Anita bed and breakfast vi augura buona colazione e Buon Natale!!
mercoledì 25 dicembre 2013
martedì 24 dicembre 2013
lunedì 23 dicembre 2013
Aperture straordinarie a Natale e a Capodanno
Il Museo Archeologico Nazionale di Palestrina accoglierà i visitatori anche nei giorni di Natale e Capodanno con due aperture straordinarie in orario pomeridiano, dalle ore 14.00 alle ore 20.00 (ultimo ingresso alle ore 19.00).
In entrambe le giornate, alle ore 17.00 il personale del Museo accompagnerà il pubblico in una visita guidata alla ricca collezione museale, che annovera autentici capolavori dell’arte antica, quale il grandioso mosaico policromo del Nilo.
Sabato 28 dicembre: ingresso gratuito e visita guidata gratuita
Sabato 28 dicembre il Museo Archeologico Nazionale di Palestrina sarà aperto gratuitamente per l’intera giornata, dalle ore 9.00 alle ore 20.00 (ultimo ingresso alle ore 19.00).
Per l’occasione, si propone alle ore 11.30 una visita guidata gratuita con archeologo, a cura di Coopculture. È obbligatoria la prenotazione (tel. 06-9538100; e-mail: sba-laz.palestrina@
Auguri di Buone Feste da tutto il personale del Museo.
MUSEO ARCHEOLOGICO NAZIONALE DI PALESTRINA
Palazzo Barberini, via Barberini, 22 - 00036 Palestrina (RM)
sito web: www.archeolazio.beniculturali.
mercoledì 18 dicembre 2013
lunedì 16 dicembre 2013
Architecture and image
Hadrian's Villa is one of the most complex and significant examples of the builing genius of the Romans. It is a complete sample of architectural creations, stemming out in domes and in the shapes of the buildings; their disposition does not follow a rigid symmetry but was conceived to amaze the visitor, creating surprise perspectives, following and dominating the natural curves of the ground.
The Villa is one of the most remarkable examples of imperial and dynastic palace. The most ancient buildings of this kind are known only from the ancient literary sources, which describe the legendary palaces of the persian kings, set in the middle of luxuriant paradise-gardens. Later on, came the palaces of the hellenistic kings, archetypes of a tradition made of magnificence, enormous dimensions, monumental and scenographic architecture.
When Rome became the greatest power of the Mediterranean and conquered Greece, the romans were seduced by the luxury and beauty of greek and hellenistic art. Roman aristocracy and, later on, roman emperors, copied the hellenistic palaces, and together came the passion for Villas. Emperor Augustus owned the first imperial villa at Prima Porta, near Rome; Nero built himself a villa in the very heart of Rome, the Domus Aurea, and another villa in Subiaco, with an artificial lake. Domitian created magnificent villas in Castelgandolfo and Sabaudia, not very far from Rome. Trajan, too, had a villa in Arcinazzo, and so on. The luxury villa set in an extensive estate became a 'must' for every roman emperor.
In hellenistic and roman times triumphed a well defined iconography of power, an 'image' which concerned not only the way the emperor was dressed and the cerimonies to which he took part, but included the palaces where he lived.
The Villa is one of the most remarkable examples of imperial and dynastic palace. The most ancient buildings of this kind are known only from the ancient literary sources, which describe the legendary palaces of the persian kings, set in the middle of luxuriant paradise-gardens. Later on, came the palaces of the hellenistic kings, archetypes of a tradition made of magnificence, enormous dimensions, monumental and scenographic architecture.
When Rome became the greatest power of the Mediterranean and conquered Greece, the romans were seduced by the luxury and beauty of greek and hellenistic art. Roman aristocracy and, later on, roman emperors, copied the hellenistic palaces, and together came the passion for Villas. Emperor Augustus owned the first imperial villa at Prima Porta, near Rome; Nero built himself a villa in the very heart of Rome, the Domus Aurea, and another villa in Subiaco, with an artificial lake. Domitian created magnificent villas in Castelgandolfo and Sabaudia, not very far from Rome. Trajan, too, had a villa in Arcinazzo, and so on. The luxury villa set in an extensive estate became a 'must' for every roman emperor.
In hellenistic and roman times triumphed a well defined iconography of power, an 'image' which concerned not only the way the emperor was dressed and the cerimonies to which he took part, but included the palaces where he lived.
 |
In these imperial residences, as pointed out by prof. Eugenio La Rocca, luxury was an expression of wealth and power. Villa Hadriana is one of the most significant examples of this idea: its extension speaks by itself, as do its complexity, the great number of different levels and orientations, the bizarre shapes and grandiosity of the buildings. And, moreover, the magnificence of the decoration, the marbles coming from quarries scattered in the whole Mediterranean, the statues, friezes, frescoes, mosaics; the secluded internal gardens, the vast artificial esplanades which created an enormous park surrounding the different pavilions, whose architectural outline was reflected by spectacular water basins.
Besides luxury, security was a top priority in the Villa. It is completely false that Villa Hadriana had no protection because nobody would dare to attempt the Emperor's life. Walking around the Villa, it is self-evident that it was built like a fortress, with high wallings such as the Hundred Chambers (Cento Camerelle) or the containment walls near the Palestra and the Valley of Tempe, or again the long containment walls on it western side, running for more than three hundred meters from Roccabruna to the Accademia.
Besides luxury, security was a top priority in the Villa. It is completely false that Villa Hadriana had no protection because nobody would dare to attempt the Emperor's life. Walking around the Villa, it is self-evident that it was built like a fortress, with high wallings such as the Hundred Chambers (Cento Camerelle) or the containment walls near the Palestra and the Valley of Tempe, or again the long containment walls on it western side, running for more than three hundred meters from Roccabruna to the Accademia.
 The high walls on the western side of the Cento Camerelle |
There was a limited number of access roads, which were severely and constantly patrolled; within the Villa, a series of passegeways and check-points, easily watchable, linked one level to the other, a quarter to another. Studying these check-points it is possible to identify a public part of the Villa, completely separated from its private part. And it is possible to single out three hierarchical levels: the noble imperial quarters, reserved to the emperor and his entourage, the secondary quarters for high ranking personnel, and finally the servant's quarters, for slaves and soldiers.
Very little is left of the magnificent decoration of the Villa, after centuries of treasure hunting excavations and the consistent thefth of building materials such as brick and marble. Throughout the centuries, all marbles were meticolously taken away and burned to make lime, so just very few fragments survive.Therefore today's visitors do not realize that the Villa was almost entirely paved with luxury marble pavements (opus sectile) and also the walls were completely reveted with marble panels, reaching up to the ceiling.
The opus sectile was the distinctive mark of the emperor's presence, especially when red porphyry - the imperial stone par excellence - was used: it hinted to the purple colour, another sign of imperial power. In the most imposing buildings of the Villa, together with precious marbles were found beautyful mosaic panels with very small tesserae (1-2 millimiters) called vermiculatum.
