Places to see in ( Perugia - Italy )
Places to see in ( Perugia - Italy )
Perugia is an Italian city and the capital of the Umbria region. It’s known for its defensive walls around the historic center. The medieval Priori Palace exhibits regional art from the 13th century onward. Looking onto Piazza IV Novembre, the Gothic cathedral houses Renaissance paintings and frescoes, In the square's center, Fontana Maggiore is a marble fountain with carvings of biblical scenes and zodiac signs.
is the capital city of both the region of Umbria in central Italy, crossed by the river Tiber, and of the province of Perugia. The city Perugia is located about 164 kilometres (102 miles) north of Rome and 148 km (92 miles) south-east of Florence. It covers a high hilltop and part of the valleys around the area. The region of Umbria is bordered by Tuscany, Lazio, and Marche. The history of Perugia goes back to the Etruscan period; Perugia was one of the main Etruscan cities. The city is also known as the universities town, with the University of Perugia founded in 1308 (about 34,000 students), the University for Foreigners (5,000 students), and some smaller colleges such the Academy of Fine Arts Pietro Vannucci (Italian: Accademia di Belle Arti Pietro Vannucci) public athenaeum founded in 1573, the Perugia University Institute of Linguistic Mediation for translators and interpreters, the Music Conservatory of Perugia, founded in 1788, and other Institutes.
Perugia is also a well-known cultural and artistic centre of Italy. The city hosts multiple annual festivals and events, e.g., the Eurochocolate Festival (October), the Umbria Jazz Festival (July), and the International Journalism Festival (in April), and is associated with multiple notable people in the arts. The famous painter Pietro Vannucci, nicknamed Perugino, was a native of Città della Pieve, near Perugia. He decorated the local Sala del Cambio with a beautiful series of frescoes; eight of his pictures can also be admired in the National Gallery of Umbria.
Perugino was the teacher of Raphael, the great Renaissance artist who produced five paintings in Perugia (today no longer in the city) and one fresco. Another famous painter, Pinturicchio, lived in Perugia. Galeazzo Alessi is the most famous architect from Perugia. The city's symbol is the griffin, which can be seen in the form of plaques and statues on buildings around the city.
Alot to see in ( Perugia - Italy ) such as :
Galleria Nazionale dell'Umbria
Fontana Maggiore
Palazzo dei Priori
Collegio del Cambio
Perugia Cathedral
San Domenico, Perugia
Rocca Paolina
Palazzo della Penna
National Archaeological Museum of Perugia
Piazza IV Novembre
San Pietro, Perugia
Museo Storico Perugina
Pozzo etrusco
Casa Museo di Palazzo Sorbello
Museo Civico di Palazzo della Penna
Hypogeum of the Volumnus family
Marzia Gate
Chiesa di Filippo Neri
Fondazione Marini Clarelli Santi - Casa Museo degli Oddi
Captain Palace
Church of Sant'Angelo, Perugia
Porta Sole
Saint Angelo Gate
Palazzo Baldeschi al Corso
Capitularies Museum of Saint Lorenzo
Museo-Laboratorio di tessitura a mano Giuditta Brozzetti
Sciri Tower
Studio Moretti Caselli
Palazzo Donini
College of Mercanzia
Palazzo Lippi Alessandri
Orto Botanico dell'Università di Perugia
Arco Etrusco o di Augusto
Mandorlàs Arch
Florenzi Palace
Porta Cornea
Giardini del Frontone
Braccio Lodge
Piazza Italia Perugia
Hypogeum of San Manno
Nobile Collegio Del Cambio
Saint Pietro Gate
Saint Francesco Al Prato
Agrilife Turismo Rurale Srl
MusA
Arco dei Gigli
Abbazia di San Pietro
Chiesa di San Sebastiano e San Rocco
( Perugia - Italy ) is well know as a tourist destination because of the variety of places you can enjoy while you are visiting the city of Perugia . Through a series of videos we will try to show you recommended places to visit in Perugia - Italy
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Perugia - Siti archeologici
Un breve viaggio tra le vestigia etrusche della città di Perugia.
