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Many choose Locanda Cipriani for holding their events, as the American heiress Barbara Hutton did in September 1957, when she wanted the island to be decorated by thousands of candles for her grand party. Others, however, have the desire of enjoying the pleasures of good cuisine in an oasis of beauty and tranquility, as Ernest Hemingway did in autumn 1948. During our 80 years of service, over a thousand weddings, countless receptions and business dinners have been organized. Both for large events and small groups of people, Locanda Cipriani grants the highest standards thanks to the uniqueness of its location, the professionalism of the staff, the expertise gained in over 80 years of experience and especially the quality of food. Our menus are based on the “Cipriani cuisine”, which is considered an excellence brand of Veneto and has found a high popularity among our worldwide customers. Along with the classic “Cipriani cuisine” dishes, we also propose traditional Venice cuisine, based on selected local products of our territory. Completing the offer, Locanda Cipriani has 5 bedrooms, all located on the first floor and different from each other: 3 single rooms and 2 junior suites. Molti scelgono la Locanda Cipriani per celebrarvi eventi mondani, come fece nel settembre del 1957 l’ereditiera americana Barbara Hutton che, per il grandioso party, volle l’isola decorata da migliaia di candele. Altri invece solo per il desiderio di godere dei piaceri di una buona tavola in un’oasi di bellezza ed assoluta tranquillità come fece nell’autunno del 1948 Ernest Hemingway. Sempre nel corso di questi 80 anni sono stati organizzati oltre un migliaio di matrimoni, innumerevoli ricevimenti, meeting e cene aziendali. Sia per grandi eventi che per piccoli gruppi la Locanda Cipriani garantisce i migliori standard grazie alla unicità della Location, la professionalità del personale, le competenze maturate in oltre 80 anni di esperienza e soprattutto per la qualità della cucina; i Nostri menu si basano sulla tradizione della “cucina Cipriani”, che è oramai considerata un marchio dell’eccellenza del Veneto e riscontra un alto gradimento tra la clientela di qualunque nazionalità. Accanto alla classica “cucina Cipriani” proponiamo piatti della tradizione lagunare, basati su selezionati prodotti tipici del nostro territorio. Inoltre a completamento dell’offerta, la Locanda Cipriani dispone di 5 camere, tutte ubicate al primo piano dell’edificio, ognuna diversa dall’altra: 3 singole e 2 junior suite.

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Massimo Giletti is a very well known journalist from Piedmont. His father Emilio Giletti was a racing driver and an industrialist, owner of a textile factory in the Province of Biella. He started working as journalist with Giovanni Minoli, working in the staff of Rai 2 program Mixer, for six years. In 1994 started working as television host in the daily Rai 2 programs Mattina in famiglia and Mezzogiorno in famiglia, with Paola Perego. In 1996 left those programs and started presenting another show, I fatti vostri, working there until 2002. Between the 1990s and 2000s he hosted also other shows like Il Lotto alle Otto, the charity TV marathon Telethon and the primetime show La grande occasione. From September 2002 switched to Rai 1 presenting the afternoon show Casa Raiuno, aired for two seasons. In summer 2003 has presented the primetime show Beato tra le donne. In 2004/2005 hosted the Sunday afternoon show Domenica in with Mara Venier and Paolo Limiti, and the year after began presenting just a segment of Domenica in, named Domenica in - L'Arena. In the 2000s has also presented the event shows Miss Italia in the World, Sanremo and many other television shows. Massimo Giletti is a journalist and television presenter, he lives most of the time in Biella, where is his family owned textile company located in Ponzone di Trivero, a village in the province of Biella. And precisely in that place the well-known conductor owns a wonderful villa where he takes refuge when he finishes working in chaotic Milan. The Piedmontese journalist continues to lead very successfully Non è Arena, on Sunday evening in the Milanese studios of Urbano Cairo.

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Wellmade è la piattaforma che permette di scoprire i migliori artigiani, conoscere il loro lavoro e recensire i loro prodotti e servizi su misura. Dalla scoperta alla condivisione, e dalla valutazione alla rivalutazione: Wellmade è una community di appassionati ed esperti che amano tutto ciò che è “bello e ben fatto”, all’interno di un’esperienza social gratificante e culturalmente evoluta. L’obiettivo è diffondere una cultura della qualità e riunire le diverse realtà che quotidianamente lavorano per la valorizzazione e la promozione dell’artigianato d’eccellenza. Ciò che è fatto bene, con le mani e con il cuore, ha un valore diverso e più alto, che il mondo dell’artigianato – realtà vasta e ricca di bellezze – permette di scoprire e riscoprire. Ma trovare la miglior qualità, valutarla e compararla alle proprie necessità non è per nulla facile. Ecco come Wellmade viene in aiuto: grazie alla continua ricerca di artigiani eccellenti e attraverso un meccanismo di recensioni da parte di utenti appassionati e di consigli da parte di ambasciatori, Wellmade desidera presentarsi come il tuo suggeritore di fiducia. Wellmade è ricerca e condivisione di tutto ciò che è ben fatto: è la reputazione di decine di esperti e l’esperienza di migliaia di amici, per aiutarti e supportarti nelle tue scelte di qualità e di valore. Wellmade is a digital platform that allows you to discover the very best Italian craftsmen, get to know their work and assess the quality of their bespoke products and services. Discovery leads to sharing; appraising enhances reassessment: Wellmade is a community of crafts lovers and experts, who love all that is “beautiful and well made”, within a gratifying, culturally advanced, experience with social networks. It aims at promoting a shared quality culture, and bringing together the different businesses that are daily engaged in enhancing and supporting high-end craftsmanship. What is well made, with hands and heart, is different and of a higher value, a value which is being rediscovered, again and again, within the vast reality of the crafts world, so rich with beauty. Finding the best quality, though, and assessing and adjusting it to one’s requirements is not always easy. Here is where Wellmade can be helpful: thanks to its ongoing research for excellent artisans and through a system of passionate users’ reviews and ambassadors’ advice, Wellmade aims at becoming your most reliable advisor. Wellmade means researching and sharing all that is “well made”: it is the reputation of dozens of experts and the experience of thousands of friends, to help and support you in your choice of quality and value.

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The boutique Amedeo Canfora was founded in Capri in 1946 by Amedeo, who created an incredible array of sandals, in hundreds of styles and an infinity of colours. They are all handmade in genuine leather and with fabulous decorations using beading, artificial flowers, and other accessories. This said, in the late 1940’s, Capri’s economy was still based almost entirely on fishing and there were only a very few hotels on the island. Opposite to the most important of these, the historic Grand Hotel Quisisana, Amedeo Canfora decided to open a sandal shop. A modest little shop, with a workbench on which to make his sandals, walls hung with soles and costume jewelry, and shelves filled with books in which the measurements of the most important regular clients were recorded and carefully conserved. Today, Amedeo’s daughters Angela and Rita and their families continue the tradition, adding a touch of originality to every annual collection. Many celebrities have been fans of Canfora’s creations, among these the unforgettable Jacqueline Kennedy Onassis. More than once, late at night, Amedeo opened the shop just for the first lady, letting her choose her favourite sandals; he made created a style exclusively for her called “K”. Other customers of international fame have been in the shop, including Grace Kelly, Princess Margareth, Princess Caroline, Soraya, Maria Callas, Oona Chaplin, Sofia Loren, Clark Gable, Humphrey Bogart, Dawn Addams, Anita Ekberg, Naomi Campbell and many others.

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I love life in its infinite manifestations, and becoming a mother I found it natural to care for my children and our Planet with the same spirit of gratitude and devotion. A journalist at heart, I dove with curiosity into the www – world wide web – to understand how to lighten our ecological footprint. Exploring the complex interdependence that governs life, I was struck by the speed of environmental and social degradation, and the growing distance between finance and the economics of everyday life. On the other hand, I was surprised by the abundance of information and restorative opportunities. I felt called to action – my personal challenge became collective. At home, I chose a positive attitude to transform daily habits, and in the same spirit I later chose to address readers and listeners. Starting from the macro dimension of a problem–waste, pollution, production, quality, labor–I look for the most appropriate solutions to repair. With technological advancement, tools to measure and improve the impact of human activities have increased, and while this excites me, it also invites me to be vigilant of the boundaries between natural and artificial. In all my activities, my purpose is to build critical mass, inform and motivate, promote action, collaboration and enable dialogue. Deeply empathic, I see the ability of feeling with others as a way to strengthen our sense of belonging to a fragile world and develop resilience by embracing our vulnerability. At the moment, I’m dealing with my own – stress induced alopecia.

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Ottagona è una società d'interior-art-decoration. La scelta del nome Ottagona riporta alla figura dell’ottagono che dall’antichità ad oggi, dalla fisica all’architettura, richiama l’equilibrio, nel suo significato più esteso. Passando attraverso l’antica tradizione della pittura e della decorazione, usiamo tecniche tradizionali ma aggiornandole ai nuovi gusti; lavoriamo principalmente con prodotti naturali accostandoli a materiali sempre diversi. Ci piace reinventarci e lanciarci in nuove scommesse. La sfida ci stimola ad utilizzare nuovi supporti con la capacità e la curiosità di diversificare i materiali. Con il cliente proponiamo un confronto; partiamo dallo studio di bozzetti, con i quali mostriamo le nostre idee e trasmettiamo una “sensazione”, una visione di quel che sarà il nostro intervento. Studiando l’ambiente, cerchiamo d'integrare il nostro intervento nella storia del luogo e del paesaggio circostante. Ci piace definirci artigiani del colore. Insieme, nei diversi anni abbiamo eseguito lavori in Italia e all’estero, lavori in cui ci avvaliamo di fidati collaboratori. Ottagona is an interior-art decoration company based between Milan & Nice. Ottagona in fact believes in a flexible and personal design. We pay attention to the quality of the materials and their duration through time. Ottagona utilizes traditional techniques of painting & decoration but adapting them to new tastes and styles by combining traditional materials such as gold/silver leaves, pigments, marmorino and stucco to new support. Each project is unique and has been studied and created ad hoc for and with each individual client, as "we truly believe that investing on the quality of the spaces means investing on the quality on our lives".

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Salvador Dalí was known for his wild art and a public personality to match, and these two elements helped him rise above the rest of the surrealists. His quote said it all, “the difference between me and the surrealists, is that I am a surrealist”. Dalí is memorable because he was a pioneer of the movement. He was involved in all aspects of artistic creation from painting, sculpture, design, drawing, movies, fashion, etc. He applied the surrealist concept to everything he said did. His audacity and rebellious attitude towards art and politics set him aside from others and allowed him to create some of the most famous and recognizable paintings of the 20th century. His unconventional style and sometimes outrageous ideas were highly sought in his commercial work – in fashion, photography, advertising and film – they brought the style to a huge popular audience. Not only did he leave a mark on surrealism, but even twenty years following his death, Salvador Dalí’s artwork and influences can be seen almost everywhere around the world. If you stop anyone in the street, most will be familiar with at least one of his images. The name Dalí is magic, he remains an icon.

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La Carpentieri Profumi è un’azienda artigiana calabrese nata nel 1967 che crea con passione e professionalità profumi tipici che rievocano sensazioni ed emozioni del territorio. Le meravigliose fragranze che la nostra terra produce (Bergamotto, Gelsomino, Ginestra, Zagara, ecc…) sono la base dei nostri prodotti, cosicchè i nostri profumi sprigionano tutta la loro personalità mediterranea; come le fragranze ottenute dal Bergamotto, famoso agrume base di tutti i profumi. Ogni nostro prodotto è il risultato di passione, ricerca e tecniche di lavorazione sempre più affinate nel corso degli anni, abbinando alla tradizione l’uso di materie prime di qualità superiore. Da annoverare ai risultati ottenuti nell’ambito delle nuove creazioni vi sono il Mediterraneo, fragranza agrumata dai toni vivaci e dalle note fresche e solari e la Violetta, fragranza fiorita e fruttata, creata per le donne per le note delicate che emana. La sede dell’azienda è ubicata a San Giorgio Morgeto, paese dove ancora sopravvivono le antiche tradizioni artigianali, piccolo centro medioevale (della cui epoca custodisce un antico castello e monumenti storici) che si trova nel cuore del Parco Nazionale dell’Aspromonte e che dall’altura della sua collina domina la piana di Gioia Tauro ricca di uliveti e agrumeti. In questi luoghi, tutte le culture del Mediterraneo si incontrano in diverse fantastiche fragranze che la nostra azienda con molta maestria e impegno riesce ad afferrare e a rinchiudere nei suoi prodotti.

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La Fondazione Riusiamo l’Italia è costituita dai Fondatori Signori Campagnoli Giovanni e Tognetti Roberto nel 2019. È una fondazione che non ha fini di lucro, si propone di promuovere finalità di ordine culturale, quale la promozione della cultura e dell’approccio alla rigenerazione urbana ed al riuso di spazi dismessi, ai fini di creare nuova occupabilità in particolare giovanile, privilegiando interventi nelle periferie e nelle aree interne del Paese. La Fondazione Riusiamo l'Italia e una piattaforma che serve per promuovere Azioni e progetti di semplicità civile. Essa deriva dal libro pubblicato nel 2014 dal Gruppo 24 ore “Riusiamo l'Italia. Da spazi vuoti a start up culturali e sociali” scritto da Giovanni Campagnoli con post-fazione di Roberto Tognetti. È un "road book" attivato da una ricerca sulle buone pratiche di riuso creativo degli spazi, oggi un modello di rilancio del sistema-paese in quanto l'Italia è "piena di spazi vuoti" e riuscire a riusarne anche solo una minima parte, affidandoli a delle start up culturali e sociali, può diventare una leva a basso costo per favorire l’occupazione e in particolare l'occupabilità giovanile. La piattaforma Riusiamo L’italia è libera, gratuita e facile da usare: più si caricano edifici da riutilizzare e più si aiuta l’Italia a valorizzare i suoi infiniti talenti. L’utilizzo sistemico della piattaforma attraverso un’autorità locale o un centro di competenza permette forme inedite ed estremamente efficaci di valorizzazione del territorio. Intorno all’individuazione di beni localizzati sulla piattaforma si possono promuovere progetti di sviluppo locale ad altissimo impatto sociale, culturale ed economico e a costi molto contenuti.

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Poco lontano dai comuni di Canelli e di Costigliole, tra le valli del Nizza e del Tinella, sorge su un’alta collina l’abitato di Calosso con il suo non meno imponente castello. Il Castello di Calosso vero e proprio già della famiglia Roero di Cortanze nel XIV e da questa ristrutturato alla fine del Seicento, ha purtroppo in gran parte perduto l’originaria fisionomia per assumere le fattezze di un elegante dimora signorile di campagna. Tuttavia sul lato nord la fortezza cinquecentesca, con le sue bocche da fuoco e le feritoie delle casematte è rimasta quasi intatta. Il Castello è caratterizzato dalla massiccia torre cilindrica ornata da archetti pensili e merli guelfi e dal portale tipicamente settecentesco sovrastato dallo stemma dei Roero di Cortanze. Al castello di Calosso è legata la storia di Sant’ Alessandro Sauli, vescovo di Pavia (Diocesi da cui dipendeva allora Calosso) che nel 1592, durante una sua visita pastorale, venne sorpreso da grave malattia e fu dapprima ospitato dal parroco di Colosso e in secondo momento dal proprietario del Castello, Ercole Roero di Cortanze. Era l’11 ottobre 1592 quando Alessandro Sauli spirava e fu tale l’impressione suscitata dalla sua morte che nel 1683 la Camera del Castello in cui si spense venne convertita, in primo tempo, in pubblico oratorio e successivamente in cappella ed è tradizione ormai da diversi anni che i proprietari ogni 11 ottobre facciano celebrare in suo ricordo la Santa Messa. Il castello è sempre stato privato ed è passato quasi sempre per via femminile, partendo dai Roero di Cortanze, dai Colli di Felizzano, dai Gavigliani, dai Gloria, dai Ferretti di Castel Ferretto, si è giunti ai Balladore - Pallieri, attuali proprietari. Il Castello fa parte del circuito dei “Castelli Aperti”, e nelle giornate di visita, i proprietari accompagnano i turisti attraverso l’antico salone, con stucchi tipicamente settecenteschi, la Cappella dedicata a Sant’Alessandro Sauli, i sotterranei, che danno risalto dimostrando come era la fortezza e il parco da cui si gode un panorama incantevole a 360°.

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The city of Pisa rises above the banks of Arno, just before the mouth of the river at Marina of Pisa. It is one of the most important cities in Tuscany, and it is extremely well-known in the world, because of its famous symbol: "the Leaning Tower". Pisa is both an ancient and modern city. On the one hand, it is proud of its past, when it was a Maritime Republic and became a world power during the Middle Ages. On the other hand, now is famous for having three of the most important universities in Italy: The Scuola Normale Superiore, the Sant'Anna school of Advanced Studies and the University of Pisa. Pisa can also be considered an international city, due to the intercontinental Galileo Galilei Airport that joints it to anywhere in the world. There are also curiosities about Pisa: in the city there isn't only one leaning Tower, but there are other two, also: the Bell Tower of San Nicola Church which is near the banks of Arno and the whole church of San Michele of Scalzi. Culturally and historically, Pisa is a very rich city. In past times, it had a lead role in some relevant historical periods, in the Middle Ages for example, when it was a Maritime Republic. Pisa was born as an Etruscan port, around the middle of the VI century. First human settlements date back to the IX century. There are many hypotheses about Pisa's origins: it is said it was a Greek country, a village of Liguria or an Etruscan city. Etruscans called the city Pise and developed the economy of the country through arts and crafts production. The city had a strategic position, because it is close to river Arno and the sea. After the first battles against Ligures, Pisa became the ally of Rome, and took place in the wars against Carthage. At the end, it became a Roman colony. Around the 15th century, Pisa was subjected by Lombards. From that moment the city became the main port of the Tyrrhenian Sea and Lombards traded with Sardinia, Corsica, Spain and France. Like all the Tuscan cuisine, the Pisan one is a simple way of cooking that combines rustic recipes and seafood. The typical Tuscan bread (without salt) represents an essential element of cooking in this region. Another typical indispensable ingredient are truffles, which are particularly popular in this area. But also Pisa's wines and its olive oil are counted among the best in Tuscany. Pisa is famous for its Tower, called the Pisa Tower or Leaning Tower, a unique monument all over the world. But in Pisa you can find other two leaning towers. The Bell Tower of San Nicola Church, near the banks of Arno. The octagonal Bell Tower is a little bit tilted and buried in the pavement compared to the current plan. The Bell Tower of San Michele of Scalzi Church. Probably due to the Arno's flood in 1966 a land subsidence caused the leaning of the Tower, that nowadays has a slope of 5%.

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Costruito sul vertice della rocca di Costigliole prima del 1040, di pianta quadrangolare di 60 metri di lato, con un'altezza di 25 metri e con le quattro torri che arrivano a 28 metri, è uno dei castelli più imponenti dell'Astigiano. A est la facciata si espone con due torrette medievali centrali, tra le quali primeggia il ponte levatoio. Sulla facciata, tra le finestre del penultimo piano, svettano due statue marmoree rappresentanti Aurelio e Giorgio Verasis Asinari in vesti di guerrieri. La storia del paese è strettamente legata alle vicende del suo castello. Non è nota l’epoca in cui furono erette le prime fortificazioni: secoli di storia e numerosi rimaneggiamenti hanno portato il maniero ad assumere l’attuale aspetto imponente e maestoso. Il castello, pur presentandosi come un unico grande volume di pianta quadrilatera, manifesta evidenti differenze stilistiche sul piano architettonico, dovute all’assetto proprietario che si definì nel XVII secolo. Dal 1625 gli Asinari si spartirono il titolo di “conti di Costigliole” con un’altra famiglia, i Verasis. Il castello si trovo così diviso tra due feudatari, ognuno dei quali s’impegnò a trasformare e abbellire la propria parte secondo gusti e preferenze autonome. Il Comune di Costigliole ha acquisito nel 1928 la parte settentrionale e il parco annesso, mentre l’ex proprietà Verasis è tuttora privata. All’interno dell’edificio si conservano testimonianze artistiche di pregio, tra le quali vanno ricordati gli splendidi stucchi del piano nobile, realizzati nel 1668 dalla bottega luganese dei Bellotto, oltre al salone neoclassico, sulla cui volta è affrescato il Trionfo di Dioniso e Arianna (1817 ca.), opera del pittore Carlo Pagani. La parte pubblica del castello è diventata ormai il cuore pulsante delle iniziative culturali che animano il paese: mostre, concerti, spettacoli teatrali, manifestazioni dedicate all’enogastronomia locale trovano spazio in un contesto artistico e architettonico unico. Presso il Castello di Costigliole ha sede dal 2017 il Corsorzio del Barbera e dei vini del Monferrato.

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Il castello di Burio è un castello situato nella frazione Burio, a Costigliole d'Asti, in provincia di Asti. È il secondo grande maniero della zona, dopo il castello di Costigliole d'Asti. Secondo la leggenda, il castello prende il nome, così come la località in cui sorge, dall’antico ceppo ligure degli euburiati. Nel patto di fedeltà tra gli abitanti di Costigliole e la città di Asti del 13 luglio 1198, tra i nomi dei personaggi abbienti che giurarono fedeltà compare un tale Guglielmo dei Burri, probabilmente proveniente da Burio; tale personaggio potrebbe essere il più antico esponente della famiglia Borio di Costigliole, Tigliole e Novello. Si sa che il maniero appartenne ai Pallidi fino alla fine del XVI secolo. Non ha mai ricoperto una funzione particolarmente strategica, essendo destinato prettamente ad uso agricolo. In epoca medioevale è stato di proprietà di varie famiglie astigiane che ricoprirono la Signoria di Burio, dai Pelletta ai Roero, dai Malabayla ai Pallio. Nel ’600 fu al centro della guerra fra la Spagna e l’esercito guidato dal duca Carlo Emanuele I di Savoia. Nei secoli successivi passò alla famiglia Asinari, prima che la proprietà venisse frazionata, e infine riacquisita nel XX secolo dal conte Luigi Lanzavecchia. Col passare dei secoli perse progressivamente l’originaria vocazione militare, diventando esclusivamente un centro di amministrazione delle proprietà fondiarie circostanti. Dopo essere caduto in abbandono, è stato restaurato a partire dal 1980 dagli attuali proprietari. Divenuto dimora privata, negli anni ’80 del secolo scorso è diventato sede di iniziative artistiche.

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Il progetto pilota Casa21 offre l’opportunità di vivere e toccare con mano tutte le eccellenze di un’abitazione moderna che mira a restituire il comfort globale nella riqualificazione del patrimonio edilizio italiano. Dal resoconto della mappatura redatto a cura della Borghi S.r.l. risulta che in Italia esiste un vasto patrimonio immobiliare che deve essere valorizzato e messo in sicurezza, quindi ne deriva una enorme potenzialità di interventi da realizzare fidelizzandosi in partnership. Al seguente link è possibile visualizzare alcune notizie in merito all’argomento. Il progetto Casa21 non vuole fermarsi, però, alla sola riqualificazione. Il desiderio è quello di creare un precedente negli interventi ricostruendo in modo fedele, con una tecnologia elevata e non evidente “celata e nascosta, come suggerita dall’Ing. Alessandro Pozzi del comitato scientifico”. Casa21 sarà il primo indiscusso intervento di housing sostenibile che riepiloga e dimostra la sinergia di queste eccellenze abitative. La ricostruzione avverrà con l’utilizzo delle più moderne e sostenibili tecnologie; la struttura, in particolare, sarà realizzata in legno strutturale con rivestimento in pietra naturale, per ripristinare fedelmente lo stesso aspetto che il casolare aveva in origine. L’obiettivo è di ottenere il casolare originale nell’aspetto, ma con un cuore altamente tecnologico. Rispondere alle esigenze abitative contingenti di oggi nel rispetto e nel recupero della valenza architettonica di ieri. Non è un caso che Borghi S.r.l sia uno dei partners e che abbia condiviso il progetto Casa21 come protocollo di costruzione e recupero dei centri storici e dei rustici. Il progetto risponde ai requisiti etici del C.S.R. (Corporate Social Responsibility) in quanto si fa manifesto di qualità eco-sostenibile e ambientale, ma sopratutto di rispetto dell’etica del lavoro e delle professioni. Questa eccellenza è stata premiata dall’Assessore Gianni Salvadori di Regione Toscana e dall’ Assessore All’economia e Semplificazione di Regione Lombardia Massimo Garavaglia che hanno deciso di dare spazio al Progetto Casa21 all’interno di EXPO 2015. L’idea, accolta da Regione Toscana, è quella di garantire alle aziende di primo prodotto di promuovere il Made in Italy attraverso un’operazione di destination marketing per offrire visibilità non solo all’azienda, ma in generale all’arte del “ben fare italiano”, e replicare l’applicazione del protocollo alla moltitudine di edifici presenti nei cinque Comuni del Parco della Val d’Orcia. L’idea di Regione Lombardia è quella di replicare l’applicazione del protocollo al recupero delle cascine lombarde del Parco del Ticino.

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Il vetro la mia passione, il mio lavoro, il mio sapere, il mio trascorso ed il mio futuro. Chiara Ferraris ha conosciuto per pura casualità questo materiale ed è stato amore a prima vista. Dopo studi scientifici ed umanistici, con un’attrazione formidabile verso la decorazione e la miniatura ha scoperto che il vetro è capace di emozionarla costantemente e la permette di trasformare i suoi impeti artistici traducendoli dal pensiero all’oggetto. Negli anni ho imparato a conoscere il mondo della vetrofusione e continuerò sempre nella ricerca dell’effetto più bello, del risultato più soddisfacente, dell’opera maxima che ogni artista cerca di creare e che, credo, mai realizzerò. Il mio mondo si è costruito negli anni ed ora sono attorniata di ex-allievi e collaboratori che con me condividono la mia passione ed il mio lavoro. Ogni opera nasce da un’idea, un lampo che fa breccia nella mente e che illumina all’istante ciò che deve essere e come verrà fatto. Io mi dedico alla vetrofusione per la potenzialità della tecnica, perché mi permette di lavorare nel tridimensionale, perché non ho limiti di dimensioni, perché è ciò che più si addice alla mia Arte. Amo altrettanto insegnare e vedere come ogni allievo declina secondo il suo sentire gli insegnamenti ricevuti e rielabora nozioni ed esperienze.

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A testimonianza del passato storico di Calamandrana svetta il grande castello posto a dominio dell'antico borgo e della vallata, unico rimasto dei sei esistenti sulle colline circostanti. Nel 1682 il calamandranese Francesco Maria Cordara, divenuto conte, fece iniziare la costruzione del Castello, che è rimasto intatto fino ai giorni nostri. Nel 1943 molti soldati fuggiti dalle caserme si rifugiarono a Calamandrana, durante lo scioglimento dell'esercito italiano. Il parroco don Emilio Carozzi e la popolazione li aiutarono. Nello stesso anno a Calamandrana alta si creò una formazione partigiana. Verso la fine del 1944 avvennero numerosi scontri, durante i quali le persone venivano minacciate e le case saccheggiate. Verso la fine del 1945 i partigiani tornarono in forza. Si poteva così controllare Canelli e la strada per Nizza. In questa situazione venne incendiato anche il Municipio. Oggi l’edificio presenta un’impostazione planimetrica piuttosto irregolare ed è in parte intonacato e in parte in mattoni e pietre a vista. Sono conservate le strutture sotterranee: cantine, camminamenti e la cisterna dell’antica fortezza. Del 1983 è la ristrutturazione del soffitto del salone ottocentesco. Il castello di Calamandrana è circondato da un grande parco ed è raggiungibile attraverso una ripida e tortuosa strada; oltrepassato il cancello, la salita continua per un viale che conduce al caratteristico ponte levatoio. Attualmente il castello, dominato dall'imponente torre ottagonale, è di proprietà privata, ed è adibito ad abitazione.

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Il castello di Monastero Bormida è situato nella parte bassa del paese. La torre, alta 27 metri, risale probabilmente al secolo al XI. Se l’impianto a forma quadrangolare denuncia una matrice medievale, la facciata principale di gusto barocco rivela una rielaborazione seicentesca. All’interno, soprattutto nelle stanze del piano nobile, si conservano pregevoli pavimenti a mosaico e delicati affreschi. Attraverso il caratteristico vicolo detto del Droc - dove un tempo c'era una delle porte urbiche e dove tuttora si vede l'accesso a un antico forno si raggiunge in un attimo il romanico ponte sul Bormida, che rappresenta una delle più interessanti opere d'ingegneria civile medioevale della valle e trova il suo corrispettivo, in quella di Spigno, nell'analogo ponte dell'abbazia di San Quintino. Entrambi furono costruiti dai monaci benedettini: Si tratta dI poderose strutture a schiena d'asino, sormontate da cappelle che erano antichi posti di guardia grazie ai quali i religiosi si assicuravano il completo controllo commerciale della terra estesa fra la Langa e il mare. Oggi il castello ha una facciata seicentesca e mantiene sul retro la loggia cinquecentesca che è anche visitabile. La famiglia Carretto a metà del XIX secolo cedette la proprietà alla famiglia Della Rovere a cui seguì la famiglia Polleri di Genova che la vendette al comune, attuale proprietario. Antistante al castello la caratteristica alzata a ponte e per accedere all'interno è necessario attraversare la vecchia porta d'ingresso nell'antica cinta muraria. A Monastero Bormida nacque lo scrittore Augusto Monti che spesso, nelle sue opere, ricorda la sua terra d’origine.

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Estremamente scarse sono le notizie storiche sulle sue origini e vi sono non pochi dubbi sulla sua data di costruzione: c’è chi lo colloca nel XIII secolo e chi sostiene invece che la costruzione della torre risalga al 1350 e il resto ad epoca successiva. È effettivamente probabile che la grossa torre costituisse il primitivo nucleo della costruzione e i successivi corpi l’abbiano quindi completata. Attorno al Quattrocento il castello e i circostanti terreni appartenevano al marchese di Busca, i cui stemmi nobiliari furono infatti scoperti sotto gli intonaci di alcune stanze. Il castello passò poi numerosi proprietari dei quali non restano che poche notizie finché, nell’Ottocento il castello non ospitò per quasi vent’anni un personaggio del Risorgimento: Camillo Benso Conte di Cavour. Lo statista vi giunse nel 1830, ospite degli zii, la famiglia De Tonnerre. Incaricato di amministrare questi beni di famiglia, dimostrò capacità organizzativa e apertura verso le nuove acquisizioni scientifiche. Conferì una nuova impronta all’agricoltura locale: tracciò canali, adottò nuovi sistemi razionali di coltivazione, fece piantare duecentomila nuove viti e tentò la coltivazione delle barbabietole. Fu nominato sindaco del piccolo comune nel maggio 1832 a ventidue anni e tale carica mantenne fino al febbraio 1849. Dal 2014 è patrimonio mondiale dell’umanità UNESCO. In diverse sale è collocato un museo permanente, comprendente allestimenti sul Tartufo rari oggetti dell’enogastronomia locale, ambientazione della cucina albese del ‘600 e dell’800, distilleria del ‘700, bottega del bottaio, contadinerie da cortile. All’interno del Castello potete trovare l’Enoteca Regionale Piemontese Cavour all’interno della quale potrete degustare e acquistare i vini migliori e più pregiati del Piemonte a prezzi di cantina.

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Il Castello Gancia, attualmente proprietà privata dell’omonima famiglia, ha una storia antica e importante. Edificato a difesa della via commerciale che univa Asti al porto di Savona, l’edificio è stato modificato, ampliato e impreziosito da elementi scultorei nel corso dei secoli. Nel Seicento, durante la guerra di successione del Monferrato, il castello e le fortificazioni vengono in gran parte distrutti dalle truppe spagnole e successivamente ricostruiti. Nel 1676 il marchese Ambrogio Antonio Scarampi Crivelli realizza il primo vero restauro dell’edificio, conferendogli, secondo il gusto dell’epoca, l´aspetto di un elegante palazzo. A partire dal Settecento il castello cambia più volte proprietà, fino al 1929, quando viene acquistato dalla famiglia Gancia che affida il progetto di trasformazione all’architetto Arturo Midana. Midana modifica l´edificio aggiungendo due ali alla struttura quadrata originaria e ripristinando un giardino all´italiana. I saloni sono impreziositi dalle decorazioni del pittore Giovanni Olindo e i numerosi stucchi policromi ai soffitti completano un effetto che, nell’intento dell’architetto e della committenza, vuole conferire al castello l’originario aspetto seicentesco.Le decorazioni del pittore canellese Giovanni Olindo, ed i numerosi stucchi policromi, richiamano la corrente barocca. Esternamente furono aggiunte due ali rendendo più imponente l’edificio. Lesene angolari e mediane rompono la compattezza della costruzione, più semplici sono le fiancate ed i corpi sporgenti. Le finestre del piano rialzato e quelle del primo piano sono sobriamente fregiate. Sopra il portale, al quale si accede per mezzo di due scale laterali, vi è una balconata la cui porta-finestra campeggia con maggior larghezza di motivi ornamentali. Tra le due rampe di scale, un’apertura porta alla piccola cappella. Significativa fu anche la sistemazione delle aree circostanti; la creazione del giardino all’italiana riporta il Castello agli splendori del 600; la portineria ricavata dal terreno scosceso verso la strada ed armoniosamente collegata ad una piccola Cappella preesistente. Al lato opposto, un vecchio fabbricato, fu adattato dal Midana ad uso autorimessa. Il Castello, così restaurato, domina tuttora l’abitato dall’alto del colle ed è punto di riferimento panoramico e simbolo di Canelli. Interessante: ambientanzione; interni; grandioso ed elegante atrio con ritmi spaziali che rammentano lo Juvarra.

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A Moasca (Asti), un piccolo borgo nel cuore del Monferrato, zona la cui straordinarietà è valsa la tutela dell’UNESCO, c’è un posto in cui natura, storia, cultura ed enogastronomia d’eccellenza si incontrano e si fondono per offrire all’Ospite un’esperienza irripetibile. Questo posto è Tra la Terra e il Cielo. Il Castello trecentesco con le sue imponenti torri, la terrazza aperta sulle dolci colline, il libero accesso alle preziose opere d’arte accolte, a rotazione, nella sala espositiva, una rigorosa e accorta selezione di materie prime, piatti della tradizione piemontese con aperture al vicino Mare, i grandi Vini del Piemonte e un servizio attento, ma non invadente: tutti gli ingredienti per accompagnare l’Ospite in un percorso indimenticabile di sensazioni ed emozioni, in una dimensione di benessere profondo, Tra la Terra e il Cielo. In Moasca, a small town in the heart of the Monferrato hills declared by UNESCO a World Heritage Site, you can find a place where nature, history, culture, good wines and culinary delights meet and welcome the guests with a once in a lifetime experience. This piace is Tra la Terra e il Cielo. That means “Between Heaven & Earth”, a very suggestive restaurant and café built in a medieval castle surrounded by a green and gentle landscape. A strong attention to every detail, the art gallery upstairs, a beautiful outdoor terrace, our menu with the traditional Piedmontese recipes with a marine twist and the great Piedmont wines will make our guests love the place and really feel between heaven and earth.

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Il castello era una rocca del XIV secolo, la precedente fortificazione fu rasa al suolo nel 1308, dopo un lungo e difficile assedio, non sono note né l’origine né la forma. Secondo quanto riportato da alcuni storici relativamente alle forme architettoniche relative al precedente castello si può rilevare soltanto un vago accenno alla presenza di un dongione. Al fine di comprendere le vicende che portarono alla distruzione del primitivo castello è doveroso ricordare le sanguinose lotte intestine che turbarono il comune di Asti nel Trecento. Queste ultime si collegavano agli scontri fra Guelfi e Ghibellini. Nel 1308 i Guelfi assediarono il castello di Moasca baluardo Ghibellino. L’assedio fu, senza dubbio, di non poco conto; secondo quanto riportato dagli storici i Guelfi radunarono un esercito di 300 militi chieresi. In aiuto ai Ghibellini giunse il Marchese Del Carretto con 500 fanti e 100 balestrieri. Visto tale esercito i Guelfi temettero di non farcela e chiesero nuovamente aiuto ai chieresi i quali giunsero sul posto con un esercito di 1500 uomini armati. Gli assediati nel castello di Moasca resistettero per ben 22 giorni ma quando si resero conto di non poter contare più sull’aiuto di nessuno vennero a patti ed abbandonarono la fortezza; conquistato finalmente il maniero i Guelfi Solaro lo distrussero. La ricostruzione del nuovo castello, sulle rovine del precedente, avvenne solo nel 1351. Sotto la proprietà dei Secco Suardo l’interno della costruzione medioevale era stato sicuramente abbellito e reso più confortevole. Di particolare interesse era, senza dubbio, la cantina: essa occupava tutta la zona interrata del castello; da quest’ultima si accedeva ancora ai sotterranei cunicoli definiti dallo storico astigiano “assai profondi” adibiti a prigioni. Ancora nella prima metà del nostro secolo, il castello era in condizioni discrete e di fatto abitabile, come testimonia lo svolgimento nel suo salone (70 mq.) di una rappresentazione teatrale avvenuta nel 1926. La rovina completa va datata a questo dopoguerra, quando il completo abbandono ha prodotto un tanto rapido quanto irreversibile degrado della struttura. Attualmente è rimasto in piedi solo un ultimo frammento delle poderose mura di mattoni della facciata orientale, alla cui estremità i due torrioni cilindrici, liberati svettano maestosi sul terrapieno conservando il ricordo della loro suggestiva imponenza. L’amministrazione comunale dal 1999 ha avviato un programma di recupero e valorizzazione della struttura ancora esistente effettuando, dopo aver attuato gli urgenti interventi di restauro conservativo, il recupero della vasta cantina interrata. Attualmente nella cantina trova posto la Bottega del Vino di Moasca “Nerodistelle” ed il Restaurant & Cafè, Garden Winery “Tra la Terra ed il Cielo”.

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Siena is likely Italy's loveliest medieval city, and a trip worth making even if you are in Tuscany for just a few days. Siena's heart is its central piazza known as Il Campo, known worldwide for the famous Palio run here, a horse race run around the piazza two times every summer. Movie audiences worldwide can see Siena and the Palio in the James Bond movie, Quantum of Solace. Siena is said to have been founded by Senius, son of Remus, one of the two legendary founders of Rome thus Siena's emblem is the she-wolf who suckled Remus and Romulus - you'll find many statues throughout the city. The city sits over three hills with its heart in the huge piazza del Campo, where the Roman forum used to be. Rebuilt during the rule of the Council of Nine, a quasi-democratic group from 1287 to 1355, the nine sections of the fan-like brick pavement of the piazza represent the council and symbolizes the Madonna's cloak which shelters Siena. Surrounded by olive groves and the vineyards of Chianti, Siena is one of the most beautiful cities of Tuscany. Set on three hills, the city is drawn together by winding alleyways and steep steps, whilst the Piazza del Campo stands at its heart, and the Duomo and St Maria della Scala serve as additional cultural landmarks. Famed for the "Palio", the annual historic horse-races that take place on 2 July and 16 August, it is also home to one of the oldest Universities in Europe, which ensures a vibrant Italian student atmosphere throughout the academic year. In addition to the bustling daily life of the streets and squares of the city, Siena offers many cultural events, concerts, cinema, theatre and a wide range of sporting activities. Siena was originally divided into areas, called "Terzi" that means Thirds; the first one, called "Terzo di Città" was the earliest inhabited area of the city. Few geographical areas in the world can boast of the variety of environment that surrounds Siena. To the north, we have the richness of the Chianti landscape, woven with vines and olive-trees throughout the hills. Here also are beautiful towns like San Gimignano and Monteriggioni with old walls, winding streets and incredible views. South of Siena, the Arbia valley leads to the hill-top town of Montalcino, home to the famous Brunello wine. And the area of La Crete stretches out, amazing visitors with its harsh rock formations and unique landscape. Westwards we head towards the coast, to captivating coastline towns like Castiglione della Pescaia, and nature reserves like the area called Maremma. With such natural beauty within easy reach by car or public transport, Siena is a good place to base yourself for a Tuscan experience. The Chianti area, between Florence and Siena, is one of the most beautiful countrysides in Italy and a famous wine production area.

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Il castello di Monale è un’imponente costruzione d’impianto medioevale più volte modificata nei secoli. Citato a partire dal XII secolo viene distrutto nel 1305 ed in seguito riedificato. Quando nel XVI secolo il feudo viene frazionato in ventesimi, gli Scarampi ne conservano la quota maggiore e rimangono proprietari del Castello. Da allora, sei secoli fa, il Castello appartiene alla famiglia Gani. Dal lontano 1161 il castello, insieme con il feudo di Monale, passò nelle mani di vari proprietari, seguendo le alterne vicende della storia. Fu dei Montenatali, del Vescovo di Asti, del Comune di Asti (a cui lo assegnò il Barbarossa), passò ai Gardini, fu teatro delle lotte fra ghibellini e guelfi e subì la distruzione ad opera di questi ultimi. Il feudo fu restituito ai Gardini nel 1309 e il castello fu riedificato dagli Asinari, che ne erano entarti in possesso. Una parte del feudo apparteneva anche agli Scarampi, ricchi banchieri astigiani, ed essi, quando nel XVI° secolo il feudo venne frazionato in ventesimi, ne conservarono a lungo la quota maggiore. Nel 1796, soppressi i feudi, gli Scarampi rimasero proprietari del castello; l'ultima Scarampi sposò un Malabaila di Canale e la loro figlia, erede del castello, lo portò in dote al conte Carlo Gani di Genova; ancor oggi il castello appartiene alla famiglia Gani. Le ultime rappresentanti della famiglia Scarampi di Monale furono due sorelle, Paola ed Adele. Il castello in mattoni, massiccio, su pianta ad "U", è circondato da un giardino cintato, in parte pianeggiante, ricavato nel XVII secolo spianando un versante della collina sulla quale è stato costruito. La merlatura bifida, che orlava cortili e torri, è stata otturata da un sopralzo, ma è ancora ben visibile su tutto il lato sud ed in altre zone. Ben conservato è il doppio fregio a denti di sega, che corre sotto la merlatura lungo le facciate sud ed est e che costituisce motivo peculiare di questa ed altre costruzioni della zona. All'interno sono ben conservate le cantine, i sotterranei e le pitture di alcuni soffitti di epoca relativamente tarda (a cavallo tra il XVIII e il XIX secolo).

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Il Castello Reale di Govone fu una delle residenze della casa reale dei Savoia dal 1792 al 1870, dal 1997 è uno degli edifici parte del sito residenze sabaude iscritto alla lista del patrimonio dell'umanità UNESCO, è ora adibito a palazzo comunale. Nella posizione in cui sorge il castello, in cima alla collina, già in epoca medioevale si ergeva una fortezza. Dalla fine dell'Ottocento il castello - che ha avuto una particolare notorietà per il soggiorno, avvenuto nel 1730, di Jean-Jacques Rousseau, al tempo appena entrato al servizio del conte Ottavio Solaro - è di proprietà del comune di Govone. Come molte altre dimore storiche sabaude del Piemonte, è meta di visitatori richiamati specialmente dal monumentale e scenografico scalone d'onore a due rampe ricco di rilievi e telamoni che provengono dai giardini di Venaria Reale. Alcune sale sono decorate da preziose carte cinesi; il salone da ballo è affrescato con scene riproducenti l'episodio mitologico di Niobe - ad opera di Luigi Vacca e Fabrizio Sevesi. Degli stessi pittori sono gli affreschi del grande salone centrale che, con la tecnica trompe-l'œil, simulano la presenza di statue. Dal 2007 fa parte del circuito degli otto castelli, meglio noto come Castelli Doc. La rete dei castelli include i manieri di Grinzane Cavour, Barolo, Serralunga d'Alba, Govone, Magliano Alfieri, Roddi, Mango e Benevello. È inoltre inserito nel circuito dei "Castelli Aperti" del Basso Piemonte.

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Il Castello feudale di Montegrosso D' Asti costruito nel 1134 per volontà del Marchese Bonifacio del Vasto, signore della città di Asti, domina un ampio territorio collinare a profonda vocazione viticola. È nella quiete delle sue spaziose e secolari cantine che trovano degna dimora i nobili vini doc e docg di queste terre. I vini ottenuti dopo una tradizionale e razionale vinificazione vengono opportunamente selezionati, invecchiati in fusti di rovere; successivamente, raggiunto il giusto grado di maturazione, imbottigliati e posti in apposite celle di affinamento. L'amore per il vino si tramanda di padre in figlio da molte generazioni; esistono infatti documenti che comprovano l'attività vitivinicola della famiglia Motta fin dal lontano 1794. Siamo quindi orgogliosi di offrire la nostra esperienza e tradizioni presentando oggi, come nel passato, il meglio della produzione enoica piemontese.

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D'ago Cravatte is a new brand created by Giuliana Di Agostino after 30 years of experience in the hand-made tie sector and after many years of work dedicated to satisfying the needs of numerous and important companies (ZEGNA, GUCCI, TOM FORD, YSL, BRIONI). "I decided to make available my work experience for a select group of customers wishing to have a customized and high-quality customized product" begins the adventure of D'needle Cravatte, a high-quality product reflecting the class man who loves the taste of the sartorial product. D'ago Cravatte è un nuovo brand creato da Giuliana Di Agostino dopo 30 anni di esperienza nel settore delle cravatte fatte a mano e dopo tanti anni di lavoro dedicati a soddisfare le esigenze di numerose e importanti aziende (ZEGNA, GUCCI, TOM FORD, YSL, BRIONI). "Ho deciso di mettere a disposizione la mia esperienza lavorativa per un selezionato gruppo di clienti desiderosi di avere un prodotto su misura e di alta qualità" inizia l'avventura di D'needle Cravatte, un prodotto di alta qualità che rispecchia l'uomo di classe che ama il gusto del prodotto sartoriale.

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In the heart of Puglia, in the characteristic and renowned town north of Bari, BITONTO, the city of extra virgin olive oil, the DANIELI Il Forno delle Puglie company has its roots in 2003. The company founded and led by DANIELE LOVASCIO, with the collaboration of young, smart and dynamic guys, has been operating for years in the field of production and marketing of typical Apulian artisan baked goods. The main product of this company to which it owes its success is IL TARALLO, offered in various shapes and flavors. DANIELI Taralli are handmade, following ancient recipes handed down in secret and scrupulously guarded. Nel cuore della Puglia, nel caratteristico e rinomato comune a nord di Bari, BITONTO, la città dell'olio extravergine di oliva, l'azienda DANIELI affonda le sue radici nel 2003. L'azienda fondata e guidata da DANIELE LOVASCIO, con la collaborazione di giovani, ragazzi intelligenti e dinamici, opera da anni nel settore della produzione e commercializzazione di prodotti da forno tipici artigianali pugliesi. Il principale prodotto di questa azienda a cui deve il suo successo è IL TARALLO, proposto in varie forme e gusti. I Taralli DANIELI sono fatti a mano, seguendo antiche ricette tramandate in segreto e scrupolosamente custodite.

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Vistaterra Castello di Parella is the place where nature, science and beauty meet, giving life to an ideal, sustainable world, respectful of the planet and people, where everything is done according to rules that respect the environment, supporting growth and social well-being. Vistaterra is a completely sustainable historic home, in which to understand the origin and the secrets of quality food and wine, where to spend free time, play sports, learn, discover or simply stay in contact with nature. A village of unique experiences and moments, which have their roots in the history and culture of these places and, at the same time, transport you to a future and possible world, in full respect of the environment and people. Vistaterra è il luogo in cui natura, scienza e bellezza si incontrano, dando vita ad un mondo ideale, sostenibile, rispettoso del pianeta e delle persone, dove ogni cosa è fatta secondo regole che rispettano l’ambiente, sostenendo la crescita e il benessere sociale. Vistaterra è una dimora storica completamente sostenibile, in cui comprendere l’origine e i segreti dell’enogastronomia di qualità, dove trascorrere il tempo libero, fare sport, imparare, scoprire o semplicemente stare a contatto con la natura. Un borgo di esperienze e di momenti unici, che affondano le radici nella storia e nella cultura di questi luoghi e, al contempo, trasportano in un mondo futuro e possibile, nel pieno rispetto dell’ambiente e delle persone.

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Giaquinto Associated Architects is a reference both in the national territory, where it is rooted, and in the international field, it develops and integrates specific skills with the contribution of multidisciplinary professionals who work in teams, aimed at a personalized solution of the issues addressed both on an urban scale than in the details. The constant search for young qualified skills in complementary sectors such as home automation, qualistics, ergonomics, technological innovation and composite materials qualifies their excellence. The firm offers architectural design services, urban planning and urban redevelopment, concept-design and communications, feasibility and sustainability, executive planning and cost analysis. Giaquinto Architetti Associati è un riferimento sia sul territorio nazionale, dove si è radicato, sia in campo internazionale, sviluppa e integra le specifiche competenze con il contributo di professionisti multidisciplinari che operano in équipe, finalizzato a una soluzione personalizzata dei temi affrontati sia in scala urbana che nei dettagli. La ricerca costante di giovani competenze qualificate in settori complementari quali domotica, qualistica, ergonomia, innovazione tecnologica e materiali compositi ne qualifica l’eccellenza. Lo Studio offre servizi di progettazione architettonica, progettazione urbanistica e riqualificazione urbana, concept-design e comunicazioni, studi di fattibilità e sostenibilità, progettazioni esecutive e analisi dei costi.

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Chiara and Massimo Ferrero founded their art gallery, Galleria Ferrero in 2010 and since 2011 they have acquired the current exhibition space on the second floor of the historic building of Villa Nesi in Ivrea. The gallery owners are mainly art collectors and over the years have acquired and deepened the knowledge of national and international artists. At best to the collector's requests and needs. Also in 2017 a collaboration and sharing of artists with New York art galleries was born. Chiara e Massimo Ferrero fondano la loro galleria d'arte nel 2010 e dal 2011 acquisiscono l'attuale spazio espositivo al secondo piano dello storico edificio di Villa Nesi a Ivrea. I galleristi sono principalmente collezionisti d'arte e negli anni hanno acquisito e approfondito la conoscenza di artisti nazionali e internazionali.Dal 2017 la galleria d'arte si avvale della consulenza artistica di Ermanno Tedeschi per una ricerca sempre piu affinata degli artisti al fine di rispondere al meglio alle richieste e esigenze del collezionista. Sempre nel 2017 nasce una collaborazione e condivisione artisti con gallerie d'arte di New York.

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As a last stop before the North Pole, formerly an Arctic outpost, now an exotic tourist destination. Svalbard is a Norwegian archipelago between mainland Norway and the North Pole. One of the world’s northernmost inhabited areas, it's known for its rugged, remote terrain of glaciers and frozen tundra sheltering polar bears, Svalbard reindeer and Arctic foxes. The Northern Lights are visible during winter, and summer brings the “midnight sun”—sunlight 24 hours a day! Svalbard is home to about 2650 people, and most of these live in Longyearbyen, the administration centre for the archipelago. There is also a Russian community in Barentsburg, a research station in Ny-Ålesund, and a few people living in Pyramiden. Svea, in Hornsund, and on Bjørnøya and Hopen. All the settlements are on Spitsbergen, except for the meteorological stations on Bjørnøya and Hopen. Approximately 2100 people live in Longyearbyen, representing over 50 nationalities. Most of the inhabitants are from Norway, and the foreign nations with the highest number of people on Svalbard are Thailand, Sweden and Russia. The average time for someone to live on Svalbard is seven years, and at the start of 2016, one in four of the inhabitants had lived here more than ten years. The people living on Svalbard are young, and compared with the mainland there is a much higher number of people between 25 - 49 years old. Very few inhabitants are over 70 here. The archipelago has an Arctic climate, but with a much higher average temperature than other areas at the same latitude, due to regular low pressure systems and the warm Atlantic Ocean currents. Today, the fjords on the west of Spitsbergen are ice free during much of the winter, but if you meet people who were here back in the day, they may tell stories of reaching Pyramiden and Barentsburg on foot over the ice. The average temperature is -16 degrees Celsius in January, and +6 in July, and there is generally little precipitation in Longyearbyen, although we can get a fair bit of stormy weather. At the coast, the permafrost layer reaches 100 metres below ground, and during the summer, it is only the first metre or so that melts. The polar night and the midnight sun rule the skies for much of the year, adding an exotic touch to your wilderness experiences.Longyearbyen experiences midnight sun from April 20 to August 23, and the dark season between October 26 and February 15. Polar bears are probably the animal that most people connect with Svalbard, but there are many other animals that call Svalbard home, including walrus, harp seals, ring seals, bearded seals, beluga, bowhead whales, narwhals, Svalbard grouse, polar fox and Svalbard reindeer. The Svalbard reindeer is genetically distinct from other species of reindeer, with short legs and a fat layer that can be 10cm thick. The sea around Svalbard is nutrient-rich, and during the summer large numbers of sea birds flock to the archipelago. There are seven national parks and 23 nature reserves, which combined cover two thirds of the archipelago, and this helps to protect the untouched and incredibly fragile ecosystem found on Svalbard.

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QUIN acronimo di QUaderno di INterni. La pronuncia anglofona familiarizza fallace con queen, regina, ma la natura è italica al 100%. Fibra, artigiani stampatori, fotografi, redattori, case. Tutto rigorosamente fatto in Italia. Quin, luxury interior design rivista bimestrale ordinabile nelle rivendite di giornali al casellario home interior. Tuttavia anomala. Impiega carta spessorata patinata, verniciata sui due lati come per i volumi fotografici. Al proposito si dice che l’editore sia poco pratico e che la carta non avrà futuro. Si diranno tante altre cose. Vuole sembrare una rivista semplice, agevole nella lettura e nel giro pagina. Tuttavia la malizia c’è: si annida acuta nei testi e nei singoli scatti fotografici. Rilasciatevi e non fate opposizione. Vi porteremo altrove. Sgombrate la mensola migliore e riponetevi il primo QUIN, lasciando generoso spazio per le sorelle che arriveranno poi. Sospettate dell’amica che vorrà la vostra copia in prestito. Siate dediti al culto bimestrale di QUIN, sfogliatela, tenetela vicina, fatela conoscere, perché in edicola c’è la nuova regina. La regina che parla italiano. QUIN stands for QUaderno di INterni. The English-speaking pronunciation familiarizes fallaciously with queen, queen, but nature is 100% Italic. Fiber, artisans, printers, photographers, editors, houses. All rigorously made in Italy. Quin, luxury interior design bimonthly magazine that can be ordered in newspaper shops at the home interior filing cabinet. However anomalous. It uses coated thick paper, painted on both sides as for photographic volumes. In this regard, the publisher is said to be impractical and that paper will have no future. Many other things will be said. It wants to look like a simple magazine, easy to read and turn the page. However, there is malice: it lurks sharply in the texts and in the individual photographic shots. Release yourself and make no opposition. We will take you elsewhere. Clear the best shelf and put the first QUIN in it, leaving generous space for the sisters who will come later. Suspect the friend who wants your loan copy. Be dedicated to the bimonthly cult of QUIN, browse it, keep it close, make it known, because the new queen is on the newsstands. The queen who speaks Italian.

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Mario Luzi Foundation with the aim of representing an absolute reference point for the promotion of the life and works of the great poet. The Foundation has the function of "providing for the continuation of the work of study and cultural, literary and human research aroused by Mario Luzi. The Mario Luzi Award is a literary competition, dedicated to published and unpublished poetry. The poetry contest Mario Luzi is considered among the most important literary prizes in the field of poetry competitions. Fondazione Mario Luzi con lo scopo di rappresentare un punto di riferimento assoluto per la promozione della vita e delle opere del grande poeta. La Fondazione ha la funzione di "prevedere la prosecuzione dell'opera di studio e ricerca culturale, letteraria e umana suscitata da Mario Luzi. Il Premio Mario Luzi è un concorso letterario, dedicato alla poesia pubblicata e inedita. Il concorso di poesia Mario Luzi è considerato tra i più importanti premi letterari nel campo dei concorsi di poesia.

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The Consortium Il Cappello di Firenze founded in Florence. Its members are among the leading companies in this sector, the heirs to the traditional art of working with straw which found its greatest expression in the area of Signa from the latter part of the 19th century up to the present day. The manufacture of the world-famous Leghorn hat developed in this very region. Today the companies of the Consortium export their products all over the world. Nasce a Firenze il Consorzio Il Cappello di Firenze. I suoi soci sono tra le aziende leader del settore, eredi della tradizionale arte della lavorazione della paglia che ha trovato la sua massima espressione nel territorio di Signa dall'ultima parte dell'Ottocento fino ai giorni nostri. Proprio in questa regione si è sviluppata la manifattura del famoso cappello livornese. Oggi le aziende del Consorzio esportano i loro prodotti in tutto il mondo.

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Florence, Italian Firenze, Latin Florentia, city, capital of Firenze provincia (province) and Toscana (Tuscany) regione (region), central Italy. The city, located about 145 miles (230 km) northwest of Rome, is surrounded by gently rolling hills that are covered with villas and farms, vineyards, and orchards. Florence was founded as a Roman military colony about the 1st century BCE, and during its long history it has been a republic, a seat of the duchy of Tuscany, and a capital (1865–70) of Italy. During the 14th–16th century Florence achieved preeminence in commerce and finance, learning, and especially the arts. The present glory of Florence is mainly its past. Indeed, its historic centre was inscribed on UNESCO’s World Heritage List in 1982. The buildings there are works of art abounding in yet more works of art, and the splendours of the city are stamped with the personalities of the individuals who made them. The geniuses of Florence were backed by persons of towering wealth, and the city to this day gives testimony to their passions for religion, for art, for power, or for money. Among the most famous of the city’s cultural giants are Leonardo da Vinci, Michelangelo, Dante, Machiavelli, Galileo, and its most-renowned rulers, generations of the Medici family. Scholars still marvel that this small city of moneylenders and cloth makers without much political or military power rose to a position of enormous influence in Italy, Europe, and beyond. The Florentine vernacular became the Italian language, and the local coin, the florin, became a world monetary standard. Florentine artists formulated the laws of perspective; Florentine people of letters, painters, architects, and craftspeople began the period known as the Renaissance; and a Florentine navigator, Amerigo Vespucci, gave his name to two continents. The city has remained an important cultural, economic, political, and artistic force into the modern era, setting trends in political administration (especially under Mayor Giorgio La Pira in the 1950s and early ’60s) and even cultural innovation (as in its influential Modernist train station designed under Giovanni Michelucci, its football [soccer] stadium by Pier Luigi Nervi, and the Archizoom radical design movement active during the 1960s and ’70s). The region around the city has a modern and dynamic economy based on small industrial production. The city itself is far more dependent on tourism, though it also has developed newer sectors such as information technology. Florence’s key role as a market centre is reinforced by its location at the nexus of transport lines connecting northern and southern Italy. Area 40 square miles (104 square km). Pop. (2022 est.) 367,150.

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Brusnengo is a municipality in the Province of Biella in the Italian region Piedmont, located about 70 kilometres (43 mi) northeast of Turin and about 12 kilometres (7 mi) northeast of Biella. Attested as Bruxniengo, Bruxenengo and Bruxinango, it could link to "burn" or to a Germanic name, not well identified. The citizens Brusnenghesi, a proud and hard-working people, who over the centuries has distinguished themselves for the courage and the desire to start again that has led many villagers to migrate, even very far, in search of luck. Having family members far away was normal, they explain, but for this reason a lady had a very original idea, which is still remembered in the village today. Nina Talocchino was her name, which in the mid-1900s decided to collect the news of Brusnengo, and of nearby Roasio, in a newspaper that soon began to reach all the Brusnenghesi scattered around the globe: La Voce di Brusnengo. We then continue to discover the country, a town divided into several cantons, some of which are small miniature villages in whose streets you can still breathe the past, between the brick walls and the steps that seem to await the return of the departed fellow villagers. The sacred buildings seem to be the most important, the Parish Church of Saints Pieto and Paolo or the small church of San Bernardo, make us understand how much faith is present in the community that preserves them with devotion, keeping as much as possible the Renaissance decorations of the past. With the Rive Rosse Team you can go to the discovery of the surrounding area, in a breathtaking setting, by mountain bike until you reach the Madonna degli Angeli, a small church located on a hill where you can enjoy a unique and suggestive panorama. In such a context, the cultivation of vines is very practiced and wine is one of the main products that Brusnengo has to offer, a particular and unique wine, as Filippo Barni of the homonymous farm explains, producer not only of Bramaterra and other local labels, but also of the fine Mesolone and a delicious passito wine, Cantagal.

