The Museums and Culture of Sassari

Total Page:16

File Type:pdf, Size:1020Kb

The Museums and Culture of Sassari The museums and culture of Sassari monuments and places of cultural interest interest of cultural and places monuments 1 City Museum PALAZZO DI CITTÀ 7 PALAZZO INFERMERIA SAN PIETRO 15 SANTA CATERINA 23 ROSARIO Palazzo di Città lies in the same area which was This building is close to the site of the first This church, originally dedicated to Built by Dominican friars between 1633 occupied from the second half of the 13th century settlement of medieval Thathari (the old name Holy Jesus and Mary, was built by the and 1682, the façade dates to 1759. The onwards by the Town Hall, the centre of power for Sassari), a densely populated and busy area. Jesuits between 1580 and 1607 in baroque altar screen, lavishly decorated in and headquarters for the institutions of the city The first part of the building already existed in late Renaissance style, typical of the gold and pale grey, is one of most precious Tourism and Department of Culture of Sassari. The reconstruction work, following a 1662. The palazzo was built to assist the ill and Counter Reformation: Late Gothic late 17th century “retabli” (wooden altars) OF SASSARI MUNICIPALITY www.turismosassari.it project by Giuseppe Cominotti, started in 1826 help the poor and needy. The refectory and the influences are still present, particularly in Sardinia. The façade is quite simple, the and finished in 1829. The display rooms of Palazzo di Città, which chapel were built in this first phase, featuring in its vaulting. Inside, there is a painting representing “The bell tower has a little maiolica dome. today hosts the City Museum, offer the visitor a representation of an ornate entrance portal still visible today. Recently restored, it crowning of the Virgin”, with the Fontana di Rosello in the VISIT THE TOWN, EXPLORE the places, the memories and the identities of the city. It hosts Teatro hosts the Municipal Department of Culture and Tourism. background (17th century). ITS HERITAGE AND PAST, Civico, designed on the model of Teatro Carignano in Turin. EXPERIENCE ITS EVERDAY LIFE. 16 MONACHE CAPPUCCINE 24 HISTORICAL MUSEUM OF THE BRIGATA SASSARI 8 This complex, dating to the 17th century, The museum is on the site of the 14th 2 PALAZZO DUCALE FONTANA DI ROSELLO TH THE 13 CENTURY WALLS OF Built between 1775 and 1805, mainly by master The fountain of “Gurusello” was first includes the only cloistered nuns’ convent century Aragonese castle demolished THE OLD TOWN OF SASSARI craftsmen from Lombardy, the Palazzo of the mentioned in the 13th century Code of in the city. The adjoining church, completed between 1877 and 1880. Realized Statutes. Later remodelled, it was given in 1695, has an impressive Baroque interior in 1992, on the ground floor of the ENCLOSE MONUMENTS OF Duke of Asinara is now the Town Hall. From th the typical 18th century hall, a lovely staircase late Renaissance features (Mannerist style) featuring some 17 century works of art “Caserma Lamarmora”, the Museum GREAT ARCHITECTONIC including a copy of Caravaggio’s Saint houses an exhibition of historical relics VALUE. leads to the first floor or “piano nobile”, with in 1605-1606. The fountain represents a succession of fine rooms and a chapel; the an allegory of the flow of time, with four Matthew. dating to World War I, when the Brigata original ballroom/reception room has been marble statues representing the seasons and the lion-head Sassari distinguished itself for its courage and military valour. 