Video prodotto da Italy Ways - MEDIA GUIDE Srl
Archaeology Field School in Umbria, Italy
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The Umbra Institute is an American study abroad program that offers credit-bearing courses during fall and spring semesters and multiple summer sessions.
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Places to see in ( Perugia - Italy ) Basilica Di San Domenico
Places to see in ( Perugia - Italy ) Basilica Di San Domenico
San Domenico is a Roman Catholic basilica church, located on Piazza Giordano Bruno and via del Castellano in the city of Perugia, region of Umbria, central Italy. A church, titled the Pieve di Santo Stefano del Castellare, was present at the site since about the 5th century. Construction of the precursor to the present church, also known as San Domenico Vecchio, began in 1304, and was constructed over the pre-existing church which had become inadequate after the growth of the Dominican Order. According to Giorgio Vasari, it was designed by Giovanni Pisano That church was consecrated in 1459, and had a layout that resembled the northern-European Hallenkirche plans.
By 1614–1615, the San Domenico Vecchio church was dilapidated, showing structural problems, and threatening collapse. New plans for refurbishment were implemented. The church façade retains a late 16th-century portal and is now double Baroque staircase. The interior was renovated in 1629–1632 by Carlo Maderno, and shows similarities with Maderno's design of the nave of St Peter's in Rome, except San Domenico has small lateral windows.
Of the prior San Domenico church, some fragments remain: the cloister (1455–1579), the chapel of St Catherine, and a large Gothic rose window (21 x 8.5 m) near the choir, executed by Bartolomeo di Pietro and Mariotto di Nardo in 1411. This window is also shown in a fresco now in the Palazzo dei Priori of Perugia. The bell tower was built in 1454–1500 by the Lombard architect Gasperino di Antonio. Originally it was taller than its current appearance, but it was later reduced for stability reasons.
Over the centuries, some of the movable artwork inside the church was removed. It still contains the 14th-century funerary monument to Pope Benedict XI, who died at Perugia in 1304 (perhaps executed by a pupil of Arnolfo di Cambio). It still has the altar (1459) of the Chapel of the Rosary by Agostino di Duccio and wooden choir-stalls, dating to the late 14th century. The church once housed also the Perugia Altarpiece (Guidalotti Polyptych) by Fra Angelico, now in the Galleria Nazionale dell'Umbria. The Chapel of St Catherine has 14th and 15th-century frescoes. The annexed cloister houses the National Archaeological Museum of Umbria, with pre-historic, Roman and Etruscan items excavated in Umbria.
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Hotel Iris ** Hotel Review 2017 HD, Perugia, Italy
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Property Location
With a stay at Hotel Iris in Perugia, you'll be minutes from Palazzo della Penna and Rocca Paolina. This hotel is within close proximity of Church of Sant'Ercolano and National Archaeological Museum of Umbria.
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Make yourself at home in one of the 13 air-conditioned rooms featuring refrigerators and minibars. Complimentary wireless Internet access is available to keep you connected. Private bathrooms with showers feature complimentary toiletries and bidets. Conveniences...
Sangallo Palace **** Hotel Review 2017 HD, Perugia, Italy
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A stay at Hotel Sangallo Palace places you in the heart of Perugia, walking distance from Palazzo della Penna and Rocca Paolina. This 4-star hotel is within close proximity of National Archaeological Museum of Umbria and Basilica di San Domenico.
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Make yourself at home in one of the 100 individually furnished guestrooms, featuring refrigerators and LCD televisions. Your bed comes with down comforters and Frette Italian sheets. Complimentary wireless Internet access kee...
Hotel Rosalba ** Hotel Review 2017 HD, Perugia, Italy
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Located in Perugia, Hotel Rosalba is minutes from Rocca Paolina and Church of Sant'Ercolano. This hotel is within close proximity of Palazzo della Penna and National Archaeological Museum of Umbria.
Rooms
Make yourself at home in one of the 12 air-conditioned guestrooms. Complimentary wireless Internet access is available to keep you connected. Private bathrooms with showers feature complimentary toiletries and bidets. Conveniences include desks and coffee/tea makers, and h...
