DOCSLIB.ORG

Art and Politics at the Neapolitan Court of Ferrante I, 1458-1494

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Art and Politics at the Neapolitan Court of Ferrante I, 1458-1494 ABSTRACT Title of Dissertation: KING OF THE RENAISSANCE: ART AND POLITICS AT THE NEAPOLITAN COURT OF FERRANTE I, 1458-1494 Nicole Riesenberger, Doctor of Philosophy, 2016 Dissertation directed by: Professor Meredith J. Gill, Department of Art History and Archaeology In the second half of the fifteenth century, King Ferrante I of Naples (r. 1458-1494) dominated the political and cultural life of the Mediterranean world. His court was home to artists, writers, musicians, and ambassadors from England to Egypt and everywhere in between. Yet, despite its historical importance, Ferrante’s court has been neglected in the scholarship. This dissertation provides a long-overdue analysis of Ferrante’s artistic patronage and attempts to explicate the king’s specific role in the process of art production at the Neapolitan court, as well as the experiences of artists employed therein. By situating Ferrante and the material culture of his court within the broader discourse of Early Modern art history for the first time, my project broadens our understanding of the function of art in Early Modern Europe. I demonstrate that, contrary to traditional assumptions, King Ferrante was a sophisticated patron of the visual arts whose political circumstances and shifting alliances were the most influential factors contributing to his artistic patronage. Unlike his father, Alfonso the Magnanimous, whose court was dominated by artists and courtiers from Spain, France, and elsewhere, Ferrante differentiated himself as a truly Neapolitan king. Yet Ferrante’s court was by no means provincial. His residence, the Castel Nuovo in Naples, became the physical embodiment of his commercial and political network, revealing the accretion of local and foreign visual vocabularies that characterizes Neapolitan visual culture. KING OF THE RENAISSANCE: ART AND POLITICS AT THE NEAPOLITAN COURT OF FERRANTE I, 1458-1494 by Nicole Riesenberger Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2016 Advisory Committee: Professor Meredith J. Gill, Chair Professor Anthony Colantuono Professor Maryl B. Gensheimer Professor Arthur K. Wheelock, Jr. Professor Philip Soergel Disclaimer The thesis or dissertation document that follows has had referenced material removed in respect for the owner’s copyright. A complete version of this document, which includes said referenced material, resides in the University of Maryland, College Park’s library collection. ii © Copyright by Nicole Riesenberger 2016 iii Dedication To my family, whose love and support carried me through this project. iv Acknowledgements I have many people to thank for their guidance and assistance throughout the research and writing of this dissertation. First and foremost, I must express my gratitude to my advisor, Meredith J. Gill, who has enthusiastically embraced my obsession with Naples from the beginning. She has spent countless hours reading messy prose and helping to shape this dissertation. Without her direction, this project surely would have suffered. Other members of my dissertation committee, Anthony Colantuono, Maryl B. Gensheimer, Philip Soergel, and Arthur K. Wheelock Jr,. generously lent their time and thoughtful observations for the improvement of this manuscript. Professor Marjorie Venit offered intellectual and emotional support throughout my years at the University of Maryland, and she provided a crucial evaluation of this project during the early stages. I am also grateful to Quint Gregory, Director of the Michelle Smith Collaboratory for Visual Culture, where I worked as a Graduate Assistant while writing this manuscript. His accommodation and understanding allowed me to maximize my time and energies at a pivotal stage in this process. Generous grants from the Cosmos Club Foundation and the University of Maryland enabled me to travel to Naples to conduct research for this dissertation. The staffs of the Archivio di Stato di Napoli, the Biblioteca Nazionale Vittorio Emanuele III, and the Museo Civico at Castel Nuovo provided advice and resources to facilitate my research. Giovanna Sanniola, my Neapolitan host and friend, opened her home to me for both of my research trips. Her insight, kindness, and cooking made my weeks in Naples better than I ever could have imagined. The staff of the University of v Maryland’s Interlibrary Loan Department, whom I visited weekly to retrieve resources from across the globe, has also been critical to the completion of my study. Last, but certainly not least, I must thank my family for instilling in me the grit and determination that projects of this magnitude require. My husband, Daniel Harrison, was by my side through the ups and downs of this endeavor and always looked out for my well-being when I was too preoccupied to do so myself. He endured my absence due to research trips and during late nights and long weekends of writing, and he has tolerated the enormous role that King Ferrante has played in our marriage from the beginning. To the innumerable others whose kindness and enthusiasm thrust this dissertation forward, thank you. vi Table of Contents Disclaimer ....................................................................................................................ii Dedication ....................................................................................................................iv Acknowledgements ...................................................................................................... v Table of Contents ....................................................................................................... vii List of Figures ..............................................................................................................ix List of Illustrations .................................................................................................. xxiii Introduction .................................................................................................................. 