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Mariella Balla nasce da due genitori giovani: lei di origini contadine con ambizioni borghesi, lui impulsivo e geniale ebanista e artista del legno. Mariella Balla ha da loro ereditato, insieme a una sorta di insicurezza stabile e di follia creativa, anche il salvataggio delle lumache nei giorni di pioggia. Ha sempre scritto poesia e prosa affidando a diari terapeutici tutta la sua vulnerabilità. Ha tentato di non impazzire del tutto dandosi da fare per la legge Basaglia lavorando con altri giovani idealisti come lei occupandosi degli ultimi. Perché in fondo ultimi erano anche loro. Mariella Balla ha tramutato la sua informale follia in parola. Ha provato a trasformare il male in bene, la guerra in pace e il suo cuore per fortuna non si è inaridito. Ha avuto tanti figli: uno umano che ha trasformato la sua vita in arte, e gli altri figli sono pelosi che cura e ama allo struggimento.

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Chiara Ferragni è una delle influencer più seguite al mondo oltre ad essere una fashion blogger molto conosciuta a livello internazionale. Il suo blog, The Blonde Salad, è diventato un punto di riferimento nel settore della moda. Prima del grande successo internazionale, quando Chiara Ferragni era ancora una giovane ragazza della provincia di Cremona, su internet era conosciuta con il nickname di Diavoletta87. A quei tempi non esistevano ancora Instagram, Facebook e Twitter e Chiara Ferragni muoveva i suoi primi passi sugli antenati dei social di oggi: Netlog e DuePuntoZero. Nonostante non fosse ancora famosa già a quei tempi Chiara Ferragni era molto amata, Diavoletta87 infatti era tra gli utenti più amati in cima alle classifiche delle ragazze più apprezzate sia su Netlog che su DuePuntoZero. Insomma, già in tenera età la Ferragni sapeva come attrarre le masse. Fu così che partì l’avventura di The Blonde Salad con un investimento di soli 10 euro per il dominio inernet e di 500 euro per una fotocamera digitale. Lo stile genuino di Chiara Ferragni si riflette alla perfezione nel suo blog dove sin dall’inizio dimostra di essere molto vicina a chi la segue, rispondendo a tutti i commenti al suo blog con consigli e ringraziamenti. Il successo internazionale arriva nel 2010 quando Chiara Ferragni viene indicata dalla rivista americana New York come “One of the biggest break out street-style stars of the year”. Da quel momento lo slancio per la carriera di Chiara Ferragni è stato enorme. Ancora più popolarità la investe nel 2011 quando Vogue la nomina “Blogger of the moment”. Oggi The Blonde Salad è un punto di riferimento per il settore della moda e si è trasformato da semplice blog in vero e proprio progetto editoriale con tanto di e-commerce a disposizione delle seguaci della influencer che possono così imitarne il look. Il successo della Ferragni è dovuto anche alla popolarità di suo marito Fedez, noto rapper, da cui ha avuto il piccolo Leone Lucia, sin dai primi giorni di vita già influencer su Instagram. Adesso Chiara Ferragni ha un seguito davvero impressionante: oltre 7 milioni di followers su Instagram, oltre 1 milione di like su Facebook e più di 300.000 followers su Twitter. Chiara Ferragni is one of the most followed influencers in the world as well as being a fashion blogger well known internationally. Her blog, The Blonde Salad, has become a leading point in the fashion industry. Before the great international success, when Chiara Ferragni was still a young girl from the province of Cremona, she was known on the internet with the nickname of Diavoletta87. In those days, Instagram, Facebook and Twitter did not yet exist and Chiara Ferragni took her first steps on the ancestors of today's social networks: Netlog and DuePuntoZero. Although she was not yet famous in those days Chiara Ferragni was very loved, in fact Diavoletta87 was among the most loved users at the top of the rankings of the most popular girls both on Netlog and on DuePuntoZero. In short, Ferragni already knew how to attract the masses at an early age. This was how the adventure of The Blonde Salad started with an investment of only 10 euros for the internet domain and 500 euros for a digital camera. The genuine style of Chiara Ferragni is perfectly reflected in her blog where from the beginning she proves to be very close to those who follow her, responding to all the comments to her blog with advice and thanks. International success came in 2010 when Chiara Ferragni was indicated by the American magazine New York as "One of the biggest break out street-style stars of the year". From that moment the impetus for Chiara Ferragni's career has been enormous. Even more popularity invested her in 2011 when Vogue named her "Blogger of the moment". Today The Blonde Salad is a point of reference for the fashion sector and has turned from a simple blog into a real editorial project with a lot of e-commerce available to the followers of the influencer who can thus imitate its look. Ferragni's success is also due to the popularity of her husband Fedez, a well-known rapper, from whom she had the little Leone Lucia, from the first days of life already an influencer on Instagram. Now Chiara Ferragni has a really impressive following: over 7 million followers on Instagram, over 1 million likes on Facebook and more than 300,000 followers on Twitter.

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La Marseglia Calce S.R.L. inizia la sua attività poco prima degli anni 50, il Capostipite fu Antonio Marseglia che, in virtù delle sue esperienze lavorative acquisite sin da giovane, iniziò in modo artigianale la propria attività, cuocendo le pietre calcaree nelle cosidette fornaci a mano, ossia cumoli di pietre sistemate a spirale con crescita ad anello e sistema tondeggiante. Alla base del cumolo venivano inserite le fascine e, per non disperdere il calore all’interno della catasta, essa veniva coperta con terra dalla sommità a scendere per tutta la superfice. Tale era il metodo utilizzato sin dall’antichità. Il pregiato ossido ricavato dalla cottura del puro calcare, veniva venduto nella Provincia di Brindisi ed in parte della Regione Puglia. Negli anni 60 in virtù della continua crescita professionale, fatta di grandi consensi e numerose richieste dell’ossido, Antonio rinnova il Sito Industriale “Tino Villanova” e qui iniziava lo sviluppo Imprenditoriale con altre fornaci per la cottura a legna della pietra calcarea. Negli anni 70, con la crescita edilizia e le continue richieste dei Clienti del prodotto finito, Antonio inizia la produzione del grassello di calce, costruendo enormi vasche per la stagionatura. Nei primi anni 90 Marseglia Antonio, continuando nella prestigiosa crescita della clientela, ottenuta per la qualità e la cura del prodotto finito, e rinnova il proprio impianto innovativo sempre a Tino di Villanova. Negli anni 2.000 subentrano i figli, e nasce la Marseglia Calce Srl, continuando nel solco indicato dal Padre, mantenendo tutte quelle metodologie tramandate e acquisite nel quotidiano lavorativo, della produzione della cottura a legna sino alla cura della stagionatura in vasca, per continuare dopo 70 anni a produrre l’eccellente grassello di calce di un tempo.

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In the beautiful Monferrato land, the Cantine dei Marchesi Incisa della Rocchetta, offers wines and hospitality. This boutique winery is harvesting the fruit of centuries of dedication, innovation and respect for the terroir. Among the wines we can find both high ends wines, like Sant’Emiliano, Colpo d’Ala and Marchese Leopoldo- and quality wines at friendly prices, such as Rollone, Futurosa and others. All wines that are clear on the palate while telling the tales of the terroir. In the last year of the last century, the Cantine dei Marchesi Incisa della Rocchetta made major investments in moving the winery from the centuries-old cellars of the family castle to La Corte Chiusa in the heart of the village. From here it’s easy to take a walk in the vineyards of the estate and admire the amazing view of the Monferrato hills. Filiberto and Francesca, son and daughter of Barbara Incisa, continue Today the tradition of excellence in wine making and hospitality with a unique experience.

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Cecilia Falciai is specialized in the art of Scagliola and in the technique of the Florentine mosaics made by hard stones and marbles. She designs and manufactures different types of creations, from tables and panels to small interior decors and jewellery, also on commission, available for restorations too. The art of Scagliola has always fascinated her. From her father, she has inherited everything she knows about this technique. Cecilia Falciai è specializzata nell'arte della Scagliola e nella tecnica dei mosaici fiorentini realizzati con pietre dure e marmi. Progetta e realizza diversi tipi di creazioni, dai tavoli e pannelli ai piccoli decori interni e gioielli, anche su commissione, disponibili anche per restauri. L'arte di Scagliola l'ha sempre affascinata. Dal padre ha ereditato tutto ciò che sa su questa tecnica.

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The Casa Clementina is an association founded with the aim of rediscovering and safeguarding national and international textile culture. The project was born from the passion for hand weaving and natural dyeing, but above all from the discovery that many textile traditions, considered by now uneconomical, were disappearing. Sissi Castellano and Stefano Panconesi meet in India on the occasion of a world conference on natural colors; they both had the same passions and the uncontrollable desire to save so many textile techniques from oblivion and to share them through teaching in a space dedicated to them. Over a course of about two thousand years, the colors of nature have always inspired and fascinated man. The dyes of natural origin used from antiquity until the mid-19th century - when they were gradually abandoned due to industrialization and the production of synthetic raw materials - characterized the way of representing and appearing of the human race, oscillating between variations, recurrance and persistence. The use of color to portray and weave has always been connected, in an articulated and complex way, to symbolic, aesthetic and cultural values; it is no coincidence that the intrinsic meaning of a color can be compared to that of a “symbol”. Each chromatic nuance has become, over the centuries, an index of certain social, political and religious spheres. La Casa Clementina è un'associazione nata con l'obiettivo di riscoprire e salvaguardare la cultura tessile nazionale e internazionale. Il progetto nasce dalla passione per la tessitura a mano e la tintura naturale, ma soprattutto dalla scoperta che molte tradizioni tessili, ritenute ormai antieconomiche, stavano scomparendo. Sissi Castellano e Stefano Panconesi si incontrano in India in occasione di un convegno mondiale sui colori naturali; entrambi avevano le stesse passioni e la voglia irrefrenabile di salvare dall'oblio tante tecniche tessili e di condividerle attraverso l'insegnamento in uno spazio a loro dedicato. Nel corso di circa duemila anni, i colori della natura hanno sempre ispirato e affascinato l'uomo. I coloranti di origine naturale utilizzati dall'antichità fino alla metà dell'Ottocento - quando furono progressivamente abbandonati a causa dell'industrializzazione e della produzione di materie prime sintetiche - caratterizzarono il modo di rappresentare e apparire del genere umano, oscillando tra variazioni, ricorrenza e persistenza .L'uso del colore per ritrarre e tessere è sempre stato connesso, in modo articolato e complesso, a valori simbolici, estetici e culturali; non a caso il significato intrinseco di un colore può essere paragonato a quello di un “simbolo”. Ogni sfumatura cromatica è diventata, nei secoli, indice di alcuni ambiti sociali, politici e religiosi.

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Vito Salerno, Il ragazzo del legno, is a young man of just 26 years but his is an ancient profession that, unfortunately, is disappearing. Chessboards, clocks, tables: these are the exclusive objects that Vito Salerno, a very young craftsman from Chiaramonte, produces from wood in his garage, used as a laboratory. Vito Salerno, Il ragazzo del legno, è un giovane di appena 26 anni ma il suo è un mestiere antico che, purtroppo, sta scomparendo. Scacchiere, orologi, tavoli: sono questi gli oggetti esclusivi che Vito Salerno, giovanissimo artigiano di Chiaramonte, produce dal legno nel suo garage, adibito a laboratorio.

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Firenze Convention Bureau is the division of Destination Florence Convention & Visitors Bureau whose goal is to promote the Florence destination to increase the quantity and quality of events and congresses organized in the city. We take care of researching, developing and submitting applications for national and international association events. We handle over 300 requests a year for the organization of events: we recommend the best services and the best rates. Florence Academic Leader Program aims to increase the number of international business events. Following the memorandum of understanding signed in December 2018 between the Municipality of Florence, the Metropolitan City, the Chamber of Commerce and the University of Florence, we have been selected as a single entity to carry out initiatives capable of expanding quality tourism in the city of Florence, with the aim of enhancing congress tourism and implementing interventions to de-season and relocate flows.

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Il Museo della Sindone di Torino, allestito nella cripta della chiesa del SS. Sudario, è il luogo stabilmente destinato non solo alla devozione, ma anche alla divulgazione, allo studio e alla conoscenza del Sacro Lino. Al di fuori delle periodiche ostensioni o della cappella del Duomo di Torino in cui è custodito ma non visibile, è soprattutto qui che è possibile accostarsi al Telo in modo approfondito. Inaugurato in veste rinnovata il 15 aprile 1998 dall’allora Arcivescovo di Torino, card. Giovanni Saldarini, il Museo offre un’informazione completa sulle ricerche sindonologiche dal ‘500 ad oggi, cogliendone gli aspetti storici, scientifici, devozionali e artistici. In particolare, un’ala è dedicata a un percorso scientifico che illustra l’evoluzione delle ricerche iniziate oltre un secolo fa, nel 1898. Le indagini scientifiche, che vengono documentate nel Museo, rendono conto dei numerosi sforzi di leggere la Sindone e di svelarne i misteri. Il percorso culmina nella stupefacente immagine tridimensionale del volto dell’Uomo della Sindone elaborata nel 1978 dall’equipe guidata da Giovanni Tamburelli. Ampio spazio è dedicato a ulteriori studi: sul tessuto, sulle microtracce (pollini, sangue, aloe, mirra, aragonite…) ecc. Completano l’excursus testimonianze sulle indagini medico-legali e sull’analisi iconografica. L’altra parte del museo (il percorso storico) traccia la storia – quella ipotetica e quella certa – della Sindone e della sua venerazione a partire dalla seconda metà del XV secolo, quando il Lenzuolo divenne proprietà di Casa Savoia. In questa sezione, di estremo valore risulta la cassetta utilizzata per il trasporto definitivo della Sindone a Torino nel 1578. Gioiello del museo è poi la cinquecentesca teca in argento e pietre dure che ha conservato la Sindone a partire dalla fine del 500 fino al 11 aprile 1997, giorno dell’incendio della cappella del Guarini nel Duomo di Torino. Nella sezione fotografica è conservata l’intera serie delle fotografie ufficiali della Sindone, tra cui le prime fotografie scattate da Secondo Pia nel 1898, quelle di Giuseppe Enrie del 1931, la prima immagine a colori di Giovanni Battista Judica Cordiglia del 1968, le fotografie scientifiche dello STURP del 1978, quelle di Gian Durante del 1997, 2000 e 2002 e le fotografie digitali in alta definizione di Hal9000 del 2008. La visita è preceduta da un video in cinque lingue che accoglie i visitatori e offre una lettura analitica dell’immagine sindonica.

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The World Tourism Organization - UNWTO, is the United Nations agency responsible for the promotion of responsible, sustainable and universally accessible tourism. As the leading international organization in the field of tourism, UNWTO promotes tourism as a driver of economic growth, inclusive development and environmental sustainability and offers leadership and support to the sector in advancing knowledge and tourism policies worldwide. Their priorities are the mainstreaming of tourism in the global agenda: Advocating the value of tourism as a driver of socio-economic growth and development, its inclusion as a priority in national and international policies and the need to create a level playing field for the sector to develop and prosper. Promoting sustainable tourism development: Supporting sustainable tourism policies and practices: policies which make optimal use of environmental resources, respect the socio-cultural authenticity of host communities and provide socio-economic benefits for all. Fostering knowledge, education and capacity building: Supporting countries to assess and address their needs in education and training, as well as providing networks for knowledge creation and exchange. Improving tourism competitiveness: Improving UNWTO Members’ competitiveness through knowledge creation and exchange, human resources development and the promotion of excellence in areas such as policy planning, statistics and market trends, sustainable tourism development, marketing and promotion, product development and risk and crisis management. Advancing tourism’s contribution to poverty reduction and development: Maximizing the contribution of tourism to poverty reduction and achieving the SDGs by making tourism work as a tool for development and promoting the inclusion of tourism in the development agenda. Building partnerships: Engaging with the private sector, regional and local tourism organizations, academia and research institutions, civil society and the UN system to build a more sustainable, responsible and competitive tourism sector.

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The FAI, Fondo per l'Ambiente Italiano, is an Italian foundation founded in 1975 with the aim of acting, non-profit, for the protection, safeguarding and enhancement of the Italian artistic and natural heritage through the restoration and opening of the assets to the public. historical, artistic or naturalistic received by donation, inheritance or loan. It promotes the education and sensitization of the community to the knowledge, respect and care of art and nature and the intervention on the territory in defense of the Italian landscape and cultural heritage. Il FAI, Fondo per l'Ambiente Italiano, è una fondazione italiana fondata nel 1975 con lo scopo di agire, senza scopo di lucro, per la tutela, la salvaguardia e valorizzazione del patrimonio artistico e naturale italiano attraverso il restauro e l'apertura al pubblico dei beni storici, artistici o naturalistici ricevuti per donazione, eredità o comodato. Promuove l'educazione e la sensibilizzazione della collettività alla conoscenza, al rispetto e alla cura dell'arte e della natura e l'intervento sul territorio in difesa del paesaggio e dei beni culturali italiani.

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Art for Excellence deals with marketing and communication techniques. For about 10 years it has been organizing cultural and corporate events, from the design and conception phase, customized according to the specific needs of the customer. From identifying the most appropriate location, to that of the most qualified room staff; from the set-up, to the inauguration, accompanying the customer up to the closing phase of the event in the artistic sector. Art for Excellence si occupa di marketing e tecniche di comunicazione. Da circa 10 anni organizza eventi culturali e aziendali, dalla fase di progettazione ed ideazione, personalizzata in base alle specifiche esigenze del cliente. Dall’individuazione della location più adeguata, a quella del personale di sala più qualificato; dall’allestimento, all’inaugurazione, accompagnando il cliente fino alla fase di chiusura evento nel settore artistico.

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I MagazziniOz sono un’ iniziativa di CasaOz pensata per svilupparne l’esperienza, offrire a ragazzi e adulti la possibilità di studiare, gustare, scoprire, cercare, raccontare, regalare, stare, lavorare, sostenere. Una cooperativa, una rete di persone, un progetto. Utile, per il sociale. I MagazziniOz servono a creare un modo nuovo di fare qualcosa di “utile” e di renderlo utile davvero, per tutti. Ci sono perché c’è CasaOz, perché l’attività di quella casa ha bisogno di nuove risorse, di azioni condivise, del coinvolgimento dei cittadini e di un sostegno che vada oltre il concetto di non-profit. Per questo, ogni giorno nei MagazziniOz si fanno anche cose diverse da quelle che succedono in CasaOz ma anche altre che invece fanno parte delle attività di CasaOz e saranno semplicemente in un altro luogo. MagazziniOz is an initiative of CasaOz designed to develop their experience, offer children and adults the opportunity to study, taste, discover, search, tell, give, stay, work, support. A cooperative, a network of people, a project. Useful, for social impact. MagazziniOz are used to create a new way of doing something “useful” and making it really useful, for everyone. They are there because CasaOz is there, because the activity of that house needs new resources, shared actions, citizen involvement and support that goes beyond the concept of non-profit. For this reason, every day in MagazziniOz they also do things different from those that happen in CasaOz but also others that are part of the activities of CasaOz and will be simply in another place.

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Neri Torrigiani set up his Studio in 1992, focusing primarily on graphics and packaging (for diverse businesses such as fashion houses, auction houses and wine producers), on communications and public relations (ranging from the setting up of the opening events for the most prestigious boutiques in the historic centre of Florence, to the creation of specialized guides and of many websites), on the organization of events (art, fashion and crafts exhibitions) and on interior design. Neri Torrigiani works with many of the most important players in Florence’s contemporary scene, such as the Marino Marini Museum, Virgilio Sieni’s ‘Cantieri Goldonetta’, the ‘Gregor von Rezzori Literary Prize – Città di Firenze’ he is a member of the Organizing Committee, the ‘Fabbrica Europa’ Association, of which he is a founding partner, and its festival of the same name. He was also a founding partner and manager of the Art project Quarter, the ‘Centro Produzione Arte’, as well as the co-founder of Extre Toscana Contemporanea for which he also worked as the head of communications in the EX3 centre. Neri Torrigiani is the creator and organizer of the exhibition “Artigianato e Palazzo” begun in 1995; founding member of Associazione CORRI LA VITA Onlus, member of the Organization Committee and project manager of the charity project presided over by marchioness Bona Frescobaldi that has been honoured in 2012 with the “Fiorino d’Oro della Città di Firenze” by the Major Matteo Renzi; member of the Organization Committee and project manager of Festival degli Scrittori and Gregor von Rezzori prize; founding member of the Association Amici della Galleria dell’Accademia of Florence wanted by the director Cecilie Hollberg. Lo Studio inizia l’attività nel 1992 e negli anni si concentra nella grafica ed il packaging (dalla moda alle case d’asta, ai produttori di vino…), nella comunicazione (dagli allestimenti alle inaugurazioni dei migliori negozi del centro storico di Firenze, dalla realizzazione di guide specialistiche ai tanti siti Internet…), nell’organizzazione di eventi (dalle mostre d’arte a quelle di artigianato e moda…) fino alla progettazione d’interni. Neri Torrigiani collabora con molte realtà del contemporaneo a Firenze: il Museo Marino Marini, i Cantieri Goldonetta di Virgilio Sieni, il premio letterario Gregor von Rezzori – Città di Firenze di cui è membro del Comitato Promotore, l’Associazione Fabbrica Europa di cui è socio fondatore e che realizza l’omonimo Festival e nel passato del progetto Quarter – Centro Produzione Arte di cui è stato socio fondatore ed Extre Toscana Contemporanea di cui è stato socio fondatore e responsabile comunicazione del Centro EX3. Neri Torrigiani è ideatore ed organizzatore della Mostra “Artigianato e Palazzo” nata nel 1995 e sostenuta da Giorgiana Corsini insignito nel 2019 del “Fiorino d’Oro della Città di Firenze” dal Sindaco Dario Nardella; socio fondatore della Associazione CORRI LA VITA Onlus, membro del Comitato Organizzatore e responsabile comunicazione e grafica del progetto benefico presieduto da Bona Frescobaldi insignito nel 2012 del “Fiorino d’Oro della Città di Firenze” dal Sindaco Matteo Renzi e nel 2022 del “Pegaso per lo Sport” della Regione Toscana dal Presidente Eugenio Giani; membro del Comitato Promotore del Festival degli Scrittori e del Premio Gregor von Rezzori – Città di Firenze e responsabile della comunicazione; socio fondatore della Associazione degli Amici della Galleria dell’Accademia di Firenze voluta dalla direttrice Cecilie Hollberg.

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Architetto Antonella Barbara Caldini è una libera professionista appassionata di restauro e Conservazione, tra Acqui Terme e Genova. Coautrice della prima edizione delle linee guida per la conservazione e il recupero dell’edilizia rurale del G.A.L. Borba (Programma di Sviluppo Rurale 2007-2013) e della successiva revisione e integrazione con estensione anche alla parte naturalistica (Programma di Sviluppo Rurale 2014-2020). Consulente Tecnico di Ufficio del Tribunale Civile e Penale di Alessandria, collaboratore esterno di SOAGROUP Genova e Responsabile Qualità ISO 9001:2015 “Progettazione ed esecuzione di restauri su superfici decorate di beni immobili e mobili sottoposti a tutela” di un’impresa di restauro certificata SOA cat.OS2A classe III bis. Nel 2016 fonda restauroeconservazione.info blog verticale sul restauro e la conservazione. Nel 2020 crea la prima community di Architetti Specialisti in Beni Architettonici e del Paesaggio (allo scopo di riunire tutti gli architetti specialisti e specializzandi) e quella dei Professionisti (e appassionati) del Patrimonio Culturale.

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Villa La Rotonda è l’esito felice dell’incontro tra il genio di Andrea Palladio, architetto all’apice della carriera, e il nobile vicentino Paolo Almerico (1514-1589), uomo colto, ambizioso e altero il quale affida ad Andrea Palladio il progetto per la propria villa suburbana alle porte di Vicenza. Dopo alcuni passaggi di proprietà la villa viene acquistata dai conti Valmarana di Venezia nel 1912. La Rotonda è un’icona di fama mondiale, ma per i Valmarana anche una casa. Il conte Andrea Valmarana la acquistò in pessimo stato nel 1912, abitandola con la famiglia nei mesi estivi fino agli anni ‘70. Durante la Seconda guerra mondiale fu parzialmente occupata dai Tedeschi e danneggiata dallo scoppio delle numerose bombe cadute nelle vicinanze. Dal 1976 cominciarono i grandi restauri conservativi, tutti a carico della Proprietà. Nel 1980 la Rotonda ha aperto al pubblico, rendendo accessibile anche l’interno sei anni più tardi. Nel 1994 è arrivato il prestigioso riconoscimento dell’UNESCO, primo monumento palladiano ad essere dichiarato Patrimonio dell’Umanità, seguito dal sito “La città di Vicenza e le ville del Palladio in Veneto”. Nel corso dei secoli la villa è stata meta di visite illustri: studiosi, artisti, architetti, letterati, ma anche uomini di stato e regnanti, come l’ex re d’Inghilterra Edoardo VIII accompagnato dalla moglie nel 1936. Ma la Rotonda ben si presta anche come set cinematografico: si ricorderà la famosa scena in costume settecentesco girata sulle scalinate, nel Don Giovanni di Joseph Losey del 1979. L’attuale Proprietà Valmarana intende proseguire nella direzione tracciata dal conte Andrea, integrando la conservazione architettonica alla volontà di mantenere viva la Rotonda, non solo una residenza privata ma soprattutto un bene prezioso da consegnare alle future generazioni.

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L’azienda SINOPIA sas, società fondata nel 1993, è specializzata in prodotti per restauro di mobili, affreschi, dipinti, opere d’arte, decorazione e ristrutturazione. SINOPIA si distingue per la specificità e la completezza della sua gamma prodotti destinati alla conservazione e al restauro di Beni di interesse storico-artistico. I professionisti del restauro troveranno nel catalogo un valido strumento di lavoro per la scelta dei materiali più idonei ad ogni specifico intervento sia su opere murali, dipinti su tela, manufatti lignei, cartacei e in metallo, opere architettoniche. Un importante settore è anche dedicato alla decorazione di ambienti di pregio, dalle pareti ai rivestimenti fino alle pavimentazioni. Anche la finitura delle pareti diventa, con la linea SINOPIA, un elemento di arredo importante e caratterizzante. Architetti, arredatori e privati che ricerchino soluzioni personalizzate per la realizzazione di intonaci e finiture potranno confrontarsi con le proposte SINOPIA. Sinopia organizza periodicamente incontri tecnici e corsi per decoratori, restauratori, operatori tecnici e semplici appassionati su molti argomenti come il trattamento delle superfici architettoniche, il restauro di oggetti d'arte, le pitture a calce, la realizzazione di calchi e copie, la doratura e argentatura, il trucco ad effetto speciale cinematografico, ecc.

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I'm Italian, the name of our mosaics that are entirely handmade. From the initial idea, the working table is ready with all the materials: marbles, stones, Venetian Smalti and Venetian Golds, stoneware. We keep on with ancient tradition of mosaics, martellina and tagliolo are still tools of the trade. We design and create the mosaic in all forms: cladding and decorative inserts for walls and floors, original and contemporary decor, furnishing accessories, tables, mirrors, frames, lamps, clocks, jewelry, small customised items. I'm Italian, il nome dei nostri mosaici interamente realizzati a mano. Dall'idea iniziale, il tavolo da lavoro è pronto con tutti i materiali: marmi, pietre, Smalti Veneziani e Ori Veneziani, gres. Continuiamo con l'antica tradizione dei mosaici, martellina e tagliolo sono ancora strumenti del mestiere. Progettiamo e realizziamo il mosaico in tutte le forme: rivestimenti e inserti decorativi per pareti e pavimenti, decori originali e contemporanei, complementi d'arredo, tavoli, specchi, cornici, lampade, orologi, gioielli, piccole personalizzazioni.

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DiCultHer International Association for the Promotion of Digital Culture. During the depression of the Thirties, young people were asked to build motorways and bridges with shovel and pickaxe: the infrastructures for the development of the twentieth century economy. To overcome the current crisis, young people are asked to build digital content available to all: the infrastructures for the development of the twenty-first century economy. To help young people in this task, the International Association for the Promotion of Digital Culture DiCultHer was born. The Network School in Digital Cultural Heritage, Arts and Humanities DiCultHer aggregates over sixty organizations between universities, research institutions, schools, higher technical institutes, cultural institutes, associations and public and private companies, with the common goal of giving birth to a widespread campus' able to activate the development of a training offer coordinated with the national system to build the complex digital skills essential to the increasingly complex and heterogeneous comparison with the smart society, within the framework of a scalable model at European level.

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The company and the Principe Corsini brand are synonymous with quality and excellence. In the production of wine and oil, within the property of Villa Le Corti in the Chianti Classico and Tenuta Marsiliana in Maremma, there is a perfect balance between agriculture and conservation. But Principe Corsini is also synonymous with hospitality, good food and unforgettable experiences. The wines and oil from the Principe Corsini estates are produced with total respect for nature and seasonality. Thanks to the uniqueness of the vines, each wine is a true expression of the territory of origin. As well as oil, still worked in the traditional way in the old mill owned by the Corsini family. The Corsini family boasts nine centuries of history, is one of the few Florentine family with illustrious ancestors including a Pope, Clement XII, and a saint, Andrea Corsini bishop of Fiesole. Corsini family members held positions of primary role in the commercial, financial, political, ecclesiastical and agricultural fields. L'azienda e il marchio Principe Corsini sono sinonimo di qualità ed eccellenza. Nella produzione del vino e dell'olio, all'interno della proprietà di Villa Le Corti nel Chianti Classico e della Tenuta Marsiliana in Maremma, c'è un perfetto equilibrio tra agricoltura e conservazione. Ma Principe Corsini è anche sinonimo di ospitalità, buona cucina ed esperienze indimenticabili. I vini e l'olio delle tenute Principe Corsini sono prodotti nel totale rispetto della natura e della stagionalità. Grazie all'unicità dei vitigni, ogni vino è una vera espressione del territorio di origine. Oltre all'olio, ancora lavorato in modo artigianale nell'antico frantoio di proprietà della famiglia Corsini. La famiglia Corsini vanta nove secoli di storia, è una delle poche famiglie fiorentine con antenati illustri tra cui un Papa, Clemente XII, e un santo, Andrea Corsini vescovo di Fiesole. I membri della famiglia Corsini ricoprono incarichi di primaria importanza in campo commerciale, finanziario, politico, ecclesiastico ed agricolo.

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Trisomia 21 APS is a social promotion association that cares for people with Down syndrome or related genetic intellectual disabilities, and their families. In 2009 in Florence in Viale Volta we inaugurated our Center for the habilitation development of people with Down syndrome or other intellectual handicap, recognized by the Tuscany Region as a health rehabilitation center with executive decree no. 1653 of 9 April 2010, later confirmed during the three-year renewal with executive decree no. 3488 of 3 August 2012, unique in the whole region for completeness of services and number of users, followed globally both in the health and care sectors from birth to adulthood. Here we are committed to offering parents and their children a complete response, both medically and socially, together with support throughout the evolutionary process, from birth to placement in school and in the world of work. The experience of similar Centers already existing in some Italian cities indicates that people with Down syndrome or other similar handicap can be inserted and integrated into society, as long as they are treated correctly from an early age.

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The contemporary Arual Dem jewels are unique pieces made by hand with magazine paper, recycled cardboard and valuable cardboard from important paper mills such as Fabriano. Arual Dem is a project of eco-sustainability and fashion design focused on jewelry and accessories in paper, material considered poor but which instead has an intrinsic richness and infinite possibilities of processing. Everything is focused on craftsmanship: the hands are guided by the knowledge, experience and passion create beauty. I gioielli contemporanei Arual Dem sono pezzi unici realizzati a mano con carta da riviste, cartone riciclato e cartone pregiato di importanti cartiere come Fabriano. Arual Dem è un progetto di ecosostenibilità e fashion design incentrato su gioielli e accessori in carta, materiale considerato povero ma che invece possiede una ricchezza intrinseca e infinite possibilità di lavorazione. Tutto è incentrato sull'artigianalità: le mani sono guidate dalla conoscenza, l'esperienza e la passione creano bellezza.

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Bruna Tatafiore is an architect who applied her geometry studies to tailoring. Her research and study in the textile field began in 2000 when she began, combining different materials, the production of clothing and accessories. Her passion was born when she started painting silks and making shoes. It was a short step from shoes to clothes. Bruna Tatafiore continues her research on the union of different materials for the production of clothing and accessories. This creative path begins by drawing on paper with pencils and crayons, then bringing the creations on the fabric or painting or using scissors, threads and sewing machine, using colored ribbons, velvets, silks and anything else has awakened her curiosity. Bruna Tatafiore è un architetto che ha applicato i suoi studi di geometria alla sartoria. La sua ricerca e studio nel campo tessile inizia nel 2000 quando inizia, unendo diversi materiali, la produzione di capi di abbigliamento e accessori. La sua passione è nata quando ha iniziato a dipingere sete e fare scarpe. Il passo dalle scarpe ai vestiti è stato breve. Bruna Tatafiore continua la sua ricerca sull'unione di diversi materiali per la produzione di abbigliamento e accessori. Questo percorso creativo inizia disegnando su carta con matite e pastelli, poi riportando le creazioni sul tessuto o dipingendo o utilizzando forbici, fili e macchina da cucire, utilizzando nastri colorati, velluti, sete e quant'altro abbia risvegliato la sua curiosità.

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Tedavi '98 creates entertainment events: from theatrical performances, to the production of short films, from shows for dinners to the rental of historical costumes. Our production company has refined its experience in the field of theater, film and television production. There are many documentaries made with illustrious partners (La7, BBC, SkyTV, NHK, etc), films that have allowed a large audience to learn about fascinating and mysterious stories. Professionalism, availability and tenacity are the strengths of our work. A solid and reliable team that offers a wide range of services for the realization of film and television productions. Our courses aim to teach the necessary tools to the world of theater. Together with show business professionals, it will be easier and more immediate to understand all the mechanisms that move the art of theater. To experience the thrill of getting on stage at least once in your life. Tedavi '98 has a database full of contacts of actresses and actors who have a vast experience behind them in the theatrical, television and cinema fields. Tedavi '98 realizza eventi di intrattenimento: dagli spettacoli teatrali, alla produzione di cortometraggi, dagli spettacoli per cene al noleggio di costumi storici. La nostra casa di produzione ha affinato la propria esperienza nel campo della produzione teatrale, cinematografica e televisiva. Sono tanti i documentari realizzati con partner illustri (La7, BBC, SkyTV, NHK, etc), film che hanno permesso a un vasto pubblico di conoscere storie affascinanti e misteriose. Professionalità, disponibilità e tenacia sono i punti di forza del nostro lavoro. Un team solido e affidabile che offre una vasta gamma di servizi per la realizzazione di produzioni cinematografiche e televisive. I nostri corsi mirano a insegnare gli strumenti necessari al mondo del teatro. Insieme ai professionisti dello spettacolo, sarà più facile e immediato comprendere tutti i meccanismi che muovono l'arte del teatro. Per provare l'emozione di salire sul palco almeno una volta nella vita. Tedavi '98 dispone di un database ricco di contatti di attrici e attori che hanno alle spalle una vasta esperienza in ambito teatrale, televisivo e cinematografico.

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Both an artist and a goldsmith, Andrea Cadoni crafts precious jewellery characterised by extraordinary creativity and a skilful artisanal technique. His creations are unique, highly communicative and, just like in the most enthralling tales, the manifold sculptured and multifaceted details captivate us even in the simplest of objects. He was born in Cagliari in 1978 and he grew up in the mining village of Montevecchio, a charming locality in western Sardinia, where a strong bond with the typical nature of the island developed, which he later codified and expressed in his artefacts. After his course of studies at the School of Art of Alghero, where he specialised in the sculpture of coral and precious stones, in 2000 he started his activity as sculptor and goldsmith, distinguishing himself. The feature of Andrea Cadoni’s jewellery is the unusual use of seashells which he collects on the Sardinian beaches and manufactures according to his inspiration deriving from the original shapes, sculpting faces and decorations that bear distinctive and recognisable traits. Designed as one-off creations linked to a particular creative bent, his gold and silver necklaces, rings, earrings, bracelets, belts and buckles feature full chiselled shapes with finely carved stones and shells combined with other natural materials of the island, such as juniper wood. The collections Faces, Moments of Daily Life and Insects explore the issues that currently pique Andrea’s imagination, in an ever-evolving creative process. Finally, the collection Special objects has an impressive scenic impact, with its sophisticated sculptures which are both compound and transformable. Artista e orafo, Andrea Cadoni realizza pregiati monili di forte estro creativo e sapiente tecnica artigianale. Le sue sono creazioni uniche, di forte impatto comunicativo e come nelle narrazioni più avvincenti ci si sofferma nella lettura dei dettagli, sempre molteplici, scultorei e sfaccettati anche negli oggetti più semplici. Nato a Cagliari nel 1978, cresce nel borgo minerario di Montevecchio, suggestiva località della Sardegna occidentale, in cui sviluppa un forte legame con la natura isolana che sarà poi codificato ed espresso nelle sue creazioni. Formato all’Istituto d’Arte di Alghero con specializzazione nella scultura del corallo e delle pietre dure, avvia nel 2000 la sua attività artigianale di scultore e orafo distinguendosi nel tempo per il carattere sperimentale e di ricerca. I gioielli di Andrea Cadoni si caratterizzano per l'inusuale uso delle conchiglie cercate e raccolte nelle spiagge isolane e lavorate seguendo le suggestioni delle forme originali, facendo emergere con tecnica scultorea volti e decori dal tratto distintivo e riconoscibile. Concepiti come opere uniche e legati ad un particolare momento creativo, collane, anelli, orecchini, bracciali, cinture e fibbie in oro e argento sono caratterizzati da fogge ricche e cesellate con l'impiego di pietre e conchiglie finemente scolpite accostate ad altri materiali naturali del territorio isolano come il legno di ginepro. Le collezioni dedicate ai Visi, agli Attimi di vita quotidiana e agli Insetti approfondiscono temi attualmente indagati in un processo creativo in continua indagine ed evoluzione. Di particolare impatto scenico è infine la linea degli Oggetti speciali, sofisticate sculture composte e trasformabili.

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Behind Valevu there are women who believe in teamwork, in the strength of Italian design and its raw materials and who carry the tradition of handmade. The idea was born in 2014 as a game using materials from the sector considered waste but in reality a rich treasure. With a sewing machine and the young experience of the pattern maker-designer Valentina, the first pieces were created that received a lot of encouragement. Thanks to the strength of the passion for fashion and style, thanks to creativity and the desire to believe that with small steps, humility and perseverance you can achieve great results. Handmade and made in Italy bags. Essential and sober design combined with exclusively Italian craftsmanship. The bags were cut, sewn and assembled by the hands of an artisan who takes care of every detail with dedication and rigor. Precisely for this reason its appearance is unique and unrepeatable. Valevu bags are born from the belief that there is no contrast between tradition and innovation and that there is no truly modern artisan product capable of ignoring our rich past. Materials of the Tuscan artisan tradition such as scrupulously selected leathers and leathers are combined with contemporary fabrics born from the intertwining of cotton threads and PVC yarns resulting from the most modern weaving techniques. Young and enterprising, the designer Valentina creates collections using the "LESS IS MORE" principle, inspired by her training in architecture and in particular by the poetics of a great master of architecture, namely L. M. Van Der Rohe. A creative process of continuous search for simplicity. Dietro a Valevu si nascondono donne che credono nel lavoro di squadra, nella forza del design italiano e delle sue materie prime e che si portano la tradizione del fatto a mano. L’idea nasce nel 2014 per gioco utilizzando materiali provenienti dal settore considerati scarto ma in realtà un ricco tesoro. Con una macchina da cucire e la giovane esperienza della modellista-designer Valentina si sono creati i primi pezzi che hanno ricevuto molti incoraggiamenti. Grazie alla forza della passione per la moda e lo stile, grazie alla creatività e al voler credere che con piccoli passi, umiltà e costanza si possono raggiungere grandi risultati nasce. Borse fatte a mano e made in Italy. Design essenziale e sobrio abbinato ad artigianalità esclusivamente italiana. Le borse sono state tagliate, cucite ed assemblate dalle mani di un’artigiana che con dedizione e rigore ne cura ogni dettaglio. Proprio per questo il suo aspetto è unico ed irripetibile. Le borse Valevu nascono dalla convinzione che non esista contrasto tra tradizione e innovazione e che non ci sia prodotto artigianale realmente moderno capace di prescindere dal nostro ricco passato. Materiali della tradizione artigiana toscana come pelli e cuoi scrupolosamente selezionati si abbinano a tessuti contemporanei nati dall’intreccio di fili di cotone e di filati in PVC frutto delle più moderne tecniche di tessitura. Giovane e intraprendente la designer Valentina crea collezioni utilizzando il principio “LESS IS MORE” ispirandosi alla sua formazione di studi in Architettura ed in particolare alla poetica di un grande maestro dell’architettura ossia L. M. Van Der Rohe. Un processo creativo di continua ricerca della semplicità.

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I create my works by recycling and reusing materials, which have a new shape and charm. Nature is the protagonist of my creations. Through fashion, I want to help sensitize people to ecology and respect for the environment. The jewels have always had a unique communication power in their kind. Those signed Thya Bijoux by Lidia Sanna characterize and enhance the wearer, giving it grit and originality. By Lidia Sanna. Creo le mie opere riciclando e riutilizzando materiali, che hanno una nuova forma e fascino. La natura è la protagonista delle mie creazioni. Attraverso la moda, voglio aiutare a sensibilizzare le persone all'ecologia e al rispetto per l'ambiente. I gioielli hanno sempre avuto un potere comunicativo unico nel loro genere. Quelli firmati Thya Bijoux di Lidia Sanna caratterizzano ed esaltano chi li indossa, conferendogli grinta e originalità. Di Lidia Sanna.

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From the workshops of the best Master Artisans to the inauguration of The Arco Azzurro in 2011, Alberto Giampieri opened his laboratory with the aim of creating an art studio to house Crafts, Art and Design. His collection of vase sculptures, The White Symphony, perfectly blends the Liberty style and contemporary Pop Surrealism to create splendid dreamlike compositions. With his many collections, simple and rich in color, Giampieri is the winner of the OMA Craftsman Award and of Blogs & Crafts 2017. Alberto Giampieri is the whole package when it comes to ceramics. As a child, he began experimenting with moulding his toys, before growing up and transforming his passion into a profession. He trained with several Florentine masters, but he is primarily self-taught. Since 2011, he’s worked in his own workshop, crafting elegant majolica vases and sculptures. He has two main collections and personally oversees every phase, from the potter’s wheel to the glazing, which few others still do today. One is The White Symphony, inspired by early 20th-century Art Nouveau designs and characterized by their delicate sculptural additions, while the other stands out for its eastern-style abstract motifs and decorations.

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1930 was the year when it all began: on August 13 Rocco's grandfather started his business of artisanal pastry shop with the inauguration of a stone oven in Piazza Assunta, in Delianuova. He was essentially a self-taught man, but the tenacity and passion led him to still produce quality and appreciated products: biscuits, savoiardi, paste secche and even ice cream and granita using the icebox, a luxury for the times. He considered himself a craftsman, because he worked essentially for the local lords or for particular events. When he married, the Pastry Shop began to take on a different connotation, thanks to the managerial management of that little big woman. And as things started to go well, they chose a different, more central location in Via Roma. Rocco's father was not destined for this job. In fact, at 24, he joined his brother in Canada and started helping him in his bakery for 5 long years. When he received the proposal to become a member of the business, almost determined to accept it, he wanted to return to Italy to talk about it first with my grandparents. By now they were old and tired to run a business alone. The day of the decision occurred in conjunction with the visit, in the pastry shop, by a representative of pastry paper. It was then that he asked hid son, Rocco's father, if he should order a new supply of paper, with the words “Rocco Scutellà and son”, or suspend orders and close the business. He decided not to leave, and took the situation in hand, reviewing, for example, the prices of nougat, too low compared to the quality of the product. In 1992, he wanted to renovate the premises and, at the same time, he started directing his son Rocco, towards an apprenticeship in a craft workshop. For 3 years, therefore, Rocco worked in the small workshop of Luigi Pellegrino in Messina, innovator of the pastry shop for those times, which made him fall in love even more with this profession. After the Sicilian experience, he began to follow pastry courses throughout Italy every year. "I knew well, and I am still aware today, that there is always something to learn, which is why I try to improve myself day after day". Before starting to use mother yeast in 2007, Rocco took courses with experts such as Maestro Achille Zoia or Maestro Rolando Morandin. From there started producing small and large leavened products, such as panettone, a gamble for us that we are known above all for the pure almond nougat. In 2012 was inaugurated the new historical restaurant, still in Via Roma, a few meters away from the previous one. It is the place that contains all the sacrifices and the work of three generations, and that manages, better than any word, to let the world know about us. In that same year, the whole process began to become part of the Italian Master Pastry Chef Academy. A rigid and very long journey, which ended in March 2015, just in time to share this great joy with his greatest Master, my father.

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Domenico Papalia, artista poliedrico calabrese, scultore e restauratore, esprime al meglio la propria arte ideando e realizzando sculture astratte e figurative utilizzando qualsiasi materiale: marmo, pietra, bronzo, legno, argilla, ferro, ecc. Oltre alla realizzazione delle Sue meravigliose opere, Domenico Papalia, nel corso degli anni, ha eseguito innumerevoli lavori di restauro, soprattutto restauro pittorico e pubblicazioni editoriali quali nel 2010 L’uomo e la materia, nel 2005 Le Vibrazioni e nel 2004 La Pietra Verde. Insignito di riconoscimenti, onorificenze e vincitore di diversi premi risulta essere a livello locale e nazionale un artista di riconosciuta importanza e fama. Impegnato nella comunicazione dell’arte, come docente, ha illustrato il significato delle sue opere e le tecniche a platee vaste in seminari, convegni, presso la propria galleria durante le varie visite effettuate da scolaresche, gruppi e associazioni e durante le lezioni frontali effettuate nelle istituzioni scolastiche. Tutte le opere dell’artista Domenico Papalia sono tali da trasmettere emozioni profonde e sensazioni di bellezza estetica e rendono universale l'amore per l’arte in tutti coloro che le osservano. La motivazione, il talento, la professionalità, l’esperienza di vita, acquisite negli anni, fanno si che i suoi lavori prendano vita, forma, colore trasmettendo vibrazioni, emozioni a chi osserva l’opera nella sua essenza. Ama profondamente la terra dov'è nato con tutte le sue contraddizioni e la sua meravigliosa natura fonte d'ispirazione di molte delle sue opere.

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Villa Monastero in Lake Como, is one of the main attractions in the area for its strategic historic-landscape-environment position and for the various services it offers; the central nucleus is a House-Museum, recognized as a museum in 2004 by the Lombardy Region, and completely accessible to the public with an exhibition itinerary running through fourteen fully furnished rooms, with original furniture and decorations. There is also a world-famous Congress Centre in this historic home near Lake Como, renowned for the physics lessons held in 1954 by the Nobel prize-winner Enrico Fermi. The Italian Physics Society still organizes courses in Villa Monastero every year. The Villa offers numerous possibilities to companies, universities, firms, associations and research centres to hold conferences, seminars, training courses, workshops and other cultural manifestations in an extremely attractive location. The name of this marvellous villa derives from its monastic origins as a convent dating back to the 12th century. It can be admired today in its present aspect of a late nineteenth century eclectic home, surrounded by a Botanic Garden extending for almost two kilometres along the lake front from Varenna to Fiumelatte. The garden attracts about 100.000 visitors every year, offering leisure or learning opportunities due to the presence of numerous rare species of indigenous and exotic trees which now remarkably number more than 900 specimens, earning it the regional recognition of Botanical Garden. The particularly mild climate typical of the lake allows botanical rarities from all over the world to live together in this garden. The context of Villa Monastero also offers the possibility of developing and deepening educational and recreational activities for school outings or families. The beauty and exclusiveness of the site mean that Villa Monastero is also suitable as a photographic set for prestigious Italian or foreign fashion or travel magazines. This magical setting is also the perfect place for celebrating weddings, with its Botanical Garden, rich in plants, flowers and poetic views, and the marvellous rooms of the House-Museum.

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Since Tommaso Pedani was a boy, he always needed to feed his passion for music, beginning to play the piano at the age of six. As time passed, He practiced also the study of the saxophone and electric bass, especially in his teenage years, then Tommaso Pedani chose, after his high school degree, to attend a seven-month course of Technical Sound Engineering, moved always by curiosity to deepen the study of digital music processes, acoustic science and electronic music, such as audio editing, sound diffusion instruments and production techniques. For two years, Tommaso Pedani took doublebass lessons at the Scuola di Musica di Fiesole, but it was only after a few lessons in complementary harmony, held by maestro Portera that he started, finally, to study composition with him. For three more years he spent his time composing and experimenting music, getting awards, performances and publications of his operas. In 2015, Tommaso Pedani launched his own business in Firenze, and the production of instruments proceeds constantly. Fin da ragazzo ho sempre avuto bisogno di alimentare la mia passione per la musica, iniziando a suonare il piano all'età di sei anni. Col passare del tempo ho praticato anche lo studio del sassofono e del basso elettrico, soprattutto nella mia adolescenza, poi ho scelto, dopo il diploma di maturità scientifica, di frequentare un corso di sette mesi di Tecnica del suono, mosso sempre dalla curiosità di approfondire lo studio dei processi musicali digitali, delle scienze acustiche e della musica elettronica, come l'editing audio, gli strumenti di diffusione del suono e le tecniche di produzione. Per due anni ho preso lezioni di contrabbasso presso la Scuola di Musica di Fiesole, ma è stato solo dopo alcune lezioni in armonia complementare, tenute dal maestro Portera, che ho iniziato, finalmente, a studiare composizione con lui. Per altri tre anni ho trascorso il mio tempo componendo e sperimentando musica, ottenendo premi, spettacoli e pubblicazioni delle mie opere. Nel 2015 ho avviato la mia attività a Firenze e la produzione di strumenti procede costantemente.

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Studio Calcografico Ippogrifo was formed in 1977 in Florence, in the historic district of San Frediano, with the aim of researching, studying and using the ancient techniques of metal engraving. In particular, it is to the study and application of etching, and of the techniques that complement and accompany it, such as aquatint, ceramolle, burin, that the graphic founders of the Hippogriff have dedicated years of their research and their applications. . The path chosen, in addition to allowing the natural expression of the artist, has led to the composition of a real technical service through which anyone who wishes can create a high quality image, to be used for furniture, gifts, tourism or business promotion, and in any case suitable for all occasions in which the creation of a personalized artistic object allows you to remember and maintain the reasons for its creation over time. Inside the site you can see many examples of engravings reserved for Bodies, Municipalities, Companies, Shops or made for private individuals; the section "service" describes how to create an image on demand. Il gruppo dell' Ippogrifo si forma nel 1977 a Firenze, nello storico quartiere di San Frediano, ponendosi come fine la ricerca, l'approfondimento e l'utilizzo delle antiche tecniche dell'incisione su metallo. In particolare è allo studio e l'applicazione dell' acquaforte, e delle tecniche che la completano e accompagnano, come l'acquatinta, la ceramolle, il bulino, che i grafici fondatori dell'Ippogrifo hanno dedicato anni delle loro ricerche e delle loro applicazioni. La strada scelta, oltre a permettere la naturale espressione dell'artista, ha portato alla composizione di un vero e proprio servizio tecnico attraverso il quale, chiunque voglia, possa creare un immagine di alta qualità, da destinare all'arredamento, al regalo, al turismo o alla promozione aziendale, e comunque adatta a tutte le occasioni nelle quali la creazione di un oggetto artistico personalizzato permette di ricordare e mantenere nel tempo le ragioni della sua creazione. All'interno del sito sono visibili molti esempi di incisioni riservate ad Enti, Comuni, Aziende, Negozi o realizzate per privati; nella sezione "servizio" è descritto come poter creare un'immagine su richiesta.

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Takafumi Mochizuki lives in Florence since 2007 and in 2008 he learned the art of restoration of artistic furniture and wood inlay at the workshop of the Renato Olivastri Master Restorer. In 2014 he opened a shop in San Frediano, where he has applied his method for inlaying. Takafumi Mochizuki vive a Firenze dal 2007 e nel 2008 ha appreso l'arte del restauro di mobili artistici e intarsi in legno presso la bottega del Maestro Restauratore Renato Olivastri. Nel 2014 ha aperto un negozio a San Frediano, dove ha applicato il suo metodo per l'intarsio.

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The Vivoli Gelateria was founded as Latteria Vivoli back in 1929. The family lived in Pelago, a village located between the plains and the mountains. It was hard times for all the Italians and one of the three brothers, Serafino, decided to try his luck by moving to Florence. He opened the Dairy in via Isola delle Stinche n. 3/r in the popular district of Santa Croce. The area was full of artisan shops of all kinds and the dairy soon became a pleasant meeting point where to have coffee every day and to buy whipped cream on Sundays. The arrival of his brother Raffaello gave a further impulse to the activity and in 1932 he decided to try with ice cream. Obviously at that time there were no fridges and to make ice cream you had to resort to buying ice, which came from the Apennines, to be exact from a place called Saltino. In that region were large pools that in winter used to be filled with water that turned into ice because of the cold. The people involved in this work used to use peaks to broke into large blocks the formed ice to be stored immediately in the underground rooms where they were stored until the indicated time to be taken to the city and be sold to whom will need them. That's how the Gelatiere work of Raffaello began. During that time, Saltino's location was not only famous for its ice production, but it was also a popular summer resort. To escape from the heat of the cities, the people who had the means to do it, used to go to the Saltino hotels. The Vivoli family did not miss the opportunity to make their gelato known to non-Florentine tourists and it was in 1936 that a branch of the Florentine dairy in Saltino was opened only during the summer period. Many renovations were carried out in 1941, 1959, 1984, 1997, 2002 and 2017. In the 60's, things were good for the Vivoli family; the passion for good ice cream, the scruple in the choice of raw materials, the enthusiasm for presenting the finished product given an increasing popularity to the gelato and the quality of it was really appreciated. However, on November 4, 1966 the activity in Florence was interrupted drastically due to a flood that wiped out most of the city. A new business renovation was carried out in 1967 after the flood. Piero Vivoli and his family, with the usual tenacity, gave their all and after just two weeks they were able to reopen the business. In the 70s, the Vivoli ice cream shop was the favorite meeting point for young and old. In the 70s, the Vivoli ice cream shop was the favorite meeting point for young and old. Students, Italians and foreigners, artists, motorcyclists, whole families, gathered in Vivoli for an ice cream after dinner. The American, English, French and German tour guides, strangers to the Vivoli family, realized this and little by little began to point out the ice cream shop as a place you should visit when you were in the city; first, for the delicious ice cream and second, for the cheerful atmosphere that reigned there.

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St. Petersburg's most popular visitor attraction, and one of the world's largest and most prestigious museums, the Hermitage Museum is a must-see for all first-time travellers to the city. With over 3 million items in its collection, it also definitely rewards repeat visits, and new-comers can only hope to get a brief taste of the riches on offer here, from Impressionist masterpieces to fascinating Oriental treasures. One estimate has it that you would need eleven years to view each exhibit on display for just one minute, so many visitors prefer to organize a guided tour to ensure they have time to catch all the collection's highlights. Art aficionados, however, may find it more rewarding to seek out for themselves the works that they are particularly interested in. The bulk of the Hermitage collection is housed in the Winter Palace, formerly the official residence of the Romanov Tsars, and its several annexes. However, there are a number of other sites that constitute part of the Hermitage, including the recently opened Storage Facility in the north of St. Petersburg, which offers guided tours through some of the museum's vast stocks. Our guide to visiting the Hermitage is designed to help you find your way around this enormous collection, with a detailed tour of the main site and individual information on each of the affiliated museums. In 1754 Empress Elizabeth Petrovna approved the design for a new winter residence in Baroque style by the architect Bartolommeo Francesco Rastrelli. Construction of the new palace took over eight years, covering the last years of Elizabeth's reign and the short rule of Peter III. In autumn1763, Empress Catherine II returned to St Petersburg after her coronation in Moscow and became the royal mistress of the Winter Palace. Empress Elizabeth wished the beauty of her sumptuous new palace to eclipse that of the leading European royal palaces. Construction required an enormous sum of money and involved vast numbers of labourers. Over 4,000 people, including Russia's greatest specialists, worked on the creation of the Winter Palace. Contemporaries describe the luxurious decoration of the state and other rooms (over 460 in all). But the architect was unable to complete the work as originally intended, for the new monarch, Catherine the Great, was an admirer of the new architectural fashion, Neoclassicism. She was to seek new designers and architects to carry out her plans. On the order of Empress Catherine II the architect Yuri Velten erected a two-storey building next to the Winter Palace between 1765 and 1766. He combined features of the fading Baroque style and elements of the new fashion known as Neoclassicism. Between 1767 and 1769, the architect Vallin de la Mothe constructed a pavilion for Catherine to relax on her own or with her most intimate friends. This contained a state room, several drawing-rooms and a hothouse. Now the Neoclassical style was truly coming into its own, but the austere proportions of the building are still finely balanced with the Baroque architecture of the Winter Palace. The rhythm of the colonnade of Corinthian columns in the second tier emphasizes the architectural unity of two buildings very different in style. The two southern and northern pavilions were then connected by construction of a Hanging Garden (raised above ground level, on the next floor) with galleries running along both sides. The whole architectural ensemble took its name from the northern pavilion and is to this day known as the Small Hermitage. Here Catherine II gave entertainments with games and plays, her so-called "small hermitages" and here she initially housed her first art purchases.

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A successful entrepreneur, Massimiliano Vallarino Gancia moves from the family business worldwide known as Gancia in the wine sector to food made in Italy. Managing Co-Owner Lentini Production Srl-Lentini Autentica Tradizione Italiana -Turin Italy-Handmade Gourmet Frozen Pizza and Food to make a success with a new challenge. Imprenditore di successo, Massimiliano Vallarino Gancia passa dall'azienda di famiglia conosciuta nel mondo come Gancia nel settore enologico al food made in Italy. Contitolare Lentini Production Srl-Lentini Autentica Tradizione Italiana -Torino Italia-Pizza e Alimenti Surgelati Gourmet Artigianali per fare un successo con una nuova sfida.

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On the hill of Coverciano in Florence, Mariapaola Pedetta, set designer, costume designer and stylist, founds DEJAMIS: “deja” - “mis” already put. As the word suggests, the project is based on the idea of ​​creating new outerwear by transforming and redesigning old furs. This is how Mariapaola creates the #nonewfur movement, an ethical supply chain that the designer moves with the help of expert Florentine furry craftsmen, creating a new, tailor-made garment, recycling the existing one and giving it a personality, respecting natural resources. and human. Each garment is enriched with decorations and fabrics from other cultures, sought after and selected for their beauty and history. In 2018 Dejamis launched its first collection by reinventing and re-evaluating a garment considered outdated and obsolete: the gilet. Playing with fabrics, decorations and colors, the dejamis vest becomes a simple, versatile, fun and above all feminine garment. Original pieces of Indian, Ottoman and Afghan ethnic groups are combined with small flower linings on soft and colorful Lapin rex. “Mainly in Tuscany I enter the companies and look for often forgotten fabrics, I insert details, original antique pieces, local artifacts that I find in the markets, in the countries of origin, from importers. Every little embroidery found somewhere in the world becomes a perfect detail for the creation of a jacket, a waistcoat. " - Mariapaola Pedetta Nella collina di Coverciano a Firenze Mariapaola Pedetta, scenografa, costumista e stilista, fonda DEJAMIS: “deja”-”mis” già messo. Come suggerisce la parola il progetto si sviluppa sull’idea di realizzare nuovi capi-spalla trasformando e ridisegnando vecchie pellicce. E’ così che Mariapaola crea il movimento #nonewfur, una filiera etica che la stilista muove con l’aiuto di esperti artigiani pellicciai fiorentini, creando un capo nuovo, su misura, riciclando l’esistente ed attribuendoli una personalità, nel rispetto delle risorse naturali e umane. Ogni capo viene arricchito con decori e tessuti provenienti da altre culture, ricercati e selezionati per la loro bellezza e storia. Nel 2018 Dejamis lancia la sua prima collezione reinventando e rivalutando un capo considerato sorpassato e obsoleto: il gilet. Giocando con tessuti, decori e colori il gilet per dejamis diventa un capo semplice, versatile, divertente e soprattutto femminile. Pezzi originali di etnie indiane, ottomane e afghane si uniscono a fodere di piccoli fiorellini su Lapin rex soffice e colorato. “Principalmente in Toscana entro nelle aziende e cerco tessuti spesso dimenticati, inserisco particolari, pezzi originali antichi, manufatti locali che rintraccio nei mercati, nei paesi d'origine, da importatori. Ogni piccolo ricamo trovato in qualche parte del mondo diventa un dettaglio perfetto per la realizzazione di una giacca, di un gilè.” - Mariapaola Pedetta

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The desire for a home... This is the spirit that gave birth to Cesare for the study MOSSO Tecnico immobiliare, from the union and synergy of technicians and mediators, to be able to meet all the needs concerning "the home world". The technical department, allows us to solve all the problems related to our property, ensuring its legal compliance, construction and land registry, studying with our customer all the possible opportunities to enhance our good. La voglia di casa... Questo è lo spirito che ha dato vita a Cesare per lo studio MOSSO Tecnico immobiliare, dall'unione e sinergia di tecnici e mediatori, per poter soddisfare tutte le esigenze che riguardano "il mondo casa". L'ufficio tecnico, ci permette di risolvere tutte le problematiche legate al nostro immobile, garantendone la conformità legale, edilizia e catastale, studiando con il nostro cliente tutte le possibili opportunità per valorizzare il nostro bene.