Very little is left of the magnificent decoration of the Villa, after centuries of treasure hunting excavations and the consistent thefth of building materials such as brick and marble. Throughout the centuries, all marbles were meticolously taken away and burned to make lime, so just very few fragments survive.Therefore today's visitors do not realize that the Villa was almost entirely paved with luxury marble pavements (opus sectile) and also the walls were completely reveted with marble panels, reaching up to the ceiling.
The opus sectile was the distinctive mark of the emperor's presence, especially when red porphyry - the imperial stone par excellence - was used: it hinted to the purple colour, another sign of imperial power. In the most imposing buildings of the Villa, together with precious marbles were found beautyful mosaic panels with very small tesserae (1-2 millimiters) called vermiculatum.
 |
These two types of pavements occur only in the 'noble' buildings.
Black and white mosaics, infinitely less precious, had charming vegetal motives such as those of the Hospitalia, or simple geometric patterns. They were used in buildings which had a secondary location and smaller dimensions.
Then there was a third hierarchical level: the servant's quarters, with coccio pisto or opus spicatum pavements, as can be seen in the Caserma dei Vigili or in the Cento Camerelle.
Black and white mosaics, infinitely less precious, had charming vegetal motives such as those of the Hospitalia, or simple geometric patterns. They were used in buildings which had a secondary location and smaller dimensions.
Then there was a third hierarchical level: the servant's quarters, with coccio pisto or opus spicatum pavements, as can be seen in the Caserma dei Vigili or in the Cento Camerelle.
Even if they are almost two thousand years old, the ruins of the Villa are still very imposing, and have fascinated architects and artists of all times: they visited the site in search of inspiration, copied the shapes of the domes and tried to master their technical building secrets. Villa Hadriana was visited and studied by Andrea Palladio, Raphael, Michelangelo, Leonard, and also by Borromini, Piranesi, Canova, Quarenghi (who later became the architect of Catherine of Russia). Other artists such as Antonio da Sangallo, Pier Leone Ghezzi and Giovanni da Udine (just to name a few) left sketches and drawings of the ruins, and tried to reconstruct the plans of the most unusual buildings, such as the Teatro Marittimo or the Canopus.
The great number of famous visitors shows that Villa Hadriana was one of the highlights of roman architecture, but also a model and archetype for the great architecture of the Renaissance, in monuments, churches and villas. It is not by chance that one of the first and most ancient Renaissance villas, Villa d'Este, was built nearby in Tivoli. It is not by chance that during the historical period that saw the rediscovering of antiquity and of classical art, the roman architectural and artistic language learned at Villa Hadriana was re-used in new magnificent monuments and in many imposing villas, belonging to the most important families, linked to the nobility or to the Church. The idea of the Villa as image and expression of power and wealth revived in those prestigious estates.
The great number of famous visitors shows that Villa Hadriana was one of the highlights of roman architecture, but also a model and archetype for the great architecture of the Renaissance, in monuments, churches and villas. It is not by chance that one of the first and most ancient Renaissance villas, Villa d'Este, was built nearby in Tivoli. It is not by chance that during the historical period that saw the rediscovering of antiquity and of classical art, the roman architectural and artistic language learned at Villa Hadriana was re-used in new magnificent monuments and in many imposing villas, belonging to the most important families, linked to the nobility or to the Church. The idea of the Villa as image and expression of power and wealth revived in those prestigious estates.
Brief History of the Villa and of the excavations
 One of the statues of Caryathids flanking the Canopus |
In 1999 Villa Hadriana was appointed one of the Human Heritage Monuments by Unesco; as many other archaeological sites it is very famous, but still very little known in its essence, notwithstanding more than 500 years of excavations. A more scientific and modern approach to its study is a recent novelty.
Villa Hadriana lived until late antiquity, was sacked by the Barbarians of Totila, and during the Middle Ages became a quarry of building materials for the city of Tivoli and its bishop; her identity was lost, being renamed Tivoli Vecchio (Old Tivoli). At the end of the XV century, Biondo Flavio identified again the site as the Villa of the Emperor Hadrian described by the Historia Augusta; at the same time, Pope Alexander VI Borgia promoted the first excavations in the Odeon theater, discovering several statues of seated Musae, now in the Prado Museum of Madrid, Spain. Later on, Pope Pius II Piccolomini visited the Villa and described it in his Commentarii, making the site very famous from then on.
 During the first excavations in the Odeon were found several statues of seated Musae, now in the Prado Museum in Madrid |
The first extensive excavations date back to the middle of the XVI century, and were ordered by Cardinal Ippolito II d’Este (the son of Lucretia Borgia) who was at the time the powerful Governor of Tivoli. He enrolled the great architect and antiquarian Pirro Ligorio, who redesigned for him the Villa d’Este at Tivoli, transforming the old bishop’s residence in a renaissance ’luogo di delizie’ (place of delight), a palace set in a garden with spectacular fountains, for which he spent more than a million of golden scudi, an enormous wealth even at that time.
Pirro Ligorio excavated in many sites of Villa Hadriana, looking for statues and precious marbles which he later used in the decoration of the Villa d’Este. He has left three precious Codes where he describes his explorations and discoveries, talking about the statues and the subterranean roads, together with roman legends and myths. Ligorio’s Codes became one of the most important antiquarian texts of the Renaissance, desired in all european courts, and the fame and beauty of Villa Adriana became worldwide reknown. So did the legends about its treasures, and the excavations multiplied.
 The famous statues of Centaurs in gray marble, by Aristeas and Papias, were found in 1737 by Cardinal Furietti in the Accademia, and are now in the Capitoline Museums of Rome |
During the XVIII century, a good part of Villa Hadriana became the property of Count Giuseppe Fede, who planted the wonderful cypressus trees still extant today. He excavated and found several statues, but unfortunately his collection was dispersed soon after his death. At that time, Villa Hadriana became one of the sites that ’could not be missed’ in the Grand Tour of many english noblemen. They were willing to spend any sum of money to buy statues or other objects found in the Villa, which later were exhibited as treasures in their palaces. The english antiquarian and art dealer Gavin Hamilton worked in the Villa together with Domenico De Angelis: their excavation at the Pantanello found an enormous amount of sculptures.
