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Home , Emilia (region), Palazzo dei Diamanti, Palazzo Schifanoia, Portomaggiore, Province of Ferrara

h y b r i d p a r k s a b i l i t i e s s y n e r g i e s performances 03NL 03 11/2013 THE PROVINCE OF

Piacenza Ferrara

Parma Reggio

Modena

Rimini Forlì-Cesena

EMILIA- ACTIONS the province REGION AND ACTIVITIES of ferrara

Emilia-Romagna is located in Emilia-Romagna Region is very active A landscape vast and quiet as the the north of and hosts about in the development of activities which plain over which the Province of Fer- 4,405,000 inhabitants. It includes aim at enhancing and qualifying re- rara extends, a territory born from two historical regions: “Emilia”, gional landscape and environment. a balance between earth and wa- which encompasses the provinces ter, in the Northeastern tip of the of , , , Through the Piano Territoriale Paesis- Emilia Romagna region, formed by , Bologna and Ferrara; and tico (Territorial Landscape Plan) of a sequence of different landscapes: “Romagna” which includes the re- Emilia-Romagna, approved in 1993, cultivated fields, cities of art, for- maining provinces of Ravenna, Forlì- the Region has been focusing on im- ests, valleys, pine forests, up to the Cesena and . However, there proving and developing the region- seaside resorts along the coast. is a territorial reorganization on the al territory and landscape while way, which could change the current protecting both the cultural iden- The is located territorial planning of the Region. tity and the integrity of the territo- in the south-eastern part of the Emilia-Romagna is one of the rich- ry itself. Therefore, every landscape Valley where the naturalistic beau- est regions in Italy due either to its should be improved and transform ties - the river Po, the flat landscape, agricultural, tourism and produc- according to the natural, historical the Valleys, the peace- tive propensity and to the several and cultural area in which it belongs, ful countryside - and the wonderful small and medium-sized enter- in order not to destroy our communi- historic heritage have always made prises widespread throughout the ties’ territorial values. the territory very fascinating, so that territory. Emilia-Romagna is now planning a it became source of inspiration for It is well-known in the world for the new and updated Piano Territoriale many artists through the centuries. distribution of some of its most im- Paesistico. On the eastern edge of the province, portant products, such as the Parmi- where the amazing Po Delta lies, you giano-Reggiano, Parma ham, Ferrari can also relax on the beach and en- and Ducati. joy the nightlife in the seven seaside Because of the global economic cri- resorts called Lidi di Comacchio. sis, Emilia-Romagna’s GDP has de- creased by about 5%, in line with the national average. However, this Italian Region plays a leading role in www.flytoromagna.com external trade and in the production www.unife.it of manufactured goods.

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their exclusion from social life creation of green corridors and the HP focus: SOCIAL and, therefore, to promote social improvement of public accessibility. VEGETABLES inclusion. For instance, cycle lanes and paths Considering all the existing exam- can represent a solution either to the GARDENS ples, there is evidence that they have problem of access entry and of their transformed positively urban areas. lack of aesthetic qualities. Therefore, The participation of the Emilia-Ro- They have had a great impact on ter- it is necessary to plan a new style and magna Region to the Hybrid Parks ritory and on landscape, either by re- design in terms of landscape and ac- projec focuses on social vegetable generating the environment of both cessibility. gardens, as elements of local territo- urban and peri-urban spaces and Furthermore, we focus on raising ry and landscape. This kind of garden by regaining abandoned areas. For awareness and consensus on the can represent an ecological and en- instance, thanks to social vegetable cultural and environmental values vironmental turning point, charac- gardens, it has been possible to en- of allotment gardens, in order to re- terized by strong social, cultural and large green areas, to regenerate the duce speculation on these areas. pedagogical features. In fact, they ground and also to link the city with In addiction, we would like to extend represent both a social develop- the outskirts. However, they are char- the use of public gardens also to ment tool for inclusive politics and acterized by some negative features other social groups. For instance, ei- also an element of environmental which should be improved. First of ther elderly, young people and kids or urban renewal to enhance qual- all, the access is difficult, as they are can take advantages of social vegeta- ity of life and improve the land- usually fenced. Secondly, they still ble gardens. scape of the territory. represent a weak typology of land Furthermore, since allotments are use in opposition to the expansion globally widespread, it would be Social vegetable gardens are widely pressure of the construction industry. worth creating a network of veg- spread in Emilia-Romagna Region: Last but not least, they often lack of etable gardens in order to boost 14.000 gardens out of 18.000 are lo- aesthetic quality. activities to change positively the cated in our territory, mostly in the peri-urban and urban landscape. outskirts. In our country, the majority We aim at including this tyoe of cul- As a first step, the Landscape Office of them are located in public areas tivated areas within the category of of the Emilia-Romagna Region re- for social scopes. parks and gardens. The same recog- cently launched a public initiative Allotments have been created for nition and dignity, which parks and “AAA: Coltivatori di paesaggi quotidi- elderly or retired people for spe- gardens have, can be given to so- ani” in order to map local initiatives of cific social needs, in order to reduce cial vegetable gardens by both the horti-culture (*).

Front page. Historical map of the city (© www.skyscrapercity.com) 1. Allotments in the city (© www.matteolepore.it ) 2. The success of urban vegetable gardens also convinces BolognaFiere, which is expec- ted to allocate a portion of its land property to the practice of agriculture. The empty areas around the Fair District could be managed by some of 3,364 persons who are nowadays on a waiting list (© www.emiliaromagna24news.it)

(*) “AAA: Coltivatori di paesaggi quotidiani / Everyday landscapes farmers” was launched in August 2012 in order to gather information on on-going experiences of social vegetable gardens and their relation with green spaces: allotments and shared gardens, awareness- raising and dissemination activities, academic 2 projects and training courses. NL 03 11/2013 | 3 RY HIS TO

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The origin of Ferrara is uncertain, it axis, along the banks of the Po River, ferrara: was probably settled by the inhab- with longitudinal streets and many City of the itants of the lagoons at the mouth of cross streets around which the medi- Po river. There are two early centres eval city was organized. Renaissance of settlement, one round the cathe- dral, the other, the castrum bizantino, The most significant characteristic Ferrara is situated 50 km north-north- being the San Pietro district, on the of Ferrara’s urban history rests on east of Bologna, on the Po di Volano, opposite shore, where the Primaro the fact that it developed from the a branch channel of the main stream water stream empties into the Volano 14th century onwards and, for the of the Po River. The town has broad canal. first time in Europe, on the basis streets and numerous palaces dat- In the 15th and 16th centuries it of planning regulations that are in ing from the 14th and 15th centuries, became an intellectual and artis- use nowadays in all modern towns. when it hosted the court of the House tic centre that attracted the great- This type of development is known of Este. For its beauty and cultural est minds of the Italian Renais- as addizione; the third phase was im- importance it has been qualified sance. Here, Piero della Francesca, plemented in 1492, making Ferrara by UNESCO as World Heritage Jacopo Bellini and the only planned Renaissance town Site: the historic center was in fact decorated the palaces of the House to have been completed. conferred this honor in 1995, being of Este. The humanist concept of The street network and the enclos- denominated a “City of the Renais- the “ideal city” came to life here ing walls are closely linked with sance”, considering that the site is in the neighbourhoods built from the palaces, the churches, and the of outstanding universal value, be- 1492 onwards by Biagio Rossetti gardens. Throughout the 16th cen- ing a Renaissance city, remarkably according to the new principles of tury the city was planned with the planned, which has retained its ur- perspective. The completion of this aim of making it a future “capital”. ban fabric virtually intact. The devel- project marked the birth of modern Its evolution came to an end after the opments in town planning expressed town planning and influenced its 17th century under papal adminis- in the city were to have a profound subsequent development. tration, and the city did not undergo influence on the development of ur- any extensions for almost three cen- ban design throughout the succeed- Among the great Italian cities, Fer- turies. The city plan (1492) provided ing centuries. In 1999, the listing was rara is the only to have an original for doubling its area, an expansion extended to include the area of the plan that is not derived from a Ro- limited to the south of the castle and Po Delta and the “Delizie”, court resi- man layout. It did not develop from completed by a new and very up-to- dence of the Este family. a central area but rather on a linear date defensive system.