Palace of the Consuls, Gubbio, Perugia, Umbria, Italy, Europe
Palazzo dei Consoli is a medieval building in Gubbio, Umbria, central Italy. The palace was built in 1332-1349 under design by Angelo da Orvieto, who is mentioned in the inscription on the portal. The palace has a square plan, and sits above a series of terraces corresponding to the building's lower floors. The façade on the square is in stone, with round arched windows in the upper part, placed in couples separated by lesenes. Above them are the merlons, supported by ogival arches. The lower part features mullioned windows enclosing the Gothic-style portal, with a 16th-century fresco in the lunette. The portal, preceded by a fan-shaped staircase, leads to the arengo, a big hall with barrel vaults that, in the communal age, housed the citizens' meeting. The palace was the first in the city served by a public hydraulic system, which fed a fountain in the interior. Here is also the Civic Museum (Museo civico). This includes an art gallery and archaeological findings from the local ancient Roman Theatre and other sites, such as the Iguvine Tablets. Another features is an iron cage which was once used for public humiliation of robbers and criminals.
Places to see in ( Spoleto - Italy )
Places to see in ( Spoleto - Italy )
Spoleto is a city in Umbria, Italy. It’s surrounded by hills, olive groves and vineyards. Dating from the 12th century, Spoleto Cathedral has a porticoed facade embellished by a mosaic. Inside is a cycle of frescoes by the medieval artist Filippo Lippi. The National Archaeological Museum complex displays items from the Bronze Age and Roman times. It also includes the restored Roman Theater.
Presided over by a formidable medieval fortress and backed by the broad-shouldered Apennines, their summits iced with snow in winter, Spoleto is visually stunning. The hill town is also something of a historical picnic: the Romans left their mark in the form of grand arches and an amphitheatre; and the Lombards made it the capital of their duchy in 570, building it high and mighty and leaving it with a parting gift of a Romanesque cathedral in the early 13th century. Today, the town has winged its way into the limelight with its mammoth Spoleto Festival (Festival dei Due Mondi) a 17-day summer feast of opera, dance, music and art.
Spoleto (Latin Spoletium) is an ancient city in the Italian province of Perugia in east-central Umbria on a foothill of the Apennines. It is 20 km (12 mi) S. of Trevi, 29 km (18 mi) N. of Terni, 63 km (39 mi) SE of Perugia; 212 km (132 mi) SE of Florence; and 126 km (78 mi) N of Rome. Spoleto was situated on the eastern branch of the Via Flaminia, which forked into two roads at Narni and rejoined at Forum Flaminii, near Foligno. An ancient road also ran hence to Nursia. The Ponte Sanguinario of the 1st century BC still exists. The Forum lies under today's marketplace. Located at the head of a large, broad valley, surrounded by mountains, Spoleto has long occupied a strategic geographical position. It appears to have been an important town to the original Umbri tribes, who built walls around their settlement in the 5th century BC, some of which are visible today.
Under the empire it seems to have flourished once again, but is not often mentioned in history. Martial speaks of its wine. Aemilianus, who had been proclaimed emperor by his soldiers in Moesia, was slain by them here on his way from Rome (AD 253), after a reign of three or four months. Rescripts of Constantine (326) and Julian (362) are dated from Spoleto. The foundation of the episcopal see dates from the 4th century: early martyrs of Spoleto are legends, but a letter to the bishop Caecilianus, from Pope Liberius in 354 constitutes its first historical mention. Owing to its elevated position Spoleto was an important stronghold during the Vandal and Gothic wars; its walls were dismantled by Totila.
The Festival dei Due Mondi (Festival of the Two Worlds) was founded in 1958. Because Spoleto was a small town, where real estate and other goods and services were at the time relatively inexpensive, and also because there are two indoor theatres, a Roman theatre and many other spaces, it was chosen by Gian Carlo Menotti as the venue for an arts festival. It is also fairly close to Rome, with good rail connections. It is an important cultural event, held annually in late June-early July.
The Roman theater, largely rebuilt. The stage is occupied by the former church of St. Agatha, currently housing the National Archaeological Museum. Ponte Sanguinario (bloody bridge), a Roman bridge 1st century BCE. restored Roman house with mosaic floors, indicating it was built in the 1st century, and overlooked the Forum Square.