 Beautyful stucco decoration on one of the vaults of the Great Baths (Grandi Terme). During the XVIII and XIX Centuries, english noblemen who visited the Villa used to shoot at the stuccoes to make them fall and get some souvenir of their trip |
At Villa Hadriana never was carried out a stratigraphical scientific excavation, most of them were simply treasure hunting. In recent times there have been only small explorations and cleanings. Nothing is known about the finds, there is no information about the last phases of its life and decay, even if there are signs of late antique alterations. We do not know the exact finding-spot of the greater part of its sculptures and mosaics; other finds have been lost, and there is an enormous amount of research to do just in studying and tracing back the statues.
sabato 14 dicembre 2013
Preneste (Palestrina)
Main sights
On the summit of the hill (753 m), nearly a mile from the town, stood the ancient citadel, the site of which is now occupied by a few poor houses (Castel San Pietro) and a ruined medieval castle of the Colonna family. The view embraces the Monte Soratte, Rome, the Alban Hills, and the Pontinian Plain as far as the sea. Considerable portions of the southern wall of the ancient citadel, built in massive cyclopean masonry consisting of limestone blocks, are still visible; and the two walls, also polygonal, which formerly united the citadel with the town, can still be traced.
The cathedral, just below the level of the temple, occupies the former civil basilica of the town, whose façade includes a sundial described by Varro, traces of which may still be seen. In the modern piazza the steps leading up to this basilica and the base of a large monument were found in 1907; evidently only part of the piazza represents the ancient forum. The cathedral has fine paintings and frescoes. In the Church of Santa Rosalia (1677) there is a noteworthy Pietà, carved in the solid rock.
The National Archeological Museum of Palestrina is housed inside the Renaissance Barberini Palace, the former baronial palace, built above the ancient temple of Fortuna. It exhibits the most important works from the ancient town of Praeneste. The famous sculpture of the Capitoline Triad is exhibited on the first floor. The second floor is dedicated to the necropoli and sanctuaries, while the third floor contains a large polychrome mosaic depicting the flooding of the Nile (Nile mosaic of Palestrina).
Preneste (Palestrina)
Later history
The modern town is built on the ruins of the famous temple of Fortuna Primigenia. A bishop of Praeneste is first mentioned in 313.In 1297 the Sciarrillo di Colonna family, who had owned Praeneste (by then called Palestrina) from the eleventh century as a fief, revolted from the pope. In the following year the town was taken by Papal forces, razed to the ground and salted by order of Pope Boniface VIII. In 1437 the rebuilt city was captured by the Papal general Giovanni Vitelleschi and once more utterly destroyed at the command of Pope Eugenius IV.
It was rebuilt once more and fortified by Stefano Colonna in 1448. It was again sacked in 1527, and occupied by the Duke of Alba in 1556.
Barberini Family
Main article: Barberini
In 1630, the comune passed by purchase into the Barberini family. It is likely the transfer was included as one of the conditions of the marriage of Taddeo Barberini and Anna Colonna. Thereafter, the famously nepotistic family, headed by Maffeo Barberini (later Pope Urban VIII) , treated the comune as a principality in its own right.Patriarchs of the Barberini family conferred, on various family members, the title of Prince of Palestrina. During the reign of Urban VIII, the title became interchangeable with that of Commander of the Papal Army (Gonfalonier of the Church) as the Barberini family controlled the papacy and the Palestrina principality.
The Wars of Castro ended (while Taddeo Barberini held both titles) and members of the Barberini family (including Taddeo) fled into exile after the newly elected Pope Innocent X launched an investigation into members of the Barberini family. Later the Barberini reconciled with the papacy when Pope Innocent X elevated Taddeo's son, Carlo Barberini to the cardinalate and his brother Maffeo Barberini married a niece of the Pope and reclaimed the title, Prince of Palestrina.
Two members of the Barberini family were named Cardinal-Bishop of the Diocese of Palestrina: Antonio Barberini and Francesco Barberini (Junior), the son of Maffeo Barberini.
The Barberini Palace originally included the Nile mosaic of Palestrina.
Modern history
It was the scene of a significant clash between Garibaldi and the Neapolitan army during his defence of the Roman Republic.The centre of the city was destroyed by Allied bombings during World War II; this however brought the ancient remains of the sanctuary to light.
Sanctuary of Fortuna Primigenia
Praeneste was chiefly famed for its Temple of Fortuna Primigenia connected with the oracle known as the Praenestine lots (sortes praenestinae). The temple was redeveloped after 82 BC as a spectacular series of terraces, exedras and porticos on four levels down the hillside, linked by monumental stairs and ramps. The inspiration for this feat of unified urbanistic design lay, not in republican Rome, but in the Hellenistic monarchies of the eastern Mediterranean. Praeneste offered a foretaste of the grandiose Imperial style of the following generation.The oldest portion of the primitive sanctuary was situated on the terrace just above the lowest one, in a grotto in the natural rock where there was a spring that developed into a well. As the archaic shrine was elaborated from the 2nd century BC, it was given a colored mosaic pavement representing a seascape: a temple of Poseidon on the shore, with fish of all kinds swimming in the sea. To the east of this grotto is a large space, now open, but once very possibly roofed, and forming a two-story basilica built against the rock on the north side, and there decorated with pilasters. To the east is an apsidal hall, often identified with the temple itself, in which was found the famous mosaic with scenes from the Nile, relaid in the Palazzo Barberini-Colonna in Palestrina on the uppermost terrace (now a National Museum). Under this hall is a chamber, which an inscription on its walls identified as a treasury in the 2nd century BC. In front of this temple an obelisk was erected in the reign of Claudius, fragments of which still exist.
The goddess Fortuna here went by the name of Primigenia ("First Bearer"), she was represented suckling two babes, as in the Christian representation of Charity, said to be Jupiter and Juno, and she was especially worshipped by matrons. The oracle continued to be consulted down to Christian times, until Constantine the Great, and again later Theodosius I, forbade the practice and closed the temple.
Features of the temple influenced Roman garden design on steeply sloped sites through Antiquity and once again in Italian villa gardens from the 15th century. The monument to Victor Emmanuel II in Rome owes a lot to the Praeneste sanctuary complex.
Ancient Praeneste.
Early burials show that the site was already occupied in the 8th or 7th century BC. The ancient necropolis lay on a plateau at the foot of the hill below the ancient town. Of the objects found in the oldest graves, and supposed to date from about the 7th century BC, the cups of silver and silver-gilt and most of the gold and amber jewelry are Phoenician (possibly Carthaginian), but the bronzes and some of the ivory articles seem to be of the Etruscan civilization.Praenestine graves from about 240 BC onwards have been found: they are surmounted by the characteristic pine-apple of local stone, containing stone coffins with rich bronze, ivory and gold ornaments beside the skeleton. From these come the famous bronze boxes (cistae) and hand mirrors with inscriptions partly in Etruscan. Also famous is the bronze Ficoroni Cista (Museo Nazionale Etrusco di Villa Giulia, Rome), engraved with pictures of the arrival of the Argonaus in Bithynia and the victory of Pollux over Amycus, found in 1738. An example of archaic Latin is the inscription on the Ficoroni Cista: "Novios Plautios Romai med fecid / Dindia Macolnia fileai dedit" ("Novios Plautios made me in Rome, Dindia Macolnia gave me to her daughter"). The caskets are unique in Italy, but a large number of mirrors of precisely similar style have been discovered in Etruria. Hence, although it would be reasonable to conjecture that objects with Etruscan characteristics came from Etruria, the evidence points decisively to an Etruscan factory in or near Praeneste itself. Other imported objects in the burials show that Praeneste traded not only with Etruria but also with the Greek east.