17 SANT’APOLLINARE THE CULTURAL NETWORK adapted as a Council-Chamber. waterspouts symbolizing the months of the year. In the historic heart of Sassari, this was one THÀMUS OFFERS VISITORS of the first parish churches in Sassari, already 25 PIAZZA D’ITALIA AND PALAZZO DELLA PROVINCIA AN ITINERARY THAT TAKES IN City Museum 9 MONTE D’ACCODDI PRENURAGIC VILLAGE THE DUKE’S ROOMS AND CELLARS existing in 1278. Enlarged towards the middle Built in 1872, it is the largest piazza THE MOST REPRESENTATIVE About 13 km from Sassari, this archaeological of the 17th century, it was soon afterwards The section of the museum called “the Duke’s rooms” in Sassari (with an area of about 1 MONUMENTS AND PLACES site includes an altar and a village; nearby is severely damaged by fire (1651). Demolished hectare). In the middle is the statue OF CULTURAL INTEREST OF completes and enriches the visit to the building, illustrating a necropolis, with eight burial chambers and rebuilt in the 19th - early 20th century, the history of the most important civic building in Sassari, its of King Vittorio Emanuele II (1899). carved in the rock (hypogea). The altar almost no trace remains of the original church. Palazzo della Provincia, designed THE CITY: THE NEOCLASSICAL predecessors, and life as it went on within during the first half is unique not only in Sardinia, but in the PALAZZO DI CITTÀ, WHICH Inside the church is a Gothic crucifix which in Neoclassical style, was erected of the 1800s. The itinerary aims to re-enact the organisation whole West Mediterranean Basin. The settlement dates back to survived the fire. It is deeply venerated in Sassari. HOSTS THE CITY MUSEUM and use of the rooms in the Duke’s era. between 1873 and 1880. MUNICIPALITY OF SASSARI RADIO TAXI the Neolithic Age (Cultura di Ozieri, 3200-2800 BC), although this Department of Culture and 079 260060 “MUSEO DELLA CITTÀ”, THE The section of the museum called “the Duke’s cellars” consists site later underwent several rebuilding phases and seems to have Tourism 079 251515 PALAZZO DUCALE, THE of five cellar rooms beneath the floors of Palazzo Ducale, been abandoned in about 1800 BC, during the early Nuragic Age. 18 SANT’ANTONIO ABATE 26 “G. A. SANNA” NATIONAL MUSEUM 079 279 970/954 079 253939 BARBICAN OF THE OLD probably belonging to buildings from the 1500s, revealed by This church was erected outside the Infosassari - Tourist Information archaeological excavations (in 1985 and 2006). An itinerary 10 DOMUS DE JANAS DI MONTALÈ medieval walls, opposite “Porta Sant’Antonio”, Inaugurated in 1931, it houses a ARAGONESE CASTLE, THE valuable archaeological section: 079 2008072 MUSEUMS passes along a catwalk suspended above the cellars of the About 7 km from Sassari, this area demolished in 1866. Part of the old Catalan- [email protected] FONTANA DI ROSELLO AND palace, the unusual architecture of which makes the place on display are finds from the City Museum (Museo della Città) is a burial site (necropolis), dating Gothic building was preserved during the Public Relations Office Palazzo di Città THE MONTE D’ACCODDI th Palaeolithic to modern times. The particularly evocative. back to the Neolithic Age (cultura di early 18 century rebuilding work (1700- 079 279837 Corso V. Emanuele II, 35 PRENURAGIC VILLAGE. Ozieri-3200-2800 BC); the so-called 1707). Inside, the main altar features an Museum also holds interesting 079 2015122 “domus de janas” (fairy house) tombs ornate tableau, with paintings by Ruffino ethnographic and painting EMERGENCY SERVICES 3 City Museum PALAZZO DELLA FRUMENTARIA were carved out of the rock; bull-horn decorations are carved collections. Of great interest are Medical Emergency This late 16th century building served as a and an “Ecce homo” of gilt wood with lavish The Duke’s Rooms and Cellars on the walls of the antechamber. decorations (18th century). the rooms dedicated to the archaeological area of Monte 118 granary to hold a supply of wheat in case d’Accoddi and the Nuragic civilisation. Palazzo Ducale First aid station Piazza del Comune of siege or famine until 1833. Built in two Pronto Soccorso different phases (1597-1598 and 1607- 11 19 THE WALLS 331 4377156 SAN NICOLA (CATHEDRAL) 27 079 2061621 1608), it has two separate structures The city’s medieval walls were built UNIVERSITY The bell tower is all that remains of Carabinieri Palazzo della