Podcasts about Romanesque

In this episode, Kimberly and Tommaso recount their visit to Modena, Italy. They describe the city's attractions, from balsamic vinegar to Ferrari. They also discuss travel safety tips and the upcoming changes to the podcast schedule. Key Points: Podcast Schedule Update: Beginning the first Wednesday of April, the podcast will switch to two episodes per month for a few months. This change is due to scheduling constraints. Travel Safety Advice: Travelers to the Napoli area should be aware of recent earthquake activity. Visitors should note the location of their country's consulate. A grab-and-go bag with essential documents is recommended. Recent heavy rains caused flooding in Florence, Pisa, Lucca, and parts of Emilia-Romagna. Modena's Centro Storico: Kimberly and Tommaso visited Modena, known for its balsamic vinegar and Ferrari. Kimberly recalls fond memories of buying balsamic vinegar during her time in Milan. The city was decorated for Christmas, with a unique style of lighting the streets. The hosts admired the lack of crowds in Piazza Grande. Modena was originally a Roman colony called Mutina. UNESCO World Heritage Sites: Modena has three UNESCO-recognized architectural masterpieces. The Duomo is a Romanesque building that took 220 years to build. The Bell Tower of the Duomo is known as Ghirlandina. The Piazza Grande is the third UNESCO site. Famous Modenese Figures: Luciano Pavarotti, the famous tenor, was from Modena. His home slightly outside the city is now a museum. Chef Massimo Bottura, who runs Osteria Francescana, is also from Modena. Giuseppe Giusti Balsamic Vinegar: The Giusti family has been producing balsamic vinegar since 1605. The shop on Piazza Grande has a very alluring interior. Kimberly and Tommaso tasted and purchased various vinegars. They paired the vinegar with parmigiano and Brunello upon returning home. Ferrari Museum: The museum focuses on the life and work of Enzo Ferrari. The museum showcases noteworthy Ferrari automobiles. The design and color of the cars, as well as the devotion to each car, stood out. The exit features a quote from Enzo Ferrari: “The best Ferrari ever built, is the next one.” Follow us on Social Media Instagram Facebook 

Nicolas Carreau reçoit l'écrivain Tonino Benacquista pour discuter de son nouveau roman « Tiré de faits irréels ». Benacquista, connu pour des œuvres telles que « Malavita » et « Saga », offre une fascinante réflexion sur le rôle et la place de la fiction dans notre société contemporaine.Notre équipe a utilisé un outil d'Intelligence artificielle via les technologies d'Audiomeans© pour accompagner la création de ce contenu écrit.

Leïla Slimani, née à Rabat au Maroc, d'une mère franco-algérienne et d'un père marocain, est journaliste et écrivaine. En 2014, elle publie son premier roman aux éditions Gallimard, Dans le jardin de l'ogre. Elle obtient le prix Goncourt en 2016 pour Chanson douce. Depuis 2020, elle est l'auteure de la trilogie du Pays des autres, dont le dernier volume s'intitule J'emporterai le feu. J'emporterai le feu, publié aux éditions Gallimard, dans la collection Blanche, le 23 janvier 2025.

Leïla Slimani, née à Rabat au Maroc, d'une mère franco-algérienne et d'un père marocain, est journaliste et écrivaine. En 2014, elle publie son premier roman aux éditions Gallimard, Dans le jardin de l'ogre. Elle obtient le prix Goncourt en 2016 pour Chanson douce. Depuis 2020, elle est l'auteure de la trilogie du Pays des autres, dont le dernier volume s'intitule J'emporterai le feu. J'emporterai le feu, publié aux éditions Gallimard, dans la collection Blanche, le 23 janvier 2025.

durée : 00:30:18 - Une histoire particulière - par : Michel Pomarède - De Marenches a laissé entendre qu'il avait été un grand résistant et un grand combattant de la seconde guerre mondiale. C'est un peu…romancer la réalité. - réalisation : Benjamin Hû

durée : 00:30:18 - Une histoire particulière - par : Michel Pomarède - De Marenches a laissé entendre qu'il avait été un grand résistant et un grand combattant de la seconde guerre mondiale. C'est un peu…romancer la réalité. - réalisation : Benjamin Hû

L'autrice de “Mon Mari” et de “Célèbre” se confie à travers les mots des petits papiers et dresse le portrait d'une jeune femme qui a mis l'écriture au centre de sa vie. Une rencontre dans laquelle il est question de défauts et de qualité, de lâcher prise ou pas, de précision et de perfectionnisme, d'obsessions et de jusqu'au-boutisme, de création et de catharsis, de mots et de sensations. Merci pour votre écoute Les petits Papiers c'est également en direct tous les dimanches de 17h à 18h sur www.rtbf.be/lapremiere Retrouvez tous les épisodes des petits Papiers sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/2332 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

Step into the enchanting streets of Bergamo, Italy, with Travel Italia! Your ultimate audio guide to one of Italy's most underrated treasures. From the medieval charm of Città Alta to the vibrant energy of Città Bassa, we explore the history, culture, food, and hidden spots that make this city unforgettable. Whether you're planning a trip or just dreaming of la dolce vita, join us for expert tips, and insider recommendations that will bring Bergamo to life. Pack your bags (or just your earbuds) and get ready to fall in love with Bergamo, one episode at a time!Notes: Bergamo Regional Tourist office: https://www.visitbergamo.net/public/it/My top places to visit: Città Alta – Start with the Upper City, accessible via a scenic funicular ride. Stroll through cobblestone streets and visit landmarks like Piazza Vecchia, a picturesque square framed by Renaissance buildings, or take a leisurely stroll down its main street to enjoy the architecture and visit some unique shops and cafes.Basilica di Santa Maria Maggiore – This stunning church is a masterpiece of Romanesque and Baroque architecture, featuring intricate frescoes and a breathtaking interior.Museo delle Storie di Bergamo  - a museum dedicated to the history of Bergamo which also has a 12th-century clock tower you can climb (or take a lift up to) to enjoy one of the best views of the city. From the clock tower, you get a bird's eye view of the city, stunning views of the foothills, and a view of the plain all the way to Milan. Rocca di Bergamo – For panoramic views of the city and surrounding countryside, climb to the top of this historic 14th-century fortress.Accademia Carrara – Art lovers should head to this museum, home to works by Botticelli, Raphael, and Titian.Venetian Walls – Walk along these historic fortifications for incredible views and a dose of history.Archeological museum Local foods to try: Casoncelli alla Bergamasca – A local pasta dish filled with breadcrumbs, cheese, meat, and herbs, served with a buttery sage sauce.Polenta e Osei – Polenta is a staple here, often served as a savory dish with meats or cheese. For a sweet treat, try Polenta e Osei, a dessert shaped like the classic dish but made with marzipan and chocolate.Taleggio Cheese – This creamy, aromatic cheese hails from the nearby Taleggio Valley. Perfect on bread or melted over polenta.Local Wines – Pair your meal with a glass of Valcalepio Rosso or Moscato di Scanzo, a sweet red wine unique to the region.Stracciatella Gelato: Invented in Bergamo, this creamy vanilla-based gelato with chocolate shavings is a must-try!

For their 183rd episode, two Romanesque film critics, two dirt-rubbing dads, and two non-emperor teachers, Will Johnson and Don Shanahan, came together for a recent new release they both had circled on their calendars for a long time even before 2024. Celebrated film director Ridley Scott stepped back into the "Gladiator" arena to make the long-distance sequel "Gladiator II." This highly anticipated blockbuster did not go well with one of our hosts, causing them to live up to the pod's name with different perspectives. Come learn more and stay for the mutual love and respect that fun movies encapsulate. Enjoy our podcast!https://discord.gg/N6MKWXU2https://www.teepublic.com/user/ruminationsradionetworkhttps://www.instagram.com/cinephilehissyfit/https://www.instagram.com/casablancadon/Twitter: https://twitter.com/CinephileFitwww.RuminationsRadioNetwork.comwww.instagram.com/RuminationsRadioNetworkTwitter: RuminationsRadioNetwork@RuminationsNProduction by Mitch Proctor for Area 42 Studios and SoundEpisode Artwork by Charles Langley for Area 42 Studios and Soundhttps://www.patreon.com/RuminationsRadiohttps://everymoviehasalesson.com/https://ruminationsradio.transistor.fm/ ★ Support this podcast on Patreon ★

Le secteur public est en France un terrain de prédilection pour les fictions. On ne compte plus le nombre de séries ou de films dont l'intrigue prend place à l'hôpital, dans les établissements d'enseignement ou encore au sommet de l'État, sans même compter les séries judiciaires qui dépeignent, avec ou plus moins de réalisme, la vie des tribunaux ou des forces de l'ordre.Et si ces fictions pouvaient nous éclairer et nous aider à comprendre davantage les arcanes de la fonction publique et du management public et, au-delà, de la sphère publique dans son ensemble ? Telle est l'ambition du podcast Fictions publiques.Au fil des épisodes du podcast, nous proposons de nous pencher sur des concepts, des professions, des collectifs et des situations propres au secteur public, en nous appuyant sur des formats fictionnels, et en particulier des séries, françaises et étrangères. Quelles relations l'écosystème public entretient-il avec ces formats ? Quelle grille de lecture, quelles représentations diffusent-ils à ceux qui les regardent ? Dans quelle mesure reflètent-ils les évolutions sociétales, et celles du secteur et de ses métiers ? Quelles normes, valeurs, biais transmettent-ils en nous transportant dans un univers que beaucoup de spectateurs connaissent mal ou peu ? En somme, à quels réels, à quels imaginaires, voire à quels fantasmes les fictions donnent-elles naissance ? Au programme de cet épisode : The West Wing – portrait d'une administration politique, du réalisme au romanesque. ▶ Dans cet épisode de Fictions publiques, nous évoquons la série The West Wing, une série novatrice qui aura marqué durablement les amateurs de fictions politiques et reste, aujourd'hui encore, une référence du genre. La série donne l'occasion de suivre au long cours l'équipe rapprochée du président des États-Unis et d'illustrer en détail les particularismes de l'administration politique constituée par les principaux conseillers au service de l'exécutif américain. Au fil des épisodes, c'est une administration à part qui nous est donnée à voir et à imaginer, avec ses règles et ses singularités. Mais ceci reste une série télévisée, qui implique par principe un certain nombre de biais et de raccourcis sur lesquels nous reviendrons également. Épisode écrit et raconté par : Arnaud Coutant, professeur de droit public à l'université de Reims Champagne-Ardenne. Podcast créé par : Carine Biget et Cécile Guerbignot.Réalisé par : Axel Gable, ingénieur du son, Lefebvre Dalloz.Voix off : Carine Biget. © Lefebvre Dalloz – janvier 2025.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Romano Bianchi en Vostok Session le 29 février 2024. Le musicien genevois tendance pop rock, garde pour horizon les vélos de course italiens et l'écriture romanesque. Une nouvelle voix résonne au cœur de Genève. Romano Bianchi présente le visage intriguant d'une pop romanesque et s'impose dans un projet de composition […] The post Romano Bianchi nous offre une Vostok Session pop romanesque first appeared on Radio Vostok.

