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Voor een optimale ervaring met deze website is het aan te raden om over te stappen naar een modernere verie of installeer Google Chrome Frame Heritage and financial experts from Europa Nostra and the European Investment Bank (EIB) Institute visited the monastery of Polirone in San Benedetto Po one of The 7 Most Endangered Monuments and Sites in Europe and took part in several working meetings with local and national entities on 10-11 September The Renaissance monastery was severely damaged by two earthquakes in May 2012 and is in urgent need of restoration A discussion about the current state of the building as well as the financial plan for its complete rehabilitation The small town of San Benedetto Po is situated in the north of Italy The monastery was founded by Tedaldo of Canossa in 1007 on an island between the Po and Lirone rivers The Benedectine monastery played a primary role in the history of the Italian Monarchy for religious political and cultural affairs until occupation by Napoleon Bonaparte in 1797 The monastery is comprised of the abbey church dating to the 15th century and restored by Giulio Romano in 1539-1540; the monastic refectory adorned with a wall painting ascribed to Antonio Allegri of Correggio; three cloisters all dating to the 15th century; the ancient cellar which houses a large collection of antique agricultural carts; the Capitolo hall with archaeological excavations of abbots’ graves and the foundations of buildings dating to the Dark Ages; and the Polirone Civic Museum located on the first floor of the monastery which accommodates one of the most important ethno-anthropological collections in Italy San Benedetto Po is one of the Borghi più Belli d’Italia and is also in the Fédération Européenne des Sites Clunisiens an extensive and costly restoration was undertaken which included renovation of the church The work was largely completed when the earthquakes on 20 and 29 May 2012 struck which severely damaged the monastery and set back the entire conservation process large parts of the monument have become inaccessible some areas of the museum and the town hall due to the risks of falling debris or collapse Emergency works to secure the buildings took place after the earthquake the complete restoration of the monastery is estimated to cost 10 million euro which requires national and European technical and financial support represented by its Board Member Rossana Bettinelli and its Scientific Council Member Ioanna Steriotou were welcomed to the Polirone Civic Museum by the Mayor of San Benedetto Stefano De Vito and Nicola Berlucchi and the conservator of the Museum Federica Guidetti Representing the Lombardy Region were Maurizio Monoli and Sabrina Filetti in which the extensive restoration works undertaken from 2005 to 2012 and the emergency rehabilitation works carried out after the earthquakes and the respective costs involved were discussed the heritage and financial experts made a tour of the Museum and the monastery buildings The second working meeting was focused on the rehabilitation programme of the monument and models of financing the delegation visited the church and the ‘parish oratory’ (where young people have catechism lessons in the winter and play together in the summer) with the representatives of the association Amici della Basilica the parish technicians and two members of the curia the Mayor of San Benedetto stressed the importance of the European mission “The restoration of the monastery is a huge task which requires widespread cooperation and mobilisation With the support of Europa Nostra and the EIB Institute we hope to be able to face the many challenges which lie ahead of us” “The first priority is to ensure the safety conditions of the buildings; the second one is to fully restore the monument” Richard Deeley reaffirmed the commitment of the EIB Institute to providing analysis and advice on funding-related matters The results of the rescue mission to San Benedetto Po will be presented together with the outcomes of the other six missions at the European Heritage Policy Conference It's not just an exhibition of supercars and innovative projects but a veritable laboratory of ideas for the future of automotive design an international event that also rewards young talent from design schools under the aegis of Berman Spa boss Roberto Artioli It's also a great opportunity to discover the trends that will influence the automotive world over the next few years and to be among the jurors at the event (limited numbers and by invitation only) which this year takes place on 24 and 25 October at Villa Schiarino Now in its twenty-first year, the Autostyle Design Competition is an international event dedicated to automotive design an automotive parts manufacturer based in San Benedetto Po which produces parts for the cars we see on the roads every day Since its first edition, Autostyle has been a reference point for the automotive industry managers and enthusiasts to explore the latest trends in styling it is now the most important event dedicated to styling innovations of the year Lately, in addition to automotive design, other sectors have been included, to show the similarities and differences. For example, watchmaking and jewellery The Autostyle opening conference hosted by Professor Alessio Tommasetti Live design moments: competing students try their hand at group design for 2 minutes each One of the distinctive features of Autostyle is the design competition in which students from the most prestigious international design schools compete with innovative projects which involve the development of recent models and prototypes on the basis of an annual call for tenders are examined by experts from the styling centres of the leading car manufacturers as well as by journalists from specialist magazines the young talents will be rewarded and given the opportunity to launch a career in the world of automotive design Many of the competition's winners are now working for major automotive companies Some of the students taking part in Autostyle 2024 Autostyle 2024 offers a glimpse of the year's most exciting styling innovations there will be a showcase with the nautical world which will be presenting the Seadeck 6 yacht highlighting the stylistic affinities between luxury boats and sports cars The spectacular Ferrari 12Cilindri at Autostyle 2024 October 25 is the day of the main conference featuring some of the industry's most influential designers: Marek Reichman from Aston Martin Mitja Borkert from Lamborghini and Andrea Ferraresi from Ducati Ken Bills and Alessandro Belosio of Toyota ED2 Mattia Gessi of Pagani and Davide Lanna of BYD also presented new products from their respective brands Federica Bertolini and Federico Lantero from Azimut were also on hand to talk about the Seadeck 6 yacht The event will conclude on 26 October with the prize-giving ceremony for the winners of the design competition BMW Keeps Hinting at an Electric 3 Series Wagon 2026 Jeep Compass Unveiled: Hybrid or EV With Up to 375 HP This 'Damn Sexy' Mercedes Design Will Shape Future Cars Lotus Emira With Yellow Exhaust Tips Pays Tribute to an F1 GOAT Here's the New Alfa Romeo Stelvio Before You're Supposed to See It Northern Italy to Louisiana: Paolo Zerbini’s echoes of local youth From ‘Rough Ride Down South’ by Paolo Zerbini Paolo Zerbini is still haunted by that lingering sense of distance and isolation small town youth sucks up like a dry sponge London based photographer captures