DOCSLIB.ORG

Passepartour 2019

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Passepartour 2019 PASSEPARTOUR 2019 FIRENZE OLTRARNO THE KEYS OF ACCESSIBILITY Florence is a world heritage site and as such it must be accessible to all, without exclusion. Florence welcomes people with physical disabilities due to an abundance of pedestrian areas and accessible historical and artistic sites. It is also unde- niable that some routes of the city-center - similar to many other historical cities throughout the world - may present some difficulties for people using wheelchairs: for example narrow streets, tiny sidewalks that are not easily passable or not homogeneous pavement. To address this problem and provide information on which paths are the best to follow for people with physical disabilities, the Municipality of Florence in collaboration with Kinoa Srl have designed and published this Guide. The PASSEPARTOUR project is made up of four volumes, each describing four different tourist itineraries "without barriers". In addition, the guide provides a map of the historical city-center, highlighting all the areas that can be navigated with complete autonomy, or with the support of a helper. In addition, Kinoa has developed the navigation app Kimap, which acts as a companion tool to the guide for the mobility of disabled people. Kimap can be downloaded for free on every smartphone: the app shows the most accessible path to reach your desired destination and is constantly updated. We hope that this project will contribute to improve the tourist experi- ence for those visiting our marvellous City, opening the doors to its extraordinary heritage. Cecilia Del Re Councilor for Tourism of the City of Florence Florence is a world heritage site and as such it must be accessible to all, without exclusion. Florence welcomes people with physical disabilities due to an abundance of pedestrian areas and accessible historical and artistic sites. It is also unde- niable that some routes of the city-center - similar to many other historical cities throughout the world - may present some difficulties for people using wheelchairs: for example narrow streets, tiny sidewalks that are not easily passable or not homogeneous pavement. To address this problem and provide information on which paths are the best to follow for people with physical disabilities, the Municipality of Florence in collaboration with Kinoa Srl have designed and published this Guide. The PASSEPARTOUR project is made up of four volumes, each describing four different tourist itineraries "without barriers". In addition, the guide provides a map of the historical city-center, highlighting all the areas that can be navigated with complete autonomy, or with the support of a helper. In addition, Kinoa has developed the navigation app Kimap, which acts as a companion tool to the guide for the mobility of disabled people. Kimap can be downloaded for free on every smartphone: the app shows the most accessible path to reach your desired destination and is constantly updated. We hope that this project will contribute to improve the tourist experi- ence for those visiting our marvellous City, opening the doors to its extraordinary heritage. Cecilia Del Re Councilor for Tourism of the City of Florence What is Passepartour, the keys to accessibility Will I be able to enter this museum with my wheelchair? Which route should I take to get to this church or restaurant? Where can I find the services I need? These are the questions that we want to answer here. Created using the Kimap technology, which allows to trace the most accessible