The first chilling teaser of Netflix’s The Monster of Florence by Italian genre specialist Stefano Sollima The highly anticipated serial killer series chronicles a series of sexually motivated murders that occurred outside Florence between the late 1960s and mid-1980s known for the gritty TV hit “Gomorrah” and movies “Sicario: Day of the Soldado” and “Without Remorse,” spent more than a year researching the still unsolved case of “The Monster” (“Il Mostro,” in Italian) the moniker given to the alleged serial killer who committed eight double murders preying on couples parked in cars in secluded places around Florence The cold case marks one of the longest investigations into the most brutal serial killings in Italian history The four-episode series was shot in the city of Florence and in the surrounding area in November 2023 for about 10 days Among the locations involved in the set there are: Firenze (piazza San Firenze Netflix has set a fall 2025 release date for the series created by writer Leonardo Fasoli and Sollima produced by Fremantle-owned The Apartment and Sollima’s AlterEgo The show’s producers are Lorenzo Mieli supported by the Regione Toscana’s Bando Cinema (2023) has been selected in the Un Certain Regard section is mainly set in Emilia Romagna and in particular in Imola the set also involved the Mugello circuit in Tuscany in the city of Scarperia and San Piero near Florence International Television Production Netherlands were filmed in Florence and its province in 2024 Toscana Film Commission will be attending at the Italian Pavilion (Martin Gropius Bau) to promote Tuscany as filming set and to present our services and benefits the “Giuliano Ghelli” Museum in San Casciano in Val di Pesa (Florence) is hosting an exhibition dedicated for the first time to Stanislao Pointeau (Florence the French-Florentine painter who played a fundamental role in the birth and evolution of the Macchiaioli movement entitled Stanislao Pointeau: a Tuscan Macchiaiolo of French origin is curated by Michele Amedei and organized by the Municipality of San Casciano in Val di Pesa with the collaboration of the Fondazione CR Firenze and the Uffizi Galleries The exhibition is part of the Piccoli Grandi Musei and Uffizi Diffusi projects which aim to spread knowledge of art through initiatives of great cultural and historical value.The exhibition which showcases about forty works including paintings and drawings is also a tribute to Sancascian art historian Carlo del Bravo who in the 1970s discovered and rediscovered Pointeau’s importance through his research restoring to the artist the proper recognition his art deserved who was able to combine the influence of French painting with the innovation of the Tuscan school which examines his connection with the protagonists of the Macchiaioli movement and with the painting of the second half of the 19th century “This exhibition,” says Bernabò Bocca "comes at the completion of the fourth year of the Terre degli Uffizi project that sees our institution collaborating with Italy’s most important museum The aim is to encourage more widespread enjoyment of the Uffizi Galleries’ collections and It is also important to make our fellow citizens increasingly aware of the extraordinary richness of the territory in which they live The great favor received by the exhibitions set up so far confirms that the objectives are right which aims to enhance the regional artistic heritage is an extension of the territorial cultural marketing program “Small Great Museums” that the Foundation launched years ago.’’ Stanislaus Pointeau was born in Florence in 1834 a wine representative originally from Blois His artistic training began at the Accademia di Belle Arti in Florence he came into contact with some of the most important artists of the time Pointeau became a central figure in the Florentine artistic scene taking an active part in the city’s cultural life and frequenting the Caffè Michelangiolo one of the most important meeting places for Tuscan artists he got to know and collaborate with some of the leading exponents of the Macchiaiolo movement and developed his own style that fused French artistic traditions with the innovations of Tuscan painting His art was part of a time of great ferment in which Italian and French painters influenced each other with the aim of capturing reality through new modes of expression The "macchia," a technique that aimed to render the light and color of nature through contrasting patches of color became one of the main tools in the works of Pointeau who was able to interpret sunlight and the natural environment in a unique way while maintaining a strong connection with the French tradition explores the entire career of Stanislao Pointeau from his beginnings to his artistic maturation in the context of the Macchia to his evolution toward Symbolism in later years Sienese and French Friends in Mid-nineteenth-Century Florence introduces visitors to the young artist and his role