Romano Bianchi en Vostok Session le 29 février 2024. Le musicien genevois tendance pop rock, garde pour horizon les vélos de course italiens et l'écriture romanesque. Une nouvelle voix résonne au cœur de Genève. Romano Bianchi présente le visage intriguant d'une pop romanesque et s'impose dans un projet de composition […] The post Romano Bianchi nous offre une Vostok Session pop romanesque first appeared on Radio Vostok.

durée : 00:04:17 - Bulles de BD - par : Laetitia Gayet - Il avait présenté les personnages et les enjeux dans le premier volet. Dans le second, Pierre Alary regarde Scarlett et Rhett se débattre, s'écharper, se jouer des autres. Digne d'une pièce de Shakespeare. Savoureux.

durée : 00:04:17 - Bulles de BD - par : Laetitia Gayet - Il avait présenté les personnages et les enjeux dans le premier volet. Dans le second, Pierre Alary regarde Scarlett et Rhett se débattre, s'écharper, se jouer des autres. Digne d'une pièce de Shakespeare. Savoureux.

Hello to you listening in Lutz, Florida! (City tour on YouTube)Coming to you from Whidbey Island, Washington this is Stories From Women Who Walk with 60 Seconds for Motivate Your Monday and your host, Diane Wyzga.Today we're celebrating Epiphany - a time of revelations - and what I'd like to reveal to you is the launch of a wonderful new book by my friends and fellow Camino travelers, Dennis and Ali Pitocco. Their book “Rites of Passage: Through the Landscape of Our Souls” is NOW ON AMAZON.For those who are curious about walking a Camino you will learn that while you can prepare for a pilgrimage it is only by walking one that you let go of what no longer works for you and become who you were sent here to be.The detailed essay posted by Dennis J. Pitocco on January 1, 2025 reveals what you can expect from their  Camino journey of 40 days, 500 miles and 1,300,000 steps: walking, talking, laughing, crying, praying, and witnessing. You can read his essay in its entirety in the Episode Notes where you will also find a link to purchase your own copy of Rites of Passage on Amazon, with proceeds going to American Pilgrims on the Camino. ESSAY    Forty days. Five hundred miles. One million, three hundred thousand footsteps echoing across ancient stones. We emerged transformed, our spirits awakened to life's true purpose. The path became a mirror, reflecting our authentic selves and our place in the vast tapestry of existence. In the end, we realized that the Camino wasn't just a journey across Spain, but a pilgrimage through the landscapes of our souls.We walked through dawn mists that cloaked the Pyrenees in ethereal light, through sun-drenched Spanish mesetas where shadows stretched like memories across endless golden fields, and through ancient forests where pilgrims' footsteps had worn smooth paths in the earth for a thousand years before us.We talked with strangers who became family, sharing stories in broken Spanish and perfect smiles, with ourselves in those long stretches of solitude where the mind finally quiets enough to hear the whispers of the heart, with the ghosts of pilgrims past, their presence palpable in the worn stones of medieval bridges and the cool shadows of Romanesque churches.We laughed at blisters that mapped our journey across tender feet, at the absurdity of carrying our lives in backpacks, at the joy of simple pleasures – a cold fountain on a hot day, a warm bed after miles of rain, the taste of rustic bread shared with fellow travelers in the fading light of day.We cried for the weight of burdens finally laid down, for lost companions who never made it to Santiago, and for all those whose journeys ended too soon, leaving behind empty beds in albergues and half-finished stories in our hearts.We prayed not always with words, but with footsteps, with breath, with the rhythm of walking poles against ancient stone. Prayer became as natural as breathing – in the silence of pre-dawn departures, in the golden light of cathedral windows, in the simple act of placing one foot before another, again and again and again.We witnessed nature's symphony – the wind through wheat fields conducting an orchestra of rustling leaves, the percussion of raindrops on stone walls, the soprano calls of unseen birds, and yes, that rare and precious gift: the absolute silence that exists only in places where the modern world hasn't yet laid claim.Our story is not merely a travelogue of our journey from the French Pyrenees to the fields of Galicia, but of a transformation. Our memories, like the path itself, wind and weave, double back and leap forward, and we honor this fluidity by allowing our story to seamlessly flow between what happened and what might have happened, between what we saw with our eyes and what we knew with our hearts."The true Camino de Santiago begins when you finish it."We invite you now to shoulder your own pack, to step onto this ancient path with us. Come walk the Camino de Santiago through our eyes, our hearts, our transforming souls. Let us be your companions as you discover, as we did, that every pilgrimage is both universal and uniquely personal, that every step takes you both forward and inward, and that the real distance covered is not measured in miles but in epiphanies.CLICK HERE TO GRAB YOUR COPY OF “RITES OF PASSAGE” ON AMAZONThis is our story, but it could be yours. The path awaits.Author's note: All proceeds from Book sales (net of actual publishing costs) will be donated to American Pilgrims on the Camino, a Charity Navigator 4-star-rated 501(c)(3) nonprofit organization whose mission is to foster the enduring tradition of the Camino by supporting its infrastructure, by gathering pilgrims together, and by providing information and encouragement to past and future pilgrims.You're always invited: “Come for the stories - stay for the magic!” Speaking of magic, would you subscribe and spread the word with a generous 5-star review and comment - it helps us all - and join us next time!Meanwhile, stop by my Quarter Moon Story Arts website to:✓ Check out Services I Offer,✓ For a no-obligation conversation about your communication challenges, get in touch with me today✓ Stay current with Diane as “Wyzga on Words” on Substack, LinkedIn and now Pandora RadioStories From Women Who Walk Production TeamPodcaster: Diane F Wyzga & Quarter Moon Story ArtsMusic: Mer's Waltz from Crossing the Waters by Steve Schuch & Night Heron MusicAll content and image © 2019 to Present Quarter Moon Story Arts. All rights reserved. 

durée : 00:28:20 - Les Midis de Culture - par : Marie Sorbier - Dans son nouveau livre "Successions, secrets de famille " la journaliste et autrice Raphaëlle Bacqué se penche sur les récits de successions au sein des grandes fortunes françaises. - réalisation : Laurence Malonda, Anna Holveck - invités : Raphaëlle Bacqué Grand reporter au quotidien "Le Monde"

durée : 00:17:16 - Le monde d'Elodie - par : Elodie SUIGO - Tous les jours, une personnalité s'invite dans le monde d'Élodie Suigo. Mercredi 18 décembre 2024 : l'éditeur de bande dessinée belge et fondateur des éditions Moulinsart consacrées au monde d'Hergé, Didier Platteau. Les éditions Moulinsart et la société Tintinimaginatio lancent une nouvelle collection qui contient 23 volumes qui dévoilent les coulisses des aventures de Tintin.

"Les Reines du Drame", plongée dans un univers radicalement queer et fondamentalement romanesque The post Les Reines du Drame: un film queer, radical et romanesque first appeared on Radio Vostok.

"Les Reines du Drame", plongée dans un univers radicalement queer et fondamentalement romanesque The post Les Reines du Drame: un film queer, radical et romanesque first appeared on Radio Vostok.

Why should you go to Lyon? Audra says, "It's a magical town. It is a little bit like Paris in the fact that it has, in fact, two rivers, so maybe a little bit better than Paris, two rivers running through it, a beautiful church on a hill, beautiful French architecture, wonderful museums, wonderful cathedrals, and it's also known as the Culinary Capital of France." Audra's 7-day itinerary for visiting Lyon, France, is as follows: Day 1: Fourvière Hill and Vieux Lyon (Old Lyon) Basilica of Notre-Dame de Fourvière: Start at this iconic hilltop basilica, known for its stunning Byzantine mosaics, Gothic and Romanesque architecture, and panoramic views of Lyon. Take the funicular to the top and enjoy a guided or night tour (available in specific months). ... https://amateurtraveler.com/travel-to-lyon-france/ Learn more about your ad choices. Visit megaphone.fm/adchoices

durée : 00:04:21 - Le Polar sonne toujours 2 fois - par : Michel ABESCAT - Klemet et Nina sont de retour ! Ce sont les enquêteurs de la "police des rennes", des personnages récurrents dans les romans d'Olivier Truc, qui nous embarque à nouveau dans le Grand Nord lapon avec "Le premier renne".