route and map the accessibility of points of interest and services, Passepartour shows to tourists on wheelchairs or electric scooters the easiest itinerary to follow to reach the main Florentine tourist attractions, providing also the location of accessible services. With the creation and constant updating of this guide, Kinoa srl, developer of the Kimap technology, intends to offer an essential service to re- duce the information barriers to accessibility and to develop a tourism truly “for all” in Florence. Download the navigator for the mobility of motor disabled people. Indications in the path ELEVATORS ACCESSIBLE TOILET ACCESSIBLE TOILET WITH POINT OF INTEREST HANDLERS DISABLED ENTRY TOURIST INFORMATION POST OFFICE TAXI € CASH MACHINE SUBURBAN BUSES PHARMACY RAILWAY STATION QR-CODE for information always updated about timetables and accessibility Oltrarno The present itinerary brings you to the “Oltrarno”, the part of Florence located on the southern bank of the river Arno. The itinerary is divided into two routes that allow you to fully appreciate the historical treasures of the area and and the surrounding landscape. The first route stretches along the route Piazza del Carmine - Santo Spirito - Palazzo Pitti (where it links up with the “Classic” itinerary) - Boboli Gardens and finally Forte Belvedere. The second routed departs from Ponte Vecchio, passing by the San Niccolò Tower and then climbing up to Piazzale Michelangelo and the Church of San Miniato al Monte. The route measure 4.6 km, with uphills that are sometimes challenging but accessi- ble by electric powered wheelchairs and scooters (for the second route there are also indications for using public transport). The entire itinerary is described in a series of detailed maps of the streets with the best accessibility conditions. The texts provide some descriptions and tourist information, describing also the accessibility level of the points of interest along the way. The entrance ticket for disabled people and their companions is free in all the points of interest indicated in the guide. POINTS OF INTEREST OLTRARNO 1 BRANCACCI CHAPEL 6 FORTE BELVEDERE 2 BASILICA OF SANTO SPIRITO 7 STEFANO BARDINI MUSEM 3 SAN FELICE CHURCH 8 PIAZZALE MICHELANGELO 4 MUSEO DELLA SPECOLA 9 CHIESA DI SAN MINIATO AL MONTE 5 BOBOLI GARDEN v. Toselli p.zza Parterre (2 min.) S. Jacopino A1 / A 11 Aeroporto p.zza Rifredi v. Lorenzo il Magnico v. Giacomini Autostrada A. Vespucci della Libertà v. Leonardo da Vinci v.le Redi v. Marconi v. Ponte alle Mosse v. Spontini v. Galliano p.zza v. Duca D’Aosta v. Pier Capponi v.le dei Mille Caduti dei Lager v. Fra’ Bartolomeo ponte v. B. Marcello v.le Lavagnini v. Pico della Mirandola al Pino v. delle Mantellate v. Bixio v. Cimarosa v. del Pratellino v. S. Gallo v. Lupi p.zza v. Marchetti v. Cairoli v.le Matteotti v. Fra’ Bonvicini Vasari v. Scarlatti p.zza v. Duprè v. Paisiello Savonarola p.zzale Montelungo v. Poggi v. Valori v. delle Ghiacciaie v. Zara v. delle Porte Nuove FORTEZZA DA BASSO v. Cavour v. Masaccio v. del Castagno v. Monaco v. delle Ruote v. Modena v. Mannelli v. Pilo v. Salvestrina v. della Robbia v.le dei Mille v. Ficino v. Lamarmora v. Benivieni v. Gui v.le Strozzi v. di Barbano v. Ridol v. Venezia v. Bausi v.le Belore p.zza v. degli Artisti v. dei Sette Santi del Lungo v. Campo D’Arrigo Parco v. S. Caterina d’Alessandria v. da Palestrina p.zza delle v. Dionisi v. della Fortezza v. S. Gallo v. Michelucci v.le Strozzi dell’Indipendenza Cascine v. Cittadella v. S. Zanobi v. Cherubini Chiostro v. Pier Capponi STADIO v. Ponte alle Mosse v.le Matteotti dello Scalzo Cascine