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3. The Cathedral / Basilica Cattedrale di San Giorgio, Duomo di Ferrara (© www.quadrilaterounesco.it) 4. City map (©www.fe.infn.it)

NL 03 11/2013 | 5 bloody that Nicolò, feeling himself to The House be in danger, ordered the construc- of Este tion of the great Castello di San Michele to the design of Bartolino da Novara. This became the symbol of a despotic power that dominat- In 1264, Obizzo d’Este prevailed over ed a city it had at last subdued, a the rival Salinguerra family of Ghi- sign of the ’s great belline allegiance and for over three

RY HIS TO political and military strength centuries the political scene in the that removed any ambition com- city and its territory was dominated peting Ferrarese families might by the House of Este. This politi- have with regard to control of the cal and administrative continuity city. made the splendour of Ferrara and the Estense court grow until it occu- After Nicolò II, his brother Alberto 6 pied a recognised space among the held power for a few years; he gov- most prestigious European courts. erned with a favourable eye to the In the first part of their lordship, arts and other studies. In fact, it is 5. Portrait of Lionello d’Este in a little over a hundred and fifty painted by (1441), to him that the founding of the Uni- Accademy of Carrara (© www.wikipedia.org) years, Ferrara underwent a sur- versity of Ferrara in 1391 is owed. 6. Portrait of Borso d’Este prising urban development and painted by Baldassarre d’Este saw its own city walls grow by up Alberto’s son, Nicolò III (1393- (© www.wga.hu.it) to four times in length, vast areas 7. Portrait of Lucrezia Borgia, the daughter of 1441), was endowed with great po- Pope Alexander VI and wife of the Duke Alfon- of the Po Delta reclaimed and its litical instinct. His talent gave stabil- so I d’Este. Despite her family came to epito- art and culture enjoy periods of ity to the state enabling it to make mize the ruthless Machiavellian politics and great esteem and resonance. headway within the setting of Italian sexual corruption alleged to be characteris- tic of the Renaissance Papacy, proved to be affairs with increasing success from a respectable and accomplished Duchess of Under Nicolò II d’Este (1338-1388) this moment on. Nicolò III was suc- Ferrara, effectively rising above her previous the family’s power was definitively ceeded by his sons Leonello, Borso reputation and surviving the fall of the Borgias confirmed. The people of Ferrara and Ercole in that order. following her father’s death. worn out by famine rose against their (© www.studioesseci.net) 8. Portrait of Ercole I d’Este governors in 1385 in a rebellion so Leonello (1407-1450), a prince en- (© www.wikipedia.org) lightened in politics, refined and an art lover started up a distinguished Flemish artists and their techniques, group of humanists whose names exchanging influences in the colors include maestro Guarino da Verona, and composition choices. Compos- Angelo Decembrio and Leon Battista ers came to Ferrara from many parts Alberti. of Europe, especially France and Flanders; Josquin Des Prez worked Borso (1413-1471), a man of action, for Duke Ercole for a time (produc- an able soldier, ambitious and a ing the Missa Hercules dux Ferrariæ, shrewd statesman, earned the title which he wrote for him); Jacob Obre- of Duke for his family in 1471. He cht came to Ferrara twice (and died never stopped working to sustain during an outbreak of plague there the economy above all through land in 1505); and Antoine Brumel served reclamation work on the Ferrarese as principal musician from 1505. The territory, which was for the most part long alliance between Ferrara and swampy and unproductive. He mod- the Venetian Republic was brought ernized the administrative structure to an end by Ercole, who moved clos- of the state and repeated Niccolo II’s er to France. His wife, Eleanora of experiment by creating the second Aragon, and their daughters Isabella addizione on the same lines, reserv- and Beatrice played an important ing a Quarter in the south-east of the part in the political life of the Duchy city for merchants. Among his com- and its relations with Naples and the mitments he strongly supported the neighbouring Duchies of Mantua University. and Milan. In 1492 he began the largest and During the reign of Ercole d’Este most famous addizione in Fer- I (1433-1505), one of the most sig- rara as protection against venice. nificant patrons of the arts in late The work was carried out by the ar- 15th- and early 16th-century Italy chitect Biagio Rossetti, assisted by after the Medici, Ferrara grew into Pellegrino Prisciani. Working with a cultural center, renowned for Alessandro Biondo he extended the music as well as for visual arts. defensive walls on the north of the The painters established links with 5 city, whose area was doubled. In this

NL 03 11/2013 | 6 enormous new area he applied the plan that had already been tried in the earlier addizioni. However, Bia- gio Rossetti used perspective in defining urban space. The main street, which linked the castle with the villas and parks to the north con- tinued to be a private road for the princely family, along which faithful supporters built their palazzi.

Alfonso I (1476-1534), son of Ercole, was also an important patron; his preference for instrumental music resulted in Ferrara becoming an im- portant center of composition for the lute. Conflict with Venice continued under Alfonso I, along with a dispute with Pope Julius II, who wanted to govern the directly.

Relations with the Papacy became more complicated under Alfonso II, whose mother, Renee of France, pro- tected persecuted Calvinists. In 1557 he began to introduce the principle of bastions into the city’s fortifica- tions. On his death in 1597 the Este family left Ferrara for Modena, and pope Clement VIII took back possession of the city, which be- came a distant province of the Pa- 7

pal States. The economic situation of the city deteriorated, with the walls being attacked by flooding from time to time and the countryside becom- ing impoverished. Nevertheless, a pentagonal fortress was built in 1608 to the south-east of the city (it was demolished after 1869).

Attempts to relaunch the economy Of Ferrara in the 18th century by creat- ing a canal to link up with the Po river and a new port did not have the ef- fects anticipated. In 1796 the city was occupied by the French, who made it part of the . Ferrara was oc- cupied again by the French in the 19th century, and then by the Aus- trians. When it became part ofthe in 1859 major reclamation works began on the marshlands, the city’s gates were enlarged, and new infrastructure was added (railway, hospitals, etc). Damage during World War II was limited.

