robustos, aptos para el corte de los vinos finos. Utilizada cada vez menos, la vid estaba destinado a desaparecer en favor de otras variedades más productivas. Amigo Billia Cherchi de Usini, se le atribuye el haber redescubierto la vinificación de la vid, haciéndolo conocido y apreciado en todo el mundo.

Curiosidad:

Por la mezcla Cagnulari con Cannonau al 50%, se produce Luzzana, un vino excepcional de color rojo rubí que tiende al granate.

Desde mosto Cagnulari cabo en barricas de roble francés durante unos 2 años se obtiene el Soberanu, Sovereign en lengua sarda. El color es rojo rubí intenso. El olor, muy buena calidad, con notas de fruta madura y, en particular, el membrillo.

Cagnulari

The Cagnulari is one of the lesser-known traditional grapes of Sardinia, where the cluster, the characteristic shape, is compact, with two wings and small grapes, from the very delicate skin. In the past, Cagnulari grapes, vinified together with those of other varieties, offering robust wines, suitable for cutting thin wines. Used less and less, the vine was destined to disappear in favor of other more productive varieties. Friend Billia Cherchi of Usini, is credited with having rediscovered this vine vinifying, making him known and appreciated throughout the world.

Trivia:

By the Cagnulari blended with Cannonau to 50%, is produced Luzzana, an exceptional wine of ruby red color tending to garnet.

Since wort Cagnulari held in French oak barrels for about 2 years you get the Soberanu, Sovereign in the Sardinian language. The color is intense ruby ​​red. The scent, very fine quality, with hints of ripe fruit and in particular the quince.

Italian postcard. Photo: Tiber Film. Gastone Monaldi as Cicueracchio in Ciceruacchio (Emilio Ghione, 1915). Caption: Drinking the wine of the Castelli [romani], I greet you all, beautiful people of Trastevere!

Ciceruacchio / Martire del piombo austriaco (Martyr of Austrian bullets) was an Italian historical film, dealing with victims of the Austrian occupation of Italy, and intended to raise anti-Austrians sentiment during the First World War (when the Northwest part of Italy - the present province of Friuli - was still under Austrian occupation). Angelo Brunetti, named Ciceruacchio, a Roman trader in cheese and wine, was much beloved by the Roman people, e.g. for his behavior during the 1837 cholera plague. In a public performance in 1846 he thanked the pope Pius IX for releasing political prisoners, while in 1847 he pressed Pius IX to continue his policy of reform. During the 1848 revolution, he joined the Roman Republican forces and helped the Romans in the siege by the French. But when they were defeated in 1849, he fled with his sons Lorenzo and Luigi and hoped with Garibaldi and allies to liberate Venice from the Austrians. Instead, they were betrayed by locals at Cesenatico and then arrested and executed by the Austrians on 10 August 1849.

Emilio Ghione’s film was scripted by Emilio Calve. The plot mostly follows history. The papal police suspects Brunetti, aka Ciceruacchio (meaning little fat man), but when Pius IX hears about Brunetti's bravery during a flood, he gives him a special audience. Brunetti henceforth considers the pope Rome's savior, while his republican friends think otherwise. When the pope flees to Gaeta during the revolution, leaving the city to foreign oppressors, Cicueracchio becomes Rome's new leader, but he has to flee after the last stronghold, Trastevere, is conquered. He is betrayed and arrested in Rovigo, and executed with his son Luigi (Alberto Collo). NB Ghione suggests Brunetti was killed with only his eldest son, while in reality both sons and also several allies of Brunetti were killed with them.

While reputed stage actor Gastone Monaldi, famous for his dialect acting, played the lead, his partner Fernanda Battiferri played Annetta. Ida Carloni Talli played, as usual, the mother, Brunetti’s mother in this case. The film passed censorship 22 June 1915, while a week earlier, on 18 June 1915, the film had its first night in Rome. Emilio Ghione, who had been a regular Cines, Celio, and Caesar actor in Rome, had starting film directing from 1914. While for a long time he was most remembered for his Za-la-Mort crime films at Tiber Film, in which he had the lead too, at Tiber he also made various - commissioned - historical propaganda films during the First World War, such as Oberdan (1915) starring Alberto Collo, and Ciceruacchio.

The story of Ciceruacchio was afterwards again filmed in In nome del popolo sovrano (1990) by Luigi Magni, in which Nino Manfredi performed Brunetti. Ciceruacchio was also recreated in Camicie rosse/ Anita Garibaldi (1952) by Goffredo Alesandrini and Francesco Rosi, and returned in the recent mini-series Anita Garibaldi (2012).

Source: it.wikipedia.org/wiki/Angelo_Brunetti, Denis Lotti, Emilio Ghione. L’ ultimo apache.

The first trulli showed up in the prehistoric age; they had already been present in settlement in the Itria Valley. Tholos, typical constructions used to bury the deceased, also began to spread over the same territory.

Still, the oldest trulli we know of today are at Alberobello, dating back to the 14th Century: it was during this period that what seemed but an uninhabited land was assigned to the ownership of the first Count of Conversano by Robert d’Anjou, Prince of Taranto and then King of Naples from 1309 to 1343. The tract of land was given as a reward to the young Anjou noble for his service during the Crusades. Soon after, the area was repopulated with entire feudal settlements, transferred from nearby (like that of Noci).

According to some research, however, rural settlements had already risen up around the year 1000, on both sides of a river that now runs underground. The habitations gradually grew into villages, later called Aja Piccola and Monti.

The trullo’s dry-wall construction, without mortar, was imposed on new settlers so that they could dismantle their shelters in a hurry: an efficient means to evade taxes on new settlements under the Kingdom of Naples, and certainly a good way to deter unruly lords. Yet most historians agree that this building technique came about due to the area’s geographical conditions, abundant with the limestone we now see in these constructions.

Around the middle part of the 16th Century, the community of Monti was already occupied by about 40 trulli, but it was only circa 1620 that Alberobello acquied the physiognomy of a settlement that was independent from neighboring Noci. It counted a population of 3,500 towards the end of the 18th Century. In 1797, the village obtained the title of "Royal City" from the King of Naples, Ferdinand IV de Bourbon. The city derived its name from the Latin phrase silva arboris belli, that is “wood of the tree of war.”