Frumentaria with large rectangular rooms. Nowadays the building is the original 13th century Romanesque following the Tuscan model in the 13th The first University in Sardinia, formerly known as “Estudio General” of the Jesuit 112 Via delle Muraglie the exhibition section of the Museo della Città and hosts building. Faithful to Catalan-Gothic style century to defend the city. They were Police 079 200345 temporary exhibitions. the cathedral was rebuilt in the 15th about 2 km in length, with four gates Order (1562). Officially declared a “Royal University” by King Philip III of Spain in 113 century (1480-1500); the Baroque façade and 36 towers. Sassari maintained its Fire Brigade “G. A. Sanna” National Museum dates to the early 18th century. Within one fortified aspect until the middle of the 19th 1617, it was run by the Jesuits until 1765. The posterior side facing the public 115 Via Roma, 64 may admire a 13th century panel of the century. The only surviving remnants are Town Police 4 THE ARAGONESE CASTLE. THE BARBICAN gardens is all that remains of the original 079 272203 Madonna with Child and the neoclassical Conte di Moriana in Corso Trinità, in Via Torre Tonda and in th 079 274100 The Castle of Sassari was built by the Aragonese funerary mausoleum. Behind the main altar is a valuable Piazza Sant’Antonio, where one can see the only completely 17 century building (1611-1651). Emergency breakdown over a period from 1331 to 1342. In 1564, after Mus’a wooden choir gallery, carved by local craftsmen in the second crenellated tower. service-ACI Canopoleno Painting Gallery losing its military function, the Castle became th half of the 18 century. 28 SANTA MARIA DI BETLEM 803 116 the headquarters of the Inquisition. Recent Piazza Santa Caterina, 4 20 Forest Rangers Corps SANTISSIMA TRINITÀ This is a monastic church, dating to 079 231560 archaeological excavations have unearthed 12 th DIOCESAN MUSEUM The church and adjacent convent of the beginning of the 12 century; the 800 865 065 the Barbican.
Recommended publications
  • Barcelona and the Paradox of the Baroque by Jorge Luis Marzo1
    Barcelona and the Paradox of the Baroque By Jorge Luis Marzo1 Translation by Mara Goldwyn Catalan historiography constructed, even from its very beginnings, the idea that Catalunya was not Baroque; that is, Baroque is something not very "proper" to Catalunya. The 17th and 18th centuries represent the dark Baroque age, in contrast with a magnificent Medieval and Renaissance era, during which the kingdom of Catalunya and Aragón played an important international role in a large part of the Mediterranean. The interpretation suggests that Catalunya was Baroque despite itself; a reading that, from the 19th century on - when it is decided that all negative content about Baroque should be struck from the record in order to transform it into a consciously commercial and urban logo - makes implicit that any reflection on such content or Baroque itself will be schizophrenic and paradoxical. Right up to this day. Though the (always Late-) Baroque style was present in buildings, embellishments and paintings, it however did not have an official environment in which to expand and legitimate itself, nor urban spaces in which to extend its setup (although in Tortosa, Girona, and other cities there were important Baroque features). The Baroque style was especially evident in rural churches, but as a result of the occupation of principle Catalan plazas - particularly by the Bourbon crown of Castile - principal architectonic realizations were castles and military forts, like the castle of Montjuic or the military Citadel in Barcelona. Public Baroque buildings hardly existed: The Gothic ones were already present and there was little necessity for new ones. At the same time, there was more money in the private sphere than in the public for building, so Baroque programs were more subject to family representation than to the strictly political.