this feeling in his photo book via a series of suburban portraits and landscapes shot on a recent trip to Louisiana There’s a deeper echo here – of a journey Zerbini took to the states at age 17 in an escape from his childhood home – and the feeling of space and removal is palpable It’s an experience the photographer had to displace as while his home town still exists physically the mental space in which he lived doesn’t the inability to photograph those people directly pushed me to do the book I was reading a lot from Andrei Tarkovsky at the time so that was also very inspiring to create something that had the spontaneity of a memory but that is completely photographically constructed I don’t regret being born there or having grown up there at all I feel that the most painful experiences are at times very essential to making you who you really are The point of the book is in fact not to judge but just to transmit what I personally felt Rough Ride Down South launches tonight at Apiary Studios, 458 Hackney Road E2 9EG, from 6pm. The book launch will include a video installation by Roberto Crippa They came from 32 different countries, represented 310 clubs and formed a line 10 km long and they all had one thing in common: a love of Vespas An estimated 10,000 Vespas scooted across the Italian province of Mantua for Vespa World Days 2014 The Vespa parade traveled from the city of Mantua to San Benedetto Po for the second day of the festival the parade was a continuous line that stretched 10 km long (about 6.21 miles) the parade covered nearly half of the distance between the two Italian cities Though they all shared the signature Vespa styling the parade scooters came in all sorts and colors including a couple of sidecar outfits and at least one decorated to look like the Vespa’s namesake Dennis has been a part of the Motorcycle.com team since 2008 has developed a firm grasp of industry trends A bloodhound when it comes to tracking information on new motorcycles if there's a new model on the horizon you'll probably hear about it from him first More by Dennis Chung They were two brothers who walked together in the same footsteps through their early life In their younger days working on their father’s Lovewell Street dairy farm clean cow barns and deliver milk on the family route older brother Walter took a liking to football starring as captain of the 1937 Wildcat grid team Younger brother John would follow similar footsteps as the 1939 team captain and also matriculated to Boston College where the two would play football for the Eagles John signed up for the Army’s 10th Mountain Division with the ski troops while Walter served with the Coast Guard and later the Navy in Jacksonville It was through a tragic and ironic twist of fate that John’s life was cut short only two weeks before the end of World War II Walter would go on to forge one of the most successful coaching careers in the history of Massachusetts high school football This is the continuation of the series Remembering Local World War II Heroes based on a story that originally appeared in The Gardner News on April 21 was alive and his quotes and some details relate to that story The brothers Dubzinski have now been apart for 60 years yet there is rarely a day that passes where Walter doesn’t remember his heroic brother and wonder about the unfulfilled potential from the piece missing in his life a good person,” Walter remembered wistfully “I think he would’ve probably also become a teacher-coach smarter than me,” he added with a laugh noting that his brother was a Pro Merito honor graduate arrived in the county in 1914 from their native Lithuania which included daughter Anne (born in 1916) and sons Walter (born in 1919) and John (born in 1922) Felix had very little education and could speak virtually no English yet he was fluent in four languages: Lithuanian “He could speak them all without missing a beat,” Walter marveled The Dubzinski farm had some 40 head of dairy cattle and the upbringing of the brothers consisted of the hard work that farm life typified The boys were also encouraged to take part in sports while in high school as Walter remembered the rigors he and his brother experienced while mixing athletics with their farm chores walk back to practice for 3 and practice for two hours then come home and had to wash the bottles for the next day Their success on the gridiron allowed both boys to continue playing football at Boston College Walter was a member of teams that played in the 1940 Cotton Bowl and in 1941 captured the National Title with a 19-13 win over Tennessee in the Sugar Bowl John’s team lost in the Orange Bowl to Alabama he averted potential disaster that season in their final regular season game when the Eagles were overwhelmed by underdog Holy Cross the Eagles had planned a victory party at Boston’s Cocoanut Grove nightclub a disastrous fire there claimed nearly 500 lives gridders likely would have also perished had they attended the Cocoanut Grove gathering “They got beat so badly that nobody showed up and they were supposed to have a victory party,” Walter recalled attended the game and stayed at the Hotel Statler that night near the Cocoanut Grove “Everyone was partying in the hotel when word came down that there was a fire at the Cocoanut Grove Nobody paid much attention to it at the time you’d hear the sirens and we’d look out the window,” he recalled John decided to leave Boston College and enter the military service at Fort Devens He was assigned to the 10th Mountain Division with the U.S “He knew he was going to get drafted so he came home and told me he was going to join the ski troops,” Walter recalled You’ve never had a pair of skis.’ He never skied I’d just as soon go where the action is.’” noting that the troops would go out on bivouacs and wind up sleeping in the deep snow “He’d dig a hole in the snow and sleep in it John was sent overseas with that unit to the Italian theater and into the Italian Alps The division was forced to take two mountaintops in the Italian Apennines using no guns The four-month Italian campaign had the troops eventually converging on Mount Belvedere in the Po Valley “They got down into the Po Valley and it was a rout from that point on as they were pursuing the Germans,” Walter noted John Dubzinski was killed in action during a strong German counterattack on the American position near San Benedetto Po and I received a telegram from home,” Walter said recalling how he learned the news about his brother “They tell me a boy delivering the telegram came riding on a bicycle up in the yard While the telegram simply noted that John was killed in action the family never learned the full details of his death They were all grief stricken and never truly experienced the closure necessary in the wake of such a tragedy Dubzinski was initially buried in a military cemetery in Castelfiorentino his body was returned home in 1948 and interred at Greenbower Cemetery in South Gardner aside his mother Walter Dubzinski received a phone call out of the blue from a John Imbrie who found his phone number on an internet website Imbrie had a story to tell and felt that Walter needed to hear it Imbrie was with John Dubzinski as the two soldiers were running through an open field in pursuit of a German sniper The two soldiers were moving at a fast pace in single file going through the Po Valley about 10 yards apart in pursuit of the Germans Walter Dubzinski related the information provided him by Imbrie: “They came to an old barn; the doors were closed the doors suddenly opened and gunmen started firing,” Walter said “John got hit by shrapnel in the middle part of his body If he had been one step closer and John one step behind “He said the only thing John said when he got hit was ‘Medic!’ He collapsed and there was no suffering there,” he said “This was his best friend in the service For many years the family never knew what had happened to John.” Walter was so distraught that for many years he would never discuss his brother nor his untimely death on the battlefield Imbrie’s phone call allowed him and the family much-needed closure “I’ve got some letters (John) wrote us from Italy There’s plenty of Italian wine here and we’re testing all of it,’” Walter recalled finally – after all these years – able to smile at the memory of his beloved heroic brother Comments and suggestions for Remembering Local World War II Heroes can be sent to Mike Richard at mikerichard0725@gmail.com or in writing to Mike Richard Meet the Italy Striker with the Best Name in Football.css-3hcdeq{margin:0;font-size:1.2rem;-webkit-text-decoration:none;text-decoration:none;font-family:Proxima Nova,Proxima Nova Fallback Helvetica,Proxima Nova Fallback Arial;font-weight:400;font-style:normal;letter-spacing:0rem;line-height:1.44rem;color:var(--br--palette-foreground__tertiary-mainChannel);}Tom WilliamsNov 20 1) 0ms;transition:background-color 150ms cubic-bezier(0.4 1) 0ms;transition:fill 120ms cubic-bezier(0.4 1) 0ms;font-size:inherit;}.css-v4v4rs{-webkit-user-select:none;-moz-user-select:none;-ms-user-select:none;user-select:none;width:1em;height:1em;display:inline-block;fill:currentColor;-webkit-flex-shrink:0;-ms-flex-negative:0;flex-shrink:0;-webkit-transition:fill 120ms cubic-bezier(0.4 1) 0ms;font-size:inherit;}@media (min-width:0px){.css-v4v4rs{display:block;}}@media (min-width:1100px){.css-v4v4rs{display:none;}}.css-mps3fk{-webkit-user-select:none;-moz-user-select:none;-ms-user-select:none;user-select:none;width:1em;height:1em;display:inline-block;fill:currentColor;-webkit-flex-shrink:0;-ms-flex-negative:0;flex-shrink:0;-webkit-transition:fill 120ms cubic-bezier(0.4 Lasagna may be a headline writer's dream, but the 26-year-old is also a player with a remarkable backstory who in the space of only four years has gone from playing amateur football before paltry crowds in Italy's fourth tier to mixing with Italian football royalty in Serie A and wearing the No. 9 shirt for his country. Lasagna was brought up in San Benedetto Po a small town in Lombardy about 140 kilometres southeast of Milan (The story goes that he was named after Hollywood actor Kevin Costner and that his sister He was paid €50 per game (plus petrol money) for taking part he scored 21 goals in 33 appearances and attracted the attention of Cristiano Giuntoli the bargain-hunting sporting director at Serie B side Carpi Despite the step up in quality, Lasagna settled quickly and helped Carpi achieve promotion to Serie A for the first time in his first season. He made his top-flight debut at the age of 23 in a 5-2 loss to Sampdoria in August 2015 Valerio Pennicino/Getty ImagesNicknamed "KL15" by Carpi's fans in reference to his squad number, Lasagna would score a further four goals that season, including strikes against Roma and Fiorentina When he scored nine goals in his first 21 Serie B outings the following campaign signing him in a €4.5 million deal in January 2017 and loaning him back to Carpi for the rest of the season as a return of two goals from 12 appearances suggests Lasagna typically played alongside Maxi Lopez in his first campaign at Stadio Friuli but after the Argentinian left the club in the summer new coach Julio Velazquez took to using him as a lone striker to be replaced by former Crotone coach Davide Nicola "Lasagna is a forward who serves his team-mates he's been playing as a main striker this season and he's not been at his best," says Sara Puntel a Udinese fan who grew up a stone's throw from Stadio Friuli he's not cut out for playing with his back to goal He would be better playing where he played before Alessandro Sabattini/Getty ImagesFor some Udinese supporters Lasagna's unconventional career trajectory pacy style and on-pitch tenacity bring to mind Vincenzo Iaquinta who played for the club from 2000 to 2007 and won the World Cup with Italy in 2006 "You could compare him to Iaquinta," says Simonutti After successive summers of major upheaval in the transfer window Udinese's owners the Pozzo family have made a priority of signing Italian players with whom their supporters can identify and tying them to long-term deals Lasagna has been appointed vice-captain and signed a new five-year contract last month "The supporters are counting on Lasagna at the moment," says Puntel "He was the symbol of the season ticket campaign he represents the new heart of the team." Claudio Villa/Getty ImagesLasagna received his first Italy call-up last month as a replacement for the injured Simone Zaza having never previously been capped even at youth level With Italy drawing 0-0 against Poland in Chorzow and at risk of relegation from UEFA Nations League A Lasagna expertly flicked on a corner for Cristiano Biraghi to slide home a last-gasp winner "I think he can bring something extra to the national team." Lasagna kept his place in Roberto Mancini's squad for the current international get-together being preferred to both Mario Balotelli and Andrea Belotti and made his second Italy appearance in last Saturday's 0-0 draw with Portugal Mancini has been charged with the weighty responsibility of rebuilding the national team after their failure to qualify for this year's World Cup and for all the attacking talent at his disposal he has clearly seen something he likes in Lasagna Kevin Lasagna is truly a man of many layers Interior Design Sketch and Render Demo by Sangwon Seok Modeling a car rim in Rhino Alfa Romeo 4C: Design Story by Eric Gallina The 2012 edition of the Autostyle International Design Competition will take place on October 11 and 12 in San Benedetto Po (MN Among the events is the presentation of projects for an eco-friendly Popemobile For the ninth edition of the Autostyle International Design Competition event – organized by Roberto Artioli director of Auto&Design magazine – the XIX Century Villa di Bagno will host a display of projects by 22 young designers from worldwide design schools Above: projects for the 2010 edition of the competition The brief of the contest was to create an eco-friendly Popemobile starting from several production hybrid models – including some concept cars such as the Land Rover DC100 and the Mercedes-Benz F800 Style The schools involved in the competition are the Turin-based IED Florence University and the Sweden Umeå Institute of Design The awards ceremony will take place on Friday October 12nd The best projects will be also published in a dedicated volume by Libreria Editrice Vaticana A second winner will be selected through public voting Among the interesting events are a workshop by Flavio Manzoni on the new Ferrari F12 and a speech held by Klemens Rossnagel (Audi) on the new A3 who will discuss the new Fiat 500L and Anna Costamagna who will give some insights on the new Peugeot 208 There will be also a number of exclusive cars and concepts on display the Maserati Granturismo Sport And the Pagani Zonda-S For more information visit berman.it (Source: Autostyle Design Competition 2012) You must be logged in to post a comment. Not a member? Register now We respect your email privacy Essential digital access to quality