Not to Miss in Alberobello

Monti: A district consisting of 1, 030 trulli, including the ‘trulli siamesi’, characterized by a double facade, a double pinnacle, a low hearth, and no windows.

Aja Piccola: A borgo made up of a network if tiny streets and alleyways.

Trullo Sovrano: A unique trullo on two levels, today housing a museum. Address: Piazza Sacramento 10, 70011 Alberobello (BA)

Church of Sant’Antonio: In trullo form, and featuring a monumental entrance and a staircase overarched by a rose window. The church is in Greek cross plan, with lateral chapels and a bell tower, and a cloister vault roof. Address: Via Monte Pertica,70011 Alberobello (BA)

The House of Love: The first house constructed in lime, in 1797, today it is the office of tourism. Address: Via Monte Nero 3, 70011, Alberobello (BA)

Sanctuary of Holy Doctors: Dedicated to doctors and Saints Cosmas and Damian, it holds their relics and the painting The Madonna of Lore

Pothia

The first trulli showed up in the prehistoric age; they had already been present in settlement in the Itria Valley. Tholos, typical constructions used to bury the deceased, also began to spread over the same territory.

Still, the oldest trulli we know of today are at Alberobello, dating back to the 14th Century: it was during this period that what seemed but an uninhabited land was assigned to the ownership of the first Count of Conversano by Robert d’Anjou, Prince of Taranto and then King of Naples from 1309 to 1343. The tract of land was given as a reward to the young Anjou noble for his service during the Crusades. Soon after, the area was repopulated with entire feudal settlements, transferred from nearby (like that of Noci).

According to some research, however, rural settlements had already risen up around the year 1000, on both sides of a river that now runs underground. The habitations gradually grew into villages, later called Aja Piccola and Monti.

The trullo’s dry-wall construction, without mortar, was imposed on new settlers so that they could dismantle their shelters in a hurry: an efficient means to evade taxes on new settlements under the Kingdom of Naples, and certainly a good way to deter unruly lords. Yet most historians agree that this building technique came about due to the area’s geographical conditions, abundant with the limestone we now see in these constructions.

Around the middle part of the 16th Century, the community of Monti was already occupied by about 40 trulli, but it was only circa 1620 that Alberobello acquied the physiognomy of a settlement that was independent from neighboring Noci. It counted a population of 3,500 towards the end of the 18th Century. In 1797, the village obtained the title of "Royal City" from the King of Naples, Ferdinand IV de Bourbon. The city derived its name from the Latin phrase silva arboris belli, that is “wood of the tree of war.”

Not to Miss in Alberobello

Monti: A district consisting of 1, 030 trulli, including the ‘trulli siamesi’, characterized by a double facade, a double pinnacle, a low hearth, and no windows.

Aja Piccola: A borgo made up of a network if tiny streets and alleyways.

Trullo Sovrano: A unique trullo on two levels, today housing a museum. Address: Piazza Sacramento 10, 70011 Alberobello (BA)

Church of Sant’Antonio: In trullo form, and featuring a monumental entrance and a staircase overarched by a rose window. The church is in Greek cross plan, with lateral chapels and a bell tower, and a cloister vault roof. Address: Via Monte Pertica,70011 Alberobello (BA)

The House of Love: The first house constructed in lime, in 1797, today it is the office of tourism. Address: Via Monte Nero 3, 70011, Alberobello (BA)

Sanctuary of Holy Doctors: Dedicated to doctors and Saints Cosmas and Damian, it holds their relics and the painting The Madonna of Lore

Ho fame della tua bocca, della tua voce, del tuoi capelli

e vado per le strade senza nutrirmi, silenzioso,

non mi sostiene il pane, l'alba mi sconvolge,

cerco il suono liquido dei tuoi piedi nel giorno.

Sono affamato del tuo riso che scorre,

delle tue mani color di furioso granaio,

ho fame della pallida pietra delle tue unghie,

voglio mangiare la tua pelle come mandorla intatta.

Voglio mangiare il fulmine bruciato nella tua bellezza,

il naso sovrano dell'aitante volto,

voglio mangiare l'ombra fugace delle tue ciglia

e affamato vado e vengo annusando il crepuscolo,

cercandoti, cercando il tuo cuore caldo

come un puma nella solitudine di Quitratúe.

Tengo hambre de tu boca, de tu voz, de tu pelo

y por las calles voy sin nutrirme, callado,

no me sostiene el pan, el alba me desquicia,

busco el sonido líquido de tus pies en el día.

Estoy hambriento de tu risa resbalada,

de tus manos color de furioso granero,

tengo hambre de la pálida piedra de tus uñas,

quiero comer tu piel como una intacta almendra.

Quiero comer el rayo quemado en tu hermosura,

la nariz soberana del arrogante rostro,

quiero comer la sombra fugaz de tus pestañas

y hambriento vengo y voy olfateando el crepúsculo

buscándote, buscando tu corazón caliente

como un puma en la soledad de Quitatrúe.

(Pablo Neruda)

Papa Giulio III, nato Giovanni Maria Ciocchi del Monte (Monte San Savino, 10 settembre 1487 – Roma, 23 marzo 1555), fu il 221º papa della Chiesa cattolica e il 129° sovrano dello Stato Pontificio dal 1550 alla morte.

Come Papa, Giulio III è ricordato più dagli storici dell'architettura e dagli amanti dell'arte, che dai teologi. Nominò Marcello Cervini, futuro papa Marcello II, bibliotecario vaticano, Michelangelo Buonarroti, capo degli architetti della fabbrica di San Pietro ed il compositore Giovanni Pierluigi da Palestrina, maestro di cappella della basilica vaticana. Inoltre potenziò la Biblioteca Vaticana e l'Università La Sapienza di Roma.

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Pope Julius III (10 September 1487 – 23 March 1555), born Giovanni Maria Ciocchi del Monte, was Pope from 7 February 1550 to 1555.

In his early career in the Church Julius established a reputation as an effective and trustworthy diplomat, and was elected to the Papacy as a compromise candidate when the Papal Conclave found itself deadlocked between the rival French and German factions. As Pope he lost, or failed to show, any of the qualities which had distinguished his previous career, devoting himself instead to a life of personal pleasure and indolence, and the achievements of his incumbency were very few. His lasting fame, or notoriety, rests rather on his relationship with the 17 year old boy whom he raised to the position of Cardinal-Nephew, and, it was said at the time, with whom he shared his bed: the resulting scandal did great harm to the reputation of the Church.