    [Show full text]
  • 1865 SARDINIA Regolamento
    1865 SARDINIA Regolamento Benjamin H. Piercy 1 1865 SARDINIA Benjamin Piercy (1827 ‐ 1888), ingegnere civile, nato vicino Trefeglwys, Mont., il 16 marzo 1827, terzo figlio di Robert Piercy. Benjamin fu addestrato per ricoprire la carica del CONTENUTO DEL GIOCO padre, e nel 1847 divenne assistente capo di Charles Mickleburgh, geometra e amministratore di Montgomery. 1 Regolamento 1 Mappa di gioco Nel 1851 Henry Robertson cercò il suo aiuto per la progettazione della Shrewsbury and Chester Railway, e più 8 Schede delle compagnie (Company Charts) tardi per una ferrovia da Oswestry a Newtown. Iniziò poi la 72 Certificati delle compagnie pratica indipendente come ingegnere per la Red Valley Railway per la costruzione di una linea da Shrewsbury a 36 Carte treno Minsterley. Il progetto fu respinto, ma in seguito riuscì a 8 Carte marittime pilotare, nonostante la forte opposizione, un progetto per 1 Carta di priorità una ferrovia da Shrewsbury a Welshpool, con una diramazione verso Minsterley. Questa impresa creò la sua 3 Carte per la sistemazione iniziale al tavolo reputazione come testimone nelle commissioni 18 Carte “Loan” (prestito) parlamentari, e successivamente fu impegnato in quasi tutti 171 Tessere ferroviarie esagonali i progetti per l'introduzione di ferrovie in Galles. In queste costruzioni eseguì opere di ingegneria, in particolare ponti 80 Etichette circolari sul fiume Severn, il Mawddach e gli estuari di Traeth 80 Dischi di legno da 15mm Bychan, le belle stazioni di Oswestry e Welshpool, e l'attraversamento di Talerddig. 40 Cubi neri da 8mm 20 Cubi viola da 10mm Nel 1862 iniziò una lunga relazione lavorativa con la Compagnia Ferroviaria Reale Sarda, che includeva il 30 Cubi blu da 12mm sopralluogo e la pianificazione delle linee a scartamento 1 Set di banconote da gioco (opzionale) ridotto e normale sull'isola, e la costruzione di un porto nel Golfo Aranci.
    [Show full text]
  • Piano Regionale Della Mobilità Ciclistica Della Sardegna
    Università degli Studi di Cagliari PIANO REGIONALE DELLA MOBILITÀ CICLISTICA DELLA SARDEGNA VALUTAZIONE AMBIENTALE STRATEGICA SINTESI NON TECNICA LUGLIO 2018 (aggiornamento DICEMBRE 2018) PIANO REGIONALE DELLA MOBILITÀ CICLISTICA DELLA SARDEGNA Il presente piano è stato predisposto con il coordinamento e la supervisione dell’Assessorato regionale dei Lavori Pubblici nell’ambito dell’attività di collaborazione istituzionale tra il soggetto attuatore ARST e il CIREM a seguito del protocollo d’intesa siglato dall’Amministratore Unico dell’ARST e del Rettore dell’Università di Cagliari in data 26 Marzo 2016 COORDINAMENTO GENERALE E SOGGETTO PROMOTORE SOGGETTO ATTUATORE RAS – Assessorato dei Lavori Pubblici ARST S.p.A. – Trasporti Regionali della Sardegna Direttore Generale: Ing. Marco Dario Cherchi Direttore Generale: Ing. Carlo Poledrini Ing. Ernesto Porcu Ing. Alessandro Boccone ([email protected]) Servizio Infrastrutture di Trasporto e Sicurezza stradale: Ing. Maria Cristina Melis Direttore del Servizio: Ing. Piero Dau Ing. Silvio Manchinu Ing. Massimiliano Ponti ([email protected]) Ing. Paolo Pani ([email protected]) Ing. Rita Vinelli ([email protected]) COLLABORAZIONE SCIENTIFICA CIREM – Università degli Studi di Cagliari e Sassari(1) Direttore scientifico: Prof. Ing. Italo Meloni ([email protected]) Coordinamento operativo: Ing. Cristian Saba Arch. Beatrice Scappini Arch. Veronica Zucca Rapporto ambientale, Studio di incidenza, Sintesi non tecnica (VAS): Ing. Elisabetta Anna Di Cesare SITO DEL PIANO: www.sardegnaciclabile.it (1) Nell’ambito delle diverse fasi temporali di svolgimento delle attività di collaborazione istituzionale hanno collaborato per conto del CIREM: Ing. Laura Fois, Arch. Giulia Desogus, Catherine Mann, Dott. Carlo Perelli, Ing. Francesco Piras, Ing. Francesco Porru, Ing. Benedetta Sanjust di Teulada, Ing.