1 State of the Scholarship .......................................................................................... 20 Scope ....................................................................................................................... 25 Methodology ........................................................................................................... 28 Chapter Organization .............................................................................................. 30 Chapter 1: King Ferrante I of Naples and his Court, 1458-1494 ............................... 32 History and Politics ................................................................................................. 32 Court Culture .......................................................................................................... 58 Chapter 2: Self-Fashioning in a Decade of Transition and Upheaval, 1455-1465..... 77 The Altarpiece of Saint Vincent Ferrer ................................................................... 77 Isabella di Chiaromonte’s Manuscript Commissions ............................................. 88 Domenico Gagini’s Tabernacle for the Cappella Palatina ...................................... 90 Pietro da Milano’s Portrait Bust of Ferrante ........................................................... 97 Ferrante’s Early Coinage ...................................................................................... 102 Chapter 3: Picturing Legitimacy, 1465-1470.............................................................106 Renovations to Castel Nuovo ................................................................................ 106 Ferrante’s Coronation Arch .................................................................................. 111 Bronze Doors of Castel Nuovo ............................................................................. 115 Chapter 4: A Decade of Consolidation, 1470s..........................................................133 Renovations to the Capella Palatina ..................................................................... 133 Francesco Laurana’s Female Portrait Busts .......................................................... 139 The Battle of Troy and Other Flemish Tapestries ................................................. 155 Coinage ................................................................................................................. 159 Chapter 5: Fortification and Introspection, 1480-1494.............................................164 Urban Renewal and Fortification .......................................................................... 164 Giuliano da Sangallo and the Reggia Napoletana ................................................ 171 Final Developments in Neapolitan Coinage ......................................................... 178 The Scriptorium Palatina ...................................................................................... 180 Ferrante’s Breviary ............................................................................................... 181 De Maiestate ......................................................................................................... 184 Conclusion.................................................................................................................189 Artists and Aesthetics at the Neapolitan Court ..................................................... 193 The Iconography
Load more

Recommended publications
  • The Rough Guide to Naples & the Amalfi Coast
    HEK=> =K?:;I J>;HEK=>=K?:;je CVeaZh i]Z6bVaÒ8dVhi D7FB;IJ>;7C7B<?9E7IJ 7ZcZkZcid BdcYgV\dcZ 8{ejV HVc<^dg\^d 8VhZgiV HVciÉ6\ViV YZaHVcc^d YZ^<di^ HVciVBVg^V 8{ejVKiZgZ 8VhiZaKdaijgcd 8VhVaY^ Eg^cX^eZ 6g^Zcod / AV\dY^EVig^V BVg^\a^Vcd 6kZaa^cd 9WfeZ_Y^_de CdaV 8jbV CVeaZh AV\dY^;jhVgd Edoojda^ BiKZhjk^jh BZgXVidHVcHZkZg^cd EgX^YV :gXdaVcd Fecf[__ >hX]^V EdbeZ^ >hX]^V IdggZ6ccjco^ViV 8VhiZaaVbbVgZY^HiVW^V 7Vnd[CVeaZh GVkZaad HdggZcid Edh^iVcd HVaZgcd 6bVa[^ 8{eg^ <ja[d[HVaZgcd 6cVX{eg^ 8{eg^ CVeaZh I]Z8Vbe^;aZ\gZ^ Hdji]d[CVeaZh I]Z6bVa[^8dVhi I]Z^haVcYh LN Cdgi]d[CVeaZh FW[ijkc About this book Rough Guides are designed to be good to read and easy to use. The book is divided into the following sections, and you should be able to find whatever you need in one of them. The introductory colour section is designed to give you a feel for Naples and the Amalfi Coast, suggesting when to go and what not to miss, and includes a full list of contents. Then comes basics, for pre-departure information and other practicalities. The guide chapters cover the region in depth, each starting with a highlights panel, introduction and a map to help you plan your route. Contexts fills you in on history, books and film while individual colour sections introduce Neapolitan cuisine and performance. Language gives you an extensive menu reader and enough Italian to get by. 9 781843 537144 ISBN 978-1-84353-714-4 The book concludes with all the small print, including details of how to send in updates and corrections, and a comprehensive index.