In the cobblestoned old town, the grand, centuries-old Lund Cathedral was built in the Romanesque style. Nearby, the Kulturen open-air museum features replicas of buildings from medieval times to the 20th century. The Lund University Historical Museum displays archaeological relics from the Stone and Bronze ages, plus a large coin collection. 

fWotD Episode 2728: Wells Cathedral Welcome to Featured Wiki of the Day, your daily dose of knowledge from Wikipedia’s finest articles.The featured article for Wednesday, 23 October 2024 is Wells Cathedral.Wells Cathedral, formally the Cathedral Church of St Andrew, is a Church of England cathedral in Wells, Somerset, England. It is the seat of the bishop of Bath and Wells and the mother church of the diocese of Bath and Wells. There are daily Church of England services in the building, and in 2023 it was reported to receive over 300,000 visitors per year. The cathedral is a Grade I listed building. The cathedral precincts contain the Bishop's Palace and several buildings linked to its medieval chapter of secular canons, including the fifteenth-century Vicars' Close.The earliest record of a church on the present site is a charter of 766. A bishopric was established in 909, however in 1090 the cathedral of the diocese was moved to Bath Abbey and remained there until Wells became co-cathedral in 1218. The remains of the tenth-century cathedral lie to the south of the present building, beneath the cloister. The present cathedral has a cruciform plan with a chapter house attached to the north and a cloister to the south, and is largely the result of two building campaigns which took place between c. 1180 to c. 1260 and c. 1285 to c. 1345. The western half of the cathedral, including the nave and western transepts, belongs primarily to the first building phase and is constructed in the Early English style of Gothic architecture. The east end, including the lady chapel, eastern transepts, chapter house, and central tower, belongs to the second phase and uses the Decorated Gothic style; it also retains much medieval stained glass. Two towers were added to the west front between 1385 and 1410 in the Perpendicular Gothic style, and the cloisters were remodelled in the same style between 1420 and 1508. The cathedral was restored over the course of the nineteenth and early twentieth centuries.Wells has been called "unquestionably one of the most beautiful" and "most poetic" of English cathedrals. The architectural historian John Harvey sees it as Europe's first truly Gothic structure, breaking from the last constraints of the Romanesque style. The west front, which contains 300 sculpted figures, has been described by Harvey as the "supreme triumph of the combined plastic arts in England", however the architectural historian Nikolaus Pevsner described it as "spare", with "harsh uprights and horizontals [...] like steel scaffolding".This recording reflects the Wikipedia text as of 23:59 UTC on Tuesday, 5 November 2024.For the full current version of the article, see Wells Cathedral on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm neural Amy.

In this episode I explore the history of the railroad finally arriving in Niles, Michigan in 1848, and the history of the train depots leading up to the iconic Romanesque style building that was officially opened in February 1892. For more information in Michael Delaware, visit: MichaelDelaware.com or follow Michael on Facebook facebook.com/MichaelDelawareAuthor

This is a Grave Talks CLASSIC EPISODE! In 1893, construction began on Robert and Clara Bell's Romanesque-style mansion in Fort Wayne, Indiana. Robert was a state senator, investor, and a prominent lawyer. Clara loved the arts and co-founded the Fort Wayne Museum of Art. The Bells sold the home to William K. Nobel, whose family lived there for 22 years – then the house was sold and became a funeral home. It served the Fort Wayne area as the Klaehn Funeral Home for 93 years. And in that span of time, it's believed that between 300 and 500 thousand bodies went through its doors. And many of them still haunt the halls to this day. They're in good company. It's believed that Robert and Clara also are still in the home. Today on the Grave Talks, The Many Ghosts of The Bell Mansion with event coordinator, Lindsay Crouch. For more information, visit their website at thebellmansion.com. Become a GRAVE KEEPER and get access to ALL of our EPISODES - AD FREE, BONUS EPISODES & ADVANCE EPISODES!!! Sign up through Apple Podcast Channel or Patreon. Sign up through Apple Podcasts or Patreon http://www.patreon.com/thegravetalks

This is a Grave Talks CLASSIC EPISODE! In 1893, construction began on Robert and Clara Bell's Romanesque-style mansion in Fort Wayne, Indiana. Robert was a state senator, investor, and a prominent lawyer. Clara loved the arts and co-founded the Fort Wayne Museum of Art. The Bells sold the home to William K. Nobel, whose family lived there for 22 years – then the house was sold and became a funeral home. It served the Fort Wayne area as the Klaehn Funeral Home for 93 years. And in that span of time, it's believed that between 300 and 500 thousand bodies went through its doors. And many of them still haunt the halls to this day. They're in good company. It's believed that Robert and Clara also are still in the home. Today on the Grave Talks, The Many Ghosts of The Bell Mansion with event coordinator, Lindsay Crouch. This is Part Two of our conversation.  For more information, visit their website at thebellmansion.com. Become a GRAVE KEEPER and get access to ALL of our EPISODES - AD FREE, BONUS EPISODES & ADVANCE EPISODES!!! Sign up through Apple Podcast Channel or Patreon. Sign up through Apple Podcasts or Patreon http://www.patreon.com/thegravetalks

durée : 00:08:49 - Le Masque et la Plume - Avec "La désinvolture est une bien belle chose", Philippe Jaenada signe une nouvelle investigation autour d'un fait divers, le suicide d'une femme en 1953. Un dispositif d'enquête déjà présent dans ses précédents livres, dont "La Serpe", qui avait reçu le Prix Femina en 2017.

“I like to look at places that people aren't seeing,” says Ian Frazier, the author of “Great Plains” and “Travels in Siberia,” and the new “Paradise Bronx: The Life and Times of New York's Greatest Borough.” “Not only do people not know about” the Bronx, “but what they know about it is wrong.”  The book, which was excerpted recently in The New Yorker, came out of fifteen years' worth of long walks through the city streets, and on a hot morning recently, he invited a colleague, Zach Helfand, to join him on foot. They admired the majestic Romanesque-style stonework of the High Bridge, where Edgar Allan Poe would walk while mourning his wife, in the eighteen-forties; the impressively tangled connections of the interstate highway system that engineers once called “chicken guts”; and walked east to the Cedar Playground, which has a strong claim to being the birthplace of hip-hop.  Note: The segment misstates the year Edgar Allan Poe moved to the Bronx. Poe moved to New York City in 1844, and to the Bronx in 1846. 

Send me a Text Message!AUGUST  2024I traveled from Manchester to Cologne, and despite the heat, I've thoroughly enjoyed my time here. Being my first visit, I've put together a list of pros and cons. Splitting my time between Bonn and Cologne gave me a well-rounded view of the area, and both cities have so much to offer.One highlight was visiting the Beethoven House, where you can explore the very home where he spent the first four years of his life. And Bonn Minster, with its stunning Romanesque architecture, is an absolute must-see.Website  I  Instagram  I  Twitter  I  LinkedIn  I  YouTubeEmail: actorbobtapper@gmail.comIn this episode:From Manchester, UK to Cologne, GermanySummertime temperaturesCologne vs BonnPros and Cons of Cologne/Bonn GermanyBeethoven MuseumBonn MinsterOff to Istanbul, TurkeyAirbnbBook your stay now!Beethoven HouseThe museum at Ludwig van Beethoven's birth place is one of the most frequented music museums worldwide and one of the 100 most popular sights in Germany.Bonn MinsterHouse of God, church, cathedral, minster, basilica, pilgrimage church, collegiate church... The diversity of the Bonn Minster exceeds the number of names for this almost 1000-year-old sacred building. Support the Show.

Join Keith and Abigail on Global Treasures as we explore the Historical Complex of Split and the Palace of Diocletian in Croatia. This UNESCO World Heritage site seamlessly blends Roman ruins with medieval fortifications and Romanesque churches, offering a journey through 1,700 years of history. Discover the fascinating stories behind this coastal gem, get insider travel tips, and uncover the architectural wonders that make Split a must-visit destination.

durée : 00:11:52 - L'invité de 7h50 - par : Alexis Morel - Les cinéastes Arnaud et Jean-Marie Larrieu adaptent au cinéma "Le roman de Jim" (sortie le 14 août en salle), écrit par Pierric Bailly. C'est une histoire de paternité disputée, sans violence, c'est l'originalité du roman et du film.

durée : 00:11:52 - L'invité de 7h50 - par : Alexis Morel - Les cinéastes Arnaud et Jean-Marie Larrieu adaptent au cinéma "Le roman de Jim" (sortie le 14 août en salle), écrit par Pierric Bailly. C'est une histoire de paternité disputée, sans violence, c'est l'originalité du roman et du film.

fWotD Episode 2653: St Melangell's Church Welcome to Featured Wiki of the Day, your daily dose of knowledge from Wikipedia’s finest articles.The featured article for Friday, 9 August 2024 is St Melangell's Church.St Melangell's Church (Welsh: [meˈlaŋeɬ]) is a Grade I listed medieval building of the Church in Wales located in the former village of Pennant Melangell, in the Tanat Valley, Powys, Wales. The church was founded around the 8th century to commemorate the reputed grave of Melangell, a hermit and abbess who founded a convent and sanctuary in the area. The current church was built in the 12th century and the oldest documentation of it dates to the 13th century. The building was renovated several times, including major restoration work in the 19th and 20th centuries. In the 1980s the church was in danger of demolition, but under new leadership it was renovated and a cancer ministry was started. In 1958, and again between 1987 and 1994, the site was subject to major archaeological excavations, which uncovered information about prehistoric and medieval activity at Pennant Melangell, including evidence of Bronze Age burials. St Melangell's Church contains the reconstructed shrine to Melangell, considered the oldest surviving Romanesque shrine in northern Europe. The shrine dates to the 12th century, and was a major centre of cult activity in Wales until the Reformation. It was dismantled at some point, probably in the early modern era, and reconstructed in 1958 out of fragments found in and around the church. In 1989 the shrine was dismantled again and restored in 1991 according to newer scholarship. Pennant Melangell has continued to attract pilgrims of various backgrounds and motivations into the 21st century.The church is built of several types of stone and has a single nave and a square tower. On the east end is an apse, known as the cell-y-bedd, which contains Melangell's traditional grave. The interior of the church holds historically valuable objects including a 15th-century rood screen depicting Melangell's legend, two 14th-century effigies, paintings, and liturgical fittings. The churchyard contains thousands of graves—the majority unmarked—and several yew trees.This recording reflects the Wikipedia text as of 01:06 UTC on Friday, 9 August 2024.For the full current version of the article, see St Melangell's Church on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm standard Joey.

Dans son roman « La Tendresse du crawl » (chez Grasset), l'autrice Colombe Schneck écrit « À 50 ans, j'ai découvert que j'avais un corps ». C'est en prenant des cours de crawl à la piscine, qu'elle découvre que la natation est à la fois féministe et littéraire ! « Prendre toute sa place dans l'eau, c'est revendiquer sa parole à l'air libre. » Colombe Schneck regrette que l'esprit de compétition ne se conjugue pas assez au féminin et voit dans les athlètes des figures romanesques. Avec Colombe Schneck, écrivaine et journaliste. 