Ponte delle Torri, a striking 13th-century aqueduct, The majestic Rocca Albornoziana fortress, built in 1359–1370 by the architect Matteo Gattapone of Gubbio for Cardinal Albornoz. The Palazzo Racani-Arroni (16th century) has a worn graffito decoration attributed to Giulio Romano. Palazzo della Signoria (14th century), housing the city's museum. The majestic Palazzo Vigili (15th-16th centuries) includes the Torre dell'Olio (13th century), the sole mediaeval city tower remaining in Spoleto. Temple of Clitumnus lies between Spoleto and Trevi
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Pagans, Arians and Catholics: the conversion of the Longobards
In this video we discuss the religious history of the Longobard people from their entry into Italy until the mid-VII century: a crucial period for the definition of the cultural identity of the Longobard kingdom of Italy in which religion played a very important role, demonstrating in it the political and practical intelligence of this Germanic people.
At the time of their entry into Italy the Longobards, despite having accepted Arianism as official religion were still largely pagan: in fact, unlike the Goths, they had not been evangelized by missionaries of Roman education, but by other Germanic peoples. The formal adherence to Christianity had been formally accepted by the Longobard elites only in order to be better accepted within international Mediterranean politics, especially when, settled in Pannonia, the Longobards had entered diplomatically into contact with Constantinople.
When the people entered Italy, despite their numbers (100.000 ca.) being quite high for the time of the Migrations, the Langobard population represented just 1% of the entire population of the peninsula, which in contrast with its invaders was largely Catholic. A situation that was overcome without any violence, since the Longobards showed themselves to be a people open to cultural and religious mingling, and did not persecute Catholics in any way, except to the extent of depriving the now weak senatorial lay and ecclesiastical elites of the peninsula of those few land holdings survived to the Greek-Gothic war: for non-religious reasons, therefore, and in fact putting an end to the last phase of decadence of a political system largely disconnected and impotent relatively to the vast majority of the local population, who saw indeed in the distribution of small and medium property typical of the models of the free Germans a model to aim to.
With the progressive fusion of the Romano-Italics and the Germans and the establishment of the Longobard kingdom at the end of the VI century, the Arian elites found themselves faced with the chance of reconciling the fusion through the transition to Catholicism, which allowed to familiarize with the papacy containing the Byzantine thrust from the south and to settle definitively the differences with the well structured Catholic episcopate existing within the confines of their dominions.
The passage was sanctioned by the Catholic baptism of the Arian Longobard king Agilulf's son, who thanks to the Bavarian queen Theodolinda (already Catholic), established positive links with the church of Rome and made ecclesiastical donations (famous is that of Bobbio and Agilulf's hospitality towards Saint Columban), returning the Catholic episcopate the honor lost as a result of the conquest. Despite the permanence of some Arian fringes in the aristocracy (actually more motivated by eminently political factionalisms than true religious conviction) the Longobard kingdom was on its way for a complete Catholicization, which saw the court of Pavia always very faithful to papal orthodoxy in the face of the heterodox uncertainties of Constantinople towards Eastern heresies, as demonstrated by the events of the Capitoline Schism, after which, in addition, the Italian Byzantine clergy, now reconciled with the Roman-Longobard one, sent outstanding theological figures coming from the East to perfect the successful conversion of the Longobards.
The ancient Germanic tribal identity of the Longobards, survived in reality for a long time in many of his pagan beliefs alongside the Christian faith in a harmonious perspective, and was not erased in its ethnic pride not even following the Carolingian conquest, as evidenced by the pagan memory of the people narrated in the History Langobardorum by the most Catholic Friulian Paul the Deacon, showing how the Longobard culture, even by starting as a minority, had managed to fully permeate Italian identity up to the point of making it coincide with itself without attrition. A very important chapter of the Romano-Germanic integration which demonstrates a peaceful and intelligent relationship between the two cultures, the unique synthesis of which would have borne precious fruits for the future of the Italian peninsula.
In the backround picture, golden cross with stones, called of the Duke Gisulf (National Archaeological Museum, Cividale del Friuli, Italy)
7. VIDEO GUIDA capolavori del MANN - TORO FARNESE
Borghese Art Gallery, Rome, Italy
The Borghese Museum is located at Piazzale Scipione Borghese, 5, 00197, Rome, Italy.