    [Show full text]
  • CHAPTER 11 the Italian Renaissance and Beyond: The
    CHAPTER 11 The Italian Renaissance and Beyond: The Politics of Culture, 1350 - 1550 CHAPTER OUTLINE I. The Cradle of the Renaissance: The Italian City-States Renaissance Italy was distinguished by the large number and political autonomy of its thriving city-states, the development of which can be divided into two distinct phases: the republicanism phase of the eleventh century and the principality phase of the fourteenth century. A. The Renaissance Republics: Florence and Venice In contrast to the majority of the Italian city-states, Florence and Venice held steadfastly to the traditions of republicanism under the patriciate system of political and artistic influence by a few great families. 1. Florence Under the Medici The amazingly wealthy banker Cosimo de' Medici emerged as the greatest of the Renaissance patrons. Seizing Florentine political power in 1434, Cosimo enforced a long period of unprecedented peace in which the arts could flourish. Always at the center of Florence's political affairs, Cosimo nevertheless rarely held formal office and shrewdly preferred to leverage influence behind the scenes. 2. Venice, the Cosmopolitan Republic Venice, the first European power to control colonies abroad, conquered a number of ports along the Geek coast. The resulting influx of exotic goods transformed Venice into a giant in the economics of the region and cosmopolitan in its social scope. Defined primarily by its social stability, the Venetian city- state became (and still is) the longest surviving republic in history at roughly five hundred years of independent affluence. B. Princes and Courtiers The ideals of the Renaissance, though created within the republican city-states, soon spread to the principalities ruled by one man (the prince).
    [Show full text]
  • Machiavelli: the Prince
    The Prince by Niccolo Machiavelli The Project Gutenberg EBook of The Prince, by Nicolo Machiavelli This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: The Prince Author: Nicolo Machiavelli Translator: W. K. Marriott Release Date: February 11, 2006 [EBook #1232] Last Updated: November 5, 2012 Language: English Character set encoding: ASCII *** START OF THIS PROJECT GUTENBERG EBOOK THE PRINCE *** Produced by John Bickers, David Widger and Others THE PRINCE by Nicolo Machiavelli Translated by W. K. Marriott Nicolo Machiavelli, born at Florence on 3rd May 1469. From 1494 to 1512 held an official post at Florence which included diplomatic missions to various European courts. Imprisoned in Florence, 1512; later exiled and returned to San Casciano. Died at Florence on 22nd June 1527. CONTENTS INTRODUCTION YOUTH Aet. 1-25—1469-94 OFFICE Aet. 25-43—1494-1512 LITERATURE AND DEATH Aet. 43-58—1512-27 THE MAN AND HIS WORKS DEDICATION THE PRINCE CHAPTER I HOW MANY KINDS OF PRINCIPALITIES THERE ARE CHAPTER II CONCERNING HEREDITARY PRINCIPALITIES CHAPTER III CONCERNING MIXED PRINCIPALITIES CHAPTER IV WHY THE KINGDOM OF DARIUS, CONQUERED BY ALEXANDER CHAPTER V CONCERNING THE WAY TO GOVERN CITIES OR PRINCIPALITIES CHAPTER VI CONCERNING NEW PRINCIPALITIES WHICH ARE ACQUIRED CHAPTER VII CONCERNING NEW PRINCIPALITIES WHICH ARE ACQUIRED CHAPTER VIII CONCERNING
    [Show full text]
  • Architectural Perspectives in the Cathedral of Palermo: Image-Based Modeling for Cultural Heritage Understanding and Enhancement