Dans son roman « La Tendresse du crawl » (chez Grasset), l'autrice Colombe Schneck écrit « À 50 ans, j'ai découvert que j'avais un corps ». C'est en prenant des cours de crawl à la piscine, qu'elle découvre que la natation est à la fois féministe et littéraire ! « Prendre toute sa place dans l'eau, c'est revendiquer sa parole à l'air libre. » Colombe Schneck regrette que l'esprit de compétition ne se conjugue pas assez au féminin et voit dans les athlètes des figures romanesques. Avec Colombe Schneck, écrivaine et journaliste. 

durée : 02:00:07 - Les Matins d'été - par : Quentin Lafay - .

durée : 00:36:51 - L'Invité(e) des Matins d'été - par : Quentin Lafay - Deux siècles après sa parution, "Le Comte de Monte-Cristo" est à nouveau adapté à l'écran. Le film cumule déjà plus de 3 millions d'entrées, propulsant la vente du roman d'Alexandre Dumas. En creux de ce succès se logerait-il le désir de plus en plus prégnant d'un divertissement romanesque ? - invités : Matthieu Delaporte Réalisateur, Scénariste; Blanche Cerquiglini Responsable éditoriale des collections Folio classique et Folio théâtre aux Éditions Gallimard; Tiphaine Samoyault Essayiste, traductrice et critique littéraire, directrice d'études à l'EHESS Directrice du Centre de recherches sur les arts et le langage - CRAL.

Aujourd'hui, Flora Ghebali, Didier Giraud et Charles Consigny débattent de l'actualité autour d'Alain Marschall et Olivier Truchot.

Welcome back to our podcast, where Tommaso and I, Kimberly, celebrate Italy's rich history, culture, cuisine, architecture, and art. In our latest episode, we took a deep dive into the enchanting region of South Tyrol. We were thrilled to share some of the glowing listener reviews that perfectly capture the simple pleasures of Italy. Our mission is to inspire and educate you on planning your next Italian adventure, fueled by our passion for this incredible country. Recently, Tommaso and I embarked on a delightful journey to Trento, a charming city nestled in the Trentino Aldo Adige region. Our adventure began with a picturesque drive from Lago di Garda, and to our delight, we found free parking upon arrival. Trento's unique blend of Venetian and Austro-Hungarian architectural influences left us in awe. One of the highlights of our visit was the Piazza del Duomo, where we marveled at the impressive Romanesque and Gothic styles. We also loved the vibrant atmosphere of the student-filled piazza near where we enjoyed a delightful lunch at a local trattoria. Our exploration didn't stop there. We visited the historical Castello Buonconsiglio, a fortress with sections dating back to different periods. Strolling through Trento's Centro Historico, we couldn't help but appreciate the city's clean, cohesive design and distinctive reddish stone tiles. As our visit to Trento concluded, we made plans to see come back to Trento and strongly recommended that you explore lesser-known destinations like Trento instead of the usual tourist hotspots. Don't forget to subscribe to our podcast for more travel tips and updates. We can't wait to share our next Italian adventure with you! Follow us on Social Media Instagram Facebook 

Dans notre émission cette semaine, nous retraçons la vie d'Alexandre Dumas au cours de laquelle l'écrivain français a connu beaucoup de succès, mais aussi de nombreux déboires. Petit-fils d'esclave, il a dû faire face au racisme et a été accusé de ne pas avoir écrit ses romans. On lui a notamment reproché d'avoir écrit ses romans en collaboration avec Auguste Maquet, un jeune historien. Ce n'est qu'en 2002, 132 ans après sa mort, qu'Alexandre Dumas est entré au Panthéon. Nous vous racontons comment celui qui a écrit “Les Trois Mousquetaires” ou encore “Le Comte de Monte-Cristo" a bravé tous les obstacles pour devenir l'un des plus grands écrivains français et l'un des plus célèbres.  

This week, we are discussing Avalon Waterways on the Douro River with Hillary from Avalon Waterways. Welcome to this week's Cruise Chat! If you find value in this video and wish to help this channel, you can donate using this link: https://bit.ly/KathleenPenner. . Video Requests: info@PlentyofSunshineTravel.com. . I loved meeting with Hillary and learning more about the Avalon experience on the Douro River. . Why Choose Avalon Waterways? Avalon Waterways has the youngest fleet of ships on the Rivers of Europe. As Hilary said, "We are the youngest Fleet in the water. We don't refurbish our ships; we build new ships." . Avalon Waterways currently has 17 ships. . Avalon has a brand-new ship ready to hit the river! She is called Avalon Alegria. She is smaller than other ships, with only 51 staterooms and 102 maximum guests onboard. This is almost half the amount of their other ships. . With a Guest-to-crew ratio of 1 staff member to 3 guests, you know you will receive the personalized attention that Avalon offers. . One of the itineraries that they offer on the Douro River is: Vida Portugal Vineyards & Villages along the Douro, with 3 nights in Lisbon. This is 11 days. • With Avalon, excursions are also included in the land portion of your stay. Since Avalon is part of the Globus family of Brands, they have connections and relationships with the area, so you will love your extended stay. . All of the transfers are included. Day 1 - Welcome to Lisbon - 5-star accommodation will await you. Day 2 - Explore Lisbon and see Bellum Tower and Monument to the Discoveries. If you choose, you have an optional excursion this evening with a traditional Portuguese dinner at a live concert. Day 3: Another classical excursion awaits you. This time, you will visit the magnificent palace of Mafra, a traditional UNESCO World Heritage site. You w the Royal Palace by a Basilica and convent. Monument of Baroque and the architecture of that Day 4—This is where you're going to ship today. Your transfer is fully included. You will stop along the way for a Lisbon, Coimbra, and Porto tour with a local guide. You will also visit the oldest university in Portugal. Day 5 - Today, you are in Entre Os Rios with an excursion to Braga and Guimaraes. Choice of guided sightseeing in Braga and Guimarães or a Romanesque tour. Day 6 - You are in Peso Da Regua, with a choice of guided sightseeing in Peso da Regua and Lamego or a farm visit with a tasting treat of their Portuguese food. Day 7 - In Pocinho. Today, you can choose guided sightseeing in Freixo de Numão or guided sightseeing in Vila Nova de Foz Côa. Day 8 - In Barca D'alva, guided sightseeing in Salamanca or guided sightseeing in Freixo de Espada à Cinta. Day 9 - Caldas De Argegod You have an excursion to Amarante, where you can learn in a tile painting workshop and get guided sightseeing in Amarante. Day 10 - we are back in Porto, and you will enjoy a Porto experience with guided sightseeing. Day 11—You are headed back home today—unless, of course, you would like to extend your stay. . Avalon is all about Choice. You can choose to do many excursions and split up with your family to enjoy your excursions and share your stories with your travel companions. . If you want to learn more about Avalon Waterways or any of the other cruise lines I have met with, please email me at info@PlentyofSunshineTravel.com. . You can also fill out this simple form: https://bit.ly/3mxFUNd, and I will get back to you. . Subscribe to our channel and hit the notification bell to ensure you catch all upcoming cruise videos. . If you want to see the images in this week's episode, click HERE to visit our YouTube Channel. . #AvalonWaterways #avalon #douro #douroriver #dourovalley #CruiseSpecialist #CruiseGuru #travelagenttips #luxurytraveladvisor #LuxuryCruiseTravelAgent --- Send in a voice message: https://podcasters.spotify.com/pod/show/cruisingthewavespodcast/message

We're so close to the baton pass! Except we're passing the baton to ourselves instead of to anyone else. Maybe that's what they should do, just get one really fast runner so they don't even need to bother about the baton. If you win the baton running championship with that advice please shout me out. Anyway this episode Manny lays out all the Blue Wind actors as we re-litigate past Diddy Kong arguments, as well as discussing Robotech's new and revolutionary ways to look down at the audience. We would never look down at you though, audience! Well, I might because I'm sort of tall but not figuratively at any rate. I hope you're excited for the Macross-finale soon too!!!!Standing Ovation: https://i.imgur.com/hn1xB1q.pngOur email is: doyourememberrobotech@gmail.com Hosted on Acast. See acast.com/privacy for more information.

Main Theme: Explore the enchanting region of Lake Garda through our immersive travel experiences, historical insights, appreciation of cultural richness, and our personal anecdotes. Episode Highlights: Road Trips Around Lake Garda: Activities include sailing, biking, hiking, and camping. Emphasis on discovering hidden gems and local adventures. Camping at Lake Garda: Thera are a multitude of local campsites. Architectural and Scenic Marvels: Visit to a Romanesque church offering breathtaking views of Lake Garda. In-depth look at the striking architectural features of the church. Journey to Limone Sul Garda: Challenges of finding parking in a popular tourist spot. Observations on the village's lemon-themed branding and its charm. Admiration of the beautiful waterfront and a humorous encounter with a soccer field near an old convent. Listener Engagement: We encourage listener feedback and participation through reviews and social media interactions. We appreciate audience engagement, fostering a community of Italy enthusiasts. Future Explorations: Teasers about upcoming adventures around Lago di Garda, promising more hidden spots and unique experiences. Conclusion: Join us as we weave through Italy's picturesque landscapes, sharing stories that capture the heart of Italian culture, history, and everyday wonders. Whether you're planning your own trip or simply love the idea of Italy, this podcast promises to transport you to the enchanting shores of Lake Garda. Ciao! Ciao!