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With the ascension to the papal throne of Paul V Borghese (1605-1621), his cardinal nephew, Scipione Caffarelli Borghese (1577-1633), began to intensely commission architecture and at the same time to acquire works of art that would make his collection one of the largest of his time. By confiscating the paintings in Cavalier d’Arpino’s studio, in 1607 he gained possession of about 100 works, including several youthful ones by Caravaggio. In the same year, he acquired the patriarch of Aquileia’s collection, while in 1608 he obtained 71 extraordinary paintings belonging to Cardinal Sfondrato, which presumably included Titian’s Sacred and Profane Love, as well as the Portrait of Julius II (London, National Gallery) and the Madonna of Loreto (Chantilly, Musée Condé) by Raphael. The cardinal nephew’s extreme unscrupulousness in obtaining works of art and in indulging his passion as a modern collector is shown in numerous episodes, such as his acquisition in 1605 of Caravaggio’s Madonna and Child with St. Anne, which had been rejected by the Confraternity shortly before it was to be displayed in the chapel in St. Peter’s – perhaps as ordered by the pope himself – and the incredible theft of Raphael’s Deposition, which was removed on behalf of Scipione from the convent of San Francesco a Prato in Perugia, lowered from the town walls during the night between March 18 and 19, 1608, and subsequently declared ‘the cardinal’s private property” by Paul V. There were other works by Raphael in the Borghese collection, as proof of its indisputable excellence – the Three Graces (Chantilly, Musée Condé), the Vision of a Knight, and St. Catherine of Alexandria (London, National Gallery), which the family sold during the years of the French Revolution. The collection of ancient sculptures – the other fundamental element able to confer an aura of ideal universality on collections of art – had been constantly expanding. First there was the acquisition in 1607 of the Della Porta and Ceuli collections; then, thanks to extraordinary occasional finds, came the additions of the famous Gladiator, now in the Louvre, which was found near Anzio, and the Hermaphrodite, which was discovered during excavations in the vicinity of the church of Santa Maria della Vittoria. The splendor of the archaeological marbles was complemented by the “modern” statuary, which was in constant competition with the classical models. From 1615 to 1623 the young Gian Lorenzo Bernini executed for the cardinal the famous sculptural groups still housed in the Museum: the Goat Amalthea, Aeneas and Anchises, Rape of Proserpina, David, and Apollo and Daphne. In the absence of a precise inventory, a quite reliable picture of Scipione Borghese’s art collection is provided by the description of the Villa on the Pincio published in 1650 by Giacomo Manilli, which also describes the Villa’s exterior and gardens. In accordance with the cardinal’s will, at his death all his movable property and real estate were subjected to a very stringent fideicommissium, a legal institution that kept the collection together until the end of the eighteenth century. At the end of the seventeenth century, the Borghese family could count on a collection of about 800 paintings and one of the most famous collections of antiquities in Rome, in addition to vast holdings of real estate. It was precisely the archaeological collection that aroused the interest of Napoleon Bonaparte, whose sister Pauline (1780-1825) had married Prince Camillo Borghese (1775-1832). Following their sale, which was forcibly imposed by the emperor, in 1807-8 the sculptures were removed from their original setting and transported to the Louvre Museum, where they now constitute one of the essential components of the archaeological collection. In the following years, through replacements made by recovering statues and new excavations promoted by the prince’s agent, Evasio Gozzani di San Giorgio, the Villa on the Pincio acquired the appearance that we can admire today. We owe to Camillo two of the Villa’s most famous masterpieces: the sculpture of Paolina Bonaparte as Venus Victrix by Antonio Canova and Correggio’s Danae, which he purchased in 1827. In 1833 the prince renewed the fideicommissum, thus preserving the collection in its entirety until the Italian government acquired the Museum and the Gallery in 1902.