v. S. Reparata A. FRANCHI Park Orto Botanico v. XXVII Aprile (Giardino dei Semplici) PALACONGRESSI p.zza STADIO CAP v. Dogana del Crocisso v. Micheli RIDOLFI v. Valfonda v. Giambologna v. Gabbuggiani v.le Fratelli Rosselli v. Frusa v. Montanelli Cenacolo v.le Fanti v. Guelfa di S. Apollonia Museo GIARDINO STAZIONE v. Alamanni PALAFFARI di S. Marco Museo di DELLA GHERARDESCA IPPODROMO LEOPOLDA Piazzale v. Arazzieri v. La Pira Geologia e Paleontologia v. Masaccio di Porta al Prato v. da Diacceto v. La Farina CAMPO DI MARTE v. Cennini Cenacolo Museo di Mineralogia Teatro del p.zza del Fuligno p.zza e Litologia Maggio Musicale v. della Scala Adua Stazione S. Marco p.zzale CAMPO DI MARTE v. S. Gallo v. Gino Capponi v. Guerrazzi v. Nazionale Donatello v. Fiume v. Nardi v. Faenza v. Guelfa NELSON v. Battisti Fondazione Cimitero degli Inglesi v.le Malta MANDELA PARCO DELLE CASCINE Basilica Scienza e Tecnica v. della Robbia FORUM v. Panicale p.zza v.le degli Olmi Galleria v. dell’Ariento Mercato del Mercato della SS. Annunziata v. Il Prato centrale dell’Accademia Centrale v. Giusti v. Montebello v. Varchi p.zza ATAF Stazione p.zza Museo v. Repetti v. Cavour SANTA MARIA NOVELLA v. Rosina v. Ginori V. Veneto SS. Annunziata Archeologico Nazionale T1 Museo dell’Opicio v.le Mazzini Spedale v. Rucellai p.zza largo v. Laura v. della Scala TRAMVIA delle Pietre Dure della Stazione Alinari degli Innocenti v. Aleri v. Mannelli Palazzo v.le Gramsci v. Solferino v. S. Antonino Medici Riccardi borgo Pinti BUSITALIA v. della Stufa borgo La Noce v. della Colonna 2 v. Manin v. Ricasoli v. degli Orti Oricellari v. Garibaldi v. degli Alfani p.zza p.zza ponte alla Vittoria v. Magenta dell’Unità Cappelle p.zza v. Palazzuolo p.zza S. Lorenzo v.le Segni lungarno Vespucci d’Italia Medicee Brunelleschi Basilica e Museo Madonna Basilica di S. Lorenzo v. degli Avelli v. Melarancio 3 v. Giordani di S. Maria Novella Aldobrandini v. de’ Servi S.G.C. corso Italia T2 v. Scialoia FI-PI-LI v. S. Lucia p.zza borgo Ognissanti v. dell’Albero Biblioteca v. de’ Pucci D’Azeglio 12 v. del Castellaccio v. Bovio v. de’ Canacci Medicea-Laurenziana v. Menotti v. Palestro v. de’ Panzani v. nuova de’ Caccini p.zza v. del Giglio Crocissione borgo S. Lorenzo v. Bufalini v.le Mazzini p.zza v. Zannetti del Perugino Gaddi v. Curtatone v. Palazzuolo v. Montebello S. Maria Novella € v. Finiguerra v. de’ Martelli v. de’ Banchi v. Conti 4 p.zza v.
Load more

Recommended publications
  • 14Th Edition - Year 2013
    Directory of D.C.I. Diploma dei Castelli d'Italia) - D.C.P.C. (Diploma dei Castelli della Provincia di Cuneo) - WCA (World Castles Award) A.R.I. Associazione Radioamatori Italiani Sezione di Mondovì - IQ1BP C/o Segreteria, IK1QFM Betty Sciolla, Via Torino 89 I-12084 Mondovì (Cuneo), Italy Italian Castles Directory D.C.I. - DIPLOMA DEI CASTELLI D’ ITALIA D.C.P.C. - DIPLOMA CASTELLI PROVINCIA DI CUNEO WCA - WORLD CASTLES AWARD 14th Edition - Year 2013 Updated : 09 April 2013 Since 04 October 1999 edited by the authors IK1GPG, Massimo BALSAMO & IK1QFM, Betty SCIOLLA http://www.dcia.it E-mail: [email protected] Opera Inedita Depositata presso la Società Italiana degli Autori ed Editori (SIAE-Sezione OLAF). ®1999-2016 by Massimo Balsamo IK1GPG e Betty Sciolla IK1QFM, Via Torino 89, I-12084 Mondovì (Cuneo), Italy All rights are reserved. No part of this work may be reproduced, disassembled, trasmitted, transcribed, translated into any language in any form (including the software program) without the written permission from the editor. By IK1GPG Max and IK1QFM Betty, Sezione A.R.I. di Mondovì, Copyright 1999-2016, Updated 09/04/2013. No.12.634 Castles Page 1 / 135 Directory of D.C.I. Diploma dei Castelli d'Italia) - D.C.P.C. (Diploma dei Castelli della Provincia di Cuneo) - WCA (World Castles Award) № DCI № WCA NAME OF CASTLES PREFIX PROVINCE DCI-AG001 I-00001 Porta di Ponte o Atenea di Agrigento IT9 Agrigento DCI-AG002 I-00002 Castello di Burgio IT9 Agrigento DCI-AG003 I-00003 Torre di Castellazzo a Camastra IT9 Agrigento DCI-AG004 I-00004 Forte