Giovanni Battista Rogeri has often been confused with other makers such as the Rugeri family, because of his name, and Giovanni Paolo Maggini, because of his working style. Trained in the famous workshop of Nicolo Amati in Cremona, Rogeri set out to make a name for himself in Brescia creating a Cremonese Brescian fusion. Learn all about this often mistaken maker in this first episode on the life of Giovanni Battista Rogeri.   This is the story of Giovanni Battista Rogeri the Cremonese trained violin maker who made it big in Brescia and has since been confused with other makers throughout history. Florian Leonhard talks about the influences Rogeri pulled on and exactly why his instruments have for so long been attributed to Giovanni Paolo Maggini.   Transcript    Far, far away in a place called Silene, in what is now modern day Libya, there was a town that was plagued by an evil venom spewing dragon, who skulked in the nearby lake, wreaking havoc on the local population. To prevent this dragon from inflicting its wrath upon the people of Silene, the leaders of the town offered the beast two sheep every day in an attempt to ward off its reptilian mood swings. But when this was not enough, they started feeding the scaly creature a sheep and a man. Finally, they would offer the children and the youths of the town to the insatiable beast, the unlucky victims being chosen by lottery.  As you can imagine, this was not a long term sustainable option. But then, one day, the dreaded lot fell to the king's daughter. The king was devastated and offered all his gold and silver, if only they would spare his beloved daughter.  The people refused, and so the next morning at dawn, the princess approached the dragon's lair by the lake, dressed as a bride to be sacrificed to the hungry animal.  It just so happened that a knight who went by the name of St George was passing by at that very moment and happened upon the lovely princess out for a morning stroll. Or so he thought. But when it was explained to him by the girl that she was in fact about to become someone else's breakfast and could he please move on and mind his own business he was outraged on her behalf and refused to leave her side.  Either she was slightly unhinged and shouldn't be swanning about lakes so early in the morning all by herself, or at least with only a sheep for protection, or she was in grave danger and definitely needed saving. No sooner had Saint George and the princess had this conversation than they were interrupted by a terrifying roar as the dragon burst forth from the water, heading straight towards the girl. Being the nimble little thing she was, the princess dodged the sharp claws.  As she was zigzagging away from danger, George stopped to make the sign of the cross and charged the gigantic lizard, thrusting Ascalon, that was the name of his sword, yep he named it, into the four legged menace and severely wounded the beast. George called to the princess to throw him her girdle, That's a belt type thing, and put it around the dragon's neck. From then on, wherever the young lady walked, the dragon followed like a meek beast.  Back to the city of Silene went George, the princess, and the dragon, where the animal proceeded to terrify the people. George offered to kill the dragon if they consented to becoming Christian. George is sounding a little bit pushy, I know. But the people readily agreed and 15, 000 men were baptized, including the king. St. George killed the dragon, slicing off its head with his trusty sword, Ascalon, and it was carried out of the city on four ox carts. The king built a church to the Blessed Virgin Mary and St. George on the site where the dragon was slain and a spring flowed from its altar with water that it is said would cure all diseases.  This is the story of Saint George and the Princess. It is a classic story of good versus evil, and of disease healing miracles that would have spoken to the inhabitants of 17th century Brescia. The scene depicting Saint George and the Princess is painted in stunning artwork by Antonio Cicognata and was mounted on the wall of the Church of San Giorgio.  Giovanni Battista Rogeri gazed up at this painting as family and friends, mainly of his bride Laura Testini, crowded into the church of San Giorgio for his wedding. Giovanni was 22 and his soon to be wife, 21, as they spoke their vows in the new city he called home. He hoped to make his career in this town making instruments for the art loving Brescians, evidence of which could be seen in the wonderful artworks in such places as this small church. Rogeri would live for the next 20 years in the parish of San Giorgio. The very same George astride an impressive white stallion in shining armour, his head surrounded by a golden halo. He is spearing the dragon whilst the princess calmly watches on clad in jewels with long red flowing robes in the latest fashion. In the background is the city of Brescia itself, reminding the viewer to remember that here in their city they too must fight evil and pray for healing from disease ever present in the lives of the 17th century Brescians. Hello and welcome to the Violin Chronicles, a podcast in which I, Linda Lespets, will attempt to bring to life the story surrounding famous, infamous, or just not very well known, but interesting violin makers of history.  I'm a violin maker and restorer. I graduated from the French Violin Making School some years ago now, and I currently live and work in Sydney with my husband Antoine, who is also a violin maker and graduate of the French school, l'Ecole Nationale de Luthierie in Mircourt. As well as being a luthier, I've always been intrigued with the history of instruments I work with, and in particular, the lives of those who made them. So often when we look back at history, I know that I have a tendency to look at just one aspect, but here my aim is to join up the puzzle pieces and have a look at an altogether fascinating picture. So join me as I wade through tales not only of fame, famine, and war, but also of love. Artistic genius. Revolutionary craftsmanship, determination, cunning and bravery, that all have their part to play in the history of the violin.  Welcome to this first episode on the life of Giovanni Battista Rogeri. After having spent the last few episodes looking at the life of the Ruggeri family, we will now dive into the life of that guy who almost has the same name, but whose work and contribution to violin making, you will see, is very different. And we will also look at just why, for so many years, his work has been attributed erroneously to another Brescian maker. The year was 1642, and over the Atlantic, New York was called New Amsterdam. The Dutch and the English were having scuffles over who got what. Was it New England? New Netherlands? In England, things were definitely heating up, and in 1642, a civil war was in the process of breaking out. On one side there were the parliamentarians, including Oliver Cromwell, and on the other side were the Royalists, who were the supporters of King Charles I. This war would rage on for the next 20 years, and not that anyone in England at this time really cared, but the same year that this war broke out, a baby called Giovanni Battista Rogeri was born in Bologna, perhaps, and for the next 20 years he grew up in this city ruled by the Popes of Italy. He too would witness firsthand wars that swept through his hometown. He would avoid dying of the dreaded plague, sidestep any suspicion by the Catholic church in this enthusiastic time of counter reformation by being decidedly non Protestant. And from an early age, he would have been bathed in the works of the Renaissance and now entering churches being constructed in the Baroque style. Bologna was a city flourishing in the arts, music and culture, with one of the oldest universities in the country.  But for the young Giovanni Battista Rogeri, to learn the trade of lutai, or violin maker, the place he needed to be was, in fact, 155. 9 km northwest of where he was right now. And if he took the A1, well, today it's called the A1, and it's an ancient Roman road so I'm assuming it's the same one, he could walk it in a few days. Destination Cremona, and more precisely, the workshop of Niccolo Amati. An instrument maker of such renown, it is said that his grandfather, Andrea Amati, made some of the first violins and had royal orders from the French king himself.  To be the apprentice of such a man was a grand thing indeed. So we are in the mid 1600s  and people are embracing the Baroque aesthetic along with supercharged architecture and paintings full of movement, colour and expression. There is fashion, and how the wealthy clients who would buy instruments in Cremona dressed was also influenced by this movement. Emily Brayshaw. You've got these ideas of exaggeration of forms and you can exaggerate the human body with, you know, things like high heels and wigs and ribbons and laces. And you've got a little bit of gender bending happening, men wearing makeup and styles in the courts. You know, you've got dress and accessories challenging the concept of what's natural, how art can compete with that and even triumph over the natural perhaps. You've got gloves trimmed with lace as well. Again, we've got a lot of lace coming through so cravats beauty spot as well coming through. You've got the powder face, the, the wig. Yeah. The makeup, the high heels. Okay. That's now. I actually found a lovely source, an Italian tailor from Bergamo during the Baroque era. The Italians like really had incredibly little tailors and tailoring techniques. And during this sort of Baroque era. He grumbles that since the French came to Italy not to cut but to ruin cloth in order to make fashionable clothes, it's neither possible to do our work well nor are our good rules respected anymore. We have completely lost the right to practice our craft. Nowadays though who disgracefully ruin our art and practice it worse than us are considered the most valuable and fashionable tailors.  So we've got like this real sort of shift. You know, from Italian tailoring to sort of French and English tailoring as well. And they're not happy about it. No, they are not happy about it. And this idea that I was talking about before, we've got a lovely quote from an Italian fashion commentator sort of around the mid 17th century. His name's Lam Pugnani, and he mentions the two main fashions. meaning French and Spanish, the two powers that were ruling the Italian peninsula and gradually building their global colonial empires. And he says, “the two main fashions that we have just recorded when we mentioned Spanish and French fashion, enable me to notice strangeness, if not a madness residing in Italian brains, that without any reason to fall in love so greatly Or better, naturalize themselves with one of these two nations and forget that they are Italian. I often hear of ladies who come from France, where the beauty spot is in use not only for women, but also for men, especially young ones, so much so that their faces often appear with a strange fiction darkened and disturbed, not by beauty spots, but rather by big and ridiculous ones, or so it seems somebody who is not used to watching similar mode art”. So, you know, we've got people commentating and grumbling about these influences of Spain and France on Italian fashion and what it means to be Italian. When we sort of think about working people, like there's this trope in movie costuming of like peasant brown,  you know, and sort of ordinary, you know, people, perhaps ordinary workers, you know, they weren't necessarily dressed.  In brown, there are so many different shades of blue. You know, you get these really lovely palettes of like blues, and shades of blue, and yellows, and burgundies, and reds, as well as of course browns, and creams, and these sorts of palettes. So yeah, they're quite lovely. And I'm imagining even if you didn't have a lot of money, there's, I know there's a lot of flowers and roots and barks that you can, you can dye yourself. Yeah, definitely. And people did, people did. I can imagine if I was living back there and we, you know, we're like, Oh, I just, I want this blue skirt. And you'd go out and you'd get the blue skirt. The flowers you needed and yeah, definitely. And people would, or, you know, you can sort of, you know, like beetroot dyes and things like that. I mean, and it would fade, but then you can just like, you know, quickly dye it again. Yeah, or you do all sorts of things, you know, and really sort of inject colour and, people were also, you know, people were clean. To, you know, people did the best they could  keep themselves clean, keep their homes clean. You know, we were talking about boiling linens to keep things fresh and get rid of things like fleas and lice. And people also used fur a lot in fashion. And you'd often like, you know, of course you'd get the wealthy people using the high end furs, but sometimes people would, you know, use cat fur in Holland, for example, people would trim their fur. Their garments and lined their garments with cat fur.  Why not? Because, you know, that's sort of what they could afford.  It was there. Yeah, people also would wear numerous layers of clothing as well because the heating wasn't always so great. Yeah. You know, at certain times of the year as well. So the more layers you had, the better. The more, the more warm and snug you could be. As do we in Sydney. Indeed.  Indeed.  Canadians complain of the biting cold here. I know. And it's like, dude, you've got to lay about us. It's a humid cold. It's awful. It's horrible. It just goes through everything. Anyway. It's awful. Yeah. So at the age of 19, Giovanni Battista Rogeri finds himself living in the lively and somewhat crowded household of Niccolo Amati. The master is in his early 60s and Giovanni Battista Rogeri also finds himself in the workshop alongside Niccolo Amati's son Girolamo II Amati, who is about 13 or 14 at this time.  Cremona is a busy place, a city bursting with artisans and merchants. The Amati Workshop is definitely the place to be to learn the craft, but it soon becomes clear as Giovanni Battista Rogeri looks around himself in the streets that, thanks to Nicolo Amati, Cremona does indeed have many violin makers, and although he has had a good few years in the Amati Workshop, Learning and taking the young Girolamo II Amati the second under his wing more and more as his father is occupied with other matters. He feels that his best chances of making a go of it would be better if he moved on and left Cremona and her violin makers. There was Girolamo II Amati who would take over his father's business. There were the Guarneri's around the corner. There was that very ambitious Antonio Stradivari who was definitely going to make a name for himself. And then there were the Rugeri family, Francesco Rugeri and Vincenzo Rugeri whose name was so familiar to his, people were often asking if they were related.  No, it was time to move on, and he knew the place he was headed. Emily Brayshaw.  So, you've also got, like, a lot of artisans moving to Brescia as well, following the Venetian ban on foreign Fustian sold in the territory. So Fustian is, like, a blend of various things. Stiff cotton that's used in padding. So if you sort of think of, for example someone like Henry VIII, right? I can't guarantee that his shoulder pads back in the Renaissance were from Venetian Fustian, but they are sort of topped up and lined with this really stiff Fustian to give like these really big sort of, Broad shoulders. That's how stiff this is. So, Venice is banning foreign fustians, which means that Cremona can't be sold in these retail outlets. So, Ah, so, and was that sort of That's fabric, but did that mirror the economy that Brescia was doing better than Cremona at this point? Do you, do you think? Because of that? Well, people go where the work is. Yeah. Cause it's interesting because you've got Francesco Ruggeri, this family that lives in Cremona. Yeah. And then you have about 12 to 20 years later, you have another maker, Giovanni Battista Rogeri.  Yeah. He is apprenticed to Niccolo Amati. So he learns in Cremona. And then he's in this city full of violin makers, maybe, and there's this economic downturn, and so it was probably a very wise decision. He's like, look, I'm going to Brescia, and he goes to Brescia. He would have definitely been part of this movement of skilled workers and artisans to Brescia at that time, sort of what happening as well. So, you know, there's all sorts of heavy tolls on movements of goods and things like that. And essentially it collapses. And they were, and they were heavily taxed as well. Yeah, definitely. Definitely. It was the fabulous city of Brescia. He had heard stories of the city's wealth, art, music and culture, famous for its musicians and instrument makers. But the plague of 1630 had wiped out almost all the Luthiers and if ever there was a good time and place to set up his workshop, it was then and there. So bidding farewell to the young Girolamo Amati, the older Nicolò  Amati and his household, where he had been living for the past few years. The young artisan set out to make a mark in Brescia, a city waiting for a new maker, and this time with the Cremonese touch. Almost halfway between the old cathedral and the castle of Brescia, you will find the small yet lovely Romanesque church of San Giorgio. Amidst paintings and frescoes of Christ, the Virgin and the Saints, there stands a solemn yet nervous young couple, both in their early twenties. Beneath the domed ceiling of the church, the seven angels of the Apocalypse gaze down upon them, a constant reminder that life is fragile, and that plague, famine and war are ever present reminders of their mortality. But today is a happy one. The young Giovanni Battista Rogeri is marrying Laura Testini.  