Whirlwind through the Heart of Italy
Great cuisine, shopping and more sites per square inch than anywhere else -- that's Italy! Whether you want to relax at a villa, enjoy the landscape or see the sites, you know you want to go at least once. Driving through Tuscany and Umbria I loved the museums of Florence and climbing Brunelleschi's dome; the hill towns of Lucca, Sienna and San Gimignano; the leaning tower in Pisa; Etruscan tombs and ruins in Volterra, Chuisi and Orvieto; St. Francis's Basilica in Assisi; the university town of Perugia; Cortona, made famous by the movie Under the Tuscan Sun; Urbino, once home of Duke Federico da Montefeltro; the quaintness of Gubbio and the energy of Bologna. I couldn't pass up the opportunity to climb every medieval tower and visit every palace and palazzo before enjoying a good glass of wine followed by a fantastic dinner.
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Places to see in ( Civitavecchia - Italy )
Places to see in ( Civitavecchia - Italy )
Civitavecchia is a coastal town northwest of Rome, in Italy. Built in the 2nd century, the Port of Civitavecchia still retains some of its original features, like the Roman Dock. The port area also includes the 16th-century Michelangelo Fort. Nearby, the National Archaeological Museum displays bronze and ceramic artifacts. Northeast of town are the Terme Taurine, the ruins of a Roman thermal bath complex.
Civitavecchia is a town and comune of the Metropolitan City of Rome in the central Italian region of Lazio. A sea port on the Tyrrhenian Sea, it is located 80 kilometres (50 miles) west-north-west of center of Rome, across the Mignone river. The harbour is formed by two piers and a breakwater, on which is a lighthouse. The name Civitavecchia means ancient town. Population was around 53,000 as of 2015.
Civitavecchia is today a major cruise and ferry port, the main starting point for sea connection from central Italy to Sardinia, Sicily, Malta, Tunis and Barcelona. Fishing has a secondary importance. The city is also the seat of two thermal power stations. The conversion of one of them to coal has raised the population's protests, as it has been suggested it could create heavy pollution.
The massive Forte Michelangelo was first commissioned from Donato Bramante by Pope Julius II, to defend the port of Rome. The upper part of the maschio tower, however, was designed by Michelangelo, whose name is generally applied to the fortress. North of the city at Ficoncella are the Terme Taurine baths frequented by Romans and still popular with the Civitavecchiesi. The modern name stems from the common fig plants among the various pools. And also next to the town is the location of the cruise ship docks. All major cruise lines start and end their cruises at this location, and others stop for shore excursion days that allow guests to see Rome and Vatican sights, which are ninety minutes away.
The Port of Civitavecchia, also known as Port of Rome, is an important hub for the maritime transport in Italy, for goods and passengers. Part of the Motorways of the Sea it is linked to several Mediterranean ports and represents one of the main links between Italian mainland to Sardinia.
Civitavecchia railway station, opened in 1859, is the western terminus of the Rome–Civitavecchia railway, which forms part of the Pisa–Livorno–Rome railway. A short line linking the town center to the harbour survived until the early 2000s. It counted two stations: Civitavecchia Marittima, serving the port, and Civitavecchia Viale della Vittoria.
Civitavecchia is served by the A12, an unconnected motorway linking Rome to Genoa and by the State highway SS1 Via Aurelia, which also links the two stretches. The town is also interested by a project regarding a new motorway, the Civitavecchia-Venice or New Romea, nowadays completed as a dual carriageway between Viterbo and Ravenna (via Terni, Perugia and Cesena) and commonly known in Italy as the Orte-Ravenna.
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Visiting Cappella Sansevero, Art Museum in Via Francesco De Sanctis, Napoli, Italy
The Cappella Sansevero (also known as the Capella Sansevero de' Sangri or Pietatella) is a chapel located on Via Francesco de Sanctis 19, just northwest of the church of San Domenico Maggiore, in the historic center of Naples, Italy. The chapel is more properly named the Chapel of Santa Maria della Pietà, or the Pietatella. It contains works of art by some of the leading Italian artists of the 18th century. For more info, visit this link:
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Places to see in ( Orvieto - Italy )
Places to see in ( Orvieto - Italy )
Orvieto is a small city perched on a rock cliff in Umbria, Italy. Duomo di Orvieto, dating from 1290, has a mosaic facade and houses a marble Pietà sculpture. The Pozzo di San Patrizio is a 16th-century well shaft with a double spiral staircase. An underground cave network attests to the city’s Etruscan roots. Artifacts from this era, like ceramics and bronze items, are on view at the National Archaeological Museum.