Source: Wikipedia

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The first trulli showed up in the prehistoric age; they had already been present in settlement in the Itria Valley. Tholos, typical constructions used to bury the deceased, also began to spread over the same territory.

Still, the oldest trulli we know of today are at Alberobello, dating back to the 14th Century: it was during this period that what seemed but an uninhabited land was assigned to the ownership of the first Count of Conversano by Robert d’Anjou, Prince of Taranto and then King of Naples from 1309 to 1343. The tract of land was given as a reward to the young Anjou noble for his service during the Crusades. Soon after, the area was repopulated with entire feudal settlements, transferred from nearby (like that of Noci).

According to some research, however, rural settlements had already risen up around the year 1000, on both sides of a river that now runs underground. The habitations gradually grew into villages, later called Aja Piccola and Monti.

The trullo’s dry-wall construction, without mortar, was imposed on new settlers so that they could dismantle their shelters in a hurry: an efficient means to evade taxes on new settlements under the Kingdom of Naples, and certainly a good way to deter unruly lords. Yet most historians agree that this building technique came about due to the area’s geographical conditions, abundant with the limestone we now see in these constructions.

Around the middle part of the 16th Century, the community of Monti was already occupied by about 40 trulli, but it was only circa 1620 that Alberobello acquied the physiognomy of a settlement that was independent from neighboring Noci. It counted a population of 3,500 towards the end of the 18th Century. In 1797, the village obtained the title of "Royal City" from the King of Naples, Ferdinand IV de Bourbon. The city derived its name from the Latin phrase silva arboris belli, that is “wood of the tree of war.”

Not to Miss in Alberobello

Monti: A district consisting of 1, 030 trulli, including the ‘trulli siamesi’, characterized by a double facade, a double pinnacle, a low hearth, and no windows.

Aja Piccola: A borgo made up of a network if tiny streets and alleyways.

Trullo Sovrano: A unique trullo on two levels, today housing a museum. Address: Piazza Sacramento 10, 70011 Alberobello (BA)

Church of Sant’Antonio: In trullo form, and featuring a monumental entrance and a staircase overarched by a rose window. The church is in Greek cross plan, with lateral chapels and a bell tower, and a cloister vault roof. Address: Via Monte Pertica,70011 Alberobello (BA)

The House of Love: The first house constructed in lime, in 1797, today it is the office of tourism. Address: Via Monte Nero 3, 70011, Alberobello (BA)

Sanctuary of Holy Doctors: Dedicated to doctors and Saints Cosmas and Damian, it holds their relics and the painting The Madonna of Lore

Palazzo dei Gran Maestri dei cavalieri di Rodi

Music : MARIA NAZIONALE E' NAPOLETANA !!!

Maria nazionale - Tu sì Napule

www.youtube.com/watch?v=8FPLe8rj-zw

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Square Dante

The square, originally a big market, took its present form in the second half of the XVIII th century, with the intervention of the architect Luigi Vanvitelli, the Foro Carolino has commissioned what was to be a monument in celebration of the sovereign Charles de Bourbon.

The work lasted from 1757 to 1765, the result was a large semi-circle, tangential to the walls of Aragon, which included the Gates of Dawn in the north, and relied on the church of St. Michel in the south. The building, with its two wings characteristic curves, seen above the presence of twenty-six statues representing the virtues of Charles, and a niche in the center should have received a statue of the ruler, and a clock period.

Now it is the entrance of the "National Convitto Vittorio Emanuele.

At the center of the square, a large white statue of Dante, (1871, out of Tito Angelini).

The site has been redesigned, restructured and upgraded during the work of the subway, completed in 2002.

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La place Dante :

La place, à l’origine un grand Marché, pris sa forme actuelle dans la seconde moitié du XVIII è siècle, avec l'intervention du grand architecte Luigi Vanvitelli, le Foro Carolino lui a commandé ce qui devait constituer un monument en célébration du souverain Charles de Bourbon.

Les travaux durèrent de 1757 à 1765, et le résultat fut un grand hémicycle, tangent aux murs des aragonais, qui comprenait la Porte de l'Aube au nord, et s’appuyait sur l'église de Saint Michel au sud. L'édifice, avec ses deux caractéristiques ailes courbes, voit en haut la présence de vingt-six statues représentants les vertus de Charles, et au centre une niche qui aurait dû recevoir une statue du souverain, et une horloge, d'époque.

Maintenant il constitue l'entrée du " Convitto National Vittorio Emanuele ".

Au centre de la place, une grande statue blanche de Dante (de 1871, oeuvre de Tito Angelini).

La place a été redessinée, restructurée et réaménagée à l’occasion des travaux du métro, terminés en 2002.

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Piazza Dante

La piazza, in origine un grande mercato, ha preso la sua forma attuale nella seconda metà del secolo XVIII, con l'intervento dell'architetto Luigi Vanvitelli, il Foro Carolino ha commissionato quella che doveva essere un monumento per celebrare il sovrano Charles de Bourbon.

Il lavoro è durato 1757-1765, e il risultato è stato un grande semicerchio, tangente alle mura di Aragona, che comprendeva la Porta dell'Aurora nel nord, e richiamata la chiesa di Saint Michel, nel sud. L'edificio, con le sue due ali curve caratteristiche, visto in precedenza la presenza di 26 statue raffiguranti le virtù di Carlo, e una nicchia nel centro dovrebbe aver ricevuto una statua del sovrano, e un periodo di clock.

Ora è l'ingresso del "Convitto Nazionale Vittorio Emanuele " .

Al centro della piazza una grande statua bianca della Dante (1871, di Tito Angelini).

Il sito è stato ridisegnato, ristrutturato e potenziato nel corso dei lavori della metropolitana, completato nel 2002.