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An ancient home of the early twentieth century, renovated and decorated following what has always been Barbara Maldini's passion for art and color. It is also the place where her interior projects are born and where she teaches courses in decorative painting techniques. Un'antica dimora dei primi del Novecento, ristrutturata e decorata seguendo quella che è sempre stata la passione di Barbara Maldini per l'arte e il colore. È anche il luogo dove nascono i suoi progetti di interni e dove tiene corsi di tecniche di pittura decorativa.

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Life Beyond Tourism is a movement that has its roots in the hotel world. It was born with the aim of promoting knowledge between countries of different cultures and contributing to the spread and affirmation of universal values ​​such as respect and harmony between peoples, to transform the tourist experience from a simple opportunity for recreation into a precious one. moment of encounter between subjects of different cultures. Born from the almost thirty-year activity of the Romualdo Del Bianco Foundation in Florence as a proposal for a travel model that enhances local traditions and goes beyond the tourism of services and consumption, it is a promoter of responsible and not only sustainable tourism, as opposed to tourism of mass that is "killing" our planet.

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Vittorio Umberto Antonio Maria Sgarbi is an Italian art critic, art historian, politician, cultural commentator and television personality. He is also curator of major international exhibitions, a prolific writer of best-selling books, host of successful programs that have remained in the history of television, politician, counter-current free thinker and tireless defender of art and culture. Born in Ferrara on 8 May 1952, Vittorio Sgarbi graduated in Philosophy with a specialization in History of Art at the University of Bologna, and was an official assigned to the Superintendence of Artistic and Historical Heritage of Venice. He was professor of History of Artistic Techniques at the University of Udine (1984-1988) and of History of Photography at the University of Bologna (1974-1978). From 1992 to 1999 he conceived and conducted “Sgarbi Quotidiani”, a successful television column which in 2000 earned him the victory of the Flaiano International Award for Television. He collaborates with Il Giornale, L'Espresso, Panorama, IO Donna of Il Corriere della Sera, and curates the columns “Sgarbi vs Capre” for the Quotidiano.net, and the Weekly Sgarbi for “Oggi”. He is an academic of the Georgian Academy of Treia and of the Rubiconia Academy of the Philopatrians. He is Commander of the Order of San Maurizio and Lazzaro. He is President of the National Committee of Celebrations on Mattia Preti. He is President of the National Committee for the celebrations of the fifth centenary of the birth of Francesco Mazzola known as Parmigianino. He is President of the National Committee for the Celebrations of the V centenary of the death of Andrea Mantegna. He was Commissioner for the arts and architectural restoration of the city of Padua, of which he edited the catalogues on Giotto and Donatello's exhibitions. He was the artistic director of the Asti Teatro Festival in 2000. He was President of the VII Commission for Culture, Science and Education of the Chamber from 1994 to 1996. He was elected member of the European Parliament in 1999. He was elected member of the Italian Parliament in 2001 and was Undersecretary for Cultural Heritage. In 2003, he was appointed, by ministerial decree, President of the Academy of Fine Arts of Urbino. Since 2005 he has been High Commissioner for the enhancement of the Villa Romana del Casale in Piazza Armerina (EN). He is a member of the Prefect's Advisory Commission for the Cathedral of Noto (SR). From May 2006 to May 2008 he held the position of Councillor for Culture of the Municipality of Milan. On 30 June 2008 he was elected Mayor of the municipality of Salemi (TP). In 2010, he was appointed Superintendent of the Venice Museum Complex. In 2011, he curated the Italian Pavilion of the 54th International Art Exhibition at the Venice Biennale, entitled "Art is not what our", expanding the exhibition in 27 Italian capitals in honour of the 150th anniversary of the Unification of Italy. In 2017, he founded the Renaissance political movement with the aim of addressing the enhancement of Italy's cultural and artistic heritage.

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Atelier della Calce is a restoration and interior design boutique builder, specializing in lime. Based in Turin, Italy… we use this web presence to showcase our work, publish a portfolio of completed projects and let interested parties know where we exhibit. We’re pleased to help and readily available. Welcome to the world of sublime Italian artisans. Atelier della Calce è un costruttore di boutique di restauro e interior design, specializzato in calce. Con sede a Torino, in Italia... utilizziamo questa presenza sul web per mostrare il nostro lavoro, pubblicare un portfolio di progetti completati e far sapere alle parti interessate dove esponiamo. Siamo lieti di aiutare e prontamente disponibili. Benvenuti nel mondo dei sublimi artigiani italiani.

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Successful entrepreneur and honorary sommelier, Lamberto Vallarino Gancia today dedicates his knowledge and energy to various activities related to the wine sector and, from 7 September 2015, to the management of the Stable. «A complex and fascinating world - emphasizes speaking of the Theater - a symbol of the city that has been offering for sixty years performances of high artistic quality and that contains within it history, culture, much Italian professionalism and excellence. Imprenditore di successo e sommelier onorario, Lamberto Vallarino Gancia oggi dedica le sue conoscenze ed energie a diverse attività legate al settore vitivinicolo e, dal 7 settembre 2015, alla gestione della Stalla. «Un mondo complesso e affascinante - sottolinea parlando del Teatro -, un simbolo della città che da sessant'anni offre spettacoli di alta qualità artistica e che racchiude al suo interno storia, cultura, tante professionalità ed eccellenze italiane.

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Created around 25 years ago, the International Cultural Heritage Fair at Carousel du Louvre has grown to become not only the oldest but the leading heritage fair in Europe. Since its creation, it has naturally asserted itself as the fair not to be missed by the sector’s stakeholders: professionals from the field of built, non-built, tangible and intangible heritage restoration and preservation. The Salon du Patrimonie Culturel counts the best handcrafts and fine restorer around Europe. Organised by Ateliers d’Art de France, every year, the International Heritage Fair gathers over 300 exhibitors and 20,000 visitors, general audience and professionals alike, for 4 days at the Carrousel du Louvre in Paris. The International Heritage Fair was founded in 1994 by Pierre Chevalier, President of Chevalier Conservation, a textile restoration company and President of the SEMA (Society for the Promotion of Art Trades) for 14 years. The fair developed under the leadership of Jean-Pierre Jouet, founder, with his company OIP of French cultural fairs such as the Biennale des Antiquaires, the FIAC, the Salon du Livre and the Salon Nautique. The International Heritage Fair was taken over by Ateliers d’Art de France in 2009, upon the reunification of the Crafts trade, Creation and Heritage family, initiated by its president Serge Nicole. The purpose of Ateliers d’Art de France is to carry on the fair’s work, to help it grow and create new momentum. Throughout the various themes covered each year, and at the instigation of Aude Tahon, president of Ateliers d’Art de France since 2016, the International Heritage Fair became the main forum for reflexion in the heritage sector – its issues, its topicality, its challenges. This unique fair illustrates the strength of Crafts and Heritage Trades in France. In 2019, the fair celebrated its 25th anniversary with a record of 380 exhibitors present. Créée il y a environ 25 ans, la Foire Internationale du Patrimoine Culturel au Carrousel du Louvre est devenue non seulement la plus ancienne mais aussi la première manifestation patrimoniale en Europe. Depuis sa création, il s'est naturellement affirmé comme le salon incontournable des acteurs du secteur : professionnels de la restauration et de la préservation du patrimoine bâti, non bâti, matériel et immatériel. Le Salon du Patrimoine Culturel rassemble les meilleurs artisans et restaurateurs de qualité à travers l'Europe. Organisé par Ateliers d’Art de France, le Salon International du Patrimoine Culturel accueille chaque année plus de 300 exposants et 20 000 visiteurs, grand public comme professionnels, pendant 4 jours au Carrousel du Louvre à Paris. Le Salon International du Patrimoine Culturel a été fondé en 1994 par Pierre Chevalier, Président de Chevalier Conservation, entreprise de restauration textile et Président pendant 14 ans de la Société d’encouragement aux métiers d’art (SEMA). Le salon s’est développé sous la conduite de Jean-Pierre Jouet, fondateur, avec sa société OIP des salons culturels français tels que la Biennale des Antiquaires, la FIAC, le Salon du Livre ou encore le Salon Nautique. Le Salon International du Patrimoine Culturel a été repris par Ateliers d’Art de France en 2009, à l’occasion de la réunification en son sein de la famille des Métiers d’art, la Création et le Patrimoine, à l’initiative de son président Serge Nicole. Le but d’Ateliers d’Art de France a été de poursuivre l’action engagée, veiller au développement du salon et insuffler une nouvelle dynamique. A travers les différentes thématiques traitées chaque année, et sous l’impulsion d’Aude Tahon, Présidente d’Ateliers d’Art de France depuis 2016, le Salon International du Patrimoine Culturel s’est imposé comme le principal lieu de réflexion sur le secteur du patrimoine – ses enjeux, son actualité, ses défis. Unique au monde, le salon illustre la force des Métiers d’art et du Patrimoine en France. En 2019, le salon a fêté son 25e anniversaire avec le nombre record de 380 d’exposants accueillis.

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Ilaria Borletti Buitoni was born in Milan in 1955. After graduating in Political Science, she started a small business in the parapharmaceutical sector. Volunteering, associations and the third sector have always had an important space in his life, since he was young. In 1985, she decided to dedicate a month every year, as a volunteer, to a hospital center in northern Kenya: from this experience a book of photographs and texts on the life of a nomadic tribe was also born. This experience will be so decisive as to push her, in 1993, to contribute to the birth of Amref Italia Onlus, the most important African NGO that supports health and education programs in East Africa. In 1995, a professional opportunity in the free ads' newspaper sector led her to move to London; there she will spend most of her time for 8 years. It was in London, with her husband, with whom she shared a great passion for classical music, that she gave life to an active foundation in the field of chamber music which aims to promote the career of young musicians, also internationally. However, the bond with Milan has always been intense and has never ceased. Here, in her city, she is particularly committed to promoting the culture of the Third Sector also through direct involvement in various associations particularly linked to health and assistance to people in difficulty. In 2010, she was nominated president of the FAI - Fondo Ambiente Italiano: a commitment that thrilled her enormously, so much so that in 2012 she wrote “For a Possible Italy”, Mondadori Electa, a book on the emergence of culture in Italy. Also in 2012 he assumed the position of member of the Bank of Italy's Superior Council. When she decided to apply, with great regret she left the FAI: the same civil passion that had led her to choose an extraordinary institution that works in defense of the Italian cultural heritage, is what prompted her to accept to apply with the commitment to contribute to the same mission in Parliament. She was elected deputy on 3 May 2013, she was appointed Undersecretary to the Ministry of Cultural Heritage and Activities and on 28 February 2014 she was confirmed in the same position within the government chaired by Matteo Renzi. In September 2014, “Cammino Controcorrente” was released for Mondadori Electa. In December 2016 she was reconfirmed for the third time in the same position by Prime Minister Paolo Gentiloni. He announced his decision not to re-run and to leave politics on 11 December 2017. President of the Società del Quartetto di Milano, one of the oldest and most well-known Italian musical institutions that promotes classical music and in particular chamber music; Councilor of EUYO, the European youth orchestra that unites young musicians from all European countries under the aegis of the European Community. Vice President Fai; Member of the Steering Council of Beic, European Library of Information and Culture; President of weTree which promotes the idea of ​​a new development in urban contexts based on the increase of green spaces through women's commitment; President of the Borletti Buitoni Trust which supports early career musicians around the world and music-related projects for the most disadvantaged communities. Chairman of the Guarantors Committee of AMREF Italia; Councilor of the Friends of Music of Perugia, for 70 years a point of reference for classical music in Umbria; Member of the editorial committee of Passaggi Magazine, a site created to enrich the debate in Umbria and not only around political and economic issues; Member of the National Landscape Observatory of the Ministry of Culture.

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With more than 50 years of experience in the wool manufacturing industry, the award-winning weaving factory TACS has kept up the good name of Panno Casentino thanks to a production of excellence, respecting the most rigorous and traditional stages of manufacturing of the famous Casentino fabric. TACS was born and developed with Bruno Savelli’s capacity and foresight, then further improved under the leadership of his son Massimo (honoured with the title of Master Craftsman in 2016), today the company looks to the future under the guidance of Massimo’s son, David, who represents the third generation of a family focused on the respect for traditions. It is undoubtedly their love for a style the roots of which lies in the Renaissance Tuscany and that is still an uncontested symbol of elegance in Italy and around the world, that represents the trait d’union with the past. Together with the sale in the factory store, offering factory-direct prices, TACS items are available in the exhibition stands and in the prestigious boutiques all around Italy and are also exported to the USA, Great Britain, Holland, Portugal, Japan, Vietnam and Korea: thus TACS Panno Casentino represents a successful example of Made in Italy that has its strength in the importance of the best quality-price ratio. Con oltre 50 anni di esperienza nel settore laniero, il pluripremiato tessitore TACS ha mantenuto il buon nome del Casentino grazie ad una produzione di eccellenza, nel rispetto delle più rigorose e tradizionali fasi di lavorazione del famoso tessuto casentinese. TACS nasce e si sviluppa con la capacità e la lungimiranza di Bruno Savelli, poi ulteriormente perfezionata sotto la guida del figlio Massimo (titolato di Maestro Artigiano nel 2016), oggi l'azienda guarda al futuro sotto la guida del figlio di Massimo, David, che rappresenta la terza generazione di una famiglia attenta al rispetto delle tradizioni. È senza dubbio il loro amore per uno stile le cui radici affondano nella Toscana rinascimentale e che è ancora un simbolo incontrastato di eleganza in Italia e nel mondo, che rappresenta il trait d'union con il passato. Insieme alla vendita nel factory store, a prezzi diretti di fabbrica, gli articoli TACS sono disponibili negli stand espositivi e nelle prestigiose boutique di tutta Italia e vengono esportati anche in USA, Gran Bretagna, Olanda, Portogallo, Giappone, Vietnam e Corea: così TACS Panno Casentino rappresenta un esempio riuscito di Made in Italy che ha la sua forza nell'importanza del miglior rapporto qualità-prezzo.

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Bespoke tailoring, collaborations and creative direction. Marta Ferri is the designer and founder of "Atelier Marta Ferri". Daughter of photographer Fabrizio Ferri and interior decorator Barbara Frua, she grew up in a very stimulating environment that helped her develop a unique sensitivity towards colour and a passion for interior design. In 2011, she created her first clothing collection exclusively made with upholstery fabrics, obtaining the special mention of "Who's on next" for the sartorial quality and the innovation of materials. After receiving many requests, in 2014 Marta decides to leave the prȇt-à-porter, to dedicate herself to the creation of unique custom-made pieces, opening her Atelier in Milan. At the same time, she began engaging in exciting collaborations for leading names, designing exclusive capsule collections ranging from clothing, accessories to furnishings and interior design projects. Since 2016, Marta has been Textile Consultant for Molteni & C., and has also created "The Styling Closet by Marta Ferri" for them. The bridal collection is where Marta Ferri's work comes into play: her dresses have simple shapes, but are elaborated in the materials: they are often made with upholstery embroidered fabrics, really unexpected for a wedding dress. Timeless classic, but unconventional garments. The Libera collection features quality, pragmatism and colour, lots and lots of colour. A collection released from seasons, occasions or ephemeral trends, characterized by a funny research of fabrics, designs and patterns. 'Emmina' is a mini-me beachwear collection created by Marta Ferri exclusively for yoox.com, made of a selection of items for mother and daughter. "Emmina brings the breath of freshness that stays in my eyes during my holidays in Puglia, the feeling of the sea and romantic countryside of those places, in a mini collection dedicated to the complicity between mother and daughter. I chose a delicate floral print that recounts the innocence and light-heartedness of the holidays. It's a tender wish dedicated to all the mothers who become children again and to the little girls who explore on tiptoe, through us, the world of grown-ups." Every detail in these collections, have been taken care of, thanks to their beloved craftsmanship. The bag designed by Marta Ferri is called “UNICA”, it is in fact a one-of-a-kind object in limited edition that aims to find the perfect harmony between 'her' and who wears it. The tradition of craftsmanship meets the world of furniture. The treated leathers, hammered with sophisticated colors, are skillfully adapted and studied to blend with shapes, textures and colors of different types of fabrics. The designer has chosen precious cuts of interior design fabrics inside the shops of precious weavers and sample archive pieces for a bag with harmonic proportions. Simple, pretty purses without any ostentation, that let bold, vintage prints do the talking. Marta Ferri took part in OVS project, “Arts of Italy”, born with the aim to celebrate the Italian architectural beauty through its details. A project that gave life to a capsule collection in limited edition; part of the proceeds from the sale was intended for the restoration of some masterpieces of Italian art. Nuda is a collection of lost wax bronze sculpture-jewelry made by Marta Ferri. Six silhouettes of primitive and sensual female bodies, dynamic, sometimes surreally cut in half, enclosed within themselves or in the act of launching themselves. A different and peculiar concept of thinking a jewel, far from tradition and at the same time archaic and essential.

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Even today Tommaso De Carlo realizes his colors with earth and other natural materials in his workshop, which since the eighties is located in the Old Conventino in Florence, where, in an environment of artisans and artists, he works as interior decorator. Starting from the ancient techniques and decorative forms that are breathed in the Florentine territory, he has developed his own style, creating a language that updates the decorative patterns typical of the Florentine Renaissance. Ancora oggi Tommaso De Carlo realizza i suoi colori con la terra e altri materiali naturali nella sua bottega, che dagli anni Ottanta si trova nell'Antico Conventino a Firenze, dove, in un ambiente di artigiani e artisti, lavora come arredatore d'interni. Partendo dalle antiche tecniche e forme decorative che si respirano nel territorio fiorentino, ha sviluppato un proprio stile, creando un linguaggio che aggiorna i motivi decorativi tipici del Rinascimento fiorentino.

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Patrizia Gioia's aim is to bring to life the ancient art of fresco through workshops, student lectures, website and a video. The workshops, often held at medieval festivals throughout Italy or at universities, expose viewers and students to all aspects of fresco creation. April 2013 Bottega dell'Affresco was registered in the European Consortium of Historical Re-Enactments, C.E.R.S. L'obiettivo di Patrizia Gioia è quello di far rivivere l'antica arte dell'affresco attraverso laboratori, lezioni degli studenti, sito web e un video. I laboratori, spesso tenuti in occasione di feste medievali in tutta Italia o nelle università, espongono spettatori e studenti a tutti gli aspetti della creazione di affreschi. Aprile 2013 Bottega dell'Affresco è stata iscritta al Consorzio Europeo delle Rievocazioni Storiche, C.E.R.S.

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The Iberian Forum of Lime (FICAL) is a space created in order to unite the different professionals related to said material to share knowledge and events related to lime and its applications. The Iberian Forum of Lime is a non-profit association whose purpose is the development of research, training and dissemination of the production and use of lime. They can be part of FICAL both natural and legal persons, with capacity to act who so request, provided they accept the rights and obligations that correspond to them as members of the association. Joan Mestre Ramis (Felanitx, Majorca) is the president of FICAL: the Iberian Forum of Lime (Cal). A non-profit association whose purpose is the development of research, training and dissemination of the production and use of the lime. FICAL can be part of both physical and legal persons, with the capacity to act as requested, provided they accept the rights and obligations that correspond to them as members of the association. El Fórum Ibérico de la Cal es un espacio creado con el fin de unir a los diferentes profesionales relacionados con dicho material para compartir conocimientos y eventos relacionados con la cal y sus aplicaciones. El Fórum Ibérico de la Cal es una asociación sin ánimo de lucro cuyo fin es el desarrollo de la investigación, la formación y la difusión de la producción y el uso de la cal. Pueden formar parte de FICAL tanto personas físicas como jurídicas, con capacidad de obrar que así lo soliciten, siempre que acepten los derechos y obligaciones que les correspondan como miembros de la asociación.

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Simona Rinciari creates jewelry with an innovative technique that allows the conservation of the organic plant and the direct contact with the same, leaves, roots, fruits, flowers, vegetables, etc. exhibited in Europe, Japan and America. She invented a procedure, a technique to immobilize them in eternity, to mummify them, almost to vitrify them.

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The Pantheon of Agrippa has represented the greatest expression of the glory of Rome for more than two thousand years. The story of the Pantheon is inseparably tied to the Eternal City, and been its image through the centuries. Built by Agrippa between 25 and 27 BC, the Pantheon was a temple dedicated to the twelve Gods and to the living Sovran. Traditionally, it is believed that the present building is the result of the radical reconstruction by Hadrian between 118 and 125 AD. It is the only ancient Roman building that has remained practically intact through the centuries. In 608 Pope Boniface IV had the remains of many martyrs removed from the Christian catacombs and placed in the Pantheon. Thereafter, the temple was officially converted to Christianity and named Saint Maria ad Martyres. The Pantheon was an inspiration to Raphael, one of the greatest architects of the Renaissance, and he requested it be his place of eternal rest. The Basilica is still a church, where Christian worship is celebrated continuously and which it considers essential to accompany the celebrations with commitments of solidarity. Il Pantheon rappresenta, da più di duemila anni, l'espressione massima della gloria di Roma. La sua storia si lega in maniera indissolubile allo sviluppo della città eterna di cui è immagine nei secoli. Il Pantheon fu ispirazione dei più grandi architetti del Rinascimento, tanto che Raffaello volle farne il luogo del proprio riposo eterno. Nel 27 a.C. Marco Vipsanio Agrippa, genero, amico e collaboratore del primo imperatore Augusto fece costruire questo tempio, dedicandolo alle sette divinità planetarie. Ad esse si deve il nome di Pantheon, che, in greco, significa “di tutti gli Dèi”. L’edificio originario, che doveva essere di dimensioni ridotte rispetto a quello attuale, fu riedificato da Adriano tra il 118 ed il 125 d.C. Nel ricostruirlo, Adriano non tenne conto dell’impostazione di Agrippa: rovesciò l'orientamento dell’edificio di 180 gradi e aprì davanti al nuovo tempio una grande piazza porticata. Il Pantheon, chiuso e abbandonato sotto i primi Imperatori cristiani e successivamente saccheggiato dai barbari, nel 609 d.C. fu donato dall’Imperatore bizantino Foca a Papa Bonifacio IV. Papa Bonifacio IV consacrò il tempio dedicandolo a Santa Maria ad Martyres. Il riferimento ad una schiera collettiva cristiana fu voluto in contrapposizione all'antica dedica pagana a tutti gli dèi di Roma. La Basilica è, tuttora, una chiesa, dove viene celebrato, con continuità, il culto cristiano e che considera essenziale accompagnare le celebrazioni con impegni di solidarietà.

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“When it comes to everyday objects, it's the smallest details that turn the ordinary into something that really stands out from the crowd. Since founding her label, designer Sabrina Fossi has honed this covetable skill, giving well-known forms an unexpected edge-and a much-needed dose of light-hearted playfulness.” Sabrina Fossi Design is a company producing 100% Italian handcrafted homeware products. Its aim is to bring the best Italian craftsmen skills in each product, giving to the final customers an outstanding product quality. Sabrina Fossi Design started its own production in 2013.

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In the workshop of Ruggero Pallaoro you can breathe the great passion for woodworking. Here, among the scents of different precious woods, artistic works full of charm come to life. Creativity and originality come together to obtain timeless objects. A personalized and different way of considering wood and its processing to make each creation unique and exclusive. After living abroad for several years, Ruggero Pallaoro returned to Trentino, where he first resided, in various locations of this wonderful province, to then settle in a small and delightful valley unspoiled in its beauty, the Mòcheni valley. Born in Trento in 1964, he has many years of experience as a product designer. Since he was a child he loves working with wood thanks also to his cabinetmaker father who transmits this great passion to him. In 2006, he began turning the first design vases with modern shapes and small objects such as fountain pens, rollerballs and ballpoint pens. Having consolidated his great passion for this art, he registers the ruggeropallaoro® trademark. He creates unique pieces and small, limited and numbered series, mainly using wood but also metal and stone. Experimentation, innovation, harmonious simplicity are the leitmotif of his creations. In his works of him, in conjunction with the turning, texture and coloring sculpting techniques alternate, all without neglecting a fundamental element; maintain a continuous dialogue with nature.

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Paola Farina was born in Verona in 1967. After graduating from the artistic high school, she attended the two-year course of decorative arts at the "Cignaroli" Academy of Fine Arts in Verona, then taking part in a project as part of the Exchange Program for Young Workers in the Community European, concerning the maintenance restoration of the Lusitanian artistic heritage which took place in the city of Lisbon in Portugal. In the aforementioned internship she deals with the restoration of external wall decorations located in different gardens of important ancient residences of the place while attending the Centro Europeu de Línguas at the same time. In Rome Paola Farina attended courses in decorative arts of fake marbles and trompe l'oeil at the Accademia del Superfluo, then specializing in Brussels at the Institut Superieur de Peinture van der Kelen et Logelain in decoration techniques related to the imitation of woods and marbles, semi-precious stones, drawing course on perspective, decorative panels such as friezes and ceilings in different styles as well as patinas and gilding, fake stuccos and the study, planning and realization of trompe l'oeil. Paola Farina collaborated with the decorator Antonio Malleo in Rome and Cairo, Egypt, painting a series of interior decorations with themed wall paintings, with tattered, grotesque and fake stucco techniques and door and cupboard decorations. She also collaborates with M. and G. Girelli Bruni in the field of maintenance restoration and decorations of fake stucco on the walls and ceilings of historic residences and large hotels in northern Italy. During her professional career Paola Farina has designed and created many themed trompe l'oeil, decorative panels and thematic paintings on wooden supports, decorations on walls and ceilings, creation of fake marble, fake stucco. As an interior decorator, she has carried out shooting and maintenance restorations in some prestigious residences and hotels Paola Farina also deals with the graphic design of wine labels and the creation of graphic materials for advertising of some prestigious Chianti wineries. As well as the creation of paper maps of farms known as “cabreia”. She currently resides in Florence, and has opened a decorative arts atelier, where she carries out her professional activity.

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The Locchi mill produces glass and crystal items for the table and interior decoration. All the objects are forged following the ancient blowing techniques and finished through careful grinding and engraving processes, rigorously done by hand. The origins of Moleria Locchi date back to the end of the 19th century when, in the district of San Frediano, the heart of the Florentine Oltrarno, an artisan moleria workshop was born that made beautiful glasses required, at the time, in luxury ships and large hotels for the extraordinary refinement. The crystal objects, signed one by one, can be found both in prestigious modern homes and in ancient buildings and are dedicated to those who - in Italy and abroad - love true craftsmanship, the one that has always distinguished made in Italy. The laboratory is also known for the accuracy of its restorations on precious glass and crystal objects, which are requested by customers all over the world.

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Paolo Penko creates unique works made with the ancient Florentine goldsmith's techniques. Creations that are born to satisfy the desires of an increasingly international clientele. Jewellery that draws inspiration from the oldest and most precious soul of the city of Florence with its small and large geometries, the swirls, the scrolls, the friezes and all those forms and lines of architecture and art that made Florence unique in the Renaissance and that even today reflect their unchanged beauty.

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Padrevecchi Cornici (Frames) is one of the most revered craft workshops in the world. It is specialized in producing, carving, decorating and restoring frames. In recent years, the company has extended its skills towards the production, decoration and restoration of furniture and accessories, as well as restoring theatre fittings. Thanks to the rare expertise of its workers, the company offers models from all periods, from the 1400s to the beginning of the 20th century. More than 340 models in every style and finish, reproducing the most elaborate patterns, from early 20th-century floral motifs to Renaissance cassette frames, shaped Baroque style models, and many more. The company was established in 1975 after, as luck would have it, Enrico Padrevecchi met some master frame makers who taught him all the secrets of their ancient profession as well as their love for the art form. The company is still family-sized, with Enrico’s wife and two children, Elisa and Simone, all working there.

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The feather is magical. A ductile material, a symbol of beauty and power. For three generations we have been recreating fashion and design through the material that man has always had available in nature, the Piuma. The Nanà Firenze brand is born from the craftsmanship of the Mazzanti Piume company. Sculpture hats, ceremonial head-dresses, fashion headbands to wear every day, but also evening bags, accessories that evoke the mysterious mystery of these magical feathers that we all adore. Or over 80 years, Mazzanti Piume has created artificial flowers and feather arrangements, following the solid family tradition, which was passed down for three generations. The millinery was opened in 1935 in Florence by Natalina Acciai and her husband Lelio Mazzanti. As demand for women’s hats declined in the 60s, their son Maurizio shifted the studio’s focus onto the production of feather boas, working with the Moulin Rouge and the Lidò, and major international fashion houses. The atelier also produced plumes for the armed forces. In 1997, Duccio Mazzanti, Maurizio’s son, decided to focus on haute couture. In 2005, he created the brand Nanà Firenze (named after his grandmother). The brand embodies all the experience and creativity of the Mazzanti company, applied to the crafting of headwear. His headbands and headdresses in feather and silk are true miniature works of art. Mazzanti has also continued the business’s other traditional activities, such as restoration, customized feather dying, appliqués for theatre shows, costumes for films, historical costume and Carnival parades, and so on. Naturally, all pieces are crafted by hand. For Mazzanti, feathers are a magical, charming accessory, expressing lightness, softness and feminine sensuality.

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Tommaso Candria opens in Mogliano Marche a handicraft factory specialised in weaving. The activity is located in the territory where’s deep-rooted the wickerwork tradition. A combination of ability and creativity allows making unique items, which are recognizable by care of details and originality in design. Though it preserves its original handicraft character and family dimension, the firm is in a progressive expansion thanks to an extended range of articles. Tommaso Candria apre a Mogliano Marche una fabbrica artigianale specializzata nella tessitura. L'attività è ubicata nel territorio dove è radicata la tradizione della lavorazione del vimini. Un connubio di abilità e creatività permette di realizzare oggetti unici, riconoscibili per la cura dei dettagli e l'originalità nel design. L'azienda, pur conservando l'originario carattere artigianale e la dimensione familiare, è in progressiva espansione grazie ad un'ampia gamma di articoli.

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Carla was born in Turin in 1964. She left her home-town at the early age of 6 months, to eventually return as a young adult and for a relatively short period of time. Moving continuously was thrilling, but she needed something that would make her feel at home, a “fil rouge” that would accompany her through these new adventures, something only her own. Her family was very important but not enough to make her feel completely settled. The art of painting and humoristic drawing became “my very best invisible friends”, they would sit by her at all times, comfort her when most needed, help her to understand what she was experiencing. And the most important thing… "they were just mine!" She paints what she wants when she wants... but every day! Regardless of everything and everyone. Taking inspiration anywhere. She paints her emotions, her feelings, the beauty or the unexpected around her. Random search for passion. She went from faceless people in her early teens to painting gigantic close up of wild animals, to Abstract in an abstract part of her life and then back to reality to been a polaroid of the unexpected around her. One rule OIL Paint. She can humoristically fix that moment so that you will never forget it. Carla Chiusano's art is a photograph of life made with the skilful use of the brush. In her works, the desire to urgently communicate some important messages, positive and negative, which are continuously transmitted by the environment that surrounds her, shines clearly. Carla was lucky enough to live in different parts of the world, from London to Rio de Janeiro, from Rome to Geneva: this internationality of her made her an all-round artist, with a broad and profound vision of things. Her works, never banal, are often also the mirror of herself, of her reflective and cheerful character, sweet, hard and uncompromising at the same time. Her ability lies not only in a high pictorial quality, but also in the ability to identify with her paintings with extreme delicacy. She is a curious woman, a lover of life and nature, with a remarkable sense of humour and a spirit of observation, who lives in a world that is not only hers, but ours as well.

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“Piedàterre Venezia”, an icon of la dolce vita since 1952. From our heritage heart to our handmade soles, Piedàterre is synonymous with Venezia. We are the original and authentic Venetian slipper ‘Friulane’ specialists, pouring decades of Italian ingenuity and world-class craftsmanship into our artisan velvet shoes. Each pair is still handmade in the homes of our community of craftspeople and continues to be one of the most enduring icons of la dolce vita. The traditional Venetian slipper was born in the 19th Century north of Veneto, in Friuli, where, during a period of post-war necessity, Italian families began to stitch together sumptuous velvet curtains from closed theatres and flattened bicycle tyres to make new shoes with genius and flair. Though resourceful, the slippers were beautiful works of craftsmanship, stitched passionately by the region’s women with precision, skill and purpose to put shoes on the feet of their neighbours and loved ones. The slippers quickly found a captive audience in cosmopolitan Venice and its influx of visitors. Versatile, chic and - crucially - non-slip, the design was perfect for navigating the city’s cobbled streets. In 1952, a dreaming businessman and his cart full of handmade slippers took a spot on the historic Rialto Bridge. Piedàterre was born. Fuelled by a swathe of enchanted shoppers, the cart remained faithfully in place for 40 years, before the doors of the Piedàterre Rialto store swung open to become the first store in Venice dedicated solely to the historic slipper. Today, Piedàterre slippers are a symbol of la dolce vita across the world, bringing understated chic and a timeless sensibility to contemporary wardrobes from Piazza San Marco aperitivos to New York red carpets and Amalfi Coast sunsets. Each pair is unique, crafted to the highest quality from 100% natural cotton velvet and hand-stitched by our network of Italian craftspeople. Our historic Rialto store and our Campo Santo Stefano flagship remain Venice’s original shops, focused solely on the traditional Venetian slipper. Every shelf explodes with colour. Timeless and 100% made in Italy, Piedàterre’s slippers continue to be our ode to the ingenious Italian spirit that forever finds beauty wherever it looks.

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The Louvre Museum is the world's largest art museum and a historic monument in Paris, France. A central landmark of the city, contains approximately 38,000 objects from prehistory to the 21st century. In 2017, the Louvre was the world's most visited art museum, receiving 8.1 million visitors. A visit to the Louvre and its collections lets visitors discover Western art from the Middle Ages to 1848, as well as a large number of ancient civilizations. Yet it also offers another history to explore. The grand palace that houses the museum, which dates back to the late twelfth century, is a true lesson in architecture: from 1200 to 2011, the most innovative architects have in turn built and developed the Louvre. Long the seat of power, this royal residence was also home to French heads of state until 1870 and is one of the major backdrops to the history of Paris and of France. The Pavillon de l’Horloge is the architectural heart of the Louvre palace. Designed by the architect Jacques Lemercier, it was built during the reign of Louis XIII (1610–1643) but only acquired the name ‘Pavillon de l’Horloge’ (‘Clock Pavilion’) in the 19th century, when clocks were added to the two main facades. At 40 metres high, it is the highest point of the Louvre – a reminder of the keep belonging to the original medieval fortress, demolished in the 16th century when King François I converted the Louvre into a Renaissance palace. The historic Pavillon de l’Horloge is the ideal location for a presentation of the Louvre’s 800-year history. Four rooms, distributed over three floors, tell the story of the museum, its collections and its current activities. The story begins near the remains of the first Louvre, a medieval fortress built by King Philippe-Auguste in about 1200. Follow the fortress wall to find the Salle de la Maquette, dedicated to the architecture of the Louvre. The presentation explains the many transformations that have marked the history of the palace and the ornamental additions made by great artists, from Jean Goujon who carved many decorative elements in the 16th century to Jean-Baptiste Carpeaux who designed sculptures for the Pavillon de Flore three centuries later. There are also traces of the Tuileries palace, commissioned by Queen Catherine de’ Medici during the Renaissance and burned down in 1871 during the Paris Commune. The foundations of the keep that was demolished in 1528 are still visible. The nearby room known as the Salle Saint-Louis is the oldest in the palace; its name derives from traces of decoration that have been dated to the reign of Saint Louis (1226–1270). The room displays everyday objects found during the archaeological excavations that were carried out between 1983 and 1993 as part of the Grand Louvre project; the finds range from a gilded parade helmet attributed to King Charles VI to a simple pair of children’s shoes. The Salle de la Chapelle, on the first floor of the pavilion, is now a museum room; its name is the only trace of the chapel built here between 1655 and 1659 on the orders of Louis XIV. Its display presents the history and diversity of the museum’s collections, how they were formed and how they are organised within the palace. Each collection – Egyptian Antiquities, Decorative Arts, Paintings, Sculptures, Islamic Art, etc. – is represented by a selection of artworks. The Salle de la Chapelle also offers one of the finest views of the Pyramid, the gardens and, in the distance the Champs Élysées, the Arc de Triomphe and the business district of La Défense. The Salle d’Actualité (‘news room’) on the second floor of the Pavillon de l’Horloge presents the museum’s current activities and missions: conservation projects, new acquisitions, research, and news of the Louvre’s national and international outreach, through the Louvre Abu Dhabi and the Louvre-Lens in particular. The museum obviously has to provide the best possible conditions for its artworks – but another priority is to make its visitors feel welcome. People have flocked to the Louvre for over two centuries; from art specialists to novices, in crinolines or jeans, visitors are an essential part of the museum’s life! And sometimes they become works of art in their turn, featured in paintings as they explore the museum and admire its displays…

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Mulinum is an agricultural company born in Calabria from the dream of giving life to a complete and controlled wheat supply chain in every step, which starts from the organic cultivation of exclusively local varieties of seeds to get to the production of wholemeal, stone-ground flours. Subsequently, the flours are transformed into bread according to "ancient recipes and with the use of mother yeast" and into sweet and savory baked goods. From the crowdfunding operation launched in 2016 by Stefano Caccavari to start the first Mulinum in San Floro "in the province of Catanzaro", the project of an agricultural startup has taken shape that wants to replicate, thanks to a permanent and constantly expanding fundraiser, the Calabrian model in every Italian region, adapting it "every time" to the local characteristics. Mulinum works every day for the renaissance of Italian wheat cultivation, focusing on the biodiversity of seeds and the richness of their properties, which remain intact thanks to stone grinding. The large retailers interested in quality flours and breads and the bakers who have chosen to use only ancient local grains are its natural interlocutors. Finally, Mulinum sells directly and at retail on its online shop, in San Floro and in all the other places where its structure will be built. Mulinum è un’azienda agricola nata in Calabria dal sogno di dar vita a una filiera del grano completa e controllata in ogni suo passaggio, che parte dalla coltura in biologico di varietà di semi esclusivamente locali per arrivare alla produzione di farine integrali, macinate a pietra. Successivamente le farine vengono trasformate in pane secondo “antiche ricette e con l’utilizzo di lievito madre” e in prodotti da forno dolci e salati. Dall’operazione di crowdfunding lanciata nel 2016 da Stefano Caccavari per avviare il primo Mulinum a San Floro “in provincia di Catanzaro” ha preso forma il progetto di una startup agricola che vuole replicare, grazie a una raccolta fondi permanente e in continua espansione, il modello calabrese in ogni regione italiana, adeguandolo “ogni volta” alle tipicità locali. Mulinum lavora, ogni giorno, per il rinascimento della coltura italiana del grano, mettendo al centro la biodiversità dei semi e la ricchezza delle loro proprietà, che restano integre grazie alla macinazione a pietra. La grande distribuzione interessata a farine e pani di qualità e i panificatori che hanno scelto di utilizzare solo grani antichi locali sono i suoi naturali intrelocutori. Mulinum, infine, vende direttamente e al dettaglio sul suo shop online, a San Floro e in tutti gli altri luoghi dove sorgerà una sua struttura.

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Osservatorio Mestieri d'Arte is an association between foundations of banking origin that carries out cultural and promotional projects aimed at raising awareness, information, research and preservation of the identity of local and national artistic craftsmanship with the objectives of evaluating and promoting the sector of the art professions, to create a national and European network of institutions to promote understanding of the various cultural identities, and to deepen the quality of production, economy and training. The periodical magazine "OmA" is the Association's main communication tool to analyze the issues of artistic craftsmanship and to enhance Italian and foreign excellence. The Association's initiatives range from the publication of volumes to the organization of exhibitions and cultural events, to partnerships with national and international institutions and entities to develop projects, and to award scholarships and internships. The association also deals with training initiatives to promote new and concrete opportunities for cultural exchange and growth for future aspiring artisans. From the experience of researchers and professionals in the production of artistic crafts and crafts, OmA was born, the brand that recognizes the talent of the craftsman and the quality of the workshop and workmanship. The shop, the laboratory and the company display the OmA ceramic plaque and the quality certification. The brand of artisanal talent and quality production has a network of certified artisans throughout the national territory. Osservatorio dei Mestieri di Arte è Associazione tra Fondazioni di origine bancaria che realizza progetti culturali e promozionali finalizzati alla sensibilizzazione, all’informazione, alla ricerca e alla conservazione dell’identità dell’artigianato artistico locale e nazionale con gli obiettivi di valutare e promuovere il settore dei mestieri d’arte, di creare una rete nazionale ed europea d'istituzioni per favorire la comprensione delle varie identità culturali, e di approfondire la qualità delle produzioni, dell’economia e della formazione. La rivista periodica “OmA” è il principale strumento di comunicazione dell’Associazione per analizzare le tematiche dell’artigianato artistico e per valorizzare le eccellenze italiane ed estere. Le iniziative dell’Associazione spaziano dalla pubblicazione di volumi all’organizzazione di mostre e eventi culturali, alle partnership con istituzioni e soggetti nazionali e internazionali per elaborare progetti, e conferire borse di studio e tirocini. L’associazione si occupa inoltre d'iniziative di formazione per favorire nuove e concrete opportunità di scambio culturale e crescita per futuri aspiranti artigiani. Dall’esperienza di ricercatori e professionisti della produzione di artigianato artistico e dei mestieri d’arte è nato OmA, il brand che riconosce il talento dell’artigiano e la qualità della bottega e della lavorazione. La bottega, il laboratorio e l’azienda espongono la targa in ceramica OmA e la certificazione di qualità. Il brand del Talento artigianale e della produzione di qualità conta una rete di artigiani certificati in tutto il territorio nazionale.

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Greta Tintin Eleonora Ernman Thunberg is a Swedish environmental activist on climate change whose campaigning has gained international recognition. Thunberg is known for her blunt, straightforward speaking manner, both in public and to political leaders and assemblies, in which she urges immediate action to address what she describes as the climate crisis. Greta Thunberg’s urgent message to tackle the climate crisis has sparked a wave of action, from the global school strikes to political promises for zero-emission economies. But if we’re serious about Global Goal 13 for climate action, we need to wield our most powerful weapon of all: our vote. With elections coming up in the UK and the US over the next year, Thunberg’s call to engage with our democratic rights couldn’t be timelier. Thunberg’s mother was an opera singer, and her father was an actor. Greta was diagnosed with Asperger syndrome, which is now considered an autism spectrum disorder (ASD). It is characterized by abnormalities in social interactions (as in classic autism) but with normal intelligence and language development. People with Asperger syndrome tend to focus deeply on one idea or interest, and Thunberg’s cause became climate change. She first learned about the issue when she was approximately eight years old, and within a few years she changed her own habits, becoming a vegan and refusing to travel by airplane. (Both livestock and airplanes emit a large amount of the gases that contribute to global warming.) Seeking to make a greater impact, Thunberg attempted to spur lawmakers into addressing climate change. For almost three weeks prior to the Swedish election in September 2018, she missed school to sit outside the country’s parliament with a sign that stated “Skolstrejk för Klimatet” (School Strike for Climate). Although alone for the first day of the strike, she was joined each subsequent day by more and more people, and her story garnered international attention. After the election, Thunberg returned to school but continued to skip classes on Fridays to strike, and these days were called Fridays for Future. Her action inspired hundreds of thousands of students around the world to participate in their own Fridays for Future. Strikes were held in such countries as Belgium, Canada, the United States, the United Kingdom, Finland, Denmark, France, and the Netherlands. Thunberg received numerous invitations to speak about climate change. She gave speeches at the World Economic Forum in Davos, Switzerland, and at the European Parliament as well as in front of the legislatures of Italy, France, the United Kingdom, and the United States. In September 2019 her appearance at a UN climate event in New York City—which she travelled to on an emissions-free yacht—drew particular attention for her impassioned comments: “You have stolen my dreams and my childhood with your empty words… We are in the beginning of a mass extinction, and all you can talk about is money, and fairy tales of eternal economic growth. How dare you!” That month, millions of protesters marched in climate strikes in more than 163 countries. While Thunberg was credited with shifting some people’s views and behaviours regarding climate change—her influence was known as “the Greta effect”—she was not without detractors. Brazilian Pres. Jair Bolsonaro notably called her a “brat” in 2019. In addition to her environmental work, Thunberg was credited with raising awareness about Asperger and inspiring those who had the disorder. While acknowledging that Asperger had hampered her in some ways, she also noted its advantages, at one point tweeting: “I have Aspergers and that means I’m sometimes a bit different from the norm. And—given the right circumstances—being different is a superpower.” No One Is Too Small to Make a Difference (2019) is a collection of her speeches. The documentary I Am Greta appeared in 2020.

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Laboratorio Paravicini was founded in the early 90’s from an idea of Costanza Paravicini and it was as simple as ambitious: she wanted to create plates and tableware like they used to be in the past, handmade but suitable for everyday use. The decoration technique is called Gran Fuoco sulla Terraglia Bianca (high temperature glost-firing on white eartherware): underglaze decorations are bright, indelible and non-toxic. The Laboratory takes inspirations from the finest tradition of Italian pottery and it has always extended the borders of its production by continuously offering new shapes and decorations. In the years, it has become a precious address for more and more curious and elegant customers. Laboratorio Paravicini has made dining sets on commission for more than twenty years. A made-to-measure production that brings together Costanza, Benedetta and Margherita’s expertise with every client needs. Unique and exclusive works come to life, and they are developed on dreams, thoughts and needs. By showing sketches and samples, Laboratorio Paravicini helps its customers to find the dining set that better meets their own desires. Decorations are taylor-made in both the design and the cromatic range and they are customizable with monograms, emblems and any other request. In this way, every dining set becomes unique and exclusive and reflects the personality of its purchaser. Laboratorio Paravicini offers different types of plates, moulded or smooth, as well as platters that complete all the dining sets. Every shape is made by the Laboratory. High temperature glost-firing decorating technique is made on ceramic bisque before the final glazing. This manufacturing process confers a unique brightness upon the plates: decorations remain protected by outside elements and indelible. This makes the plates suitable for everyday use and machine wash.

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The Indigenous Peoples of Greenland, Kalaallit Nunaat, are Inuit and make up the majority of the Greenlandic population. Kalaallit Nunaat is a self-governing country within the Danish Realm, and although Denmark has adopted the UN Declaration on the Rights of Indigenous Peoples, Greenland’s population continue to face serious challenges. In 1996, at the request of Greenland, Denmark ratified ILO Convention 169. Greenland also joined the UN Convention on the Rights of the Child without reservations on 26 March 1992. The Inuit Circumpolar Council (ICC), an Indigenous Peoples’ organisation and ECOSOC-accredited NGO, represents Inuit from Greenland, Canada, Alaska and Chukotka (Russia), and is also a permanent participant in the Arctic Council. The Inuit Circumpolar Council has recently initiated the Pikialaorsuaq Commission, which serves as a consultation tool for Canadian and Greenlandic communities that are most closely connected to the North Water Polyna (Pikialaorsuaq in Greenlandic). The population is 88% Greenlandic Inuit with a total of 56,367 inhabitants (July 2020). The majority of Greenlandic Inuit refer to themselves as Kalaallit. Ethnographically, they consist of three major groups: the Kalaallit of West Greenland, who speak Kalaallisut; the Tunumi- it of Tunu (East Greenland), who speak Tunumiit oraasiat (East Greenlandic) and the Inughuit/Avanersuarmiut of the north. The majority of the people of Greenland speak the Inuit language, Kalaallisut, which is the official language, while the second language of the country is Danish. Greenland’s diverse culture includes subsistence hunting, commercial fisheries, tourism, and emerging efforts to develop the oil and mining industries. Fishing is the primary industry of the country and Greenland has legislative power over the fisheries sector. The fishing industry is the largest source of income and is hence very important to the national economy. Also, it is the source of many people's livelihoods right across the country. The majority of the people of Greenland speak the Inuit language, Kalaallisut, which is the official language. The second language is Danish.

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Called by the ancient Romans, "Anphitheatrum Flavlum" (Flavian Amphitheatre), the Colosseum in Rome is the most famous and impressive monument of ancient Rome, as well as the largest amphitheater in the world. The name is undoubtedly linked to the large size of the building but derives above all from the fact that nearby there was a colossal statue of Nero and bronze. In 1990, the Colosseum, along with all the historical center of Rome, the Vatican extraterritorial zones in Italy and the Basilica of St. Paul Outside the Walls, was listed as a World Heritage Site by UNESCO, while in July 2007 was included among the New seven Wonders of the World. The construction took place in the area occupied by the enormous house of Nero's Domus Aurea, built after the great fire of Rome in 64, which was supposed to be a valley surrounded by the hills of Velia, Palatine, Celio, Opium, and Fagutale and was crossed by a stream that ran in the direction of the Tiber along a path that roughly follows the actual street of San Gregorio. The Colosseum is the main symbol of Rome. It is an imposing construction that, with almost 2,000 years of history, will bring you back in time to discover the way of life in the Roman Empire. The construction of the Colosseum began in the year 72 under the empire of Vespasian and was finished in the year 80 during the rule of the emperor Titus. After completion, the Colosseum became the greatest Roman amphitheatre, measuring 188 meters in length, 156 meters in width and 57 meters in height. Known as the Flavian Amphitheatre, the Roman Colosseum is one of the capital's most remarkable monuments. Every year over 6 million people visit it.

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Saint Peter Basilica in Rome is one of the holiest temples for Christendom and one of the largest churches in the world. Besides, it is where the Pope presides many liturgies all year round. The construction of the new basilica began in 1506, when the old basilica had been torn down, and was finished in 1626. It was consecrated on 18 November 1626. Several renowned architects designed the temple, highlighting the works of Bramante, Michelangelo and Carlo Maderno. The basilica was called St Peter’s after one of Jesus’s twelve disciples known as Saint Peter, who became one of the founders of the Catholic Church and was executed in Rome and buried where the Basilica now stands. The Papal Basilica of Saint Peter in the Vatican, is an Italian Renaissance church in Vatican City, the papal enclave within the city of Rome. Designed principally by Donato Bramante, Michelangelo, Carlo Maderno and Gian Lorenzo Bernini, St. Peter's is the most renowned work of Renaissance architecture and the largest church in the world. While it is neither the mother church of the Catholic Church nor the cathedral of the Diocese of Rome, St. Peter's is regarded as one of the holiest Catholic shrines. It has been described as "holding a unique position in the Christian world" and as "the greatest of all churches of Christendom".

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Mona Lisa, also called Portrait of Lisa Gherardini, wife of Francesco del Giocondo, Italian La Gioconda, or French La Joconde, oil painting on a poplar wood panel by Leonardo da Vinci, probably the world’s most famous painting. It was painted sometime between 1503 and 1519, when Leonardo was living in Florence, and it now hangs in the Louvre Museum, Paris, where it remained an object of pilgrimage in the 21st century. The sitter’s mysterious smile and her unproven identity have made the painting a source of ongoing investigation and fascination. The Mona Lisa or Gioconda is a half-light portrait by the Italian renaissance artist Leonardo da Vinci, that has been described as the best known, the most visited, the most written about, the most sang about, the most parodied art work in the world. It is thought to be of Lisa Gherardini, wife of a Florentine cloth merchant named Francesco del Giocondo - hence the alternative title, La Gioconda. However, Leonardo seems to have taken the completed portrait to France rather than giving it to the person who commissioned it. After his death, the painting entered François I's collection. One of the most legendary reasons for the Mona Lisa's fame is her mischievous smile. Leonardo da Vinci painted the Mona Lisa in such a way that the eyes of the Mona Lisa fall into the centre of vision of the user, while the lips fall into the peripheral vision.

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Standing in Red Square and taking in the architecture around you, it's quite common to think the city square was named for its red brick buildings, or perhaps as a reference to the Communist government that ruled the country for most of the 20th century. However, the Russian word for red - krasnaya - is very similar to the word for beautiful - krasivaya - the original name for the plaza. Throughout the years, Moscow's beautiful Red Square has played witnessed to many significant events that have marked the course of Russian history. The famous city square is surrounded by four impressive buildings. One of the most important, and a symbol of the country as a whole, is the spectacular Saint Basil's Cathedral. The bright colours and exquisite details of its architecture are sure to leave you speechless. On the side of the square opposite to the Cathedral is the imposing red building housing Moscow's State Historical Museum, and next to it, you'll find the Kazan Cathedral. This small, fairytale-looking church is actually a recreation of one that was demolished by the Soviet government to make way for tanks and celebrating workers. One of the long sides of Red Square borders the Kremlin, and in front of its impenetrable red wall is the curious structure housing Lenin's Mausoleum. Facing them is the GUM, an elegant department store that was built by the Tsars, then nationalised under the Soviets. Nowadays, it is a luxury shopping arcade.

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Montepulciano is a charming medieval town between the Val d’Orcia and the Valdichiana Senese in south-eastern Tuscany. It lies gently on hills that do not exceed 605 metres above sea level. This area was certainly inhabited by the Etruscans (3rd-4th centuries BC), who already recognised its extraordinary potential for red wine production. Wine is the first wonder of this area, the land of Vino Nobile di Montepulciano DOCG. Montepulciano offers various tourist itineraries amidst evocative landscapes, history, art and culture. The area’s traditional cuisine brings a fitting end to any day, with simple, typically country-style dishes such as pici al sugo di nana, pecorino cheese, fine meats, and local game. The Dei family produced its first bottle of Vino Nobile di Montepulciano in 1985, thus starting a tradition as independent winemakers. For three generations, the Dei Family has been profoundly linked to this territory and its rich resources. In addition to making Vino Nobile di Montepulciano, the family business is involved in extracting travertine marble from the quarries in Rapolano Terme. Maria Caterina Dei’s main goal is to produce high quality Vino Nobile that is the best expression of the terroir, representative of the typical characteristics of this indigenous variety. It all began in 1964 when her grandfather, Alibrando Dei, decided to buy the Bossona land and plant his first vineyard there. There, he discovered an extraordinary place, ideal for the production of great red wines. The property expanded in the 1970s with the purchase of Villa Martiena and the surrounding vineyards. In 1985, the year of an exceptional harvest, the first bottle of Vino Nobile di Montepulciano signed by the Dei family was finally released. Since then, the family has carried on the great passion for wine while respecting tradition and being open to innovation. Their aim is to bring to life in wine the best expression of the Montepulciano area, the splendid corner of Tuscany where they live and which gives their prized grapes their unmistakable character, appreciated throughout the world. Caterina Dei, didn’t always know that wine would be her path, however, her father had a dream, that of top-quality winemaking and a modern, sustainable winery. That dream swept her away and captured her. Now, for more than twenty years, she has been the spokesperson for the knowledge and values of her family, heir and interpreter of the agricultural and viticultural tradition that has had its place of election in Montepulciano. When the wine notes meet the music notes, the harmony will be just perfect. Music and singing have always been a passion for her. In the place of her wine, she has brought her albums to life. For several generations, the family has been involved in the excavation and processing of travertine. Caterina’s father, Glauco Dei, marked an important turning point in the family business by creating architectural works all over the world. At the age of eighty, he conceived the idea of uniting the world of stone with that of wine, deciding to design and build a travertine home for his wine. The structure blends harmoniously into the gentle hilly landscape surrounding Montepulciano. The natural shades of travertine blend with the colours of the land, creating a beautiful architectural spectacle. To enter the building, you have to walk down a characteristic circular ramp, also made of travertine, which descends into the heart of the earth in the form of a spiral. We chose this shape for the entrance of the cellar to recall the precious fossil shells that, together with the limestone sandstone, make the subsoil on which our Bossona vineyard grows so beautifully. The ageing room resembles a temple of wine: the roof, also made of travertine and realised according to her father’s design, is supported by important columns. It is a modern and clean structure, but with strong hints of classicism. The large windows of the bottling and packaging area overlook a square that recalls the shape of an amphitheatre: it is here that the combination of wine and art reaches its maximum expression. Caterina’s desire has always been to ensure that the place and its territory are experienced to the full. Cantine Dei is her travertine treasure chest: the most cherished treasure inside is Vino Nobile di Montepulciano. In July 1980 it was the first in Italy to be awarded the Denominazione di Origine Controllata e Garantita (DOCG). Today it is recognised as one of the most prestigious wines in the country and in the world. According to the philosophy of her grandfather, her father and now her, wine is a heritage that, like the land, must be protected. Knowing the history and understanding the culture behind the production of a bottle of Vino Nobile di Montepulciano, with unique characteristics, is a way to celebrate and appreciate not only each sip of the wine itself, but the entire region of Montepulciano. Caterina’s mission with Cantine Dei is to protect and promote Vino Nobile di Montepulciano and its terroir, with total respect for the environment. This is why you are welcomed to the winery, to hear the story of their land, and to celebrate the precious gifts.

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Anna Pilla, a professional photographer, has a natural gift for capturing and transmitting the emotions of an instant. She prefers animals but its versatility takes her to catch anything she sees everywhere. She works throughout Italy. Anna Pilla, fotografa professionista, ha un dono naturale per catturare e trasmettere le emozioni di un istante. Predilige gli animali ma la sua versatilità la porta a catturare qualsiasi cosa veda ovunque. Lavora in tutta Italia.

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Founded in 1977, Radio Veronica One is one of the longest-running Italian radio stations, which has always been at the top of the Piedmont listening charts. Radio Veronica One is a Hit Radio and has often hosted great artists who have chosen it to promote albums and concerts. Live with an 18-hour speaker, in a mix of hits of yesterday and today. Fondata nel 1977, Radio Veronica One è una delle radio italiane più longeve, da sempre ai vertici delle classifiche di ascolto piemontesi. Radio Veronica One è una Hit Radio e ha ospitato spesso grandi artisti che l'hanno scelta per promuovere album e concerti. Dal vivo con un relatore di 18 ore, in un mix di successi di ieri e di oggi.

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Dr. Osteopata, expert in Kinesiology and operator Manual lymphatic drainage with the Vodder method, Giorgia Fasolo combines professionalism with love for her work, the results are evident from the first, sometimes unique, session. She operates in Turin, but also moves elsewhere. Dott.ssa Osteopata, esperta in Kinesiologia e operatrice linfodrenaggio manuale con il metodo Vodder, Giorgia Fasolo unisce la professionalità all'amore per il proprio lavoro, i risultati sono evidenti sin dalla prima, a volte unica, seduta. Opera a Torino ma si sposta anche altrove.

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La Banca della Calce offers materials and services to professionals in sustainable building and architectural restoration: certified aged lime putty, natural hydraulic lime, innovative products based on lime and hemp and the knowledge to use them to the best, from formulations to on-site consultancy. La Banca della Calce specializes in the use of lime for the realization of the highest quality products; the company proposes itself as a reference point in the development and distribution of knowledge of technologies related to this material with very ancient origins but with a “green” and sustainable future. Starting from the excellent results achieved over the years and the satisfaction of its customers, Banca della Calce aims to increase the number of construction companies that use eco-friendly materials to improve livability. La Banca della Calce offre materiali e servizi ai professionisti dell'edilizia sostenibile e del restauro architettonico: grassello di calce invecchiato certificato, calce idraulica naturale, prodotti innovativi a base di calce e canapa e la conoscenza per utilizzarli al meglio, dalle formulazioni alla consulenza in cantiere. La Banca della Calce è specializzata nell'utilizzo della calce per la realizzazione di prodotti di altissima qualità; l'azienda si propone come punto di riferimento nello sviluppo e nella diffusione della conoscenza delle tecnologie legate a questo materiale dalle origini antichissime ma con un futuro “verde” e sostenibile. Partendo dagli ottimi risultati raggiunti negli anni e dalla soddisfazione dei propri clienti, Banca della Calce punta ad aumentare il numero delle imprese di costruzione che utilizzano materiali eco-compatibili per migliorare la vivibilità.