    [Show full text]
  • The Master of the Unruly Children and His Artistic and Creative Identities
    The Master of the Unruly Children and his Artistic and Creative Identities Hannah R. Higham A Thesis Submitted to The University of Birmingham For The Degree of DOCTOR OF PHILOSOPHY Department of Art History, Film and Visual Studies School of Languages, Art History and Music College of Arts and Law The University of Birmingham May 2015 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis examines a group of terracotta sculptures attributed to an artist known as the Master of the Unruly Children. The name of this artist was coined by Wilhelm von Bode, on the occasion of his first grouping seven works featuring animated infants in Berlin and London in 1890. Due to the distinctive characteristics of his work, this personality has become a mainstay of scholarship in Renaissance sculpture which has focused on identifying the anonymous artist, despite the physical evidence which suggests the involvement of several hands. Chapter One will examine the historiography in connoisseurship from the late nineteenth century to the present and will explore the idea of the scholarly “construction” of artistic identity and issues of value and innovation that are bound up with the attribution of these works.
    [Show full text]
  • The Italian High Renaissance (Florence and Rome, 1495-1520)
    The Italian High Renaissance (Florence and Rome, 1495-1520) The Artist as Universal Man and Individual Genius By Susan Behrends Frank, Ph.D. Associate Curator for Research The Phillips Collection What are the new ideas behind the Italian High Renaissance? • Commitment to monumental interpretation of form with the human figure at center stage • Integration of form and space; figures actually occupy space • New medium of oil allows for new concept of luminosity as light and shadow (chiaroscuro) in a manner that allows form to be constructed in space in a new way • Physiological aspect of man developed • Psychological aspect of man explored • Forms in action • Dynamic interrelationship of the parts to the whole • New conception of the artist as the universal man and individual genius who is creative in multiple disciplines Michelangelo The Artists of the Italian High Renaissance Considered Universal Men and Individual Geniuses Raphael- Self-Portrait Leonardo da Vinci- Self-Portrait Michelangelo- Pietà- 1498-1500 St. Peter’s, Rome Leonardo da Vinci- Mona Lisa (Lisa Gherardinidi Franceso del Giacondo) Raphael- Sistine Madonna- 1513 begun c. 1503 Gemäldegalerie, Dresden Louvre, Paris Leonardo’s Notebooks Sketches of Plants Sketches of Cats Leonardo’s Notebooks Bird’s Eye View of Chiana Valley, showing Arezzo, Cortona, Perugia, and Siena- c. 1502-1503 Storm Breaking Over a Valley- c. 1500 Sketch over the Arno Valley (Landscape with River/Paesaggio con fiume)- 1473 Leonardo’s Notebooks Studies of Water Drawing of a Man’s Head Deluge- c. 1511-12 Leonardo’s Notebooks Detail of Tank Sketches of Tanks and Chariots Leonardo’s Notebooks Flying Machine/Helicopter Miscellaneous studies of different gears and mechanisms Bat wing with proportions Leonardo’s Notebooks Vitruvian Man- c.