FT journalism on any device Complete digital access to quality FT journalism with expert analysis from industry leaders Complete digital access to quality analysis and expert insights complemented with our award-winning Weekend Print edition Terms & Conditions apply Discover all the plans currently available in your country See why over a million readers pay to read the Financial Times This is a brief encounter - only ten minutes - but in and of itself this virtual experience is a fascinating exercise Culture | Exhibitions The Standard's journalism is supported by our readers When you purchase through links on our site The obvious truth about much of the devotional art on display in our museums and galleries is that it has been ripped out of context. Religious art commissioned for a church is designed for a religious purpose That doesn’t happen even in the most sympathetic secular setting The National Gallery has now put St Nicholas back in his proper context – digitally – in a small gallery on the ground floor You put on a chunky headpiece and earphones and lo you’re in the lovely side chapel of the monastery of San Benedetto It’s a brief encounter lasting ten minutes St Nicholas – the original Santa Claus – is shown here getting his bishop’s mitre from an angel during his consecration as bishop in all its vivid colour and dynamism – let me commend to you the angel descending at an extraordinary angle from the top of the picture with closeups of small frescos of St Nicholas’ miracles and a kind of digital cage draws you up short who gives an account of the commissioning of the piece It concludes with a little soundscape: music created for the monks which finishes as the bell sounds for mass this is an interesting and useful exercise you can go upstairs to gallery 9 to see the actual Veronese for yourself This isn’t the first such exercise by the National Gallery – it’s done Jan Gossaert’s Adoration of the Magi previously – and National Gallery, Gallery F, nationalgallery.org.uk Prince Louis steals the show at VE Day parade as he keeps dad William looking sharp and mimics brother George Prince Louis steals show with sweet antics at VE parade VE Day 2025 fashion: best looks from the day VE Day 2025 fashion: Princess of Wales to Lady Victoria Starmer Ukraine 'launches stunning Kursk offensive' in major blow for Putin ahead of Victory Day celebrations Ukraine 'launches stunning Kursk offensive' in blow for Putin Stacey Solomon 'regrets doing reality show with Joe Swash' for tough reason Stacey Solomon 'regrets reality show with Joe Swash' for tough reason Rihanna shows off baby bump at star-studded Met Gala 2025 as singer's third pregnancy with A$AP Rocky announced Rihanna debuts baby bump on star-studded Met Gala blue carpet the Holy Father Francis received Cardinal Angelo Becciu Prefect of the Congregation for the Causes of Saints in audience with His Most Reverend Eminence the Supreme Pontiff authorized the same Congregation to promulgate the Decree concerning the heroic virtues of the Servant of God Augusto Cesare Bertazzoni former Bishop of Potenza and Marsico; born January 10 1876 in Polesine di Pegognaga (Italy) he died August 30 Augusto Bertazzoni was a disciple in Turin of Saint Giovanni Bosco and was among those who offered their lives for the salvation of the saint of youth who had also prophesied the episcopal miter to the young Augusto He was a friend of Luigi Orione and of Fr Giovanni Calabria He was appointed archpriest-parish priest of San Benedetto Po where he exercised his ministry from 30 April 1904 to 30 June 1930 Raised by Pius XI to the episcopal chair of Potenza and Marsico In the entrance speech he said "to bring peace he urged the educational commitment of his priests to whom he recommended having a spirit of paternity for the new generations when bombs destroyed the episcopate of Potenza he decided to remain close to his flock: he did his best to help the Jews and political dissidents After the war he was a figure of balance between the various political forces and dedicated himself to healing the wounds of the world conflict and to the arduous and generous work of rebirth and the spiritual moral and material reconstruction of the diocese He was Conciliar Father of the Second Vatican Council was attentive to the spiritual needs of the faithful and also of non-believers The characteristics of his episcopate can be summarized in love for God and neighbor without distinction in the paternal attitude towards priests and seminarians He was a witness of the supernatural and passionate desire to bring God back into history at every level: personal ANS - “Agenzia iNfo Salesiana” is a on-line almost daily publication the communication agency of the Salesian Congregation enrolled in the Press Register of the Tibunal of Rome as n 153/2007 This site also uses third-party cookies to improve user experience and for statistical purposes By scrolling through this page or by clicking on any of its elements The Roman amphitheatre in Durrës in Albania the buffer zone in the historic centre of Nicosia in Cyprus Vauban’s 17th century fortifications in Briançon in France the Renaissance monastery of San Benedetto Po in Italy the 15th century monastery in Setúbal in Portugal the historic mining landscape of Rosia Montana in Romania and the Armenian church of St George in Mardin in Turkey have been selected as the 7 most threatened landmarks in Europe The announcement was made today by the leading European heritage organisation Europa Nostra together with the European Investment Bank Institute on the eve of its 50th Anniversary Congress These gems of Europe’s cultural and natural heritage are in danger natural disaster or even political conflict “These monuments and sites were selected not only because they tell a fascinating story about our shared past anchoring the sense of belonging to a European family but also because they are highly valuable to the local communities who are strongly engaged in saving them Rescuing these sites would also act as a catalyst for the social and economic revitalisation of entire cities or areas This is why Europa Nostra calls upon many public and private partners to join forces with them to ensure a promising future for the selected sites,” stated Plácido Domingo “Investment in heritage conservation contributes to sustainable development and ultimately to growth and employment through its positive impacts on the local and regional economies Support to heritage conservation therefore falls well within the remit of the European Investment Bank (EIB) together with Europa Nostra and associated partners will undertake the necessary efforts to assess the selected sites and to contribute to the development of realistic action plans in close cooperation with the national and local public and private entities,” added Rémy Jacob Director General of the EIB and Dean of the EIB Institute Europa Nostra and the European Investment Bank Institute founding partner of ‘The 7 Most Endangered’ programme will undertake rescue missions to these heritage sites after the summer experts appointed by the European Investment Bank (EIB) and the Council of Europe Development Bank (CEB) will provide analysis and advice on how funding could be obtained The initial rescue action plans will be presented at the European Heritage Policy Conference Europa Nostra has been active in saving endangered heritage all over Europe from the ancient site of Delphi in Greece in the early 1980s to the historic city of L’Aquila in Italy in the 2010s we have