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Centro Storico di Napoli - Italia

He was an illegitimate son of Niccolò III d'Este, Marquess of Ferrara, Modena and Reggio, and his mistress Stella de' Tolomei. Borso succeeded to Leonello d'Este in the marquisate on October 1, 1450.On May 18, 1452 he received confirmation over his fiefs, as Duke, by Emperor Frederick III. On April 12, 1471, in St. Peter's Basilica, he was also appointed as Duke of Ferrara by Pope Paul II.Borso followed an expansionist policy for his state, and one of ennobling for his family. He was generally allied with the Republic of Venice, and enemy both to Francesco I Sforza and the Medici family. These rivalries led to the indecisive Battle of Molinella. He was in general appreciated by his subjects: the only cause of grievance was his project to build a mountain from scratch in 1471, a project he was later forced to abandon.Borso's court was the center of the so-called Ferrarese school of painting, whose members include Francesco del Cossa, Ercole dei Roberti and Cosimo Tura. Their most important commission during Borso's rule were the frescoes in the Palazzo Schifanoia. He also protected numerous musicians, including Pietrobono del Chitarrino, Niccolò Todesco e Blasio Montolino.Although in the subsequent tradition (as in Ludovico Ariosto's Orlando Furioso) he is generally portrayed as a magnanimous patron of arts, he was instead somewhat greedy in spending money for culture: a famous example of his attitude was his refusal to pay Cossa, who therefore moved to Bologna to found the Bolognese School. Borso d'Este is especially remembered for the famous Bible carrying his name, one of most famous works of miniature in Renaissance Italy, and which he commissioned in 1455.Borso never married and left no heirs. His successor was his half-brother Ercole I d'Este.

Borso d'Este (1413 – 20 agosto 1471) fu un figlio illegittimo di Niccolò III d'Este, marchese di Ferrara, duca di Modena e Reggio, e della favorita del marchese, Stella de' Tolomei, nota anche con il nome di Stella dell'Assassino. Successe al fratello Leonello d'Este il 1º ottobre 1450 nei domini paterni.Borso il 18 maggio 1452 ricevette i feudi di Reggio e Modena dall'Imperatore Federico III come duca. Il 14 aprile 1471 il papa Paolo II lo nominò duca di Ferrara. La sua politica fu sempre incentrata sul tentativo di espandere lo stato estense e di nobilitare la famiglia d'Este. In questa ottica va vista la sua volontà di ottenere il titolo ducale per i suoi possedimenti. In politica estera fu molto vicino alla Repubblica di Venezia e avverso sia a Francesco Sforza che alla famiglia dei Medici per vecchie ruggini che consistevano nel tentativo di Filippo Maria Visconti, ultimo duca di Milano della famiglia Visconti di far succedere un estense nella città lombarda. Questi dissidi portarono alla vana battaglia della Riccardina che non ebbe né vincitori né vinti.La corte di Borso fu il centro della Scuola di pittura di Ferrara, cui appartengono Francesco del Cossa, Ercole de' Roberti e Cosmè Tura. Nella tradizione successiva (come per esempio nell'Orlando Furioso dell'Ariosto) Borso venne visto come sovrano magnanimo e illuminato, soprattutto per il fatto di aver consentito al ramo legittimo degli Este (rappresentato da Ercole I d'Este in quanto figlio di Niccolò III e della sua terza moglie Ricciarda di Saluzzo) di tornare al potere; in realtà Borso era piuttosto avaro per quanto riguarda la cultura: celebre è l'episodio in cui Francesco del Cossa, uno degli autori degli affreschi del Salone dei Mesi di Palazzo Schifanoia (Ferrara) chiese un compenso maggiore per le sue fatiche pittoriche, e sentendoselo negare da Borso se ne andò a Bologna a fondare la sua scuola pittorica. La fama di Borso come committente è legata alla famosa Bibbia, una delle più alte opere di miniatura del Rinascimento italiano.Borso d'Este non si sposò e non ebbe figli. Il successore fu il fratellastro Ercole I d'Este.

Ferrara is a city and comune in Emilia-Romagna, northern Italy, capital city of the Province of Ferrara. It is situated 50 km north-northeast of Bologna, on the Po di Volano, a branch channel of the main stream of the Po River, located 5 km north. The town has broad streets and numerous palaces dating from the 14th century and 15th century, when it hosted the court of the House of Este. For its beauty and cultural importance it has been qualified by UNESCO as World Heritage Site. Modern times have brought a renewal of industrial activity. Ferrara is on the main rail line from Bologna to Padua and Venice, and has branches to Ravenna, Poggio Rusco (for Suzzara) and Codigoro. In 2006, due to its important historical significance, Ferrara became the headquarters of the Italian Hermitage Museum. It is the fifth city in the world to have been linked with the Russian museum. From this union was born the Hermitage-Italy Foundation

Ferrara è un comune italiano di 135.449 abitanti, capoluogo dell'omonima provincia in Emilia-Romagna.Situata nella bassa pianura emiliana, la città di Ferrara sorge sulle sponde del Po di Volano che separa la città medioevale dal primitivo borgo di San Giorgio e delimita il confine con i nuovi insediamenti contemporanei a sud delle mura. Ferrara gode di un importante periodo aureo quando nel Basso Medioevo e nel Rinascimento sotto il governo della famiglia degli Este viene trasformata in un centro artistico di grande importanza non solo italiano ma anche europeo, arrivando ad ospitare personalità come Ludovico Ariosto e Torquato Tasso, Niccolò Copernico e Paracelso, Andrea Mantegna e Tiziano, Pico della Mirandola e Pietro Bembo. Durante il Rinascimento a Ferrara si realizza una delle più importanti progettazioni urbanistiche della storia europea moderna, l'Addizione Erculea, il primo esempio di pianificazione ragionata degli spazi urbani, commissionata nel 1484 dal duca Ercole I d'Este (da cui prende il nome) all'architetto Biagio Rossetti. La nuova parte della città viene chiamata Arianuova sia per la sua collocazione esterna al vecchio asse del castello medievale, sia perché connotata fino alla fine del XIX secolo da ampie aree verdi prive di edifici, dette "orti e giardini", interne alle nuove possenti mura rossettiane. Grazie a quest'opera architettonica Ferrara viene considerata dagli studiosi la prima città moderna d'Europa.