    [Show full text]
  • The Flowering of Florence: Botanical Art for the Medici" on View at the National Gallery of Art March 3 - May 27, 2002
    Office of Press and Public Information Fourth Street and Constitution Av enue NW Washington, DC Phone: 202-842-6353 Fax: 202-789-3044 www.nga.gov/press Release Date: February 26, 2002 Passion for Art and Science Merge in "The Flowering of Florence: Botanical Art for the Medici" on View at the National Gallery of Art March 3 - May 27, 2002 Washington, DC -- The Medici family's passion for the arts and fascination with the natural sciences, from the 15th century to the end of the dynasty in the 18th century, is beautifully illustrated in The Flowering of Florence: Botanical Art for the Medici, at the National Gallery of Art's East Building, March 3 through May 27, 2002. Sixty-eight exquisite examples of botanical art, many never before shown in the United States, include paintings, works on vellum and paper, pietre dure (mosaics of semiprecious stones), manuscripts, printed books, and sumptuous textiles. The exhibition focuses on the work of three remarkable artists in Florence who dedicated themselves to depicting nature--Jacopo Ligozzi (1547-1626), Giovanna Garzoni (1600-1670), and Bartolomeo Bimbi (1648-1729). "The masterly technique of these remarkable artists, combined with freshness and originality of style, has had a lasting influence on the art of naturalistic painting," said Earl A. Powell III, director, National Gallery of Art. "We are indebted to the institutions and collectors, most based in Italy, who generously lent works of art to the exhibition." The Exhibition Early Nature Studies: The exhibition begins with an introductory section on nature studies from the late 1400s and early 1500s.
    [Show full text]
  • The Armstrong Browning Library Newsletter God Is the Perfect Poet
    The Armstrong Browning Library Newsletter God is the perfect poet. – Paracelsus by Robert Browning NUMBER 51 SPRING/SUMMER 2007 WACO, TEXAS Ann Miller to be Honored at ABL For more than half a century, the find inspiration. She wrote to her sister late Professor Ann Vardaman Miller of spending most of the summer there was connected to Baylor’s English in the “monastery like an eagle’s nest Department—first as a student (she . in the midst of mountains, rocks, earned a B.A. in 1949, serving as an precipices, waterfalls, drifts of snow, assistant to Dr. A. J. Armstrong, and a and magnificent chestnut forests.” master’s in 1951) and eventually as a Master Teacher of English herself. So Getting to Vallombrosa was not it is fitting that a former student has easy. First, the Brownings had to stepped forward to provide a tribute obtain permission for the visit from to the legendary Miller in Armstrong the Archbishop of Florence and the Browning Library, the location of her Abbot-General. Then, the trip itself first campus office. was arduous—it involved sitting in a wine basket while being dragged up the An anonymous donor has begun the cliffs by oxen. At the top, the scenery process of dedicating a stained glass was all the Brownings had dreamed window in the Cox Reception Hall, on of, but disappointment awaited Barrett the ground floor of the library, to Miller. Browning. The monks of the monastery The Vallombrosa Window in ABL’s Cox Reception The hall is already home to five windows, could not be persuaded to allow a woman Hall will be dedicated to the late Ann Miller, a Baylor professor and former student of Dr.