www.britannica.com 8 www.en.wikipedia.org

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principles of Renaissance. The dug by workers from all around the The Erculean Duke did not only aim at defending county. Addition: the the city and his domains, but also at Key point of the urban pattern of “the demonstrating the power of Ferra- new Ferrara” was the quadrivium of new ferrara ra over other Italian cities, mainly diamonds, that after the construc- over Venice. tion of the magnificent “Palazzo dei Throughout the Middle Ages and al- Diamanti” acquired a strong sym- most to the end of the 15th Century, Rossetti’s innovative urban plan for bolic value. From this intersection, in the northern boundary of the city of Ferrara consisted of: towered walls, fact, originated the two orthogonal Ferrara ran along the current road new gates, squares (Piazza Nuova – axes Corso Ercole I and Corso Por- system of Viale Cavour - Corso Gio- today Ariostea) and public spaces, ta Mare / Corso Biagio Rossetti, vecca. On the norther side of this links to the old city, new construc- that organically structure the “Ren- boundary there were several build- tions, including aissance Addition” and articulate a ings, even prestigious ones, some of and four churches (San Benedetto, vast urban composition where each which were owned by the Este family. San Giovanni Battista, Santa Maria element (square, palace or church) In 1492 the Duke Ercole I commis- della Consolazione), in the new aris- could not be evaluated individually sioned the architect Biagio Rosset- tocratic district. but only as part of a whole. ti the ambitious project to include this vast area in the city centre, The plan implementation dates back Finally, he melted in a magnificent thus doubling the surface area of to the historical period between Mid- way new and old infrastructures and the city’s urban area. The architect dle Age and Renaissance. Numerous appeared to be innovative in the and town-planner designed a plan historical documents provide evi- creation of spaces for popular hous- which, due to its original and rational dence of the urban transformation, ing. Contrary to the tendencies of his nature, made Ferrara “the first mod- an unprejudiced project, opened to days, Rossetti did not planned an ern city in Europe”. In honour of the the new Renaissance City without ideal city; he designed a vital city, Duke who ordered its building this denying the Medieval framework. applying the Renaissance con- great district is known as “Addizione Already during the summer of 1490 cepts to the urban plan. Erculea”. the Duke started to expropriate the lands to be included in defensive To carry out the enlargement plan, quarter; the following year, he ap- Biagio Rossetti followed both the ide- proved the plan for the new defen- www.ferraraterraeacqua.it as of the Duke Ercole I and the new sive city walls, whose ditches were www.rivista.fondazionecarife.it

NL 03 11/2013 | 8 The Green Addition: terravivabio Rossetti, basing his work on the di- rectives for the realization of con- temporary cities, decided to include large green areas within the city center. The original drawing for the Addition, in fact, provided for a vast portion of land dedicated to agri- culture on the norther-eastern quar- ter, which was functionally and visu- ally connected to the countryside 10 outside the city walls, as a continua- tion of the immense area stretching piece of countryside within the in- according to biological principles. up to Po River called “Barco”. Tra- ner city. Since 2007 the family cultivates a ditionally the valley was used as “a Here find place: the Charterhouse, portion of land in TerravivaBio and place of delight” by the Este Dukes, built by Borso d’Este in 1461 and manages a small shop where is possi- who were used to come here to hunt transformed into a monumental cem- ble to buy local biological products: rabbits and boars and to organize etery at the beginning of the 19th fresh vegetables and fruit, jam, mar- horse races. In 1526 a watchtower century, the Jewish Cemetery, two malades, juices, flours, vegetables, along the walls was transformed into private estates - Horti della Fasanara organic bread and dairy products. a door, called “Porta degli Angeli”, and Principessa Pio - transformed The Nuova Terraviva Association pro- through which the Duke family could into agritourism/B&B and Terraviva- motes organic farming and biody- exclusively access their “Barco“ Bio which occupies the former gar- namic agriculture, Waldorf educa- hunting estate. This area seems still den of the Cistercian monks annexed tion, organic living and the protection boundless, with its 1.200 hectares to the nearby monastery. of consumers’ interests regarding characterized in winter by rows of food and nutrition. There is a “park- poplar trees covered by fog and, in Nowadays TerravivaBio is a green countryside” area, accessible to summer, by the intense yellow colour area dedicated to organic-cultiva- members and all citizens in special of the grain. tions and educational activities. The occasions with benches, sculptures land, property of the Municipality and wooden playgrounds for kids As part of his Green Addition, Ros- of Ferrara, is protected by the Local and a meditative route called “Cos- setti decided to include vegetable Territorial Plan, since its classifica- mogram “, with trees, shrubs, resting gardens in the Renaissance District, tion as “expansion area for the Char- areas, paintings and poems to wor- a land of about 10 hectares between terhouse”, thus not suitable for build- ship nature and enhance meditation. “Porta degli Angeli” and “Torrione di ing. Large space is dedicated to biody- San Giovanni” that is still preserved Two biological farms, Dalle Molle namic beekeeping. Furthermore the after more than 500 years. After the Bio-Pastoreria and Associazione Nuo- association manages a “shared veg- II World War, in fact, despite the pres- va Terraviva are responsible for 4 etable-garden “ of about 300 square sure of real estate speculation, the hectares of biological cultivations. meters, which is cultivated together Municipality of Ferrara took po- The Dalle Molle Bio-Pastoreria is in- by all participants with natural meth- sition against new constructions volved with organic and biodynamic ods (organic, biodynamic, synergy, in the area and decided to buy the agriculture since 1994, when the fam- etc.), without making use of pesti- land, in order to preserve a unique ily farm, 17 hectares in the country- cides and synthetic fertilizers. “empty space” that represents a side of Ro Ferrarese, was converted

www.altreconomia.it www.ferraraterraeacqua.it www.rivista.fondazionecarife.it www.nuovaterraviva.org www.orticondivisi.altervista.org www.terravivabio.blogspot.it

9. Map of the city of Ferrara with indication of the “Addizione Erculea”, XVIII century. (© Biblioteca Ariostea) 10. The biological shop managed by the Dalle Molle family (© www.terravivabio.blogspot.it) 11. The “shared vegetable gardens cultivated by the Nuova Terraviva Association 11 (© www.orticondivisi.altervista.org) NL 03 11/2013 | 9

The name of the palace derives from the motto “schivar la noia” / “avoid tedium” and refers to the build- ing’s function as a place for fun and recreation as it was an Estense “Delizia”.Building on Schifanoia be- gan at the end of the 14th century in m on ume nt s a very green area near the river Po. Nowadays, the palace has the ap- pearance of a long building divided into two wings: the single-storey 14th-century wing to the west (home to the Civic Museum) and to east the two-storey 15th-century wing which makes up Duke Borso’s extension of the years 1465-1467. The façade, at one time crowned with crenella- tions and frescoed with fake poly- chrome marble, is distinguished by an elegant marble portal de- signed by . The most interesting room is definite- ly the Sala dei Mesi (Room of the Months), frescoed by Ferrara paint- ers of the 15th century: Francesco del Cossa, Ercole de’ Roberti and others. 12 13

ESTENSE CASTLE

The Castello di San Michele was built in Ferrara in 1385 by Niccolò II d’Este after a dangerous revolt.

Its imposing proportions, its moat, its drawbridges and its towers date back to that remote period. An el- evated covered passageway, which still exists, joined the military build- ing to the marquises’ Palace, today Palazzo Municipale. Centuries went by and the risk of riots died down. And so the castle became the mag- nificent residence of the court and was embellished with roof terraces at the top of the towers, marble bal- conies, the Renaissance style court- yard (at the time fully frescoed) and sumptuous apartments. The impos- ing towers stand out at the four cor- ners of the Castle, symbols of the magnificence of the Este Family: the Torre di Santa Caterina; the splen- did Torre dei Leoni, from which it is possible to admire the panorama of Ferrara (you can climb to the top of it during the visit of the Castle); the Torre Marchesana and the Torre di 14 San Paolo. NL 03 11/2013 | 10 PALAZZO dei diamanti

The magnificent Palazzo dei Dia- manti, at the centre of the Addizione Erculea, on the important crossroads known as the Quadrivio degli An- geli belonged to the duke’s brother Sigismondo d’Este. Its name de- rives from over 8000 pink and white marble ashlars in the form of pyramids (or diamonds) that cover the two façades. The archi- tect Biagio Rossetti rendered it a townplanning masterpiece by plac- ing the most important decoration on the corner: a contrivance destined to highlight the importance of the crossroads and make the building an entirely original work, designed as it was to be viewed in perspec- tive rather than from in front of the façade. Indeed, the corner adorned with splendid sculpted candelabras by Gabriele Frisoni and by a gra- cious balcony (added a little later) tends to lead the visitor towards the nearby Piazza Ariostea. 15