Sitting astride a volcanic plug of rock above fields streaked with vines, and olive and cypress trees, Orvieto is visually stunning from the first. Like the love child of Rome and Florence and nestled midway between the two cities, history hangs over the cobbled lanes, medieval piazzas and churches of this cinematically beautiful city. And few churches in Italy can hold a candle to its wedding cake of a Gothic cathedral, which frequently elicits gasps of wonder at its layers of exquisite detail.
If you are planning to see all the sights in Orvieto it is worth buying the Carta Unico Orvieto which allows you to get in all the sights (including Duomo, the Underground Tour and all the museums). The price is 20 Euros (Reduced price 17 Euros for students and over 65s). It also gives you a free return journey on the funicular and bus. If you are not planning to visit all the museums it is not worth it since the sights don't cost a lot and normally have discount if you have visited other sights.
Duomo The wonderful Duomo of Orvieto is the main 'must-see' sight in this town. Constructed in the 13th and 14th centuries, the black and white striped building in mixed Romanesque and Gothic styles, is one of the world's greatest cathedral. The setting, on the Orvieto hill and visible from miles away in the Umbrian countryside doesn't hurt either. But, impressive as the cathedral is, the piece-de-resistance is inside, the frescoes of Luca Signorelli on the theme of the Last Judgment inside the Capella di San Brizio.
Pozzo di San Patrizio
Pozzo della Cava
Medieval Quarter
Palazzo Buzi
San Giacomo Maggiore
Madonna della Cava
Musei Archeologici Claudio Faina e Civico
Museo dell'Opera del Duomo and Museo Emilio Greco
Museo Archeologico
Underground Orvieto
Piazza del Popolo and Cosrso Cavour
Palazzo del Popolo
Museo delle Ceramiche Medioevale
San Giovanni
San Giovenale
Sant'Agostino
Sant'Andrea
Porta Maggiore
San Lorenzo de Arari
San Francesco
The citadel
Tempio del Belvedere (Etruscan temple)
The walled city in general is also lovely to walk around. To see: Piazza del Popolo, Saint Patrick's well, La Cava well (etruscan), Corso Cavour (with its shop and restaurants), the Medieval quarter, Saint Giovenale, Saint Giovanni and Saint Francesco churches, Albornoz rock and the surrounding promenade of the downtown.
A funicular railway runs from the railway station to Piazza Cahen and is an easy and spectacular way of getting into town. The town itself is small and walking the entire length of the town is easy. Frequent public buses run through the town and taxis are also available.
The Orvieto train station is at the base of the hill at Orvieto Scalo and there are several daily trains to Florence, Chiusi, and Rome. The station is small and it is easy to find a taxi or a public bus up to the town. The funicular terminus is just outside the station if you want the spectacular ride up
Orvieto is on the A1 autostrada that runs from Milan to Rome via Florence. After exiting the autostrada, a steep road winds its way up to the town. The approach to the town is one of the most glorious things about visiting Orvieto. The bus station is at Piazza Cahen on the Eastern edge of the town. Public buses, taxis, or a quick walk will get you into the town itself. Frequent buses run to and from Rome (2 hrs), Viterbo, Bolsena, Perugia (1 hr), and Todi (2 hrs). Bus A connects Piazza Cahen to the Piazza del Duomo and Bus B to the Piazza della Repubblica.
( Orvieto - Italy ) is well know as a tourist destination because of the variety of places you can enjoy while you are visiting Orvieto . Through a series of videos we will try to show you recommended places to visit in Orvieto - Italy
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Chiusi - Monkey tomb / Tomba della Scimmia
Range-based 3D surveying and modeling of the Monkey Tomb in Chiusi (Poggio Renzo Necropolis)
2014 agosto - FAM.PERUG. - VISITA GALLERIA NAZIONALE DELL'UMBRIA
L'inizio di un ciclo di visite programmate dalla Famiglia Perugina con il Prof. Franco Ivan NUCCIARELLI
3.6 Million Years Old Human Footprints Discovered in Laetoli -Tanzania
Scientists in East Africa have discovered new footprints of our early human ancestors at a site in the village of Laetoli, Tanzania. According to Forbes, the site of the new discovery is about 150 metres from the location where world-renowned paleoanthropologist Mary Leakey found footprints of the hominins Australopithecus afarensis in 1976.