    Inzerillo, L. and Santagati, C. (2015).Xjenza Online, 3:69{75. Xjenza Online - Journal of The Malta Chamber of Scientists www.xjenza.org DOI: 10.7423/XJENZA.2015.1.10 Research Article Architectural Perspectives in the Cathedral of Palermo: Image-Based Modeling for Cultural Heritage Understanding and Enhancement L. Inzerillo1;3, C. Santagati2;3 1University of Palermo, Department of Architecture, viale delle Scienze, Edificio 8, 90128, Palermo 2University of Catania, Department of Civil Engineering and Architecture, viale Andrea Doria n. 6, 95125, Catania 3Euro Mediterranean Institute of Science and Technology (IEMEST), Via Emerico Amari, 123 - 90139 Palermo Abstract. Palermo offers a repertoire of both artistic matic space is transformed into an aberrated pyramidal and architectural solid perspective of great beauty and prism where narratives are represented, subjects charac- in large quantity. This paper addresses the problem of terizing the context (D'Alessandro, Inzerillo & Pizzurro, the 3D survey of these works and their related study 1983; D'Alessandro & Pizzurro, 1989; Inzerillo, 2004, through the use of image-based modelling (IBM) tech- 2012). niques. We propose, as case studies, the use of IBM techniques inside the Cathedral of Palermo. Indeed, the church houses a huge and rich sculptural repertoire, dat- ing back to 16th century, which constitutes a valid field of IBM techniques application. The aim of this study is to demonstrate the effective- ness and potentiality of these techniques for geometric analysis of sculptured works. Indeed, usually the survey of these artworks is very difficult due the geometric com- plexity, typical of sculptured elements. In this study, we analysed cylindrical and planar geometries as well as carrying out an application of perspective return.
    [Show full text]
  • Naples - Campania
    Naples - Campania The city, capital of Campania, was founded by the Greeks in the 6th century BC. It is one of the oldest continuously inhabited areas in the world. It served as the capital of the Duchy of Naples from 661—1139, the Kingdom of Naples from 1282-1816 then the Two Sicilies until the unification of Italy in 1861. It is now the 3rd largest city in Italy and one of the leading ports in Europe. The historic city center is the largest in Europe and a UNESCO World Heritage Site. Within an easy day out are several notable destinations, including the ruins of Pom- peii, the Amalfi Coast and the Island of Capri. 7 ˄4 6 10> 5 1 3 8 9 2 1. Capella di San Severo 6. Duomo 2. Castel dell’Ovo 7. Museo Archeologico Nationale 3. Castel Nuovo 8. Palazzo Reale 4. Catacombe San Gennaro 9. Piazza del Plebiscito 5. Chiesa di San Domenico Maggiore 10. Vesuvius 1.Capella di San Severo 2. Castel dell’Ovo A jewel in the world’s 15th century building artistic heritage, with on the site of the origi- masterpieces like the nal 6th century Greek “Veiled Christ” and settlement and later a “Disillusion”. The Roman fortress. Just a chapel is one of the short walk from the most impressive city. monuments. 3. Castell Nuovo 4. Catacombe di San Gennaro Built as a fortress in The nucleus of the the 13th century. Catacombs dates back The castle now hous- to the 2nd century AD. es the Municipal Mu- It was probably the seum of Naples with tomb of a noble fami- objects from the me- ly, who then provided dieval period to the spaces for the Chris- 19th century.