The origin of Praeneste was attributed by the ancients to Ulysses, or to other fabulous characters variously called Caeculus, Telegonus, Erulus or Praenestus. the name derives probably from the word Praenesteus, referring to its overlooking location.
Praeneste was probably under the hegemony of Alba Longa while that city was the head of the Latin League.
It withdrew from the league in 499 BC, according to Livy (its earliest historical mention), and formed an alliance with Rome. After Rome was weakened by the Gauls of Brennus (390 BC), Praeneste switched allegiances and fought against Rome in the long struggles that culminated in the Latin War. From 373 to 370, it was in continual war against Rome or her allies, and was defeated by Cincinnatus.
Eventually in 354 and in 338 the Romans were victorious and Praeneste was punished by the loss of portions of its territory, becoming a city allied to Rome. As such, it furnished contingents to the Roman army, and Roman exiles were permitted to live at Praeneste, which grew prosperous. The roses of Praeneste were a byword for profusion and beauty. Præneste was situated on the Via Labicana.
Its citizens were offered Roman citizenship in 90 BC in the Social War, when concessions had to be made by Rome to cement necessary alliances. In Sulla's second civil war, Gaius Marius the Younger was blockaded in the town by the forces of Sulla (82 BC). When the city was captured, Marius slew himself, the male inhabitants were massacred in cold blood, and a military colony was settled on part of its territory. From an inscription it appears that Sulla delegated the foundation of the new colony to Marcus Terentius Varro Lucullus, who was consul in 73 BC. Within a decade the lands of the colonia had been assembled by a few large landowners.
It was probably after the disaster of 82 BC that the city was removed from the hillside to the lower ground at the Madonna dell'Aquila, and that the sanctuary and temple of Fortune was enlarged so as to include much of the space occupied by the ancient city.
Under the Empire the cool breezes of Praeneste made it a favorite summer resort of wealthy Romans, whose villas studded the neighborhood, though they ridiculed the language and the rough manners of the native inhabitants. The poet Horace ranked "cool Praeneste" with Tibur and Baiae as favored resorts. The emperor Augustus stayed in Praeneste, and Tiberius recovered there from a dangerous illness and made it a municipium. The ruins of the villa associated with Hadrian stand in the plain near the church of S. Maria della Villa, about three-quarters of a mile from the town. At the site was discovered the Braschi Antinous, now in the Vatican Museums. Marcus Aurelius, Pliny the Younger and Symmachus also had villas there. Inscriptions show that the inhabitants of Praeneste were fond of gladiatorial shows.
venerdì 13 dicembre 2013
LAZIO HISTORY
The Italian word Lazio descends from the Latin word Latium. The name of the region also survives in the tribal designation of the ancient population of Latins, Latini in the Latin language spoken by them and passed on to the city-state of Ancient Rome. Although the demography of ancient Rome was multi-ethnic, including, for example, Etruscans and other Italics besides the Latini, the latter were the dominant constituent. In Roman mythology, the tribe of the Latini took their name from king Latinus. Apart from the mythical derivation of Lazio given by the ancients as the place where Jupiter "lay hidden" from his father seeking to kill him, a major modern etymology is that Lazio comes from the Latin word "latus", meaning "wide", expressing the idea of "flat land" meaning the Roman Campagna. Much of Lazio is in fact flat or rolling. The lands originally inhabited by the Latini were extended into the territories of the Samnites, the Marsi, the Hernici, the Aequi, the Aurunci and the Volsci all surrounding Italic tribes. This larger territory was still called Latium, but it was divided into Latium adiectum or Latium Novum, the added lands or New Latium, and Latium Vetus, or Old Latium, the older, smaller region.
The northern border of Lazio was the Tiber river, which divided it from Etruria.
The emperor Augustus officially united almost all of present-day Italy into a single geo-political entity, Italia, dividing it into eleven regions. Lazio – together with the present region of Campania immediately to the southeast of Lazio and the seat of Neapolis – became Region I.
After the Gothic War (535-554) and the Byzantine conquest, this region regained its freedom, because the "Roman Duchy" became the property of the Eastern Emperor. However, the long wars against the barbarian Longobards weakened the region, which was seized by the Roman Bishop who already had several properties in those territories.
The strengthening of the religious and ecclesiastical aristocracy led to continuous power struggles between lords and the Roman bishop until the middle of the 16th century. Innocent III tried to strengthen his own territorial power, wishing to assert his authority in the provincial administrations of Tuscia, Campagna and Marittima through the Church's representatives, in order to reduce the power of the Colonna family. Other popes tried to do the same. During the period when the papacy resided in Avignon, France (1309–1377), the feudal lords' power increased due to the absence of the Pope from Rome. Small communes, and Rome above all, opposed the lords' increasing power, and with Cola di Rienzo, they tried to present themselves as antagonists of the ecclesiastical power. However, between 1353 and 1367, the papacy regained control of Lazio and the rest of the Papal States.
From the middle of the 16th century, the papacy politically unified Lazio with the Papal States[citation needed , so that these territories became provincial administrations of St. Peter's estate; governors in Viterbo, in Marittima and Campagna, and in Frosinone administered them for the papacy.
Lazio comprised the short-lived Roman Republic, in which it became a puppet state of the First French Republic under the forces of Napoleon Bonaparte. The Republic existed from 15 February 1798 until Lazio was returned to the Papal States in October 1799. In 1809, Lazio was annexed to the French Empire, but returned under the Pope in 1815.
On 20 September 1870 the capture of Rome, during the reign of Pope Pius IX, and France's defeat at Sedan, completed Italian unification, and Lazio was incorporated into the Kingdom of Italy.
The Italian word Lazio descends from the Latin word Latium. The name of the region also survives in the tribal designation of the ancient population of Latins, Latini in the Latin language spoken by them and passed on to the city-state of Ancient Rome. Although the demography of ancient Rome was multi-ethnic, including, for example, Etruscans and other Italics besides the Latini, the latter were the dominant constituent. In Roman mythology, the tribe of the Latini took their name from king Latinus. Apart from the mythical derivation of Lazio given by the ancients as the place where Jupiter "lay hidden" from his father seeking to kill him, a major modern etymology is that Lazio comes from the Latin word "latus", meaning "wide", expressing the idea of "flat land" meaning the Roman Campagna. Much of Lazio is in fact flat or rolling. The lands originally inhabited by the Latini were extended into the territories of the Samnites, the Marsi, the Hernici, the Aequi, the Aurunci and the Volsci all surrounding Italic tribes. This larger territory was still called Latium, but it was divided into Latium adiectum or Latium Novum, the added lands or New Latium, and Latium Vetus, or Old Latium, the older, smaller region.