    [Show full text]
  • HISTORICAL PERSPECTIVES on Property and Land Law
    HISTORICAL PERSPECTIVES on Property and Land Law EDITED BY Elisabetta Fiocchi Malaspina and Simona Tarozzi Historical Perspectives on Property and Land Law The Figuerola Institute Programme: Legal History The Programme “Legal History” of the Figuerola Institute of Social Science History –a part of the Carlos III University of Madrid– is devoted to improve the overall knowledge on the history of law from different points of view –academically, culturally, socially, and institutionally– covering both ancient and modern eras. A number of experts from several countries have participated in the Programme, bringing in their specialized knowledge and dedication to the subject of their expertise. To give a better visibility of its activities, the Programme has published in its Book Series a number of monographs on the different aspects of its academic discipline. Publisher: Carlos III University of Madrid Book Series: Legal History Editorial Committee: Manuel Ángel Bermejo Castrillo, Universidad Carlos III de Madrid Catherine Fillon, Université Jean Moulin Lyon 3 Manuel Martínez Neira, Universidad Carlos III de Madrid Carlos Petit, Universidad de Huelva Cristina Vano, Università degli studi di Napoli Federico II More information at www.uc3m.es/legal_history Historical Perspectives on Property and Land Law An Interdisciplinary Dialogue on Methods and Research Approaches Edited by Elisabetta Fiocchi Malaspina and Simona Tarozzi Dykinson 2019 Historia del derecho, 78 ISSN: 2255-5137 © Autores Editorial Dykinson c/ Meléndez Valdés, 61 – 28015 Madrid Tlf. (+34) 91 544 28 46 E-mail: [email protected] http://www.dykinson.com Preimpresión: TALLERONCE ISBN: 978-84-1324-499-0 Versión electrónica disponible en e-Archivo http://hdl.handle.net/10016/29290 Licencia Creative Commons Atribución-NoComercial-SinDerivadas 3.0 España TABLE OF CONTENT 9 Introduction Transfer of Immovable Properties, Publicity and 15 Land Law in the Age of Justinian: the Perspective of the Praetorian Prefect.
    [Show full text]
  • 2015 Annual Report
    (Translation from the Italian original which remains the definitive version) 2015 ANNUAL REPORT CONTENTS 2015 ANNUAL REPORT 1 Chairman’s letter 3 GROUP HIGHLIGHTS 6 Disclaimer 7 Key and glossary 8 The future is founded on history 11 Consolidated highlights 12 DIRECTORS’ REPORT 13 Corporate governance and ownership structure report 14 The group’s performance 29 Transport 37 Infrastructure 42 Real Estate Services 45 Other Services 48 Ferrovie dello Stato Italiane S.p.A.’s performance 52 Macroeconomic context 55 Customers 59 Performance of markets and domestic railway traffic 63 Traffic figures of major European railway companies 67 Safety in railway operations 68 Sustainability 69 Human resources 70 The environment 75 Risk factors 77 Investments 81 Research and development 90 Main events of the year 92 Other information 101 Parent’s treasury shares 113 Related party transactions 114 Events after the reporting date 115 Outlook for the group 116 Proposed allocation of the profit for the year of Ferrovie dello Stato Italiane S.p.A. 118 CONSOLIDATED FINANCIAL STATEMENTS OF FERROVIE DELLO STATO ITALIANE GROUP AS AT AND FOR THE YEAR ENDED 31 DECEMBER 2015 119 Consolidated financial statements 120 Notes to the consolidated financial statements 126 Annexes 210 SEPARATE FINANCIAL STATEMENTS OF FERROVIE DELLO STATO ITALIANE S.P.A. AS AT AND FOR THE YEAR ENDED 31 DECEMBER 2015 221 Financial statements 222 Notes to the separate financial statements 228 Ferrovie dello Stato Italiane group 2 Chairman’s letter Dear Shareholder, 2015 brought a host of new developments for Ferrovie dello Stato Italiane group and its stakeholders. In many ways, it was a year of transition as the Italian macroeconomic context stabilised, public investments in the country’s strategic infrastructure resumed (with a total of €17 billion allocated to FS group for investments in railway transport over the next few years) and the tax burden was cut substantially.