CITY WALLS

The ancient Walls of Ferrara encir- cle the historic centre almost with- out interruption for nine kilometres, constituting one of the oldest and most impressive defensive sys- tems of the Middle Ages and the Renaissance. Time has transformed these walls into a place for meeting friends, practicing sport and recrea- tion, where people can relax as if in a tranquil garden. Most of the walls to the north were built between 16 1493 and 1505 and are marked out by the smaller semicircular towers ardo della Montagna, where at the and by the long “patrol path” used end of Via Marco Polo a 17th century by the sentries. At the north-west garret for guarding the former Porta end of the walls stands the Torri- di San Giorgio can still be seen. The one del Barco, an example of mili- southern fortifications are character- tary architecture between the 15th ised by four imposing bastions in the and 16th century. Distinguishing fea- form of the “ace of spades” built on tures include the Porta degli Angeli the orders of Alfonso II between 1575 to the north and, to the east, the Tor- 12. Portal of Palazzo Schifanoia and 1585. At the southern entrance of rione di S. Giovanni, whose circular (© www.foliamagazine.it ) the walls stands Porta Paola (1612). 13. Detail of the fresco by Francesco dal Cossa structure is typical of Renaissance In the stretch of wall that leads from in the “Sala dei Mesi” (© www.Wikipedia.org) military architecture. The stretch the gate to the west, there are two 14. View of Estense Castle drawn by Giuseppe of walls to the east was conceived Migliari (1822-1897) (© www.castit.it ) bastions and a statue of Pope Paul V by Alfonso I d’Este, between 1512 15. View of Palazzo dei Diamanti who commissioned the 17th century (© www.estense.com) and 1518. Distinguishing features defensive works. 16. View of the city wall include the artificial hill of the Balu- (© Enrico Lapponi / www.flickr.com) NL 03 11/2013 | 11 parks

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PARCO MASSARI

The park takes its name from the ad- joining palace, which was built at the end of the 16th century, and which has the biggest public gardens with- in the city walls, covering an area of about 4 hectares.

Designed in 1780 by the Ferrara ar- chitect Luigi Bertelli for the Mar- quise Camillo Bevilacqua, this im- portant garden was well-known for the many sculptures which adorned it, and the great variety of citrus fruit and flowering plants which perfumed its magnificent paths, and includes a little hill with a temple on the top. The Counts Massari purchased the palace in the middle of the 19th cen- tury, altering the estate to form a park in the “English” style. Most of the trees are more than a century old: besides the two cedars of Lebanon at the entrance, there are some yews and an imposing ginkgo, as well as a gigantic oak near the en- trance in Corso Ercole I d’Este. It has been the property of the City of Ferrara since 1936, who have had it converted into a public park. 18 NL 03 11/2013 | 12 17. The gorgeous cedar tree supported by a PARCO PARESCHI metallic structure located at the main entrance of Massari Park (© www.flickr.com ) 18. View of the Massari Park The park was originally the garden (© Paolo C. / www.flickr.com ) 19. View of Palazzo Pareschi of the Estense Palace, said to be of (© Joel Tramonte / www.flickr.com ) St. Francis, which was built in the 20. View of the main entrance of Pareschi Park second half of the 15th Century by (© Joel Tramonte / www.flickr.com) Pietro Benvenuto of the Francescan Order, and then continued by Biagio Rossetti.

In the middle of the next century, the palace and its garden were altered by the wishes of Cardinal Ippolito II d’Este, and the wall surrounding the estate was decorated with paint- ed battlements. The park owes its name to the Pareschi, who bought the palace in the middle of the 19th Century, and replanted its garden, by then converted into allotments, in the “English” fashion. The last owner of the palace, Count Vittorio Cini, gave the entire estate to the city of Ferrara in 1942, and in 1959 it became the new University administration building.

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The territory of Barco is located be- tween the city and the river Po. It was one of the Este’s game reserves, parks related to the famous “Delizia di Belfiore”, within the walls of the city, and so devoted to the entertainment and amusement of a refined and cul- tivated court.

Now this area of about 1,200 hec- tares has become an urban park, divided into several green spaces equipped for leisure-time activi- ties. It is a place of transition be- tween the urban area and the fields used for agriculture, with the city walls running through it. Thanks to this “green addition” (the fourth historical enlargement of the city) the border of Ferrara now reaches the river Po. Several social and sport facilities are located here: the C.U.S. (University Sport Centre), the municipal swim- ming pool and a Leisure Centre for Senior Citizens. In front of the ram- parts and alongside the walls, there are bicycle paths and protected foot- paths. 21

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The cemetery is an evocative, silent JEWISH place dominated by nature, which CEMETERY embraces and almost envelops the simple gravestones. The oldest of them date back to the 19th century since those of the previous century During the Renaissance, Ferrara was had been uprooted and used for the one of the first cities in Italy to al- column that supports the statue of low Jews to live openly, under the Borso d’Este outside Palazzo Munici- tolerant dukes of Este. The growing pale. Among those of greatest artistic 21. The Bridge over the lake of Bassani Park need of credit facilitated the settle- value is the recently laid tomb of the (© Mauro Mazzacurati / www.flickr.com ) ment of Jews, who probably were at writer Giorgio Bassani, who died in 22. View of the trees from the river lake first admitted here, as to other states (© Fabio C. / www.flickr.com ) 2000, realized by the sculptor Arnal- 23. Jewish Cemetery, tombstones of Italy, as money-lenders, though do Pomodoro. (© Agatha & Andrew Mleczko / www.flickr.it ) they afterward became active as re- 24. Tombstones in the Jewish Cemetery tailers, manufacturers, and trades- (© Google Panoramio ) men. The Jews were allowed autono- my; and the government appointed a special judge to adjudicate matters between Jews and Christians. The situation of the Jews deteriorated in 1598, when the Este dynasty moved to Modena and the city came under papal control.

The Jewish settlement, located in three streets forming a triangle near the cathedral, became a ghetto in 1627. Apart from a few years under Napoleon and during the 1848 revo- lution, the ghetto lasted until Italian unification in 1859. 24

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25. View of the Gran Bosco della GRAN BOSCO (© Alberto Savelli) 26. Deer inside Mesola’s woodland DELLA MESOLA (© Guido Barbari ) 27. Verginese, an Estense turred villa recog- nised by UNESCO as a world heritage site (© www.wikipedia.org ) The Gran Bosco della Mesola covers 28. View of the garden of the Verginese villa, an area of 1,058 hectares which rep- traditionally called “brolo” that was recently resent the remains of a woodland restore by the Municipality of complex, once much larger, which and the Province of Ferrara. Originally it showed mainly flowers and fruit trees, in order originated around the year 1000. to combine the pleasure of colours and scents One part of the wood is a Full Nature with the useful production of fruits and vegeta- Reserve, an area fully protected ble for the courtship’s nutrition. and left to its natural evolution, (© Eleonora Verri / www.flickr.com ) while the rest of the area is a Nature Reserve. The terrain is of alluvial origin and is irregular, a symptom of ancient dunes which in parts form pools of water with marsh vegetation. At one time, the wood, being sur- rounded by marshes, was frequented by numerous bird species typical of the wetlands; the drastic reduction in fauna, caused by the drainage works, has been halted by the creation of a wetland area inside the wood, called Elciola, generally closed to the public, where duck species and herons find sanctuary. Of great beauty is the Tagl- io della Falce, on the northern edge of the Gran Bosco, from which it is pos- sible to admire the mouth of the Po di Volano and the Sacca di Goro. 26 NL 03 11/2013 | 16 it was the favourite residence of the building by a portico of the same pe- VERGINESE: duke’s last companion, Laura Dianti. riod. The interior, decorated from the ESTENSE VILLA The architect 18th-century onwards with stuccoes converted a pre-existing farm- in variegated ornamental forms, now house configuring the building as hosts cultural reviews and exhibi- a castle bordered by four square tions. The rooms of the Verginese In the small village of Gambulaga, embrasured towers. He used ash- are seat to the permanent exhibi- set in the green countryside, stands larwork to the sides of the doors, on tion “Mors Inmatura”, featuring this quaint Estense turreted villa, the corners of the towers and in the the finds from the Roman necropolis which, due to its small size, looks like embrasures and gave the windows of the Fadieni family, situated a short a sort of miniature castle. on the façade triangular and ellipti- distance from the Delizia. Sculpted Alfonso I built it at the beginning of cal gables. The aim was by no means steel, inscriptions, the portraits of the the 16th century on the banks of the defensive, but was highly ornamental dead, bronzes, coins and a collection River Sandolo, a medieval branch and ostentatious. Alongside, stands a of finely decorated glass vases are of the Po that no longer exists, and small 18th-century church, joined the on display.