L'UNESCO le conferisce il titolo di patrimonio mondiale dell'umanità per la prima volta nel 1995 come città del Rinascimento e successivamente, nel 1999, riceve un ulteriore riconoscimento per il Delta del Po e per le Delizie estensi. Ferrara inoltre è una dei 4 capoluoghi di provincia (assieme a Bergamo, Lucca e Grosseto), il cui centro storico è rimasto quasi completamente circondato dalle mura che, a loro volta, hanno mantenuto pressoché intatto il loro aspetto originario nel corso dei secoli

Font : Wikipedia

www.youtube.com/watch?v=lMP820_d_PA

Italian postcard for the Italian WWI historical propaganda film Ciceruacchio (Emilio Ghione, Tiber Film 1915). Ciceruacchio (Gastone Monaldi) and his son Luigi (Alberto Collo) are shot by an Austrian squadorn. Caption: The most coward spirit of the Austrians, our eternal enemies, like always and still does confirm its cowardice.

Ciceruacchio / Martire del piombo austriaco (Martyr of Austrian bullets) was an Italian historical film, dealing with victims of the Austrian occupation of Italy, and intended to raise anti-Austrians sentiment during the First World War (when the Northwest part of Italy - the present province of Friuli - was still under Austrian occupation). Angelo Brunetti, named Ciceruacchio, a Roman trader in cheese and wine, was much beloved by the Roman people, e.g. for his behaviour during the 1837 cholera plague. In a public performance in 1846 he thanked the pope Pius IX for releasing political prisoners, while in 1847 he pressed Pius IX to continue his policy of reform. During the 1848 revolution he joined the Roman Republican forces and helped the Romans in the siege by the French. But when they were defeated in 1849, he fled with his sons Lorenzo and Luigi and hoped with Garibaldi and allies to liberate Venice from the Austrians. Instead they were betrayed by locals at Cesenatico and then arrested and executed by the Austrians on 10 August 1849.

Emilio Ghione’s film was scripted by Emilio Calve. The plot mostly follows history. The papal police suspects Brunetti, aka Ciceruacchio (meaning luttle fat man), but when Pius IX hears about Brunetti's bravery during a flood, he gives him a special audience. Brunetti henceforth considers the pope Rome's saviour, while his republican friends think otherwise. When the pope flees to Gaeta during the revolution, leaving the city to foreign oppressors, Cicueracchio becomes Rome's new leader, but he has to flee after the last stronghold, Trastevere, is conquered. He is betrayed and arrested in Rovigo, and executed with his son Luigi (Alberto Collo). NB Ghione suggests Brunetti was killed with only his eldest son, while in reality both sons and also several allies of Brunetti were killed with them.

While reputed stage actor Gastone Monaldi, famous for his dialect acting, played the lead, his partner Fernanda Battiferri played Annetta. Ida Carloni Talli played as usual the mother, Brunetti’s mother in this case. Collo played the son, though he was of the same age as Monaldi. The film passed censorship 22 June 1915, while a week earlier, on 18 June 1915, the film had its first night in Rome. Emilio Ghione, who had been a regular Cines, Celio and Caesar actor in Rome, had starting film directing from 1914. While for a long time he was most remembered for his Za-la-Mort crime films at Tiber Film, in which he had the lead too, at Tiber he also made various - commissioned - historical propaganda films during the First World War, such as Oberdan (1915) starring Alberto Collo, and Ciceruacchio.

The story of Ciceruacchio was afterwards again filmed in In nome del popolo sovrano (1990) by Luigi Magni, in which Nino Manfredi performed Brunetti. Ciceruacchio was also recreated in Camicie rosse (1952) by Goffredo Alesandrini and Francesco Rosi and returned in the recent mini-series Anita Garibaldi (2012).

Source: it.wikipedia.org/wiki/Angelo_Brunetti, Denis Lotti, Emilio Ghione. L’ ultimo apache.

Ali, hill town in the province of Messina, is about 30 km from the capital. Nestled on Peloritans, lies at the foot of the hill 450 meters above sea level in St. Helena Overlooking the sun, has been called "a porch roof on the Ionian sea," for its splendid position that makes enjoying the magnificent views of the Ionian Sea and the entire eastern coast of Sicily; especially at night, is to admire the enchanting spectacle of the Calabrian coast and the Straits of Messina. The whole scene is dominated by the imposing bulk of Mount Etna. And 'prized for architectural heritage, for its mild climate, the pure air and the clear, cold water of the natural springs. Ali has about 1000 inhabitants. Its economy, once supported by a thriving agriculture today is based primarily on the service sector. It is the home, as well, an important plant of mineral waters, the source of which belong to the municipality. The name of Ali, for certain, has Greek origins, from Elim, in reference to the Greek colony of Elis, whence would come the founders of the country. For others, it has Muslim origins and it would be a tribute to the Caliph Ali, son of Muhammad. The town, founded in 638 BC on the plateau Mollerino, by the settlers of Elis, fell within the territory of Zancle Messana, but the first inhabitants, tormented by pirates, they moved much higher up on Mount Scuderi.To the west of the village overlooking the foothills of the first Peloritans, whose green, a deep green that does not let the eye, gently ascends the slopes, up panorama to achieve the highest ridges. Towards the sea, dominates the liquid expanse of the Ionian Sea, a beautiful landscape, in which the Heads of Ali and of St. Alexis, overlooking the white spots of the agglomeration, scattered among the beautiful green of the coast. clearly see the extreme edge of the Calabrian shore, calm immense velvet sea. Few to Ali Superior noise: some trill of bird, some cackling of hens, some dog barking in the distance. Removed these noises, to Ali reigns supreme silence and when you hear the sound of a few cars, or the sound of some turntable is stupid because Ali has managed to retain its traditional vocation to life rusticana. The country still retains, in galleries and in the tunnels of the old streets, its ancient medieval appearance and almost one would expect to see emerge from some secluded corner, some mustachioed soldier with helmet and armor of a few centuries ago, to disturb, with its militaristic past, the beautiful peace of the place.