The northern border of Lazio was the Tiber river, which divided it from Etruria.
The emperor Augustus officially united almost all of present-day Italy into a single geo-political entity, Italia, dividing it into eleven regions. Lazio – together with the present region of Campania immediately to the southeast of Lazio and the seat of Neapolis – became Region I.
After the Gothic War (535-554) and the Byzantine conquest, this region regained its freedom, because the "Roman Duchy" became the property of the Eastern Emperor. However, the long wars against the barbarian Longobards weakened the region, which was seized by the Roman Bishop who already had several properties in those territories.
The strengthening of the religious and ecclesiastical aristocracy led to continuous power struggles between lords and the Roman bishop until the middle of the 16th century. Innocent III tried to strengthen his own territorial power, wishing to assert his authority in the provincial administrations of Tuscia, Campagna and Marittima through the Church's representatives, in order to reduce the power of the Colonna family. Other popes tried to do the same. During the period when the papacy resided in Avignon, France (1309–1377), the feudal lords' power increased due to the absence of the Pope from Rome. Small communes, and Rome above all, opposed the lords' increasing power, and with Cola di Rienzo, they tried to present themselves as antagonists of the ecclesiastical power. However, between 1353 and 1367, the papacy regained control of Lazio and the rest of the Papal States.
From the middle of the 16th century, the papacy politically unified Lazio with the Papal States[citation needed , so that these territories became provincial administrations of St. Peter's estate; governors in Viterbo, in Marittima and Campagna, and in Frosinone administered them for the papacy.
Lazio comprised the short-lived Roman Republic, in which it became a puppet state of the First French Republic under the forces of Napoleon Bonaparte. The Republic existed from 15 February 1798 until Lazio was returned to the Papal States in October 1799. In 1809, Lazio was annexed to the French Empire, but returned under the Pope in 1815.
On 20 September 1870 the capture of Rome, during the reign of Pope Pius IX, and France's defeat at Sedan, completed Italian unification, and Lazio was incorporated into the Kingdom of Italy.
Il Lazio
Lazio comprises a land area of 17,236 km2 (6,655 sq mi) and it has borders with Tuscany, Umbria, and Marche to the north, Abruzzo and Molise to the east, Campania to the south, and the Tyrrhenian Sea to the west. The region is mainly flat and hilly, with small mountainous areas in the most eastern and southern districts.
The coast of Lazio is mainly composed of sandy beaches, punctuated by the headlands of Circeo (541 m) and Gaeta (171 m). The Pontine Islands, which are part of Lazio, lie opposite the southern coast. Behind the coastal strip, to the north, lies the Maremma Laziale (the continuation of Tuscan Maremma), a costal plain interrupted at Civitavecchia by the Tolfa Mountains (616 m). The central section of the region is occupied by the Roman Campagna, a vast alluvial plain surrounding the city of Rome, with an area of approximately 2,100 km2 (811 sq mi). The southern districts are characterized by the flatlands of Agro Pontino, a once swampy and malaril area, that was reclaimed over the centuries.
The Preapennines of Latium, marked by the Tiber valley and the Liri with the Sacco tributary, include on the right of the Tiber, three groups of mountains of volcanic origin: the Volsini, Cimini and Sabatini, whose largest former craters are occupied by the Bolsena, Vico and Bracciano lakes. To the south of the Tiber, other mountain groups form part of the Preapennines: the Alban Hills, also of volcanic origin, and the calcareous Lepini, Ausoni and Aurunci Mountains. The Apennines of Latium are a continuation of the Apennines of Abruzzo: the Reatini Mountains with Terminillo (2,213 m), Mounts Sabini, Prenestini, Simbruini and Ernici which continue east of the Liri into the Mainarde Mountains. The highest peak is Mount Gorzano (2,458 m) on the border with Abruzzo.
The Roman Campagna (Italian: campagna romana), or just Campagna, is a low-lying area surrounding Rome in the Lazio region of central Italy, with an area of approximately 2,100 square kilometres (810 sq mi).
During the Ancient Roman period, it was an important agricultural and residential area, but it was abandoned during the Middle Ages due to malaria and insufficient water supplies for farming needs. The pastoral beauty of the Campagna inspired the painters who flocked into Rome in the 18th and 19th centuries. During that time, the Campagna became the most painted landscape in Europe (see Gallery below). An excursion into the Roman countryside was an essential part of the Grand Tour.
The region was reclaimed in the 19th and 20th centuries for use in mixed farming, and new settlements have been built.
Starting with the 1950s, the expansion of Rome destroyed large parts of the Campagna, all around the city. The only continuous green area where the natural resources of the region were saved from overbuilding is along the Appian Way.
It is bordered by the Tolfa and Sabatini mountains to the north, the Alban Hills to the southeast, and the Tyrrhenian Sea to the southwest. The River Tiber and Aniene runs through the area.During the Ancient Roman period, it was an important agricultural and residential area, but it was abandoned during the Middle Ages due to malaria and insufficient water supplies for farming needs. The pastoral beauty of the Campagna inspired the painters who flocked into Rome in the 18th and 19th centuries. During that time, the Campagna became the most painted landscape in Europe (see Gallery below). An excursion into the Roman countryside was an essential part of the Grand Tour.
The region was reclaimed in the 19th and 20th centuries for use in mixed farming, and new settlements have been built.
Starting with the 1950s, the expansion of Rome destroyed large parts of the Campagna, all around the city. The only continuous green area where the natural resources of the region were saved from overbuilding is along the Appian Way.
giovedì 12 dicembre 2013
MUSEO LORENZO FERRI - PRESEPE MONUMENTALE
Nato nel 1902 a Mercato Saraceno, in provincia di Forlì, Lorenzo Ferri è uno di quegli artisti contemporanei che non solo ha valorizzato il territorio dei Monti Prenestini, ma ha contribuito a fare dell'opera d'arte la più alta forma di comunicazione.
Morto nel 1975, il Ferri aveva già destinato al Comune di Cave diverse opere e diversi bozzetti che rappresentano ad oggi lo studio particolareggiato dell'opera ultima. Il legame tra Lorenzo Ferri e la cittadina laziale si ista...ura grazie alle commissioni di Monsignor Lorenzo Castellani, allora parroco di Santa Maria Assunta e Visitazione. Suo è il portale della Chiesa amministrata dal Castellani, suo è il dipinto ad olio di Eva nell'Eden che per diverso tempo è stato esposto nell'aula consiliare.
Di grande fascino, collocato in una sede distaccata del museo, è il Presepe Monumentale (1947-48) realizzato su strutture di ferro portanti, cartapesta modellata e gesso rifinito da una verniciatura bronzata, ora allestito nei sotterranei dell'ex convento degli Agostiniani, destinato alla Chiesa di Sant'Andrea della Valle di Roma per l'Ottavario dell'Epifania. Opere, quelle del Ferri, nelle quali emerge la forte spiritualità dell'uomo che modellò il Sacro con le sue stesse mani e che attraverso lo studio dei particolari volle raggiungere la perfezione artistica e la bellezza, quali simboli della Cristianità, che egli attribuì alla donna ed alla Vergine in particolare.