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Palazzo Saluzzo di Paesana, the largest and most articulated noble palace in the city, built by Gian Giacomo Plantery between 1715 and 1722 on behalf of the Marquis Baldassarre Saluzzo di Paesana. In 1715 Count Baldassare Saluzzo di Paesana, at the height of his career, started the construction of the grandiose family palace located in the area hitherto occupied by the Piazza d'Armi of the nearby Cittadella, theater, starting from that year, of the third urban expansion of the city of Turin, commissioned by Vittorio Amedeo II and entrusted after the assumption of the title of King of Sicily to the Messina architect Filippo Juvarra. The urban plan of the western expansion, in the overall design, clearly bears the characteristics of a royal city and at the same time of the changed social conditions of Piedmont, which was about to experience the great season of the Enlightenment. In harmony with the intentions of the sovereign, the Palace completes the urban picture through its internal scenography. The engineer Giovanni Giacomo Plantery (Turin 1680-1756) built in the years between 1715 and 1722 a building complex that houses, with the different needs and due confidentiality, commercial activities on the ground floor, representative and master apartments on the "nobile”, rental housing for the good bourgeoisie on the second and third floors and finally housing for the common people in the mezzanines and attics. In fact, thanks to this innovative building typology that sees the various social classes mixed, Plantery obtains an unusual volume for Turin, completely occupying the Island of San Chiafredo and giving life to the largest and most magnificent noble building in the city that still stands today. For elegance, monumentality and harmonious proportions. Almost 300 years of history, of housing changes and distribution variations due to the economic needs of Baldassarre Saluzzo's heirs, have largely erased the sign of the first tenants and their aesthetic taste, especially the furniture furnishings. Only inside the main apartment, located in the south-east corner of the building, the rooms retain significant eighteenth-century decorations, witnesses of the ancient magnificence and splendor of the Saluzzo family, created starting from 1718 by the Savona painter Domenico Guidobono and Lugano plasterer Pietro Somasso, authors, among other things, of the decorations of the rooms of the Duchess Maria Giovanna Battista of Savoy Nemours at Palazzo Madama. The Saluzzo Manor Apartment located on the Noble Floor of the Palazzo, which still retains eighteenth-century furnishings and decorations, including the frescoed vaults and the over doors by Domenico Guidobono, was intended by the current property as a space for private, corporate and cultural events, in the same spirit of the Saluzzo di Paesana family, which already at the time explored the avant-gardes even outside the moral codes imposed by the eighteenth-century noble label. Thanks to a recent restoration work that has brought the kitchen of the Marquises of Saluzzo back to its splendor, the spaces are presented in a renewed guise and equipped with professional equipment. Through the collaboration with selected chefs, caterers and suppliers, the space management team makes its skills available for the realization of events of absolute prestige. In addition to the main apartment, an additional space is available, located on the ground floor on the opposite side of the main entrance on Via della Consolata: the former Paesana Theater, born in the mid-1700s in the spaces originally conceived as the second entrance hall of the building. The space is now the subject of an important restoration project, aimed at restoring its original vocation and function of public entertainment, through the organization of exhibition and cultural events, thanks to the connection with the Noble Floor of the Palazzo through the imposing Courtyard of Honor.

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Italy is the country with the most important architectural heritage and historical real estate in the world. Assocastelli is the association that represents 350 managers and owners of historical and historical residences and residences of Italy (castles, farms, palaces, estates and villas) available for events and hospitality. The mission of Assocastelli is to promote and enhance the historical and architectural heritage of Italy, especially through the development of commercial, receptive and tourist activities that are carried out in these residences (marketing and production of agri-food products and wine, organization of events, management of hospitality and catering). Particular attention is paid by Assocastelli to the sector of architectural and artistic restoration that considers an important economic asset. L'Italia è il Paese con il patrimonio architettonico e immobiliare storico più importante al mondo. Assocastelli è l'associazione che rappresenta 350 gestori e proprietari di dimore e residenze storiche e storiche d'Italia (castelli, masserie, palazzi, tenute e ville) a disposizione per eventi e ospitalità. La mission di Assocastelli è promuovere e valorizzare il patrimonio storico e architettonico del Paese, soprattutto attraverso lo sviluppo delle attività commerciali, ricettive e turistiche che si svolgono in queste residenze (commercializzazione e produzione di prodotti agroalimentari e vinicoli, organizzazione di eventi , gestione dell'ospitalità e della ristorazione). Particolare attenzione è riservata da Assocastelli al settore del restauro architettonico e artistico che lo considera un importante bene economico.

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Il Cartiglio Libreria Antiquaria was founded in 1985 by Roberto Cena and Elsie Deferre, current co-owners of the business with his son Luca Cena. Over the years prestigious and thematic catalogues have been published. The Gallery participated and participated in the main Italian exhibitions of the sector and at the Turin antique biennials organized by Roberto Cena himself as President of the Piedmont Antiques Association. The bookshop is amazing, just only a visit tells us so much about the history, the views and the technical skills in the past. The Cartiglio Antiquarian Library is located in the centre of Turin, under the magnificent arcades of the so-called "King's Walk" in via Po, and is arranged over three exhibition floors. It offers valuable antique books and prints, manuscripts, Neapolitan gouaches and watercolours, ancient geographical maps, historical documents, graphics by old masters and the best authors of the '900. For years, he has collaborated with institutions and prestigious companies, providing them with books and prints for corporate gifts. Roberto Cena carries out appraisals and evaluations with confidence and competence in collaboration with numerous professional firms. He is registered in the Roll of Experts and Experts of the Turin Chamber of Commerce and is the expert witness of the Turin Court. Il Cartiglio Libreria Antiquaria è stata fondata nel 1985 da Roberto Cena ed Elsie Deferre, attuali contitolari dell'attività con il figlio Luca Cena. Negli anni sono stati pubblicati prestigiosi cataloghi tematici. La Galleria ha partecipato e partecipato alle principali mostre italiane del settore e alle biennali di antiquariato di Torino organizzate dallo stesso Roberto Cena in qualità di Presidente dell'Associazione Piemonte Antiquariato. La libreria è fantastica, solo una visita ci racconta tanto della storia, dei punti di vista e delle capacità tecniche del passato. La Biblioteca Antiquaria Cartiglio si trova nel centro di Torino, sotto i magnifici portici del cosiddetto "Cammino del Re" di via Po, ed è disposta su tre piani espositivi. Offre libri e stampe antiche di pregio, manoscritti, gouaches e acquerelli napoletani, antiche carte geografiche, documenti storici, grafiche degli antichi maestri e dei migliori autori del '900. Da anni collabora con istituzioni e aziende prestigiose, fornendo loro libri e stampe per regali aziendali. Roberto Cena effettua perizie e valutazioni con fiducia e competenza in collaborazione con numerosi studi professionali. E' iscritto all'Albo dei Periti ed Esperti della Camera di Commercio di Torino ed è CTU del Tribunale di Torino.

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Elena Amodei, whose family founded the school of Palazzo Spinelli, had the intuition to found the Salone dell'Arte e del Restauro in Florence. She has been its director for more than ten years and has been dealing with it with great professionalism and innovative management. You lead the Salone with a broad vision, in addition to the exhibition one, and you are carrying out a project of interrelation between international entities, which did not always dialogue with each other. Florence, Villa Vittoria, naturally lend themselves to welcoming associations, restorers, ministries, artisans, museums and universities in the sector from all over the world to dialogue on the themes of international restoration. Elena Amodei, la cui famiglia ha fondato la scuola di Palazzo Spinelli, ha avuto l'intuizione di fondare il Salone dell'Arte e del Restauro di Firenze. Da più di dieci anni ne è la direttrice e se ne occupa con grande professionalità e gestione innovativa. Conduce il Salone con una visione ampia, oltre a quella fieristica, e sta realizzando un progetto d'interrelazione tra entità internazionali, che non sempre dialogavano tra loro. Firenze, Villa Vittoria, si prestano naturalmente ad accogliere associazioni, restauratori, ministeri, artigiani, musei e università del settore provenienti da tutto il mondo per dialogare sui temi del restauro Internazionale.

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Immersed in a centuries-old park stands the eighteenth-century country house Villa Lucia. The interior of the villa, uninhabited for years, opens to the public as a meeting place and with the restaurant "La Chimera" whose cuisine, typically Piedmontese, has its roots in the in-depth knowledge of tradition to innovate it with originality and personal artistic interpretations. . The menu changes periodically, studied by Lucia based on the products of the territory and the season. The ancient charm of the precious rooms, expertly restored, contrast with those completely repainted according to the style of the contemporary artist Franco Novarino. The permanent exhibition space is dedicated to him on the upper floor of the Ristorante La Chimera Pinacoteca. Immersa in un parco secolare sorge la settecentesca dimora di campagna Villa Lucia. L'interno della villa, disabitato per anni, apre al pubblico come luogo d'incontro e con il ristorante "La Chimera" la cui cucina, tipicamente piemontese, affonda le sue radici nella conoscenza approfondita della tradizione per innovarla con originalità e personali interpretazioni artistiche. Il menu cambia periodicamente, studiato da Lucia in base ai prodotti del territorio e della stagione. Il fascino antico delle preziose sale, sapientemente restaurate, si contrappongono a quelle ridipinte interamente a nuovo secondo lo stile dell'artista contemporaneo Franco Novarino. A lui, al piano superiore della Chimera Ristorante Pinacoteca, è dedicato lo spazio espositivo permanente un museo pinacoteca.

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Cristina Pellion di Persano, an artist who has always had a talent for colors. His paintings are watercolor collages composed of brilliant colors that come and go and lines of cut out words, full of pure beauty. Everyone will see the words for the important moments in their life. Cristina draws great inspiration from nature. Cristina Pellion di Persano, un artista che ha da sempre un talento per i colori. I suoi quadri sono acquarelli collages composti da brillanti colori che vanno e vengono e linee di parole ritagliate, pieni di pura bellezza. Ciascuno vedrà le parole per i momenti importanti della propria vita. Cristina trae grande ispirazione dalla natura.

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The criminal lawyer Giuseppina Paragano has been specializing in the defense of women for years. He appears sweet and kind but on the pitch he will become the fierce defender of the injustice he has suffered. Intuition and careful analysis successfully guide her through the most difficult cases. Based in Turin, he follows cases throughout Italy. L'avvocato penalista Giuseppina Paragano, è da anni specializzata nella difesa della donna. Appare dolce e gentile ma sul campo si trasformerà nell'accanito difensore dell' ingiustizia subita. L'intuizione e l'analisi attenta, la guidano con successo attraverso i casi più difficili. Di base a Torino, segue casi in tutt'Italia.

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Since 1995, Studio Vairano Architettura has been active in Architectural Design and Conservative Restoration. The studio has expanded its panorama towards interior design, the refurbishment of listed historic buildings and cultural initiatives. The consolidated professional activity allows you to manage complex projects and issues, with internal and external work groups. Norberto Vairano is the owner of the Studio Architettura Vairano since 1995. After his degree at the Politecnico of Turin he started his career with professional internships at the offices of Oscar Niemeyer in Rio de Janeiro and Andrea Bruno in Turin. Norberto Vairano graduated in 1990 in Architecture from the Faculty of Architecture of the Polytechnic of Turin with a thesis on Restoration, after having obtained the qualification to practice the profession he enrolled in the Order of Architects of the Province of Turin. During the years of his training, he collaborated with various professionals, including Andrea Bruno, Norberto Vairano Senior and Ettore Cometto. In 1992, he participated in an internship in Brazil, at the studio of the architect Oscar Niemeyer, at the end of the same year he was appointed head of the restoration sector of the Cofra company in Turin, for which he participated in the political-technical delegation for the development of relationships bilateral trade between Italy and Libya. Over the course of his career Norberto Vairano consolidated his professional experience in the restoration of restricted assets both through collaborations with the Cultural Heritage Sector of the Piedmont Region, and as president of Municipal Building and Landscape Commissions. In recent years, the studio has expanded its landscape towards interior design, the refurbishment of listed historic buildings and cultural initiatives. The consolidated professional activity allows you to manage complex projects and issues, with internal and external work groups. In the architectural field he has mainly focused his activity on projects of restoration and preservation of buildings protected by environmental and architectural restrictions. This professional choice has allowed him to establish important relationships and collaborations with the administration authorities. Furthermore, the Studio Architettura Vairano counts prestigious projects of private buildings, custom residential design, urban spaces, commercial spaces and exhibit fittings. The experience acquired in the restoration sector is highlighted by attendances to courses and conferences of national and international relevance. The executive roles that Norberto Vairano assumed in landscape and building committees have strengthened his knowledge of the restoration theme and his reputation in Turin’s architectural context. At the moment the Studio is involved in prestigious collaborations as the one with Studio Lombardini 22 of Milan, with the architect Teresa Sapey of Madrid and with Studio Pierandrei of Genova. Now Studio Architettura Vairano, together with Studio Lombardini 22, is working on the restoration project of Porta Susa station in Turin that includes its functional transformation. At the same time the Studio is pursuing other two prestigious projects, both of them in Cagliari: the restoration of the historic palace “Palazzo Accardo” and the conversion to a hotel of the building “Scala di Ferro”, giving it back its original function.

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Our history is our starting point, solidity and experience are the basis of our future. Family tradition and unity, passion and commitment: these qualities have helped us create a solid business that stands out in every sector. Today, Podini Holdings is synonymous with quality and excellence, in every field. We get the job done; we are flexible yet solid: these are the qualities that sustain our business. Awareness and dedication push our companies and partners to achieve increasingly better results, to reach the highest objectives together: excellence! Our values are our strength. Tradition and family unity, passion and commitment, have allowed us to create a solid reality with the ability to establish ourselves in every sector. Podini is a company synonymous with quality and excellence in every field. Reliability, flexibility and concreteness animate our business, sensitivity and dedication push our companies and our collaborators towards ever better results, to reach ever higher goals together! In 2010 all humanitarian interventions were institutionalized through a non-profit organization: the Podini Foundation. This was born with the desire to spread the values, spirit and charity that have always guided our family over the years. A story of love and solidarity. The Podini family through the Podini Foundation has been carrying out, for more than 40 years, humanitarian actions for the Eritrean and Cambodian populations living below the subsistence level, focusing mainly on children and young people and supporting initiatives to promote their right to education and health. improving their quality of life. In recent years, the projects have also spread to our region: Trentino Alto Adige. We are committed to protecting the environment. The noble feeling of harmony and respect for all environmental and natural forms is reflected in all the entrepreneurial initiatives connected to each company of the Podini Group. For this reason, we support initiatives and policies that help reduce the ecological impact on the community in order to improve the quality of life today and contribute to a more sustainable future.

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Piazza San Marco is in the heart of Venice. It is 590 ft (180 m) long and 230 ft (70 m) wide, and is the only “piazza” in Venice, since the rest of the squares are called “piazzales” or “campos”. It was established during the ninth century, but adopted its current size and form in 1177, and was paved one hundred years later. The Piazza San Marco is one of the most beautiful in the world. Napoleon called it “the world’s most beautiful drawing room”. It is the lowest point in Venice; therefore, when there is Acqua Alta, it is the first place to be flooded. When this happens, the authorities place wooden footbridges for the locals and tourists. Several times a year, the square is completely flooded, so depending on whether you want to experience the Acqua Alta, you might be lucky or not, depending on when you visit the city. The most famous buildings in the piazza are: St Mark’s Basilica, the Doge’s Palace, the Museo Correr and the Campanile (the Basilica’s bell tower) and the Torre dell’ Orologio. In the Renaissance-style top balcony of the Torre dell’ Orologio (Clock Tower), two bronze figures representing Moors strike the hour. During Ascension week and Epiphany, statues of the Three Wise Men emerge from the clock tower and are presided over by an angel every time the little figures strike the hour. A real treat for all visitors. It is also worth highlighting the Columns of Saint Mark and Saint Theodore. The two columns are made of granite and marble and were placed near the entrance of the square in 1172. During the eighteenth century, public executions were held between the two pillars.

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The Basilica of San Marco welcomes the faithful and visitors who every day have the opportunity to come to pray and admire its extraordinary artistic heritage, except for those days when for reasons of worship the access of visitors to the Basilica can be temporarily suspended. To build the basilica of San Marco, Venice transfers the spiritual and material heritage of Byzantium to the West. The Greek cross plan rests on a structure which in the central longitudinal nave shows basilical architectural motifs: the vertical arm of the cross is larger than those of the transepts, the altar is placed in the apse area. Above the cross rest the five domes, symbol of the presence of God. The articulation of the space is full of suggestions not found in other Byzantine churches. Inside, a unitary sequence is proposed divided into individual spatial scores, to which the mosaic with a gold background guarantees continuity and the particular way of being of the church. On January 31 of the year 828 the relics of the patron saint Marco, which were in Alexandria in Egypt, are adventurously transferred to Venice and welcomed by the Doge Giustiniano Particiaco. In those times, the relics represented a powerful social and economic aggregator, attracting pilgrims and merchants. Every relic is therefore welcome and that of St. Mark is particularly welcome in Venice, as that Saint would have evangelized the Venetian people, becoming their patron and emblem in the form of a winged lion, armed with a sword and equipped with a book on which, in time of peace, you can read the phrase Pax Tibi Marce Evangelista Meus (Peace to You or Marco Mio Evangelista); a book that is threateningly closed when the sword, instead of discriminating between good and evil, is stained with warrior blood. La Basilica di San Marco dà il benvenuto ai fedeli e ai visitatori che ogni giorno hanno la possibilità di venire a pregare e ad ammirare il suo straordinario patrimonio artistico, fatta eccezione per quei giorni in cui per motivi di culto l’accesso dei visitatori alla Basilica può essere temporaneamente sospeso. Per edificare la basilica di San Marco, Venezia trasferisce in Occidente l’eredità spirituale e materiale di Bisanzio. L’impianto a croce greca poggia sopra una struttura che nella navata longitudinale centrale riporta motivi architettonici basilicali: il braccio verticale della croce è maggiore rispetto a quelli dei transetti, l’altare è posto nell’area dell’abside. Al di sopra della croce poggiano le cinque cupole, simbolo della presenza di Dio. L’articolazione dello spazio è ricca di suggestioni non riscontrabili in altre chiese bizantine. All’interno si propone una sequenza unitaria suddivisa in singole partiture spaziali, cui il mosaico a fondo d’oro garantisce continuità ed il particolare modo di essere della chiesa. Il 31 gennaio dell’anno 828 le reliquie del Santo Patrono Marco, che si trovavano ad Alessandria d’Egitto, vengono avventurosamente traslate a Venezia ed accolte dal Doge Giustiniano Particiaco. In quei tempi le reliquie rappresentano un potente aggregatore sociale ed economico, attirano pellegrini e mercanti. Ogni reliquia è quindi bene accetta e quella di San Marco lo è particolarmente a Venezia, in quanto proprio quel Santo avrebbe evangelizzato le genti venetedivenendone Patrono ed emblema sotto forma di leone alato, armato di spada e munito di un libro sul quale, in tempo di pace, si può leggere la frase Pax Tibi Marce Evangelista Meus (Pace a Te o Marco Mio Evangelista); un libro che viene minacciosamente chiuso quando la spada, anziché discriminare il bene dal male, si sporca di sangue guerriero.

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Orsolina 28 came to life in 2016 by the enthusiasm and passion of its founder, Simony Monteiro. She chose an unconventional place, an eighteenth-century farmhouse that once accommodated the monastery of the Orsoline Sisters of Moncalvo. Built in 1794, next to a Romanesque parish surrounded by vineyards, O28 is located between Moncalvo and Penango, the heart of the Monferrato Astigiano region in Italy. The winding hills protect the land, while the Western Italian Alps and Mount Monviso observe from afar. Orsolina Art Foundation was born to promote and transform the future of the performing arts into a social culture. It is a place devoted to the universal language of the arts that transcends time. The spectacular colors and sensations of nature, seasonal gifts and surprises, and breathtaking harmony of the landscape all represent the generating forces and exquisite beauty of Orsolina 28. Orsolina Art Foundation supports the local community by promoting encounters with O28 guest artists and offering complimentary classes to primary schools, introducing students to movement and the world of dance. Their desire at Orsolina 28 is for every individual to experience dance as a powerful vehicle for discovery, freedom, courage, joy, and human connection. O28 offers a breathtaking atmosphere that welcome anyone who wishes to study, research, or explore dance as a means for personal growth. They also support the educational commitment by offering merit-based scholarships and guaranteeing eligible students access to preparatory courses. The Foundation also supports young choreographers through calls for grant-based choreographic residencies. Orsolina Art Foundation is always committed to developing activities of inclusion: motor-skills education for people with or without disabilities, children at risk of marginalization, and people with diseases, in cooperation with associations and foundations of social engagement. Over the years, many artists have shared the magical atmosphere of Orsolina 28, including those who taught, performed, or completed choreographic residencies. To each artist who has contributed to O28, they offer their deepest thanks for embracing our mission and vision.

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The Regional Institute for the Tuscolan Villas, IRViT, is based in Rome and in the splendid Villa Mondragone of Monte Porzio Catone. The institution has a public legal personality and works to promote and ensure the conservation, enhancement, the most suitable use and better knowledge of the Tuscolan Villas and their parks and gardens. There are ten Tuscolane Villas distributed throughout the Castelli Romani territory: in Frascati, Villa Aldobrandini, Villa Falconieri, Villa Lancellotti, Villa Sora, Villa Torlonia and Villa Tuscolana; in Monte Porzio Catone, Villa Mondragone and Villa Taverna Borghese (Parisi); in Grottaferrata, Villa Grazioli and Villa Muti. One of the objectives of the IRViT is to promote, disseminate and encourage the knowledge of these wonderful Renaissance mansions which represent, for the whole territory, not only a heritage of history and culture to be cared for, restored, handed down and enhanced, but also a concrete resource for the growth and development of the Tuscolo area. Rediscover the past, therefore, looking to the future. In order to give greater visibility to the immense architectural complex formed by the Tuscolan Villas on a national and international level, the Institute organizes various initiatives with the aim of educating the new generations to respect and protect their historical and artistic heritage. The IRViT collaborates with various institutions, associations and national cultural institutes for culture including APGI - Italian Parks and Gardens Association, FAI - Fondo Ambiente Italiano and the Circuit of Italian Historic Houses. The IRViT was established with Regional Law no. 43 of 6 November 1992, within the scope of the powers contained in the decree of the President of the Republic of 16 July 1977, n. 616, and in compliance with the principles contained in the law of 8 June 1990, n. 142. L’IRViT, l’Istituto Regionale per le Ville Tuscolane, ha sede a Roma e nella splendida Villa Mondragone di Monte Porzio Catone. L’Ente è dotato di personalità giuridica pubblica e opera per favorire e assicurare la conservazione, la valorizzazione, la più idonea utilizzazione e la migliore conoscenza delle Ville Tuscolane e dei relativi parchi e giardini. Le Ville Tuscolane sono dieci così distribuite sul territorio dei Castelli Romani: a Frascati, Villa Aldobrandini, Villa Falconieri, Villa Lancellotti, Villa Sora, Villa Torlonia e Villa Tuscolana; a Monte Porzio Catone, Villa Mondragone e Villa Taverna Borghese (Parisi); a Grottaferrata, Villa Grazioli e Villa Muti. L’IRViT si pone tra gli obiettivi quello di promuovere, divulgare e incentivare la conoscenza di queste meravigliose dimore rinascimentali che rappresentano, per tutto il territorio, non solo un patrimonio di storia e cultura da curare, restaurare, tramandare e valorizzare, ma anche una concreta risorsa per la crescita e lo sviluppo dell’area del Tuscolo. Riscoprire il passato, dunque, guardando al futuro. Per dare maggiore visibilità in ambito nazionale e internazionale all’immenso complesso architettonico formato dalle Ville Tuscolane, l’Istituto organizza diverse iniziative con l’intento di educare anche le nuove generazioni al rispetto e alla tutela del loro patrimonio storico-artistico. L’IRViT collabora con diverse istituzioni, associazioni e istituti culturali nazionali per la cultura tra cui l’APGI – Associazione Parchi e Giardini d’Italia, il FAI – Fondo Ambiente Italiano e il Circuito delle Dimore Storiche Italiane. L’IRViT è stato costituito con Legge regionale n. 43 del 6 novembre 1992, nell’ambito delle competenze contenute nel decreto del Presidente della Repubblica 16 luglio 1977, n. 616, e nel rispetto dei principi contenuti nella legge 8 giugno 1990, n. 142.

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Lunigiana World was born to promote the homeland of two young boys, Federico and Maurizio, who together have bet on this project, together offer everyone the beauties that that wonderful land with the name of Lunigiana encloses. Lunigiana is rich in history, it is located in the north of Tuscany, on the border with Emilia and Liguria, an ancient crucial crossing point of the Via Francigena. Born for fun, and for the spirit of initiative Lunigiana world offers to those who want to visit this splendid territory, the complete guide of what nature offers, visible on the App with the name "LUNIGIANA WORLD", the application already boasts 25,000 downloads and more than 2500000 pages open, it is very successful because all the locations are geolocated and described in a precise way. Lunigiana deserves to be visited by everyone, and we hope that all institutions develop a unique project in the tourist development of the territory, useful to allow a univocal and organized organization. Lunigiana world nasce per promuovere la terra natia di due giovani ragazzi, Federico e Maurizio, che insieme hanno scommesso su questo progetto, insieme propongono a tutti le bellezze che racchiude quella terra meravigliosa con il nome di Lunigiana. La Lunigiana è ricca di storia, si trova a Nord della Toscana, a confine con Emilia e Liguria, antico punto di passaggio cruciale della Via Francigena. Nata per gioco, e per spirito di iniziativa Lunigiana world offre a chi vuole visitare questo splendido territorio, la guida completa di quello che la natura offre, visibile sull’App con appunto il nome "LUNIGIANA WORLD", l’applicazione vanta già 25000 download e più di 2500000 di pagine aperte, riscuote molto successo perche tutte le località sono geolocalizzate e descritte in modo preciso. La Lunigiana merita di essere visitata da tutti, e speriamo che tutti gli enti sviluppano un progetto univoco nello sviluppo turistico del territorio, utile a permettere una organizzazione univoca ed organizzata.

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CRIZU is craftsmanship and mind, patience and passion, abstraction and materia. It is a pure act of creativity. It is an object that inspires peace of mind and harmony. It is a gesture, deeply humane, repeated over and over, like a prayer. It is a second life for books. CRIZU gives old books a second chance: all pages are folded by hand, one by one, with art and patience until and old volume is transformed into a new and marvelous paper sculpture. Old manuals and encyclopedias are reborn into sophisticated pieces of design. The shape changes, but the book remains intact: it can still be read and scrolled through or, more simply one can admire it’s metamorphosis in an object of art and design. Old, but new. Poetic in it’s simplicity. At the beginning you have the book. The volumes chosen by CRIZU have many pages, good quality paper and the binding is stitched: beautiful in form but no longer up to date in contents. Only when a book looses it use, it is ready to be transformed into sculpture: maybe it will no longer be read, but surely admired. The folded is done by hand, one page at a time. All done slowly and without interruption, repeating each gesture thousands of times, watching the paper transform under the fingers: touch is more important than sight. It is an art that requires patience and dedication, a sort of meditation where the rhythm of the gestures synchronize with the rhythm of the soul until the metamorphosis is complete. These objects are imbued with memories and become more and more beautiful with the passing of time. By folding the pages of such books, I bring elements of history, culture and beauty to the finished piece. CRIZU also produces a small line of paper jewelry. The collections are limited edition and entirely hand made in Italy. Starting from paper of old books and mixing the most unexpected materials, earrings and necklaces are created with a very unusual, unique and sophisticated design.

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At Gabriella Molinari Storie di Tela we can tailor everything: bed linen, table linen. We love the most ECOLOGICAL and NATURAL materials: Linen, Cotton, Hemp, Fine wools. We have an amazing assortment of Embroidery Cloths. Our shop has always been in the heart of San Giovanni in Persiceto! We sell home linen, linen and natural fibers, home textiles. Our Values + our Passion + our Work = our shop. Possiamo confezionare tutto su misura: biancheria per il letto, per la tavola. Amiamo i materiali più ECOLOGICI e NATURALI: Lino, Cotone, Canapa, Lane pregiate. Abbiamo un sorprendente assortimento di Tele da Ricamo. Da sempre nel cuore di San Giovanni in Persiceto c'è la nostra bottega! Vendiamo Biancheria per la casa, Tele in lino e Fibre naturali, tessuti per la casa. I nostri Valori + la nostra Passione + il nostro Lavoro = la nostra Bottega.

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Traditional or innovative, everyone has their own taste. La Sirenetta Ice Cream Parlour has been producing ice cream since 1969 with the same unchanged dedication and care. A passion that has been handed down for generations and that chooses only quality raw materials. For a tasty break overlooking the enchanting beach of San Vito Lo Capo, choose The Little Mermaid. Founded by Adele Pizzimenti and continued by his son, the master of ice cream Natalino Pizzimenti, the artisan laboratory of the La Sirenetta ice cream parlour has been producing ice cream since 1969, today as then, with the same unchanged dedication and care. A passion that has been handed down for generations and that chooses only quality raw materials. The choice of ingredients of the highest quality and the knowledge of a sophisticated technique makes our production of ice cream and desserts unique. All our products are free of preservatives and additives and are made with artisanal processing methods and a great deal of care. Our ice cream meets everyone's tastes, consistency and balanced proportion of ingredients enhance the flavour. There is a lot of choice to satisfy your sweet wishes. Indulge the craving for chocolate or enjoy the velvety softness of mulberry trees, the tasteful creations of La Sirenetta are a dip in authentic Sicilian flavours. For a sweet lunch, an energetic breakfast or a delicious after dinner, stop at our terrace overlooking the sea. Sweeten your holiday with unique moments, enriched by the view of the beautiful sea of San Vito Lo Capo. At La Sirenetta you can enjoy, in addition to ice cream, also the typical Sicilian sweets such as cannolo and cassata.

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52-year-old Gianluigi Colucci from Bari, Assemble new volumes and save ancient texts using only vintage needle, thread and tools. A craftsman who in his small workshop carries on a historical and "poetic" profession: that of the restorer and bookbinder. To differentiate Gianluigi from the others is precisely the manual skills. In fact, if his colleagues have long since adapted to new technologies and modern equipment, he continues to be faithful to the tools of his father Giuseppe, the one who opened the shop in 1971. The binding and the restoration are carried out by Gianluigi using his own hands. For example, he continues to join the pages using only the needle and thread, as well as to cut cardboard and paper he uses tools that can only work with the strength of the arms. Most of his colleagues now use devices where you just need to push a button to make sure the game is done. The restoration of ancient books: a passion passed on to him by his father. "It is a niche profession - he underlines -: it is reserved for collectors, people who want their volumes to return to their original appearance". Gianluigi say that the binding is what makes him live, above all thanks to the degree theses, while the restoration satisfies the unconditional love he feels for the beautiful and immortal ancient books. Gianluigi Colucci, 52 anni di Bari, Assembla nuovi volumi e salva testi antichi usando solo ago, filo e strumenti vintage. Un artigiano che nel suo piccolo laboratorio svolge un mestiere storico e “poetico”: quello del restauratore e del legatore. A differenziare Gianluigi dagli altri è proprio la manualità. Infatti, se i suoi colleghi si sono adattati da tempo alle nuove tecnologie e alle moderne attrezzature, continua ad essere fedele agli strumenti del padre Giuseppe, colui che nel 1971 aprì il negozio. La legatura e il restauro sono eseguiti da Gianluigi con le proprie mani. Ad esempio continua a unire le pagine usando solo ago e filo, oltre a tagliare cartone e carta usa strumenti che possono lavorare solo con la forza delle braccia. La maggior parte dei suoi colleghi ora utilizza dispositivi in ​​cui è sufficiente premere un pulsante per assicurarsi che il gioco sia terminato. Il restauro dei libri antichi: una passione tramandatagli dal padre. "E' un mestiere di nicchia - sottolinea -: è riservato ai collezionisti, persone che vogliono che i loro volumi tornino al loro aspetto originale". Gianluigi dice che la rilegatura è ciò che lo fa vivere, soprattutto grazie alle tesi di laurea, mentre il restauro soddisfa l'amore incondizionato che prova per i bei e immortali libri antichi.

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The Réunion des musées nationaux - Grand Palais is a cultural operator whose mission is to promote access to culture throughout the national territory, and beyond. It brings together expertise of excellence in the artistic and cultural field: production of exhibitions, reception of the public, mediation, art history courses, publishing, management of museum shops and publishing of cultural products, art, photographic agency, acquisitions of works of art for national collections, cultural engineering, digital innovation... These allow it to play a unique role in the cultural world, with one ambition: to encourage the greatest number of people to meet art, the art of all cultures, of all eras and in all its forms. The Grand Palais, which entered an important phase of work in 2021, is the emblem of the institution: it exercises many of its skills there, including the production of major exhibitions and cultural events. Temporarily installed on the Champ-de-Mars, the Grand Palais Éphémère will host the event program presented in the Nave of the Grand Palais until the reopening of the monument. In Paris, at the Luxembourg Museum, and everywhere in France, the Rmn - Grand Palais deploys its skills around ambitious and innovative projects. Built for the Universal Exhibition of 1900 and consecrated "by the Republic to the glory of French art", the Grand Palais was classified as a historic monument in 2000. Its architecture combining classicism and modernity, its exceptional dimensions (70,000 m²) and its remarkable volumes (the largest Nave in Europe with a surface area of ​​13,500 m², crowned by a glass roof of 17,500 m²) make it a unique cultural and heritage site. La Réunion des musées nationaux - Grand Palais est un opérateur culturel dont la mission est de favoriser l’accès à la culture sur l’ensemble du territoire national, et au-delà. Elle regroupe des expertises d’excellence dans le domaine artistique et culturel : production d’expositions, accueil des publics, médiation, cours d’histoire de l’art, édition, gestion de boutiques de musées et édition de produits culturels, Ateliers d’art, agence photographique, acquisitions d’oeuvres d’art pour les collections nationales, ingénierie culturelle, innovation numérique… Celles-ci lui permettent de jouer un rôle singulier dans le monde culturel, avec une ambition : favoriser la rencontre du plus grand nombre avec l‘art, l’art de toutes les cultures, de toutes les époques et sous toutes ses formes. Le Grand Palais, entré dans une phase importante de travaux en 2021, est l’emblème de l’institution: elle y exerce nombre de ses savoir-faire, dont la production de grandes expositions et d’événements culturels. Installé provisoirement sur le Champ-de-Mars, le Grand Palais Éphémère accueillera jusqu’à la réouverture du monument la programmation événementielle présentée dans la Nef du Grand Palais. À Paris, au Musée du Luxembourg, et partout en France, la Rmn - Grand Palais déploie ses compétences autour de projets ambitieux et innovants. Construit pour l’Exposition Universelle de 1900 et consacré «par la République à la gloire de l’art français», le Grand Palais a été classé monument historique en 2000. Son architecture mêlant classicisme et modernité, ses dimensions exceptionnelles (70 000 m²) et ses volumes remarquables (la plus grande Nef d’Europe avec 13 500 m² de surface, couronnée d’une verrière de 17 500 m²) en font un site culturel et patrimonial à part.

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La fondazione Accorsi Ometto nasce da un sodalizio di passione, conoscenza e intuito lungo una vita intera. Nato a Torino il 25 ottobre 1891, Accorsi rivela subito quelle straordinarie doti d'intuito artistico che lo resero in seguito famoso e stimato in Italia e all’estero. La sua storia inizia infatti all’età di diciotto anni quando, grazie a un prestito, comincia la sua febbrile ricerca ovunque lo portasse il suo straordinario fiuto per gli oggetti di prestigio. A vent’anni, già famoso e apprezzato, comincia a comprare pezzo dopo pezzo il palazzo della sua gioventù per farne il fulcro della sua attività. In settant’anni di lavoro, Accorsi ha recuperato opere d’arte smembrate e disperse ed è stato fidato consulente di collezionisti, mercanti, istituzioni d’ogni nazionalità. Da giovane appassionato d’arte Giulio Ometto conoscerà Pietro Accorsi a Torino negli anni Settanta, collaborando con lui fino alla scomparsa del grande antiquario. Durante gli ultimi anni, il suo contributo è fondamentale per lo sviluppo e la crescita della galleria di antichità di Pietro Accorsi, di cui diverrà il proprietario nel 1978. Dal 1986 è presidente a vita del consiglio artistico della Fondazione, costituita nel 1975 per volontà di Accorsi, che scriveva nel suo testamento: “Grazie al tuo sapere e al tuo gusto, quanto farai per Torino sarà una cosa stupenda”. Da questo momento Giulio Ometto dirige sapientemente il restauro di Palazzo Accorsi ed è l’artefice della messa a punto dei locali destinati al Museo e degli immobili della Fondazione, di cui diverrà presidente nel 1993. Dopo la sua morte, avvenuta il 18 giugno 2019, per sua volontà la sua collezione d’arte personale è confluita in quella del Museo. L’ipotesi di una Fondazione viene concepita da Pietro Accorsi sul finire degli anni Sessanta del Novecento quando, dopo lunghe discussioni e molti incontri con Giovanni Agnelli e Werner Abegg nell’antica Vigna della Regina che l’antiquario ha in gran parte arredato e di proprietà del banchiere e industriale tessile zurighese, prende corpo l’idea di unire le forze e fare nascere una Fondazione culturale, chiamata amichevolmente “Le tre A”, dalle iniziali dei tre fondatori. Il progetto si arenerà sul finire del 1969, quando Agnelli si svincolerà per dedicarsi alle sue fabbriche, durantei quello che venne definito l’Autunno caldo, con scontri e proteste di piazza; a seguire, anche Abegg rinuncerà al progetto, abbandonando definitivamente Torino per tornare in Svizzera. Accorsi però continua ad inseguire un sogno: catturare il Bello per lasciare alla città che ha visceralmente amato un’impronta, una traccia forte di sé e della sua storia con una Fondazione di caratura internazionale. A tal fine, incaricherà l’avv. Paolo Emilio Ferreri di occuparsi di tutte le pratiche per fare nascere una Fondazione. Il suo sogno si concretizzerà il 14 maggio del 1975, quando sarà presentato lo Statuto della Fondazione: del consiglio d’amministrazione, oltre al fondatore Pietro Accorsi, farà parte, a vita, il suo segretario Giulio Ometto. La motivazione della scelta della Fondazione è riportata nel suo testamento: “Desidero che il mio nome resti legato agli oggetti d’arte e d’antiquariato da me in un’intera vita di lavoro raccolti e conservati […] perché la villa stessa da me con passione arredata costituisca una raccolta museologica dove la gente possa visitare e apprezzare quei mobili e quegli oggetti d’arte e d’antiquariato. Questo vuole essere un dono fatto alla gente intesa come insieme di persone da coltivare”. Dopo la scomparsa di Accorsi, avvenuta nel 1982, la Fondazione, presieduta da Giulio Ometto fino alla sua morte, si occuperà di realizzare nel Palazzo Accorsi il Museo di Arti Decorative, nonchè di preservare le opere del celebre antiquario e di incrementarne la raccolta attraverso il recupero di capolavori senza tempo. L’origine del palazzo Accorsi, see del Museo, è dovuta all’intraprendenza dei Padri Antoniani, che nel 1616 aprirono ai religiosi e ai malati un grande complesso, comprensivo di palazzo e chiesa dedicata a Sant’Antonio abate, al fondo dell’odierna Via Po; per circa 150 anni il complesso fu una delle sedi più prestigiose degli Antoniani in Piemonte ed Italia. Pochi sono oggi i resti riconoscibili delle costruzioni antiche. Nel Novecento la storia del palazzo ha trovato una prosecuzione ideale ed un nuovo grande impulso. Nel 1956 l’intero palazzo fu acquistato da Pietro Accorsi che adibì il piano nobile a sua abitazione e galleria d’arte. Alla sua scomparsa Giulio Ometto, suo allievo, attraverso un meticoloso lavoro, rispettoso della storia secolare del palazzo, ha completamente rinnovato lo storico edificio, rendendolo degna e splendida sede del Museo di Arti Decorative. Il Museo contiene lo straordinario doppio corpo, firmato e datato, come recita la scritta al centro della ribalta “Petrus Piffetti Inve./ fecit et sculpsit/ Taurini 1738”, ritenuto dalla critica internazionale “il mobile più bello del mondo“. Esso è un esplodere fastoso di forme mistilinee, lastronate e arricchite da intarsi in avorio e tartaruga, riportanti scene tradotte in gran parte da celebri incisioni del Cinque e Seicento. Un’opera imponente, caratterizzata da fonti iconografiche molteplici e complesse, commissionata per un matrimonio, evento cui alludono non solo la frase “PERPETVVM NODIS“, ma anche numerosi simboli, quali per esempio lo svettante Cupido armato di arco e frecce o scene significative, tra cui spicca un matrimonio, probabilmente quello di Alessandro e Rossana, che si svolge davanti alla statua di Apollo citaredo. Il museo ospita nelle sue sale oltre 2500 oggetti, di cui solo una minoranza collocati dentro vetrine museali. Il resto delle collezioni è allestito nei vari ambienti, secondo quello che con il tempo viene ormai definito il “gusto Accorsi“. All’interno del percorso museale sono custoditi preziosi capolavori, veri e propri gioielli d’arte.

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The Sassi di Matera are two districts, Sasso Caveoso and Sasso Barisano, of the Italian city of Matera, well-known for their ancient cave dwellings inhabited since the Paleolithic period. The Sassi di Matera quarters were listed as a World Heritage Site by UNESCO in 1993. They are a unique place with extraordinary charm that shows how man has lived in a fairytale-like environment for thousands of years: both the Sassi districts and the surrounding area - comprised by the Parco Archeologico Storico Naturale for the most part - are characteristically rocky. The sassi quarters are connected to the current town centre all throughout, admittedly there are many streets and alleys that lead down to the old town. Initially, the Sassi di Matera were just a rocky area, very similar to the opposite side of the canyon created by the Gravina river. The western side of the canyon is made up of a steep side overlooking the stream, along with several hills and terraces more suitable for human habitation. As time went on, these places transformed into villages and ultimately into a fully-fledged town. The first human settlements date back to the Palaeolithic age, and they developed in the many caves that characterize the local rocky landscape. Over time, the landscape has been increasingly modified by man, as the local sandstone is soft enough to be carved, meaning that it can be manipulated to create shelter. The caves that were dug in this period constitute the basis of urbanization, still visible in the buildings constructed during the last millennium. Hence, Matera has gone through the prehistoric phase, comprised of the Palaeolithic age, the neolithic age and the Iron Age, and later its history was strongly affected by the advent of Christianity, which quickly became culturally prevalent. During the Middle Ages, the landscape was transformed as a result of the systematic construction of a series of places of worship. Today, the Sassi di Matera represent a fascinating cultural landscape, which is the reason why they are now part of the UNESCO World Heritage list. Architecturally, they encompass a mixture of different elements that were stratified over time, such as rock dwellings, cave churches and burial grounds that repeatedly alternate with buildings belonging to disparate time periods such as the Middle Ages, the renaissance, the baroque and the modern age. As a matter of fact, caves, hypogea, palaces, churches, neighbourhoods, staircases, galleries and gardens all intertwine together, creating a magical and unique atmosphere in this place.

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With a legacy of more than 60 years, which brought hundreds of hours of live television and over 1,500 songs from some 50 countries, the Eurovision Song Contest is a great source of historic facts and mind-blowing figures. On this page, we are sharing the most significant ones with you. The history of the Eurovision Song Contest began as the brainchild of Marcel Bezençon of the EBU. The Contest was based on Italy's Sanremo Music Festival and was designed to test the limits of live television broadcast technology. The Eurovision Song Contest started with just 7 participating countries in 1956. It was the only contest with 2 songs per country. Following the break-up of the Soviet Union, more countries wanted to join in the 1990s. In 1993 and 1994, a then-record 25 countries took part. In 1996, a pre-qualification heat was organized to reduce 29 participants to 23, while host country Norway automatically qualified for the contest as 24th country. The challenge was solved in 2004, when a Semi-Final was introduced. Growing interest lead to the introduction of a second Semi-Final in 2008. As a result, a record number of 43 countries took part in 2008 for the first time. Over 1,500 songs have taken part in the Eurovision Song Contest (not including the 7 songs that didn’t make it to the 1996 pre-qualification round). In 2006, Ireland’s Brian Kennedy delivered the 1,000th entry to the contest, appropriately titled Every Song is a Cry for Love. If you listened to all the songs without a break, you would be sitting up for nearly 72 hours. In 2001, the largest audience ever attended the Eurovision Song Contest. Almost 38,000 people gathered at Copenhagen’s Parken Stadium to witness the first-ever Estonian victory. Ratings of the Eurovision Song Contest have varied greatly over the past decades. In 2016, some 204 million people saw at least one of the 3 shows in whole or in part. With 7 victories, Ireland is the most successful country at the contest. Sweden won the contest 6 times, while Luxembourg, France, the Netherlands and the United Kingdom won 5 times. Poland made the most impressive debut in 1994, when Edyta Gorniak came second with To Nie Ja, closely followed by Serbia’s victory in 2007. Although Serbia & Montenegro was represented twice before, it was the first time that Serbia took part as an independent country. Norway could be found at the bottom of the scoreboard as many as eleven times. The unfortunates came last in 1963, 1969, 1974, 1976, 1978, 1981, 1990, 1997, 2001, 2004 and in the Grand Final of 2012. Nevertheless, they also won 3 times, in 1985, 1995 and 2009. In 2015, the Eurovision Song Contest celebrated its 60th anniversary. The BBC hosted a grand anniversary show in London, featuring over a dozen former participants. And to honour the country's Eurovision Song Contest commitment for over 30 years, the organizers admitted Australia to participate for the first time ever. Despite the 'grand old lady' being of respectable age, her pension is nowhere in sight, as the Eurovision Song Contest is still the most modern live TV entertainment spectacle in the world.

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The Oropa Sanctuary is the most important and largest Sanctuary dedicated to the Virgin Mary to be found in the Alps. It is located in a unique, natural and unspoilt setting at only 15 minutes drive from the centre of Biella. Historical lore states that the Sanctuary was founded in the 4th century AD by St. Eusebio, the first bishop of Vercelli. The first written documents that mention Oropa date back to the beginning of the 13th century and mention the first simple churches of St. Mary and St. Bartholomew. These served as important reference points for ‘viatores’ (travellers) who travelled back and forth to the nearby Aosta Valley. The Sanctuary grew and has been developed through the years into a spectacular architectural ensemble of important monumental buildings. This led to a change in the use of Oropa from one of transit to a destination used by pilgrims brought here by their strong sense of devotion. The complex is made up of three large courtyards built on three levels and was designed by the great Savoyard architects Arduzzi, Gallo, Beltramo, Juvarra, Guarini, Galletti and Bonora between the mid 17th and 18th centuries finishing with the “Upper Basilica” which was consecrated in 1960. The first courtyard, faced by restaurants, bars, and several shops for the visitors, is followed by the wide square containing the Ancient Basilica. It can be reached by the monumental staircase and the Royal Door. The majestic buildings of Oropa have been edified in the course of the centuries starting from a core unit: the small sacellum of the Black Virgin. The rooms of the Sanctuary offer hotel-quality accommodation suitable to meet all needs, for tourism accessible to all. Il Santuario di Oropa sorge a 1200 m di altitudine ed è il più importante Santuario mariano delle Alpi: inserito in una cornice naturale di assoluta bellezza, si trova a 15 Km dal centro di Biella. Secondo la tradizione l’origine del Santuario è da collocarsi nel IV secolo, ad opera di S. Eusebio, primo vescovo di Vercelli. I primi documenti scritti che parlano di Oropa, risalenti all’inizio del XIII secolo, riportano l’esistenza delle primitive Chiese di Santa Maria e di San Bartolomeo, di carattere eremitico, che costituivano un punto di riferimento fondamentale per i viatores (viaggiatori) che transitavano da est verso la Valle d’Aosta. Lo sviluppo del Santuario subì diverse trasformazioni nel tempo, fino a raggiungere le monumentali dimensioni odierne tramutandosi da luogo di passaggio a luogo di destinazione per i pellegrini animati da un forte spirito devozionale. Il maestoso complesso è frutto dei disegni dei più grandi architetti sabaudi: Arduzzi, Gallo, Beltramo, Juvarra, Guarini, Galletti, Bonora hanno contribuito a progettare e a realizzare l’insieme degli edifici che si svilupparono tra la metà del XVII e del XVIII secolo. Dal primitivo sacello all'imponente Basilica Superiore, consacrata nel 1960, lo sviluppo edilizio ed architettonico è stato grandioso. Articolato su tre piazzali a terrazza, il complesso è imperniato su due grandi luoghi di culto: la Basilica Antica, realizzata all'inizio del XVII secolo e in cui si venera la Madonna Nera, per tradizione portata e nascosta da S. Eusebio ad Oropa, e la Chiesa Nuova. Completano la struttura monumentali edifici, chiostri e la solenne scalinata che conduce alla Porta Regia.

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Things to do in Pistoia are many and varoius, the area of Pistoia is specially very well known for the cultivation of plants and flowers exported all over the world, with a long tradition of local nurseries being passed down generation after generation. Thermal baths are another important resource for the province of Pistoia. The thermal baths of Montecatini and Monsummano can boast of waters with beneficial health effects and thus are much sought after by anyone wishing to take care of themselves, as well as treat themselves to spa treatments. These are the thermal baths which hosted nobility and royalty, as well as more recent movie stars, through the centuries. The dome of the Baptistery was frescoed in the third decade of the 13th century by workers from the Po Valley, influenced by Byzantine iconographic models. An educating city with a very ancient foundation, Pistoia is a place that will amaze lovers of art and traditions. Poets and writers have exalted the charm of what they have renamed "city of enchanted stone" and "city of wide streets and beautiful churches", and indeed the centre offers the opportunity to enter a path full of churches, cloisters, palaces, museums and monuments that revolve around one of the most fascinating Piazza del Duomo in Italy. Not to mention that, on the outskirts of the city, there are villages, churches and fortified castles of striking beauty. Pistoia, proclaimed Italian Capital of Culture in 2017, is a city of Roman origin, whose urban fabric traces the limits of the three ancient walls. Those lucky enough to be able to visit the territory of Pistoia for at least two days, can discover the treasures that the mountain holds. The famous ski resorts, including Abetone and Doganaccia, are visited every year by ski and snowboard enthusiasts; but also in summer, the Pistoia Apennines offer many opportunities. These peaks are ideal for trekking: among the most interesting routes there are certainly those of Monte Gomito, Monte Cimone and the Open Book, as well as the paths that lead to admire the suggestive Nero and Scaffaiolo lakes. If we move towards Lucca, however, we are enchanted by the remains of the fortresses of Serravalle Pistoiese: Torre del Barbarossa and Rocca Nuova characterize the entire village and the valley. Finally, the territory of Marliana is recognized for being covered almost exclusively by chestnut groves, it is no coincidence that the great riches of this land are the products of the forest, such as chestnuts and mushrooms, rows and olive groves.

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Many things to do in Como in Italy, a wonderful and exclusive place is waiting for you. Lake Como is a destination with a pure beauty, a marvellous nature and breathtaking views, from where you can walk, relax, discover the peace and enjoy the calm of a holiday. Not far from Milan, near the Switzerland, there's Como, a town where everything is special. Famous for its lake, for its villas with florid parks and secular trees, for its famous "VIP" guests, Como can offer you every kind of solution for your spare time. The lake provides a very special and unique microclimate that produces also a very fine and rich of nutritions and that give longevity extra virgin oil. Cultural routes are ready. From old Romanesque churches to Rationalist architecture, Como is rich in proposals, and the nearly valleys are full of opportunities for mountain lovers, who through wild environments and unspoilt valleys can try out every kind of experience that this natural setting can offer. Things to do in Como may start with enjoining your daily trips boat, ferries, hydrofoils and sea plain too. In Como, you can find the only European school where it's possible to obtain a pilot licence for this kind of vehicle. Famous also for the Spa treatments and luxury staying. Tastings the typical Larian speciality a fantastic mix of lake fish, cheese from our mountains, meats and traditional Italian cooking. For your shopping you can find every kind of silk products, visit silk factory and buy at concept stores. As you can see, here all is waiting for you.

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Parma is a city in the northern Italian region of Emilia-Romagna famous for its architecture, music, art, prosciutto, cheese and surrounding countryside. With a population of 198,292 inhabitants, Parma is the second most populous city in Emilia-Romagna after Bologna, the region's capital. The city is home to the University of Parma, one of the oldest universities in the world. Parma is divided into two parts by the stream of the same name. The district on the far side of the river is Oltretorrente. Parma's Etruscan name was adapted by Romans to describe the round shield called Parma. Things to do in Parma should start from the Cathedral, and it's amazing Baptistery. The dome of the Baptistery was frescoed in the third decade of the 13th century by workers from the Po Valley, influenced by Byzantine iconographic models. Also, you should see the originally called the New Ducal Theatre, the Teatro Regio in Parma was built at the behest of the Duchess Maria Luigia of Habsburg-Lorraine, wife of Napoleon, who was sent to govern the Duchy of Parma, Piacenza and Guastalla following the Congress of Vienna. Work began in 1821 on a project by the court architect Nicola Bettoli and the Theatre opened on 16thMay 1829 with Zaira by Vincenzo Bellini with a libretto by Felice Romani. Built in the neoclassical style, the façade is characterized by a colonnade with ionic capitals with a large thermal window above. Visiting Parma is worthwhile just for its amazing food, with parmesan cheese and Parma ham topping the list of must-eat produce. But art and culture lovers will also fall in love with the romanesque cathedral, Roman ruins, Renaissance art and famous opera house. The iconic Palazzo della Pilotta, home to the Galleria Nazionale, houses the main art collection in the city and is a must-visit spot for fans of Old Masters paintings. Over 700 pieces are on show here – from Leonardo da Vinci’s famous unfinished painting Head of a Woman to the fascinating oil painting Turkish Slave by renowned local artist Parmigianino. Various exhibitions centred around everything from the art of 14th-century Parma to Correggio’s High Renaissance paintings make this gallery worth the trip.

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Magically suspended between the blue sky and the iridescent coloured sea, the Amalfi coast seems to be born from the palette of a painter who wanted to use the warmer colour gradients for creating a landscape that enchants the visitor at the first shot. The most of the things to do in Amalfi is enjoying thrilling experience and such evocative view to doubt, for a moment, it is real. It is the land where the sweet scent of lemon blossoms harmonizes itself with the most aromatic one of the Mediterranean vegetation and the acrid aroma of saltiness; where the brilliant colours of the majolica domes, bougainvillea and carnations pergolas give an evident coloured touch to the typical whitewashed houses, clinging to the last offshoots of the Lattari Mounts that plunge dramatically into the sea. A vertical landscape, in short, characterized by a picturesque labyrinth of stairways and narrow alleys, connecting the two main elements of this landscape: the mountains and the sea. A continuous succession of headlands and inlets, bays and fjords, interspersed with pebbled beaches and rocks on which you can still see the ancient viceregal towers, the first bulwark of the local population against the Saracen attacks. The shift from the sea to mountain is seamless: the mountain sides were terraced over the centuries, shaped by human labour to create flaps of arable land and already compared, during the Renaissance period, to the legendary Hesperides by the Italian writer and naturalist Giambattista Della Porta. All the towns of the Amalfi Coast are connected by the scenic SS. 163 road, built in the first half of the XIX century during the Bourbon period and always considered one of the most beautiful road in Italy. Following the natural course of the coastline, the route is full of curves, nestled between the rock and the sea cliffs, giving new and spectacular shots at the exit of every tunnel or hairpin bend. Before the construction of the coastal road, locals reached all the towns via mule tracks and footpaths, still existing and particularly appreciated by trekking lovers for the stunning views that can be enjoyed. There are 13 towns spreading across a strip of land kissed by the sun and declared by UNESCO "World Heritage Site".

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San Rossore is one of the most precious and lovely pine forest by the sea of Italy in Tuscany. Its Historical evidence has allowed the reconstruction of the evolution of this area, which has always been characterized by large lagoons interspersed with woods and Mediterranean scrub, typical of the delta areas. In the maps of the past it is evident that, in the past, the coastline was significantly shifted to the east: the action of the sea currents and the instability of the rivers determined the formation of long sandy strips, blocking the outlet to the waters and thus creating a wonderful environment of woods and swamps that has survived to the present day without excessive intervention. Here in the 15th century the great Grand Ducal estates of the Medici family and the share cropping farms settled. The reclamation interventions carried out over the centuries, begun by the Medici family and completed around 1940, then defined the current geography of the area. The park and the estate of the same name are named after a little-known saint: a certain San Lussorio. Who was he? Luxurius was a Roman official from Cagliari who, having converted to Christianity at the time of Diocletian, was arrested and sentenced to death in Fordungianus, the ancient Forum Traiani. Before the execution, he allegedly led two young men to conversion, Camerino and Cisello, who were also later executed. The name "Rossore" derives from the corruption of the name Luxurius or Luxorius in Ruxurius or Ruxorius made on some Pisan manuscripts. Thanks to the fact that the relics of the saint were kept for many years in the territories of the estate, the area, the estate and then the park took the name of the martyr, renamed in popular language "San Rossore". Things to do in this amazing forest of San Rossore is mainly walking, riding a bicycle and enjoying nature the sea and the animals. The route is about 30 km long on dirt and asphalted roads (as little traffic as possible). The agricultural estate of Coltano, inside the estate, is a fascinating area of ​​the Park, an area with a particular history and nature that deserve to be discovered on a bicycle trip departing from the center of Pisa. Ancient villas, radio centres, wet canals, agricultural fields and woods with tall and ancient laurels are some of the peculiarities that can be observed and told during the cycle-walk of about 6 hours characterized by crossing the most iconic natural environments of the Estate.

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When Count and Countess Antonio Bolza found their peaceful holiday retreat in 1984, it was encircled by an overgrown and ramshackle estate. A decade later, Antonio sold his successful publishing company, invested all the proceeds in buying the surrounding 1,500-hectare Reschio estate. Unbeknownst to him it included fifty abandoned farmhouses and an ancient castle. Together with his family of five children, they set up home in relatively unknown Umbria. He decided to share their utopia with like-minded souls, those seeking tranquility and seclusion in an unspoilt swathe of Italian countryside. Fortunately, this aristocratic family had the wherewithal within their ranks. In 1999, their son Count Benedikt returned from studying and practicing architecture in London and immediately took up the reigns, designing and building masterful creations from the original farmhouses, winning awards along the way. Benedikt, together with his wife, Donna Nencia, whom he describes as his unconventional advisor, lived in the dilapidated castle where their five children were born. Benedikt visualised a phenomenal hotel and set about the metamorphosis of the ancient castle into the magnificent 36-room Hotel Castello di Reschio. Benedikt is responsible for all aspects of Reschio. His parents continue to live on the estate and his father’s stable of 40 magnificent Spanish horses, bred and trained for dressage, are much acclaimed. Today half the abandoned farmsteads are beautiful villas; the 1940’s tobacco warehouse has become the Tabaccaia where the vibrant architectural & design studio realise Benedikt’s designs; furniture & lighting made by local artisans, have evolved into B.B. for Reschio. While ancient forests and meadows have been re-wilded, protecting animals living in their natural habitat. Undoubtedly, the dynamic Bolzas have rejuvenated this corner of Umbria, the family’s energetic drive has ensured Reschio continues as a haven of wilderness. Those who own houses or rent villas share the owner’s ethos to preserve the tranquility and natural balance for future generations. Castello di Reschio is a slice of timeless Italy. A grand estate huddled amidst the rolling green hills of Umbria, this is a place made for romantics and intrepid travellers alike. Imagine centuries-old stone and Cypress trees wreathed in mist. The silence of a sun-drenched morning, broken only by the distant echo of cantering Andalusian horses. Come here for adventure or relaxation, and leave utterly enchanted. Rooms come courtesy of nine bespoke farmhouses dotted across a 1,500-hectare landscape. Each one has been exquisitely renovated, with vintage furniture complementing the original stone. Feast on locally-inspired dishes at the Alle Scuderie restaurant, which prides itself on using homemade produce – including honey, olive oil, pasta, and wine. And if you want to work off all that indulgence, make the most of your private swimming-pool or the estate’s state-of-the-art tennis courts or simply taking a walk in the vast nature surrounding you. The surrounding countryside, both on and off the estate, gives you plenty of reasons to go off the beaten track. Take in stunning vineyard-filled vistas on horseback, on mountain bike or on foot. Pack a picnic and breathe in the scent of the meadows by the lake. If you fancy venturing into the world beyond, the hilltop town of Cortona is only a short drive away. It boasts evidence of Umbria’s ancient Etruscan past, plus an impressive Renaissance cathedral.