launched an advocacy and operational scheme in partnership with such a prestigious financial institution as the European Investment Bank Our alliance demonstrates the recognition by the EU Institutions of their responsibility towards safeguarding Europe’s cultural heritage as stated in the Treaty of Lisbon (article 3.3) We expect that ‘The 7 Most Endangered’ programme will encourage others to support our efforts to rescue and promote the unique heritage of Europe,” concluded Denis de Kergorlay The 7 Most Endangered for 2013 were selected by Europa Nostra’s Board from the 14 sites shortlisted by an Advisory Panel composed of international experts civil society organisations and public bodies from 21 European countries submitted 40 nominations ‘The 7 Most Endangered’ programme was launched last January having been inspired by a successful project run by the US National Trust for Historic Preservation Nominations for 2014 can be submitted until 1 November 2013 by Europa Nostra’s country representations Europa Nostra – the Voice of Cultural Heritage in Europe – represents a growing citizens’ movement for the safeguarding of Europe’s cultural and natural heritage With its vast pan-European network of members (organisations and individuals) Europa Nostra forms an influential lobby for cultural heritage It campaigns to save Europe’s endangered monuments It seeks to influence European and national policies related to heritage It celebrates excellence through its Awards Scheme run in partnership with the European Commission Europa Nostra is celebrating its 50th anniversary The Council of Europe Development Bank (CEB) is “the social bank of Europe”. A multilateral development bank with 40 member states, it represents a major instrument of solidarity policy in Europe. Preserving Europe’s cultural heritage is part of its mandate. www.coebank.org “This book dedicated to Giulio Romano extols his creative virtues and suggests some paths cannot compensate for the lack of an up-to-date monograph since the only essitent that examines the artist at 360 degrees is Hart’s This work is valuable for its capillary analysis of the artist’s production almost unobtainable: the two volumes of the work are offered on the Internet at dizzying prices.” It is by posing the problem of an up-to-date monograph on Giulio Romano (Giulio Pippi de’ Iannuzzi; Rome 1546) that the book Giulio Romano “universal,” a challenging work by Stefano L’Occaso former director of the Polo Museale della Lombardia published by the Mantua-based publishing house Il Rio while it cannot yet fill the gap of a new monograph on the great artist there are some areas of study on Giulio Romano’s art that require updates that cannot be postponed until a later date is narrow: it deals exclusively with what Giulio Romano did in Mantua from the date of his arrival in the city (1524) until his death that occurred in 1546 (the Roman years are therefore excluded) But these are years in which Giulio Romano did so much: think only of the construction sites of the Ducal Palace and Palazzo Te or of the many undertakings that the artist followed in the city beginning with the works in the Albertian basilica of Sant’Andrea or Giulio Romano’s house in the contrada dell’Unicorno not to mention the many altarpieces that Giulio and the artists of his workshop left in churches in the present province of Mantua Some chapters are also devoted to enterprises outside the province (i.e. outside the Gonzaga duchy): the presbytery of Verona Cathedral and the decorations of the basilica of Santa Maria della Steccata in Parma and that of Santa Maria di Campagna in Piacenza are discussed For each of the interventions that ancient sources recall as having been executed by Giulio Romano Stefano L’Occaso questions the extent of the achievements of Raphael’s great pupil sifting through the most recent critical hypotheses and traces clear paths within Giulio Romano’s own art: the building site of the Polirone monastery in San Benedetto Po represents the debut of plastic decoration in stucco would “prevail over pictorial decoration in the remaking of the city cathedral the extreme work of Giulio Romano.” And again in the Boschetti chapel in Sant’Andrea (work on which was completed L’Occaso identifies the starting point “for the decoration of all the other chapels of the Albertian basilica painting the side walls with two vast unitary scenes and allocating an altarpiece on canvas to the back wall.” Particularly rich are the two chapters devoted to the great Gonzaga construction sites which include information and hypotheses not only on the works themselves It is therefore interesting to note what L’Occaso writes about how Julius structured his undertakings: “Julius directed his construction sites for both the construction and decorative phases with a notable caesura (in my opinion) in the treatment of exteriors and interiors: if the former live by their architectural strength the latter are instead built and realized to accommodate the decorations and the architectural aspects are often subordinate to the decorative ones The solutions adopted underwent enormous variations within a few years with a gradual abandonment of the more traditional ones of the 15th century.” Continuing L’Occaso recalls how Giulio Romano brought to Mantua the experience he had gained in Raphael’s workshop in Rome conducting his own building sites and their design phases in the way Raphael conducted his own: posing himself as a prolific and “volcanic” inventor who produced a vast volume of drawings useful primarily for their practical purpose than as completed works (this also explains the thefts of drawings that the artist suffered who feared that the master’s ideas would spread outside his domain) which were very rapid because of the pressures of patronage (L’Occaso notes that in Julius “usually lacks the phase of detailed study of the figure and precedes the model,” a lack perhaps due to the need to “speed up the creative process”) Giulio Romano initiated work that was then divided among highly specialized collaborators devoted to different tasks (there were those who concentrated on figures The pages describing Palazzo Te follow an essentially chronological order and focus on the historical stylistic and technical aspects of the building site which are already covered extensively in the previous bibliography: the example of the Camera di Psiche is worth mentioning where we focus almost exclusively on the stylistic and technical innovations made by Giulio Romano during its realization L’Occaso observes how Giulio Romano dealt with foreshortenings on the ceiling with a “personal solution that later had great fortune especially in Venice”: it was “a matter of painting a surface in which the representation takes place on a false plane inclined forty-five degrees with respect to the plane of the ceiling with a compromise that in essence maintains the illusory character of the foreshortening while favoring the legibility of the scene He experimented with this planar rotation precisely in the room of Psyche where the center of the vault is in perfect foreshortening while the octagonal and semi-octagonal scenes placed around it are precisely treated with a variable inclination but close to forty-five degrees since the privileged point of view from the center of the room is not zenithal but oblique.” From a technical point of view we focus on the technique of theincannucciata used by Julius perhaps for the first time in northern Italy: this is a technique described in Vitruvius’s