And so it was that Giovanni Battista Rogeri moved to Brescia into the artisanal district and finds himself with a young wife, Laura Testini. She is the daughter of a successful leather worker and the couple most probably lived with Laura's family. Her father owned a house with eight rooms and two workshops. This would have been the perfect setup for the young Giovanni to start his own workshop and get down to business making instruments for the people of Brescia. He could show off his skills acquired in Cremona, and that is just what he did. Since the death of Maggini, there had not been any major instrument making workshops in Brescia. Florian Leonhard  Here I talk to Florian Leonhard about Giovanni Battista Rogeri's move to Brescia and his style that would soon be influenced by not only his Cremonese training, but the Brescian makers such as Giovanni Paolo Maggini I mean, I would say in 1732. The Brescian violin making or violin making was dead for a bit,  so until the arrival of Giovanni Battista Rogeri, who came with a completely harmonised idea,  into town and then adopted  features of  Giovanni Paolo Maggini and Gasparo da Salo. I cannot say who, probably some Giovanni Paolo Maggini violins that would have been more in numbers available to him, have influenced his design of creating an arching. It's interesting that he instantly picked up on that arching  because Giovanni Battista Rogeri always much fuller arched. The arching rises much earlier from the purfling up. Right. So he came from the Cremonese tradition, but he adopted the, like, the Brescian arching idea. He, he came from Niccolo Amati and has learned all the finesse of construction, fine making, discipline, and also series production. He had an inside mould, and he had the linings, and he had the, all the blocks, including top and bottom block.  And he nailed in the neck, so he did a complete package of Cremonese violin making and brought that into Brescia, but blended it in certain stylistics and sometimes even in copies with the Brescian style. For a long time, we have had Before dendrochronology was established, the Giovanni Paolo Magginis were going around and they were actually Giovanni Battista Rogeris. Brescia at this time was still a centre flourishing in the arts and despite the devastation of the plague almost 30 years ago, it was an important city in Lombardy and was in the process of undergoing much urban development and expansion.  When Giovanni Rogeri arrived in the city, There were efforts to improve infrastructure, including the construction of public buildings, fortifications and roads. The rich religious life of the city was evident, and continued to be a centre of religious devotion at this time, with the construction and renovation of churches in the new Baroque style.  The elaborate and ornate designs were not only reserved for churches, but any new important building projects underway in the city at this time. If you had yourself the palace in the Mula, you were definitely renovating in the Baroque style. And part of this style would also be to have a collection of lovely instruments to lend to musicians who would come and play in your fancy new pad. Strolling down the colourful streets lined with buildings covered in painted motifs, people were also making a statement in their choice of clothing. Another thing that the very wealthy women were wearing are these shoes called Chopines, which are like two foot tall. And so you've got like this really exaggerated proportions as well. Very tall. I mean. Very tall, very wide. So taking up a lot of space. I'm trying to think of the door, the doorways that would have to accommodate you. Yes. How do you fit through the door? So a lot of the time women would have to stoop. You would need to be escorted by either servants.  And then you'd just stand around. I did find some discussions of fashion in the time as well.  Commentators saying, well, you know, what do we do in northern France? We either, in northern Italy, sorry, we either dress like the French, we dress like the Spanish, why aren't we dressing like Italians? And kind of these ideas of linking national identity through the expression of dress in fashion. So, we're having this But did you want to, was it fashionable to be to look like the French court or the, to look like the Spanish court. Well, yeah, it was, it was fashionable. And this is part of what people are commenting about as well. It's like, why are we bowing to France? Why are we bowing to Italy? Sorry. Why are we bowing to Spain? Why don't we have our own national Italian identity? And we do see like little variations in dress regionally as well. You know, people don't always. Dress exactly how the aristocracy are dressing. You'll have your own little twists, you'll have your own little trimmings, you'll have your own little ways and styles. And there are theories in dress about trickle down, you know, like people are trying to emulate the aristocracy, but they're not always. Trying to do that. Well, yeah, it's not practical if you're living, you know, if you're and you financially you can't either like some of these Outfits that we're talking about, you know with one of these hugh like the Garde in Fanta worn by Marie Theresa that outfit alone would have cost in today's money like more than a million dollars  You can't copy these styles of dress, right? So what you've got to do is, you know, make adjustments. And also like a lot of women, like you, these huge fashion spectacles worn at court. They're not practical for working women either. So we see adaptations of them. So women might have a pared down silhouette and wear like a bum roll underneath their skirts and petticoats and over the top of the stays. And that sort of gives you a little nod to these wider silhouettes, but you can still move, you can still get your work done, you can still, you know, do things like that. So that's sort of what's happening there. Okay, so now we find a young Giovanni Battista Rogeri. He has married a local girl and set up his workshop. Business will be good for this maker, and no doubt thanks to the latest musical craze to sweep the country. I'm talking about opera.  In the last episodes on Francesco Ruggeri, I spoke to Stephen Mould, the composer. at the Sydney Conservatorium about the beginnings of opera and the furore in which it swept across Europe. And if you will remember back to the episodes on Gasparo Da Salo at the beginning of the Violin Chronicles, we spoke about how Brescia was part of the Venetian state.  This is still the case now with Giovanni Battista Rogeri and this means that the close relationship with Venice is a good thing for his business.  Venice equals opera and opera means orchestras and where orchestras are you have musicians and musicians have to have an instrument really, don't they? Here is Stephen Mould explaining the thing that is opera and why it was so important to the music industry at the time and instrument makers such as our very own Giovanni Battista Rogeri. Venice as a place was a kind of Gesamtkunstwerk.  Everything was there, and it was a very, it was a very modern type of city, a trading city, and it had a huge emerging, or more than emerging, middle class. People from the middle class like entertainment of all sorts, and in Venice they were particularly interested in rather salacious entertainments, which opera absolutely became. So the great thing of this period was the rise of the castrato.  Which they, which, I mean, it was, the idea of it is perverse and it was, and they loved it. And it was to see this, this person that was neither man nor, you know, was in a way sexless on the stage singing  and, and often singing far more far more virtuosically than a lot of women, that there was this, there was this strange figure. And that was endlessly fascinating. They were the pop stars of their time. And so people would go to the opera just to hear Farinelli or whoever it was to sing really the way. So this is the rise of public opera. As opposed to the other version. Well, Orfeo, for example, took place in the court at Mantua, probably in the, in the room of a, of a palace or a castle, which wouldn't have been that big, but would have been sort of specially set up for those performances. If I can give you an idea of how. Opera might have risen as it were, or been birthed in Venice. Let's say you've got a feast day, you know, a celebratory weekend or few days. You're in the piazza outside San Marco. It's full of people and they're buying things, they're selling things, they're drinking, they're eating, they're having a good time. And all of a sudden this troupe of strolling players comes into the piazza and they start to put on a show, which is probably a kind of comedia dell'arte spoken drama. But the thing is that often those types of traveling players can also sing a bit and somebody can usually play a lute or some instrument. So they start improvising. Probably folk songs. Yeah. And including that you, so you've kind of already there got a little play happening outside with music. It's sort of like a group of buskers in Martin place. It could be very hot. I mean, I've got a picture somewhere of this. They put a kind of canvas awning with four people at either corner, holding up the canvas awning so that there was some sort of shade for the players. Yeah. That's not what you get in a kid's playground these days. You've almost got the sense. Of the space of a stage, if you then knock on the door of one of the palazzi in, in Venice and say to, to the, the local brew of the, of the aristocracy, look, I don't suppose we could borrow one of your rooms, you know, in your, in your lovely palazzo to, to put on a, a, a show.  Yeah, sure. And maybe charged, maybe didn't, you know, and, and so they, the, the very first, it was the San Cassiano, I think it was the theatre, the theatre, this, this room in a, in a palace became a theatre. People went in an impresario would often commission somebody to write the libretto, might write it himself. Commissioner, composer, and they put up some kind of a stage, public came in paid, so it's paying to come and see opera.  Look, it's, it's not so different to what had been going on in England in the Globe Theatre. And also the, the similar thing to Shakespeare's time, it was this sort of mixing up of the classes, so everything was kind of mixed together.  And that's, that's why you get different musical genres mixed together. For example, an early something like Papaya by Monteverdi, we've just done it, and from what, from what I can gather from the vocal lines, some of the comic roles were probably these street players,  who just had a limited vocal range, but  could do character roles very well, play old women, play old men, play whatever, you know, caricature type roles. Other people were Probably trained singers. Some of them were probably out of Monteverdi's chorus in San Marco, and on the, on when they weren't singing in church, they were over playing in the opera, living this kind of double life.  And That's how  opera  started to take off. Yeah, so like you were saying, there are different levels. So you had these classical Greek themes, which would be more like, you're an educated person going, yes, yes, I'm seeing this classical Greek play, but then you're someone who'd never heard of Greek music. The classics. They were there for the, you know, the lively entertainment and the sweet performers. Yes. So the, the, the Commedia dell'arte had, had all these traditional folk tales. Then you've got all of the, all of the ancient myths and, and, and so forth.  Papaya was particularly notable because it was the first opera that was a historical opera. So it wasn't based on any ancient myths or anything. It was based on the life of Nero and Papaya. And so they were real life a few hundred years before, but they were real. It was a real historical situation that was being enacted on the stage.  And it was a craze. That's the thing to remember is. You know, these days people have to get dressed up and they have to figure out how they get inside the opera house and they're not sure whether to clap or not and all of this sort of stuff and there's all these conventions surrounding it. That wasn't what it was about. It was the fact that the public were absolutely thirsty for this kind of entertainment.  Yeah. And I was seeing the first, so the first opera house was made in in about 1637, I think it was. And then by the end of Monteverdi's lifetime, they said there were 19 opera houses in Venice. It was, like you were saying, a craze that just really took off. They had a few extra ones because they kept burning down. That's why one of them, the one that, that is, still exists today is called La Fenice. It keeps burning down as well, but rising from the ashes. Oh, wow. Like the, yeah, with the lighting and stuff, I imagine it's So, yeah, because they had candles and they had, you know, Yeah, it must have been a huge fire hazard. Huge fire hazard, and all the set pieces were made out of wood or fabric and all of that. Opera houses burning down is another big theme.  Oh yeah, it's a whole thing in itself, yeah. So then you've got These opera troupes, which are maybe a little, something a little bit above these commedia dell'arte strolling players. So, you've got Italy at that time. Venice was something else. Venice wasn't really like the rest of Italy. You've got this country which is largely agrarian, and you've got this country where people are wanting to travel in order to have experiences or to trade to, to make money and so forth. And so, first of all if an opera was successful, it might be taken down to Rome or to Naples for people to hear it. You would get these operas happening, happening in different versions. And then of course, there was this idea that you could travel further through Europe. And I, I think I have on occasion, laughingly. a couple of years ago said that it was like the, the latest pandemic, you know, it was, but it was this craze that caught on and everybody wanted to experience. Yeah. So you didn't, you didn't have to live in Venice to see the opera. They, they moved around. It was, it was touring. Probably more than we think. That, that, that whole period, like a lot of these operas were basically unknown for about 400 years. It's only, the last century or so that people have been gradually trying to unearth under which circumstances the pieces were performed.  And we're still learning a lot, but the sense is that there was this sort of network of performers and performance that occurred.  And one of the things that Monteverdi did, which was, which was different as well, is that before you would have maybe one or two musicians accompanying, and he came and he went, I'm taking them all. And he created sort of, sort of the first kind of orchestras, like  lots of different instruments. They were the prototypes of, of orchestras. And Look, the bad news for your, the violin side of your project, there was certainly violins in it. It was basically a string contingent. That was the main part of the orchestra. There may have been a couple of trumpets, may have been a couple of oboe like instruments. I would have thought that for Venice, they would have had much more exotic instruments.  But the, the, the fact is at this time with the public opera, what became very popular were all of the stage elements. And so you have operas that have got storms or floods or fires. They simulated fires. A huge amount of effort went into painting these very elaborate sets and using, I mean, earlier Leonardo da Vinci had been experimenting with a lot of how you create the effect of a storm or an earthquake or a fire or a flood. There was a whole group of experts who did this kind of stuff. For the people at the time, it probably looked like, you know, going to the, the, the first big movie, you know, when movies first came out in the 20s, when the talkies came out and seeing all of these effects and creating the effects. When we look at those films today, we often think, well, that's been updated, you know, it's out of date, but they found them very, very, very compelling. What I'm saying is the money tended to go on the look of the thing on the stage and the orchestra, the sound of the orchestras from what we can gather was a little more monochrome. Of course, the other element of the orchestra is the continuo section. So you've got the so called orchestra, which plays during the aria like parts of the opera, the set musical numbers. And you've got the continuo, which is largely for the rest of the team. And you would have had a theorbo, you would have had maybe a cello, a couple of keyboard instruments, lute. It basically, it was a very flexible, what's available kind of. Yeah, so there was they would use violines, which was the ancestor of the double bass. So a three stringed  one and violins as well. And that, and what else I find interesting is with the music, they would just, they would give them for these bass instruments, just the chords and they would improvise sort of on those. Chords. So every time it was a little bit different, they were following a Yes. Improvisation. Yeah. So it was kind of original. You could go back again and again. It wasn't exactly the same. And look, that is the problem with historical recreation. And that is that if you go on IMSLP, you can actually download the earliest manuscript that we have of Papaya.  And what you've got is less than chords, you've got a baseline. Just a simple bass line,  a little bit of figuration to indicate some of the chords, and you've got a vocal line. That's all we have. We don't actually know, we can surmise a whole lot of things, but we don't actually know anything else about how it was performed. I imagine all the bass instruments were given that bass line, and like, Do what you want with that. So yeah, it would, and it would have really varied depending on musicians. Probably different players every night, depending on, you know,  look, if you go into 19th century orchestras, highly unreliable, huge incidents of drunkenness and, you know, different people coming and going because they had other gigs to do. Like this is 19th century Italian theatres at a point where, you know, It should have been, in any other country, it would have, Germany had much better organized you know, orchestral resources and the whole thing. So it had that kind of Italian spontaneity and improvised, the whole idea of opera was this thing that came out of improvisation. Singers also, especially the ones that did comic roles, would probably improvise texts, make them a bit saucier than the original if they wanted for a particular performance. All these things were, were open.  And this brings us to an end of this first episode on Giovanni Battista Rogeri.  We have seen the young life of this maker setting out to make his fortune in a neighbouring city, alive with culture and its close connections to Venice and the world of opera. I would like to thank my lovely guests Emily Brayshaw, Stephen Mould and Florian Leonhardt for joining me today.   ​ 