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NL 03 11/2013 | 17 LUDOVICO ARIOSTO t ure Born in Reggio Emilia in 1474 into a noble Ferrarese family, Ludovico Ariosto settled in Ferrara in 1484. Here he devote himself to literary and philosophical studies. In 1503, he found employment with Cardi- nal Ippolito d’Este, Duke Alfonso l i t era I’s brother, and covered numerous administrative and diplomatic roles. He had little vocation to be a courtier and this caused him much unease and bitterness in those years. How- ever, he managed to cultivate his studies and in 1516 the first edition of “Orlando Enraged” was published. In 1517 he passed over to the service of Alfonso I. Due to economic difficul- ties, Ariosto was forced to accept the office of the Duke’s Commissioner in Garfagnana from 1522 to 1525. It was in this period that he wrote some of his famous Satires. Once back in Fer- rara, he spent the last years of his life writing the final edition “Orlando En- raged” which was published in 1532, a year before he died. 29

He was welcomed back to court, TORQUATO TASSO but during Alfonso’s wedding with Margherita Gonzaga he again flared Son of Bernardo Tasso, a man of let- up, railing against the court. He was ters from Bergamo, he spent his arrested, locked in the hospital of childhood in the Kingdom of Naples. Sant’Anna and put in chains like a In 1556, he joined his father in Rome madman. He was only released after and followed him as he wandered seven years and continued to wander through the courts of Ravenna, Pesa- between Mantua, Bergamo, Florence, ro, Urbino, then to Venice and Padua Rome and Naples. where he stayed until 1565. He died in Rome as he was about to be nominated poet laureate. After studies in philosophy he en- tered into the service of Cardinal Luigi d’Este and moved to Fer- rara. From 1572, he was at the court of Duke Alfonso II, where he wrote sonnets, songs, madrigals and a pas- toral tale, L’ ”Aminta”. In April of 1575 he completed “Gerusalemme Liberata”, but at once began a trou- bled stylistic and ethical revision of it brought on by the fear of having fallen into heresy. Soon after this he suffered the first 29. Alleged portrait of Ludovico Ariosto, outburst of persecution mania, at- painted by Tiziano Vecellio, Indianapolis Museum of Art tacking a courtier he was convinced (© www.wikipedia.org ) was spying on him whilst he con- 30. Head of Torquato Tasso, versed with Princess Lucrezia. Duke painted by anonymous Alfonso had him locked up in the between 1800 and 1849. (©www.lombardiabeniculturali.it ) castle dungeons and later in a 31. Portrait of Giorgio Bassani 30 convent from which he escaped. (© www.robertonicoletti.blog.it ) NL 03 11/2013 | 18 IL GIARDINO DEI FINZI- CONTINI « Chissà come nasce e perchè una vocazione alla solitudine. Sta di fatto che il medesimo isolamen- to, la medesima separazione di cui i Finzi-Contini avevano circondato i loro defunti, circondava anche l’altra casa che essi possedevano, quella in fondo a corso Ercole I d’Este. Immortalata da Giosuè Carducci e Gabriele D’Annunzio, que- sta strada di Ferrara è così nota agli innamorati dell’arte e della poesia del mondo intero che ogni descrizione di essa è superflua. Siamo, come si sa, proprio nel cuore di quella parte nord della città che fu aggiunta durante il Rina- scimento all’angusto borgo medioevale, e perciò appunto si chiama Addizione Erculea. Ampio, diritto come una spada dal Castello alla Mura degli Angeli, fiancheggiato per quanto è lungo da brune moli di dimore gentilizie, con quel suo lontano, sublime sfondo di rosso mattone, verde vegetale, e cielo, che sembra condurti, realmen- te, all’infinito [...] Il giardino, o per essere più precisi il parco ster- minato che circondava casa Finzi-Contini prima della guerra, e spaziava per quasi dieci ettari fin sotto la Mura degli Angeli, da una parte, e fino alla Barriera di Porta di San Benedetto, dall’altra, rappresentando di per sè qualcosa di raro, di ec- cezionale, [...] oggi non esiste più, letteralmente. Tutti gli alberi di grosso fusto, tigli, olmi, faggi, pioppi, platani, ipocastani, pini, abeti, larici, cedri del Libano, cipressi, querce, lecci, e perfino pal- me ed eucaliptus, fatti piantare a centinaia da Jo- 31 sette Artom, durante gli ultimi due anni di guerra sono stati abbattuti per ricavarne legna da ar- dere, e il terreno sta già tornando lentamente line” (from “A Night in 1943”) regains come era una volta, quando Moisè Finzi-Contini GIORGIO BASSANI lo comperò dai marchesi Avogli: uno dei tanti its dark, dramatic colours of the night grandi orti compresi dentro le mura urbane. [...] when eleven of the town’s citizens were slaughtered there; the Mura Fu così che cominciarono, quasi sempre per Born in Bologna into a well-to-do Fer- ingannare le attese fra una partita e l’altra, le rarese family of Jewish origin, Gior- degli Angeli is a nice place to stroll, nostre prime scorribande a due. Le prime vol- gio Bassani grew up and completed today as it was then, but is also the te prendevamo le biciclette. La bicicletta era indispensabile - aveva immediatamente deci- his secondary education in Ferrara, place where the leading character of “The Garden of the Finzi-Continis” so la nostra accompagnatrice - se volevo farmi the city in which all his works of fic- un’idea abbastanza chiara dell’insieme. Il giardi- tion are set. takes refuge when he finds out he has no era grande “un” dieci ettari, e i viali, tra mag- failed in mathematics: “I stopped un- giori e minori, sviluppavano nel loro complesso una mezza dozzina di chilometri. [...] After the Second World War he der a tree, one of those ancient trees, moved to Rome where he began to limes, elms, horse chestnuts...”. “Potrei sapere per favore, che specie di albero write. He is most famous for his fic- Lei pensa che sia, quello laggiù?” Poteva riferirsi These and many other places, such a tutto: a onesti olmi e tigli nostrani, come a raris- tion, which culminates in “The Gar- sime piante esotiche, africane, asiatiche, ameri- den of the Finzi-Continis” (1962). as the synagogue with its plaques cane, che soltanto uno specialista sarebbe stato in memory of the deportations men- capace di identificare: giacchè c’era di tutto, al In his works all facets of the Es- tioned in “A Plaque in Via Mazzini” Barchetto del Duca, proprio di tutto. [...] Le sem- and the house in which he was born, brava assurdo, a lei, che esistesse al mondo uno tense city exist side by side: the come me, il quale non nutrisse per gli alberi, “ i Ferrara of the Jewish community described in the novella “Behind the grandi, i quieti, i forti, i pensierosi”, gli stessi suoi and that of Catholic culture, the Door”, appear in his work. sentimenti di appassionata ammirazione. Come city of the rich middle-classes and The fascination in searching for facevo a non capire? Come duravo a vivere senza the places linked to the events that sentire? C’era in fondo alla radura del tennis, per that of the more humble classes. esempio, ad ovest rispetto al campo, un gruppo The locations, streets and squares Bassani narrates lies in being able di sette esili, altissime, Washingtoniae graciles, o mentioned in his novels are ordi- to actually compare fantasy with palme del deserto, isolate dal resto della vege- nary, real places but acquire special reality: the ordinary, real place is tazione retrostante (scuri alberi di grosso fusto, filtered by our memory and load- da foresta europea: querci, lecci, platani, ippo- meaning: Corso Ercole I d’Este is castani), e con attorno, anzi, un bel tratto di prato. not just the main thoroughfare of the ed with rich and meaningful emo- Ebbene, ogni volta che,in bicicletta, passavamo Renaissance city, but “straight as a tions. dalle loro parti, Micòl aveva per il gruppo soli- sword” leads towards the house of tario delle Washingtoniae sempre nuove parole di tenerezza. » the Finzi-Continis; the wall around the castle “where the pavement fol- Exerpt from “Il giardino dei Finzi-Contini” written by Giorgio Bassani in 1962 lows the Castle moat in a straight NL 03 11/2013 | 19 It was followed by others including MICHELANGELO “The Cry”, in which the director re- ANTONIONI turns to the Po Delta as the setting for the existential anguish and eventual defeat of a working class man. The setting is an integral part of the tale; Antonioni wasn’t a hurried man. He Antonioni transfigures the actual was able to wait. However, the hurry,