De Architectura (which the artist was therefore familiar with) that involved the use of reed mats covered with plaster as a support for the room’s lacunars The same innovativeness was later to be found in the celebrated Chamber of the Giants complete and conscious abolitions of Vasari’s ’partimenti,’ as Jacopo Strada had already remarked (’in tutta una volta senza veruna cornice e ornamento’).” Even for the works in the Doge’s Palace the perspective mainly concerns the innovative aspects as well as the terms of Giulio Romano’s interventions (and what remains of them) destined to “set the standard” as L’Occaso assures is the unification of the entire decoration of the vault of the room “erasing the architectural lines and connecting all the variants of the view in a single imposing purely empirical orchestration of space,” is worth mentioning Contrary to what Michelangelo had done in the vault of the Sistine Chapel in the Trojan Room Giulio Romano does not admonish predefined viewpoints but suggests “a fluctuation of viewpoints a multiplication and hollowing out of spaces and depths.” One of the most interesting novelties introduced by the book is the look at Giulio Romano’s pupils: for the first time their experiences are all ordered in a volume that recounts their biographies With a perspective that does not omit judgment: studying Giulio’s pupils “does not mean falling blindly in love with them Their inadequacy emerges especially during the 1930s following the departure of Primaticcio and Pagni with whom the quality remains on a high average some of his pupils tend to provide a caricatured version of the master’s art: this is the case with Rinaldo Mantovano the author of the paintings of the chapel of San Sebastiano in Sant’Andrea.” The pupils whose experiences are collected in the book are the aforementioned Rinaldo Mantovano another important new feature is the examination of how Giulio Romano’s fortunes would spread in Italy Given the rhapsodic (but extremely orderly) nature of the book it is difficult to summarize all its themes in a few lines: it is a very dense and demanding work (nearly four hundred pages) takes the form of a bit of a list of “study notes,” a bit of a set of “cores in the artist’s kaleidoscopic production,” and above all as a “sincere manifestation in the face of his pyrotechnic inexhaustible genius.” And because of this nature little-studied or unpublished aspects of Giulio Romano’s production referring for further study with an extensive bibliography placed at the conclusion Giulio Romano "Universal “ is available on all major online bookstores and in many ”physical" bookstores Crossover Design Sketch Demo by Sangwon Seok Modeling Complex Transitions in Rhino by Brian James Interview with Peugeot design chief, Gilles Vidal by Jonathan Bell The 2011 edition of the AutoStyle Design Competition event will take place on October 6th and 7th in San Benedetto Po Northern Italy and will feature a conference with several design workshops The eight edition of the Autostyle Competition is organized by Italian Berman in partnership with Auto & Design magazine The event will take place at the “Polironiano” Civic Museum in San Benedetto Po The agenda includes the award ceremony for the “Special Versions” International Design Competition with 12 finalists selected among more than 70 transportation design students The finalist projects will be on display until the end of October The two-day event will be opened by a round table on the current state of automotive design The list of participating designers includes: Flavio Manzoni (Ferrari) Martin Uhlarik (Nissan) e Filippo Perini (Lamborghini) A number of workshops will present the development of new production models: You must be logged in to post a comment. 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Register now Pope Benedict XVI's popemobile may be getting an ecological upgrade Young car designers participating in an annual auto style competition are being asked to design a low-emission popemobile that meets the Vatican's high security standards The Vatican newspaper L'Osservatore Romano announced details of the competition Friday saying the green popemobile will be one of the proposed projects of the 2012 edition of Autostyle International Design Competition Italian auto parts maker Berman organizes the competition each year selecting 12 students from universities and auto design schools from around the world to submit designs for particular projects Winners are selected each October at the Autostyle show held in a monastery in the tiny town of San Benedetto Po The best eco-popemobile designs will be compiled in a book published by the Vatican publishing house is known as something of a "green" pope because of his environmental concerns; Under his watch the Vatican installed photovoltaic cells on its main auditorium to convert sunlight into electricity as well as a solar cooling unit for its main cafeteria It has joined a reforestation project aimed at offsetting its CO2 emissions it's a moral issue: Church teaching holds that man must respect creation because it's destined for the benefit of humanity's future The question of a more environmentally conscious popemobile has been on the Vatican's radar screen for some time; earlier this year the Vatican confirmed that Germany's Mercedes-Benz was making a study of a hybrid energy-saving popemobile for when Benedict travels outside the Vatican Benedict usually rides in a modified white Mercedes outfitted with bulletproof windows; it has room for two passengers in addition to the pope who sits on an elevated chair to wave to crowds who at the time ran the Vatican City state said Benedict would be open to using a hybrid popemobile as a sign of his efforts to promote sustainable energy and take care of the planet But the question remains whether one can be made that would meet the Vatican's security needs particularly the ability to accelerate quickly said for some years car designers who attend the Autostyle Design Competition show had been toying with the idea of proposing a green popemobile as one of the projects for young designers to tackle Artioli said the idea was discussed with Vatican officials including the head of the Vatican publishing house He said the competition is particularly well-suited to the Vatican since it will enable it to decide on a possible ecological upgrade for the popemobile on the basis of a public competition judged by the chief designers of the world's major automakers "The idea is to be able to make a car that is eco-compatible," he said Mantua is undoubtedly one of the most beautiful cities in the world and its most visited treasures are famous: the Palazzo Ducale Those who have more time may want to visit the Duomo or the City Museum in Palazzo San Sebastiano because there are several hidden gems to be found in the province and also in the city: little-visited small museums gardens and residences of the dukes.On a journey from the morainic hills in the north of the province to the Oltrepò from the borders with Veneto to the areas further west the province of Mantua can offer many opportunities for a slow trip in the name of art We propose below ten destinations that we have chosen from the less famous gems With the admission ticket you also visit the sumptuous garden the only remnant of an earlier building of which little is known (members of the Gonzaga family of Feltrino resided there at the time) where you can admire the extraordinary Hall of the Zodiac a masterpiece by Giovanni Maria