At the time of the posting of this podcast, we are in the afterglow of Easter in the Western Christian Tradition. For the next few episodes we will be exploring outstanding female figures from both the Biblical and extra Biblical tradition. For this episode, Sarah the Egyptian, a beloved figure for the Roma people of Southern France will be our focus. She is housed in the beautiful Romanesque church of Saint Marie de la Mer , in a town of the same name in the South of France. Bury Me Standing Book https://en.wikipedia.org/wiki/Bury_Me_Standing:_The_Gypsies_and_Their_Journey To make a one time donation of any amount please donate to https://www.paypal.com/paypalme/BlackMadonnaHeart Become a Patron for the channel at https://www.patreon.com/TheBlackMadonnaSpeaks To purchase Black Madonna Speaks extra content, please visit https://www.patreon.com/theblackmadonnaspeaks/shop #divinefeminine #sacredfeminine #virginmary #ourlady  #blackmadonna  #anthroposophy #spiritualjourney  #camino  #pilgrimage #mothermary #spirituality #gnosis #roma #provence #france #stmariedelamer #marymagdalen --- Support this podcast: https://podcasters.spotify.com/pod/show/stephanie-georgieff/support

The region is home to historic cities such as Florence, Siena, and Pisa, each boasting stunning architecture, art masterpieces, and a vibrant atmosphere. Florence, the birthplace of the Renaissance, houses renowned museums like the Uffizi Gallery and the Accademia, where Michelangelo's David stands as a symbol of artistic brilliance.Tuscany's culinary scene is a feast for the senses, featuring world-class wines like Chianti and Brunello di Montalcino, along with traditional dishes like ribollita, pappa al pomodoro, and the famous bistecca alla fiorentina.SienaSiena, Italy, is a charming medieval city renowned for its rich history, stunning architecture, and vibrant cultural scene. Nestled in the heart of Tuscany, Siena is famous for its well-preserved medieval streets and the iconic Piazza del Campo, one of Europe's most fabulous medieval squares.The city's medieval center is a UNESCO World Heritage Site, showcasing Gothic and Romanesque architecture that transports visitors back in time. Siena's most iconic landmark is the Duomo di Siena (Siena Cathedral), a magnificent example of Italian Gothic architecture adorned with intricate sculptures and beautiful frescoes.Siena is also renowned for the Palio, a historic horse race that takes place twice a year in the Piazza del Campo. The Palio is a centuries-old tradition that captivates locals and visitors alike, adding a touch of excitement to the city's cultural tapestry.Beyond its historical treasures, Siena offers a culinary experience that captures the essence of Tuscan cuisine. Visitors can savor local delicacies, including Pici pasta, ribollita soup, and the region's exceptional wines.With its timeless beauty and cultural richness, Siena stands as a testament to Italy's enduring charm and is a must-visit destination for those seeking a glimpse into the country's medieval past.San GimignanoSan Gimignano is a picturesque medieval town nestled in the heart of Tuscany, Italy. Known as the "Town of Fine Towers," its skyline is dominated by 14 well-preserved medieval towers, offering a unique and enchanting atmosphere. The town, a UNESCO World Heritage Site, is renowned for its medieval architecture, charming cobblestone streets, and rich history.Visitors to San Gimignano can explore the Piazza della Cisterna, a central square surrounded by medieval buildings and inviting cafes. The town is also home to remarkable landmarks, such as the Collegiate Church of Santa Maria Assunta, featuring stunning frescoes and art.Aside from its architectural wonders, San Gimignano is celebrated for its local produce, including the famous Vernaccia di San Gimignano wine. The surrounding vineyards and olive groves contribute to the region's gastronomic delights, making it a haven for food and wine enthusiasts.With its well-preserved medieval charm, breathtaking views of the Tuscan countryside, and delectable local offerings, San Gimignano is a must-visit destination for those seeking an authentic Italian experience.Pisa Pisa, a charming city in Tuscany, Italy, is renowned worldwide for its iconic Leaning Tower. Nestled on the banks of the Arno River, Pisa is not just a one-tower wonder; it boasts a rich history, stunning architecture, and a vibrant cultural scene.The Leaning Tower of Pisa, part of the Piazza dei Miracoli (Square of Miracles), is a masterpiece of medieval engineering. Its unintentional tilt has captivated visitors for centuries, making it one of the most recognizable landmarks on the planet.Beyond the tower, Pisa is a treasure trove of historical gems. The Pisa Cathedral, also located in the Square of Miracles, is a breathtaking example of Romanesque architecture adorned with intricate sculptures and artwork. The Baptistery, adjacent to the cathedral, is another architectural marvel that adds to the city's allure.Wandering through Pisa's narrow streets, you'll encounter charming cafes, lively markets, and centuries-old buildings. The city's university, founded in 1343, adds a youthful energy, making Pisa a dynamic blend of tradition and modernity.Pisa's cultural scene is vibrant, with museums showcasing art, history, and science. The Palazzo Blu, for instance, hosts rotating exhibitions, providing a glimpse into Italy's rich cultural heritage.Whether you're drawn to the Leaning Tower's quirkiness or the city's historical charm, Pisa offers a delightful escape into the heart of Italian culture and history.Whether exploring charming medieval villages, enjoying the serenity of the countryside, or indulging in the region's culinary delights, Tuscany offers a truly enchanting experience for every traveler. It's a destination that seamlessly combines history, art, and nature, making it a must-visit for those seeking a taste of authentic Italian beauty and culture.A Renaissance of Wonders: Exploring Florence, ItalyNestled in the heart of Tuscany, Florence is a city that breathes history, art, and culture at every cobblestone turn. Known as the birthplace of the Renaissance, Florence boasts a rich tapestry of architectural marvels, world-class art, and delectable cuisine. If you're planning a visit to this enchanting city, here's a Travel Brat-approved guide to help you make the most of your time.The Duomo and Brunelleschi's DomeNo visit to Florence is complete without marveling at the iconic Santa Maria del Fiore Cathedral or Il Duomo. Admire the intricate facade and climb to the top for breathtaking panoramic city views. Be sure to appreciate the genius of Filippo Brunelleschi's Dome, a masterpiece of Renaissance engineering. Don't forget to visit the baptistry and bell tower too!Uffizi GalleryHome to an unparalleled Renaissance art collection, the Uffizi Gallery is a treasure trove for art enthusiasts. Works by Michelangelo, Leonardo da Vinci, Botticelli, and Raphael adorn the walls. Some favorite works include Birth of Venus or Primavera Botticelli, Doni Tondo by Michelangelo, Annunciation, Adoration of the Maji, The Baptism of Christ, Davinci, Madonna del Cardellino, Saint John the Baptist in the Dessert Rafel, and Madona and Child by Filippo Lippi. Book your tickets in advance to skip the lines and allow ample time to explore this artistic haven. Galleria dell'AccademiaThe Galleria dell'Accademia is where you'll find one of the most celebrated sculptures in the world – Michelangelo's David. Witness the sculptor's mastery up close and explore other works by Michelangelo and other renowned artists. Here, you will also find four other unfinished works by Michelangelo.Ponte VecchioStroll across the Ponte Vecchio, Florence's oldest bridge spans the Arno River. Lined with charming shops, Ponte Vecchio is the perfect spot to shop for jewelry, art, and souvenirs. The bridge offers splendid views of the cityscape, especially during sunset.Palazzo VecchioPalazzo Vecchio is a medieval fortress turned town hall located in the heart of Florence's historic center. Admire the impressive frescoes, sculptures, and the opulent Salone dei Cinquecento, which showcases the city's political and artistic legacy. Boboli GardensEscape the hustle and bustle of the city with a visit to the Boboli Gardens, a stunning example of Italian Renaissance garden design. Wander through the landscaped greenery, fountains, and sculptures, enjoying a peaceful respite.Piazza della SignoriaThis historic square is an open-air museum, surrounded by iconic sculptures like the Fountain of Neptune and a copy of Michelangelo's David. Sit at one of the cafes, soak in the atmosphere, and witness the pulse of Florentine life.Florentine CuisineIndulge your taste buds in Florence's culinary delights. Savor local specialties such as ribollita (a hearty Tuscan soup), bistecca alla fiorentina (Florentine steak), and gelato from one of the city's renowned gelaterias. For a relaxed and delicious meal, try Bis Trot Tre Tavoli authentic casual, and for an upscale meal, try II Guscio.Santa Croce BasilicaVisit the final resting place of some of Italy's most illustrious figures, including Michelangelo, Galileo, and Machiavelli. The Basilica di Santa Croce is not only a place of worship but also a testament to Florence's cultural and intellectual heritage.Sunset at Piazzale MichelangeloWrap up your Florence adventure with a visit to Piazzale Michelangelo, a panoramic terrace offering unparalleled city views. As the sun sets over Florence, you will be treated to a magical sight that perfectly encapsulates the timeless beauty of this remarkable city.Medici Chapels The Medici Chapels, located in Florence, Italy, are a stunning testament to the wealth and cultural influence of the Medici family during the Renaissance. Commissioned by the powerful banking family, the chapels are part of the Basilica di San Lorenzo complex and serve as a final resting place for several members of the Medici clan. The New Sacristy, designed by Michelangelo, is a Renaissance art and architecture masterpiece. Its grandeur is characterized by intricately carved statues and elegant tombs, including those of Lorenzo the Magnificent and Giuliano de' Medici. The Chapel of the Princes, another notable section of the complex, was intended to be a grand mausoleum for the Medici rulers.Perfume Making If you need a break from sightseeing, you can make your very own perfume right in Florence at the Antica Spezieria Erboristeria San Simone Firenze.Where to stayStay like a local in the heart of Florence at the Horto Convento.Florence, with its artistic legacy and timeless charm, is a destination that transcends the boundaries of time. Whether you're an art aficionado, a history buff, or simply seeking the pleasures of Italian culture and cuisine, Florence is sure to leave an indelible mark on your heart. Immerse yourself in the Renaissance spirit, and let Florence cast its enchanting spell on you.