Morto nel 1975, il Ferri aveva già destinato al Comune di Cave diverse opere e diversi bozzetti che rappresentano ad oggi lo studio particolareggiato dell'opera ultima. Il legame tra Lorenzo Ferri e la cittadina laziale si ista...ura grazie alle commissioni di Monsignor Lorenzo Castellani, allora parroco di Santa Maria Assunta e Visitazione. Suo è il portale della Chiesa amministrata dal Castellani, suo è il dipinto ad olio di Eva nell'Eden che per diverso tempo è stato esposto nell'aula consiliare.
Di grande fascino, collocato in una sede distaccata del museo, è il Presepe Monumentale (1947-48) realizzato su strutture di ferro portanti, cartapesta modellata e gesso rifinito da una verniciatura bronzata, ora allestito nei sotterranei dell'ex convento degli Agostiniani, destinato alla Chiesa di Sant'Andrea della Valle di Roma per l'Ottavario dell'Epifania. Opere, quelle del Ferri, nelle quali emerge la forte spiritualità dell'uomo che modellò il Sacro con le sue stesse mani e che attraverso lo studio dei particolari volle raggiungere la perfezione artistica e la bellezza, quali simboli della Cristianità, che egli attribuì alla donna ed alla Vergine in particolare.
lunedì 9 dicembre 2013
The teaching Museum Laboratory of Ancient Books is housed inside the gardens of the Villa d’Este in two buildings in the area opposite the Fontana dell'Ovato.
The museum is the international home of seminars, conferences, and teaching activities related to the study, conservation, restoration and technical/scientific reconstruction of ancient books on both papyrus and printed paper, with written text and also various pictorial techniques.
The institution is unique and known throughout the world. It takes us on a journey through memory, to the discovery of the history, secrets, and technology of the “myth book” of ancient Tibur, reconstructing and transcribing in its own laboratory not only documents of the region but also ancient books for clients including museums and universities in Italy and abroad.
The Museum of the Book is open every day the Villa D’Este is open. The hours are 9,00-13,00.
The museum is the international home of seminars, conferences, and teaching activities related to the study, conservation, restoration and technical/scientific reconstruction of ancient books on both papyrus and printed paper, with written text and also various pictorial techniques.
The institution is unique and known throughout the world. It takes us on a journey through memory, to the discovery of the history, secrets, and technology of the “myth book” of ancient Tibur, reconstructing and transcribing in its own laboratory not only documents of the region but also ancient books for clients including museums and universities in Italy and abroad.
The Museum of the Book is open every day the Villa D’Este is open. The hours are 9,00-13,00.
Director: Prof. Antonio Basile. Reservations are not required.
www.museolibroantico.com
www.museolibroantico.com
| Villa d'Este, Tivoli (Italy) - Official Site |
| History
Villa d’Este, masterpiece of the Italian Garden, is included in the UNESCO world heritage list. With its impressive concentration of fountains, nymphs, grottoes, plays of water, and music, it constitutes a much-copied model for European gardens in the mannerist and baroque styles.
The garden is generally considered within the larger –and altogether extraordinary-- context of Tivoli itself: its landscape, art and history which includes the important ruins of ancient villas such as the Villa Adriana, as well as a zone rich in caves and waterfalls displaying the unending battle between water and stone. The imposing constructions and the series of terraces above terraces bring to mind the hanging gardens of Babylon, one of the wonders of the ancient world. The addition of water-- including an aqueduct tunneling beneath the city -- evokes the engineering skill of the Romans themselves.
Cardinal Ippolito II d’Este, after the disappointment of a failed bid for the papacy, brought back to life here the splendor of the courts of Ferrara, Rome and Fontainebleau and revived the magnificence of Villa Adriana. Governor of Tivoli from 1550, he immediately nurtured the idea of realizing a garden in the hanging cliffs of the “Valle gaudente”, but it was only after 1560 that his architectural and iconographic program became clear—brainchild of the painter-architect-archeologist Pirro Ligorio and realized by court architect Alberto Galvani.
The rooms of the Palace were decorated under the tutelage of the stars of the late Roman Mannerism, such as Livio Agresti, Federico Zuccari, Durante Alberti, Girolamo Muziano, Cesare Nebbia and Antonio Tempesta. The work was almost complete at the time of the Cardinal’s death (1572).
From 1605 Cardinal Alessandro d'Este gave the go-ahead to a new progam of interventions not only to restore and repair the vegetation and the waterworks, but also to create a new series of innovations to the layout of the garden and the decorations of the fountains.
Other works were carried out from 1660 – 70; these involved no less a figure than Gianlorenzo Bernini.
In the XVIIIth century the lack of maintenance led to the decay of the complex, which was aggravated by the property’s passage to the House of Hapsburg. The garden was slowly abandoned, the water works-- no longer used--fell into ruin, and the collection of ancient statues— enlarged under Cardinal Ippolito, was disassembled and scattered.
This state of decay continued without interruption until the middle of the XIXth century, when Gustav von Hohelohe, who obtained in enfiteusi the villa from the Dukes of Modena in 1851, launched a series of works to pull the complex back from its state of ruin. Between 1867 and 1882 the Villa once again became a cultural point of reference, with the Cardinal frequently hosting the musician Franz Liszt (1811 - 1886), who composed Giochi d'acqua a Villa d'Este for piano while a guest here, and who in 1879 gave one of his final concerts.
At the outbreak of the first world war the villa became a property of the Italian State, and during the 1920s it was restored and opened to the public. Another, radical restoration was carried out immediately after the Second World War to repair the damage caused by the bombing of 1944. Due to particularly unfavorable environmental conditions, the restorations have continued practically without interruption during the past twenty years (among these it is worth noting the recent cleaning of the Organ Fountain and also the “Birdsong.”)
|
La fine del XVI secolo fu caratterizzata da un forte incremento demografico non solo della città di Roma, ma di tutti gli insediamenti abitativi circostanti. La produzione agricola dei Castelli Romani è sempre stata legata alle esigenze alimentari del mercato romano.
Per far fronte all’incremento della domanda delle produzioni agricole, vennero messe a coltura nuove terre favorendo la conversione dei boschi originari.
Il nuovo tracciato della via Appia (iniziata nel 1563-1564) e l’apertura della nuova Porta S. Giovanni nelle mura di cinta della città di Roma, favorirono, oltre agli scambi commerciali, anche il turismo agreste, attraverso il quale venivano apprezzate le bellezze del paesaggio e la bontà dei prodotti agricoli.
Per far fronte all’incremento della domanda delle produzioni agricole, vennero messe a coltura nuove terre favorendo la conversione dei boschi originari.