    [Show full text]
  • Vladimir-Peter-Goss-The-Beginnings
    Vladimir Peter Goss THE BEGINNINGS OF CROATIAN ART Published by Ibis grafika d.o.o. IV. Ravnice 25 Zagreb, Croatia Editor Krešimir Krnic This electronic edition is published in October 2020. This is PDF rendering of epub edition of the same book. ISBN 978-953-7997-97-7 VLADIMIR PETER GOSS THE BEGINNINGS OF CROATIAN ART Zagreb 2020 Contents Author’s Preface ........................................................................................V What is “Croatia”? Space, spirit, nature, culture ....................................1 Rome in Illyricum – the first historical “Pre-Croatian” landscape ...11 Creativity in Croatian Space ..................................................................35 Branimir’s Croatia ...................................................................................75 Zvonimir’s Croatia .................................................................................137 Interlude of the 12th c. and the Croatia of Herceg Koloman ............165 Et in Arcadia Ego ...................................................................................231 The catastrophe of Turkish conquest ..................................................263 Croatia Rediviva ....................................................................................269 Forest City ..............................................................................................277 Literature ................................................................................................303 List of Illustrations ................................................................................324
    [Show full text]
  • Gian Cristoforo Romano in Rome: with Some Thoughts on the Mausoleum of Halicarnassus and the Tomb of Julius II
    Gian Cristoforo Romano in Rome: With some thoughts on the Mausoleum of Halicarnassus and the Tomb of Julius II Sally Hickson University of Guelph En 1505, Michel-Ange est appelé à Rome pour travailler sur le tombeau monumental du pape Jules II. Six mois plus tard, alors que Michel-Ange se trouvait à Carrare, le sculpteur et antiquaire Gian Cristoforo Romano était également appelé à Rome par Jules II. En juin 1506, un agent de la cour de Mantoue rapportait que les « premiers sculpteurs de Rome », Michel-Ange et Gian Cristoforo Romano, avaient été appelés ensemble à Rome afin d’inspecter et d’authentifier le Laocoön, récemment découvert. Que faisait Gian Cristoforo à Rome, et que faisait-il avec Michel-Ange? Pourquoi a-t-il été appelé spécifi- quement pour authentifier une statue de Rhodes. Cet essai propose l’hypothèse que Gian Cristoforo a été appelé à Rome par le pape probablement pour contribuer aux plans de son tombeau, étant donné qu’il avait travaillé sur des tombeaux monumentaux à Pavie et Crémone, avait voyagé dans le Levant et vu les ruines du Mausolée d’Halicarnasse, et qu’il était un sculpteur et un expert en antiquités reconnu. De plus, cette hypothèse renforce l’appartenance du développement du tombeau de Jules II dans le contexte anti- quaire de la Rome papale de ce temps, et montre, comme Cammy Brothers l’a avancé dans son étude des dessins architecturaux de Michel-Ange (2008), que les idées de ce dernier étaient influencées par la tradition et par ses contacts avec ses collègues artistes.
    [Show full text]
  • Map 44 Latium-Campania Compiled by N
    Map 44 Latium-Campania Compiled by N. Purcell, 1997 Introduction The landscape of central Italy has not been intrinsically stable. The steep slopes of the mountains have been deforested–several times in many cases–with consequent erosion; frane or avalanches remove large tracts of regolith, and doubly obliterate the archaeological record. In the valley-bottoms active streams have deposited and eroded successive layers of fill, sealing and destroying the evidence of settlement in many relatively favored niches. The more extensive lowlands have also seen substantial depositions of alluvial and colluvial material; the coasts have been exposed to erosion, aggradation and occasional tectonic deformation, or–spectacularly in the Bay of Naples– alternating collapse and re-elevation (“bradyseism”) at a staggeringly rapid pace. Earthquakes everywhere have accelerated the rate of change; vulcanicity in Campania has several times transformed substantial tracts of landscape beyond recognition–and reconstruction (thus no attempt is made here to re-create the contours of any of the sometimes very different forerunners of today’s Mt. Vesuvius). To this instability must be added the effect of intensive and continuous intervention by humanity. Episodes of depopulation in the Italian peninsula have arguably been neither prolonged nor pronounced within the timespan of the map and beyond. Even so, over the centuries the settlement pattern has been more than usually mutable, which has tended to obscure or damage the archaeological record. More archaeological evidence has emerged as modern urbanization spreads; but even more has been destroyed. What is available to the historical cartographer varies in quality from area to area in surprising ways.