ci n ema landscape into an abstract one, a the superficiality are not good skills landscape of the conscience or the for a good observer. memory. First of all Antononi was a good ob- server. He achieved international recogni- tion with his set of four films made in It was in Ferrara, where Antonioni the Sixties: “The Adventure”, “The spent the most serene period of his 32 Night”, “Eclipse” and “The Red life, that the initial contact with the Desert” in which the director han- world of spectacle took place when dled colour for the first time in a to- 32. Photograph of Michelangelo Antonioni he organised a student campaign in tally original and innovative way. For during the eighties (© www.flickfacts.com ) which he staged works by Pirandello, 33. A scene from the movie “The Adventure” by years Antonioni’s last film remained M. Antonioni (© Nicolò Maltoni) Ibsen and Chekhov. Identification of a Woman. This 34. A scene from the moovie “People of the Po forced inactivity, due to precarious Valley” by M. Antonioni In 1940, he embarked on the adven- health, finally came to an end in 1995 (© www.criterion.com ) ture of making films in Rome. After 35. A scene from the moovie “Obsession” by with the film “Beyond the Clouds”, Luchino Visconti (© Emmanuel Chaussade ) an apprenticeship as a critic and once again filmed in and around Fer- 36. A scene from the moovie “The Garden of screenwriter, he began his activity rara and directed in tandem with the Finzi Continis” by Vittorio De Sica as a director with the documenta- German director Wim Wenders. An- (© www.mymovies.it ) ry “People of the Po River”, in which 37. A scene from the moovie “Beyond the tonioni, the undisputed leader of our Clouds” by W.im Wenders and M. Antonioni he depicted the humble and pover- film-making for forty years, stands (© www.espoarte.net) ty-stricken life of the population that out for his style and exact, unmistak- lived on the river. able precision that have made him His debut in full-length films came one of the masters of contemporary in 1950 with “Story of a Love Affair”. cinema.

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NL 03 11/2013 | 20 FERRARA AND CINEMA

The Ferrarese lands, the scene of a constant contest between land and water, forged with the hard and dogged work of its people, has lent itself to Italian Cinema as an environment for dramatic stories, tormented lives, intense passions.

The city, the Po river, the lagoons and the Delta, always exercised a 34 particular fascination over great directors, particularly Ferrarese like Michelangelo Antonioni - who shot the documentary Gente del Po (People of the , 1943) - Florestano Vancini and Folco Quilici.

Then cinema discovered Ferrara and its river as scenery for tormented love stories like that acted by Mas- simo Girotti and Clara Calamai in Luchino Visconti’s memorable Os- sessione (Obsession, 1943) or alter- natively the last part of Paisà (Pai- san, 1946) by Roberto Rossellini that recounted the partisan struggle 35 in the Po Delta. La donna del fiume (The River Girl, 1955) by Mario Soldati uses the same backdrop and made an international star of the young Sofia Loren.

Among the cinematic adaptations of the numerous novels set in Ferrara, the most memorable are Bacchelli’s Il mulino del Po (The Mill on the Po) directed by Lattuada in 1947, and films of works by Giorgio Bas- sani including La lunga notte del ‘43 (It happened in ‘43) by Vancini, Il giardino dei Finzi Contini (The Gar- den of the Finzi Continis) and Gli occhiali d’oro (The Gold Rimmed 36 Glasses) directed by Vittorio De Sica in 1970 and Giuliano Montaldo in 1987 respectively. The most re- nowned is certainly Il Giardino dei Finzi Contini, the story of a rich Jew- ish family affected by the racial laws in the Ferrara of 1938-1943.

In 1995 Antonioni - along with the director Wim Wenders - returned to the countryside between Ferrara and Comacchio to shoot a dramatic love story in Al di là delle nuvole (Beyond the Clouds).

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NL 03 11/2013 | 21 COSME’ TURA

ar t Painter, miniaturist and sculptor, Cosmè Tura (1430 – 1495) is consid- ered the initiator of the fifteenth century Ferrara School of painting.

He was largely a court painter, work- ing regularly for his patrons, Borso d’Este and his successor Ercole I. A polyedric artist, he invented an ar- tistic idiom imbued with fantasy yet highly popular. Among his most re- nowned masterpieces, on view at the Cathedral Museum, the decoration of the old Cathedral organ door, The Annunciation and St. George Killing the Dragon: the princess’s anguished expression, the Saint’s sullen visage, the horse’s terror-struck counte- nance, and even the harsh-looking mountains in the background all sharply convey a sense of intense drama.

Two circular paintings, housed in the National Art Gallery of Pal- azzo dei Diamanti, depict scenes from the life of St. Maurelio: The Judgement and The Beheading of 38 39 St. Maurelius. GUERCINO

Giovan Francesco Barbieri, known as il Guercino was one of the most famous painters of his time. His in- tense pictorial activity taken alone would almost be enough to explain the very particular development of Baroque art. As a young man he was greatly influenced by the tradi- tion of Titian and the artists from , Correggio and Emilia. He translated their pictorial language in a very personal manner, giving life to works full of vibrant energy and works of greater intimism, but no less exciting. The fame he reached in , his home town, and in Bologna afforded him the protection of the future pope Gregory XV and prompted his move 40 41 to Rome where he came into contact with the tendential return to ideal classicism, which in Guercino’s work 38. Cosmè Tura, Polittico la Roverella, Cento (Ferrara), Pinacoteca Civica was manifested as a concentration Madonna con il Bambino in trono, “Il Guercino”. on the study of composition. When London National Gallery (© www.guercino..cento.fe.it ) the Pope died, Guercino returned to (© www.wikipedia.org ) 41. Guercino, La Madonna del Carmine, 39. Cosmè Tura, Polittico la Roverella, Santi Cento (Ferrara), Pinacoteca Civica Cento and worked solely within the Maurelio e Paolo con Niccolò Roverella, “Il Guercino”. Emilian circle later becoming leader Roma galleria Colonna (© www.guercino.comune.cento.fe.it ) of the movement in Bologna follow- (© www.wikipedia.org ) 42. Giorgio De Chirico, Piazza d’Italia, ing the death of Guido Reni. 40. Guercino, La Madonna della Ghiara, (© www.dorotheum.com ) NL 03 11/2013 | 22 42