    [Show full text]
  • La Piana Fiorentina, Potenzialità E Progetti Per Il Futuro
    Corso di Laurea magistrale (ordinamento ex D.M. 270/2004) in Sviluppo interculturale dei sistemi turistici Tesi di Laurea La piana fiorentina, potenzialità e progetti per il futuro Relatore Prof. Francesco Vallerani Correlatore Prof. Carlo Giupponi Laureando Elisa Bellini Matricola 855618 Anno Accademico 2015 / 2016 Ringraziamenti Ringrazio innanzitutto la mia famiglia, che mi ha sempre sostenuta ed appoggiata nelle mie scelte e desideri, standomi costantemente accanto. Lorenzo, punto fermo ed ancora, pronto ogni volta ad aiutarmi ed a camminare insieme. Gli amici di una vita, sempre disponibili ad accogliermi ad ogni mio ritorno a casa e con i quali condivido ogni esperienza. Alle amicizie che ho instaurato durante gli anni di università, con le quali non ho spartito solo stress e studio, ma veri momenti di vita di quotidiana ricchi di emozioni ed avventure. Agli amici dell’Erasmus, che nonostante abbia condiviso con loro solo 5 mesi, sono diventati una vera e propria familia madrileña. A tutti coloro che mi hanno aiutato a portare a termine il mio progetto di tesi, con il loro contributo e saggezza. 1 2 Indice Indice delle figure……………………………………………………………………. pag.5 Abstract………………………………………………………………………………..pag.9 Introduzione………………………………………………………………………….pag.11 Capitolo 1: Individuazione del luogo e peculiarità geo-storiche……………………...pag.13 1.1 Ombrone: caratteri geostorici…………………………………………….pag.15 1.1.1 Il contesto idrografico………………………………………………pag.16 1.1.2 Biodiversità…………………………………………………………pag.18 1.1.3 Cenni storici………………………………………………………...pag.19
    [Show full text]
  • Painting Perspective & Emotion Harmonizing Classical Humanism W
    Quattrocento: Painting Perspective & emotion Harmonizing classical humanism w/ Christian Church Linear perspective – single point perspective Develops in Florence ~1420s Study of perspective Brunelleschi & Alberti Rules of Perspective (published 1435) Rule 1: There is no distortion of straight lines Rule 2: There is no distortion of objects parallel to the picture plane Rule 3: Orthogonal lines converge in a single vanishing point depending on the position of the viewer’s eye Rule 4: Size diminishes relative to distance. Size reflected importance in medieval times In Renaissance all figures must obey the rules Perspective = rationalization of vision Beauty in mathematics Chiaroscuro – use of strong external light source to create volume Transition over 15 th century Start: Expensive materials (oooh & aaah factor) Gold & Ultramarine Lapis Lazuli powder End: Skill & Reputation Names matter Skill at perspective Madonna and Child (1426), Masaccio Artist intentionally created problems to solve – demonstrating skill ☺ Agonistic Masaccio Dramatic shift in painting in form & content Emotion, external lighting (chiaroscuro) Mathematically constructed space Holy Trinity (ca. 1428) Santa Maria Novella, Florence Patron: Lorenzo Lenzi Single point perspective – vanishing point Figures within and outside the structure Status shown by arrangement Trinity literally and symbolically Vertical arrangement for equality Tribute Money (ca. 1427) Brancacci Chapel in Santa Maria del Carmine, Florence Vanishing point at Christ’s head Three points in story Unusual
    [Show full text]
  • Florence Next Time Contents & Introduction
    TABLE OF CONTENTS Introduction Conventional names for traditional religious subjects in Renaissance art The Cathedral of Florence (Duomo) The Baptistery Museo dell’Opera del Duomo The other Basilicas of Florence Introduction Santissima Annunciata Santa Croce and Museum San Lorenzo and Medici Chapels San Marco and Museum Santa Maria del Carmine and Brancacci Chapel Santa Maria Novella and Museum San Miniato al Monte Santo Spirito and Museum Santa Trinita Florence’s other churches Ognissanti Orsanmichele and Museum Santi Apostoli Sant’Ambrogio San Frediano in Cestello San Felice in Piazza San Filippo Neri San Remigio Last Suppers Sant’Apollonia Ognissanti Foligno San Salvi San Marco Santa Croce Santa Maria Novella and Santo Spirito Tours of Major Galleries Tour One – Uffizi Tour Two – Bargello Tour Three – Accademia Tour Four – Palatine Gallery Museum Tours Palazzo Vecchio Museo Stefano Bardini Museo Bandini at Fiesole Other Museums - Pitti, La Specola, Horne, Galileo Ten Lesser-known Treasures Chiostro dello Scalzo Santa Maria Maggiore – the Coppovaldo Loggia del Bigallo San Michele Visdomini – Pontormo’s Madonna with Child and Saints The Chimera of Arezzo Perugino’s Crucifixion at Santa Maria dei Pazzi The Badia Fiorentina and Chiostro degli Aranci The Madonna of the Stairs and Battle of the Centaurs by Michelangelo The Cappella dei Magi, Palazzo Medici-Riccardi The Capponi Chapel at Santa Felicita Biographies of the Artists Glossary of Terms Bibliography SimplifiedTime-line diagram Index INTRODUCTION There can’t be many people who love art who won’t at some time in their lives find themselves in Florence, expecting to see and appreciate the incredibly beautiful paintings and sculptures collected in that little city.