Il nuovo tracciato della via Appia (iniziata nel 1563-1564) e l’apertura della nuova Porta S. Giovanni nelle mura di cinta della città di Roma, favorirono, oltre agli scambi commerciali, anche il turismo agreste, attraverso il quale venivano apprezzate le bellezze del paesaggio e la bontà dei prodotti agricoli.
L’attività agricola dei Castelli Romani, pertanto, non era più da considerarsi limitata alle esigenze di rappresentanza delle ville-podere, ma assumeva via via un ruolo di vera e propria economia di mercato.
L’incremento demografico della città di Roma e lo sviluppo dell’attività agricola, con particolare riferimento a quella vitivinicola, determinarono una forte richiesta di mercato del legname caratterizzata:
L’incremento demografico della città di Roma e lo sviluppo dell’attività agricola, con particolare riferimento a quella vitivinicola, determinarono una forte richiesta di mercato del legname caratterizzata:
- nel primo caso, dalla domanda di materiale per l’edilizia, arredamento e riscaldamento;
- nel caso della vitivinicoltura, dalla richiesta di materiale per le nuove tecniche colturali (passoni, rompitratta, capitesta, reginelle ecc. ecc.), e per i processi di vinificazione (botti, barili, tini, tinozze, bigonci, ecc. ecc.).
Per far fronte a queste nuove esigenze di mercato, venne introdotta nel Vulcano Laziale la coltivazione dei boschi di castagno governati a ceduo con riserva di matricine. Attraverso l’introduzione di questa specie furono soppiantate gran parte delle selve originarie che attualmente sono relegate a boschi residuali o relittuali.
L’attuale assetto vegetazionale del territorio dei Castelli Romani, è il risultato quindi delle profonde modificazioni che, a partire dal XVI secolo, hanno determinato la trasformazione del paesaggio naturale in quello più antropizzato in cui si alternano centri urbani, coltivi ed aree boschive.
Dall'Antica Roma alle dimore storiche cinquecentesche
A distanza di millecinquecento anni, la vicinanza dei Castelli Romani alla città di Roma determinò il ripetersi di un identico utilizzo del territorio da parte delle famiglie nobili romane e del Papato e fu così che sulle rovine delle ville romane, si ricostruirono le dimore storiche cinquecentesche.
Di grande interesse storico e architettonico sono le Ville Tuscolane, presenti nell’area dei comuni di Frascati e Monte Porzio Catone, e dei suoi importanti giardini all’italiana. Villa Aldobrandini, Villa Falconieri, Villa Torlonia, Villa Grazioli, Villa Rufinella, Villa Mondragone (foto), sono tra le più importanti.
Di grande interesse storico e architettonico sono le Ville Tuscolane, presenti nell’area dei comuni di Frascati e Monte Porzio Catone, e dei suoi importanti giardini all’italiana. Villa Aldobrandini, Villa Falconieri, Villa Torlonia, Villa Grazioli, Villa Rufinella, Villa Mondragone (foto), sono tra le più importanti.
La destinazione d’uso di queste ville-podere rimase strettamente legata alle esigenze di rappresentanza, mentre nel territorio circostante si praticava un’agricoltura di qualità, limitata esclusivamente alle produzioni alimentari necessarie ai fini dell’ospitalità.
La stampa di Giacomo Lauro del 1622 “Descrizione del Tuscolo con ville e palazzi e rassegna dei templi e delle rovine antiche” ben interpreta, nella visione complessiva del paesaggio, la commistione tra la vegetazione naturale e le coltivazioni agricole introdotte.
Dal punto di vista letterario, il testo del Grossi-Gondi (1908) riporta una significativa testimonianza a riguardo della produttività dei terreni dello Status Tusculanus tratta dalla descriptio feudorum di casa Altemps dell’anno 1600:
Tutta la corte da Mondragone alla villa si puol dire un giardino, per essere piena tutta di olive insino alla villa del cardinal Eusebio, il quale è sotto il dominio di Casa Altemps, et per l’ingiù due o tre miglia sono vigne arboretate di grandezza di 18 Rubii infra tutte, computatoci quello di casa.
Infra dette vigne ci è una stalla per 200 cavalli comodissima et il restante che fornisce poi con il piano Romano tutto terreno aratorio.
È possibile pertanto affermare che lo sviluppo dei pascoli e delle attività agricole contribuirono, in maniera determinante, a favorire la trasformazione del paesaggio naturale.
La stampa di Giacomo Lauro del 1622 “Descrizione del Tuscolo con ville e palazzi e rassegna dei templi e delle rovine antiche” ben interpreta, nella visione complessiva del paesaggio, la commistione tra la vegetazione naturale e le coltivazioni agricole introdotte.
Dal punto di vista letterario, il testo del Grossi-Gondi (1908) riporta una significativa testimonianza a riguardo della produttività dei terreni dello Status Tusculanus tratta dalla descriptio feudorum di casa Altemps dell’anno 1600:
Tutta la corte da Mondragone alla villa si puol dire un giardino, per essere piena tutta di olive insino alla villa del cardinal Eusebio, il quale è sotto il dominio di Casa Altemps, et per l’ingiù due o tre miglia sono vigne arboretate di grandezza di 18 Rubii infra tutte, computatoci quello di casa.
Infra dette vigne ci è una stalla per 200 cavalli comodissima et il restante che fornisce poi con il piano Romano tutto terreno aratorio.
È possibile pertanto affermare che lo sviluppo dei pascoli e delle attività agricole contribuirono, in maniera determinante, a favorire la trasformazione del paesaggio naturale.
per info contattare il +393669549271
Città del Vaticano
Una visita guidata a piedi alla scoperta dell’arte, della storia e della religione del più piccolo stato del mondo.La guida vi accompagnerà all’interno dei Musei Vaticani, dove si potrà ammirare il grande patrimonio artistico collezionato dai vari Papi nel susseguirsi dei secoli. La visita proseguirà negli appartamenti di Giulio II, decorati da Raffaello e la sua scuola, e poi nella Cappella Sistina, dove si potranno ammirare: la Genesi e il Giudizio Universale del grande Michelangelo.
Lasciando la Cappella Sistina, la guida vi condurrà all’interno della Basilica di San Pietro, che raccoglie molte opere d'arte famose tra cui la Pietà di Michelangelo e le tombe di vari Papi.
La visita terminerà in Piazza San Pietro, dove si potrà vedere la cupola michelangiolesca e il colonnato, l’altissimo capolavoro d’ingegneria architettonica realizzata dal Bernini.