    [Show full text]
  • Catalonia 1400 the International Gothic Style
    Lluís Borrassà: the Vocation of Saint Peter, a panel from the Retable of Saint Peter in Terrassa Catalonia 1400 The International Gothic Style Organised by: Museu Nacional d'Art de Catalunya. From 29 March to 15 July 2012 (Temporary Exhibitions Room 1) Curator: Rafael Cornudella (head of the MNAC's Department of Gothic Art), with the collaboration of Guadaira Macías and Cèsar Favà Catalonia 1400. The International Gothic Style looks at one of the most creative cycles in the history of Catalan art, which coincided with the period in western art known as the 'International Gothic Style'. This period, which began at the end of the 14th century and went on until the mid-15th century, gave us artists who played a central role in the history of European art, as in the case of Lluís Borrassà, Rafael Destorrents, Pere Joan and Bernat Martorell. During the course of the 14th century a process of dialogue and synthesis took place between the two great poles of modernity in art: on one hand Paris, the north of France and the old Netherlands, and on the other central Italy, mainly Tuscany. Around 1400 this process crystallised in a new aesthetic code which, despite having been formulated first and foremost in a French and 'Franco- Flemish' ambit, was also fed by other international contributions and immediately spread across Europe. The artistic dynamism of the Franco- Flemish area, along with the policies of patronage and prestige of the French ruling House of Valois, explain the success of a cultural model that was to captivate many other European princes and lords.
    [Show full text]
  • Art History of Spain in the History of Western Art, Spain
    Art History of Spain In the history of Western Art, Spain occupies a very significant and distinct position; after the French and the Italians, the Spanish are probably the most important contributors to the development and evolution of art in the Western Hemisphere. Over the centuries, numerous Spanish artists have contributed heavily to the development of European art in almost all the “major” fields like painting, sculpture and architecture. While Spanish art has had deep linkages with its French and Italian counterparts, Spain’s unique geographic location has allowed it to evolve its own distinct characteristics that set it quite apart from other European artistic traditions. Spain’s fascinating history of conquest and trade is inextricably linked to the evolution of its art. Cave Paintings of Altamira, Spain The earliest inhabitants of what is now modern-day Spain were known for their rich art traditions, especially with respect to cave-paintings from the Stone Age. The Iberian Mediterranean Basin in the regions of Aragon and Castile-La Mancha in eastern Spain, and the world famous Altamira Cave paintings in Cantabria are both UNESCO World Heritage sites that showcase vivid cave paintings from the Stone Age. Pre-Romanesque Period Over the course of history, Spain has been deeply influenced by the culture art of its neighbors, who were more often than not its conquerors. The Roman control over Hispania, from 2nd century BC to 5th century AD, had a deep influence on Spain, especially in its architecture dating from that period. The Aqueduct of Segovia, Alcantara Bridge and the Tower of Hercules Lighthouse are some of the important monuments from that period that still survive to-date.