Salon des Indépendants in Paris of the newspaper “Epoca” together GIORGIO he was noticed by with Prampolini, Carrà and Soffici. In DE CHIRICO and Guillaume Apollinaire, thanks 1919 he presented his first personal to whom De Chirico became friends exhibition at Anton Giulio Bragaglia’s with Brancusi, Braque, Jacob, Soffici, Art Gallery and published the text Léger and Derain. The First World “We metaphysicists”. That moment Giorgio De Chirico was born on 10th War broke out and the two broth- marked the beginning for De Chirico July 1888 in Volos (Greece). His fa- ers returned to Italy. Giorgio was of an intense period of exhibitions ther Evaristo was an engineer and assigned to the hospital in Ferrara throughout Europe. De Chirico’s his mother, Gemma Cervetto, a no- where he had a sedentary job since painting was appreciated by all the blewoman of Genoese origin. Two he was considered unfit to work. He major Dadaist and Surrealist artists years later in Athens, his brother An- continued to maintain close ties with and also by the German artists of drea was born. Andrea adopted the the Parisian milieu and came into Magic Realism, those of the Bauhaus pseudonym of Alberto Savinio in his contact with the Dada movement. In and of the New Objectivity. In 1928 he work as a writer and musician. Dur- 1916 he painted his famous “Hec- held his first one man exhibition in ing this time Giorgio, whose father tor and Andromache (Ettore e An- New York at the Valentine Gallery and always supported his passion for art, dromaca)” and “The Disturbing shortly afterwards exhibited in Lon- took his first drawing lessons with the Muses (Le Muse inquietanti)” and don. Indeed, in those years, as well Greek painter Mavrudis. And it was frequented Ferrara’s artistic milieu: as painting, he dedicated himself to in Athens that De Chirico realized he met Filippo De Pisis and began writing and also to stage designing his first painting, entitled “Still Life corresponding with Carrà, whom he for theatrical shows and ballets. He with Lemons (Natura morta con li- was to meet during a stay in military continued to exhibit in the most im- moni)”. In 1911, thanks to help from hospital. Carrà was fascinated by De portant art galleries both in Europe his brother, he met Pierre Laprade, Chirico’s poetic world and artistic and America. A few months after his member of the jury at the Salon themes and painted a series of works ninetieth birthday, on 20th Novem- d’Automne, for which he exhibited with clear metaphysical foundations. ber 1978, Giorgio De Chirico died in three works: “Enigma of the Oracle “Metaphysical painting” was born, Rome. His remains are conserved in (Enigma dell’Oracolo)”, “Enigma of theorized a little later in the magazine the Monumental Church of St. Francis an Afternoon (Enigma di un pomer- “Valori Plastici”. In 1918 De Chirico at Ripa, in Rome. iggio)” and “Self-Portrait (Autori- obtained a transfer to Rome. There, tratto)”. When another three of this he worked with the above-mentioned From the catalogue “Omaggio a De Chirico” works were exhibited in 1913 at the magazine and exhibited in the rooms published by the Fondazione Art Museo

NL 03 11/2013 | 23 PASTICCIO DI 43. A slice of the pasticcio ferrarese MACCHERONI di maccheroni (© www.ferraraartenatura.it ) 44. Pumpkin tortelli with butter The “pasticcio ferrarese di macch- (© www.ferraraartenatura.it ) eroni” has noble origins dating back 45. Green asparagus centuries. Its preparation is rather (© www.ferraraartenatura.it ) 46. Eels (© www.ferraraartenatura.it ) complicated and the result gives a 47. Twisted bread of Ferrara, the coppia very singular taste given the con- (© www.ferraraartenatura.it ) junction of flavourings used. In sum, 48. Half of Salama it is short sweet pastry filled with ra- (© www.ferraraartenatura.it ) 49. A slice of pan pepato gout, béchamel sauce, mushrooms, (© www.ferraraartenatura.it ) nutmeg and truffle. gas t r ono my 50. Bottles of “Bosco Eliceo” wines 43 (© www.ferraraartenatura.it )

PUMPKIN TORTELLI

The cappellacci were referred to its name from its resemblance to the as “tortelli di zucca con il burro” or musical instrument. In the past, these pumpkin tortelli with butter. The in- vegetables were also used as wa- gredients today are exactly the same ter and wine gourds or for holding as all that time ago except perhaps gunpowder. When the pumpkin has for the fact that cooks used to add been baked in the oven or steamed, spices like ginger or pepper that Reggiano or Parme- were in common use at that time but san cheese is added along with salt, are not so popular nowadays. pepper and nutmeg. The filling is then ready to be wrapped in a hand- The pumpkin normally used for cap- made pasta “tortello”. pellacci is violin-shaped and takes 44

GREEN ASPARAGUS

In the province of Ferrara the Aspar- ties are being studied in order to en- agus grows in ideal conditions par- hance the quality of wild asparagus ticularly in the bordering region of even more. Basso Ferrarese and area renowned for its ecological and natural quali- The Festival is your time to taste the ties and where about 5000 cubic li- local specialities against the back- tres of asparagus are produced. drop of the Este Castle of Mesola. The most common species is the “Early Argenteuil”, but other varie- 45

eels The imposing landscape of the la- rieri”, particular catching systems, goons are the shelter of this species. once made of reeds, today of new In these wetlands, often hostile to advanced materials. From here they man, eels used to be the main source are first selected and then kept alive of support, creating economic growth in big basins or baskets plunged in and well - being. water (called bolaghe ). The catching techniques employed Eels are then cut in pieces, roasted today are the same of the past, which and pickled in salt and vinegar to be take advantage of autumn tides at- sold on the market. The tradition sys- tracting ripe eels. While swimming tem included the use of long skewers towards the sea, hundreds of eels to be roasted in front of big fires. get caught in the so called “lavo- 46 NL 03 11/2013 | 24 COPPIA Its origins are rooted in history. Be- nio Frizzi spoke in one of his works of fore the 12th century bread in Ferrara the refined baking art in Ferrara, but had the classical shape of a bun. The made reference to different types of “Statuta Ferrariae” , dating from the flours and shapes, which had already year 1287 stated strict rules for the abandoned the boring bun in favour preparation of bread. But the “twist- of an outstanding elegance. ed” or “twined” bread, the ancestor The famous coppia (in dialect “ciu- of today’s coppia appeared only in peta”) of Ferrara has a central body 1536 during a dinner party offered called knot or ribbon with two twist- by Messer Giglio in honour of the ed pointed breadsticks attached. Duke of Ferrara. But still in 1694 the famous scholar and historian Anto- 47

SALAMA The first records on the salama da which acquires its unmistakable taste sugo date from the 15th century, with after a long seasoning period, dur- a letter by Lorenzo il Magnifico to Er- ing which it remains either hanging cole II d’Este. A short poem, written from the ceiling or “resting” under in 1722 and entitled “Salameide” is the ashes in a cool, airy and above dedicated to this delicious dish. The all dark room. The writer and great term salama da sugo is also to be gourmet Mario Soldati said that the found in the famous Modern Diction- salama “alone was a satisfactory and ary by Alfredo Panzini. The salama is extremely satisfying meal”. an unusual mixture of pork meat with spices and red wine, sometimes en- 48 riched with Marsala wine or Brandy,