    [Show full text]
  • Borgo Pignano - Italy, Tuscany, Siena Area
    BORGO PIGNANO - ITALY, TUSCANY, SIENA AREA 100 GUESTS, 40 BEDROOMS BORGO PIGNANO SUMMARY Italy, Tuscany, Siena Area Countryside views Eco-friendly property 100 Guests Swimming pool 40 Bedrooms Landscaped gardens Spa facilities Outdoor living & dining Music & games rooms Wine cellar Events & weddings Wi-Fi LOCATION A magnificent 750 acres estate boasting lush gardens and incredible views of the countryside Italy, Tuscany, Siena Area Borgo Pignano is an 18th century property perched on a GUESTS hilltop, 500 metres above sea level. Located near Volterra and San Gimignano in Tuscany, the “borgo” (hamlet) is up to 100 comprised of an 18th century villa, a 13th century consecrated church, and multiple restored farmhouses and cottages, sleeping just under 100 guests in total. BEDROOMS The 300 hectares of land surrounding the hamlet are divided 40 into woods, fields, ponds, vegetable gardens and pastures for horses, making it an idyllic countryside escape. RENTAL PERIOD The main villa is stunning and immaculate, with a style that Nightly crosses effortlessly from historical to contemporary. It is composed of two wings; the western wing looks out towards the Mediterranean Sea and the eastern wing faces the fields PRICE and hills that lead to San Gimignano. From 20,000 EUR On the western side, the lawn leads on to the countryside with hills rolling away towards the far horizon. There is a MORE stunning pool carved from an ancient limestone quarry and its infinity edge overlooks the woods and hills below. Price per night. Minimum stay 3 nights in peak season, The eastern wing opens on to a luscious Mediterranean 2 nights in high and mid- garden with purple, mauve and lavender hues whilst the seasons, 1 night in shoulder northern garden of the property leads into the surrounding seasons.
    [Show full text]
  • Bibliografia E Indici
    Bibliografia e Indici Bibliografia Ci si preoccupa, in qualche caso a ragione, di verificare l’esattezza delle notizie storiche che ormai molti di noi traggono dai vari siti internet; tuttavia, ho dovuto constatare con sorpresa quante contraddizioni vi siano, su uno stesso argomento, sui libri cartacei. Ciò mi ha costretto a verificare più volte l’esattezza delle informazioni, scegliendo poi quelle che mi sembravano maggiormente sostenute da argomenti validi. I dati invece tratti dai siti internet sono stati utilizzati solo se comprovati da fonti cartacee. Ricordo comunque che, se si vuole capire la storia, non è importante conoscere con esattezza l’anno, per esempio, in cui un palazzo pubblico piuttosto che una chiesa è stata edificata, bensì cercare di cogliere lo “spirito del tempo” che sta dietro a quella decisione. Particolarmente impegnativa (ma appassionante) è stata la parte relativa alla struttura della città, sia dal punto di vista testuale che iconografico, così come non facile (ma altrettanto interessante) è stato individuare i caratteri sostanziali dell’esperienza comunale in tutte le sue varie fasi. Ho dato poi spazio a tre argomenti cruciali nella storia della città: il Risanamento, in occasione di Firenze Capitale (capitolo X); le conseguenze del bombardamento subito dalla città nella Seconda Guerra Mondiale (capitolo XI) e gli eventi relativi all’alluvione del 1966 (capitolo XII). Mi riconosco invece tributario al lavoro realizzato da vari altri autori per ciò che concerne le informazioni (ma non i giudizi) relativi alla parte dedicata alle Corporazioni Arti e Mestieri (capitolo IV) nonché al racconto della Congiura dei Pazzi (capitolo VI). Infine, per tentare di districarmi nelle vicende dinastiche, mi sono servito, rielaborandolo assai, del testo dedicato da Franco Cesati nel suo libro I Medici, Storia di una dinastia europea, al periodo compreso tra la caduta di Piero lo Sfortunato (1494) e l’avvento di Cosimo I (1537).