Alì, centro collinare della provincia di Messina, dista dal capoluogo circa 30 km. Adagiato sui monti Peloritani, sorge alle pendici del colle S. Elena a 450 metri s.l.m. Affacciato al sole, è stato definito “una veranda pensile sullo Jonio”, per la sua felice posizione panoramica, che fa godere la magnifica vista del Mare Jonio e di tutta la riviera orientale della Sicilia; specie di sera, fa ammirare lo spettacolo incantevole delle coste calabresi e dello Stretto di Messina. Tutto il panorama è dominato dalla possente mole dell’Etna. E’ apprezzato per il patrimonio architettonico, per il suo clima mite, per l’aria purissima e per l’acqua limpida e fresca delle sorgenti naturali. Alì conta circa 1000 abitanti. La sua economia, un tempo sostenuta da una fiorente agricoltura, oggi prevalentemente si regge sul terziario.Vi ha sede, pure, un importante stabilimento di acque oligominerali, la cui sorgente ricade nel territorio comunale.Il nome Alì, per taluni, ha origine greca, da Elim, in riferimento alla colonia greca Elide, da dove sarebbero venuti i fondatori del paese. Per altri, ha origini musulmane e sarebbe un omaggio al Califfo Alì, genero di Maometto.Il paese, fondato nel 638 a.c. sul pianoro Mollerino, dai coloni dell’Elide, ricadeva nel territorio di Zancle Messana, ma i primi abitanti, tormentati dalle incursioni dei pirati, si trasferirono molto più in alto, sul Monte Scuderi, Ad ovest l'abitato si affaccia ai primi contrafforti dei Peloritani, il cui verde, un verde fitto che non da tregua all'occhio, sale dolcemente per i pendii, finopanorama a raggiungere i più alti crinali. Verso la marina, si domina la liquida distesa dello Ionio, un bel paesaggio, in cui i capi di Alì e di Sant'Alessio, sovrastano le bianche macchie degli agglomerati, disseminati tra il bel verde della costa. ben visibile l'estremo lembo del litorale calabro, riposante sull'immenso velluto del mare. Pochi ad Alì Superiore i rumori: qualche trillo di uccello, qualche coccodè di gallina, qualche latrato di cane in lontananza. Tolti questi rumori, ad Alì domina sovrano il silenzio e quando si sente il rombo di qualche macchina, o il suono di qualche giradischi si rimane stupidi poiché Alì ha saputo conservare la sua tradizionale vocazione alla vita rusticana. Il Paese conserva ancora, nei ballatoi e nei cunicoli dei vecchi vicoli, la sua antica fisionomia medievale e quasi ci si attenderebbe di vedere sbucare, da qualche angolo appartato, qualche baffuto soldato con elmo ed armatura di alcuni secoli fa, a turbare, col suo passato militaresco, la bella pace del luogo.

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Ali, hill town in the province of Messina, is about 30 km from the capital. Nestled on Peloritans, lies at the foot of the hill 450 meters above sea level in St. Helena Overlooking the sun, has been called "a porch roof on the Ionian sea," for its splendid position that makes enjoying the magnificent views of the Ionian Sea and the entire eastern coast of Sicily; especially at night, is to admire the enchanting spectacle of the Calabrian coast and the Straits of Messina. The whole scene is dominated by the imposing bulk of Mount Etna. And 'prized for architectural heritage, for its mild climate, the pure air and the clear, cold water of the natural springs. Ali has about 1000 inhabitants. Its economy, once supported by a thriving agriculture today is based primarily on the service sector. It is the home, as well, an important plant of mineral waters, the source of which belong to the municipality. The name of Ali, for certain, has Greek origins, from Elim, in reference to the Greek colony of Elis, whence would come the founders of the country. For others, it has Muslim origins and it would be a tribute to the Caliph Ali, son of Muhammad. The town, founded in 638 BC on the plateau Mollerino, by the settlers of Elis, fell within the territory of Zancle Messana, but the first inhabitants, tormented by pirates, they moved much higher up on Mount Scuderi.To the west of the village overlooking the foothills of the first Peloritans, whose green, a deep green that does not let the eye, gently ascends the slopes, up panorama to achieve the highest ridges. Towards the sea, dominates the liquid expanse of the Ionian Sea, a beautiful landscape, in which the Heads of Ali and of St. Alexis, overlooking the white spots of the agglomeration, scattered among the beautiful green of the coast. clearly see the extreme edge of the Calabrian shore, calm immense velvet sea. Few to Ali Superior noise: some trill of bird, some cackling of hens, some dog barking in the distance. Removed these noises, to Ali reigns supreme silence and when you hear the sound of a few cars, or the sound of some turntable is stupid because Ali has managed to retain its traditional vocation to life rusticana. The country still retains, in galleries and in the tunnels of the old streets, its ancient medieval appearance and almost one would expect to see emerge from some secluded corner, some mustachioed soldier with helmet and armor of a few centuries ago, to disturb, with its militaristic past, the beautiful peace of the place.

Alì, centro collinare della provincia di Messina, dista dal capoluogo circa 30 km. Adagiato sui monti Peloritani, sorge alle pendici del colle S. Elena a 450 metri s.l.m. Affacciato al sole, è stato definito “una veranda pensile sullo Jonio”, per la sua felice posizione panoramica, che fa godere la magnifica vista del Mare Jonio e di tutta la riviera orientale della Sicilia; specie di sera, fa ammirare lo spettacolo incantevole delle coste calabresi e dello Stretto di Messina. Tutto il panorama è dominato dalla possente mole dell’Etna. E’ apprezzato per il patrimonio architettonico, per il suo clima mite, per l’aria purissima e per l’acqua limpida e fresca delle sorgenti naturali. Alì conta circa 1000 abitanti. La sua economia, un tempo sostenuta da una fiorente agricoltura, oggi prevalentemente si regge sul terziario.Vi ha sede, pure, un importante stabilimento di acque oligominerali, la cui sorgente ricade nel territorio comunale.Il nome Alì, per taluni, ha origine greca, da Elim, in riferimento alla colonia greca Elide, da dove sarebbero venuti i fondatori del paese. Per altri, ha origini musulmane e sarebbe un omaggio al Califfo Alì, genero di Maometto.Il paese, fondato nel 638 a.c. sul pianoro Mollerino, dai coloni dell’Elide, ricadeva nel territorio di Zancle Messana, ma i primi abitanti, tormentati dalle incursioni dei pirati, si trasferirono molto più in alto, sul Monte Scuderi, Ad ovest l'abitato si affaccia ai primi contrafforti dei Peloritani, il cui verde, un verde fitto che non da tregua all'occhio, sale dolcemente per i pendii, finopanorama a raggiungere i più alti crinali. Verso la marina, si domina la liquida distesa dello Ionio, un bel paesaggio, in cui i capi di Alì e di Sant'Alessio, sovrastano le bianche macchie degli agglomerati, disseminati tra il bel verde della costa. ben visibile l'estremo lembo del litorale calabro, riposante sull'immenso velluto del mare. Pochi ad Alì Superiore i rumori: qualche trillo di uccello, qualche coccodè di gallina, qualche latrato di cane in lontananza. Tolti questi rumori, ad Alì domina sovrano il silenzio e quando si sente il rombo di qualche macchina, o il suono di qualche giradischi si rimane stupidi poiché Alì ha saputo conservare la sua tradizionale vocazione alla vita rusticana. Il Paese conserva ancora, nei ballatoi e nei cunicoli dei vecchi vicoli, la sua antica fisionomia medievale e quasi ci si attenderebbe di vedere sbucare, da qualche angolo appartato, qualche baffuto soldato con elmo ed armatura di alcuni secoli fa, a turbare, col suo passato militaresco, la bella pace del luogo.