    [Show full text]
  • Cunvegnu De Sa CSS Subra Zuanne Maria Angioy.Rtf
    Sabadu bindighi (15) de donniasantu 2014 a sas 9.30 In sa Sala de sas Cunferentzias in su Poddeu de sos piscadores in Giorginu –Casteddu Cunvegnu organizadu dae s’Ufitziu Istudios ZUANNE MARIA ANGIOY Autonomia e illoadura: Sos printzipios de libertadi e identidadi de Zuanne Maria Angioy Relata de Frantziscu Casula PRO CUMENTZARE Su personargiu e sa faina de Zuanne Maria Angioy pro s’illoadura e sa liberatzione economica e sotziale dae su feudalesimu e in su matessi tempus pro sa liberazione nazionale e duncas pro s’Autonomia, s’Autogovernu e s’Indipendentzia. tocat a bidere bene ite est sutzedidu in su trentenniu rivolutzionariu de s’acabu de su Setighentos 1780 (cun sa prima rebellia antifeudale in Baressa-Marmilla) e 1812 cun s’urtima rebellia connota comente “Congiura de Palabanda”. 1. SAS RESONES DE SAS REBELLIAS ANTIFEUDALES 1. Deghe o doighi familias/S’han partidu sa Sardigna Cantat Frantziscu Nassiu Mannu in Su patriota sardu a sos feudatarios 1:” Deghe o doighi familias/S’han partidu sa Sardigna /De una manera indigna/Si ‘nde sunt fattas pobiddas;/Divididu s’hant sas biddas/In sa zega antichidade”. Su feudalesimu in Sardigna non bi fiat: est istadu unu presente malaittu chi sos Catalanos-Aragonesos nos ant fatu cando sunt bennidos in Sardigna e l’ant occupada. E gasi, comente iscriet Mannu Deghe o doighi familias/S’han partidu sa Sardigna. Un’isageratzione? No, mancari sas familias meres de sos feudos fiant calincuna in prus, ma non medas. Ischimus difatis chi sos feudos in Sardigna fiant a su prus 37,(a sa fine de su seculu XV; 51 a sa fine de su ‘700 e 40 in su 1838.
    [Show full text]
  • Public Transfer Guide
    le 4copertineINGLESE.qxp:Layout 1 17-02-2007 20:34 Pagina 3 Public transfer guide ASSESSORATO DEL TURISMO Public transfer ARTIGIANATO E COMMERCIO Viale Trieste 105, 09123 Cagliari guide General information www.sardegnaturismo.it Public transfer guide © 2007 Autonomous Region of Sardinia Published by the Office for Tourism, Handcrafts and Commerce of the Autonomous Region of Sardinia, Viale Trieste 105, 09123 Cagliari. Texts: Simone Deidda, Rosalba Depau, Valeria Monni, Diego Nieddu Co-ordination: Roberto Coroneo Impagination: Alfredo Scrivani Photos: Piero Putzu, Lino Cianciotto, Gianluigi Anedda, Donato Tore, Giovanni Paulis, Piero Pes, Paolo Giraldi, Renato Brotzu, Archivio Ilisso. Texts composed with Frutiger [Adrian Frutiger, 1928] Printed: february 2007 The Office for Tourism, Handcraft and Commerce of the Autonomous Region of Sardinia has published the information cited here for information purposes only, and for this reason it cannot be held liable for any printing errors or involutary omissions. Print and preparation: Tiemme Officine grafiche srl Tel. 070/948128/9 - Assemini (Cagliari) Public transfer guide General information Contents Coming to Sardinia, pag. 9 It may help to get an overall idea of 10 The railway system 10 The road transport system 14 The internal air connection system 15 The internal sea connection system 15 What you will find 17 At the Seaport of Cagliari 17 At the Airport of Cagliari-Elmas 21 How to reach from Cagliari 25 Sites of historical-archaeological interest: 25 Barumini Bosa Dorgali Laconi Goni Guspini
    [Show full text]
  • Catalonian Architectural Identity
    Catalan Identity as Expressed Through Architecture Devon G. Shifflett HIST 348-01: The History of Spain November 18, 2020 1 Catalonia (Catalunya) is an autonomous community in Spain with a unique culture and language developed over hundreds of years. This unique culture and language led to Catalans developing a concept of Catalan identity which encapsulates Catalonia’s history, cuisine, architecture, culture, and language. Catalan architects have developed distinctly Catalan styles of architecture to display Catalan identity in a public and physical setting; the resulting buildings serve as a physical embodiment of Catalan identity and signify spaces within Catalan cities as distinctly Catalonian. The major architectural movements that accomplish this are Modernisme, Noucentisme, and Postmodernism. These architectural movements have produced unique and beautiful buildings in Catalonia that serve as symbols for Catalan national unity. Catalonia’s long history, which spans thousands of years, contributes heavily to the