    [Show full text]
  • Duchess and Hostage in Renaissance Naples: Letters and Orations
    IPPOLITA MARIA SFORZA Duchess and Hostage in Renaissance Naples: Letters and Orations • Edited and translated by DIANA ROBIN and LYNN LARA WESTWATER Iter Press Toronto, Ontario Arizona Center for Medieval and Renaissance Studies Tempe, Arizona 2017 Sforza_book.indb 9 5/25/2017 10:47:22 AM Iter Press Tel: 416/978–7074 Email: [email protected] Fax: 416/978–1668 Web: www.itergateway.org Arizona Center for Medieval and Renaissance Studies Tel: 480/965–5900 Email: [email protected] Fax: 480/965–1681 Web: acmrs.org © 2017 Iter, Inc. and the Arizona Board of Regents for Arizona State University. All rights reserved. Printed in Canada. Library of Congress Cataloging-in-Publication Data Names: Sforza, Ippolita, 1445-1488, author. | Robin, Diana Maury, editor, translator. | Westwater, Lynn Lara, editor, translator. Title: Duchess and hostage in Renaissance Naples : letters and orations / Ippolita Maria Sforza ; edited and translated by Diana Robin, Lynn Lara Westwater. Description: Tempe, Arizona : Arizona Center for Medieval and Renaissance Studies ; Toronto, Ontario : Iter Press : Arizona Center for Medieval and Renaissance Studies, 2017. | Series: Medieval and Renaissance Texts and Studies ; 518 | Series: The Other Voice in Early Modern Europe. The Toronto Series, 55 | Includes bibliographical references and index. Identifiers: LCCN 2016059386 | ISBN 9780866985741 (pbk. : alk. paper) Subjects: LCSH: Sforza, Ippolita, 1445-1488—Correspondence. | Naples (Kingdom)—Court and courtiers—Correspondence. | Naples (Kingdom)—History—Spanish rule, 1442-1707--Sources. Classification: LCC DG848.112.S48 A4 2017 | DDC 945/.706092 [B]—dc23 LC record available at https://lccn.loc.gov/2016059386 Cover illustration: Pollaiuolo, Antonio del (1433-1498), Portrait of a Young Woman, ca.
    [Show full text]
  • Castles of Napoli - Naples, Italy (All Levels) Description: Naples, Italy Is a City of Many Castles
    Castles of Napoli - Naples, Italy (All Levels) Description: Naples, Italy is a city of many castles. The requirements for this patch can be completed by visiting and/or researching Castel Nuovo, Castel dell'Ovo, Caserta Palace, Baia Castle, or Castel Sant’Elmo. Learn more about these castles by completing this badge. 1. This patch may be earned by participation as an individual or in a troop. Please follow Safety Wise when planning your outing. 2. The patch may only be earned by currently registered girls. 3. The patch is not official insignia. It may be worn on the back of the sash or vest. 4. The cost is $3.00 per patch. To earn this Badge: ● Daisies complete at least 4 of the following activities. ● Brownies complete at least 4 of the following activities. ● Juniors complete at least 6 of the following activities. ● Cadettes complete at least 8 of the following activities. ● Seniors complete at least 8 of the following activities. ● Ambassadors complete at least 8 of the following activities. 1. What year was the Castel dell’Ovo built? What islet does it sit on? What legend surrounds that islet? 2. How did the Castel dell’Ovo get its name? 3. Visit Royal Palace of Caserta. Wander through the rooms and learn about the Bourdon Kings of Napoli. 4. Visit the garden at the Royal Palace of Caserta and view the five fountains. Share with your troop which fountain is your favorite and why. 5. What year did the construction of the Royal Palace begin? What year was it completed? 6.