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During your things to do in Florence, be aware that you are standing in the heart of heritage in Italy and in Europe. One of the most beautiful cities in the world. Florence makes art-lovers' hearts beat double time. The beating heart of Florence is Piazza del Duomo, with its monumental complex of the Basilica di Santa Maria del Fiore surmounted by Brunelleschi's majestic dome; the San Giovanni or St. John’s Baptistry, a magnificent example of the Florentine Romanesque; and Giotto’s Campanile or Bell Tower, a Florentine Gothic architectural master work. Behind the Duomo stands the Museo dell’Opera di Santa Maria del Fiore, with various works from the Cathedral on display; visitors can admire pieces intended for all the structures of the complex, from the Baptistry to Giotto's Bell Tower. Piazza della Signoria represents the historical hub of civil and political life, and hosts the 13th-Century Loggia dei Lanzi, the Fountain of Neptune and the Palazzo della Signoria or Palazzo Vecchio, one of the city’s most symbolic monuments. In front of the Palazzo, statues, including a copy of Michelangelo’s famous David, stand tall. Next to the Piazza is the marvellous Uffizi Gallery, home to one of the most important museums in the entire world, hosting works by Botticelli, Michelangelo, Leonardo da Vinci and numerous other master artists. A remarkable architectonic element of the Uffizi Gallery is the Vasari Corridor, realized by Giorgio Vasari himself around the mid-Fifteenth Century; the Corridor connects the Gallery to the Palazzo Vecchio and Palazzo Pitti. The church of Santa Croce, rebuilt for the Franciscan order in 1294 by Arnolfo di Cambio, is the burial place for the great and good in Florence. Michelangelo is buried in Santa Croce, as are Rossini, Machiavelli, and the Pisan-born Galileo Galilei, who was tried by the Inquisition and was not allowed a Christian burial until 1737, 95 years after his death. There is also a memorial to Dante, but his sarcophagus is empty (he is actually buried in Ravenna, as he was exiled from Florence). ‎The Church of Santa Maria Novella might not be at the top of your list of places to visit in Florence but we highly recommend you place it on there. Architecturally, it is one of the most important Gothic churches in Tuscany, built with the golden section's perfection. The exterior is the work of Fra Jacopo Talenti and Leon Battista Alberti. The interior holds extraordinary works of art including Masaccio's Trinità, Ghirlandaio's fresco cycle in the Tornabuoni Chapel and Giotto's Crucifix, among others. Crossing the very old and suggestive Ponte Vecchio, with its storied gold workshops, one arrives in the Oltrarno quarter to encounter the scenographic piazza that gives way to Palazzo Pitti, an imposing, sumptuous palace where resided the Medici and Lorena clans. The Pitti boasts a wondrous park, the glorious Boboli Gardens; the Gardens are an exemplar of Italian garden landscaping. Fans of Renaissance art will feel giddy touring The Galleria dell'Accademia, which is bursting with works by Michelangelo. Palazzo Pitti, this enormous palace, is one of Florence's largest architectural monuments. The original palazzo was built for the Pitti family in 1457, designed by Filippo Brunelleschi and built by his pupil Luca Fancelli. Don't forget during your visit to Florencethat just walking around and enjoining a fabulous fiorentina steak in any of the Osteria in the city centre, will leave you great memories!

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Per noi di adArte restauro, prima di eseguire un buon lavoro di restauro è basilare conoscere al meglio delle possibilità il bene oggetto di intervento. Competenza e strumentazione tecnologica sono componenti imprescindibili per un lavoro che si deve svolgere in maniera metodologica. Un buon restauro non può prescindere da una valida indagine conoscitiva preliminare. adArte, grazie alla competenza professionale del suo personale, offre un ventaglio di metodologie di indagine che spaziano dalle ricerche archeologiche, storiche e d’archivio, ad analisi tecniche di tipo non invasivo (termocamera, infrarosso, endoscopio, droni), fino alla realizzazione di tasselli stratigrafici murari. Allo stesso tempo anche l’aspetto documentale di queste tipologie di ricerca è fondamentale, motivo per il quale siamo in grado di fornire relazioni preliminari e di indagine dettagliate, realizzate con programmi specifici e spesso open source. La progettazione di un restauro è una fase delicata ed importantissima, in cui il dialogo tra specialisti, committenti ed enti svolge un ruolo fondamentale. adArte, in linea con la normativa vigente nell’ambito del Restauro dei Beni Culturali, si avvale di figure abilitate alla realizzazione di progetti di restauro completi, mappature di cantiere o del bene in oggetto (anche con tecnologia 3D), computi metrici e, su richiesta, rilievi grafici di diverse tipologie a seconda delle necessità. Oggi lavorare su un complesso architettonico di interesse storico, artistico richiede l’apporto integrato di più competenze, per poter offrire un risultato di qualità e valorizzare al meglio il bene oggetto di intervento. In condizioni di lavoro particolarmente complesse (come ad esempio il recupero di un immobile articolato) e che richiedono una particolare integrazione di competenze con interazione di professionalità diverse, siamo in grado di fornire e coordinare per conto della Committenza l’intera squadra di lavoro (archeologi, storici, geologi, restauratori, impresa edile, impiantisti, falegnami, fabbri, imbianchini, ecc…) compresa la parte professionale afferente alla progettazione, alla direzione lavori e al coordinamento della sicurezza. I nostri campi d'intervento perciò sono ampi e comprendono: restauro di superfici decorate, Restauro di strutture edili, restauro e recupero di beni archeologici, rimozione atti vandalici, manutenzione e protezione, coordinamento lavori. L’azienda si avvale di strumenti e tecnologie all’avanguardia rappresentate dal nostro settore ICT (Information and Communications Technology) che comprendono il rilevamento strumentale (GNSS e Stazione Totale), geofisico e aerofotogrammetrico (Aerial Remote Sensing). adArte si è dotata da subito di un software gestionale autoprodotto (pyArchInit) ed una realtà dinamica in grado di fornire soluzioni tecnico – informatiche al servizio del territorio. L’azienda opera anche nell’ambito della pianificazione urbanistico-territoriale attraverso analisi e valutazioni d’impatto dei progetti sulla paesaggistica (3d modelling & rendering) e lo sviluppo di Sistemi Informativi territoriali per PSC e PUG comunali. Dal 2012 la società ha la certificazione SOA OS25, II livello ed è consociata ad Archeoimprese.

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DSA Study Maps è la pagina di un sito web dove si possono trovare e scaricare migliaia di mappe concettuali per le superiori. Siamo due fratelli. Giuseppe Cipolla, (studente di Psicologia) e Pietrosilvio Cipolla (studente di Giurisprudenza). Durante i mesi di forzata permanenza in casa, abbiamo approfittato per caricare sul web tutto il materiale prodotto durante i nostri anni di studio. Speriamo possa essere d’aiuto a tutti i ragazzi DSA/BES e non. Mappe concettuali parlanti, migliaia di mappe concettuali animate che spiegano in maniera sintetica e chiara i concetti chiave e importanti da memorizzare. Gli argomenti trattati sono relativi alle materie scolastiche: Italiano - Grammatica - Storia - Letteratura latina - Letteratura inglese - Filosofia - Scienze -Biologia - Genetica - Chimica - Corpo umano - Geologia -Geografia astronomica - Storia dell'arte ecc. Le mappe concettuali in formato jpeg potete trovarle e scaricarle dal sito. DSA Study Maps is the page of a website where you can find and download thousands of concept maps for high school. We are two brothers, Giuseppe Cipolla, (student of Psychology) and Pietrosilvio Cipolla (student of Law). During the months of forced stay at home, we took the opportunity to upload all the material produced during our years of study to the web. We hope it will be of help to all SLD / BES and non-SLD kids. Talking concept maps, thousands of animated concept maps that briefly and clearly explain the key and important concepts to be memorized. The topics covered are related to school subjects: Italian - Grammar - History - Latin literature - English literature - Philosophy - Science - Biology - Genetics - Chemistry - Human body - Geology - Astronomical geography - History of art etc. Concept maps in jpeg format can be found and downloaded from the site.

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La Fondazione Marisa Bellisario è un network di energie e competenze, una lobby del merito, una rete di dialogo e confronto, un gruppo solidale e unito, che condivide attività e iniziative per costruire un Paese a misura di donne e di crescita. «Sono sempre rimasta colpita dall’energia e determinazione di questo network e dalla capacità di cogliere sempre il senso del presente, intraprendendo battaglie per il merito con estrema concretezza. Il coraggio di osare, la sfida perché le donne raggiungessero i vertici ma anche perché diventassero autentiche Protagoniste delle loro professioni e delle loro vite è stato il faro che ha illuminato il cammino della Fondazione. Se oggi le donne sono sempre più presenti nei gangli vitali del sistema economico e politico, in Italia come in Europa, il merito non è solo dei loro talenti finalmente riconosciuti ma anche di associazioni come la Fondazione Bellisario che hanno lavorato con serietà e dedizione per quest’obiettivo fondamentale» (Viviane Reding). Nel 1989, da un’idea di Lella Golfo, nasce la Fondazione Marisa Bellisario. L’obiettivo è sostenere le donne nella loro vita professionale e personale, valorizzarne il merito e il talento, favorire le carriere al femminile, sensibilizzare l’opinione pubblica, le istituzioni e l’economia al raggiungimento di condizioni di reale pari opportunità. La Fondazione Marisa Bellisario è oggi un network che raccoglie migliaia di manager, imprenditrici, professioniste, donne “arrivate” ai vertici e giovani promesse, tutte con un sogno realizzato o in fieri e tutte con la volontà di lasciare un segno e incidere sul presente e sul futuro del Paese. La Fondazione è un laboratorio di crescita e scambio d’idee ed esperienze che aiuta a leggere e comprendere la realtà e a trovare le soluzioni per “cambiare passo” e rendere le donne Protagoniste del loro tempo. Gli strumenti sono il dialogo e confronto con il mondo politico, le Istituzioni e l’imprenditoria per portare avanti progetti sul lavoro, sull’imprenditoria, sulle politiche di welfare e sulla violenza di genere. Ma l’azione muove anche dalle iniziative concrete e innovative che negli anni tracciano la strada del cammino verso la parità delle donne italiane. Inseguire i sogni, lasciare un segno: «La Fondazione Bellisario rappresenta un pezzo di storia d’Italia. Prima che nascesse, il nostro Paese era certamente meno maturo e consapevole delle tante risorse femminili di cui dispone e che deve utilizzare se vuole avviare un percorso di sviluppo equilibrato e sostenibile. Le tantissime Mele d’Oro ci hanno mostrato e fatto conoscere talenti che fino a quel momento erano rimasti in un cono d’ombra e che dopo hanno conquistato anche incarichi di prestigio. I riconoscimenti a giovani donne e il Premio alle neolaureate hanno dato a tante ragazze lo sprone a inseguire i propri sogni di vita e carriera. Le tante iniziative della Fondazione Bellisario hanno poi contribuito a quel cambiamento culturale che in tanti oramai giudichiamo indispensabile» (Antonio Catricalà). The Marisa Bellisario Foundation is a network of energies and skills, a lobby of merit, a network of dialogue and discussion, a united and united group, which shares activities and initiatives to build a country suitable for women and growth. «I have always been struck by the energy and determination of this network and by the ability to always grasp the sense of the present, waging battles for merit with extreme concreteness. The courage to dare, the challenge for women to reach the top but also for them to become authentic Protagonists of their professions and their lives was the beacon that illuminated the path of the Foundation . If today women are increasingly present in the vital ganglia of the economic and political system, in Italy as in Europe, the merit is not only of their finally recognized talents but also of associations such as the Bellisario Foundation who have worked with seriousness and dedication for this 'fundamental objective' (Viviane Reding). In 1989, from an idea of Lella Golfo, the Marisa Bellisario Foundation was born. The goal is to support women in their professional and personal life, enhance their merit and talent, promote female careers, raise awareness of public opinion, institutions and the economy to achieve conditions of real equal opportunities. The Marisa Bellisario Foundation is today a network that gathers thousands of managers, businesswomen, professionals, women "arrived" at the top and young promises, all with a dream come true or in progress and all with the will to leave a mark and affect the present and on the future of the country. The Foundation is a laboratory of growth and exchange of ideas and experiences that helps to read and understand reality and to find solutions to "change pace" and make women the protagonists of their time. The tools are dialogue and confrontation with the political world, institutions and entrepreneurship to carry out projects on work, entrepreneurship, welfare policies and gender-based violence. But the action also stems from concrete and innovative initiatives that over the years have traced the path towards equality for Italian women. «The Bellisario Foundation represents a piece of Italian history. Before it was born, our country was certainly less mature and aware of the many female resources at its disposal and which it must use if it wants to start a balanced and sustainable development path. The many Golden Apples showed us and made known talents who until then had remained in a shadow and who afterwards also won prestigious positions. The awards to young women and the award for recent graduates have given many girls the spur to pursue their dreams of life and career. The many initiatives of the Bellisario Foundation then contributed to that cultural changewhich many now consider indispensable» (Antonio Catricalà).

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Artenova, dopo una decennale esperienza nella produzione di manufatti artistico-ornamentali ha deciso di rispondere ad una evidente flessione della domanda di mercato, iniziando ad utilizzare, dopo una lunga fase di sperimentazione, la pregiatissima argilla di Impruneta per la realizzazione di grandi giare in terracotta per la lavorazione del vino. Il nuovo corso aziendale, grazie anche alla preziosa collaborazione interdisciplinare di vari esperti, ne ha sancito un immediato successo internazionale. Ad oggi Artenova è l’unica fornace in Italia a produrre Giare per vino e conta fra i suoi clienti, oltre a numerose aziende italiane, produttori da numerosi paesi del mondo (Stati Uniti, Australia, Nuova Zelanda, Francia, Canada, Austria, Serbia, Albania, Sud Africa ecc.) La terracotta di Impruneta è il risultato di un particolare tipo di argilla, presente soltanto in una ristretta area geografica intorno al paese, in grado di conferirle speciali caratteristiche di resistenza e di colore. Una terra speciale, unica, inalterabile nel tempo ma che, per essere lavorata, ha bisogno di una grande maestria artigianale. Artenova, after a decade of experience in the production of artistic-ornamental artefacts, has decided to respond to an evident decline in market demand, starting to use, after a long period of experimentation, the highly prized Impruneta clay for the creation of large terracotta jars for wine processing. The new company course, thanks also to the precious interdisciplinary collaboration of various experts, has sanctioned an immediate international success. To date, Artenova is the only furnace in Italy to produce Jars for wine and counts among its customers, in addition to numerous Italian companies, producers from numerous countries around the world (United States, Australia, New Zealand, France, Canada, Austria, Serbia , Albania, South Africa etc.) The terracotta of Impruneta is the result of a particular type of clay, present only in a limited geographical area around the town, capable of giving it special characteristics of resistance and color. A special land, unique, unalterable over time but which, in order to be worked, needs great craftsmanship.

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Dal 1435 la famiglia Mazzei produce vini unici con spirito e passione che si rinnovano di generazione in generazione. A Fonterutoli nel Chianti Classico come a Belguardo e a Zisola vive la stessa filosofia nella valorizzazione dei vitigni autoctoni. Contemporanei dal 1435. 600 anni di attività vitivinicola, ricerca e valorizzazione del territorio nel Chianti Classico, in Maremma e Sicilia. Visita la spettacolare cantina di Castello di Fonterutoli. Da oltre sei secoli, la nostra famiglia si dedica all’attività vitivinicola con passione e impegno che si rinnovano di generazione in generazione. La continua ricerca di nuovi orizzonti qualitativi ci ha portato a estendere le nostre attività su diverse frontiere enologiche, da quella storica del Castello di Fonterutoli nel Chianti classico, verso due realtà altrettanto promettenti: Belguardo nella Maremma Toscana e Zisola nella Sicilia Sud-Orientale. Attraverso il loro potenziale espressivo vogliamo declinare in contesti diversi il nostro patrimonio di esperienza, sempre nel rispetto delle caratteristiche e delle specificità di questi grandi “terroirs”. La costante attenzione a questi valori si riflette su tutti i nostri vini, per la soddisfazione dei “connaisseurs” di tutto il mondo che riconoscono nel nome Mazzei uno dei punti di riferimento del panorama enologico italiano. Con questo spirito lavoriamo per continuare a meritare la fiducia dei nostri estimatori, nel presente e nel futuro. Since 1435 the Mazzei family has been producing unique wines with spirit and passion that are renewed from generation to generation. In Fonterutoli in the Chianti Classico as in Belguardo and in Zisola, the same philosophy lives in the enhancement of native vines. Contemporary since 1435. 600 years of winemaking, research and enhancement of the territory in the Chianti Classico, Maremma and Sicily. Visit the spectacular Castello di Fonterutoli winery. For over six centuries, our family has been dedicated to the wine business with passion and commitment that are renewed from generation to generation. The continuous search for new qualitative horizons has led us to extend our activities on different oenological frontiers, from the historical one of the Castello di Fonterutoli in the classic Chianti, towards two equally promising realities: Belguardo in the Tuscan Maremma and Zisola in South-Eastern Sicily. Through their expressive potential we want to decline our wealth of experience in different contexts, always respecting the characteristics and specificities of these great “terroirs”. The constant attention to these values ​​is reflected in all our wines, to the satisfaction of the "connaisseurs" from all over the world who recognize in the name Mazzei one of the reference points of the Italian wine scene. With this spirit we work to continue to deserve the trust of our admirers, in the present and in the future.

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Patrimony UNESCO from over 20 years, the city of Venice and its Lagoon, form a pearl set in a territory rich in charm which extends for kilometres. Your visit to Venice will remain in your heart forever. Things to do in Venice should start from Piazza San Marco: the beating heart of Venice and is considered one of the most beautiful squares in the world. That of San Marco is the only town square overlooking the sea, and is the favourite place for Venetians and tourists to stroll along an extraordinary path of Italian art and history. Napoleon Bonaparte called it "the most beautiful hall in Europe". It was built in the 9th century and paved in 1177, 100 years after its construction. The first church dedicated to San Marco, commissioned by Giustiniano Partecipazio, was built next to the Doge's Palace in 828 to house the relics of San Marco. When thinking about Saint Mark’s Basilica, the first images that come to the minds of many people are those of the mosaics and their golden backgrounds. More than 8000 square metres of mosaic cover the walls, vaults and cupolas of the Basilica. Essentially Byzantine in its architecture, the Basilica finds in the mosaics its natural integrating element. The mosaic decorations were developed through some 8 centuries of the Basilica’s history. The island of San Giorgio Maggiore is the smaller of the two and is a few tens of meters from the Giudecca Island: it is a magical and silent place, far from the tourist itineraries and, for this reason, it maintains its ancient charm intact, whose roots can be found in the distant 10th century, when the Benedictine monks founded the first convent with an adjacent church here. The Civil Hospital of Saints John and Paul in Venice is one of the major monumental complexes in the city; it is also an architectural-artistic compendium that spans nearly nine centuries; it is a moral and medical-scientific reality that is indispensable for knowing and experiencing the extraordinary Venetian civilization. In fact, it contains the hospital world of contemporary care but also the world of culture, history, art, spirituality. The sixteenth-century Hospital of San Lazzaro overlooks the Rio dei Mendicanti with the original double-façade church; on the Campo SS. Giovanni e Paolo, on the other hand, the most beautiful Renaissance facade of a secular Venetian building is mirrored, this is one of the most important urban spaces with the great Dominican Basilica of the thirteenth century and the amazing equestrian monument of Andrea Del Verrocchio, master of Leonardo. The Rialto Bridge is the oldest bridge that was built to cross the Grand Canal. What most characterizes Venice are its canals, which cross the city like streets. The largest is the Grand Canal, which divides the city in two, with its four kilometres in length. The first thing that catches the eye when you arrive in Burano is the variety of colours of its houses. It goes from yellow to fuchsia. From teal to fiery red. A kaleidoscope that amazes our view and magically reflects the lagoon. Burano is an inhabited centre of 2373 inhabitants, which rises on four islands of the northern Venice lagoon. It is part of the municipality of Venice and in particular of the municipality of Venice-Murano-Burano. It is connected by a bridge to the island of Mazzorbo, which has become a sort of appendage. The town is known for its typical brightly coloured houses and for the centuries-old needlework of Burano lace.

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Rome caput mundi, that's how the Romans used to entitle the city of Rome. In their times it really was the head of the world, today we can still enjoy the Heritage that tells us the history of the Roman Impire of more than 2000 years ago. Things to do in Rome will start from its symbol: the Colosseum. The Colosseum, the construction of the Flavian Amphitheater, better known as the Roman Coliseum, began around AD 7 under the Emperor Vespasian. The Colosseum became the largest Roman amphitheater, with an elliptical structure of 188 meters long, 156 meters wide and 57 meters high. Made in brick and covered with travertine, it was divided into five levels with a capacity for more than 50,000 people. Close to the Colosseum, you will walk into the Imperial Fora, a monumental architectural complex, formed by a series of buildings and monumental squares, the centre of the political activity of ancient Rome, built in a period of about 150 years, between 46 BC and 113 AD. If you get there during the sunset, you will enjoy the special lights of the Roman skyes. Walking toward the centre, you will find another beauty, the Pantheon, the only ancient Roman building remained nearly intact through the centuries. The Pantheon's dome, is the largest hemispherical dome ever built in unreinforced concrete. Despite being so ancient, with its internal diameter of 44.30 m, the dome of the Pantheon is still the largest hemispherical dome ever built in unreinforced concrete. According to tradition, St. Peter's Basilica is built on the site of the tomb of the apostle Peter, which dates back to the year 60. He was crucified in the circus of Nero next door. The foundations of the basilica were then completed, and the works begun in 315 were completed eleven years later. During the Renaissance, Bernini was entrusted with the redesign of the place from 1629, in particular by building the great colonnade, between 1656 and 1665. The Trevi Fountain with its 26 meters high and 20 wide is one of the largest fountains in all of Rome. Famous throughout the world for its majesty, its history has very ancient roots. From 19 d.c. to 1700, emperors and popes took turns until the restoration in 2014. Famous the scene with Anita Ekberg walking into the fountain during the Dolce Vita movie. Piazza di Spagna, with the Spanish Steps, is one of the most famous in Rome. It owes its name to the palace of Spain, seat of the Iberian state embassy to the Holy See. In the center of the square there is the famous Barcaccia fountain, which dates back to the early Baroque period, built by Pietro Bernini and his son, the most famous Gian Lorenzo. Piazza Navona, at the time of ancient Rome, was the Stadium of Domitian which was built by the emperor Domitian in 85 and in the third century it was restored by Alexander Severus. It was 265 meters long, 106 meters wide and could accommodate 30,000 spectators. Piazza Navona is one of the most famous monumental squares in Rome, built in the monumental style by the Pamphili family at the behest of Pope Innocent X with the typical shape of an ancient stadium.

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En 2021, Chambord célèbre le 200e anniversaire de l'ouverture au public d'un monument qui continue de susciter admiration et fascination dans le monde entier. Sélectionnée en 1840 pour la première liste des monuments historiques de France, inscrite depuis 1981 au patrimoine mondial de l'UNESCO, Chambord s'impose comme l'une des constructions Renaissance les plus impressionnantes. Loin d'apparaître comme un palais d'habitation ou un pavillon de chasse, Chambord incarne une véritable utopie : œuvre d'art inépuisable, elle n'a pas encore livré tous ses secrets. En effet, l'utopie était le mot d'ordre de son 500e anniversaire et la philosophie directrice de la Renaissance. In 2021, Chambord is celebrating the 200th anniversary of the opening to the public of a monument that continues to elicit admiration and fascination throughout the world. Selected in 1840 for the initial list of historic monuments in France, listed since 1981 in the UNESCO World Heritage, Chambord stands out as one of the most awe-inspiring Renaissance constructions. Far from figuring as a residential palace or a hunting lodge, Chambord embodies genuine utopia: as an inexhaustible work of art, it has yet to deliver all its secrets. Indeed, utopia was the watchword of its 500th anniversary and the guiding ethos of the Renaissance.

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Lieu de résidence des rois de France du XVe au XIXe siècle, son destin est indissociable de l'histoire de France. De nombreuses personnalités littéraires et artistes y ont été conviés, comme Léonard de Vinci dont le tombeau est conservé au château. Ce château royal est ainsi l'expression du luxe à la française. Depuis ses balcons, ses toits et ses jardins en terrasses, le visiteur peut contempler les paysages de la Loire et se délecter de ce dont jouissaient les rois. A place of residence for French kings from the 15th to the 19th centuries, its destiny is inextricably linked to the history of France. Numerous literary figures and artists were invited here, like Leonardo da Vinci whose tomb is preserved at the château. This royal château is thus the expression of French-style luxury. From its balconies, its roofs and its terraced gardens, visitors can take in the Loire landscape and delight in what the kings enjoyed.

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Sieben Wochen nach dem Tod König Ludwigs II. wurde Neuschwanstein im Jahr 1886 dem Publikum geöffnet. Der menschenscheue König hatte die Burg erbaut, um sich aus der Öffentlichkeit zurückzuziehen – jetzt wurde sein Refugium zum Publikumsmagneten. Neuschwanstein gehört heute zu den meistbesuchten Schlössern und Burgen Europas. Rund 1,4 Millionen Menschen jährlich besichtigen "die Burg des Märchenkönigs". Im Sommer drängen sich im Durchschnitt täglich mehr als 6.000 Besucher durch Räume, die für einen einzigen Bewohner bestimmt waren. Das führt – in Verbindung mit dem alpinen Klima und Licht – zu erheblichen Belastungen für die wertvollen Möbel und Textilien, um deren Erhalt wir uns intensiv bemühen. Die idyllische Lage von Neuschwanstein ist einmalig. Allerdings müssen Bewegungen im Fundamentbereich ständig überwacht und die steilen Felswände immer wieder gesichert werden. Ebenso greift das raue Klima die Kalkstein-Fassaden stark an, was immer wieder Sanierungsmaßnahmen erfordert. Seven weeks after the death of King Ludwig II, Neuschwanstein was opened to the public in 1886. The shy king built the castle to withdraw from the public eye - now his refuge has become a crowd puller. Today Neuschwanstein is one of the most visited palaces and castles in Europe. Around 1.4 million people visit "the castle of the fairy tale king" every year. In summer, an average of more than 6,000 visitors a day push their way through rooms that were intended for a single resident. In connection with the alpine climate and light, this leads to considerable strain on the valuable furniture and textiles, which we strive to preserve intensively. The idyllic location of Neuschwanstein is unique. However, movements in the area of ​​the foundations must be constantly monitored and the steep rock faces must be secured again and again. The harsh climate also has a strong impact on the limestone facades, which repeatedly requires renovation measures.

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O Palácio Nacional da Pena é como uma joia sagrada que coroa a Serra de Sintra. O parque envolvente, em sintonia com o caráter feérico do palácio, desperta emoções de mistério e de descoberta. Nos seus recantos, os olhares perdem-se de encanto. Os tons coloridos do palácio, expoente máximo do Romantismo em Portugal e obra eterna de D. Fernando II, Rei-Artista, abrem portas à imaginação de todos os que ali chegam, e os infinitos matizes de verde que pintam o parque circundante constituem um cenário idílico, frequentemente sob o véu do característico nevoeiro da serra de Sintra. Como que saído de um conto de fadas, este lugar faz sonhar todas as gerações dos que por ali passam e que com ele se deslumbram. The Palácio Nacional da Pena is like a sacred jewel that crowns the Serra de Sintra. The surrounding park, in tune with the fairy character of the palace, awakens emotions of mystery and discovery. In its corners, eyes lose their charm. The colorful tones of the palace, the greatest exponent of Romanticism in Portugal and the eternal work of D. Fernando II, King-Artist, open doors to the imagination of all who arrive there, and the infinite shades of green that paint the surrounding park provide a backdrop idyllic, often under the veil of the characteristic fog of the Sintra mountains. As if out of a fairy tale, this place makes dreaming of all the generations who pass by and who are dazzled by it.

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Gehen Sie mit uns auf eine Zeitreise durch 850 Jahre… In einem Seitental der Mosel zwischen Koblenz und Cochem steht auf einem steilen Felskopf inmitten unberührter Natur Burg Eltz – die Burg mit über 850 Jahren Geschichte. Der Name der Burg stammt vom vielfach gewundenen Elzbach, der sie umfließt. Burg Eltz wurde erstmals 1157 urkundlich erwähnt und überstand alle Wirren der Jahrhunderte unbeschadet. Somit gehört sie zu den wenigen niemals zerstörten Burgen in Europa. Seit dem 13. Jahrhundert bewohnten die drei Hauptlinien des Familie Eltz verschiedene Häuser der Burg: Eltz-Kempenich, Eltz-Rodendorf und Eltz-Rübenach. So waren zwar die jeweiligen Wohnbereiche und Haushalte getrennt, die Einheit der Familie blieb aber durch den gemeinsamen Namen und das Wappen gewahrt. Diese Wohn- und Erbengemeinschaft überdauerte viele Jahrhunderte. Seit nunmehr 34 Generationen befindet sich Burg Eltz nach wie vor im Besitz der Edlen Herren und Grafen von und zu Eltz. Mit ihrer einzigartigen Architektur und ihrer malerischen Lage ist sie für die Besucher der Inbegriff einer deutschen Ritterburg! Der englischen Autorin Katherine Macquoid erschien sie mit ihren Erkern, Spitzen und Türmen wie ein „wahrhaftig verzauberter Platz, ein Märchen aus Stein“, denn in der 500-jährigen Bauzeit entstand um den Innenhof herum ein verwinkeltes Ensemble mit eng aneinander geschmiegten hohen Wohntürmen. Die Führung durch Burg Eltz nimmt den Gast mit auf eine Zeitreise durch acht Jahrhunderte, die sich in der Architektur der Räume und in deren Einrichtung widerspiegelt. Ob in der Rüstkammer, im Rittersaal, Jagdzimmer, Schlafgemach oder in der Küche – überall werden vielfältige Einblicke in das Leben auf Burg Eltz gewährt. Die Möbel und Kunstwerke aus dem Besitz der Familie Eltz vermitteln einen unvergesslichen Eindruck mittelalterlicher Wohnkultur. In den Kellergewölben der Burg erwartet den Besucher die Schatzkammer – eine private Sammlung von über 500 Exponaten nationaler und internationaler Bedeutung, darunter Gold- und Silberschmiedearbeiten, Schmuck, Porzellan, Waffen und Rüstungen. Wir freuen uns über Ihren Besuch! Übrigens: Bis in die frühen 1990er Jahre war eine Banknote der bekannteste Werbeträger für Burg Eltz - sie zierte lange Zeit die Rückseite des alten 500-Mark-Scheins. Come with us on a time travel through 850 years... In a side valley of the Moselle between Koblenz and Cochem, Eltz Castle stands on a steep rock head in the midst of untouched nature - the castle with over 850 years of history. The name of the castle comes from the winding Elzbach that flows around it. Eltz Castle was first mentioned in a document in 1157 and survived all the turmoil of the centuries unscathed. This makes it one of the few castles in Europe that has never been destroyed. Since the 13th century, the three main lines of the Eltz family lived in different houses in the castle: Eltz-Kempenich, Eltz-Rodendorf and Eltz-Rübenach. Although the respective living areas and households were separated, the family unity was preserved through the common name and the coat of arms. This community of living and heirs lasted for many centuries. For 34 generations, Eltz Castle has been owned by the noble lords and counts von und zu Eltz. With its unique architecture and its picturesque location, it is the epitome of a German knight's castle for visitors! The English author Katherine Macquoid saw it with its bay windows, spiers and towers like a “truly enchanted square, a fairy tale made of stone”, because in the 500-year construction period a winding ensemble with high residential towers nestled together was created around the inner courtyard. The guided tour through Eltz Castle takes the guest on a journey through eight centuries, which is reflected in the architecture of the rooms and their furnishings. Whether in the armory, in the knight's hall, hunting room, bedchamber or in the kitchen - diverse insights into life at Eltz Castle are granted everywhere. The furniture and works of art owned by the Eltz family convey an unforgettable impression of medieval living culture. In the vaulted cellar of the castle, the treasury awaits the visitor - a private collection of over 500 exhibits of national and international importance, including gold and silversmiths, jewelry, porcelain, weapons and armor. We are looking forward to your visit! By the way: up until the early 1990s, a banknote was the best-known advertising medium for Burg Eltz - it adorned the back of the old 500-mark note for a long time.

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La contemplation de Chenonceau évoque l’idée d’une harmonie parfaite entre une nature, faite d’eau, d’air et de verdure, et une architecture unique et reconnue dans le monde entier. Chef-d’œuvre de la Renaissance, directement inspiré du Ponte Vecchio, Chenonceau, plus que nul autre, inspire un sentiment universel de paix. Le monument recèle des chefs-d’œuvre, une admirable collection de tapisseries, peintures et mobilier. Ces tableaux exceptionnels, signés par les plus grands maitres européens des XVIe, XVIIe, et XVIIIe siècles, font écho à l’histoire, très riche du château et au rôle de premier plan qu’y ont tenu les femmes. De la Renaissance, avec la reine Catherine de Médicis et ses fêtes somptueuses, au XVIIIème siècle, avec Louise Dupin, Dame des Lumières, Chenonceau a toujours cultivé les rencontres et accueilli philosophes, écrivains et artistes, dans l’échange et l’amitié… Ses jardins de Catherine de Médicis et de Diane de Poitiers soulignent l’élégance de son paysage, du Jardin Vert, dessiné par Bernard Palissy, jusqu’au labyrinthe italien… Les majestueux bouquets, présents dans chacune des pièces, sont créés dans l’atelier floral, situé dans la couThe contemplation of Chenonceau evokes the idea of ​​a perfect harmony between nature, made up of water, air and greenery, and a unique architecture recognized throughout the world. A Renaissance masterpiece, directly inspired by the Ponte Vecchio, Chenonceau, more than any other, inspires a universal feeling of peace. The monument contains masterpieces, an admirable collection of tapestries, paintings and furniture. These exceptional paintings, signed by the greatest European masters of the 16th, 17th and 18th centuries, echo the rich history of the castle and the prominent role played by women there. From the Renaissance, with Queen Catherine de Medici and her sumptuous festivals, to the 18th century, with Louise Dupin, Lady of the Lights, Chenonceau has always cultivated encounters and welcomed philosophers, writers and artists, in exchange and friendship... Its gardens of Catherine de Médicis and Diane de Poitiers underline the elegance of its landscape, from the Green Garden, designed by Bernard Palissy, to the Italian labyrinth… The majestic bouquets, present in each of the rooms, are created in the workshop floral, located in the courtyard of the 16th century farmhouse. The florists have at their disposal the production of the Flower Garden and its greenhouses.r de la ferme du XVIe siècle. Les fleuristes ont à leur disposition, la production du Potager des Fleurs et de ses serres.

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Aigle Castle is a castle in the municipality of Aigle of the Canton of Vaud in Switzerland. It is a Swiss heritage site of national significance. The Barons of Aigle were first mentioned in 1179. At that time they had a small fortification, that became the center of the modern castle, along the road over the Col du Pillon and Col des Mosses passes of the Rhone. However, only traces of this first castle have been archaeologically discovered. Some time before 1200, the Barons of Aigle ended up as vassals of the powerful Counts of Savoy. In 1232, Count Thomas of Savoy granted Aigle as a fief to the brothers Jacob and Peter of Saillon in exchange for their ancestral castle in Valais. The Saillon family seems to have been closely related with the barons of Aigle. In the second half of the 13th Century, Aigle expanded and received a city charter. The castle was rebuilt, with a fortified donjon and a curtain wall. In the 14th Century, the Lords of Compey inherited the rights of the Saillon family. They were also vassals of the Counts of Savoy and made Aigle into their headquarters. They added turrets and in 1450 built a massive tower in the south corner. This tower was an example of late French Donjon architecture.

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Uncem Piemonte, Unione Nazionale Comuni, Comunità ed Enti montani. Da sessant'anni è il "sindacato del territorio montano". La Delegazione piemontese - a cui aderiscono: 50 Unioni montane di Comuni (eredi delle Comunità montane secondo quanto previsto dalla legge nazionale 56/2014 e dalle leggi regionali 11/2012 e 3/2014), i 552 Comuni montani, 5 Province, 2 Consorzi Bim, il Formont e il Consorzio Pra Catinat - ha sede in via Gaudenzio Ferrari 1 a Torino. L'Uncem Piemonte rappresenta gli enti a livello regionale presso gli organi competenti per l'esame dei provvedimenti di interesse montano, allo scopo di valorizzare e sviluppare il territorio e le istituzioni; promuove il coordinamento delle attività delle Comunità montane e degli enti al fine di potenziarne le capacità di intervento collegandosi alle linee di programmazione europea, nazionale e regionale; promuove inoltre studi e ricerche per una migliore conoscenza della realtà montana. Dal 2007, l'attività delle Comunità montane, delle Unioni e della Delegazione piemontese dell'Uncem viene presentata sulla rivista bimestrale PieMonti, cinquanta pagine che raccolgono e diffondono le nuove sfide e le opportunità di sviluppo della montagna piemontese. Uncem Piemonte, National Union of Municipalities, Communities and Mountain Bodies. It has been the "mountain territory union" for sixty years. The Piedmontese Delegation - to which the following adhere: 50 mountain Unions of Municipalities (heirs of the mountain communities according to the provisions of national law 56/2014 and regional laws 11/2012 and 3/2014), the 552 mountain municipalities, 5 provinces, 2 consortia Bim, the Formont and the Pra Catinat Consortium - is based in via Gaudenzio Ferrari 1 in Turin. Uncem Piemonte represents the bodies at regional level at the competent bodies for the examination of measures of mountain interest, in order to enhance and develop the territory and the institutions; it promotes the coordination of the activities of the mountain communities and of the entities in order to strengthen their intervention capacities by connecting to the European, national and regional programming lines; it also promotes studies and research for a better knowledge of the mountain reality.

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Il Sentiero di Leonardo 26 giorni e 540 km a piedi: da Milano a S. Bernardino lungo l'Adda e il Lario - da S. Bernardino a Milano lungo la Mesolcina, il Ticino e il Naviglio pavese. La nascita di un Sentiero dedicato a Leonardo da Vinci intende mettere in attenzione territori e luoghi che - dal capoluogo milanese alla Svizzera dei Cantoni Grigioni e Ticino - videro Leonardo da Vinci protagonista indiscusso con la sua attività di artista, studioso della natura, geologo, alpinista, ingegnere e inventore. Oltre al capoluogo di Milano, la Martesana, il corso dell’Adda, il ramo lecchese del Lario, la corona alpina, l'attuale Svizzera italiana, il corso del Ticino, i Navigli Grande e Pavese furono gli ambiti da lui più esplorati e studiati. Leonardo da Vinci, affascinato in Lombardia dall'acqua fluente e interessato al moto dei fluidi, trovò lungo il corso abduano e del Ticino i motivi di studio, di riflessione e a seguire di creazione-invenzione che poi si tradussero nelle sue celeberrime produzioni artistiche e tecnologiche, le quali tuttora stupiscono e affascinano il mondo intero. Il percorso del Sentiero di Leonardo ricalca una sentieristica già nota e consolidata, nel seguito sintetizzata: Alzaia della Martesana da Milano a Trezzo sull’Adda, Alzaia del fiume Adda da Trezzo sull’Adda a Lecco, Sentieri lungo i Piani Resinelli da Lecco ad Abbadia Lariana (in futuro, quando sarà disponibile, la ciclopedonale lungolago), Sentiero del Viandante da Abbadia Lariana a Piantedo. Via Francisca da Piantedo a Chiavenna, Via Spluga da Chiavenna a Madesimo, Passo del Baliscio da Madesimo a San Bernardino, Valle Mesolcina da San Bernardino a Bellinzona, Sentiero svizzero 7 da Bellinzona a Lugano e Ponte Tresa, Via Francisca da Ponte Tresa a Busto Arsizio, Alzaia del Naviglio Grande da Busto Arsizio ad Abbiategrasso, Sentieri del Parco del Ticino da Abbiategrasso a Pavia, Alzaia del Naviglio Pavese da Pavia a Milano. La suggestione del percorso prefigurato è tale da configurare il Sentiero di Leonardo come una originale valorizzazione dei territori coinvolti, portandolo a competere - grazie alla presenza di numerosi temi attrattivi - coi più blasonati cammini europei. 26 days and 540 km on foot: from Milan to S. Bernardino along the Adda and Lario - from S. Bernardino to Milan along the Mesolcina, Ticino and Naviglio Pavese. The birth of a path dedicated to Leonardo da Vinci intends to focus on territories and places that - from the Milanese capital to the Switzerland of the cantons of Grisons and Ticino - saw Leonardo da Vinci the undisputed protagonist with his activity as an artist, nature scholar, geologist, mountaineer, engineer and inventor. In addition to the capital of Milan, the Martesana, the course of the Adda, the Lecco branch of the Lario, the Alpine crown, the current Italian Switzerland, the course of the Ticino, the Navigli Grande and Pavese were the areas he most explored and studied. Leonardo da Vinci, fascinated in Lombardy by flowing water and interested in the motion of fluids, found along the Abduano and Ticino courses the reasons for study, reflection and subsequent creation-invention which then resulted in his famous artistic and technological productions, which still amaze and fascinate the whole world. The path of Leonardo's Path follows an already known and consolidated path, summarized below: Towpath of the Martesana from Milan to Trezzo sull'Adda, Towpath of the Adda river from Trezzo sull'Adda to Lecco, Paths along the Resinelli Plains from Lecco to Abbadia Lariana (in the future, when the lakeside cycle path will be available), Path of the Wayfarer from Abbadia Lariana to Piantedo, Via Francisca from Piantedo to Chiavenna, Via Spluga from Chiavenna to Madesimo. Passo del Baliscio from Madesimo to San Bernardino, Mesolcina Valley from San Bernardino to Bellinzona, Swiss path 7 from Bellinzona to Lugano and Ponte Tresa, Via Francisca from Ponte Tresa to Busto Arsizio, Towpath of the Naviglio Grande from Busto Arsizio to Abbiategrasso Trails of the Ticino Park from Abbiategrasso to Pavia, Towpath of the Naviglio Pavese from Pavia to Milan. The suggestion of the prefigured path is such as to configure Leonardo's Path as an original enhancement of the territories involved, leading it to compete - thanks to the presence of numerous attractive themes - with the most noble European paths.

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Emblema dell'eccellenza italiana sin dalla sua fondazione nel 1889, Bonacina 1889 è un Design Brand indipendente a conduzione familiare che, negli anni, ha definito uno stile unico e senza tempo, fatto di sensibilità alla Creatività e all'Arte, cura dei dettagli e utilizzo del Rattan, una materia prima naturale che cresce in Estremo Oriente. Ogni pezzo è tessuto e curvato a mano in Italia da artigiani appassionati: la sapiente e sapiente lavorazione rende i nostri pezzi unici ed estremamente duraturi nel tempo. Ricca di un patrimonio eccezionale, l'azienda ha collaborato con "Maestri" del design italiano come Franco Albini, Franca Helg, Gae Aulenti, Marco Zanuso, Joe Colombo e Gio Ponti, e Decoratori e Architetti riconosciuti a livello internazionale come Renzo Mongiardino, Jacques Grange e Peter Marino in progetti sognanti e all'avanguardia. L'azienda rimane fedele alle materie prime naturali che maggiormente hanno definito la sua cultura, consolidando il know-how, per quanto riguarda il mondo Outdoor, su nuove tecniche e materiali.Bonacina 1889 affonda le sue radici nel territorio del Lago di Como, potendo contare sul know-how del distretto produttivo della Brianza, parte collinare e fertile dell'area a nord di Milano. La filosofia di Bonacina 1889 è fatta di Qualità, Sostenibilità, Autenticità Italiana e Stile di Vita e Tradizione Europea. Emblematic of Italian excellence since its foundation in 1889, Bonacina 1889 is an independent, family-owned Design Brand that, over the years, defined a unique and timeless style, made of sensitivity to Creativity and Arts, attention to detail and use of Rattan, a natural raw material that grows in the Far East. Each piece is hand-woven and curved in Italy by passionate artisans: savvy and skillful workmanship makes our pieces unique and extremely lasting in time. Rich in exceptional heritage, the company has collaborated with Italian Design "Maestri”, such as Franco Albini, Franca Helg, Gae Aulenti, Marco Zanuso, Joe Colombo and Gio Ponti, and Internationally recognized Decorators and Architects like Renzo Mongiardino, Jacques Grange and Peter Marino in dreamy and cutting-edge projects. The company remains faithful to the natural raw materials that mostly defined its culture while consolidating the know-how, regarding the Outdoor world, on new techniques and materials. Bonacina 1889 is rooted in the Lake Como territory, relying on the know-how of the production district of Brianza, a hilly, fertile part of the area north of Milan. Bonacina 1889 philosophy is made of Quality, Sustainability, Italian authenticity and European Lifestyle and Tradition.

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The Agora was the heart of ancient Athens, the focus of political, commercial, administrative and social activity, the religious and cultural centre, and the seat of justice. The site was occupied without interruption in all periods of the city's history. It was used as a residential and burial area as early as the Late Neolithic period (3000 B.C.). Early in the 6th century, in the time of Solon, the Agora became a public area. After a series of repairs and remodellings, it reached its final rectangular form in the 2nd century B.C. Extensive building activity occured after the serious damage made by the Persians in 480/79 B.C., by the Romans in 89 B.C. and by the Herulae in A.D. 267 while, after the Slavic invasion in A.D. 580, It was gradually abandoned. From the Byzantine period until after 1834, when Athens became the capital of the independent Greek state, the Agora was again developed as a residential area. The first excavation campaigns were carried out by the Greek Archaeological Society in 1859-1912, and by the German Archaeological Institute in 1896-97. In 1890-91, a deep trench cut for the Athens-Peiraeus Railway brought to light extensive remains of ancient buildings. In 1931 the American School of Classical Studies started the systematic excavations with the financial support of J. Rockefeller and continued until 1941. Work was resumed in 1945 and is still continuing. In order to uncover the whole area of the Agora it was necessary to demolish around 400 modern buildings covering a total area of ca. 12 hectares. In the 19th century the four colossal figures of Giants and Tritons at the facade of the Gymnasium were restored by the Greek Archaeological Society. In the years 1953-56, the Stoa of Attalos was reconstructed to become a museum and in the same period the Byzantine church of Aghioi Apostoloi, built around A.D. 1000, was restored by the American School. Between 1972 and 1975, restoration and preservation work was carried out at the Hephaisteion; the area was cleared of the vegetation, and the roof of the temple was repaired in 1978 by the Archaeological Service.

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1834 Dopo 25 anni passati come maestro di cucina al servizio dei Principi di Cattolica, Salvatore Alaimo riceve in dono la cappella sconsacrata di un antico palazzo nel cuore di Palermo. Sulla porta d’ingresso appende una tavola di legno con un’incisione che recita “Focacceria” e decide di cucinare per il popolo. 1848 In onore della Sicilia che festeggia l’indipendenza dai Borboni, il primo governatore del nuovo Regno organizza un banchetto proprio in Focacceria a base di sfincioni, focacce e marsala. 1851 Nasce la “focaccia maritata”, creata da Alaimo per consentire anche alla povera gente di mangiare carne: un taglio economico, ma cucinato in modo raffinato, viene aggiunto alla tradizionale “focaccia schietta” (nubile). 1860 Prima di risalire l’Italia per unificarla, Giuseppe Garibaldi si ferma a Palermo, accampandosi nella piazza della Focacceria, che per una decina di giorni diventa la sua mensa quotidiana. 1861 La nobiltà palermitana si scaglia contro la Focacceria S. Francesco, che svela e diffonde al pubblico l’ottima “pasta ch’i sardi”, fino a quel momento, preparazione riservata alle mense reali. La ricetta è la stessa utilizzata ancora oggi. 1890 Da Pirandello a Sciascia a Guttuso, sono decine gli illustri scrittori e artisti che si incontrano abitualmente alla Focacceria, che diventa così un caffè letterario, una sorta di circolo culturale. 1901 L’architetto Ernesto Basile, mentre siede insieme al noto Vincenzo Florio a un tavolo della Focacceria, disegna su una tovaglia l’attuale logo, il prospetto del locale, i tavoli in ghisa e le sedie in ferro battuto. 1902 A 60 anni dalla nascita, il locale viene definitivamente battezzato “Antica Focacceria San Francesco” e nel menù entrano nuove deliziose pietanze, presenti ancora oggi: arancine, panelle e sarde a beccafico, per citarne alcune. 1834 After 25 years spent as a cooking master in the service of the Princes of Cattolica, Salvatore Alaimo receives as a gift the deconsecrated chapel of an ancient palace in the heart of Palermo. On the front door he hangs a wooden board with an engraving that reads "Focacceria" and decides to cook for the people. 1848 In honor of Sicily, which celebrates independence from the Bourbons, the first governor of the new Kingdom organizes a banquet at the Focacceria based on sfincioni, focaccia and marsala. 1851 The “married focaccia” was born, created by Alaimo to allow poor people to eat meat: an economical cut, but cooked in a refined way, is added to the traditional “sincere focaccia” (single). 1860 Before going up to Italy to unify it, Giuseppe Garibaldi stops in Palermo, camping in the Focacceria square, which for about ten days becomes his daily canteen. 1861 The Palermitan nobility lashes out against the Focacceria S. Francesco, which reveals and disseminates to the public the excellent "pasta ch'i sardi", up to that moment, a preparation reserved for royal tables. The recipe is the same still used today. 1890 From Pirandello to Sciascia to Guttuso, there are dozens of illustrious writers and artists who usually meet at the Focacceria, which thus becomes a literary café, a sort of cultural circle. 1901 the architect Ernesto Basile, while sitting together with the well-known Vincenzo Florio at a table in the Focacceria, draws the current logo, the façade of the restaurant, the cast iron tables and the wrought iron chairs on a tablecloth. 1902 60 years after its birth, the place was definitively baptized "Antica Focacceria San Francesco" and new delicious dishes enter the menu, still present today: arancine, panelle and sardines a beccafico, to name a few.

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1885 Apre l'osteria Manuelina, frequentata negli anni da grandi come Montale, D'Annunzio ed Einstein: inizia la rivoluzione della Focaccia di Recco. Manuelina si sposta nella sede attuale e diventa il ristorante tipico amato da tanti buongustai e citato da Umberto Eco nel Pendolo di Foucault. Nasce la Focacceria Manuelina, un fast food tipico a pochi metri dal Ristorante. La Focacceria Manuelina sbarca a Milano con il secondo punto vendita nell’Annex Rinascente. È l’anno di una nuova grande rivoluzione! Il Ristorante diventa Il Ristorante Gourmet, per un’esperienza ancora più immersiva e di gusto. Oggi siamo noi, i pronipoti di Manuelina, a portare avanti la tradizione. Negli anni siamo riusciti a mantenere la sua passione, la sua dedizione e il suo rispetto per la qualità della cucina e delle materie prime fino a far diventare “Manuelina” un vero e proprio brand che racchiude il rinomato Ristorante, un Taste Hotel a 4 stelle, un prestigioso catering e naturalmente la nostra Focacceria Bistrot. In 1885 the Manuelina tavern opens, frequented over the years by greats such as Montale, D'Annunzio and Einstein: the Focaccia di Recco revolution begins. 1960 Manuelina moves to its current location and becomes the typical restaurant loved by many gourmets and mentioned by Umberto Eco in Foucault's Pendulum. Focacceria Manuelina is born, a typical fast food a few meters from the restaurant. Focacceria Manuelina arrives in Milan with the second store in the Annex Rinascente. It is the year of a new great revolution! The Restaurant becomes the Gourmet Restaurant, for an even more immersive and tasteful experience. Today we, the great-grandchildren of Manuelina, carry on the tradition. Over the years we have managed to maintain his passion, his dedication and his respect for the quality of the cuisine and raw materials until "Manuelina" becomes a real brand that includes the renowned Restaurant, a 4-star Taste Hotel, a prestigious catering and of course our Focacceria Bistrot.

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Il Gambrinus: il più importante Caffè di Napoli. Tra i locali più celebri della penisola, membro dell'Associazione Culturale Locali Storici d'Italia, salotto letterario partenopeo, celebre galleria d'arte, animatore della cultura cittadina, questi in breve i tratti d'eccellenza del Caffè che dal 1860 è punto di riferimento tra i più importanti della cultura della nostra città. La storia del Gran Caffè Gambrinus inizia con l'Unità di Italia quando, nel 1860, al piano terra del palazzo della Foresteria, l'elegante edificio del 1816 che oggi ospita la sede della Prefettura, viene aperto il “Gran Caffè”. Affacciato direttamente su Piazza Plebiscito e Palazzo Reale, il Caffè diventa in breve tempo il salotto del bel mondo cittadino. La fama dovuta all'opera dei migliori pasticceri, gelatai e baristi provenienti da tutta Europa procura subito al Caffè la benevolenza della famiglia reale e il riconoscimento per decreto di “Fornitore della Real Casa”, onorificenza tributata dai Savoia soltanto ai migliori fornitori del Regno delle due Sicilie. Nel 1885 il Gran Caffè sembra essere sul punto di chiudere, ma di lì a poco le sue sale sarebbero state aperte ai napoletani e ai viaggiatori in una nuova più grande magnificenza. Nel 1890, infatti, Mariano Vacca, uomo avveduto e frequentatore di artisti e attori, prende in fitto i locali della Foresteria e ne affida la ristrutturazione all'architetto Antonio Curri, docente di Architettura, nonché Ornato nella Real Università di Napoli e professore onorario dell'Istituto di Belle Arti. Grazie alla perizia di più di quaranta tra artigiani e artisti, il Caffè diventa uno scrigno prezioso di opere d'arte: le sale vengono decorate con i marmi di Jenny e Fiore, gli stucchi del Bocchetta, i bassorilievi del Cepparulo e le tappezzerie del Porcelli; le pareti decorate dai più importanti paesaggisti napoletani. Il Caffè diventa una preziosa galleria d'arte nel cuore nobile di Napoli e viene valorizzata con l'ultima conquista della modernità, l'illuminazione elettrica. Per festeggiare la rinascita, il Caffè viene ribattezzato “Gran Caffè Gambrinus”, in nome del leggendario re delle Fiandre inventore della birra. L'intenzione è quella di fondere nell'immaginario le due più famose bevande d'Europa: la birra, nordica, bionda e fredda, e il caffè, scuro, bollente, piacere tipicamente napoletano. Inaugurato ufficialmente il 3 novembre 1890, il Gran Caffè Gambrinus diventa da subito il cuore della vita mondana, culturale e letteraria della città: re, regine, politici, giornalisti, letterati e artisti di fama internazionale ne fanno il luogo dove incontrarsi, discutere e scrivere versi, come nella migliore tradizione europea del caffè letterario. Le sale iniziano ad essere indicate per l'argomento degli incontri e dei simposi che vi si tengono: la sala politica, la sala della vita, la sala rotonda. Il Caffè è ormai tappa obbligata per qualsiasi visita della città: non c'è un solo viaggiatore che, arrivato a Napoli, rinunci a fare sosta al Gran Caffè Gambrinus. Lo storico locale partenopeo è sbocciato nel periodo della Belle Epoqué; infatti durante gli anni del primo novecento era il centro della cultura e dell'arte della città; ricordiamo tra gli ospiti più illustri l'imperatrice d'Austria Sissi, che degustò un ottimo gelato alla violetta, Gabriele D'Annunzio che scrisse al Gambrinus i versi della celebre canzone “A'vucchella”, Matilde Serao che fondò il quotidiano “Il Mattino” seduta proprio ai tavolini del caffè, Benedetto Croce che fece di Napoli la sua seconda città, lo scrittore irlandese Oscar Wilde che si recò nella città partenopea con Lord Alfred Douglas dopo i tristi giorni di prigionia, Ernest Hemingway, il filosofo francese Jean-Paul Sartre che scrisse pensieri su Napoli ai tavolini del Gambrinus “davanti a una granita che guardavo malinconicamente mentre si scioglieva nella sua coppa di smalto” e tantissimi altri. Sull'onda francese anche a Napoli verso la fine dell'Ottocento arrivò il Cafè Chantant o detto anche Caffè Concerto. Insieme al Salone Margherita, il Gambrinus fu uno dei ritrovi più frequentati dalla nobiltà napoletana. Con il passare del tempo, nella versione napoletana del Cafè Chantant si andò a delineare e a definire la figura della “sciantosa”, personaggio principale del concerto (il termine deriva da una storpiatura della lingua napoletana della parola francese chanteuse che letteralmente significa “cantante”. Il Gran Caffè Gambrinus prosperò fino al 1938 quando il prefetto Marziale ne ordinò la chiusura perché considerato luogo antifascista e da quel giorno i locali furono ceduti in parte al Banco di Napoli. Dei fasti che vide il Gambrinus, con questa scissione rimase solo il ricordo, imboccando una triste strada di decadenza. Agli inizi degli anni '70 Michele Sergio dà inizio alla battaglia per recuperare i locali del Caffè situato nel cuore di Napoli. Grazie al lavoro minuzioso di restauro degli antichi stucchi e di recupero dei pregevoli affreschi, il Gran Caffè Gambrinus rinasce a nuovo splendore. La battaglia è vinta. Napoli si riappropria della sua storia. Riportato ai suoi antichi fasti, il Gran Caffè Gambrinus torna ad essere il cuore pulsante e il salotto elegante della città. Oggi, il lavoro di valorizzazione iniziato da Michele Sergio è portato avanti dai figli Arturo e Antonio Sergio che fanno ancora grande l'unico storico caffè letterario della città di Napoli. The history of the Gran Caffè Gambrinus begins with the unification of Italy when, in 1860, the “Gran Caffè” was opened on the ground floor of the Foresteria building, the elegant 1816 building which now houses the headquarters of the Prefecture. Directly overlooking Piazza Plebiscito and Palazzo Reale, the café quickly becomes the living room of the beautiful city world. The fame due to the work of the best pastry chefs, ice cream makers and baristas from all over Europe immediately procured the benevolence of the royal family and the recognition by decree of "Supplier of the Royal House", an honor bestowed by the Savoy only to the best suppliers of the Kingdom of the Two Sicilies. In 1885 the Gran Caffè seems to be about to close, but soon its rooms would be opened to Neapolitans and travelers in a new, greater magnificence. In 1890, in fact, Mariano Vacca, a shrewd man and frequenter of artists and actors, rented the premises of the Foresteria and entrusted the renovation to the architect Antonio Curri, professor of Architecture, as well as Ornato at the Royal University of Naples and honorary professor of 'Institute of Fine Arts. Thanks to the expertise of more than forty artisans and artists, the Café becomes a precious treasure chest of works of art: the rooms are decorated with Jenny and Fiore marbles, the stuccoes by Bocchetta, the bas-reliefs of Cepparulo and the tapestries of Porcelli; the walls decorated by the most important Neapolitan landscape architects. The Caffè becomes a precious art gallery in the noble heart of Naples and is enhanced with the latest conquest of modernity, electric lighting. To celebrate the rebirth, the coffee is renamed “Gran Caffè Gambrinus”, in the name of the legendary king of Flanders, inventor of beer. The intention is to fuse in the imagination the two most famous drinks in Europe: beer, Nordic, blonde and cold, and coffee, dark, hot, a typically Neapolitan pleasure. Officially inaugurated on November 3, 1890, the Gran Caffè Gambrinus immediately became the heart of the social, cultural and literary life of the city: kings, queens, politicians, journalists, writers and artists of international fame make it the place to meet, discuss and write verses, as in the best European tradition of literary coffee. The rooms begin to be indicated for the subject of the meetings and symposia that are held there: the political room, the room of life, the round room. The Caffè is now a must for any visit to the city: there is not a single traveler who, having arrived in Naples, gives up stopping at the Gran Caffè Gambrinus. The Neapolitan local historian blossomed during the Belle Epoqué period; in fact during the years of the early twentieth century it was the center of culture and art of the city; we remember among the most illustrious guests the empress of Austria Sissi, who tasted an excellent violet ice cream, Gabriele D'Annunzio who wrote to Gambrinus the verses of the famous song "A'vucchella", Matilde Serao who founded the newspaper "The morning" sitting right at the coffee tables, Benedetto Croce who made Naples his second city, the Irish writer Oscar Wilde who went to the Neapolitan city with Lord Alfred Douglas after the sad days of imprisonment, Ernest Hemingway, the French philosopher Jean-Paul Sartre who wrote thoughts about Naples at the tables of the Gambrinus "in front of a slush that I looked sadly as it melted in its enamel cup" and many others. On the French wave also in Naples towards the end of the nineteenth century the Cafè Chantant or also called Caffè Concerto arrived. Together with the Salone Margherita, the Gambrinus was one of the most popular haunts of the Neapolitan nobility. Over time, in the Neapolitan version of the Cafè Chantant the figure of the "sciantosa" was outlined and defined, the main character of the concert (the term derives from a distortion of the Neapolitan language of the French word chanteuse which literally means "singer". The Gran Caffè Gambrinus prospered until 1938 when the prefect Martial ordered its closure because it was considered an anti-fascist place and from that day the premises were partly sold to the Banco di Napoli. Of the glories that Gambrinus saw, with this split only the memory remained, taking a sad path of decadence. At the beginning of the 70s, Michele Sergio began the battle to recover the premises of the café located in the heart of Naples. Thanks to the meticulous restoration of the ancient stuccos and the recovery of the valuable frescoes, the Gran Caffè Gambrinus is reborn to a new splendor. The battle is won. Naples regains its history. Returned to its former glory, the Gran Caffè Gambrinus is once again the beating heart and elegant lounge of the city. Today, the enhancement work started by Michele Sergio is carried out by his sons Arturo and Antonio Sergio who still make the only historic literary café in the city of Naples great.