development of Catalan identity and nationalism. Various Celtiberian tribes initially inhabited the region of Iberia that later became Catalonia.1 During the Second Punic War (218-201 BC), Rome began its conquest of the Iberian Peninsula, which was occupied by the Carthaginians and Celtiberians, and established significant colonies around the Pyrennees mountain range that eventually become Barcelona and Tarragona; it was during Roman rule that Christianity began to spread throughout Catalonia, which is an important facet of Catalan identity.2 Throughout the centuries following Roman rule, the Visigoths, Frankish, and Moorish peoples ruled Catalonia, with Moorish rule beginning to flounder in the tenth-century.3 Approximately the year 1060 marked the beginning of Catalan independence; throughout this period of independence, Catalonia was very prosperous and contributed heavily to the Reconquista.4 This period of independence did not last long, though, with Catalonia and Aragon's union beginning in 1 Thomas N.
    [Show full text]
  • Final Thesis MULTICRITERIA ANALYSIS to RELAUNCH SANGRITANA S.P.A. RAILWAYS in the LANCIANO AREA
    FACULTY OF CIVIL AND INDUSTRIAL ENGINEERING MASTER’S DEGREE IN TRANSPORT SYSTEMS ENGINEERING Final Thesis MULTICRITERIA ANALYSIS TO RELAUNCH SANGRITANA S.p.A. RAILWAYS IN THE LANCIANO AREA SEVKET OGUZ KAGAN CAPKIN Matricola.1784288 Relatore PROF. MARIA VITTORIA CORAZZA A.Y. 2018-2019 Summary ABSTRACT ........................................................................................................................................ 3 BACKGROUND ................................................................................................................................ 4 LIST OF TABLES ............................................................................................................................... 5 LIST OF FIGURES ............................................................................................................................. 7 INTRODUCTION ............................................................................................................................. 8 1. Information about Travel Mode Chosen by The Users .................................................... 8 2. Public Transportation in Italy ............................................................................................ 11 3. Definition of Tram-Train ..................................................................................................... 15 4. Features of the Tram-Train Systems .................................................................................. 17 5. Examples of Tram-Train Services in European Union
    [Show full text]
  • Uvic-Ucc | Universitat De Vic - Universitat Central De Catalunya
    CONTENTS WHAT WE’RE LIKE BARCELONA AND BEYOND Pere Virgili Ruth Marigot WELCOME to our city, to our country and to our home! Working together with the newspaper ARA, at BCU we’ve prepared this guide to help you to enjoy Barcelona and Catalonia like Barcelona in 10 concepts ................................................................. 4-5 On foot, running and by bike ...................................... 18-19 a native. Our universities in figures ................................................................. 6-7 From Barcelona to the world ................................... 20-21 We aim to help you feel Secret Barcelona ................................................................................................... 8-9 Why did I decide to stay here? ........................................... 22 welcome and make things easier Instagram-worthy spots ......................................................................... 10 Where can I live? ........................................................................................................ 24 for you. So, in the following pages, Don’t miss out ......................................................................................................... 12-16 Catalonia: more than just a club ....................................... 26-27 you’ll find plenty of information TALENT CITY ROSES, FIRE AND... about what to do and see, and where and when to do and see it. Pere Tordera Francesc Melcion Because historically we’ve always been a land of welcome and we’re very happy that you’ve
    [Show full text]