    [Show full text]
  • Borgo Pignano Press Pack 2021.Pdf
    PRESS PACK 2021 ABOUT BORGO PIGNANO Borgo Pignano is set in the heart of a picturesque 750-acre organic estate in Tuscany, where Etruscans were the first settlers. The estate is a short drive from the medieval hilltop towns of Volterra and San Gimignano and is only 1 hour’s drive from Florence. Today, this sensitively restored and privately-owned Borgo offers warm hospitality in a tranquil setting at 500 metres above sea level, with some of the most commanding views in all of Tuscany. ACCOMMODATION Accommodation is spread over the estate and includes: • The 18th century Villa • The Hamlet • La Canonica (The Priest’s House) • Individual luxury villas NEW for 2021: Refurbished Villa La Fonte New Villa La Lavandaia THE VILLA Borgo Pignano’s main building is an 18th century noble house, surrounded by traditionally planted English gardens overlooking pristine landscapes of Tuscany that have changed little since Renaissance times. The Villa offers 14 elegant rooms and suites, some with original frescoes and all with en- suite white marble and travertine bathrooms. A grand stone staircase leads to the upper floors also accessible by an elevator. Rooms are furnished with exquisite antiques, original artworks, Italian linens and chandeliers. The main villa also features spacious common rooms that complete the country house atmosphere: the library, billiard room, ballroom and lounge offer a variety of environments where guests can relax. LA CANONICA Dating back to the 13th century, La Canonica can be used as one large three-bedroomed house or, independently, divided as two separate suites. La Canonica, the Priest’s house, is located next to the ancient church of San Bartolomeo and contains original features such as medieval stonework, archways, columns, vaulted ceilings, terracotta floors and restored medieval frescoes.
    [Show full text]
  • Donatello's Terracotta Louvre Madonna
    Donatello’s Terracotta Louvre Madonna: A Consideration of Structure and Meaning A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Master of Arts Sandra E. Russell May 2015 © 2015 Sandra E. Russell. All Rights Reserved. 2 This thesis titled Donatello’s Terracotta Louvre Madonna: A Consideration of Structure and Meaning by SANDRA E. RUSSELL has been approved for the School of Art + Design and the College of Fine Arts by Marilyn Bradshaw Professor of Art History Margaret Kennedy-Dygas Dean, College of Fine Arts 3 Abstract RUSSELL, SANDRA E., M.A., May 2015, Art History Donatello’s Terracotta Louvre Madonna: A Consideration of Structure and Meaning Director of Thesis: Marilyn Bradshaw A large relief at the Musée du Louvre, Paris (R.F. 353), is one of several examples of the Madonna and Child in terracotta now widely accepted as by Donatello (c. 1386-1466). A medium commonly used in antiquity, terracotta fell out of favor until the Quattrocento, when central Italian artists became reacquainted with it. Terracotta was cheap and versatile, and sculptors discovered that it was useful for a range of purposes, including modeling larger works, making life casts, and molding. Reliefs of the half- length image of the Madonna and Child became a particularly popular theme in terracotta, suitable for domestic use or installation in small chapels. Donatello’s Louvre Madonna presents this theme in a variation unusual in both its form and its approach. In order to better understand the structure and the meaning of this work, I undertook to make some clay works similar to or suggestive of it.
    [Show full text]