    [Show full text]
  • Descriptive Memory
    Proposal of reform and change of use of the farmhouse "Can Puig" in Palafolls 9 DESCRIPTIVE MEMORY A historical study. 1.1 Location and environment. 1.1.1 Location. The country house that is going to be reformed, which is called"Can Puig", is located in Palafolls, town that belongs to “El Maresme”, province of Barcelona. The nearest towns to Palafolls are: Tordera, Malgrat and Blanes Palafolls’ surface is of 16,20 km² and there are about 251 inhabitants per km². Maresme a Catalunya Palafolls al Maresme Límits municipals de Palafolls i ubicació de “Can Puig” 10 Proposal for reform and change of use of the house "Can Puig" in Palafolls FIXED AND LOCATION OF SITE Name of the farmhouse Can Puig The Building Typology Isolated Region Maresme Municipality Palafolls Geographical height 16 m above the sea level Seismicity Low City Limits Tordera limited to the north, to the North for spite, east to Blanes (I) to the North West Santa Susana County boundaries Bounded to the north by Valles to the Eastern Mediterranean by sea, by Barcelona to the South and West-east forest. 1.1.2 Geography Relief: Palafolls is located to the northeastern border in the Maresme region (Barcelona) by Tordera limit of frontier with the region of La Selva and while the province of Girona. The Municipal term is 3.16 km ², and it’s 16 m above the sea level.. The first of December of 2006 population was 8,102 inhabitants. The most popular occupation in Palafoll is teh tourism industry. The central core is called Ferreries and two of the main neirhborhoods are Sta.
    [Show full text]
  • Si Invita La Gentile Utenza a Consultare La Sezione "Avvisi Al Pubblico"
    Orario in vigore dal 01.09.2021 02 - CE - CASERTA F.S. - RECALE - CAPODRISE - MARCIANISE - PORTICO DI CASERTA - MACERATA - SANTA MARIA CAPUA VETERE Orari validi nei giorni feriali Periodo CA6 CA6 CA6 CA6 CA6 CA6 CA6 CA6 CA6 CS1 CA6 CS1 CA6 CA6 CA6 CA6 CA6 CA6 CA6 CA6 Cadenza FE6 FE6 FE6 FE6 FE6 FE6 FE6 FE6 FE6 FE6 FE6 FE6 FE6 FE6 FE6 FE6 FE6 FE6 FE6 FE6 Fermata CASERTA, VIA CILEA - I.P.S.I.A. (IST. ALBERGHIERO "G. FERRARIS") 13.10 14.15 VIA BORSELLINO - VIA S. AUGUSTO I.T.I.S. "GIORDANI" 13.15 14.18 CASERTA, STAZIONE F.S. 5.45 6.30 7.20 8.30 9.30 10.30 11.30 12.40 13.20 13.35 14.20 14.35 15.30 16.35 17.30 18.30 19.30 20.35 21.20 SOTTOPASSO VIALE CARLO III - RAMPA AUTOST. MARCIANISE - VIALE EUROPA SOTTOPASSO VIALE CARLO III - VIA PONTESELICE (M.T.C.) (DX) 5.49 6.34 7.25 8.35 9.35 10.35 11.35 12.45 13.25 13.40 14.25 14.40 15.35 16.40 17.35 18.35 19.35 20.40 21.25 RECALE, VIA ROMA - PIAZZA MATTEOTTI 5.53 6.38 7.30 8.40 9.40 10.40 11.40 12.50 13.30 13.45 14.30 14.45 15.40 16.45 17.40 18.40 19.40 20.45 21.30 VIA S. SALVATORE (IN FONDO A DX) - VIA MUNICIPIO (SX) 5.55 6.40 7.33 8.43 9.43 10.43 11.43 12.53 13.33 13.48 14.33 14.48 15.43 16.48 17.43 18.43 19.43 20.48 21.33 CAPODRISE, VIA SANTA CROCE - PIAZZA DE FILIPPO 5.57 6.42 7.35 8.45 9.45 10.45 11.45 12.55 13.35 13.50 14.35 14.50 15.45 16.50 17.45 18.45 19.45 20.50 21.35 VIA GIANNINI - MARCIANISE, VIA G.
    [Show full text]