PAN PEPATO During the 1600s, the nuns of the form of a small pumpkin, the dough Corpus Domini convent in Ferrara, enriched with fine almonds or ha- drawing on an old recipe created by zelnuts and tasty candied fruit, fla- the great Renaissance cook Cristo- voured with the most fragrant spices foro da Messisbugo, created a cake and all covered with plain chocolate, to send to the great personages of the rich cake was ready and became the age. the Pan del Papa (Bread of the Pope). Cocoa had only recently arrived No need to guess to whom this little in Europe, thanks to Cortes. It was wonder was dedicated. expensive, a luxury commodity, re- served only for the few and added as if a jewel, a precious powder. In the 49

ELICEO WINES The vine was probably grafted in the damp, foggy and static environment, Valli region in 1528, when the duke the strongly salty air and land, the Ercole II d’Este married Renata di constant proximity of the sea and the Francia, daughter of the Louis XII, lack of fresh water over the centu- who as a dowry brought a vine from ries contributed to the formation of Burgundy, the Côte d’Or, in Italian a grape with a very strong charac- Uva d’Oro, which found the perfect ter. The Bosco Eliceo wines (Fortana, habitat in the Dune Sabbiose (sandy Merlot, Bianco del Bosco, Sauvignon), dunes) of the Delta and on the rises with their light and aromatic taste, in the land in the Bosco Eliceo and slightly pungent, whether red or gave its best among the delta holm- white, combines perfectly with meat 50 oaks and bushes. The particularly and fish dishes, marsh game and eel. NL 03 11/2013 | 25 FERRARA [EVENTS, EXHIBITIONS AND INFORMATIONS]

TOURIST INFORMATION

MAIN TOURIST INFORMATION OFFICE OF FERRARA The IAT Tourist Office is in the historic centre of Ferrara, at the Estense Castle, heart of the city. Located on the ground floor, the office opens onto the courtyard of that splendid building. The entrance can easily be recognised by the international sign for information.

Week days: 9.00-13.00 / 14.00-18.00. Holidays: 9.30-13.00 / 14.00-17.00.

Tel. 0532 209370 / 299303 Email [email protected]

BOTANICAL GARDEN The University of Ferrara Botanic Garden is a 4,500 square metre botanical garden operated by the university of Ferrara. It is located in Corso Porta Mare 2b, and is open weekday mornings. Admission is free.

During the 17th and 18th centuries the larger university towns all equipped themselves with Botanical Gardens, which, during the 19th century freed themselves from their original function as a subsidiary centre to the study of medicine and became independent scientific institutions that were essential to Botanical classes and research. At Ferrara University during the 15th and 16th centuries there were some important scholars of medicinal plants, in- cluding Leoniceno and Antonio Musa Brasavola, history’s first real botanist. The students attended the private phar- maceutical gardens of their lecturers and those belonging to the Este family, laid out on an island in the Po. Today, the gardens consist of an experimental field in which exotic and native plants are cultivated for study purposes and with utilitarian, ecological, geographical and systematic ends. Around 2000 species are cultivated, ordered in families, in outside flowerbeds or in large greenhouses; of note are the collections of succulent and epiphyte plants. The Botanical Gardens are now an important teaching aid, a place of botanical experimentation and research. They have an educational role to raise awareness about the need to protect nature and safeguard the landscape, above all rare plants or those in danger of extinction.

Week days: 9.00-13.00

Tel. 0532 293782 Email [email protected]

NL 03 11/2013 | 26 For the first time in Italy, an exhibi- tion dedicated to Francisco de Zur- barán, one of the main charachters of the XVI Century in Spain - a con- temporary of Velázquez, Murillo, Rembrandt and Hals. A selection of his masterpieces will show his great art, with traditional images linked to modern inventions.

The earthquake that struck Emilia on Immagine e Persuasione the 20th and 29th of May 2012 let many Capolavori del Seicento dalle chiese coplite dal terremoto signs along the territory of Ferrara. The Este churches and the works of art dis- FERRARA played inside them suffered the most Palazzo Palazzo Trotti Costabili, Seminario serious damages. In order to raise the vecchio - Via Cairoli 32 attention of public opinion and cultural 14th September 2013 - 6th Januray 2014 environments, the Art Foundation and the Archiepiscopal Seminary of Fer- rara propose limited selection of masterpieces from several church- es still inaccessible, such as San Do- menico, Santa Maria della Pietà, Sacre Stigmata and Santa Chiara.

Le Metamorfosi dell’Agnus Dei Marcello Carrà (Ferrara, 1976), at the Marcello Carrà same time of Zurbarán exhibition at Palazzo dei Diamanti, designed an evocative tribute to the Spanish FERRARA painter. Palazzo dei Diamanti 14th September 2013 - 1st December 2013 The artist, an expert of elaborate ball- point bic pen drawings, reinterprets Zurbará’s Agnus, remodelling its shape in a series of metamorphosis through which it intends to reflect on the mysti- cal form and meaning of this mystical creature.

In collaboration with the State Ar- chive of Ferrara, the MEIS muse- um - Fondazione Museo Nazionale dell’Ebraismo Italiano e della Shoah shows an anthology of non-Jewish Fondazione Museo Nazionale dell’Ebraismo italiano e della Shoah, via Piangipane 81 - Ferrara documents, which present the re- lationship between politic and re- ligious institutions and the Jewish Community of Ferrara, from the Este Family to the Emperor federico III, from the Holy see to the Inquisi- tion, up to the emancipation with the “Unità d’Italia”

NL 03 11/2013 | 27 Besides mentioned, the text are extracs from the official website for Ferrara and its province: www.ferraraterraeacqua.it www.hybridparks.eu [email protected]

PROJECT MANAGER / LEAD PARTNER

Schloss Dyck Foundation . Centre for Garden Art & Landscape Design Juechen [Germany] www.stiftung-schloss-dyck.de Jens Spanjer [email protected]

PARTNERS

State Chancellery of North Rhine-Westphalia Duesseldorf [Germany] www.nrw.de/landesregierung/staatskanzlei

Rhineland Regional Council LVR Koeln [Germany] www.lvr.de

The Regional Association of Westphalia-Lippe LWL Muenster [Germany] www.lwl.org European Union Municipality of Linkoping European Regional Development Fund Linkoping [Sweden] www.linkoping.se

Municipality of Lund Lund [Sweden] www.lund.se

Paola Local Council Paola [Malta] www.paolalocalcouncil.org

General Directorate for Territorial Planning Silesian Botanical Garden and agreements. European and International Relations. Mikolow [Poland] www.sibg.org.pl www.territorio.regione.emilia-romagna.it/paesaggio [email protected] University of Turku Turku [Finland] Enrico Cocchi www.utu.fi General DirectorateEuropean for Territorial Union Planning and agreements.European Regional Development Fund European and International Relations. Region of South Aegean Rhodes [Greece] Roberto Gabrielli Manager Department of Urban Planning, Landscape www.pnai.gov.gr and Sustainable Land use Regione Umbria Barbara Fucci Valentina Manzato Perugia [Italy] Francesca Poli www.regione.umbria.it Luisa Ravanello Workgroup Department of Urban Planning, Landscape and Sustainable Land use Regione Emilia-Romagna Bologna [Italy] Francesca Bonifazi www.regione.emilia-romagna.it/paesaggi Nicolò Maltoni Interns Garden Platform Lower Austria St.Poelten [Austria] www.diegaerten.at

Environmental Protection Association Citizen and Environment St.Poelten [Austria] www.naturimgarten.at

Association of Parks and Gardens in Brittany Rennes [France] www.apjb.org

Cheshire West and Chester Council www.provincia.fe.it Chester [United Kingdom] www.cheshirewestandchester.gov.uk