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The first trulli showed up in the prehistoric age; they had already been present in settlement in the Itria Valley. Tholos, typical constructions used to bury the deceased, also began to spread over the same territory.

Still, the oldest trulli we know of today are at Alberobello, dating back to the 14th Century: it was during this period that what seemed but an uninhabited land was assigned to the ownership of the first Count of Conversano by Robert d’Anjou, Prince of Taranto and then King of Naples from 1309 to 1343. The tract of land was given as a reward to the young Anjou noble for his service during the Crusades. Soon after, the area was repopulated with entire feudal settlements, transferred from nearby (like that of Noci).

According to some research, however, rural settlements had already risen up around the year 1000, on both sides of a river that now runs underground. The habitations gradually grew into villages, later called Aja Piccola and Monti.

The trullo’s dry-wall construction, without mortar, was imposed on new settlers so that they could dismantle their shelters in a hurry: an efficient means to evade taxes on new settlements under the Kingdom of Naples, and certainly a good way to deter unruly lords. Yet most historians agree that this building technique came about due to the area’s geographical conditions, abundant with the limestone we now see in these constructions.

Around the middle part of the 16th Century, the community of Monti was already occupied by about 40 trulli, but it was only circa 1620 that Alberobello acquied the physiognomy of a settlement that was independent from neighboring Noci. It counted a population of 3,500 towards the end of the 18th Century. In 1797, the village obtained the title of "Royal City" from the King of Naples, Ferdinand IV de Bourbon. The city derived its name from the Latin phrase silva arboris belli, that is “wood of the tree of war.”

Not to Miss in Alberobello

Monti: A district consisting of 1, 030 trulli, including the ‘trulli siamesi’, characterized by a double facade, a double pinnacle, a low hearth, and no windows.

Aja Piccola: A borgo made up of a network if tiny streets and alleyways.

Trullo Sovrano: A unique trullo on two levels, today housing a museum. Address: Piazza Sacramento 10, 70011 Alberobello (BA)

Church of Sant’Antonio: In trullo form, and featuring a monumental entrance and a staircase overarched by a rose window. The church is in Greek cross plan, with lateral chapels and a bell tower, and a cloister vault roof. Address: Via Monte Pertica,70011 Alberobello (BA)

The House of Love: The first house constructed in lime, in 1797, today it is the office of tourism. Address: Via Monte Nero 3, 70011, Alberobello (BA)

Sanctuary of Holy Doctors: Dedicated to doctors and Saints Cosmas and Damian, it holds their relics and the painting The Madonna of Lore

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Italian postcard. Alberto Collo (right) and Emilio Ghione (left) in Guglielmo Oberdan, il martire di Trieste (Emilio Ghione 1915). Guglielmo Oberdan: "I admit and I swear to have come to Trieste with the exact scope of killing the infamous head of an infamous state. And now I happily challenge your tortures."

Alberto Collo (1883-1955) was an Italian film actor of mostly the silent cinema. In the 1910s and early 1920s he acted opposite the female stars of his times, such as Francesca Bertini, Hesperia, Maria and Diomira Jacobini and Italia Almirante Manzini. He also performed in war propaganda, historical films and strong men films.

Born in Piobesi Torinese on July 6th, 1883, Alberto Collo started first to act on stage, but as of 1907 he began to collaborate with the film production company Ambrosio Film, playing comic parts. Two years after he moved to Itala Film where he played transvestite parts (men playing women). Between 1912 and 1924, however, he became one of the protagonists of the Italian silent cinema, performing in over 70 films, first shorts and later on feature-length films, mostly produced by Cines, then Celio Film, a company affiliated with Cines, and lastly at the Fert company. He worked with such directors as Baldassarre Negroni, Mario Almirante, Guido Brignone and Augusto Genina, and actors such as Emilio Ghione, Oreste Bilancia, Francesca Bertini and Italia Almirante Manzini.

In the early 1910s Collo often formed a triangle in shorts directed by Baldassarre Negroni and with Francesca Bertini and Emilio Ghione co-acting, the latter mostly playing the bad guy. In Panne d’auto (Negroni 1912) flirtatious Kitty doesn’t know to choose between engineer Alberto and officer Pietro. Pietro tries to impress Kitty with a daredevil car race but Alberto pretends to have a breakdown with his car, so Kitty joins him for a picnic and he has time to propose. In Idolo infranto (Negroni 1913) he plays a sculptor dumped by his capricious, gold-digging model (Bertini), has gone poor and is almost put on the street. When she returns and pretends to be his statue, he sees her in a mirror laughing at him, so enraged he destroys ‘the statue’. In L’amazzone mascherata (Negroni 1914) Collo is unjustly sentenced because of the loss of secret documents, so his wife (Bertini) comes to rescue and, disguised as an amazon, she pursues the real culprit, a circus director (Ghione). While in 1915 Collo had a small part in the well-known Neapolitan drama Assunta Spina, starring Francesca Bertini and Gustavo Serena, he had the lead in the propagandistic period piece Oberdan/Guglielmo Oberdan, il martire di Trieste (Emilio Ghione 1915), about a 19th century Italian partisan who tried to kill the Austrian emperor Franz Joseph when the latter visited Trieste, but Oberdan was caught and hanged. Ghione himself played the Austrian governor of Trieste. As Italy was at war with Austria when the film came out, Oberdan was a huge success.