The research, which is a collaboration between a team of scientists from Tanzania and Italy, revealed the footprints of a group of early ancestors as they walked across wet volcanic ash 3.6 million years ago.
According to science publisher elife, the latest discovery builds on Leakey’s landmark discovery and attempts to shed more light on how members of the Australopithecus afarensis community lived.
Lead researcher from the University of Florence, Jacopo Moggi-Cecchi, describes the find as very promising.
“Now that we’ve found a new set of footprints, it opens up a completely different window and there could be a number of new possibilities to study. Now we have a new series of quantitative data, and [their] step and stride length can help us figure out how large these individuals were.”
Scientists believe the footprints belonged to a group that consisted of an adult male walking alongside comparatively smaller females.
Director of the School of Paleoanthropology at the University of Perugia, Marco Cherin, said, “A tentative conclusion is that the group consisted of one male, two or three females, and one or two juveniles, which leads us to believe that the male – and therefore other males in the species – had more than one female mate.”
Also weighing in, Professor Giorgio Manzi from the archaeological project in Tanzania said, “The footprints of one of the new individuals are astonishingly larger than anyone else’s in the group, suggesting that he was a large male member of the species.
“In fact, the 165 centimeters stature indicated by his footprints makes him the largest Australopithecus specimen identified to date.”
The most famous member of the species, known as Lucy, lived in the Hadar area of Ethiopia 3.2m years ago. A mere 1.1 metre tall, she was tiny in comparison to those who left their marks in Tanzania. The male stood more than half a metre taller, at 165cm (5ft 5in), making him the largest Australopithecus yet recorded. His impressive stature – for his species – led researchers to nickname him Chewie after the towering hairy Wookiee in Star Wars.
Marco Cherin, a palaeontologist at the University of Perugia in Italy, helped to excavate the tracks after the first prints were discovered by a team in Tanzania. “When we reached the footprint layer and started to clean it with a soft brush and saw the footprints for the first time, it was really one of the most exciting times of my life,” he said.
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Magnificent Castle In Italy, 13th Century Completely Restored
The Suevian castle in Oria is a splendid building constructed between 1225 and 1233 by Frederick II one of the most powerful Holy Roman Emperors of the Middle Ages, nephew of Frederick Barbarossa (also known as Frederick Red beard).
The castle has been defined as a gigantic stone jewel by the french Paul Bourget, summarising the splendour of this Suevian manor positioned on the highest hill halfway between Brindisi and Taranto along the roman Appian Way. Frederick intended the castle to be a defensive fortress to preserve the old and rich town of Oria. Because of its position - just in between the Adriatic and Ionian Sea along the Appian Way - Oria has always been a crossroads of cultures and strategic routes. Its triangular plan is characterised by three towers called Quadrata, Del Cavaliere and Del Salto: the first tower is a Frederican matrix, while the other two date back to Angionian domination.
The castle is surrounded by legend that makes its history even more fascinating and over the centuries it has been the residence of princes, knights and nobles.
Since 1933 this National Monument is owned by privates who restored it with lovely care and attention. The castle has an isosceles triangle shape with vertex faced North while donjon and the two cylindrical towers on South enclosing a big yard which could contain up to five thousand soldiers. Through the yard is still possible to get access to the old crypt, part of the former cathedral of Oria.
The whole estate runs along the south and west sides of the triangle with the historical complex on the south side with the towers Quadrata del Salto and del Cavaliere.The historical part is nowadays also a museum with a private collection of archaeological remains of pre-roman age. The west side of the estate is on two levels: the ground floor has a main hall, offices, a direct access to a private apartment, kitchen and bathrooms. From the main hall, an internal staircase (there is also a wonderful stone staircase outside leading up to first floor from the courtyard) lead up to first floor with conference halls, the private apartment and the access to the historical part of the building. Because of its position the castle lift the spirit from any external window and door with stunning views on the medieval town of Oria with its old jewish quarter, the surrounding countryside and on the private garden running along the west side of the castle. The manor, in fact, also has a second access throught the garden, with parking areas created in the greenery of the park.