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Benvenuti “Al Vèdel” e “Podere Cadassa”. La nostra storia inizia da qui. Da questo piccolo lembo di terra adagiato sulle sponde del Grande Fiume, racchiuso fra il silenzio della campagna agreste e la magnificenza di quello che fu il Gran Ducato di Parma e Piacenza. Da una parte il fiume Po a delimitare quel caleidoscopio di uomini e racconti che è il Mondo Piccolo narrato da Guareschi e dall’altra parte la Reggia Ducale, la piccola Versailles, nelle cui stanze ancora oggi si rivivono i fasti della vita di corte. Siamo a Colorno, alle porte di Parma. Siamo nella Bassa parmense. Siamo nella Food Valley italiana. È da qui che veniamo ed è da qui che parte il nostro racconto. Tutto ebbe inizio nel lontano 1780, quando l’anziana zia Cleofe decise di trasformare il proprio rustico in uno spaccio di generi alimentari e posto di ristoro per viandanti. “Dalla Siora” aprì le sue porte a viaggiatori, commercianti e compaesani. “Dalla Siora” si poteva trovare ristoro, ci si informava, si riposava. Come in famiglia. La famiglia Bergonzi che continuò negli anni la tradizione dell’ospitalità e dell’amore per la buona cucina, con la trattoria “Marietta” nel 1927, “Da Ernesto” nel 1962 e infine con il ristorante “Al Vèdel” nel 1976. In campagna tutto era fatto in casa. Anche la cucina era artigianalità. E così, come vuole la tradizione di questa terra, a fianco del rustico si trovava il Podere Cadassa, il piccolo laboratorio di famiglia per la produzione dei salumi tipici del parmense, a partire dal più nobile degli insaccati: il Culatello. Il lavoro artigianale delle sapienti mani dei norcini veniva così offerto agli avventori del locale, proprio come succede oggi ai clienti de “Al Vèdel”. “Al Vèdel” è il nome che abbiamo deciso di conservare per il nostro ristorante. “Al Vèdel”, perché la cucina non è solo una questione di famiglia, ma anche di territorio. O almeno questo è quello che proponiamo noi tutti i giorni ai nostri ospiti e che qui si ha la certezza di trovare. “Al Vèdel” è infatti il nome dialettale de “Le Vedole”, la piccola località alle porte di Colorno, dove, da quel lontano 1780, la nostra famiglia ha il piacere di accogliere quei viandanti che nel corso del tempo sono diventati clienti, turisti, gourmand. Tradizione, qualità e ricerca. Questa è la nostra cucina, questo è il nostro sapere, questa è la nostra arte. A family history. A centuries-long history. A story of flavors. Welcome to “Al Vèdel” and “Podere Cadassa”. The Our story starts here. From this small strip of land lying on the banks of the Great River, enclosed between the silence of the rural countryside and the magnificence of what was once the Grand Duchy of Parma and Piacenza. On the one hand the Po river delimiting that kaleidoscope of men and tales that is the Little World narrated by Guareschi and on the other hand the Ducal Palace, the little Versailles, in whose rooms the glories of court life are still relived today. We are in Colorno, on the outskirts of Parma. We are in the Parma lowlands. We are in the Italian Food Valley. This is where we come from and this is where our story starts. It all began back in 1780, when the elderly aunt Cleofe decided to transform her cottage into a grocery store and a refreshment place for travelers. “Dalla Siora” opened its doors to travelers, traders and fellow villagers. "From the Siora" you could find refreshment, you inquired, you rested. Like in the family. The Bergonzi family who continued the tradition of hospitality and love for good food over the years, with the restaurant "Marietta" in 1927, "Da Ernesto" in 1962 and finally with the restaurant "Al Vèdel" in 1976. In the countryside everything was homemade. The cooking was also handcrafted. And so, according to the tradition of this land, the Podere Cadassa was located next to the cottage, the small family workshop for the production of typical Parma cured meats, starting with the noblest of sausages: Culatello. The craftsmanship of the skilled hands of the butchers was thus offered to the patrons of the restaurant, just as happens today to the customers of “Al Vèdel”. “Al Vèdel” is the name we have decided to keep for our restaurant. “Al Vèdel”, because cooking is not just a matter of family, but also of territory. Or at least this is what we offer to our guests every day and that you are sure to find here. "Al Vèdel" is in fact the dialectal name of "Le Vedole", the small town on the outskirts of Colorno, where, since that distant 1780, our family has the pleasure of welcoming those travelers who over time have become customers, tourists, gourmand. Tradition, quality and research. This is our cuisine, this is our knowledge, this is our art.

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Dal 1870 il Finsterwirt Oste Scuro è la meta ideale per chi è alla ricerca del buon cibo, del buon vino e di un’atmosfera unica. Accanto alla piazza del Duomo di Bressanone, questo antico locale offre qualità autentica senza compromessi e all’insegna di un‘ospitalità che si perpetua ogni giorno, a pranzo e a cena. Lo chef Hubert Ploner cucina piatti creativi e raffinati, realizzati principalmente con prodotti Slowfood, biologici e di provenienza regionale. La carta dei vini sorprende con più di 400 etichette che descrivono non solo l’Alto Adige ma anche altre regioni italiane ed estere. Accomodatevi nelle sale storiche o sulla terrazza con un magnifico pergolato e lasciatevi viziare dalla famiglia Mayr e dal loro team. Se siete qui è perché ve lo siete meritato. Alto Adige, alta cucina. La qualità dei prodotti di prima classe e la creatività dello chef Hubert Ploner fanno del Finsterwirt Oste Scuro un luogo di culto gastronomico nel bel mezzo della città vecchia. A pranzo o a cena, chi visita Bressanone almeno una volta deve fermarsi qui, questo è poco ma sicuro. The Finsterwirt Oste Scuro has been a haven for food connoisseurs since 1870 and boasts delectable menus, refined wines, and a unique ambience. The building is steeped in history and is located right next to Piazza Duomo in Bressanone. Genuine quality and outstanding service are what you come to expect when dining at the restaurant which serves mouth-watering meals every day. Chef Hubert Ploner follows the Slow Food principles and creatively mixes organic and regional ingredients to prepare refined dishes. The wine menu is a veritable encyclopaedia of more than 400 South Tyrolean, Italian, and international labels. Take a step back in time as you sit down in these wood-panelled dining rooms, or head out to the terrace and its beautiful arbour. The Mayr family will take care of your every need: after all, you are worth it. Refined palates feel right at home in South Tyrol. Even more so at the Finsterwirt Oste Scuro. Chef Hubert Ploner deftly and creatively uses exceptional ingredients for his dishes, and the meals have made the restaurant the go-to place at the heart of the old city centre. In other words: when visiting Bressanone lunch or dinner here are an absolute must.

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Storica pasticceria milanese fondata nel 1817. Luogo di incontro e di incanto famoso in tutto il mondo, Cova celebra l’artigianalità, l’italianità e l’eccellenza, offrendo a una clientela d’élite cosmopolita prodotti di sublime qualità. Corre l'anno 1817 quando Antonio Cova apre il "Caffe del Giardino" al lato del Teatro alla Scala. Le sale sfolgoranti di specchi e lampadari diventano ritrovo del bel mondo dell'epoca e profumano di spirito patriottico, animato di fervore anti-austriaco gli spiriti dell'epoca. Distrutto dai bombardamenti della Seconda Guerra Mondiale, nel 1950 il Cova muove dalla sede originaria verso l'attuale sito di Via Montenapoleone 8, dove diventa un salotto elegante e raffinato, riproponendo arredi ed ambienti mutuati da quelli originari. Distrutto dai bombardamenti della Seconda Guerra Mondiale, nel 1950 il Cova muove dalla sede originaria verso l'attuale sito di Via Montenapoleone 8, dove diventa un salotto elegante e raffinato, riproponendo arredi ed ambienti mutuati da quelli originari. L’espansione internazionale del marchio ha iniziato nel 1993, quando Cova apre ad Hong Kong SAR il suo primo negozio oltre frontiera. Nel 2013 diventa parte del Gruppo LVMH e continua la sua espansione nel mondo. Nascono quindi boutique di Pasticceria in Cina, a Taiwan, negli Emirati Arabi e nella vicina Montecarlo. La storia di Cova si intreccia a quella della città e dei suoi momenti più rappresentativi. Ritrovo di una clientela cosmopolita, di borghesia e nobiltà, il Cova entra a pieno titolo nella storia e nelle storie di Milano. Cortesia e accoglienza sono punti fermi dell'arte di ricevere, che punta a servire la clientela con garbo, gusto e riservatezza. Unendo una presenza attenta al più piccolo cenno e la cordialità di professionisti del settore, nasce un ambiente raffinato dove musica soffusa, tovaglie di lino e divanetti in velluto ospitano esponenti del jet set, viaggiatori accaniti e semplici curiosi. Cova is one of Italy’s oldest pasticceria and an international destination. Celebrated for its product excellence, impeccable service and fascinating interiors, Cova is an institution that exalts tailored craftsmanship and creativity. Founded in 1817 by Antonio Cova –a Napoleonic soldier– Cova is one of Italy’s oldest pasticceria. Celebrated for its product excellence, impeccable service and exquisite interiors, this historical Milanese institution has always been a place where tradition meets elegance and style. Fashionable rendez-vous for patriots of the Risorgimento, those days Cova hosted the very representatives of the high society and the most stylish crowd. And it has never stopped: from Giuseppe Verdi to Ernst Hemingway to contemporary élite, even after the relocation to Via Montenapoleone 8 in 1950. In 1993 Cova inaugurated its first venue in Hong Kong SAR, beginning its worldwide expansion. Today Cova, part of the LVMH Group since 2013, is present in Hong Kong SAR, Shanghai, Beijing, Taiwan, Monte Carlo and Dubai, recreating the traditional Italian combination of creativity and elegance around the world. Milanese culture has inspired and energized Cova that has unveiled its pastry making art, conquering the senses and touching the imagination of its nobility and bourgeoisie. The heritage of the city evolved with Cova, one being essential to the other. The ardor and the artisanal know-how of its Chefs, the exceptional quality of its products and the inner art of hospitality of its discrete service initiated the unique Cova experience in the 19th century and continue nowadays magnifying its heritage and matching the needs of an increasingly conscious clientele.

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Il caffè prende il nome dal suo proprietario greco (greco in italiano) che lo aprì nel 1760. Personaggi storici tra cui Stendhal, Goethe, Arthur Schopenhauer, Bertel Thorvaldsen, Mariano Fortuny, Byron, Franz Liszt, Keats, Henrik Ibsen, Hans Christian Andersen, Felix Mendelssohn, Wagner, Levi, María Zambrano, Lawrence Ferlinghetti e persino Casanova hanno preso il caffè lì. Per più di due secoli e mezzo, il Caffè Greco è rimasto un rifugio per scrittori, politici, artisti e personaggi illustri a Roma. Trenta secoli fa una colonia greca si stabilì intorno a Piazza di Spagna e vi fondò il "Caffè Greco". A quei tempi la piazza era un lago, come lo diventa ancora nei giorni di pioggia. Romolo e Remo, quando furono sazi del latte di lupa, sorseggiarono allegramente la bevanda fuligginosa, che un cameriere del Caffè Greco portava loro di nascosto. Casanova, Goethe, Gogol, Stendhal, Byron, Andersen e altri grandi personaggi frequentavano la bottega fondata dagli Elleni. Nel 1918 nasce l'intenzione di istituire un circolo di studi in alcuni spiriti eletti. Tre volte si radunarono in una polverosa biblioteca, ma era filosofico ei concetti che impregnavano l'aria oscuravano tanto quegli spiriti, da mortificare la loro primitiva divisione. Discordanti e disperati si separarono, finché una voce si levò di nuovo a raccoglierli. The café was named after its Greek (Greco in Italian) owner, who opened it in 1760. Historic figures including Stendhal, Goethe, Arthur Schopenhauer, Bertel Thorvaldsen, Mariano Fortuny, Byron, Franz Liszt, Keats, Henrik Ibsen, Hans Christian Andersen, Felix Mendelssohn, Wagner, Levi, María Zambrano, Lawrence Ferlinghetti and even Casanova have had coffee there. For more than two centuries and a half, the Caffè Greco has remained a haven for writers, politicians, artists and notable people in Rome. Thirty centuries ago a Greek colony took up residence around Piazza di Spagna and founded the "Greek Coffee" there. In those days the square was a lake, as it still becomes on rainy days. Romulus and Remus, when they were sated with she-wolf milk, happily sipped the sooty drink, which a waiter from the Caffè Greco brought them secretly. Casanova, Goethe, Gogol, Stendhal, Byron, Andersen and other great people frequented the shop founded by the Hellenes. In 1918 the intention of setting up a circle of studies was born in some chosen spirits. Three times they gathered in a dusty library, but it was philosophical and the concepts which impregnated the air so darkened those spirits, as to mortify their primitive division. Discordant and desperate they parted, until a voice rose again to gather them.

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Il Caffè Florian fu aperto il 29 dicembre 1720 a Venezia in Piazza S.Marco da Floriano Francesconi con il nome di “Alla Venezia Trionfante”, ma ben presto la clientela prese l’abitudine di chiamarlo “Florian”. Nei quasi tre secoli di vita il Florian è stato meta di incontro di artisti, scrittori, intellettuali, politici e personaggi illustri come Lord Byron, Goethe e Casanova. Simbolo di stile e qualità il brand Florian propone una selezione di prodotti esclusivi e prestigiosi che rappresentano l’arte di vivere con eleganza. La gamma Gourmet, la linea Lifestyle e la collezione Design si distinguono per la raffinatezza dello stile italiano e l’eccellente qualità dei prodotti. Disponibili nei corner presso i Florian di Venezia, Firenze e Londra. Caffè Florian first opened its doors in St. Mark’s Square, Venice in 1720, baptised “Alla Venezia Trionfante” by its owner Floriano Francesconi, but the clientele soon took to calling it simply “Florian”. For nearly three centuries Florian has also been the meeting-place of famous artists, writers, intellectuals and politicians such as Lord Byron, Goethe and Casanova. The symbol of style and quality, the Florian brand name offers a selection of exclusive and prestigious products representing the art of elegant living. The Gourmet range, the Lifestyle line and the Design collection are characterized by refined Italian taste and the excellent quality of the products.

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Il Pedrocchi è uno dei simboli di Padova, luogo eletto per la degustazione del caffè e della cucina. Riconosciuto come la sede più esclusiva del centro della città dove realizzare gli eventi più importanti e spettacolari. Senza nome, del prato senza erba e del caffè senza porte”: la Basilica di S. Antonio, detta “del Santo”‚ il Prato della Valle, fino all’800 privo d’erba, e il Caffè Pedrocchi, “senza porte” perché rimase aperto giorno e notte dall’inaugurazione nel 1831 fino al 1916. La presenza a Padova di un Gran caffè internazionale si deve ad Antonio Pedrocchi, famoso caffettiere, citato da Stendhal ne “La certosa di Parma”. Ai primi dell’800 nei numerosi caffè si mescolavano nobili e borghesi, intellettuali e popolani. Antonio Pedrocchi sognava un caffè monumentale, dall’architettura rappresentativa e funzionale, situato proprio al centro della città, di fronte all’Università e alla Gendarmeria Austriaca e chiamò a realizzarlo Giuseppe Jappelli, famoso architetto ed ingegnere di idee illuministe e profondo conoscitore del gusto asburgico che lo inaugurò nel 1831. Divenne presto crocevia di intellettuali e letterati “luogo dove nascevano le idee”, dove si organizzavano feste, balli, riunioni massoniche e persino trattative commerciali, un punto di riferimento per i padovani, ma anche per i viaggiatori e gli uomini d’affari provenienti da tutta la Penisola che in quest’imponente edificio neoclassico trovavano sempre accoglienza e ristoro. Il successo fu immediato e il caffè divenne ritrovo di studenti, artisti e letterati come Ippolito Nievo o Giovanni Prati, ma anche di patrioti, come Arnaldo Fusinato. Tra gli ospiti illustri oltre a Stendhal, si ricordano Alfred De Musset, George Sand, Téophile Gauthier, Gabriele d’Annunzio, Eleonora Duse, Filippo Tommaso Marinetti e molti altri. Lasciato in dono al Comune di Padova, con l’impegno “di promuovere e sviluppare tutti quei miglioramenti che verranno portati dal progresso dei tempi, mettendolo a livello di questi e nulla trascurando, onde nel suo genere possa mantenere il primato in Italia”, il Caffè Pedrocchi ha ormai conquistato una posizione privilegiata nel centro e nel cuore di Padova. Pedrocchi is one of the symbols of Padua, a place chosen for tasting coffee and cooking. Recognized as the most exclusive venue in the city center where the most important and spectacular events are held. Without a name, of the lawn without grass and of the café without doors: the Basilica of S. Antonio, known as "del Santo"‚ the Prato della Valle, up to the 19th century without grass, and the Caffè Pedrocchi, "without doors" because it remained open day and night from its inauguration in 1831 until 1916. The presence in Padua of a great international coffee is due to Antonio Pedrocchi, famous coffee maker, mentioned by Stendhal in "La Certosa di Parma". At the beginning of the 19th century, nobles and bourgeois, intellectuals and commoners mixed in the numerous cafés. Antonio Pedrocchi dreamed of a monumental café, with a representative and functional architecture, located right in the center of the city, in front of the University and the Austrian Gendarmerie, and he called Giuseppe Jappelli, famous architect and engineer of Enlightenment ideas and profound connoisseur of Habsburg taste to build it. who inaugurated it in 1831. It soon became a crossroads for intellectuals and writers "a place where ideas were born", where parties, dances, Masonic meetings and even commercial negotiations were organized, a point of reference for Paduans, but also for travelers and businessmen from the whole peninsula which always found welcome and refreshment in this imposing neoclassical building. Success was immediate and the café became a meeting place for students, artists and writers such as Ippolito Nievo or Giovanni Prati, but also for patriots, such as Arnaldo Fusinato. In addition to Stendhal, the illustrious guests include Alfred De Musset, George Sand, Téophile Gauthier, Gabriele d'Annunzio, Eleonora Duse, Filippo Tommaso Marinetti and many others. Left as a gift to the Municipality of Padua.

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L'attività della ditta Mulassano comincia nella seconda metà dell'800, con apertura di una bottiglieria in via Nizza 3. L'allora proprietario, Amilcare Mulassano, era titolare anche della rinomata Distilleria Sacco, produttrice del famoso sciroppo di menta. Nel 1907, il locale fu poi trasferito nella più centrale piazza Castello luogo che non ha più lasciato. Nel corso dei primi anni il locale si trasformò in Caffè. Angela Nebiolo era andata sposa bambina a Detroit, negli Stati Uniti, dove il marito e i cognati gestivano ristoranti e locali notturni. Aveva 15 anni. Il lavoro non la spaventava: l'appassionava quel mondo nuovo e frenetico: scoprì l'automobile, prese la patente giovanissima. Ma, nel cuore, le batteva forte la nostalgia: avrebbe dato l'America intera pur di tornare a Torino, la sua città natale. E così fu: nel 1925 Angela e Onorino Nebiolo, che nel frattempo avevano avuto due figli, tornarono in Italia con il proposito di gestire un locale tutto loro. In quei mesi la famiglia Mulassano aveva messo in vendita il proprio scrigno prezioso: il caffè Mulassano. Ai coniugi non parve vero e con i risparmi accumulati in America, comprarono il locale. La spesa: 300 mila lire di allora per la sola licenza. Con l'intento di ridare vigore agli affari del locale, cercarono di ideare delle nuove proposte da accompagnare all'aperitivo. Avevano portato con sé dagli States una macchina che tostava il pane: così importarono, per primi a Torino, il toast. Non paghi di questa innovazione, pensarono di utilizzare quel pane morbidissimo, usato per i toast, senza tostatura e con una speciale e più intensa farcitura: fu così che il signor Onorino inventò il tramezzino. Dapprima lo serviva in accompagnamento agli aperitivi, poi, visto il successo, lo propose per lo spuntino di mezzogiorno dei tanti impiegati e delle sartine di via Roma e via Po. Alcuni anni più tardi, Gabriele D'Annunzio gli diede il nome che ora conosciamo: "tramezzino". Furono anni intensi e di grandi successi; la buvette divenne popolarissima, come è oggi. Ci andava un giovane studente in medicina allora sconosciuto: Achille Mario Dogliotti; ci tornò spesso anche da affermato chirurgo. Per l'aperitivo venivano Luigi Spazzapan e Italo Cremona, Gigi Chessa e Giacomo Grosso, Gigetta Morano e Caterina Boratto. La Torino dell'arte e del cinema oltre che la Torino d'ogni giorno. Fra i più assidui Mario Soldati e Gianandrea Gavazzeni che hanno frequentato il Mulassano per decenni. Nel 1938 i coniugi Nebiolo vendettero il locale per andare a gestire alcuni cinematografi della periferia e il locale, con la guerra conobbe un periodo di declino. I suoi tesori sparirono sotto la calce. Negli anni '70 il Mulassano è tornato quello del commendatore Amilcare e di Onorino grazie ad un accurato restauro che l'allora titolare, Antonio Chessa, svolse con grande pazienza e sapienza. La nipote di Antonio Chessa, Vanna, insieme a un nuovo socio Patrizio Abrate, ne conserva oggi la tradizione e la cura, illuminati da quella passione per la quale lo zio ha dedicato una vita. Oggi il locale è come fu pensato da Antonio Vandone e rimane patrimonio della città di Torino e di chi ne vuole godere la bellezza. The activity of the Mulassano company began in the second half of the 19th century, with the opening of a bottle shop in via Nizza 3. The then owner, Amilcare Mulassano, was also the owner of the renowned Sacco Distillery, producer of the famous mint syrup. In 1907, the restaurant was then moved to the more central Piazza Castello, a place it has never left. During the first few years the place was transformed into a café. Angela Nebiolo had gone as a child bride to Detroit, in the United States, where her husband and in-laws ran restaurants and nightclubs. He was 15. Work did not scare her: she was passionate about that new and frenetic world: she discovered the car, got her driving license very young. But nostalgia beat strongly in her heart: she would have given the whole of America to return to Turin, her hometown. And so it was: in 1925 Angela and Onorino Nebiolo, who in the meantime had had two children, returned to Italy with the intention of running their own place. In those months the Mulassano family had put their precious treasure chest up for sale: Mulassano coffee. To the spouses it didn't seem real and with the savings accumulated in America, they bought the place. The cost: 300 thousand lire at the time for the license alone. With the intention of reviving the business of the place, they tried to come up with new proposals to accompany the aperitif. They had brought with them from the States a machine that toasted bread: so they were the first to import toast in Turin. Not satisfied with this innovation, they thought of using that very soft bread, used for toast, without toasting and with a special and more intense filling: this was how Mr. Onorino invented the sandwich. At first he served it as an accompaniment to aperitifs, then, given its success, he proposed it for the midday snack of the many employees and tailors of via Roma and via Po. A few years later, Gabriele D'Annunzio gave it the name we now know: "sandwich". They were intense and successful years; the buvette became hugely popular, as it is today. A young medical student then unknown went there: Achille Mario Dogliotti; he also often returned as a well-known surgeon. For the aperitif came Luigi Spazzapan and Italo Cremona, Gigi Chessa and Giacomo Grosso, Gigetta Morano and Caterina Boratto. The Turin of art and cinema as well as the Turin of every day. Among the most assiduous Mario Soldati and Gianandrea Gavazzeni who have frequented the Mulassano for decades. In 1938 the Nebiolo couple sold the place to go and manage some cinemas in the suburbs and the place, with the war experienced a period of decline. His treasures disappeared under the lime. In the 1970s Mulassano returned to that of Commendatore Amilcare and Onorino thanks to an accurate restoration that the then owner, Antonio Chessa, carried out with great patience and wisdom. Antonio Chessa's niece, Vanna, together with a new partner Patrizio Abrate, today preserves the tradition and care, enlightened by that passion for which the uncle dedicated a life. Today the place is as it was thought by Antonio Vandone and remains the heritage of the city of Turin and of those who want to enjoy its beauty.

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La storia inizia nel 1763, quando l’acquacedratario Giuseppe Dentis apre la sua piccola bottega nell’edificio di fronte all’ingresso del Santuario della Consolata. Il locale all’epoca era arredato semplicemente, con tavole e panche di legno. Nel 1856, su progetto dell’architetto Carlo Promis, viene edificato l’attuale palazzo e in questa sede il caffè assume l’elegante forma che oggi possiamo apprezzare: le pareti vengono abbellite con boiseries di legno decorate da specchi e lampade e fanno la loro comparsa i caratteristici tavolini tondi di marmo bianco, il bancone di legno e marmo e le scaffalature per i vasi dei confetti. Alla fine dell’Ottocento viene posta esternamente la devanture in ferro, con le vetrinette ai lati, le colonnine e i capitelli in ghisa. In questo ambiente viene svolta l’attività di confetteria e di caffè-cioccolateria. L’invenzione del bicerin è stata, senza alcun dubbio, la base del successo del locale e, più che invenzione, fu evoluzione della settecentesca bavareisa, una bevanda allora di gran moda che veniva servita in grossi bicchieri e che era fatta di caffè, cioccolato, latte e sciroppo. Il rituale del bicerin prevedeva all’inizio che i tre ingredienti fossero serviti separatamente, ma già nell’Ottocento vengono riuniti in un unico bicchiere e declinati in tre varianti: pur e fiur (simile all’odierno cappuccino), pur e barba (caffè e cioccolato), ‘n poc ‘d tut (ovvero “un po’ di tutto”), con tutti e tre gli ingredienti. Quest’ultima formula fu quella di maggiore successo e finì per prevalere sulle altre, arrivando integra ed originale ai nostri giorni e prendendo il nome dai piccoli bicchieri senza manico in cui veniva servita (bicerin, appunto). La bevanda si diffuse anche negli altri locali della città, diventandone addirittura uno dei simboli di Torino. Stefani-Mondo scrive: “...è la bibita prediletta della mattina: ministri, magistrati, professori, negozianti, fattorini, cestaie, venditori e venditrici ambulanti, campagnuoli ecc, tutti spendono volentieri i loro tre soldi per rifocillarsi economicamente lo stomaco“. Il prezzo di tre soldi, cioè 15 centesimi di lira, venne mantenuto dalla metà dell’Ottocento fino al 5 dicembre del 1913, quando passò a 20. “…per venti soli centesimi si aveva il classico bicchierino che costituisce un nutritivo spuntino…“. La storia del Bicerin, come questo locale venne nel tempo a essere semplicemente chiamato dai torinesi per il successo della sua bevanda, nel tempo si intreccia saldamente a quella della “Consolà”. La nuova miscela era infatti il sostegno ideale per i fedeli che, avendo digiunato per prepararsi alla comunione, cercavano un sostegno energetico appena usciti dalla chiesa. Ugualmente era molto gradita in tempo di Quaresima poiché, non essendo la cioccolata calda considerata “cibo”, poteva essere consumata senza remore durante il digiuno prescritto. The story begins in 1763, when the acquactress Giuseppe Dentis opens his small shop in the building opposite the entrance to the Sanctuary of the Consolata. At the time, the place was simply furnished, with wooden tables and benches. In 1856, based on a project by the architect Carlo Promis, the current palace was built and here the café takes on the elegant shape that we can appreciate today: the walls are embellished with wooden boiseries decorated with mirrors and lamps and make their own the characteristic round white marble tables, the wooden and marble counter and the shelves for the confetti jars appeared. At the end of the nineteenth century the devanture was placed externally in iron, with the showcases on the sides, the columns and capitals in cast iron. In this environment the confectionery and coffee-chocolate shop is carried out. The invention of the bicerin was, without any doubt, the basis of the success of the place and, more than an invention, it was the evolution of the eighteenth-century bavareisa, a drink at the time very fashionable that was served in large glasses and was made of coffee, chocolate, milk and syrup. The bicerin ritual initially provided for the three ingredients to be served separately, but already in the nineteenth century they were combined in a single glass and declined in three variants: pur and fiur (similar to today's cappuccino), pur e barba (coffee and chocolate), 'n poc' d tut (or “a bit of everything”), with all three ingredients. This last formula was the most successful and ended up prevailing over the others, arriving intact and original to our days and taking its name from the small glasses without handles in which it was served ( bicerin, in fact). The drink also spread to other places in the city, even becoming one of the symbols of Turin. Stefani-Mondo writes: “...it is the favorite drink of the morning: ministers, magistrates, professors, shopkeepers, messengers, baskets, street vendors and vendors, country men, etc., all willingly spend their three sous to economically refresh their stomach". The price of three soldi, that is 15 cents of a lira, was maintained from the mid-nineteenth century until December 5, 1913, when it passed to 20. "...for only twenty cents you had the classic glass which is a nutritious snack...". The history of Bicerin, as this place came over time to be simply called by the Turinese for the success of its drink, over time is firmly intertwined with that of the "Consolà". The new blend was in fact the ideal support for the faithful who, having fasted to prepare for communion, sought energetic support as soon as they left the church. It was also very welcome in time of Lent since, not being the hot chocolate considered "food", it could be consumed without hesitation during the prescribed fast.

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The Tournai Cathedral, or Cathedral of Our Lady (French: Notre-Dame de Tournai, Dutch: Onze-Lieve-Vrouw van Doornik), is a Roman Catholic Church, see of the Diocese of Tournai in Tournai, Belgium. It has been classified both as a Wallonia's major heritage since 1936 and as a World Heritage Site since 2000. There was a diocese centered at Tournai from the late 6th century and this structure of local blue-gray stone occupies rising ground near the south bank of the Scheldt, which divides the city of Tournai into two roughly equal parts. Begun in the 12th century on even older foundations, the building combines the work of three design periods with striking effect, the heavy and severe character of the Romanesque nave contrasting remarkably with the Transitional work of the transept and the fully developed Gothic of the choir. The transept is the most distinctive part of the building, with its cluster of five bell towers and apsidal (semicircular) ends. The nave belongs mostly to the first third of the 12th century. Prefiguring the Early Gothic style, it has a second-tier gallery between the ground-floor arcade and the triforium. Pilasters between the round-arched windows in the clerestory help support the 18th-century vaulting that replaced the original ceiling, which was of wood, and flat. The transept arms, built in about the mid-12th century, have apsidal ends, a feature borrowed in all probability from certain Rhenish churches, and which would appear to have made its influence felt in the northeast of France, as at Noyon and Soissons. The square towers that flank the transept arms reach a height of 83 metres (272 ft). They vary in detail, some of the arcade work with which they are enriched being in the round-arched and some in the pointed style. West portico. Bishop Gautier de Marvis (1219-1252) had the earlier Romanesque choir demolished in the 13th century, in order to replace it with a Gothic choir of much grander dimensions, inspired by the likes of Amiens Cathedral. The construction of the new choir began in 1242, and ended in 1255. The rest of the cathedral was supposed to be rebuilt in the same style as the choir, but this was never attempted, the only later additions being the western porch, and a large Gothic chapel which was built alongside one of the side aisles, whose original walls and windows disappeared in the process. The rood screen is a Renaissance masterpiece by Flemish sculptor Cornelis Floris and dates from 1573. The cathedral was damaged by a severe tornado on the 24 August 1999. Assessment of the damage revealed underlying structural problems and the cathedral has been undergoing extensive repairs and archaeological investigation ever since. The Brunin Tower was stabilised in 2003. In recognition of Tournai cathedral's cultural value, UNESCO designated the building a World Heritage Site in the year 2000.

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The Mir castle complex is a unique monument of the national culture of Belarus, included in 2000 in the UNESCO World Cultural and Natural Heritage List. On the territory of the complex there are the Mir Castle of the 16th – 20th centuries, the church-burial vault of the princes Svyatopolk-Mirsky, the watchman's house, the ruins of the palace of the last owners, an outhouse, a roadside chapel, an English landscape park with a pond, the remains of an Italian garden, earthen ramparts with bastions. The museum has 39 exposition and exhibition halls. Along with sightseeing and thematic excursions, theatrical ones are also provided, and the ceremony "Wedding in the Mir Castle" will make the happy day in your life unforgettable. Mir Castle is an object with a developed infrastructure: two conference rooms for holding high-level events, a hotel with 16 rooms, a restaurant of ancient cuisine, a souvenir shop with products of Belarusian craftsmen. Mir Castle Complex of XVI–XX centuries in a small town Mir is a historical and cultural value of national importance and UNESCO World Heritage. For the first time Мir was mentioned in 1434 when it becomes a private estate of Senko Gedygoldovich. According to his will in 1451 Mir passes to Anna Butrimovna, his foster daughter. In 1476 Anna gives Mir as possession for life to Senko’s wife Milokhna, and after her death – to her cousin Yury Ilinich, who started building the castle. The owner of Mir had strong reasons for erecting such a mighty fortification building. At the beginning of the 16th century Crimean Tatars attacked these lands more frequently. Unstable political situation was worsened by the hostility among the feudal groups inside the country. In particular, the Iliniches were in confrontation with a very powerful and influential prince Mikhail Glinsky. Nevertheless there was one more important reason for building the castle. Yury Ilinich aspired to get a title of a count of the Holy Roman Empire and one of the necessary conditions for this was having a stone castle. This was the first case when such a mighty fortress was built on the territory of the Grand Duchy of Lithuania by a private owner. At the first stage of construction five towers were erected. They were connected with walls whose thickness at the foundation was up to three meters. All the towers were planned as independent centers of resistance. They were erected in such a way that it was convenient to deliver flanking fire along the walls and to hit an approaching target. Each tower was about 25 meters in height and had five fighting storeys with loopholes and a complex system of inner passages. The builders used three-layer laying – the inner and outer parts of the walls were made of brick and huge stones and the space between them was filled with small stones and broken bricks. Although all the towers may seem to have the same construction, each of them has its own architectural peculiarities. The lower tetrahedral part of the towers becomes octahedral at different heights slightly losing in its size. The decoration of the towers’ fronts also varies. The owners of the castle – the Iliniches – didn’t manage to accomplish the construction. Their family died away within forty years. Shortly before his decease Yury Ilinich Junior, the grandson of the founder, bequeathed Mir County to his cousin Prince Mikolaj Krzysztof Radziwill nicknamed the Orphan. Over the next three centuries the castle was owned by the representatives of a powerful dynasty of the Radziwills. Having acquired the ownership rights for Mir County in 1569, Prince Mikolaj Krzysztof Radziwill nicknamed the Orphan decided to make the castle one of his residences. At his behest three-storey living palaces were erected along the northern and eastern walls of the castle, the three adjacent towers were rebuilt and a barbican at the Entrance tower appeared. Earth mounds with bastions at the angles were raised around the castle. A fosse filled with water was dug behind the earth mounds. At the end of the 16th century the bastion fortifications lost their importance. The reasons why Mikolaj Krzysztof Radziwill decided to stop further modernization of Mir Castle are still unknown. After the construction of a mighty castle in Nesvizh at the end of the 16th – beginning of the 17th centuries the princely residence moved there. Mir Castle became something like a country seat. The walls of the palace and towers were plastered and painted pink. The window and door portals were made from grey sandstone imported from Galicia. The basement and the ground floor of the palace incorporated housekeeping facilities and storerooms; the administration of Mir County, a municipal court and a clerical office were located on the first floor, the second floor was intended for the owners whose living accommodation was situated there. At the beginning of the 17th century an Italian garden was laid out near the castle. After these massive transformations the castle had seen a peaceful lifetime which was broken off by a war between the Polish-Lithuanian Commonwealth and the Tsardom of Muscovy. In 1655 Mir Castle was ravaged by Cossacks of Ivan Zolotorenro and Russian troops of voivode Aleksey Trubetskoy. The castle fell into oblivion for around 30 years. And it wasn’t until 1680 that Katarzyna (Ekaterina) Radziwill from the Sobiesky family initiated restoration works in Mir Castle after her husband Mikhail Kazimierz had died. But the Great Northern War of 1700–1721 suspended her undertakings for many years. In April 1706 Mir was invaded by the troops of Charles XII. The whole township with the castle was on fire, everything that had been restored was destroyed. The castle regained its former grandeur thanks to a new owner – Prince Mikhail Kazimierz Radziwill nicknamed the Rybonka. The chambers of the fourth princely floor were replanned. The rooms of a similar layout, predominantly of a square type, were replaced by a suite of halls of different sizes. For this purpose the internal partitions were rearranged, the stairs line was changed. The Stateroom as well as the Portrait and Dance Halls were decorated with oak parquet floors, gilded ceilings, superb furniture, tapestry, paintings, chinaware and delftware. A lot of valuable and refined objects were produced at the Radziwills’ manufactories. In 1891 Mir estate and the castle were purchased by a Cossack chieftain of the Don Troops, Prince Nikolay Svyatopolk-Mirsky. Apparently, the prince was attracted by the name of the estate. When he came to Mir he immediately got down to work with great enthusiasm. An alcohol plant and a two-storey palace, which became the main composition center of the palatial and park complex, were built opposite the castle. A water reservoir with islands was made in front of the new palace instead of five ponds and a cut down garden. In 1922 Nikolay’s son Mikhail started to restore Mir Castle. The works had lasted for 16 years. During this period a part of the Eastern palace and two southern towers were restored. During the Great Patriotic War from May to August 1942 the castle served as a ghetto where Hitler’s forces imprisoned around 800 local Jews. In summer the prisoners organized a resistance group. On August 9, 1942 over 250 Jews managed to escape. Three days later those who stayed in ghetto were shot by fascists in the forest not far from Mir. After the liberation of Belarus in July 1944 dwellers of Mir whose houses had been ruined found refuge in the castle. The last family moved out from the castle in 1962. The restoration works in Mir Castle began only in 1983. In 2000 it was listed by UNESCO as a World Heritage Site. On December 16, 2010 an official opening of Mir Castle took place.

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Schönbrunn Palace was the main summer residence of the Habsburg rulers, located in Hietzing, Vienna. The name Schönbrunn (meaning “beautiful spring”) has its roots in an artesian well from which water was consumed by the court. The 1,441-room Rococo palace is one of the most important architectural, cultural, and historic monuments in the country. The history of the palace and its vast gardens spans over 300 years, reflecting the changing tastes, interests, and aspirations of successive Habsburg monarchs. It has been a major tourist attraction since the mid-1950s. In 1569, Holy Roman Emperor Maximilian II purchased a large floodplain of the Wien river beneath a hill, situated between Meidling and Hietzing. The former owner, in 1548, had erected a mansion called Katterburg. The emperor ordered the area to be fenced and put game there such as pheasants, ducks, deer and boar, in order for it to serve as the court's recreational hunting ground. In a small separate part of the area, “exotic” birds such as turkeys and peafowl were kept. Fishponds were also built. Das kaiserliche Lustschloß Schönbrunn, Ehrenhofseite by Bernardo Bellotto, 1759-1760 During the next century, the area was used as a hunting and recreation ground. Eleonora Gonzaga, who loved hunting, spent much time there and was bequeathed the area as her widow's residence after the death of her husband, Ferdinand II. From 1638 to 1643, she added a palace to the Katterburg mansion, while in 1642 came the first mention of the name “Schönbrunn” on an invoice. The origins of the Schönbrunn orangery seem to go back to Eleonora Gonzaga as well. The Schönbrunn Palace in its present form was built and remodelled during the 1740–50s during the reign of empress Maria Theresa who received the estate as a wedding gift. Franz I commissioned the redecoration of the palace exterior in the neoclassical style as it appears today. Franz Joseph, the longest-reigning emperor of Austria, was born at Schönbrunn and spent a great deal of his life there. He died there, at the age of 86, on 21 November 1916. Following the downfall of the Habsburg monarchy in November 1918, the palace became the property of the newly founded Austrian Republic and was preserved as a museum. After World War II and during the Allied Occupation of Austria (1945—55), Schönbrunn Palace was requisitioned to provide office space for both the British Delegation to the Allied Commission for Austria, and for the headquarters for the small British Military Garrison present in Vienna. With the reestablishment of the Austrian republic in 1955, the palace once again became a museum. It is still sometimes used for important events such as the meeting between U.S. president John F. Kennedy and Soviet premier Nikita Khrushchev in 1961. Since 1992 the palace and gardens have been owned and administered by the Schloss Schönbrunn Kultur-und Betriebsges.m.b.H., a limited-liability company wholly owned by the Republic of Austria. The company conducts preservation and restoration of all palace properties without state subsidies. UNESCO catalogued Schönbrunn Palace on the World Heritage List in 1996, together with its gardens, as a remarkable Baroque ensemble and example of synthesis of the arts.

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Palazzo Salis é rimasto attraverso i secoli sempre di proprietà dei Conti Sertoli Salis. Si sviluppa su una struttura che presenta una facciata di stile tardo-cinquecentesco, fiancheggiata da due torri, con un portale centrale barocco realizzato su disegno del Vignola. La lunga e complessa storia dei Salis prosegue come Conti Sertoli Salis a partire dal 1800, quando il Conte Ing. Ulisse Salis, eroe del Risorgimento, e sua moglie Teresa Calvi, ebbero una sola figlia femmina, Rita. Con la contessa Rita Salis, sposata al patrizio sondriese Don Francesco Sertoli di Sondrio, prosegue la storia dei Conti Sertoli Salis, con i 3 figli di Rita e Francesco, ovvero Cesare (primogenito Conte), Pietro (padre dello storico N.H. Dott.Renzo Sertoli Salis) e Ulisse. Quest’ultimo, nobiluomo avvocato, fu un illuminato pioniere dei viaggi intorno al mondo degli inizi del '900, lasciando in eredità alla famiglia splendidi album di scatti unici, che hanno dato vita alla mostra fotografica “I viaggi dello Zio Ulisse”. Dal Conte Cesare discendono in linea diretta i nipoti Cesare Virgilio, illuminato imprenditore scomparso prematuramente nel febbraio del 2005 a soli 52 anni, e Francesco, attuale e principale proprietario del palazzo. Oggi palazzo Salis di Tirano si colloca come una delle mete culturali e turistiche di maggior interesse di tutta la Valtellina, visitabile tutto l’anno con visite guidate per piccoli e grandi gruppi. E' una meta di visita ideale per le scuole e gli amanti della storia ed architettura del 600 e 700, ma anche per gli appassionati della natura, dello sport e dell’enogastronomia valtellinese, per un completamento di grande soddisfazione del loro week-end o della settimana di vacanza. Palazzo Salis has remained through the centuries always owned by the Conti Sertoli Salis. It develops on a structure with a late-fifteenth-century façade, flanked by two towers, with a central baroque portal built on the design of the Artchitect 'Vignola'. The long and complex history of the Salis family continues as “Conti (Counts) Sertoli Salis” in 1800, with the Count Engineer Ulisse Salis, hero of the “Risorgimento”, becoming father of a girl, Rita. Countess Rita married a nobleman Francesco Sertoli and received a special permission to continue the family line as Counts Sertoli Salis. 3 sons were born, Cesare (grandfather of the present owners of Palazzo Salis in Tirano), Pietro and Ulisse. The youngest son Ulisse became a lawyer and enjoyed travelling around the world beginning of 1900, thus leaving beautiful pictures of a fascinating and, sad to say, almost disappeared world. From Count Cesare derives in direct line the two nephews, Cesare, admired Entrepreneur that died in 2005 at the age of only 53, and his younger brother Francesco, present main owner of the Palazzo. Today Palazzo Salis represents one of the most important and attractive cultural and turistic destinations of the region and can be visited by groups all over the year. Perfectly responding to those looking for a cultural trip, like schools and historical experts, or lovers of the splendid architecture of the 17th and 18th century, the visit will lead you through 500 years of history and splendid decorated rooms.

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1962 Ivo Dotto costruisce per hobby il primo trenino su rotaia azionato da motore. Il fascino e il successo di tale trenino sono confermati dai sempre più numerosi bambini che ogni giorno si fermano col naso incollato al recinto per vederlo in movimento, speranzosi di poter fare un giretto. Nasce il primo trenino su pneumatici. Il 1966 rappresenta una svolta molto importante nella tradizione dei trenini, fino ad allora concepiti soltanto su rotaia. “Liberare” il trenino dal vincolo del binario significò rendere versatile un mezzo di trasporto che da quel momento venne utilizzato per gli scopi più diversi. Nasce il primo trenino su pneumatici per il trasporto di adulti. Quello che era nato come un'attrazione per bambini diviene ora un mezzo di trasporto all'interno dei parchi e non solo. I treni Dotto ben presto iniziano ad essere venduti anche al di fuori dei confini nazionali. Nasce il primo treno elettrico L’attenzione per l’ecologia e l’ambiente ha portato DOTTO TRAINS a realizzare la linea Muson River in versione elettrica, per riscoprire l’emozione di viaggiare a contatto con la natura, gustando la varietà dei paesaggi che ci circondano. Il treno TM970, dal design aerodinamico è adatto anche alle città più moderne. Per soddisfare mercati sempre più esigenti, DOTTO TRAINS progetta e realizza modelli sempre più evoluti e sofisticati tecnologicamente, capaci di circolare in qualsiasi tipologia di ambiente. Nuova linea di treni: Funny Trains Sono treni molto colorati, dal simpatico design che sembrano usciti dai fumetti. Questa linea è stata studiata principalmente per i parchi divertimento, ma ben si adattano anche in villaggi turistici e Resort. I treni elettrici Dotto nel rispetto dell'ambiente. Nasce Dottobus, ecologico per natura. L’attenzione per l’ecologia e l’ambiente che da sempre contraddistingue la filosofia aziendale di DOTTO TRAINS, ha portato alla realizzazione di diverse linee di treni elettrici, senza rinunciare alla consueta affidabilità, manegevolezza ed efficienza che contraddistinguono DOTTO TRAINS. Dottobus Enclosed Euro 6 Shuttle bus dal design moderno, con motore Euro 6 a basse emissioni, può essere decorato con grafica personalizzata. Ben si presta come transfer aeroportuale e come bus urbano. Dotato di riscaldamento e aria condizionata, è ideale sia nelle località con clima rigido che torrido. Dottobus Enclosed in versione elettrica Shuttle bus elettrico dal design moderno, ecologico al 100%, può essere decorato con grafica personalizzata. Ben si presta come transfer aereoportuale e come bus urbano. Dotato di riscaldamento e aria condizionata, è ideale sia nelle località con clima rigido che torrido. BIG BOY La nuova locomotiva made in Dotto La nuova potente locomotiva 4x4 con motore Turbo Diesel Euro VI è in grado di affrontare percorsi in salita fino ad ora ritenuti inacessibili, con pendenze anche del 25%. In 1962 Ivo Dotto built the first engine driven train on rails as a hobby. The allure and success of this little train were proved by the increasing number of children who stopped and glued their noses to the fence every day to watch it in action, ever hopeful that they might be lucky enough to have a ride. he first road train was launched 1966 marked a very important turning point in the history of these small trains, which had only run on rails until now. “Freeing” the train from its tracks transformed it into a completely versatile means of transport that could now be used for an amazingly wide range of different purposes. The first road train for adults was launched. What initially began as a children’s attraction now became a means of transport used in parks and many other places. It wasn't long before Dotto trains began to be sold outside of Italy as well. The first electric train was launched Understanding the importance of environmental awareness and protection led DOTTO TRAINS to build an electric version of the Muson River line so you can rediscover the thrill of travelling through the countryside while savouring the rich and varied landscapes around us. The TM970 is launched, a train with an aerodynamic design also perfect for modern cities. Over the last years DOTTO TRAINS has designed and built more advanced and technologically sophisticated models, that suit every type of setting, meeting the needs of increasingly demanding markets. A new line: Funny Trains The brightly coloured trains with fun, appealing designs that look just like cartoon characters. This line was primarily designed for amusement parks but Funny Trains are also ideal for holiday villages and resorts. Dotto's eco-friendly electric trains. The new Dottobus. Eco-friendly by nature. Environmental awareness and protection has always been a key part of the DOTTO TRAINS philosophy and this led to the creation of different lines of electric trains that maintained the same reliability, easy handling and efficiency for which DOTTO TRAINS is renowned. The first Dottobus Enclosed Euro 6 was launched. The Euro 6 low emission shuttle bus, with a modern design, can be decorated with customized graphics. It is suitable as an airport shuttle and city bus. Fitted with heating and air conditioning, it is ideal for places with cold or hot climates. Dottobus Enclosed electric model The 100% eco-friendly electric shuttle bus with a modern design can be decorated with customized graphics. It is suitable as an airport shuttle and city bus. Fitted with heating and air conditioning, it is ideal for places with cold or hot climates. BIG BOY The new locomotive made in Dotto. The new powerfull 4x4 locomotive, with Euro VI Turbo Diesel engine, will be able to climb slopes of even 25% getting to peak never thinked before.

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Tra il 1760 e il 1763 il conte Vittorio Amedeo Costa di Carrù e Trinità, che fu governatore di Novara e poi vicerè di Sardegna, dava incarico all’architetto Birago di Borgaro per la costruzione del suo palazzo affacciato su via San Francesco da Paola. Al palazzo venne successivamente annesso il complesso detto “delle Cascine”, frutto di acquisti di case da reddito che si affacciavano sulle attuali vie Giolitti e Accademia Albertina. Nel 1837 nella proprietà delle Cascine venne a collocarsi il Ricovero delle figlie della Misericordia, istituzione assistenziale fondata in connessione con le Dame della Carità di san Vincenzo de’ Paoli, da Luigia Alfieri che ne affidò il funzionamento alle Figlie della Carità; l’opera venne proseguita dopo la sua morte da Luisa Costa, moglie di Cesare Alfieri, e da Costanza Alfieri marchesa Tapparelli d’Azeglio. Nel 1882 moriva la contessa Costanza Luserna di Rorà, vedova del conte Costa di Carrù e Trinità, che a sua volta aveva fondato il “Ritiro Carrù” e che con testamento segreto lasciava precise disposizioni sull’utilizzo del palazzo di via Accademia. Nel 1882 il conte Carlo Alfieri affidò, in accordo con Paolo Costa della Trinità, l’amministrazione provvisoria del Ritiro Alfieri, al quale era di fatto unito il Ritiro Carrù, all’ing. Melchiorre Pulciano. A questi il conte Costa dà incarico, tra il 1892 e il 1896, per «opere di sistemazione del fabbricato». Nel 1896 avvenne la fusione ufficiale dei due ritiri in un unico Istituto che funzionava come educandato per fanciulle cattoliche di non agiata condizione. Negli anni della seconda Guerra mondiale l’edificio ospitò altre istituzioni, come l’Educatorio della Provvidenza e un ospedale del Sovrano Militare Ordine di Malta provvisto di ambulatorio medico chirurgico e pediatrico. Subì gravi danni alle coperture e all’ultimo piano che furono interamente rifatti. Nella seconda metà del secolo scorso l’Istituto fu trasformato in convitto femminile con 75 posti letto sostituendo le originarie camerate in camere a due letti. All’inizio del 2003 venne elaborato un progetto di ristrutturazione e restauro conservativo che venne sottoposto alla Compagnia di San Paolo e alla Fondazione CRT che si fecero carico dei lavori di ristrutturazione. Between 1760 and 1763, Count Vittorio Amedeo Costa di Carrù e Trinità, who was governor of Novara and then viceroy of Sardinia, commissioned the architect Birago di Borgaro to build his palace overlooking via San Francesco da Paola. The complex called “delle Cascine” was subsequently annexed to the palace, the result of the purchase of income-generating houses that overlooked the current via Giolitti and Accademia Albertina. In 1837 on the property of the Cascine the Shelter of the Daughters of Mercy was placed, a welfare institution founded in connection with the Ladies of Charity of St. Vincent de 'Paoli, by Luigia Alfieri who entrusted its operation to the Daughters of Charity; the work was continued after his death by Luisa Costa, wife of Cesare Alfieri, and by Costanza Alfieri marquise Tapparelli d'Azeglio. In 1882 Countess Costanza Luserna di Rorà died, widow of Count Costa di Carrù and Trinità, who in turn had founded the “Carrù Retreat” and who with a secret will left precise provisions on the use of the building in Via Accademia. In 1882 Count Carlo Alfieri entrusted, in agreement with Paolo Costa della Trinità, the provisional administration of the Retiro Alfieri, to which the Retiro Carrù was in fact joined, to Eng. Melchiorre Pulciano. To these Count Costa gave assignment, between 1892 and 1896, for "works to refurbish the building". In 1896, the two retreats were officially merged into a single institute that functioned as a boarding school for Catholic girls of not well-off conditions. In the years of the Second World War the building housed other institutions, such as the Educatory of Providence and a hospital of the Sovereign Military Order of Malta equipped with a medical, surgical and pediatric clinic. It suffered serious damage to the roofs and the top floor which were entirely redone. In the second half of the last century, the Institute was transformed into a boarding school with 75 beds, replacing the original dormitories with two-bed rooms. At the beginning of 2003 a renovation and conservative restoration project was elaborated which was submitted to the Compagnia di San Paolo and to the CRT Foundation which took charge of the renovation works.

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Francesca Guicciardini nasce a Firenze nel 1978 da una storica famiglia fiorentina, qui studia presso l’istituto d’arte di Porta Romana, seguendo lezioni di decorazione e grafica. Durante questi anni inizia a sperimentare la pittura murale, prima direttamente sui muri di casa propria, poi per piccoli committenti fiorentini. Nel 1997 si diploma e si rasferisce a Roma, dove inizia a studiare computer grafica, alternando gli studi a decorazioni per committenze in giro per l’Italia. Lavora per un paio d'anni come grafica per l’artista romani Matteo Basilè, segue un corso di montaggio video presso Cinecittà per realizzare documentari durante i suoi lunghi viaggi nel sud del mondo, dove si porta sempre dietro l’occorrente per realizzare gli acquarelli che ispirano i suoi lavori di decorazione. Dal 1999 ad oggi ha decorato svariati muri, ville, casali e locali pubblici in giro per il mondo, specializzata nella decorazione “classica” (molto in voga nelle ville toscane del xix secolo), Francesca ha saputo coniugare gli studi di grafica, all’arte orientale conosciuta durante i viaggi in Asia, senza dimenticare il Rinascimento fiorentino che l’ha circondata e ispirata durante la sua formazione artistica. As a young girl, raised in one of the oldest Florentine families, Francesca began by painting the walls of her mother's home, and it was while still at the Art Institute that she began to receive her first commissions. Over the years, she has applied her talent as an artist and eye for design to walls all around Italy. She always prefers to work closely with her commissioner and since her days as a young student, she has painted Florentine apartments, ancient Roman villas, Tuscan country homes, and public spaces. After her studies, she moved to Rome, where her talent was nurtured by her work for the Roman artist Matteo Basilè. At the same time she was also specializing in graphic design and editing, and it was her capacity in her studies that bought her to Cinecitta' where she directed small documentaries based on her voyages around the world. Francesca's passion for travel has bought her to some of the most remote and beautiful places in the world. Her travels could last up to a whole year if she felt inspired. The result of these travels has been an extraordinary collection and study of the various decorative themes and ornaments she encountered along the way. Today Francesca specializes in combining the knowledge she has acquired over the years, and during her travels, to work on some of the most important walls in Europe. Her main passion remains classical decoration, a reminder of the Italian Renaissance that surrounded her most of her life, but her originality comes from joining this innate passion with her knowledge as a designer and avid traveler.

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El Hostal de los Reyes Católicos es un edificio que fue construido en el año 1492. En 1501, este edificio fue destinado por los Reyes Católicos para atender a los enfermos y peregrinos del divino Xacobe, según se puede leer en la inscripción latina que recorre el friso superior de la portada. El proyecto de las obras se debe al arquitecto real Enrique Egas. Delante de la fachada se puede ver una fuerte cadena del siglo XVI sostenida por pilares esmeradamente tallados que delimita la propiedad del hospital y que tiene su origen en las disputas de propiedad entre el Ayuntamiento y las autoridades del hospital. Cuenta con una hermosa portada plateresca, obra de los maestros franceses Martín de Blas y Guillén de Colás. En las pilastras de esta portada podemos ver de abajo arriba, las figuras de Adán, Santa Catalina y San Juan Bautista en la izquierda y las de Eva, Santa Lucía y María Magdalena en la derecha. En el friso de la puerta, estructurada a modo de arco triunfal romano, aparecen alineadas las figuras de los doce apóstoles. En las pechinas sobre el arco se pueden ver los medallones que recogen los bustos de los reyes Isabel y Fernando. Sobre el friso, en el cuerpo superior se abre la ventana del Aposento Real, reservado para hospedar a los monarcas cuando acudieran a Compostela, esta parte se encuentra bordeada por las imágenes de Cristo, la Virgen, Santiago, San Juan Evangelista, San Pedro y San Pablo. Dos grandes escudos, con las armas de Castilla flanquean así mismo, la portada. Recorriendo todo el frente del edificio vemos los balcones diseñados por fray Tomás Alonso, apoyados en ménsulas muy trabajadas que representan figuras fantasiosas. La cornisa se decora con una minuciosa cadena en la que sobresalen grotescas y obscenas gárgolas. El espacio interior está estructurado en una planta rectangular con cuatro patios. El más artístico de estos patios es el que se encuentra de primero al entrar del lado izquierdo, en el que destaca sobre todo, la puerta que conduce a la antigua sala de San Luis. El interior del Hostal alberga una hermosa capilla ojival, declarada Monumento Nacional en 1912. La parte más interesante de esta capilla de planta de cruz latina, situada entre los cuatro patios, es el crucero al que se accede a través de un enrejado de hierro de hermosa factura, obra del cerrajero francés Guillén. La bóveda del crucero, confeccionada en piedra litográfica de Coimbra, es de una bellísima filigrana.

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La Catedral de Santiago de Compostela es una construcción medieval que se encuentra ubicada en la capital de Galicia, Santiago de Compostela, al noreste de España. Esta construcción fue iniciada en el año 1075, bajo el reinado de Alfonso VI y promovida por el obispo Diego Peláez. Inicialmente, el edificio contaba con tres naves y una planta de cruz latina, que abarcaba una superficie de 8.300 metros cuadrados. Aunque la estructura medieval se ha mantenido en lo fundamental, a lo largo de los siglos la Catedral ha ido variando su fisonomía con construcciones como la del Claustro y sus espacios anejos durante el Renacimiento. Así como la construcción de la capilla mayor, los órganos, el cierre de la cabecera o la fachada del Obradoiro, entre otras importantes actuaciones que se realizaron durante la época del Barroco. Durante el Neoclasicismo se realizó la nueva fachada de la Azabachería y en los últimos cien años se han seguido realizando diversas actuaciones. Por esta razón, hoy en día la edificación reúne diversos estilos arquitectónicos tales como el románico, el gótico, el barroco, el plateresco y el neoclásico. La entrada principal es conocida como el Pórtico de la Gloria y fue construida por el Maestro Mateo en el 1188. En ella se albergan dos centenares de figuras alusivas al Apocalipsis, dentro de las cuales destaca la figura del Apóstol Santiago que parece dar la bienvenida a los peregrinos. La fachada del Obradoiro de la Catedral es obra de Fernando de Casas y Novoa, y está considerada como una de las expresiones máximas del barroco español. El Altar Mayor es de estilo barroco, debajo del cual se encuentra la cripta del Apóstol Santiago. La catedral de Santiago de Compostela se ha convertido en un atractivo turístico y religioso ya que es el final del viaje de los peregrinos que deciden realizar el “Camino de Santiago”, recorrido que parte desde distintos lugares de Europa. Este trayecto, es conocido como el Primer Itinerario Cultural Europeo y Patrimonio de la Humanidad, y es una de las más antiguas y principales vías de peregrinación de la cristiandad. Desde el descubrimiento del sepulcro del Apóstol Santiago, innumerables peregrinos se han puesto en camino hacia la Catedral de Santiago de Compostela, para venerar sus reliquias, conformando así toda una cultura jacobea a lo largo de Europa. Como atractivo turístico, también se encuentra el Museo Catedral de Santiago que le permite a los visitantes profundizar su conocimiento en la historia y el arte de la Catedral, a través de sus diferentes espacios y las exposiciones temporales que se organizan con regularidad.