By the mid-1910s, Collo became a regular partner of Bertini’s rival Hesperia, whose films were directed by Negroni, her husband, as in La signora delle camelie (Negroni 1915), Il potere sovrano (Negroni 1916), La cuccagna (Negroni 1916). But Collo was also paired with Maria Jacobini, as in Come le foglie (Gennaro Righelli 1917), and even more with her sister Diomira Jacobini, as in L’isola della felicità (Luciano Doria 1921) and La storia di Clo-Clo (Doria 1923). In the early 1920s Collo played opposite Italia Almirante Manzini in various films, a.o. as her jealous ex-lover in La statua di carne (Mario Almirante 1921), a prince in La piccolo parrocchia (Almirante 1923), and as Count Giano in the Sem Benelli adaptation L’arzigogolo (Almirante 1924). He also played in period pieces, such as the title role in the historical drama Il povero fornaretto (Almirante 1923), and in the Maciste-films Maciste e il nipote d’America (Eleuterio Rodolfi 1924) and Maciste nella gabbia dei leoni (1926). At Fert, Collo played with a steady crew that included Oreste Bilancia and Pauline Polaire. When the film crisis hitted the Fert studios as well in the mid-1920s, Collo stopped film acting, and only sporadically returned between 1926 and 1939. In the post-war era Collo obtained a few film parts between 1951 and 1955 in films like Arrivano i nostri (1951) by Mario Mattoli. When in the mid-fifties he became, ill, pennyless and destitute, the radio programme Ciak of RAI raised a big campaign, resulting in 400.000 lire, and even the Italian President got involved to procure Collo the best hospital. Unfortunately he could not be saved, so Alberto Collo passed away on May 7th, 1955 in Turin, at the age of 71 years. According to IMDB, Alberto Collo played at least in some 128 film titles, but certainly in many more in his early career, uncredited.

Sources: IMDB; Italian Wikipedia; Aldo Bernardini/Vittorio Martinelli, Il cinema muto italiano.

Euphorbia is a genus of plants belonging to the family Euphorbiaceae. Consisting of about 2160 species, Euphorbia is one of the most diverse genera in the plant kingdom. Members of the family and genus are sometimes referred to as Spurges. The genus is primarily found in the tropical and subtropical regions of Africa and the Americas, but also in temperate zones worldwide.Euphorbia helioscopia (Sun Spurge) is a species of spurge native to most of Europe, northern Africa, and eastward through most of Asia.It is an annual plant growing in arable land and disturbed ground. It grows to 10–50 cm tall, with a single, erect, hairless stem, branching toward the top. The leaves are oval, broadest near the tip, 1.5-3 cm long, with a finely toothed margin. The flowers are small, yellow-green, with two to five basal bracts similar to the leaves but yellower; flowering lasts from mid spring to late summer.

Euphorbia rigida, also known as Gopher Spurge or Upright Myrtle Spurge, is a member of the genus Euphorbia. Gopher Spurge is a vascular plant. It has appeared spontaneously in California wilderness but is not considered a noxious weed.Gopher Spurge is native to the Mediterranean Basin and the Middle East, where it is considered a weed. Americans and Brits commonly use it in their gardens. It is a Spring blooming plant. The plants wounds leak a milky sap which can cause skin irritation

Lichens are composite organisms consisting of a fungus (the mycobiont) and a photosynthetic partner (the photobiont or phycobiont) growing together in a symbiotic relationship. The photobiont is usually either a green alga (commonly Trebouxia) or cyanobacterium (commonly Nostoc).The morphology, physiology and biochemistry of lichens are very different from those of the isolated fungus and alga in culture. Lichens occur in some of the most extreme environments on Earth—arctic tundra, hot deserts and rocky coasts . However, they are also abundant as epiphytes on leaves and branches in rain forests and temperate woodland, on bare rock, including walls and gravestones, and on exposed soil surfaces (e.g., Collema) in otherwise mesic habitats. The roofs of many buildings have lichens growing on them. Lichens are widespread and may be long-lived; however, many are also vulnerable to environmental disturbance, and may be useful to scientists in assessing the effects of air pollution, ozone depletion, and metal contamination. Lichens have also been used in making dyes and perfumes, as well as in traditional medicines.

Il genere Euphorbia comprende un vasto numero di piante dicotiledoni della famiglia delle Euphorbiaceae, erbacee o legnose a seconda della specie.Il termine Euphorbia deriverebbe dal nome del medico greco Euphorbus, che utilizzava il succo lattiginoso prodotto da queste piante nelle sue pozioni. Era il medico personale di Giuba II e fu questo dotto sovrano a denominare così in suo onore la pianta, all'interno di un trattato che scrisse per illustrarne le virtù terapeutiche.Il genere varia da piccoli alberi, arbusti, viti a piante erbacee. Una percentuale significativa di queste sono piante succulente.La Euphorbia helioscopia è una pianta appartenente alla famiglia delle Euforbiacee. Deve il suo nome 'helioscopia' dal greco helios=sole skopein=guardare perché le sue infiorescenze si volgono sempre verso il sole come i girasoli - helianthus annuus. È considerata pianta infestante ed è comune nei campi coltivati ma anche nei giardini ed orti di città ed in tutti gli ambienti rurali.È alta circa 10 - 35 cm. Glabra, con fusti rossastri. Al taglio produce un latte tossico ed irritante. Foglie obovate seghettate finemente all'apice. L'infiorescenza a forma ombrella è formata da cinque rametti fioriferi. Si caratterizza dai fiori di colore verdastro con grandi brattee giallastre simili alle foglie. Nei fiori sono presenti delle piccole ghiandole profumate che attirano gli insetti. Fiorisce da gennaio a settembre inoltrato.

I licheni sono organismi simbiotici derivanti dall'associazione di due individui: un organismo autotrofo, un cianobatterio o un'alga, (per lo più una clorofita), e un fungo, in genere un ascomicete o un basidiomicete. Sono caratterizzati da un tallo e vengono classificati basandosi sulla tassonomia della specie fungina (nelle classificazioni precedenti facevano parte delle crittogame).

I due simbionti convivono traendo reciproco vantaggio: il fungo, eterotrofo, sopravvive grazie ai composti organici prodotti dall’attività fotosintetica del cianobatterio o dell'alga, mentre quest’ultima riceve in cambio protezione, sali minerali ed acqua.

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Alberobello