Durata: 4 ore
Roma Imperiale
Questa visita guidata, che si propone di far ammirare ciò che resta dei fasti della Roma antica, il cui impero è lo Stato Romano consolidatosi nell'area euro-mediterranea tra il I secolo a.C. e il IV secolo d.C. e considerato il più grande in termini di gestione e qualità del territorio, di organizzazione socio-politica e di importanza del segno lasciato nella storia dell'umanità, partirà dal Colosseo, dove si potrà vedere l’Arco di Costantino, e proseguirà all’interno dei Fori Imperiali.domenica 8 dicembre 2013
L’Outlet Village Valmontone è la città dello shopping tra le più importanti del Lazio e del centro Italia. Situato nel territorio del Comune di Valmontone, l’outlet sorge a circa 40 km da Roma, nella zona delle Colline Romane, all’interno del Polo Turistico Integrato di Roma-Valmontone.
Orario di apertura estivo:
1 giugno – 30 settembre
aperto tutti i giorni
orario: 10.00-21.00
Aperture straordinarie:31 dicembre 10.00-18.00
1 maggio 10.00-21.00
2 giugno15 agosto
Giorni di chiusura:1° gennaio
Pasqua
25 e 26 dicembre
Via della Pace, località Pascolaro 00038 Valmontone (Roma)
Autostrada A1: uscita Valmontone
Tra i più famosi Outlet Village a Roma e nel Lazio, il Valmontone Outlet di Fashion District, con i suoi circa 6 milioni di visitatori l’anno, è considerato l’outlet più visitato d’Italia.
Per gli appassionati dello shopping di qualità, l’Outlet Village di Valmontone è l’occasione giusta per fare acquisti in oltre 170 punti vendita risparmiando sugli articoli delle migliori marche di abbigliamento e non solo. L’estensione totale dell’area commerciale è di 45.000 mq.
Il Villaggio Outlet a Valmontone è stato realizzato come un vero e proprio centro abitato, con edifici e architetture ispirate a stili diversi, dall’Art Déco americano allo stile vecchia Europa. La passeggiata tra le vetrine dei negozi outlet a Valmontone è particolarmente rilassante e piacevole e permette di fare acquisti in completo relax.
Il Valmontone Outlet Village fa parte del Network Fashion District, un progetto che include altri due grandi Villaggi Outlet italiani, a Molfetta e Mantova.
Per chi ama fare shopping in famiglia, nelle vicinanze dell’Outlet sorge il Parco Rainbow Magicland, un grande parco divertimenti che propone 35 attrazioni, 3 teatri, un palaghiaccio e 28 punti di ristorazione.
Informazioni
Infoline: +39 06 9599491Orari
Orario fino al 31 maggio:lunedì a venerdì 10.00-20.00sabato e domenica 10.00-21.00festivi 10.00-21.00Orario di apertura estivo:
1 giugno – 30 settembre
aperto tutti i giorni
orario: 10.00-21.00
Aperture straordinarie:31 dicembre 10.00-18.00
1 maggio 10.00-21.00
2 giugno15 agosto
Giorni di chiusura:1° gennaio
Pasqua
25 e 26 dicembre
Come arrivare
Fashion District Valmontone Outlet:Via della Pace, località Pascolaro 00038 Valmontone (Roma)
Autostrada A1: uscita Valmontone
Tra i più famosi Outlet Village a Roma e nel Lazio, il Valmontone Outlet di Fashion District, con i suoi circa 6 milioni di visitatori l’anno, è considerato l’outlet più visitato d’Italia.
Per gli appassionati dello shopping di qualità, l’Outlet Village di Valmontone è l’occasione giusta per fare acquisti in oltre 170 punti vendita risparmiando sugli articoli delle migliori marche di abbigliamento e non solo. L’estensione totale dell’area commerciale è di 45.000 mq.
Il Villaggio Outlet a Valmontone è stato realizzato come un vero e proprio centro abitato, con edifici e architetture ispirate a stili diversi, dall’Art Déco americano allo stile vecchia Europa. La passeggiata tra le vetrine dei negozi outlet a Valmontone è particolarmente rilassante e piacevole e permette di fare acquisti in completo relax.
Il Valmontone Outlet Village fa parte del Network Fashion District, un progetto che include altri due grandi Villaggi Outlet italiani, a Molfetta e Mantova.
Per chi ama fare shopping in famiglia, nelle vicinanze dell’Outlet sorge il Parco Rainbow Magicland, un grande parco divertimenti che propone 35 attrazioni, 3 teatri, un palaghiaccio e 28 punti di ristorazione.
Lo sappiamo i regali natalizi (e non) per uomo sono quelli che mettono in crisi noi donne: perennemente confuse ed indecise su quale dono scegliere per il fidanzato, marito, un familiare o un amico che sia.
La sera del 24 Dicembre si avvicina, se al momento dello scambio doni non avete alcuna intenzione di deludere lui con la solita cravatta, il banale portafogli e il più sciatto dei dopobarba, mirate a qualcosa di più originale seguendo le seguenti idee regalo per uomo.
Banale forse, ma repetita iuvant! I regali hi-tech sono i più gettonati e ritenuti davvero utili. Niente paura possono essere il regalo giusto per tutte le tasche, anche per piccoli budget a disposizione! Se non volete (o non potete) spendere una fortuna optate per i tanti gadget tecnologici.
Qualche idea? Delle cuffie di ultima generazione e dal design vintage per ascoltare buona musica, amplificatori per iPhone, accessori per iPad e tablet. Presso Unieuro-Pc City in Valmontone Outlet potrete trovare il regalo hi-tech da mettere sotto l’albero di Natale.
Se la persona che riceverà il regalo è un appassionato di sport sbizzarritevi pure per i negozi sportivi: tra abbigliamento ed accessori idonei ad ogni sport non c’è che l’imbarazzo della scelta!
Un’idea regalo originale e sempre gradita sono i numerosi pacchetti in vendita. Offrono viaggi, o delle esperienze da vivere decisamente fuori dall’ordinario, come la guida di una Ferrari in una vera pista da corsa, un lancio con il paracadute, oppure ci sono dei pacchetti che prevedono corsi di cucina, di pasticceria, o ancora relax & massaggi in centri benessere, degustazioni di cibo per gli amanti della buona cucina e del vino in tante località italiane, famose per le tante eccellenze eno-gastronomiche.
Anche l‘abbigliamento può essere una scelta vincente ma è necessario conoscere più a fondo i gusti personali. I più facili da regalare sono cappelli, sciarpe e guanti coordinati, che fanno sempre comodo durante i mesi freddi che ancora ci attendono!
Gli orologi sono sempre un jolly per i regali da uomo, l’offerta è davvero vastissima. Da quelli più moderni in acciaio, al classico intramontabile dal cinturino in pelle a quelli in gomma colorata, ideali per il tempo libero. Anche questo regalo si adatta a tutte le tasche.
Se lui è un appassionato di whisky, una buona bottiglia invecchiata farà sicuramente piacere.
Si dice che conta il pensiero, ma se il pensiero è anche azzeccato… è decisamente meglio!
Tiziana Borzì
Iscriviti a:
Post (Atom)