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En 1900, cuando se inició la construcción del Park Güell, Barcelona era una metrópolis moderna y cosmopolita que basaba su economía en la potencia de su industria y que superaba el medio millón de habitantes. Ya hacía casi medio siglo que se habían derribado sus murallas y la ciudad nueva, el Ensanche proyectado por el ingeniero Ildefons Cerdà, había crecido de manera espectacular a partir de 1860. Fue la mayor operación urbanística del siglo XIX en Europa. Eusebi Güell encargó a Gaudí el proyecto de hacer una urbanización para familias acomodadas en una gran finca que había adquirido en la zona conocida popularmente como la Montaña Pelada. Su situación era inmejorable, en un entorno saludable y con unas espléndidas vistas del mar y la llanura de Barcelona. En la urbanización se preveían unas 60 parcelas con forma triangular, con una compleja red de caminos, viaductos y escaleras que salvaban la topografía del terreno. Güell quería recrear los parques residenciales británicos y por ese motivo lo llamó Park Güell, en inglés. Gaudí respetó la vegetación existente en la antigua finca, como los algarrobos y los olivos. En cuanto a la introducción de nuevas especies, optó por plantas mediterráneas con baja demanda de agua. Asimismo, ideó diversos sistemas de captación y almacenamiento de agua a partir de los sistemas de riego que conocía del entorno rural de su niñez. De esa manera, tanto la vegetación como la gestión de los recursos hídricos contribuían a evitar la erosión del terreno ocasionada por las torrenciales lluvias mediterráneas, al tiempo que ayudaban a cubrir las necesidades de agua de los habitantes de la urbanización. Las complejas condiciones de la venta de las parcelas, mediante antiguos contratos enfitéuticos, la falta de un transporte adecuado y el carácter muy exclusivo de la urbanización la hicieron inviable. A falta de compradores, las obras se abandonaron en 1914. Solo se habían construido dos de las 60 casas previstas. El parque se convertía así en un gran jardín privado, que Güell cedía para actos públicos, mientras empezaba a aparecer en las guías turísticas de Barcelona como uno de los puntos de atracción de la ciudad. Eusebi Güell murió en su casa del Park Güell en 1918, y sus herederos ofrecieron al parque al Ayuntamiento, que acordó su compra en el pleno municipal celebrado el 26 de mayo de 1922. En 1926 se abrió como parque municipal. La casa de la familia Güell se habilitó como escuela pública, que adoptó el nombre del pedagogo catalán Baldiri Reixac, y la zona situada a la izquierda de la entrada se destinó a vivero de flores ornamentales para el Ayuntamiento. El Park Güell se convirtió así en un parque público muy apreciado por los barceloneses y en un importante foco de atracción de visitantes. Fue reconocido como monumento artístico en 1969 y fue declarado Patrimonio Cultural de la Humanidad por la UNESCO en 1984.

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Casa Batlló se sitúa en el número 43 de Paseo de Gracia, una calle que antiguamente unía la ciudad con la Villa de Gracia, hoy plenamente integrada como barrio de la ciudad. Originalmente, el edificio fue construido en 1877 por Emilio Sala Cortés (uno de los profesores de arquitectura de Gaudí), cuando en Barcelona todavía no había luz eléctrica. En 1903 lo adquirió D. Josep Batlló y Casanovas, un industrial textil propietario de varias fábricas en Barcelona y destacado hombre de negocios. D. Josep Batlló concedió total libertad creativa a Antoni Gaudí, encargándole unas obras que en principio consistían en derribar el edificio. Sin embargo, gracias la audacia de Gaudí, se descartó el derrumbe de la Casa, llevando a cabo una reforma integral entre 1904 y 1906. El arquitecto cambió completamente la fachada, redistribuyendo la tabiquería interior, ampliando el patio de luces y haciendo de su interior una auténtica obra de arte. Además de su valor artístico, la obra reviste una enorme funcionalidad, más propia de nuestro tiempo que del pasado. Incluso hay quien ve en ella elementos precursores de las vanguardias arquitectónicas de finales del s. XX. La Casa Batlló dejó de pertenecer a la familia Batlló en la década de los 50. Tras acoger diferentes empresas y particulares, desde la década de los 90 el edificio está en manos de los actuales propietarios, la familia Bernat, quien ha restaurado íntegramente la casa. En 1995 la familia abre la casa a la sociedad y presenta esta joya arquitectónica al mundo, ofreciendo el espacio para eventos. A partir de 2002, coincidiendo con el Año Internacional Gaudí, Casa Batlló acoge también visitas culturales. Ambas actividades se desarrollan en la actualidad innovando constantemente en su oferta y contenidos. Actualmente, Casa Batlló es Patrimonio Mundial de la UNESCO y un icono de Barcelona, una parada imprescindible para conocer la obra de Gaudí y el modernismo en su máxima expresión. También es uno de los atractivos culturales y turísticos mejor valorados, acogiendo a 1 millón de visitantes al año.

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SUV

Creatività, stile, sperimentazione e innovazione convivono con tutti gli elementi della tradizione nelle perle della ditta S.U.V. fondata nel centro storico di Venezia durante gli anni ‘40 da Umberto Scognamiglio, consolidata dal genero Oscar Sito, il cui figlio Salvatore ne è oggi titolare assieme alla moglie Antonella. Nello storico laboratorio artigianale si respira ancora l’aria dell’autenticità dei prodotti, manufatti artistici di esperti perleri in cui il vetro si mescola e si confonde ad altri materiali preziosi. La lavorazione adottata dal laboratorio è principalmente “a lume”, una tecnica che permette di modellare una canna vitrea facendo raggiungere al vetro una temperatura tale da renderlo “morbido” e quindi modellabile. Con tale tecnica si creano innumerevoli nuances di colore, mescolando a caldo canne differenti e personalizzando ogni singolo pezzo con decori realizzati con finissime vette colorate, fuse sull’elemento di base, o mediante l’accorpamento ad esso di murrine, graniglia in vetro, foglie d’oro o d’argento. Oltre all'attività artigianale di lavorazione a lume, questi artigiani conservano un enorme archivio di perle e usano proprio il vetro storico per le loro creazioni, anche eseguite su misura, perché ne hanno una quantità infinita. Creativity, style, experimentation and innovation coexist with all the elements of tradition in the pearls of the SUV company founded in the historic center of Venice during the 1940s by Umberto Scognamiglio, consolidated by his son-in-law Oscar Sito, whose son Salvatore is today the owner together with wife Antonella. In the historic artisan workshop you can still breathe the air of the authenticity of the products, artistic artifacts by perleri experts in which glass mixes and merges with other precious materials. The process adopted by the laboratory is mainly "lamp-based", a technique that allows you to model a glass rod by making the glass reach a temperature that makes it "soft" and therefore modelable. With this technique, countless shades of color are created, by hot mixing different rods and personalizing each single piece with decorations made with very fine colored peaks, fused on the base element, or by combining it with murrine, glass grit, gold or silver leaves. In addition to the artisan activity of lampworking, these artisans keep an enormous archive of pearls and use historical glass for their creations, even made to measure, because they have an infinite quantity of them. If you are looking for those big antique glass beads but also want to compose something unique of yours with an infinity of other glass objects, this is the right place for you! In addition to the artisan activity of lampworking, these artisans keep an enormous archive of pearls and use historical glass for their creations, even made to measure, because they have an infinite quantity of them. If you are looking for those big antique glass beads but also want to compose something unique of yours with an infinity of other glass objects, this is the right place for you! In addition to the artisan activity of lampworking, these artisans keep an enormous archive of pearls and use historical glass for their creations, even made to measure, because they have an infinite quantity of them.

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La Pedrera, también conocida como Casa Milà, es el edificio civil más emblemático de Antoni Gaudí, tanto por su innovación constructiva y funcional, como por las soluciones decorativas y ornamentales. Es un edificio Patrimonio Mundial de la UNESCO y también la última obra civil del arquitecto. La Pedrera es el único centro de interpretación de Gaudí en Barcelona, imprescindible para conocer la totalidad de la obra del arquitecto y su inspiración. En 1900 el Paseo de Gracia era la avenida más importante de la ciudad, donde se empezaron a construir edificios emblemáticos, se instalaron los mejores teatros y cines y las tiendas, restaurantes y cafeterías más exclusivas. Fue también donde los burgueses más adinerados y con más empuje decidieron edificar sus casas y, en una carrera de osadía y exhibicionismo, encargaron los proyectos a los arquitectos más prestigiosos del momento. En 1905 Pere Milà y Roser Segimon contraen matrimonio. Atraídos por la fama del Paseo de Gracia, compran una torre con jardín que ocupa una superficie de 1.835 metros cuadrados y le encargan al arquitecto Antoni Gaudí la construcción de su nueva residencia con la intención de ocupar el piso principal y alquilar el resto de las viviendas. Construida entre 1906 y 1912, el edificio se compone de una sucesión de muros de piedra en su exterior. Mientras, el interior consta de distintos patios pintados, columnas y diversas habitaciones. La fachada, ondulada, está abierta con grandes ventanales y balcones de hierro forjado. Por su parte, en la azotea se sitúan las chimeneas, verdaderas esculturas dignas de ser admiradas, desde donde se puede contemplar una vista espléndida sobre toda Barcelona. Después de muchos años de abandono, La Pedrera fue declarada Patrimonio Mundial de la UNESCO en 1984. En 1996, fue restaurada y abierta al público como centro cultural. Actualmente, desde enero de 2013, el edificio es la sede de la Fundación Catalunya La Pedrera y aloja un importante centro cultural de referencia en la ciudad de Barcelona por el conjunto de actividades que organiza y por los diferentes espacios museísticos y de uso público que aloja. Uno de los proyectos de la Fundación es “La Pedrera inédita”, que contribuye a ampliar el conocimiento de este edificio de más de 100 años de historia.

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As one of the country’s largest military installations, Charles Fort has been part of some of the most momentous events of Irish history. During the Williamite Wars, for example, it withstood a 13-day siege before it fell. Later, in the Civil War of the early 1920s, anti-Treaty forces on the retreat burned it out. Charles Fort is a massive star-shaped structure of the late seventeenth century, well-preserved despite its history. William Robinson, architect of the Royal Hospital in Kilmainham, Dublin, is credited with designing it. Its dimensions are awe-inspiring – some of the outer defences are 16 metres high. The view from the ramparts looking out over Kinsale Harbour is spectacular. The waterside location of Charles Fort is, without question, captivating. The ramparts and walks of the magnificent fortress provide for leisurely strolls – a great way to view the picturesque town of Kinsale and enjoy the fantastic scenery out to sea. Revel in the architectural magnificence of this star-shaped fortification, inspired by the French military engineer Vauban. Bastions, barracks, turrets and moats will transport you back to the seventeenth century, an era rocked by warfare and siege. Walk in the footsteps of the great military commanders associated with Charles Fort. Learn about the Williamite War and the bloody turbulence of 1690. Find out how, John Churchill, first Duke of Marlborough, laid siege to Charles Fort from high ground; and how the garrison held out for 13 days before finally surrendering to the Williamite forces. Charles Fort was a British Army barracks for 200 years. Visit our state-of-the-art multimedia exhibition centre and learn about the harsh realities of life in Charles Fort for the enlisted soldier. Find out about the day-to-day routines in the married soldier’s quarters and discover the austere experience of those who devoted their lives to duty and discipline. Listen to the haunting legend of the White Lady of Charles Fort, who is said to have hurled herself from the parapets on her wedding night after her new husband, Sir Trevor Ashurst, was shot dead for falling asleep at his watch post. The White Lady is reputed to walk the battlements of Charles Fort with the train of her ghostly wedding dress floating eerily behind her. Could you be the next person to catch a glimpse of her?

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No less a figure than St Brendan the Navigator was born in the Ardfert area in the sixth century. He founded a monastery there not long before embarking on his legendary voyage for the Island of Paradise. It was Brendan’s cult that inspired the three medieval churches that stand on the same site today. The earliest building is the cathedral, which was begun in the twelfth century. It boasts a magnificent thirteenth-century window and a spectacular row of nine lancets in the south wall. One of the two smaller churches is an excellent example of late Romanesque architecture. The other, Temple na Griffin, is named for a fascinating carving inside it – which depicts a griffin and a dragon conjoined. Anyone with a passion for architecture will find Ardfert Cathedral well worth a visit. Take a guided tour of the sublime cathedral building. As you explore, listen to exciting stories associated with St Brendan, who founded a monastery here in the sixth century. Find out all about Brendan’s legendary voyage in search of the Island of Paradise how he became known as ‘The Navigator’. On display in the transept are a selection of impressive stone effigies and carvings, as well as an ancient ogham stone. Observe the magnificence of the Romanesque West Door and remark on its parallels with Cormac’s Chapel on the Rock of Cashel. There are two smaller churches at Ardfert that you won’t want to miss. The Romanesque Temple na Hoe, adjacent to the cathedral, is an excellent example of late Romanesque architecture. See the fifteenth-century Temple na Griffin with its bell-cote which was removed in the seventeenth century and recently replaced.

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Ejmiadzin, which means the «The Descent of the Only Begotten Son» is an ancient capital of Armenia. According to legend, Jesus Christ descended from heaven and indicated the spot for a church to be built. Holy Ejmiatsin Cathedral was erected at that site in the 4th century (301-303), at the dawn of the Christian conversion of the country by King Trdat III and Saint Gregory the Illuminator. The Cathedral was built on top of the pagan temple of Vagharshapat, after it was destroyed by King Trdat. As you return to the cathedral on the northern face, you can see the different strata of construction, beginning with the main wall, which has blocks of stone from the original 301-303 AD edifice, inscribed in Greek, the language used before the adoption of the Mashtots Armenian Alphabet (ca. 405 AD). You can also see angled cornices in the upper wall, which show where the original roofline was. Armenia was the first country in the world to adopt Christianity as its state religion. Ejmiatsin is the residence of the Supreme Catholicos of all Armenians and the center of the Armenian Apostolic Church. Every seven years, the rite of blessing of holy chrism is held here; thousands of believers come to Ejmiatsin as pilgrims from different parts of the world for this ceremony. Hripsimeh Vank is located 2 kilometers east of Komitas Hraparak on Mashtots Poghots, and is the first stop by tourists visiting Ejmiatsin from Yerevan. Hripsimeh's martyrdom, as well as those of Gayaneh and 37 other Roman maidens precipitated King Trdat's madness and later conversion to Christianity. As such, Hripsimeh is often sited as the determining factor in the conversion of the nation. Trdat attempted to persuade Hripsimeh to marry him. However, Hripsimeh became more and more eloquent in her refusals, finally declaring she could not wed one when she was already promised to another. Furious, Trdat demanded to know her suitor. «Christ», was the reply, and in a rage Trdat had Hripsimeh and the rest of her entourage beheaded, their bodies buried in a common burial site. The original martyrion was built in the 4th century over Hripsimeh's burial site and was reconstructed in the 5th century as a two-story monument (a 5th-6th centuries picture of the monument can be found carved on the southeast stele at Odzun Vank in Northern Armenia). Visiting Ejmiatsin we can not neglect Astvatsatsin also called the «village» or «peasant» church. Astvatsatsin is in the heart of Ejmiatsin. It houses a beautiful Rococo style altar, the only of its kind in Armenia and hold one of the most elegant altars in Armenia, a work of Italianate art in itself. Ejmiatsin is the most popular destination in Armenia. In addition Ejmiatsin lies in the heart of Armenia's Cradle of Civilization, an area that gave birth to the first bronze and iron civilizations in the ancient world.

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El Castillo de Santa Bárbara se encuentra ubicado sobre el monte Benacantil, mole rocosa de 166 m. de altitud lindante con el mar, lo que le confería un enorme valor estratégico, ya que desde la misma se divisa toda la bahía de Alicante y sus alrededores terrestres. Llamada esta roca Banu-lQatil por el geógrafo musulmán Al-Idrisi (s. XII), hay historiadores que datan el origen del topónimo en las palabras "bena", transcripción al árabe de "pinna", peña en latín, y de "laqanti", adjetivo que proviene de "Laqant", Alicante para los árabes. En sus laderas se han encontrado restos arqueológicos de la Edad del Bronce, ibéricos y de la época romana, si bien el origen de la actual fortaleza hay que buscarlo a finales del siglo IX cuando la dominación musulmana. Adquiere este castillo el nombre de Santa Bárbara porque el día de su festividad, 4 de diciembre de 1248, la tomó a los árabes el infante Alfonso de Castilla, futuro rey Alfonso X el Sabio. En 1296 se posesiona de todo el recinto y para la corona de Aragón Jaime II, que ordena su remodelación. Casi un siglo después Pedro IV el Ceremonioso manda sea rectificado el recinto y el rey Carlos I ordenará su fortificación a comienzos del siglo XVI. Hasta el reinado de Felipe II no se produce la gran reforma del castillo, con la construcción de las dependencias que en su mayoría hoy contemplamos. Duraron las obras de 1562 a 1580, según proyectos de Juan Bautista Antonelli y Jorge Palearo "El Fratín". Los bombardeos que sufrió Alicante en 1691 por la escuadra francesa y las acciones bélicas llevadas a cabo contra el castillo durante el período 1706-1709, cuando la guerra de Sucesión, en que estuvo en poder de los ingleses, afectaron gravemente a todo el recinto que sufrió la última acción militar en 1873 cuando la fragata acorazada "Numancia", en manos de rebeldes cantonalistas de Cartagena, lanzó sus proyectiles sobre la población y su castillo, que sería desartillado veinte años después. Hasta 1963, en que fue abierto al público, estuvo en una situación de abandono. Fue en ese año cuando se inauguraron los dos ascensores que hacen un recorrido por dentro de la montaña de 142,70 metros y a los que se accede por un túnel de 204,83 m. de longitud que nace en la avenida de Jovellanos, frente a la playa del Postiguet. Se divide este castillo en tres recintos bien diferenciados. El primero de ellos es el más alto, se le conoce por "La torreta", al encontrarse en él la vieja Torre del Homenaje, y tiene los vestigios más antiguos de toda la fortaleza, unos basamentos de los siglos XI al XIII. En este recinto contemplamos, entre otros, el llamado Baluarte de los Ingleses, así como otras dependencias: Parque de Ingenieros, Sala Noble, que fuera hospital, Casa del Gobernador, etc. La explanada más elevada es conocida por "Macho del Castillo" y allí estuvo la antigua alcazaba. El recinto intermedio corresponde a las dependencias más importantes concluidas en 1580: Salón Felipe II, antiguo Cuerpo de la Tropa frente al amplio Patio de Armas a cuyas espaldas se hallan las ruinas de la ermita de Santa Bárbara, Cuerpo de Guardia, Baluarte de la Reina, entre otras. Del siglo XVIII data el recinto inferior donde encontramos el Revellín del Bon Repós, que hace actualmente las funciones de aparcamiento y en el que se ubica el monumento al ilustre militar alicantino Félix Berenguer de Marquina que fuera capitán general de Filipinas y virrey de Nuevo México. El gran escudo de mármol blanco (s. XVIII) que hay sobre la puerta de acceso al segundo recinto se hallaba en el Real Consulado del Mar, edificio destruido por una explosión.

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The Carnavalet-History of Paris Museum is the oldest City of Paris museum.It opened to the public on February 25, 1880, in the Carnavalet mansion (Hôtel Carnavalet) located in the Marais, a Paris district where the architectural heritage was particularly well-preserved. Since 1880, the museum has been substantially enlarged, with the construction of new buildings and the annexation of the Le Peletier de Sant-Fargeau mansion in 1989. The museum’s architecture now offers a history spanning more than 450 years. For over 150 years, the continuously enriched museum collections have told the story of Paris, from prehistory to the present. Located at 23 Rue de Sévigné, the Hôtel des Ligneris (known as “Carnavalet”) is one of the rare examples of Renaissance architecture in Paris, along with the Louvre’s Cour Carrée. Built in the mid-16th century (1548-1560) for Jacques des Ligneris, President of the Paris Parliament, it is one of the oldest Marais District private mansions in Paris. The mansion was sold in 1578 to Françoise de la Baume, wife of Chevalier Kernevenoy, who was called “Monsieur de Carnavalet”. This deformation of “Kernevenoy” became the established name. Starting in 1660, the celebrated architect François Mansart raised the mansion’s porch on what is now Rue de Sévigné and created two new wings. Madame de Sévigné, the writer, lived there from 1677 to 1694. Finally, following a suggestion by Prefect Haussmann during the major renovation of Paris (1853-1870), the mansion was purchased by the City of Paris in 1866 and made into the capital’s historical museum. An extension of the museum was immediately decided upon and included two-tiered galleries. The façades opening on the garden feature elements from demolished Parisian buildings: the Nazareth Arch from the 16th century, the Pavillon des Drapiers from the 17th century, and the Pavillon de Choiseul from the 18th century. Several sculptures have also been transplanted from their original site to the museum, such as the statue of King Louis XIV by Antoine Coysevox, the bas-relief of Henry IV by Lemaire (formerly found at Paris City Hall), and the statue of Victory by Louis-Simon Boizot (from Place du Châtelet). Inside, the exhibition pathway includes painted ceilings and sculpted panels, as well as decorative wood paneling from Parisian interiors. The Hôtel Le Peletier de Saint-Fargeau is located at 29 rue de Sévigné. It was built between 1688 and 1690 for Michel Le Peletier de Souzy (1640-1725), according to plans made by Pierre Bullet (1639-1716), Architect of the King and the City, and has a remarkable orangery. These buildings were annexed to the museum in 1989. This was also the time when Fouquet’s Jewelry Shop by Alphonse Mucha, the dining room of the Café de Paris by Henri Sauvage and the ballroom of the Wendel Mansion by José-Maria Sert were installed. In October 2016, the museum was closed to the public for a major renovation carried out by François Chatillon, Chief Architect for Historical Monuments. This major cultural heritage site has been justifiably protected as a Historical Monument since 1846 and has been included in the Marais Protection and Promotion Plan since 1965. Showcased in an exceptional historical setting and within the reach of all types of audiences, the Carnavalet-History of Paris Museum now opens again. With the growth of Paris, the idea of a museum dedicated to the history of the city became popular during the Second Empire (1852-1870). In 1866, the municipality acquired the Carnavalet mansion on the initiative of Seine Prefect Haussmann, perhaps as a way of compensating for the partial destruction of Paris. It was meant to house a new institution designed to document Paris, while paying particular attention to how the collections would be presented. Since the beginning, the museum has been dedicated to collecting authentic objects “having belonged to” a well-known person and with a strong individual and collective emotional resonance. The Carnavalet Museum features, among others, the campaign kit belonging to Napoleon I, mementos of the French royal family and the revolutionaries, Zola’s watch and the bedroom and personal affairs of Marcel Proust. Two pioneering missions that aimed to document the transformations of Paris also provide a solid framework for the museum. Supervision of diggings and demolitions thus added nearly 10,000 archeological items to the museum, while commissions for paintings or photographs of streets and neighborhoods have been included in the collections. Donations are the main means of acquisition. Since the museum’s creation, tens of thousands of donors have contributed to building and enriching the collections, currently divided among ten departments. The first donors (Jules Cousin, Théodore Vacquer and Alfred de Liesville) even worked for the Carnavalet Museum! Outstanding donations include Georges Clemenceau’s gift in 1896 of a painting that had belonged to his father. Entitled Declaration of the Rights of Man and of the Citizen, it is attributed to Jean-Jacques Le Barbier. In 1902, Empress Eugénie, the widow of Napoleon III, donated the crib designed for the Imperial Prince by Victor Baltard. Today the Carnavalet-History of Paris Museum contains over 618,000 items dating from prehistory to the present. Paintings, sculptures, scale models, shop signs, drawings, engravings, posters, medals and coins, historical objects and souvenirs, photographs, wood paneling, interior decorations and furniture combine to present the history and tell the unique story of the capital. The singular spirit of the site ensures a rich, emotion-filled experience.

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Esistono registri storici relativi al Castello Ruspoli, datando dal 847. All’epoca, si trattava di una rocca fortificata. Durante il pontificato di Leone IV (847–855) la rocca venne trasformata in convento destinato ai monaci Benedettini, così rimanendo fino al 1081. Dal 1169, il castello divenne oggetto di una lunga disputa tra la Chiesa e le famiglie Aldobrandini, Orsini e Borgia, che durò fino al XVI secolo. Nel 1531, Papa Clemente VII donò il castello a Beatrice Farnese Baglioni. La figlia di questa, Ortensia venne data in matrimonio ad Ercole Sforza Marescotti, per favori concessi a Papa Paolo III. Ortensia portava in dote il castello di Vignanello che, da allora, si chiamò Castello Marescotti. Il nome Ruspoli, antica famiglia fiorentina trasferita a Siena, venne incorporato a quello dei Marescotti nel 1704, a seguito del matrimonio dell’ultima ereditiera, Vittoria, con Sforza Vicino Marescotti. Ortensia Farnese trasformò la rocca in residenza pur mantenendo le caratteristiche architettoniche della fortezza. Il progetto fu dell’architetto Sangallo il Giovane e lo studio degli spazi esterni, tra cui la fontana centrale del giardino e l’ingresso originale, sono attribuiti a Jacopo Barozzi da Vignola. The first traces of Ruspoli Castle date back to 847, when the structure was first built on the cliff where it lies. When Leo IV was Pope (847-855), this structure was converted into a monastery for the Benedictine monks, and was used as such until 1081. In about 1169, the castle became the source of a long-standing dispute between the Church and the Aldobrandini, Orsini, and Borgia families, which continued until the 16th century. In 1531, Pope Clement VII gave the castle to Beatrice Farnese Baglioni. Her daughter, Ortensia, was betrothed to Ercole Sforza Marescotti by Pope Paul III Farnese and the Castle Vignanello, as it was called at that time, was part of her dowry. From that point on, it was referred to as Castle Marescotti. The name Ruspoli comes from an ancient Florentine family that moved to Siena and was united with the Marescotti family in 1704, when the family’s youngest heir, Vittoria, was given away in marriage to Sforza Vicino Marescotti. Ortensia Farnese converted the structure into a residence, while still maintaining the original characteristics of the cliff fortification. The state was designed by an architect named Sangallo il Giovane; however, the ideas for the exterior, including the garden, central fountain, and original entrance, are credited to Jacopo Barozzi da Vignola. The garden, considered one of the most important in Italy, was created in 1611. Marcantonio Marescotti (3rd Earl of Vignanello and Parrano) was married to Ottavia Orsini, daughter of Vicino Orsini, creator of the sacred garden of Bomarzo. She planned and supervised the creation of the Renaissance garden parterre of Castello Ruspoli. Thanks to the restoration and preservation promoted by the family, it is known in Europe as one of the most well preserved gardens of that time.

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The Musée Jacquemart-André has the finest private collection of art works in Paris, combined with the atmosphere of a large nineteenth-century residence. The Jacquemart-André Museum contains collections worthy of the greatest museums: works from the Italian Renaissance, works by great Flemish masters, French works from the 18th century. Built at the end of the nineteenth century in Haussmann’s new Paris by Edouard André and his wife Nélie Jacquemart, a couple of major collectors, this private mansion (hôtel particulier) enables visitors to discover genuine nineteenth-century rooms and temporary exhibitions that are international in scope. At the beginning of the nineteenth century, Dominique André, Edouard’s grandfather, moved to Paris and collaborated with François Cottier, who assisted him with the business of the Banque André. Both men decided that it would be a good idea to unite their families through the marriage of their children: Ernest André and Louise Mathilde Cottier. Edouard was the couple’s only child. At the age of eighteen, he was admitted to Saint-Cyr, from which he graduated as an officer in one of the elite corps responsible for Napoleon III’s protection. But, with his preference for the splendour of the Cour des Tuileries, he decided to leave his post. In 1864, he took up his father’s seat as a member of the National Assembly and lead a very Parisian life. In 1860, Napoléon III entrusted the Prefect, Haussmann, with the implementation of a vast urban planning programme that fundamentally altered the physiognomy of Paris: entire districts were razed to the ground and rectilinear axes were traced out from the periphery to the centre. Between 1869 and 1876, Henri Parent created a vast and beautiful building that was greatly inspired by classical models, with its perfectly symmetrical layout and the decorative elements on its facades. The building is set back from the Boulevard Haussmann, creating a break in the alignment that draws the eye. In 1876, the inauguration of the mansion was a major event: the invitees discovered the double spiral staircase, with its improbable equilibrium, and the sumptuousness of the materials. They praised this monumental building just as they had the foyer of the Opera House that Charles Garnier had just completed. In 1881, Edouard and Nélie got married, a marriage of convenience between two very different persons, as he was a Protestant Bonapartist, and she a Catholic living in a royalist milieu. Their union turned out to be a great success. They never had any children and devoted themselves entirely to their shared passion: their collection of works of art. One year after their marriage, Nélie decided to have her husband accompany her on a series of trips around Italy, which gave them a chance to visit auction houses and antique dealers. They also went on several trips to the Near East. During this time, they had furnishing and decorative work done on their mansion, in preparation for the installation of the works they bought. Edouard André passed away at the age of sixty, leaving his wife distraught. The pain of her loss was exacerbated by an entirely unexpected situation: a lawsuit filed by her husband’s family to recuperate his fortune. Edouard’s cousins had been careful, at the time of the marriage, to prepare a ‘separation of marital property’ contract, which would ensure that the family fortune could be recuperated. But, shortly before his death, Edouard drew up a will that bequeathed all of his property to his wife. Accused of misappropriating the heritage, she won the case. Nélie continued to add to the collections on her own. In 1902, she embarked on a trip around the world. She even travelled to the Indies. She was about to go to China and Japan, but when she learned that the royal Abbey of Chaalis was up for sale, she interrupted her travels and her dearest wish came true when she acquired the property. Nélie passed away on 15 May 1912. The mansion became the property of the Institut de France, through a legacy made by the owner several months earlier. In her will, she stated her wish that the collections be made available to the broadest possible public and exhibited to the crowds of visitors. A highly practical woman, Nélie Jacquemart had thought of every detail, going so far as to stipulate in her will the conditions of the Museum’s inauguration and the exact locations of each work. She asked the Institut de France, as her legatee, to respect these arrangements to the letter. On 8 December 1913, the Museum was inaugurated with great pomp and ceremony by the President of the Republic in person, Raymond Poincare. It was an immediate success, which echoed the fame of the Andrés. Eight hundred visitors attended the Museum the next day, and 1,700 the following Sunday. The Institut de France entrusted Culturespaces with promoting and running the heritage of the Museum, which reopened the same year. The company holds two major temporary exhibitions each year. Culturespaces produces and holds temporary exhibitions that are international in scope, with the support of major cultural institutions.

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Le Musée national Picasso-Paris a, depuis sa réouverture en 2014, axé une partie de son projet scientifique et culturel sur la création de réseaux de partenaires. Ces réseaux, d’ampleur internationale, visent d’une part, à renforcer les liens du musée avec les autres musées Picasso et musées de beaux-arts du XX siècle, et d’autre part, à mener des recherches approfondies autour de sujets liés à Pablo Picasso, à l’occasion notamment de projets d’exposition. À l’occasion du centième anniversaire du voyage de Picasso en Italie, le Musée national Picasso-Paris a lancé en 2017 « Picasso-Méditerranée », manifestation qui s’est développée selon cinq axes essentiels : scientifique avant tout, mais aussi patrimonial, contemporain, pluridisciplinaire et multiforme. Le projet a consisté à donner une impulsion scientifique et à fédérer autour d'une thématique commune, tissant ainsi un véritable réseau de recherches picassiennes. Le Musée national Picasso-Paris s’est mis à la disposition de soixante-dix institutions culturelles partenaires pour la construction des projets - prêt d'œuvres, gestion d'un site internet, communication visuelle et graphique de la manifestation – tout en permettant à chacun de garder sa singularité. À travers cette manifestation d’une envergure hors du commun, le musée a souhaité avant tout créer un réseau d’institutions culturelles, collaborant pour programmer une série exceptionnelle d’expositions. À cette fin, le musée a largement ouvert sa collection aux prêts, dans une volonté de faire voyager les œuvres de Picasso dans toute la Méditerranée, aire géographique si chère à l’artiste. Le rôle du musée a ainsi été avant tout celui d’un prêteur volontaire, dans une politique dynamique de diffusion de ses collections, pour des expositions de types très variés : monographiques, thématiques, en dialogue avec des contemporains de Picasso ou des artistes d’aujourd’hui, centrées sur une technique, une période, un lieu de vie ou de création, elles ont toutes offert une approche singulière et renouvelée de l’œuvre picassienne sous le prisme méditerranéen. Since its reopening in 2014, the Musée national Picasso-Paris has focused part of its scientific and cultural project on the creation of networks of partners. These international networks aim, on the one hand, to strengthen the museum's links with other Picasso museums and 20th century fine arts museums, and on the other hand, to conduct in-depth research on related subjects. To Pablo Picasso, notably on the occasion of exhibition projects. On the occasion of the hundredth anniversary of Picasso's trip to Italy, the Musée national Picasso-Paris launched “Picasso-Méditerranée” in 2017, an event that developed along five essential axes: scientific above all, but also heritage, contemporary, multidisciplinary and multifaceted. The project consisted in giving a scientific impetus and federating around a common theme, thus weaving a real network of Picassian research. The Musée national Picasso-Paris made itself available to seventy partner cultural institutions for the construction of projects - loan of works, management of a website, visual and graphic communication of the event - while allowing each to keep its uniqueness. Through this event of an extraordinary scale, the museum wanted above all to create a network of cultural institutions, working together to program an exceptional series of exhibitions. To this end, the museum has widely opened its collection to loans, in a desire to make Picasso's works travel throughout the Mediterranean, a geographical area so dear to the artist. The role of the museum was thus above all that of a voluntary lender, in a dynamic policy of dissemination of its collections, for exhibitions of very varied types: monographic, thematic, in dialogue with contemporaries of Picasso or artists of today, centered on a technique, a period, a place of life or creation, they have all offered a unique and renewed approach to Picassian work through the Mediterranean prism.

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The musée du quai Branly - Jacques Chirac is the heir to 200 years of history, enrichment, study and conservation of public collections. It conserves almost 370,000 works originating in Africa, the Near East, Asia, Oceania and the Americas which illustrate the richness and cultural diversity of the non-European civilisations from the Neolithic period (+/-10,000 B.C.) to the 20th century. A public institution under the dual supervision of the Ministry of Culture and Communication and the Ministry of Higher Education and Research, the musée du quai Branly - Jacques Chirac is both a museum and a center of teaching and research: a forum open to the world presenting artistic, cultural and scientific events, with varied levels of interpretation and approach. From international conferences to more intimate encounters in the Jacques Kerchache Reading Room, from lectures at the Université Populaire du quai Branly (Branly Open University) to debates with contemporary artists, the nature and history of the museum collections continue to address issues at various levels. Due to the very nature of its collections, the musée du quai Branly - Jacques Chirac has an international vocation and pursues an active policy of cooperation with the countries from which its collections originate. The museum has built up a culture of exchange based on scientific, cultural and technical cooperation. The museum also has a media library specializing in the areas of ethnology and the history of non-European art. With the development of economic exchanges and the first colonial expansion, non-European collections began to accumulate in private collections, culminating in the 18th century in the creation of venues dedicated to their preservation and representation: cabinets of curiosities combining natural history specimens and archaeological, historical and ethnographic accounts. Following the French Revolution, the national museums were created and non-European ethnographic collections were transferred to them. Initially presented at the musée du Louvre, these principally American collections gradually found their place in specific museums within the musée du Louvre, called in turn the "Musée Dauphin", "Musée de Marine" and "Musée ethnographique". In parallel with this development, the collections were enhanced by means of instructions for the collection of objects given to the sailors and scientists who undertook voyages around the world. In 1878, echoing the Universal Exhibition in Paris, the “musée d'Ethnographie du Trocadéro” was created, causing the museums’ missions to be reorganized: "At the Louvre: the domain of art, at the Trocadéro: the history of manners and customs without distinguishing between periods." As colonial conquests accelerated during the second half of the 19th century, major African collections among others were added to the Parisian collections of the “musée d'Ethnographie du Trocadéro” and many museums in other French towns and cities. Local learned societies were often the initiators and leaders of this network of regional museums. An extensive exchange of ethnographic objects took place between national and regional museums and the numerous ethnographic museums which were established throughout Europe and the rest of the world. Colonial and Universal exhibitions stimulated emulation by these institutions and a permanent colonial exhibition with both political and economic missions was established in Paris. It led to the birth of the Colonial Museum, which opened in parallel with the Colonial Exhibition of 1931. Created in 1937, the “musée de l'Homme” took over from the musée d'Ethnographie du Trocadéro, which had fallen into disuse in the first half of the 20th century. Redesigned on scientific principles, the museum was enhanced by a large number of expeditions aimed at drawing up an inventory of the material cultures of the world. In parallel, and in line with the political development of the colonial territories, the Colonial Museum was transformed in 1935 into the “Musée de la France d’Outre-mer” (Museum of French Overseas Territories). Private collections, and particularly those of artists such as Picasso and André Breton, invited the visitor to perceive the works from an aesthetic perspective. With the independence movements of the second half of the 20th century, and under the direction of André Malraux, the artistic view of non-European civilisations was confirmed, and in 1961 the Colonial Museum became the Museum of African and Oceanian Art, then in 1990 the National Museum of African and Oceanian Art. Opening in 2006, the musée du quai Branly - Jacques Chirac contains the collections of its double inheritance: those of the “musée de l'Homme” and of the “musée national des Arts d'Afrique et d'Océanie” (National Museum of African and Oceanian Art). With more than 370,000 objects, 700,000 iconographical pieces and more than 200,000 reference works, the musée du quai Branly - Jacques Chirac is one of the richest European public institutions dedicated to the study, preservation and promotion of non-European arts and civilisations.

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My name is Glorymar Hernandez, but I prefer to be called “Glory”. I was born in the capital of Venezuela, Caracas, and grew up amid the crowds of the city, the tranquility of the Andean mountains and the joy of the Caribbean coast. A mixture that has taught me to enjoy wherever I am, that aroused my curiosity to know the world, and that has helped me to adapt, with relative ease, to changes. I have a degree in Philosophy, my research works are in Philosophy of Language. Since 2019 I have been working as a Spanish teacher. I decided to start teaching my mother tongue thanks to my experience learning other languages. I had the opportunity to live for a year in Ireland, where I went to learn English and, currently, I am in Italy, where I have had the opportunity to learn Italian. These experiences allowed me to realize that, although seeking perfection when trying to “speak like a native” is the ideal, what really matters is being able to communicate, make ourselves understood and be open to the experience of knowing other cultures and understand that there are many different points of view. Professionally, I have had the opportunity to work in different contexts such as banking, outsourcing consular procedures, and teaching at university level. The biggest lesson I learned from these experiences is that I am not an office person. I prefer to own my time and have the freedom to work wherever I am. For this reason, I have decided to dedicate myself to teaching Spanish online and to enter the digital world. I consider myself a very curious and versatile person, that is why in my free time I enjoy handcrafting (such as sewing or knitting), volunteering, being in contact with nature, and trying to learn new things, like playing the guitar. Regarding my geographical preferences, the beach and the mountains are my main refuges, because I can escape from the noise of the city and connect with myself. That is why I would like to be able to live with my husband on a mountain, not far from the sea.

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El Museo Art Nouveau y Art Déco es en esencia un museo de artes decorativas que propone un recorrido temporal que abarca desde las últimas décadas del siglo XIX hasta la II Guerra Mundial. Este periodo de poco más de sesenta años es sin duda uno de los más fecundos de las artes aplicadas. El grueso de las obras que se pueden ver en el museo son objetos utilitarios concebidos bajo unos cuidados criterios estéticos. Esta dualidad, que los hace muy interesantes como documento de una época y de una manera de vivir, hace que muchos de ellos no hayan llegado hasta nuestros días, ya que su uso ha hecho que no hayan perdurado en el tiempo. A través de sus diecinueve colecciones, el recorrido por sus salas muestra al visitante la producción de los talleres europeos de artes decorativas de los periodos Nouveau y Déco. Joyas de Masriera o Faberge, vidrios iridiscentes de los talleres Loetz, Kralik, Pallme König o de la escuela de Nancy con piezas de Émile Gallé, los Hermanos Daum o Paul Nicolas. Muebles de Homar, Majorelle, Busquets. Porcelanas de Rosenthal, Royal Copenhagen, Mariano Benlliure, Gustave Guetant o Zuloaga. Los fondos que atesora la Casa Lis muestran la trayectoria de autores tan importantes como Émile Gallé con sus vidrios de capas superpuestas y sus exquisitos muebles o la evolución de Rene Lalique que partiendo de la joyería Art Nouveau orienta su creatividad al diseño del vidrio en las décadas posteriores. Destaca la colección de muñecas de porcelana francesas del s. XIX, que ha sido definida por los expertos como la mejor colección expuesta al público a nivel mundial, o la muestra de criselefantinas de Demetre Chiparus o Ferdinand Preiss, pequeñas esculturas que combinan el metal para las vestimentas y el marfil para las partes desnudas del cuerpo como la cara o las manos y que se han convertido en icono del Art Déco.

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Cuando hablamos de la Catedral de Salamanca nos estamos refiriendo concretamente a dos templos unidos entre sí. Por una parte, está la Catedral Vieja del siglo XII-XIII y, por otro lado, la Nueva del siglo XVI. La Catedral Vieja, dedicada a Santa María de la Sede, fue construida a lo largo de los siglos XII y XIII. Se presenta como un templo con planta basilical de tres naves y crucero desarrollado en planta y altura, conformando una cruz latina. De factura románica en su conjunto, el edificio se remata con bóvedas de transición al gótico. Entre los maestros que dirigieron la obra, los documentos conservados en el Archivo Catedral mencionan los siguientes: Florín de Pituenga, Casandro Romano, Alvar García, Pedro de la Obra, Juan el Pedrero, Sancho Pedro, Juan Franco o Petrus Petri. La nave central de la Catedral Vieja muestra un instante de transición al gótico, al estar cubierta con arcos apuntados y bóvedas de crucería, recibidas sobre soportes preparados para sostener en un primer momento una bóveda de cañón apuntado con arcos fajones, lo que obligó a la final introducción de otros elementos, como los mensulones en los que descansan los nervios, para acomodar adecuadamente la nueva solución. Los capiteles y repisas se hallan decoradas con figuras de personajes bíblicos, animales, decoración vegetal y mascarones. Las estatuas-nervio ubicadas sobre los mensulones de la bóveda son ejemplos singulares que destacan en el interior de la iglesia vieja. La Catedral Nueva, adosada a la Vieja, se comenzó a construir en 1513, inaugurándose en agosto de 1733. En la promoción inicial intervinieron los Reyes Católicos, a petición del Cabildo Catedral, quien, con los obispos sucesivos, actuó siempre como principal promotor. Entre los grandes maestros arquitectos que dirigieron las obras de la Catedral Nueva durante casi dos siglos y medio figuran, entre otros, Juan y Rodrigo Gil de Hontañón, Juan de Álava, Juan Setién Güemes, Pantaleón Pontón, los hermanos Churriguera y Juan de Sagarbinaga. Se comenzó a construir en estilo tardogótico y, aunque goza de la utilización de algunos otros estilos posteriores, conservará hasta el final una unidad estilística en este arte, impuesta y querida por el Cabildo. Se trata de una iglesia de planta rectangular, compuesta por tres naves y capillas hornacinas entre contrafuertes. Se cubre por bóvedas de crucería con terceletes y combados dibujando complejos y hermosos diseños estrellados, en los que brillan especialmente las claves. En el crucero se yergue un magnífico cimborrio formado por cuerpo ochavado sobre pechinas con monumentales relieves de los misterios marianos, sobrepasado por un luminoso tambor cilíndrico liberado merced a los amplios ventanales y cúpula semiesférica. La Iglesia recibe la luz de casi un centenar de vidrieras, procedentes originariamente de Flandes aquellas que muestran un episodio bíblico. En sus muros también se extienden dos galerías corridas, en dos alturas, numerosos medallones con bustos de profetas, evangelistas, personajes de las Sagradas Escrituras y doctores, y otros tantos escudos catedralicios con el búcaro de azucenas.

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El Museo Sefardí se encuentra ubicado en el interior de la Sinagoga de Samuel ha-Leví o como popularmente se conoce Sinagoga del Tránsito. Sin embargo, desde sus orígenes, esta sinagoga ha sido objeto de diversos vaivenes y modificaciones, ofreciéndonos un apasionante testimonio de la historia de nuestro país. El origen de este espectacular edificio se remonta al siglo XIV, momento en que fue mandado erigir por Samuel ha-Leví, importante figura de la época, que ocupó diversos cargos de gran relevancia en la corte del rey Pedro I de Castilla, como por ejemplo, Oidor de la Audiencia, Diplomático o Tesorero real. Con la expulsión de los judíos en 1492, los Reyes Católicos cedieron la Sinagoga a la Orden de Calatrava a cambio de algunas de sus posesiones, como fueron el Alcázar y los Palacios de Galiana con su iglesia de Santa Fe. Dos años más tarde, el edificio pasó a formar parte del Priorato de San Benito. En este momento se producen las primeras modificaciones y se emplean la zona que ocupaba la escuela rabínica y la Galería de Mujeres como hospital y asilo a los caballeros calatravos, y la Gran Sala de Oración pasa a ser templo cristiano y lugar de enterramiento, apareciendo en la documentación como Iglesia de San Benito. Durante el siglo XVI, dejó de ser hospital y asilo para convertirse exclusivamente en iglesia. En esta época se produjeron varias modificaciones arquitectónicas, construyéndose una puerta de entrada a la sacristía, así como un arcosolio empotrado utilizado para dar culto a una imagen de la Virgen, ambos de estilo plateresco. Se adosó un retablo al cuerpo central del antiguo hejal y se colocó el altar principal sobre el primitivo suelo de la sinagoga. La antigua Galería de Mujeres se tapió y pasó a ser utilizada como vivienda. Asimismo, se colocó un entarimado de madera para el coro en el lado Oeste. En 1877 fue declarada Monumento Nacional y desde entonces y hasta 1910 se llevaron a cabo una serie de restauraciones para paliar el mal estado del edificio. En 1910, se confía la antigua Sinagoga al Patronato del Museo del Greco, regido por el marqués de la Vega-Inclán, que procede a su restauración según los criterios de la época. Así, desde 1910 a 1968, la Sinagoga estuvo bajo la protección y custodia de las Fundaciones Vega-Inclán, realizándose en los años 60 la última restauración, antes de su inauguración como Museo, en la que se hizo desaparecer la antigua sillería coral colocada en la época del Marqués, se repararon yeserías, solados, carpintería y se añadió a las paredes una tapicería en seda que imita tejidos del Monasterio de las Huelgas en Burgos. En 1968 el Museo Sefardí fue declarado “Museo Nacional de Arte Hispanojudío”, y en 1969 la Sinagoga del Tránsito se desvinculó de las Fundaciones Vega-Inclán, organismo que la había gestionado desde principios del siglo XX, comenzando su trayectoria como centro independiente. En 1971 el museo abrió sus puertas al público y desde entonces ha sido objeto de varias mejoras, llevándose a cabo un plan de remodelación integral del edificio para adaptarlo a las necesidades museológicas actuales, así como un nuevo proyecto museológico y museográfico. Por ello se han ido realizando obras arquitectónicas, restauraciones de las yeserías y artesonado, y excavaciones arqueológicas, con el fin de paliar la diversidad de actuaciones sufridas por el edificio a lo largo del tiempo y permitir que la Sinagoga forme parte del nuevo Museo como la principal pieza de su colección.

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Muchos lo consideran uno de los templos góticos más bellos de España. Concebido como el lugar donde se enterrarían los Reyes Católicos, su majestuosidad no deja indiferente a nadie. Pasear por el interior de sus muros es empaparse de la historia de nuestro país y descubrir la entrega de los monarcas a San Juan. La vida monacal en San Juan de los Reyes es una de sus señas de identidad. El silencio y tranquilidad que se respiran en todas sus estancias ayudan a abstraerse de la bulliciosa ciudad. El monasterio de San Juan de los Reyes fue mandado construir por los Reyes Católicos en la ciudad de Toledo, en acción de gracias por la victoria en la batalla de Toro de 1476. En ella quedó zanjada definitivamente la guerra por la sucesión al trono a favor de la princesa Isabel, hermana del rey difunto Enrique IV, ya casada con Fernando, frente a los partidarios de Juana, la hija del matrimonio ilegítimo del rey, su sobrina y ahijada de bautismo. Isabel defendió hasta el final su derecho al trono por cuestiones de legitimidad y conveniencia para Castilla. En 1479 el monasterio recibe el nombre de “San Juan de Portalatyna”, una particular advocación de san Juan Evangelista, quien según su leyenda sufrió martirio por orden de Domiciano, en una tina de aceite hirviendo frente a la Puerta Latina de Roma. La reina solicitó y obtuvo del papa un jubileo especial para el día de San Juan ante Portam Latinam. Después pasó a llamarse de los santos Juanes. Con el tiempo, al haber sido una empresa impulsada por la reina, San Juan de la Reina. Finalmente, el monasterio ha pasado a la historia como San Juan de los Reyes. El claustro acoge un jardín síntesis del paraíso terrenal poblado de especies que originalmente buscaron evocar el Jardín del Edén. Hoy, arrayanes, ciprés, naranjo, granado y otras especies perfuman el aire con sus aromas y proporcionan a la piedra atractivas notas de color. Dividido en cuatro partes, reflejo de las cuatro partes del mundo y en el centro el pozo de agua, rememora hortus conclusus o huerto cerrado medieval, alegoría de la virginidad de María. A finales del siglo XIX, a instancias del gobierno estatal, se emprende una restauración integral dirigida por el arquitecto Arturo Mélida, quien también dará las trazas para la Escuela de Artes en el solar del segundo claustro desaparecido. Arquitecto, pintor, escultor y diseñador, Mélida reemprenderá una subjetiva restauración, desde la admiración al monumento, en un neogótico con tintes del romanticismo historicista. El paseo sosegado por sus pandas regala toda la belleza de sus filigranas en piedra y reserva numerosas sorpresas en representaciones humorísticas de animales: dragones, simios, aves fantásticas… talladas por el escultor toledano Cecilio Béjar, quien también trabajó hasta 1967 en la restauración de las imágenes de los santos que pueblan el claustro bajo. Especial ingenio se despliega en las gárgolas, ejemplares únicos y llenos de fantasía.

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Aunque este magnífico edificio civil, construido entre 1541 y 1551, se venía utilizando como espacio expositivo, al menos, desde comienzos del pasado siglo XX (vale la pena recordar que en la Lonja se celebró en 1919 una Exposición Hispano-Francesa de Bellas Artes que reunió, entre otros, nombres tan destacados como los de Beruete, Domingo, Iturrino, Nonell, Picasso, Regoyos, Vázquez Díaz, Zuloaga, Mariano Benlliure, Clará, Gargallo, Julio Antonio, Macho; y de 1942 a 1945 las muestras del Salón Internacional de Otoño de Fotografía, que sigue vigente desde 1925; y durante los años 1943 a 1955 la mayoría de las trece ediciones del Salón de Artistas Aragoneses), será desde comienzos de los años 70 de dicha centuria cuando, con exposiciones como la de Manuel Viola en 1972 y la de Pablo Serrano en 1975, el uso habitual de la Lonja como sala de exposiciones comience a tomar verdadera carta de naturaleza, convirtiéndose en permanente y exclusivo desde mitad de la década siguiente. La Lonja, por sus características, emplazamiento y ya consolidada trayectoria, viene siendo considerada la primera y principal sala de exposiciones de Aragón, como consecuencia de lo cual es permanente espacio de referencia para acoger los más destacados y ambiciosos proyectos expositivos de carácter público que se realizan en nuestra Comunidad (tanto los propios del Ayuntamiento de Zaragoza como los de aquellas otras instituciones y entidades con las que colabora), circunstancia que asegura la proyección y el éxito de todos ellos, pero da lugar a que las sucesivas programaciones anuales deban conciliar muy diferentes aspectos y dar cabida a temáticas y contenidos también muy diversos, lo que, por otra parte, corresponde perfectamente al carácter y titularidad de la sala. Haciendo de la necesidad virtud, a lo largo de los últimos veinticinco años la programación se ha venido caracterizando por la presencia de grandes muestras de carácter histórico, dedicadas a presentar visiones actuales de distintas culturas o periodos históricos (entre las más recientes citaremos El oro de América. Tesoros precolombinos de Costa Rica; Egipto milenario; Hispania. El legado de Roma; Los mayas; Bhután; Una mirada al siglo XX en Aragón; La Ilustración y el proyecto liberal; Tuareg; El teatro romano. La puesta en escena; Siete mil años de arte persa; Africa. La figura imaginada; Tesoros del Museo Nacional de Escultura) junto a monográficas de grandes figuras del arte universal ya clásico o contemporáneo (como las de Gargallo, Tàpies, Genovés, Condoy, Aguayo, Zuloaga, Pablo Serrano, Ibarrola, Broto, Miró, Picasso, Lagunas, Orús, Luis Berdejo, Fernando Botero, Arnaldo Pomodoro, Chillida) y un importante número de exposiciones colectivas dedicadas a ofrecer diferentes visiones, a veces más generales y en ocasiones muy específicas, del arte de nuestro tiempo en sus diversas disciplinas y especialidades, tanto el correspondiente a los ámbitos españoles, como a los internacionales.

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Desde su inauguración en el año 1997, el Guggenheim Bilbao y el perro Puppy -la escultura floral de Jeff Koons situada en el exterior del edificio- se han convertido en el símbolo más internacional de Bilbao. Forman parte de la colección las obras de grandes figuras del mundo artístico: David Salle, Chillida, Jeff Koons, Louis Bourgeois y Robert Rauschenberg son algunos ejemplos. El Guggenheim también ofrece una serie de actividades para todos aquellos visitantes que deseen ampliar sus conocimientos artísticos. El Museo Guggenheim Bilbao es obra del arquitecto canadiense-americano Frank Gehry y representa un magnífico ejemplo de la arquitectura más vanguardista del siglo XX. Con 24.000 m² de superficie, de los que 9.000 m² están destinados a espacio expositivo, el edificio representa un hito arquitectónico por su audaz configuración y su diseño innovador, conformando un seductor telón de fondo para el arte que en él se exhibe. En conjunto, el diseño de Gehry crea una estructura escultórica y espectacular perfectamente integrada en la trama urbana de Bilbao y su entorno. Una vez en el Vestíbulo, que sirve de distribuidor, el visitante accede al Atrio, auténtico corazón del Museo y uno de los rasgos distintivos del diseño arquitectónico de Frank Gehry. Se trata de un gran espacio diáfano de volúmenes curvos que conectan el interior y el exterior del edificio mediante grandes muros, cortina de vidrio y un gran lucernario cenital. Los tres niveles del Museo se organizan en torno a este Atrio central y se conectan mediante pasarelas curvilíneas, ascensores de titanio y cristal, y torres de escaleras. El Atrio, que también funciona como espacio expositivo, sirve como eje que ordena las 20 galerías que alberga el Museo, algunas de aspecto más clásico y líneas ortogonales y otras de volumetrías más orgánicas e irregulares. El juego de volúmenes y perspectivas permite disponer de espacios interiores en los que, sin embargo, el visitante no se siente en absoluto desbordado.

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Newgrange is the best known Irish passage tomb and dates to c.3,200BC. The large mound is approximately 80m in diameter and is surrounded at its base by a kerb of 97 stones. The most impressive of these stones is the highly decorated Entrance Stone. The flat-topped cairn is almost 0.5 hectares in extent. It is roughly circular and is estimated to weigh 200,000 tonnes in total. It is made up of water-rolled stones from the terraces of the River Boyne. Excavations showed that white quartz stones from quartz veins in Co Wicklow and round granite boulders from the Mourne and Carlingford areas were used to build the revetment wall above the kerb along the front or south side of the mound. The mound covers a single tomb, which consists of a long passage and a cross-shaped chamber. The passage points to the southeast and is just less than 19 m long. It leads in to a chamber with three recesses. A corbelled roof covers the chamber. To construct the roof, the builders overlapped layers of large rocks until the roof could be sealed with a capstone, 6 metres above the floor. After 5000 years, the roof at Newgrange is still water proof. These basins which are on the floor of each of the recesses held the remains of the dead. The remains of at least five people were recovered during excavation, although originally much more bone may have been placed there. Most of the bones found were cremated, although small amounts were unburned. Grave goods of chalk and bone beads and pendants as well as some polished stone balls were placed with the dead. The entrance stone at Newgrange and Kerbstone 52 at the back of the mound are highly accomplished pieces of sculpture, regarded as some of the finest achievements of European Neolithic art. Many more of the kerbstones are also carved, some of them with carving on the side facing inwards. In the passage, some of the stones are beautifully carved particularly the 19th stone on the left, has a design which some visitors say reminds them of a stylised face. In the chamber in the back recess on the right hand side is the world famous tri-spiral design. A circle of standing stones also surrounds Newgrange. Its purpose is unclear, although recent research indicates that it could have had an astronomical function. The Stone Circle was erected sometime after 2000BC since excavation have shown that one of the stones of the circle lies directly on top of the Early Bronze Age Pit Circle. Originally there may have been more stones in the circle. Possibly some were broken up over the years. This was the final phase of building at Newgrange.

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Eccellenza Italiana è una community di persone che vuole promuovere l’Italia nel digitale, attraverso una comunicazione semplice e innovativa. Ti portiamo con noi alla (ri)scoperta delle eccellenze del Bel Paese. L’Italia è un Paese meraviglioso, ricco di diversità e piccoli mondi nascosti. La nostra community nasce proprio con lo scopo di andare alla ricerca di quei mondi, per coinvolgere gli utenti nella scoperta di curiosità, tradizioni e primati legati all’Italia. Le persone sono la nostra forza e di questo andiamo orgogliosi. I creators sono la voce che ci accompagna in questo viaggio attraverso l’Italia. Raccontiamo storie d’Italia: il nostro passato, il nostro presente e il nostro futuro. Italian Excellence is a community of people who want to promote Italy in the digital world, through simple and innovative communication. We take you with us to the (re) discovery of the excellence of the Bel Paese. Italy is a wonderful country, rich in diversity and small hidden worlds. Our community was born precisely with the aim of going in search of those worlds, to involve users in the discovery of curiosities, traditions and primates related to Italy. People are our strength and we are proud of this. The creators are the voice that accompanies us on this journey through Italy. We tell stories of Italy: our past, our present and our future.

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La Ciudad de las Artes y de las Ciencias (Ciutat de les Arts i les Ciències) de Valencia es un conjunto único dedicado a la divulgación científica y cultural, que está integrado por seis grandes elementos: el Hemisfèric, cine IMAX, 3D y proyecciones digitales; el Umbracle, mirador ajardinado y aparcamiento; el Museu de les Ciències, innovador centro de ciencia interactiva; el Oceanogràfic, el mayor acuario de Europa; el Palau de les Arts Reina Sofía, dedicado la programación operística, y el Ágora, que dota al complejo de un espacio multifuncional. A lo largo de un eje de casi dos kilómetros, en el antiguo cauce del río Turia, este complejo impulsado por la Generalitat Valenciana sorprende por su arquitectura y por su inmensa capacidad para divertir y estimular las mentes de sus visitantes que, recorriendo sus edificios, conocen diferentes aspectos relacionados con la ciencia, la tecnología, la naturaleza o el arte. El papel relevante de la arquitectura en la Ciudad de las Artes y de las Ciencias de Valencia ha sido posible gracias al trabajo de dos arquitectos españoles de prestigio internacional, que han aportado aquí lo mejor de su obra: Santiago Calatrava, con el Palau de les Arts Reina Sofía, el Hemisfèric, el Museu de les Ciències, el Umbracle y el Àgora, y Félix Candela, con las singulares cubiertas de los edificios principales del Oceanogràfic. Un conjunto arquitectónico de excepcional belleza, que armoniza el continente con el contenido. Una ciudad donde conviven el mar y la luz del Mediterráneo de manera sorprendente. Se ha constituido como uno de los mayores focos de difusión cultural. En conjunto, las proyecciones digitales y las películas en gran formato en el Hemisfèric, las exposiciones interactivas en el Museu de les Ciencies Príncip Felipe y las exhibiciones bioeducativas del Oceanogràfic, conforman una gran oferta interrelacionada, que se complementa, con el único objetivo de satisfacer la curiosidad y las ganas de divertirse del visitante. La Ciudad de las Artes y de las Ciencias une además la admirada tradición mediterránea del mar y la luz, de los colores azules y blancos, con una arquitectura vanguardista diseñada por Santiago Calatrava y Félix Candela. Sus audaces líneas identifican a la capital del Turia del siglo XXI; es la estampa futurista que simboliza a la nueva Valencia: una ciudad moderna dentro de la ciudad milenaria, donde millones de visitantes acuden cada año para disfrutar con la cultura, la naturaleza, el arte y la ciencia.