Wednesday of the Third Week of Advent Saint of the Day: St. Dominic of Silos, 1000-1073; Benedictine abbot who refused to surrender some of the order's lands to the crown, so he was exiled to Castile; King Ferdinand I made him abbot of St. Sebastian Abbey at Silos, now called St. Dominic's; Dominic reformed the abbey, built the cloisters in Romanesque style, and started a scriptorium that became famous; Dominic also rescued Christian slaves from the Moors, and was noted for miracles of healing Office of Readings and Morning Prayer for 12/20/23 Gospel: Luke 1:26-38

The famous tower that leans is why most people visit Pisa, however there is so much more to explore in this small and multi-hued city. The color palette is muted yet beautiful, and the architecture is a cohesive mix of Renaissance, Romanesque and Gothic. It's a walkable city that truly loves it's aperitivo hour! Don't do the day tripper concept that so many do. Stay the night in order to see and experience everything Pisa has to offer, including the Leaning Tower...and then spend a second night since the crowds are long gone! https://www.kimberlysitaly.com Instagram Facebook 

In 1893, construction began on Robert and Clara Bell's Romanesque-style mansion in Fort Wayne, Indiana. Robert was a state senator, investor, and a prominent lawyer. Clara loved the arts and co-founded the Fort Wayne Museum of Art.  The Bells sold the home to William K. Nobel, whose family lived there for 22 years – then the house was sold and became a funeral home. It served the Fort Wayne area as the Klaehn Funeral Home for 93 years. And in that span of time, it's believed that between 300 and 500 thousand bodies went through its doors. And many of them still haunt the halls to this day. They're in good company. It's believed that Robert and Clara also are still in the home. Today on the Grave Talks, The Many Ghosts of The Bell Mansion with event coordinator, Lindsay Crouch. This is Part Two of our conversation. For more information, visit their website at thebellmansion.com. Become a GRAVE KEEPER and get access to ALL of our EPISODES - AD FREE, BONUS EPISODES & ADVANCE EPISODES!!! Sign up through Apple Podcast Channel or Patreon. Sign up through Apple Podcasts or Patreon http://www.patreon.com/thegravetalks

In 1893, construction began on Robert and Clara Bell's Romanesque-style mansion in Fort Wayne, Indiana. Robert was a state senator, investor, and a prominent lawyer. Clara loved the arts and co-founded the Fort Wayne Museum of Art.  The Bells sold the home to William K. Nobel, whose family lived there for 22 years – then the house was sold and became a funeral home. It served the Fort Wayne area as the Klaehn Funeral Home for 93 years. And in that span of time, it's believed that between 300 and 500 thousand bodies went through its doors. And many of them still haunt the halls to this day. They're in good company. It's believed that Robert and Clara also are still in the home. Today on the Grave Talks, The Many Ghosts of The Bell Mansion with event coordinator, Lindsay Crouch. For more information, visit their website at thebellmansion.com. Become a GRAVE KEEPER and get access to ALL of our EPISODES - AD FREE, BONUS EPISODES & ADVANCE EPISODES!!! Sign up through Apple Podcast Channel or Patreon. Sign up through Apple Podcasts or Patreon http://www.patreon.com/thegravetalks