Falconetto Correggio’s Deposition and Holy Family and then Barbara of Brandenburg ’s precious Missal and the Stauroteca of St which translates into a much more quotidian and country-like form of Leonardo’s masterpiece and then again the Madonna of the Rosary by Jacopo Palma the Younger the altar of the Madonna carved by Clemente Zamara the magnificent Polyptych of Mercy attributed to Antonio della Corna and the numerous 16th-century frescoes decorating the interior A hamlet of the municipality of Monzambano in the morainic hills not far from the border with Veneto and Lake Garda placid village that stands on the shores of a small In ancient times it was a castle (its origins date back to the 12th century) and part of the ancient structure remains of the walls with the imposing entrance portal surmounted by a clock tower (visitable only on Saturdays and Sundays) In the past it was a possession of the Gonzaga family and the Republic of Venice while today it is visited for the beauty of its views and the rest offered by the park around the lake with a walk along the shores of the lake in Castellaro Lagusello Nearby is the Fondo Tacoli pile-dwelling site which is part of the UNESCO World Heritage Site (included in the transnational site “Prehistoric pile-dwelling sites around the Alps”) Also worth seeing is the church of San Nicola di Bari immediately at the entrance to the small village Castellaro Lagusello is part of the Most Beautiful Villages of Italy circuit This little-known village of seven thousand inhabitants stands on a hill that rises right in the middle of the plain, and this feature alone would be enough to define Volta Mantovana’s uniqueness. However, it is also a place with interesting monuments to visit, starting with the 11th-century castle (perhaps it was built at the behest of Matilda of Canossa) which still retains its original layout and a couple of towers including the one on which the civic clock was installed in later times Then opposite the castle stands the parish church dedicated to Santa Maria Maddalena overlooking a beautiful tree-lined panoramic square: inside are remains of 14th-century frescoes and works from the 17th and 18th centuries In the center of the town you can also visit Palazzo Gonzaga-Guerrieri (the Italianate garden is another of the village’s scenic spots) built in about 1450 at the behest of Ludovico III Gonzaga as a country residence on the moraine hills Sabbioneta’s Teatro all’Antica was built beginning in 1587 at the behest of Vespasiano Gonzaga who commissioned the great Vicenza architect Vincenzo Scamozzi It is the first example of a modern theater built on a site not occupied by earlier structures (the Teatro Olimpico in Vicenza with a scheme that traces that of the classical theaters of antiquity: around the stage the tiers of seats are arranged in a semicircle and the cavea is surmounted by a splendid colonnade above which rise statues of mythological gods The coffered ceiling is not the original: in fact Scamozzi had designed an inverted hull ceiling The Sanctuary of the Blessed Virgin of Graces is located in Curtatone not far from the banks of the Mincio River on the outskirts of Mantua in a place where the Marian cult was strongly rooted: Francesco I had it erected as a vow to Our Lady after a plague The structure is attributed to the architect Bartolino da Novara the same who designed the Castle of San Giorgio and the Castello Estense in Ferrara The church was later enlarged with a convent with a single-nave interior: the cross vaults are decorated with rich floral frescoes and in the center of the ceiling famous is the hanging crocodile which was probably placed here between the 15th and 16th centuries This park is located near Marmirolo and is a forest that was once part of an area owned by the Gonzaga family and reserved for hunting right in the center of the reserve stands the Palazzina di Caccia (Hunting Lodge) built at the end of the 16th century by Vincenzo I Gonzaga which is distinguished by its rustic appearance: it consists of ten rooms including two halls of honor that were used for receptions The Palazzina opens only on certain occasions and therefore cannot always be visited: however only a part of the more extensive Gonzaga forest anticoq After abandonment following the fall of the duchy the forest began to gradually diminish: it was saved from disappearance because in 1910 it became part of the State Forestry Department an act that sanctioned the beginning of the forest’s protection These are unique bridges built on barges moored on the Oglio River (the one in Torre d’Oglio) and the Navarolo Canal (the one in Commessaggio) They are modern: they were built in 1926 and 1976 to replace earlier structures now in ruins or unsafe By virtue of their uniqueness (pontoon bridges are very rare in Italy and elsewhere) the two bridges have often been chosen as sets for films and various shootings and the rediscovery of the Sant’Agata di Senigallia exhibited between 2018 and 2019 in the Marche city and in Correggio A great amount of studies that finds therefore an adequate arrangement in this book strengthened by a rich and complete iconographic apparatus.Leafing through the thick volume one will find that it lacks the rigorous systematics that is typical of scientific treatises: it will be difficult to find insights into the debates around the dating of the works or complete records on the transfers of ownership (although there is also no shortage of moments of greater verticality: for example when talking about the aforementioned Saint Agatha or the Portrait of a Gentlewoman from the Hermitage in St Adani convincingly explains these absences: first it would have been a matter of re-proposing data already acquired the author’s precise intention is to produce a more open and almost colloquial essay without renouncing the scientific rigor that befits such a work le opere is thus to be read above all as a monograph of didactic and educational value organized with great clarity according to a chronological arrangement of the stages of Antonio Allegri’s career The one proposed by Adani is thus a sort of guided journey through Correggio’s production: a journey that combines moments in which the treatment becomes more pressing (but where he does not skimp on references to the conspicuous bibliography on the artist) The reader realizes this right from the first two chapters: the beginning of the itinerary coincides with Correggio’s training: this is now one of the most frequented territories of the artist’s career and consequently Adani dwells on the early stages of Correggio’s production just long enough to provide the reader with an overview obviously accurate (with fact sheets devoted to individual works the approach is different for the next chapter devoted to a single episode in Correggio’s art namely his presence inside the monastery of Polirone in San Benedetto Po the longest chapter in the book after the chapter on the Parma works of 1519-1521 and the chapter on the period 1522-1533 and the need therefore arose to give an account of the latest acquisitions on the Polirone enterprise comes on the heels of Correggio’s trip to Rome imagines as accomplished by the painter both to fine-tune a more tenacious “conquest of the modes and compositions of painting,” and to mentally prepare himself for the refectory wall at the Polirone: “a task,” the author writes “that caused a sort of special anthology to accumulate in the travel notebook of the still young artist who (let us not forget) was