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El edificio que hoy sirve de sede al Museo Nacional del Prado fue diseñado por el arquitecto Juan de Villanueva en 1785, como Gabinete de Ciencias Naturales, por orden de Carlos III. No obstante, el destino final de esta construcción no estaría claro hasta que su nieto Fernando VII, impulsado por su esposa la reina María Isabel de Braganza, tomó la decisión de destinar este edificio a la creación de un Real Museo de Pinturas y Esculturas. El Real Museo, que pasaría pronto a denominarse Museo Nacional de Pintura y Escultura y posteriormente Museo Nacional del Prado, abrió por primera vez al público en 1819. El primer catálogo constaba de 311 pinturas, aunque para entonces en el Museo se guardaban ya 1510 obras procedentes de los Reales Sitios. Las valiosísimas Colecciones Reales, germen de la colección del actual Museo del Prado, comenzaron a tomar forma en el siglo XVI bajo los auspicios del emperador Carlos V y fueron sucesivamente enriquecidas por todos los monarcas que le sucedieron, tanto Austrias como Borbones. A ellos se deben los tesoros más emblemáticos que se pueden contemplar hoy en el Prado, tales como El jardín de las Delicias de El Bosco, El caballero de la mano en el pecho de El Greco, El tránsito de la Virgen de Mantegna, La Sagrada Familia conocida como La Perla de Rafael, Carlos V en Mühlberg de Tiziano, El Lavatorio de Tintoretto, el Autorretrato de Durero, Las Meninas de Velázquez, Las tres Gracias de Rubens o La familia de Carlos IV de Goya. Del Museo de la Trinidad llegaron importantes pinturas como La Fuente de la Gracia de la Escuela de Jan Van Eyck, Auto de fe presidido por santo Domingo de Guzmán de Pedro Berruguete y los cinco lienzos procedentes del Colegio de doña María de Aragón de El Greco. Del Museo de Arte Moderno proceden gran parte de los fondos del siglo XIX, obras de los Madrazo, Vicente López, Carlos de Haes, Rosales y Sorolla. Desde la fundación del Museo han ingresado más de dos mil trescientas pinturas y gran cantidad de esculturas, estampas, dibujos y piezas de artes decorativas por Nuevas Adquisiciones, en su mayoría donaciones, legados y compras. Las Pinturas Negras de Goya llegaron al Museo gracias a la donación del Barón Emile d’Erlanger en el siglo XIX. Compras muy interesantes en los últimos años han sido Fábula y Huída a Egipto de El Greco, en 1993 y 2001, La condesa de Chinchón de Goya en el 2000, El barbero del Papa de Velázquez en el 2003 o, más recientemente, El vino en la fiesta de San Martín de Pieter Bruegel el Viejo en 2010, entre otras. Numerosos legados han enriquecido los fondos del Museo, tales como el Legado de don Pablo Bosch con su magnífica colección de medallas, el Legado de don Pedro Fernández Durán, con su amplísima colección de dibujos y artes decorativas, y el Legado de don Ramón de Errazu con pintura del siglo XIX. Tanto la colección como el número de visitantes del Prado se han incrementado enormemente a lo largo de los siglos XIX y XX, por lo que el Museo ha tenido que ir acometiendo sucesivas ampliaciones en su sede histórica hasta agotar totalmente las posibilidades de intervención sobre este edificio. Por este motivo, el Prado se ha visto obligado a buscar el camino de su reciente ampliación mediante una solución arquitectónica de nueva fábrica situada junto a la fachada posterior de su sede tradicional y conectada con ésta desde el interior.

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La Plaza de España es un espectáculo de luz y majestuosidad. Encuadrada en el Parque de María Luisa, esta plaza fue diseñada por el gran arquitecto sevillano Aníbal González como espacio emblemático de la Exposición Iberoamericana de 1929. El resultado fue una plaza-palacio única en el mundo. Sus proporciones son fastuosas; cuenta con una superficie total de 50.000 metros cuadrados, convirtiéndose sin duda en la plaza más imponente de España. A lo largo de todo el perímetro de la plaza se extiende un canal de 515 metros de longitud, que puedes recorrer a bordo de una barca. Los cuatro preciosos puentes que cruzan el canal representan los antiguos reinos de España. Dos altas torres se erigen en los extremos de la plaza, confiriendo un equilibrio perfecto al conjunto. Estas torres se divisan desde toda Sevilla. La galería porticada que separa el espacio abierto de la plaza con respecto al edificio invita a ser recorrido. En un principio, tras finalizar la exposición, su destino era formar parte de la Universidad de Sevilla, esa es la razón de las hornacinas existentes en cada una de las provincias. Sin embargo tras haber sido utilizada durante la exposición, pasó a ser sede del gobierno militar, sirviendo sus estancias como ubicación de la Capitanía General, albergando años después además la delegación del Gobierno central en Andalucía y al mismo tiempo el Museo Militar de Sevilla. Hoy en día alberga a la subdelegación de gobierno de España. La plaza de España ha sido utilizada como escenarios en múltiples y variadas películas. En este sentido, la Academia de Cine Europeo la ha elegido como Tesoro de la Cultura Cinematográfica Europea, distinción que otorga a espacios y localizaciones cinematográficas de naturaleza simbólica de gran valor histórico para el cine.

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La Alhambra, denominada así por sus muros de color rojizo («qa'lat al-Hamra'», Castillo Rojo), está situada en lo alto de la colina de al-Sabika, en la margen izquierda del río Darro, al este de la ciudad, frente a los barrios del Albaicín y de la Alcazaba. Su posición estratégica, desde la que se domina toda la ciudad y la vega granadina, hace pensar que existían construcciones anteriores a la llegada de los musulmanes. Su conjunto, completamente amurallado, posee una forma irregular limitada al norte por el valle del Darro, al sur por el de la al-Sabika, y al este por la Cuesta del Rey Chico, que a su vez la separan del Albaicín y del Generalife, situado en el cerro del Sol. Se tiene constancia por primera vez de ella en el siglo IX, cuando en 889 Sawwar ben Hamdun tuvo que refugiarse en la Alcazaba y repararla debido a las luchas civiles que azotaban por entonces al Califato cordobés, al que pertenecía Granada. Posteriormente, este recinto empezó a ensancharse y a poblarse, aunque no hasta lo que sería con posterioridad, ya que los primeros monarcas ziríes fijaron su residencia en lo que posteriormente sería el Albaicín. A pesar de la incorporación del castillo de la Alhambra al recinto amurallado de la ciudad en el siglo XI, lo que la convirtió en una fortaleza militar desde la que se dominaba toda la ciudad, no sería hasta el siglo XIII con la llegada del primer monarca nazarí, Mohamed ben Al-Hamar (Mohamed I, 1238-1273) cuando se fijaría la residencia real en la Alhambra. Este hecho marcó el inicio de su época de mayor esplendor. Primero se reforzó la parte antigua de la Alcazaba, y se construyó la Torre de la Vela y del Homenaje, se subío agua del río Darro, se edificaron almacenes, depósitos y comenzó la construcción del palacio y del recinto amurallado que continuaron Mohamed II (1273-1302) y Mohamed III (1302-1309), al que también se le atribuyen un baño público y la Mezquita sobre la que se construyó la actual iglesia de Santa María. A Yusuf I (1333-1353) y Mohamed V (1353-1391) les debemos la inmensa mayoría de las construcciones de la Alhambra que han llegado a nuestra época. Desde la reforma de la Alcazaba y los palacios, pasando por la ampliación del recinto amurallado, la Puerta de la Justicia, la ampliación y decoración de las torres, construcción de los Baños y el Cuarto de Comares, la Sala de la Barca, hasta el Patio de los Leones y sus dependencias anexas. De los reyes nazaríes posteriores no se conserva prácticamente nada. De la época de los Reyes Católicos hasta nuestros días podemos destacar la demolición de parte del conjunto arquitectónico por parte de Carlos V para construir el palacio que lleva su nombre, la construcción de las habitaciones del emperador y el Peinador de la Reina y el abandono de la conservación de la Alhambra a partir del siglo XVIII. Durante la dominación francesa fue volada parte de la fortaleza y hasta el siglo XIX no comenzó su reparación, restauración y conservación que se mantiene hasta la actualidad.

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La Sagrada Familia es un templo excepcional, tanto por lo que respecta a su origen y a su fundación como por lo relativo a sus propósitos. Fruto de la obra del genial arquitecto Antoni Gaudí, fue un proyecto impulsado por y para el pueblo, y ya son cinco generaciones las que han ido viendo la evolución del templo en Barcelona. Actualmente, con más de 135 años desde la colocación de la primera piedra, la Basílica sigue en construcción. La construcción del Templo Expiatorio de la Sagrada Familia (en catalán, Temple Expiatori de la Sagrada Família), conocido simplemente como la Sagrada Familia, se inició en 1882. Se trata de la obra maestra de Gaudí y es el máximo exponente de la arquitectura modernista catalana. Es uno de los monumentos más visitados de España, junto al Museo del Prado y la Alhambra de Granada. Además,​ es la iglesia más visitada de Europa tras la basílica de San Pedro del Vaticano. La Sagrada Familia es un reflejo de la plenitud artística de Gaudí. Trabajó en ella durante la mayor parte de su carrera profesional, especialmente en los últimos años de su carrera, donde llegó a la culminación de su estilo naturalista, haciendo una síntesis de todas las soluciones y estilos probados hasta aquel entonces. Gaudí logró una perfecta armonía en la interrelación entre los elementos estructurales y los ornamentales, entre plástica y estética, entre función y forma, entre contenido y continente, logrando la integración de todas las artes en un todo estructurado y lógico.​ La Sagrada Familia tiene planta de cruz latina, de cinco naves centrales y transepto de tres naves, y ábside con siete capillas. Ostenta tres fachadas dedicadas al Nacimiento, Pasión y Gloria de Jesús y, cuando esté concluida, tendrá 18 torres: cuatro en cada portal haciendo un total de doce por los apóstoles, cuatro sobre el crucero invocando a los evangelistas, una sobre el ábside dedicada a la Virgen y la torre-cimborio central en honor a Jesús, que alcanzará los 172,5 metros de altura. El templo dispondrá de dos sacristías junto al ábside, y de tres grandes capillas: la de la Asunción en el ábside y las del Bautismo y la Penitencia junto a la fachada principal; asimismo, estará rodeado de un claustro pensado para las procesiones y para aislar el templo del exterior.

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Davide Rivalta, artista bolognese che popola le città di tutto il mondo con massicci animali, collocandoli nei posti più impensati. La straordinaria forza di questi bronzi sta proprio nella sorpresa che coglie l’avventore quando li scopre nel cortile del Palazzo, senza aspettarselo. Il realismo delle figure, la loro stazza e l’evidenza della loro presenza contrasta con il contesto, creando un effetto straniante, a tratti ironico. I Gorilla (Occulti latices), installati nel 2002, colpiscono perché evocano l’idea della primordialità e della condizione naturale del regno animale in un luogo istituzionale, formale, piuttosto austero anche. È la loro totale estraneità rispetto al contesto che ci porta ad interrogarci sul messaggio di cui si fanno portatori. Un gruppo di gorilla che, secondo qualcuno, farebbero paura a grandi e piccini. Occasione buonaper riflettere sulla ricerca artistica di Rivalta, esponente di una figurazione di qualità, capace di relazionarsi in modo intenso con lo spazio. La presenza dei lavori di Davide Rivalta in parecchie città è uno di quei motivi che rendono grande l'arte tradizionale, che sa accogliere e valorizzare ogni forma d’arte, dal videomapping alla street art, dal mosaico alla scultura e che, soprattutto, sa far dialogare l‘antico patrimonio artistico con l’arte contemporanea. Davide Rivalta, Bolognese artist who populates cities all over the world with massive animals, placing them in the most unexpected places. The extraordinary strength of these bronzes lies precisely in the surprise that catches the customer when he discovers them in the courtyard of the Palace, without expecting it. The realism of the figures, their size and the evidence of their presence contrast with the context, creating an alienating, at times ironic effect. The Gorillas (Occulti latices), installed in 2002, are striking because they evoke the idea of ​​the primordiality and natural condition of the animal kingdom in an institutional, formal, rather austere place. It is their total extraneousness with respect to the context that leads us to question ourselves about the message they carry. A group of gorillas who, according to some, would scare young and old. A good opportunity to reflect on the artistic research of Rivalta, an exponent of a quality figuration, capable of relating in an intense way with space. The presence of Davide Rivalta's works in several cities is one of those reasons that make traditional art great, which knows how to welcome and enhance every form of art, from videomapping to street art, from mosaic to sculpture and who, above all, knows to make the ancient artistic heritage dialogue with contemporary art.

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The Pearse Museum in St Enda’s Park is where the leader of the 1916 Rising, Patrick Pearse, lived and operated his pioneering Irish-speaking school from 1910 to 1916. Set in nearly 20 hectares of attractive parkland in Rathfarnham, Dublin, the museum tells the story of Patrick Pearse and his brother Willie, both of whom were executed for their part in the 1916 Rising. Here you can peruse a fascinating exhibition on Pearse’s life and wander through the historic rooms where he, his family and his students once lived and worked. The romantic landscape surrounding the museum contains a wild river valley, forested areas and some enchanting eighteenth- and nineteenth-century follies. If you are interested in the park’s varied wildlife, you will find information about it in a dedicated room in the courtyard – where you’ll also find the Schoolroom Café.

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Chiara Cataldi and Ludovica Saviane at Robin Art Studio design and decorate environments using a team of architects, interior decorators and suppliers, offering a 360 degree consultation to furnish your home and work environments. Specialized in painted tapestries, wall decorations and pictorial interventions on furniture, screens, panels and more, mainly on commission. They organize drawing and painting courses in the studio.

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L'Agriturismo Barbagust si trova a Sansicario in Val di Susa. Nell'antica baita del 1700, che la famiglia Bermond ha completamente ristrutturato, mantenendo intatto tutto il fascino rustico degli ambienti. Solo 9 camere, arredate in modo essenziale ma molto curate, per offrire agli ospiti il massimo dellaccoglienza. Il ristorante, ricavato in quella che un tempo era la stalla, offre un menù sempre eccellente, giocato sui sapori della tradizione locale e propone solo ricette curate con ingredienti di primissima qualità. Barba Gust, che nel dialetto di Cesana significa lo zio gusto, oltre ad essere una magica combinazione di accoglienza e prelibatezza, si affaccia sul panorama mozzafiato del monte Chaberton. The Agriturismo Barbagust is located in Sansicario in Val di Susa. In the ancient hut of 1700, which the Bermond family has completely renovated, keeping intact all the rustic charm of the rooms. Only 9 rooms, furnished in an essential way but well cared for, to offer guests the utmost hospitality. The restaurant, housed in what was once the stable, offers an always excellent menu, played on the flavors of the local tradition and offers only recipes prepared with ingredients of the highest quality. quality. Barba Gust, which in the Cesana dialect means uncle taste, as well as being a magical combination of hospitality and delicacy, overlooks the breathtaking view of Mount Chaberton.

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Chiara Cataldi, decoratrice pittorica, arreda le pareti col suo pennello con poesia e maestria. Chiara ha affinato la sua professionalità e creatività attraverso la passione e l'amore per il suo lavoro. Ogni muro o parete è un foglio bianco sul quale Chiara crea il mondo che il committente desidera ritrovarsi intorno. Fiori, animali, disegni geometrici, disegni astratti, le boscherecce che sono la sua passione. I colori sono delicati e armoniosi e sempre adatti al luogo e allìambiente. Anche i bagni e gli interni doccia possono essere oggetto del suo intervento con materiali naturali e impermeabili. La sua amata Genova con i suoi colori ha certamente ispirato la sua arte. Chiara Cataldi, wall interior decorator, furnishes walls with her brush with poetry and skill. Chiara has honed her professionalism and creativity through her passion and love for her work. Each wall is a blank sheet on which Chiara creates the world that the client wishes to find around him. Flowers, animals, geometric designs, abstract designs, the woods that are her passion. The colors are delicate and harmonious and always suitable for the place and the environment. Even the bathrooms and shower interiors can be the subject of her intervention with natural and waterproof materials. Her beloved Genoa with her colors has certainly inspired her art.

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Da oltre 15 anni ci occupiamo di comunicazione integrata: facciamo buona comunicazione capace di rappresentare un reale valore aggiunto per aziende, brand, enti e prodotti. Offriamo nuove visioni e prospettive alternative, produciamo idee che prendono vita sui media, creiamo azioni e strategie in grado di colpire il target, di aumentare la visibilità e la soddisfazione dei nostri clienti. Siamo come comunichiamo: senza filtro, senza giri di parole e senza frasi fatte, pronti a rispondere ad esigenze specifiche mettendo sempre d’accordo creatività e mission.Stampa e affissione, spot radio e video, supporti multimediali e siti web: le competenze interne ed il network di professionisti che collaborano con Senza Filtro permettono la realizzazione di azioni comunicative articolate per ogni tipo di esigenza. La nostra Agenzia supporta i suoi clienti anche con specifiche attività di ufficio stampa, gestione social media strategy e consulenza strategica per creare visibilità. Le azioni e il piano di comunicazione sono studiati a partire dalle caratteristiche specifiche di ogni realtà con l’obiettivo di creare materiali stampa ad hoc per valorizzare i contenuti dell’evento sui diversi media sia web che tradizionali. L’agenzia è in grado di offrire inoltre attività di PR e promozione finalizzate a individuare ed a coinvolgere i target di interesse strategico.

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Domenico Dolce was born in Polizzi Generosa (near Palermo, Sicily) on 13 September 1958. His family owned a small clothing business, where Domenico worked from childhood. Stefano Gabbana was born in Milan on 14 November 1962. He studied graphics but soon turned to fashion. After a brief period working as assistant designers, they founded the Dolce & Gabbana label, which had its first runway show as part of the New Talent group in Milan in 1985, upon the invitation of Italian fashion promoter Beppe Modenese. Dolce and Gabbana's First Collection In 1986 they produced their first collection, called "Real Women." In 1987 they launched their knitwear line and in 1989 their beachwear and lingerie lines. Beginning in 1988 they produced their ready-to-wear line in Domenico Dolce's family-owned atelier, located in Legnano, Milan. The first Dolce & Gabbana men's collection appeared in 1990. In 1994 they launched the D&G label, inspired by street style and a more youthful look. The clothes were produced and distributed by Ittierre. Slowly, the pair launched other product lines, including knitwear and accessories, and gained notoriety particularly for their sensual dresses and menswear, which won them the 1991 Woolmark Prize. In the early 1990s, pop star Madonna selected them as her costume designers for her “Girlie” world tour and wore one of their jewel-encrusted corsets to the Cannes Film Festival. Throughout the ‘90s, the duo were famed for their overtly feminine, colourful garments, which stood in stark contrast to the wave of minimalism that was sweeping across fashion at the time. For several seasons’ campaigns and runway shows, the pair have cast ordinary men and women, typically from their native Italy. They have designed for everyone from AC Milan to Motorola and have also co-authored a dozen or so books detailing their collections and legacy. In June 2013, Dolce and Gabbana were charged and convicted of tax evasion, however the duo successfully appealed to overturn their conviction and were pronounced innocent by the Italian Supreme Court of Justice in October 2014. “We have always been honest, and we are extremely proud of this recognition by the Italian Court of Justice. Viva l’Italia,” said the pair in a statement at the time. In late 2018, the duo came under media fire for when the brand posted a marketing campaign featuring an Italian model eating Italian food with chopsticks, that was deemed derogatory to Chinese culture. Following the outrage, Gabbana was ousted online for a racist feud between him and another Instagram user. With Chinese consumers making up a sizeable chunk of the luxury market, the brand lost a large part of its Asian-Pacific market due to boycotts. By November, the brand cancelled its Shanghai fashion show. the first quarter of 2019, social media engagement for the brand fell by 98 percent compared to the same time last year. In 2019, the brand also announced it would extend its style sizes to 14-18, as of its pre-fall 2019 collection. Following its international faux pas that same year, the brand staged it’s Alta Moda fashion show in the Temple of Concordia, a UNESCO World Heritage site turned into its own ancient Greece-inspired runway. Although their personal relationship ended in 2005, as The New Yorker puts it, “Gabbana is the eyes for Dolce’s hands,” and they have continued to work together on an enduring empire, crafted from scratch, by their love of their homeland and the scope of their romantic imagination.

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Le orecchiette sono una pasta tipica della Puglia, regione del sud Italia. Il loro nome deriva dalla loro forma, che ricorda un piccolo orecchio. L'orecchietta ha la forma di una cupoletta, con il centro più sottile del bordo e con la superficie ruvida. Come altri tipi di pasta, le orecchiette sono fatte con semola di grano duro e acqua. Le uova sono usate raramente. Nella cucina casalinga tradizionale del sud Italia, la pasta viene arrotolata, quindi tagliata a cubetti. Ogni cubo viene pressato con un coltello, trascinandolo sul tagliere e facendolo arricciare (facendo un cavatello). La forma viene quindi invertita sopra il pollice. Le orecchiette si mangiano con broccoli, cime di rapa, cozze e funghi. Ogni famiglia pugliese ha la sua ricetta che si tramanda di madre in figlia. Secondo illustri studiosi dell'enogastronomia pugliese le orecchiette avrebbero avuto origine nel territorio di Sannicandro di Bari, durante la dominazione normanno-sveva, tra il XII e il XIII secolo. Nel cuore del centro storico di Bari c'è una via ribattezzata “la via delle orecchiette” o “via delle orecchiette”. La via in questione si chiama ufficialmente Strada Arco Basso, caratterizzata appunto da un piccolo tunnel che un tempo attraversato conduce alla più antica tradizione di Bari Vecchia, quella della produzione delle fantastiche e popolarissime orecchiette baresi. Le donne preparano le orecchiette chiacchierando e aiutandosi. Hanno un sapere antico che si tramandano di madre in figlia, di nonna in nipote. Ciascuna famiglia conserva i propri piccoli segreti per la lavorazione delle orecchiette che avviene davanti alla gente e sono una vera attrazione del centro storico di Bari, oltre a rappresentare uno spaccato originale della quotidianità pugliese. La buonissima pasta fresca (poi lasciata asciugare su banchi di legno) può essere acquistata anche dalle stesse signore; queste donne, infatti, per permettere ai turisti di portare a casa il gusto tipico delle orecchiette baresi, mettono la pasta fresca in semplici sacchetti di plastica così da permettere alle persone di tornare a casa con un gustoso “ricordo” pugliese. Orecchiette are a pasta typical of Apulia, a region of Southern Italy. Their name comes from their shape, which resembles a small ear. An orecchietta has the shape of a small dome, with its center thinner than its edge, and with a rough surface. Like other kinds of pasta, orecchiette are made with durum wheat and water. Eggs are rarely used. In traditional Southern Italian home cooking, the dough is rolled, then cut into cubes. Each cube is pressed with a knife, dragging it on the board and making it curl (making a cavatello). The shape is then inverted over the thumb. Orecchiette are eaten with broccoli, turnip tops, mussels and mushrooms. Each Apulian family has its own recipe that is handed down from mother to daughter. According to distinguished scholars of Apulian food and wine orecchiette would have originated in the territory of Sannicandro di Bari, during the Norman-Swabian domination, between the 12th and 13th centuries. In the heart of old town of Bari there is a street renamed “the street of orecchiette” or “street of orecchiette”. The street in question is officially called Strada Arco Basso, characterized precisely by a small tunnel that once crossed leads to the oldest tradition of Bari Vecchia, that of the production of the fantastic and very popular orecchiette from Bari. The women prepare the orecchiette by chatting and helping each other. They have an ancient knowledge that is handed down from mother to daughter, from grandmother to granddaughter. Each family keeps their own little secrets for the processing of orecchiette that takes place in front of the people and are a real attraction of the historic center of Bari, as well as representing an original cross-section of Apulian everyday life. The delicious fresh pasta (then left to dry on wooden counters) can also be purchased by the ladies themselves; these women, in fact, to allow tourists to take home the typical taste of orecchiette from Bari, put the fresh pasta in simple plastic bags so as to allow people to go home with a tasty Apulian "memory". The delicious fresh pasta (then left to dry on wooden counters) can also be purchased from the ladies themselves; these women, in fact, to allow tourists to take home the typical taste of orecchiette from Bari, put the fresh pasta in simple plastic bags so as to allow people to go home with a tasty Apulian “souvenir”.

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I Bronzi furono ritrovati nel 1972, in eccezionale stato di conservazione, sul fondo del mar Ionio, nei pressi del comune di Riace Marina, da un appassionato subacqueo durante un'immersione a circa 200 m dalla costa ed alla profondità di 8 m. Presso la località Porto Forticchio di Riace Marina, furono ritrovate due statue in bronzo, apparentemente senza nessun reperto coevo nei dintorni. Il loro recupero fu eseguito con una imbarazzante leggerezza e con mezzi non appropriati, al punto che venne “dimenticato” sulla spiaggia un grosso pezzo di ceramica tardo antico, posto tra l’avambraccio destro e il torace del Bronzo A per impedire che il braccio stesso potesse danneggiarsi durante il trasporto.Dopo il recupero, le statue vennero avviate a un primo restauro, che fu realizzato a tra il 1975 e il 1980 a Firenze. Due furono gli obiettivi dell’intervento: pulizia e conservazione delle superfici esterne; tentativo di svuotamento della terra di fusione posta all’interno delle statue. La rimozione della terra di fusione fu portata avanti nel laboratorio di restauro posto nel Museo di Reggio negli anni 1992-1995, e finalmente conclusa nell’ultimo restauro tra gli anni 2010 e 2013, effettuato presso la sede del Consiglio Regionale della Calabria, a Palazzo Campanella.Le due statue, denominate “A” e “B”, e ribattezzate a Reggio come “il giovane” e “il vecchio”, sono alte rispettivamente 1,98 e 1,97 m, e il loro peso, originariamente di 400 kg, ora è diminuito a circa 160 kg, in virtù della rimozione della terra di fusione. La località di ritrovamento, posta presso un porto mai studiato scientificamente, ma che sembra essere attivo già dall’epoca greca, è altamente significativa. La sua funzione di porto è resa certa dalla presenza della Torre di Casamona, di epoca angioina, anche se datata erroneamente al XVI sec., la cui funzione era quella di proteggere l’approdo e fungere da luogo di esazione delle tasse. Il ritrovamento delle due statue nei pressi del porto avvalora le teorie che mettono in relazione la presenza a Riace dei due Bronzi con il loro trasporto da o verso Roma. Altri particolari, come la presenza della ceramica per proteggere l’integrità della Statua A, sembrano attestare che le due opere erano in viaggio per essere esposte in un altro luogo. Le due statue sono di bronzo, dallo spessore molto tenue, tranne alcuni particolari in argento, in calcite e in rame. Sono in argento i denti della Statua A. In rame sono stati realizzati i capezzoli, le labbra e le ciglia di entrambe le statue, oltre che le tracce di una cuffia sulla testa del Bronzo B. In calcite bianca è la sclera degli occhi, le cui iridi erano in pasta di vetro, mentre la caruncola lacrimale è di una pietra di colore rosa. Le due statue sono state certamente eseguite ad Argo, nel Peloponneso e raffigurano due opliti, anzi un oplita (Bronzo A) e un re guerriero (Bronzo B). Oggi i due bronzi si trovano al Museo Archeologico di Reggio Calabria, in ambiente protetto e meritano assolutamente una visita. The Bronzes were found in 1972, in an exceptional state of conservation, on the bottom of the Ionian Sea, near the town of Riace Marina, by a passionate diver during a dive about 200 m from the coast and at a depth of 8 m. In the locality of Porto Forticchio di Riace Marina, two bronze statues were found, apparently without any contemporary finds in the surroundings. Their recovery was carried out with an embarrassing lightness and with inappropriate means, to the point that a large piece of late antique ceramic was "forgotten" on the beach, placed between the right forearm and the chest of Bronze A to prevent the arm itself could be damaged during transport. After the recovery, the statues were sent for a first restoration, which was carried out between 1975 and 1980 in Florence. There were two objectives of the intervention: cleaning and conservation of the external surfaces; attempt to empty the fusion earth placed inside the statues. The removal of the fusion earth was carried out in the restoration laboratory located in the Reggio Museum in the years 1992-1995, and finally concluded in the last restoration between the years 2010 and 2013, carried out at the headquarters of the Regional Council of Calabria, in Palazzo Bell. The two statues, called "A" and "B", and renamed in Reggio as "the young" and "the old", are respectively 1.98 and 1.97 m high, and their weight, originally 400 kg, now it has decreased to about 160 kg, by virtue of the removal of the melt. The place of discovery, located near a port that has never been scientifically studied, but which seems to have been active since the Greek era, is highly significant. Its function as a port is confirmed by the presence of the Casamona Tower, dating back to the Angevin era, even if erroneously dated to the 16th century, whose function was to protect the landing place and act as a place for tax collection. The discovery of the two statues near the port confirms the theories that relate the presence of the two Bronzes in Riace with their transport to or from Rome. Other details, such as the presence of ceramics to protect the integrity of Statue A, seem to attest that the two works were on their way to be exhibited in another place. The two statues are of very thin bronze, except for some details in silver, calcite and copper. The teeth of Statue A are in silver. The nipples, lips and eyelashes of both statues were made in copper, as well as the traces of a cap on the head of Bronze B. In white calcite is the sclera of the eyes, the whose irises were in glass paste, while the lacrimal caruncle is of a pink colored stone. The two statues were certainly made in Argos, in the Peloponnese and depict two hoplites, indeed a hoplite (Bronze A) and a warrior king (Bronze B). Today the two bronzes are in the Archaeological Museum of Reggio Calabria, in a protected environment and are absolutely worth a visit.

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Carola Zambaldi è una viaggiatrice del mondo, appassionata da sempre di scoprire nuove culture e paesaggi naturali diversi. Ha sviluppato una tecnica con resine colorate molto resistenti con le quali crea oggetti vari in maniera del tutto scontata, mentre scontata non è. I colori sono brillanti e trasmettono la sua vivacità ed energia positiva.

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My name is Luis Guillermo Castro Martin. I am a philosopher specialized in philosophy of mind and language. In particular, I am interested in the nature of consciousness, and the way in which we experience and interpret the world. I started my studies at the Central University of Venezuela in 2006, where I obtained a bachelor’s degree in philosophy (2011) and a master’s degree in logic and philosophy of science (2015). In 2012, the university offered me a position as a professor of philosophy and I taught several courses there until 2017, when I enrolled in a PhD program at the University of Genoa, Italy. I have also published several papers in philosophy journals and participated in various international events. In 2020, while writing my PhD thesis, I realized that I had been immersed in philosophy for too long and decided to use my experience to rejoin the real world. In my years studying philosophy, I have learned many things, but the most important is that the world is what we make of it, there is no ultimate truth, no final word. We create our reality. Knowledge has somehow separated us from others and nature, perhaps it can also reunite us. Although I was born in Venezuela, my family is a blending of different nationalities and traditions. I have lived and studied in different countries, which are all part of who I am and what I want to be. My actions define me, not my nationality or my origins. I do not believe in borders or limits; they are only in our minds. The sensation of not belonging can be liberating, once we realize that, by not belonging somewhere, we belong everywhere. I speak three languages (Spanish, English, and Italian) and I enjoy learning from other cultures, as well as transmitting the values of my own. I also enjoy music, sports and nature. I am the author of “Fragments of Mind” on Substack. A space for thinking outside the box, while discussing philosophical matters.

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La Famiglia Ferdy nasce nel 1989, quando Ferdinando Quarteroni e la moglie Cinzia Balestra decidono di inziare la loro avventura nella neonata azienda familiare con l’acquisto dei primi 12 cavalli. Iniziano a far conoscere ai loro ospiti l’identità e la storia di Ferdy su una costa del fiume Brembo in Val Brembana, area raggiungibile solo attraverso un ponticello. Questo ponticello che porta ad un antico cancello, contraddistinguerà nel tempo (e tutt’oggi contraddistingue) l’unico accesso ad un luogo incantato nel cuore della natura. In questi anni Ferdy, soprannome di Ferdinando, può solo immaginare come potrà trasformare questo luogo in una meta pronta ad accogliere ed offrire servizi i suoi ospiti. Cinzia, nel frattempo, sta lavorando per far sì che quei loro sogni diventino realtà. Il progetto inziale si evolve con l’acquisto delle vacche di famiglia del papà di Ferdy, Rolando Nazareno, e qualche capo di capra. Le vacche saranno solo di razza Bruna Alpina Originale e le Capre solo Orobiche: animali autoctoni delle Orobie, che diventeranno una delle pietre miliari dell’azienda. Questi animali sono in grado di vivere per molti mesi all’anno libere sulle montagne cibandosi di solo pascolo e producendo latte dalle altissime proprietà organolettica e salutistiche. Agriturismo Ferdy negli anni è stato in grado di innovarsi e rinnovarsi senza mai perdere il contatto con le vere tradizioni locali e la sostenibilità di razze autoctone e del territorio circostante. È proprio questo concetto olistico che spinge l’azienda a vivere secondo gli stessi ritmi della natura, a valorizzare le ricchezze di un prato che diventa pascolo per gli animali, erbe spontanee officinali per il ‘Borgo del Benessere’ e che alimentano con antico sapere, i sapori del ristorante. Agriturismo Ferdy è innanzitutto rispetto e valorizzazione della natura. Cucina naturale e benessere, a contatto con la natura e immersi nelle tradizioni. Agriturismo Ferdy è una vacanza nella natura, una lezione di equitazione o la semplice riscoperta della cucina tradizionale di montagna. Ferdy Wild è la nostra linea di prodotti naturali: una selezione delle più genuine espressioni della natura che ci circonda. Scopri i prodotti Ferdy Wild nella nostra Boutique Mercatorum o sul nostro Shop online.

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Una trattoria pizzeria piemontese, immersa nella langa che vi farà assaporare la tradizione e la qualità del cibo tipico di queste zone. Il locale semplicemente arredato ha alcuni tavoli sulla piazzetta del paese davanti alla chiesetta e con la vista verso le colline. La signora Piera in cucina prepara il tipico menù piemontese fatto di antipasti, plin e tagliatelle il pezzo forte è il coniglio che si scioglie in bocca. Appena sarete seduti arriverà il giovane nipote Bebo che con fare generoso e spigliato in italiano o in inglese vi accoglierà con una scelta di vini piemontesi e, in attesa dei piatti, con le "friciule" calde, pasta di pane fritta talmente leggere e gustose che salteranno in bocca senza che ve ne aggorgerete. Anche la pizza è ottima e digeribile con farciture anche di ingredienti locali che sehuono le stagioni come la toma di Roccaverano e i fiori di zucca in stagione. A Piedmontese trattoria and pizzeria, immersed in the Langhe that will make you savor the tradition and quality of the typical food of these areas. The simply furnished restaurant has some tables on the town square in front of the church and with a view towards the hills. Mrs. Piera in the kitchen prepares the typical Piedmontese menu made of appetizers, plin and tagliatelle the highlight is the rabbit that melts in your mouth. As soon as you are seated, the young grandson Bebo will arrive who, generously and confidently in Italian or English, will welcome you with a choice of Piedmontese wines and, waiting for the dishes, with hot "friciule", fried bread dough so light and tasty they will jump in your mouth without you knowing. Even the pizza is excellent and digestible with fillings also of local ingredients that follow the seasons such as the toma di Roccaverano and the courgette flowers in season.

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Hans-Juergen Wiegand is a man who lives his work passions and family, with determination. A philanthropist, who has held important positions in the chemical and automotive world, in particular with Daimler AG (Mercedes-Benz). He loves to travel, attaining knowledge and experience from different cultures. These experiences have shaped him, with a particular acumen in recognizing the best in human beings. Hans thrives on helping young people, to realize their dreams, as he has realized his own. Hans is an inspirational leader, with the competence to restructure and transform organizations. He is very flexible with people, and stands like a rock when it comes to principles. Whatever happens, he will always stay positive.

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Kylie Flavell is one of the most popular influencers of the moment who, with more than 143,000 followers, brings to the world all the charm of Italy made of art, culture and above all gastronomy. Influencer, filmmaker, producer and cook in love with the Italian tradition, the beautiful Kylie has chosen the design of our kitchens to bring elegance, style and refinement to her video recipe format “From Italy with love”. This is an expected appointment on her social networks followed by numerous and passionate followers, lovers of good Italian cuisine. A column that we will not fail to share also on our Facebook and YouTube profiles. Her style is so unique and captivating, we invite you to follow and share her video recipes set in a splendid Tuscan farmhouse, immersed in the warmth of the most authentic Italian style. Kylie Flavell is someone who believes in kindness and beauty and the power of believing in yourself and your dreams. And the best way for her to share this with the world was by becoming firstly, a writer and magazine editor, and later, a filmmaker, TV presenter, YouTuber and passionate storyteller in all forms. On the way, she has done a range of other jobs, from a dishwasher in a tiny cramped kitchen of a restaurant to an assistant and translator in a couture atelier in Rome. She's lived lavishly and experienced magnificent scenes that one might think only happen in films... and had been a broke struggling artist, living in a flat in Rome with no windows and no electricity - which turned out to be equally cinematic. TV shows maker as the creator, host and one-woman production company that have aired all over the world, including shows on National Geographic Channel and Discovery in 70 countries. She's also won awards for work with brands, such as her web series Hooked Up, commissioned by Airbnb, which had her filming alone in a different country every episode, and reached over 10 million views. She presented the unique approach to filmmaking at the Cannes Film Festival and other international events, how she taught herself every aspect of production in order to bring audiences the quality of cinema and television, with the intimacy and authenticity of YouTube.

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Cindy Vine Travels and Portugal, Cindy Vine is an author, mother of three kids, with lots of life experiences she uses as an inspiration source to write her books about. She is a teacher and uses her teaching qualifications to travel around the world teaching. Cindy Vine's novels are known for their sharp insight on interpersonal relationships. Cindy loves to travel and enjoy taking photos and videos to document her trip. That's so that when her memory starts to fade, she can remember what she's done and where she's been. So if you are a fellow traveller or an armchair traveller, you will be interested in following her adventures. Cindy decided to move to Portugal and just purchased a 2.5hec. farm in Central Portugal. Interesting to understand why she chose moving to Portugal and what future she's expecting to live, this was the dream of her life. She bought an old farm abandoned with a big garden also abandoned. We talked about why she chose moving to Portugal and what future. The farm is called Bela Pedra that means Pretty Stone. She started restoring it and taking care of the garden, planting trees and farming, all on her ow, learning day by day with passion and care and documenting her journey on her YouTube channel and blogs. She is admirable for the positive strength she has, she is an example of how anyone can reach their dreams.

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Lungo la strada che porta alla Sacra di San Michele, alle pendici del monte Pirchiriano, sorge l’ex Convento di San Francesco, noto oggi come Certosa di San Francesco e gestito dal Gruppo Abele. La chiesa conventuale abbazia di San Francesco al Monte, consacrata nel 1521 e tutt’oggi officiata, sorge al centro dello splendido complesso. Essa si presenta esternamente con una semplice facciata in pietra a vista rifinita a intonaco nella parte sommitale e impreziosita dal portale ad arco a tutto sesto e dal finestrone. L’interno è a navata unica, sulla quale si innestano delle cappelle laterali poste sul lato sud. La struttura conserva ancora l’impianto primitivo, ad eccezione della prima campata, rialzata e munita di volta a cupola nella seconda metà del Settecento. Le cappelle laterali e la lunetta sovrastante l’ingresso presentano tracce dell’originaria decorazione ad affresco cinquecentesca. Nella prima cappella a ridosso della facciata restano, ai lati di una nicchia, le figure frammentarie di Santa Lucia e Santa Barbara, mentre nelle vele della volta sono raffigurate, all’interno di tondi, ritratti dei padri della chiesa. La seconda cappella reca invece, al di sopra dell’altare, una notevole Deposizione inserita entro una finta architettura con arco a tutto sesto, nella quale spicca, in primo piano, la figura della Maddalena abbigliata con un ricco abito color ocra. Ai lati della raffigurazione principale e sulla parete di sinistra sono ancora visibili le figure frammentarie di un santo vescovo e di un santo francescano.

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Italia che Cambia è un’associazione di promozione sociale e una testata giornalistica registrata. Raccontiamo, mappiamo e mettiamo in rete chi produce un cambiamento positivo dal basso del nostro paese, in una direzione di maggiore sostenibilità ed equità economica, sociale, ambientale, culturale. Italia che cambia è un progetto che vuole raccontare, mappare e mettere in rete quel pezzo di paese che di fronte a un problema si attiva per cambiare concretamente le cose senza delegare o aspettare che qualcuno lo faccia al suo posto. Vuole inoltre offrire strumenti di facilitazione dei processi di trasformazione positiva in atto nel Paese con l’obiettivo di far emergere le potenzialità di coloro che “vogliono cambiare” fornendo l’esempio, il know-how e il supporto della rete di progetti già in atto. La visione e i valori che hanno dato vita al progetto Italia che Cambia sono racchiusi nei “Sette Sentieri” che sono quindi alla base della selezione delle realtà presenti nella mappa e delle notizie proposte ogni giorno. Sette sentieri di transizione verso una società più equa, giusta e sostenibile. I vari punti non li abbiamo scelti noi dal nulla: ci sono stati segnalati, raccontati, trasmessi dalle realtà che abbiamo incontrato lungo il cammino. Li abbiamo voluti scrivere, raggruppandoli e organizzandoli per rendere espliciti gli obiettivi e gli ideali che ci muovono e che stanno alla base del nostro progetto. Non sono dei punti di partenza ma di arrivo. Le realtà che raccontiamo, che abbiamo incontrato e che potete trovare sulla mappa, pur seguendo ciascuna il suo sentiero particolare, condividono con noi questo percorso e mirano verso la stessa meta. Inoltre grazie ad un lavoro che nel 2015 ha coinvolto oltre 100 ambasciatori e ambasciatrici, rappresentanti di altrettante associazioni, comitati, imprese, università, istituzioni, abbiamo scritto 17 documenti di visione/azione per cambiare l’Italia. Li abbiamo chiamati Visioni 2040 e vanno ad integrare, approfondendoli, gli elementi che emergono dai Sette Sentieri. Nel marzo 2018 è uscito il libro “E ora si cambia”, che raccoglie i documenti riassunti ed aggiornati, a cura di Andrea Degl’Innocenti e Daniel Tarozzi. Il nostro obiettivo, quindi, è duplice: da un lato far emergere questa italica moltitudine – che abbiamo potuto incontrare in anni d'incontri in giro per le venti regioni italiane – e dall’altro contribuire alla costruzione di un nuovo paradigma culturale che metta al centro la de-mercificazione della realtà, le relazioni umane, la facilitazione, i processi non giudicanti, la sostenibilità umana, ambientale, economica e sociale.

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Die GLS Bank ist in Deutschland die Refernz für sozial und ökologisches Banking. Wer bei der GLS Bank Kunde ist, kann sich sicher sein, dass sein Geld dazu beiträgt die Zukunft zu gestalten, die wir uns alle wüsnchen. Investitionen gehen in eigens sehr strickt aufgelegte Fonds welche das 1.5°C Ziel bereits erfüllen. Keine Kinderarbeit, keine Waffen, kein Genforschung oder andere negativ Themen - sondern erneuerbare Energien, Soziales und Kultur, ökologische Landwirtschaft, Ernährung, nachhaltige Wirtschaft und weitere positiv beitragende Vorhaben werden ausschließlich unterstützt. Als Kunde bei der Bank trägt man dazu bei, dass ausschließlich diese positiven Projekte gefördert werden. Der strickte Zuspruch zu sozial und ökologischen Projekten wird bei allen Produkten, die ein Kunde von seiner Bank kennt (Baugredite, Firmenkredite, Altersovrsorge, Anlagen, Investitionen etc) unabweichlich eingehalten. Privatpersonen, Firmen und Vereine werden darüber hinaus aktiv unterstützt ihrn eigenen Impact zu verbessern. Die GLS Bank ist eine Universal-Bank, bei welcher man nahezu alle Finanzdienstleistungen in Anspruch nehmen kann - jedoch immer unter einer strickten sozial, ökologischen und nachhaltigen Perspektive. Die Bank ist überwiegend in Deutschland tätig. Es können alle Dienste online wahrgenommen werden und es gibt mehrere Filialen für den persönlichen Besuch. Desweiteren besticht die Bank durch Ihre Rechtsform, die Genossenschaft. Die mitgleiderbestimmte Gesellschaftsform ist darauf gegründet in Gemeinschaft einen gesellschaftlich positiven Beitrag zu leisten. Mit der GLS Bank gibt es keinen Bedarf mehr als Privatperson sowie Firma bei einer konventionellen Bank zu sein und indirekt Umweltvernichtende Projekte zu unterstützen. Die GLS Bank bietet den vollumassenden Banken-Service mit reinem und ehrlichem guten Gewissen. Klimaschutz kann so einfach sein: Werde jetzt Mitglied bei der GLS Bank. The GLS Bank is the reference for social and ecological banking in Germany. Anyone who is a customer of GLS Bank can be sure that their money will help shape the future that we all want. Investments are made in specially designed funds that already meet the 1.5 ° C target. No child labor, no weapons, no genetic research or other negative topics - only renewable energies, social affairs and culture, ecological agriculture, nutrition, sustainable economy and other positively contributing projects are exclusively supported. As a customer at the bank, you help ensure that only these positive projects are funded. The strict encouragement to social and ecological projects is inevitably complied with for all products that a customer knows from their bank (building loans, corporate loans, old-age provision, systems, investments, etc.). Private individuals, companies and associations are also actively supported to improve their own impact. The GLS Bank is a universal bank, where you can take advantage of almost all financial services - but always under a strict social, ecological and sustainable perspective. The bank operates predominantly in Germany. All services can be used online and there are several branches for personal visits. Furthermore, the bank impresses with its legal form, the cooperative. The member-determined form of society is based on making a socially positive contribution in community. With the GLS Bank, there is no longer any need to be a private person or company with a conventional bank and indirectly support environmentally damaging projects. GLS Bank offers the full banking service with a clear and honest good conscience. Climate protection can be so easy: become a member of GLS Bank now.

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Homo Faber Guide is an online platform dedicated to craftsmanship that allows you to discover artisans and their masterpieces; explore museums, visit galleries and shops selling unique objects; enjoy experiences in cities across Europe. Homo Faber Guide is a signature project developed by the Michelangelo Foundation for Creativity and Craftsmanship, an international non-profit organization based in Geneva, Switzerland, which was set up in 2016 thanks to the intuition of Franco Cologni and Johann Rupert. The Michelangelo Foundation’s mission is to celebrate and preserve master craftsmanship, and for this reason it has created a European map of the most significant representatives in this field, with the aim of connecting all its protagonists: artisans, designers, gallery owners, art curators, collectors and enthusiasts of high-quality handmade pieces. Homo Faber Guide has a section dedicated to the discovery of artisans, ateliers and manufacturers. Browse the profiles of master artisans and rising talents from Europe and beyond who exemplify excellence. Find out about them through interviews and images which reveal their individual stories, techniques and objects and have the chance to contact them directly. Learn the addresses of ateliers dedicated to different crafts and of esteemed manufacturers. There is also a space dedicate to showcase galleries, shops and museums which you can visit. Find the addresses in each city of galleries exhibiting contemporary craftsmanship and shops selling the masterpieces of the artisans featured in the guide. The museums shown in the guide have been handpicked for their links to craftsmanship and for the exquisite collections they have on display. The artisans featured in Homo Faber Guide have been selected in a meticulous assessment process based on the eleven criteria for excellence identified by Alberto Cavalli, Executive Director of the Michelangelo Foundation, in the volume The Master’s Touch, written with researchers Giuditta Comerci and Giovanna Marchello. The members of the Michelangelo Foundation’s network who have been invited to participate in selecting masters to be featured in the guide were provided with an evaluation tool based on the eleven criteria. In this way, they identify the most suitable masters to be included in the project.

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Ho passato gran parte della mia infanzia a San Erasmo e porto dentro molti ricordi legati a quello che mi hanno raccontato i miei nonni, ma sopratutto ricordo la cucina di mia nonna che ho sempre rigorosamente preferito a quella di mia madre (pur essendo diventata una degna erede nel tempo!). Conosciuta come l’orto di Venezia è una delle isole più grandi e meno conosciute della laguna, ma ricca di sapere tramandato. Propongo un’esperienza unica e diversa con il cibo e la natura. Lo scopo è quello di avere una piacevole esperienza diretta gustando prodotti km0, inebriati da profumi dimenticati di piante ed erbe aromatiche. E’ una riscoperta delle originali connessioni tra uomo e natura, tanto più significativa nell’ottica di uno sviluppo integrato del rapporto tra uomo e territorio. Scoprire da dove vengono i prodotti alimentari, rapportarsi con la crescita delle piante, sperimentare direttamente il contatto con gli animali diventano pratiche di grande valore formativo, seppur vissute in modo semplice. Ecco come nasce” Experientia”, per divulgare la filosofia del saper mangiare bene. Una roulotte itinerante che vuol diventare un punto d'incontro per chi ama stare all’aria aperta, oppure per i giovani che hanno voglia di un buon hamburger! I spent most of my childhood in San Erasmo and I carry many memories related to what my grandparents told me, but above all I remember my grandmother's cuisine which I have always rigorously preferred to that of my mother (despite having become a worthy heir in time!). Known as the vegetable garden of Venice, it is one of the largest and least known islands in the lagoon, but rich in knowledge handed down. I propose a unique and different experience with food and nature. The aim is to have a pleasant direct experience tasting km0 products, inebriated by forgotten scents of plants and aromatic herbs. It is a rediscovery of the original connections between man and nature, all the more significant from the perspective of an integrated development of the relationship between man and territory. Finding out where food products come from, relating to plant growth, directly experiencing contact with animals become practices of great educational value, albeit lived in a simple way. This is how "Experientia" was born, to spread the philosophy of knowing how to eat well. A traveling caravan that wants to become a meeting point for those who love being outdoors, or for young people who want a good hamburger!

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Adriano Olivetti (Ivrea, 11 aprile 1901 – Aigle, 27 febbraio 1960) è stato un imprenditore, ingegnere e politico italiano, figlio di Camillo Olivetti fondatore della Ing. C. Olivetti & C., la prima fabbrica italiana di macchine per scrivere. Uomo di grande e singolare rilievo nella storia italiana del secondo dopoguerra, si distinse per i suoi innovativi progetti industriali basati sul principio secondo cui il profitto aziendale deve essere reinvestito a beneficio della comunità. La Fondazione Adriano Olivetti nasce nel 1962 ad opera di alcuni familiari, amici e collaboratori del grande imprenditore prematuramente scomparso due anni prima, con l’intento di raccogliere e sviluppare l’impegno civile, sociale e politico che ha distinto l’operato di Adriano Olivetti nel corso della sua vita. La Fondazione, con sede dapprima a Ivrea e subito dopo a Roma, si propone "la promozione, l’incoraggiamento e l’organizzazione gli studi che sono diretti ad approfondire la conoscenza delle condizioni da cui dipende il progresso sociale". La Fondazione ha lo scopo di promuovere, sviluppare e coordinare le iniziative e le attività culturali, che siano dirette a realizzare il benessere, l’istruzione e l’educazione dei cittadini, attraverso il progressivo diffondersi, in armonia con i principi della Costituzione, di forme comunitarie, rispondenti alla configurazione urbanistica, produttiva, sociale, ambientale e culturale della collettività, secondo le idee di Adriano Olivetti. Coerentemente a questo mandato, la Fondazione svolge con un approccio interdisciplinare attività di ricerca e promozione culturale e scientifica in quattro principali aree d’intervento: Istituzioni e società; Economia e società; Comunità e società; Arte, architettura e urbanistica. In questi ambiti, la Fondazione promuove programmi di studio e sperimentazione in particolare indirizzati ad approfondire la conoscenza delle condizioni da cui dipende il progresso sociale, che caratterizzano la Fondazione come istituzione operativa sul territorio, in una politica culturale che predilige la collaborazione con altre istituzioni di analoga natura e con enti pubblici e privati, nazionali ed internazionali.

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Dal 2006 c’è un posto a Torino che non è né una biblioteca né una libreria, ma in cui – dal lunedì al sabato e qualche volta anche di domenica – si parla di libri, con chi ne ha scritti e con chi li legge: è il Circolo dei Lettori, fondazione della Regione Piemonte che ha la sua sede in via Bogino 9, poco distante da piazza Carlo Alberto da una parte e via Po dall’altra. Aperto da mattina a sera, organizza presentazioni di libri con scrittori italiani e stranieri, reading, gruppi di lettura, laboratori per bambini e anche viaggi letterari: è un luogo unico in Italia per il numero di attività e per il tipo di spazi che mette a disposizione. Ha anche un bar, che si chiama Barney’s, dal nome di quel Barney. La Fondazione Circolo dei lettori, nata a Torino per volontà della Regione Piemonte, guidata dal presidente Giulio Biino e diretta da Elena Loewenthal, produce e diffonde cultura, tutti i giorni nelle sue tre sedi, di Torino, Novara e Rivoli, e con grandi rassegne annuali sul territorio e in rete con realtà di tutt’Italia. Agisce attraverso l’ideazione e l’organizzazione di incontri, reading, dibattiti, manifestazioni, concerti e rassegne culturali, mettendo al centro il libro per esplorare i linguaggi della contemporaneità e fissare così delle coordinate del mutevole presente. Promuovere la lettura è il primo obiettivo della Fondazione, messo in pratica con incontri quotidiani con scrittori e scrittrici nelle sue sedi, occasioni di dibattere intorno a romanzi e saggi di oggi e di ieri, e ancora nelle scuole, nelle carceri e negli ospedali del territorio, grazie ai progetti di responsabilità sociale. Offre quindi momenti di crescita personale, per tutte le età, colmando i bisogni culturali della comunità, regalando la possibilità di approfondire gli argomenti più vari, dalla filosofia alla storia, dalla musica al cinema. Perché i libri sono un punto di partenza per andare dappertutto, e per parlare di tutto, insieme, alleviando la solitudine e favorendo amicizie. Per questo la Fondazione si rivolge anche alle famiglie e agli insegnanti, con laboratori per i bambini e incontri per le classi, perché leggere è un’attività centrale nella formazione dei piccoli e dei giovani. Con l’obiettivo di un continuo rinnovamento della cultura, la Fondazione del Circolo dei lettori organizza grandi rassegne annuali, momenti di riflessione straordinaria, parentesi utili a prendersi il tempo di pensare e immaginare. Sono Scarabocchi. Il mio primo festival, seminari e laboratori per famiglie e bambini, Torino Spiritualità, dedicato ai grandi interrogativi dell’umanità, il Festival del Classico, per cercare nel passato buone pratiche per il presente. Dal 2018, la Fondazione Circolo dei lettori si occupa dei contenuti culturali e della comunicazione del Salone Internazionale del Libro di Torino, cinque giorni di sconfinati dialoghi intorno ai libri e alla lettura.

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Daniele Cavallero è figlio d'arte. Da più generazioni la sua famiglia si occupa di legnami, mobili e di edifici storici, in una delle zone più belle d'Italia: il Monferrato, oggi patrimonio dell'UNESCO. La passione di Daniele è quella dei materiali, sopraffino conoscitore di essenze di legno, sa tutto sulle qualità, le lavorazioni e gli usi del legno nell'arredamento e nella ristrutturazione. E'abituato agli edifici storici, vista la zona dove opera. Per la sua capacità viene chiamato anche all'estero, soprattutto dove vengono richieste competenze e artigiani italiani. Daniele è esperto di bioedilizia e di malte e costruzioni con materiali naturali, calce e calce-canapa, collabora con vari architetti e studi di professionisti del settore. Grande appassionato di vini nobili piemontesi, non perde occasione per promuovere il suo amato territorio delle Langhe. Daniele Cavallero is the son of art. For several generations his family has been dealing with wood, furniture and historic buildings, in one of the most beautiful areas in Italy: Monferrato, today a UNESCO heritage site. Daniele's passion is that of materials, a superfine connoisseur of wood essences, he knows everything about the qualities, processes and uses of wood in furnishing and renovation. He is used to historic buildings, given the area where he works. For his ability he is also called abroad, above all where Italian skills and craftsmen are required. Daniele is an expert in green building and mortars and constructions with natural materials, lime and lime-hemp, he collaborates with various architects and professional firms in the sector. A great lover of Piedmontese noble wines, he never misses an opportunity to promote his beloved territory of Langhe in Piemont.

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Eolie Shop was born from the passion of a group of young Sicilian entrepreneurs, in love with their land and the raw materials it offers. Their quality is given by the scents of the sea and the warmth of the sun that bathe and warm the lands of the pristine Aeolian Islands. The expert hands of the Aeolian artisans transform these excellent raw materials into products of unparalleled taste and supreme quality. The aim that these young entrepreneurs have set themselves is to make the Aeolian excellence known internationally, creating an indissoluble union between quality and accessibility. This is why they have devised a supply chain that allows them to minimize brokerage costs and at the same time allow large-scale distribution of Aeolian products at competitive prices, maintaining the quality of the products intact and guaranteeing their undisputed excellence. The consumer can only choose the products he prefers and enjoy them in good company. Eolie Shop Online for only typical products from the Eolian Islands. The Eolie Shop project is born From the love for the culinary excellence of the Aeolian islands territory and from the desire to make them finally accessible and appreciated to all. An online store that enhances the history, traditions and quality of the island’s producers who work every day to keep an age-old food and wine culture alive.

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Silvio Scarafiotti, figlio d'arte, esegue, negli anni, eleganti opere pittoriche e decorative presso committenze di elevato prestigio in Italia ed Europa. Appassionato del suo lavoro, ha imparato da suo padre le antiche tecniche pittoriche e di restauro, mettendoci l'amore per il suo lavoro. Sempre alla ricerca dell'innovazione, si pone all'avanguardia con le più recenti tecniche pittoriche, pur con grande attenzione e conoscenza dei materiali naturali, della calce e di tutte le sue lavorazioni imparate fin da ragazzino. Con il suo staff, composto da validi professionisti, pone estrema attenzione alla pulizia degli ambienti lavorativi, all'ordine e alla precisione. Maestro di trompe-l'oeil, pittura su superfice piana che crea l'illusione di tridimensionalità nello spettatore, esegue stucchi, marmorini, spatolati. Amante del bello e dell'architettura storica si occupa d'interventi conservativi e integrativi su facciate e di pitture murali d'epoca, atti a svelare e salvaguardare la presenza di meravigliosi dipinti.

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Ermanno Tedeschi is a refined gallery owner operating in Italy and abroad with galleries in Turin, Milan, Rome and Tel-Aviv. After his long international experience, he continues his activity in the art world in different ways and with new, different tools. His passion and professional skill is to sew tailor-made projects for public and private spaces, organize specific artistic activities for collectors and promote meetings in the studios of the artists that he has always followed in recent years. His professional advice in the purchase and sale of works of art is given with leaner and more flexible tools. He deeply believes in the cultural aspect that he considers closely connected with the art market.

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Maria Carolina Zambelli è un architetto esperta in bioarchitettura, bioedilizia, energie rinnovabili. Vive e lavora a Venezia in uno dei più bei palazzi storici della città. È attiva nel restauro e ristrutturazione di castelli ed edifici storici, collabora attivamente con la Soprintendenza, conosce e riconosce i materiali antichi e le loro lavorazioni. Si prende cura dei suoi committenti con conoscenza, passione e cuore.

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Marco Camisani Calzolari has been involved with the Digital industry since 1994, namely, as University Contract Professor in Digital Communication & Transformation and Fake News/Propaganda, in addition to being a prominent Keynote Speaker and Writer on the subject. Originally born in Milan, Marco, a well-known media personality, now lives in London and has become a British citizen. Marco is also a Digital Advisor for important multinationals such as Henkel, Roche, Atlantia, Danieli and so forth. As a Digital book writer, he has authored several publications on Digital Strategy and he is a regular contributor to many magazines inherent to digital-related topics, as well as various national TV and Radio channels where he is a long-established name, always hosted not only for his distinct competence but also great popularity with the public.

 Listings, M /  Greater Europe

Amid the green woods of the Aspromonte National Park, Domenico created the Perrone farm in 1968. The history of the Perrone family was born among the olive trees In the heart of Calabria, our olive trees extend over terraces along the steep slopes facing north-east, at an altitude between 500 and 800 meters above sea level. These particular conditions create a barrier against pests and moulds and allow a harmonious and healthy growth of the plants. The olive trees belong to the indigenous cultivars Sinopolese and Ottobratica and produce small and high quality fruits. The cultivation techniques centered on respect for nature, special attention to the degree of ripeness in the olive harvest and the scrupulous selection of cold-extracted oils make it possible to obtain a genuine product with high and valuable organoleptic characteristics. Since then and with the same passion as always, following the rhythms of nature and the seasons, precious oils