accompanied by the learned Gregorio Cortese had in mind to call Raphael to fresco the entire wall: having failed in his intention to call the Urbinate he would resolve to make up for it with a “Parrhasius futurus” identified precisely in the young Correggio (then about 25 years old: he was six years younger than Raphael) who frescoed the wall on which Girolamo Bonsignori’sLast Supper was later installed (an unusual choice that of inserting an oil painting inside the wall The chapter on the Polirone fresco then goes on to analyze the theological and iconographic themes of the wall functional to emphasize certain aspects of the decorative program capable of renewing his Mantegna training by looking to the Venetian painting of Bellini Montagna and Cima da Conegliano as well as to the Umbrian painting of Perugino that it is the portrait of Veronica Gàmbara Adani confirms in the book a date at the end of 1520 in agreement with David Ekserdjian: Correggio is documented in his hometown from October of that year (the time of his return from Parma where he waited for the realization of the frescoes of the dome of San Giovanni) until March 17 of the following year (moreover “allowed him the careful preparation and repeated poses necessary for the execution of the portrait which was required of him by the family and political circumstances of the countess; she after the death of her beloved husband Giberto X [which occurred in 1518 had in fact provided for the request for confirmation of the imperial recognition of her state with the young emperor Charles V aimed at obtaining the principal investiture for her own minor children The announcement of the document’s arrival set in motion a fervent preparation by the court of Correggio for the related celebrations and the Imperial Diploma in fact arrived on December 16 1520 specifying Veronica’s own role as Regent until the eldest son Ippolito came of age.” These circumstances would justify the execution of the portrait and also motivate its majestic character and exceptional size Among the most interesting moments of the book the reconstruction of the Triptych of Mercy (executed for the church of Santa Maria della Misericordia in Correggio) which was singularly supposed to contain also a terracotta Madonna and Child and which in the upper part saw the presence of a Christ the Redeemer in Glory now in the Pinacoteca Vaticana and recognized as a Correggio autograph in 2008 by Giuseppe Adani and Rodolfo Papa: here Adani reaffirms its attribution to Correggio an absolute novelty in the volume is the proposal to identify the Magdalena leggente from a private collection as the last painting by Antonio Allegri made in 1533 on commission from Isabella d’Este: the book gives an account of the discovery for the first time and Adani anticipates that a study entirely devoted to the painting is forthcoming which will be the result of a decade of studyî and to which Marzio Dall’Acqua Adrián Egea and Antonio Guerra will contribute the Works only a few brief anticipations are given postponing everything until the next publication since the issues to be addressed are very extensive There is then a way to reiterate Correggio’s autograph authorship of the Pieta in the Museo Civico di Correggio a work attributed to the artist initially by David Alan Brown and then exhibited (also there as an autograph) at the major 2016 Scuderie del Quirinale exhibition curated by David Ekserdjian and of the Young Man Escaping the Capture of Christ a painting first proposed as a Correggio work in 2013 by Elisabetta Fadda and Nicholas Turner and also featured in the catalog at the 2016 exhibition the dating to 1530 as the beginning of the frescoes in Parma Cathedral is convincingly affirmed on the basis of Cristina Cecchinelli’s studies: a dating that should now enter definitively into a monograph specifically dedicated to this greatest undertaking of the artist on the Mantuan period in the service of Isabella d’Este on the cycle of the Loves of Jupiter and on the other frescoes in Parma ending with some brief chronological notes and a reference bibliography including volumes that have made the history of scholarly literature on Correggio and the latest acquisitions: the sections thus more “palatable,” so to speak are flanked throughout the book by more popular occasions for the reader who wants to approach Correggio’s art in order to understand that greatness reiterated by Adani in the opening the Works comes out on the important occasion of Parma Italian Capital of Culture a title the Emilian city will boast of in 2020 and again in 2021: an event that despite the fact that Parma was to Correggio what Rome was to Raphael (this is what Giuseppe Adani also asserts in the book) especially since Parma was at the time a city of just sixteen thousand inhabitants but nonetheless was able to follow up on artistic endeavors of exceptional importance since 2020 marks exactly five hundred years since the execution of the San Giovanni Evangelista frescoes (one of Correggio’s fundamental masterpieces reproduced in all school textbooks of art history) The excellent book thus comes to fill a little of the Correggio gap that even RAI Cultura is now actively addressing to anticipate future developments on the studies around the artist: Giuseppe Adani anticipates that the news has been discovered that Bernardo Cles commissioner of the Romanino Loggia in the Buonconsiglio Castle had tried to get Correggio to do some work in the castle it will be noted that the book omits Correggio’s graphic production: for the author a “regret” due to editorial needs but also the stimulus for a future dedicated publication is an artist on whom the attention of critics is very much alive and who will still be able to reserve many surprises in the future The Roman amphitheatre in Durrës in Albania the 17th century Vauban's fortifications in Briançon in France the 15th century monastery in Setúbal in Portugal These gems of Europe's cultural and natural heritage are in danger "These monuments and sites were selected not only because they tell a fascinating story about our shared past anchoring a sense of belonging to a European family to join their forces and ensure a promising future the selected sites," stated Plácido Domingo George was the spiritual home of the large Armenian community in the Turkish city of Mardin This Grade I registered historical building was founded in 420 AD and was in use until 1915 when the Armenian population left the city In spite of its outstanding historical and cultural importance this monument is currently in an advance state of decay the Mardin Armenian Catholic Church Community Foundation is strongly committed to rescuing this tangible witness of Turkey's multi-cultural history The preservation of the church and its annexes would enable the future generations to understand the contribution of Armenian people to Mardin's history and identity and allow a wider public to appreciate their cultural expressions and artistic achievements who are also aware of the economic advantages from future tourism development are supportive of restoration projects in their town but their endeavours need to be encouraged and supported by national and European partners," said the organisation Da Paolo Tessione - 13 septambra 2019 na amin'ny fotoana manokana eo amin'ny fiainanao ankoatry ny miantehitra amin'ny Fanahy Masina Andriamanitra Ray sy i Jesosy Kristy Tompontsika dia afaka mahita fialantsasatra amin'ny Saint iray ianao mba hahafahany misolo toerana ny fianaranao ary