as a mediator between the two cultures as well as a series of portraits of Stanislaus by Sienese painters Angelo Visconti and Amos Cassioli which depict the young artist in the years between 1859 and 1861 shedding light on his figure and his relationship with the artistic milieu of the time From Artistic Beginnings to the ’Macchia,’ brings together a selection of paintings and drawings documenting Pointeau’s early career including sketches made in 1851 during a trip to Mugello an area that would become fundamental to the development of his painting style These works offer an overview of his early experiments and approach to nature which would later become the core of his artistic production The heart of the exhibition is represented by the third section which explores Pointeau’s relationship with the Macchiaioli movement of which he was one of the leading figures This section presents some of the artist’s most emblematic works such as Renaioli sull’Arno and La ferratura del bove paintings that testify to his adherence to the movement and his contribution to its evolution there is also the painting Sulle rive dell’Arno which highlights the intense collaboration between the two artists and the link with Macchiaioli painting The sojourns in Southern Italy and the move to Pisa in 1867 documents the final phase of Pointeau’s career where he gradually moved away from the experiments of the Macchia to embrace a Symbolist painting influenced by international artistic currents and contact with the community of English artists linked to Nino Costa the artist devoted himself to more introspective and poetic subjects marking a decisive turning point in his creative path “The exhibition itinerary,” explains Uffizi director Simone Verde “sheds unprecedented light on the French painter’s relationship with the international art milieu as revealed by the precious engravings of Marcellin Desboutin while his connection with the Macchiaioli group is devoted to a section that is also the centerpiece of the exhibition and includes one of the most important loans from the Uffizi Galleries preserved in the Gallery of Modern Art in Palazzo Pitti.” which is part of the program to enhance the value of small and large Tuscan museums the art historian whose efforts made it possible to rediscover the importance of Stanislao Pointeau His figure was instrumental in bringing the artist back into the limelight helping to shed light on his central role in the development of Macchiaioli painting The exhibition not only celebrates Pointeau’s work but also represents an important moment of reflection on the history of Tuscan art and the value of historical research that continues to unveil new protagonists and renew our understanding of the past a great nineteenth-century painter of Florentine and French origin an artist loved and rediscovered by Carlo Del Bravo whom we are happy to enhance in our territory in the heart of the Tuscan countryside that the protagonist loved to depict,” says Roberto Ciappi “The Museum of San Casciano hosts some 40 works including paintings and drawings through an exhibition curated by art historian Michele Amedei that aims to highlight the many faces of Pointeau He was not only a talented artist with far-sighted insights and visions that were open to the world one of the most appreciated exponents of the Macchiaioli current but a cultural mediator of international scope who should be credited with the undoubted merit of having built a bridge a dialogue that became a major link between Italian and French art in the second half of the 19th century We are therefore realizing an important exhibition dedicated to Pointeau thanks to the studies of Carlo Del Bravo in whose memory we continue to produce culture and promote operations to popularize and enhance the history of’Italian art to the close and fruitful collaboration with Le Gallerie degli Uffizi our valuable partners with whom we had the honor and privilege of working also on the occasion of the successful exhibition that paid tribute to Jacopo Vignali and some private individuals who allowed us to exhibit their works signed by Pointeau.” The exhibition is accompanied by a catalog that includes in addition to images of the works on display and unpublished shots by photographers of the time such as Antonio Caneva that were used by the artist to paint landscapes on canvas and paper museo@comune.san-casciano-val-di-pesa.fi.it Please enable JS and disable any ad blocker With views over the Chianti Classico hills in the heart of the Tuscan countryside the property at San Casciano in Val di Pesa boasts landscaped gardens Located around 30 minutes by car from Florence three atelier apartments and also a ‘historic dwelling’ containing a further four apartment spaces ‘The estate’s stylish interiors have been carefully renovated by local artisans using the finest Tuscan materials,’ said the listing by Christie’s International Real Estate in partnership with Italian estate agency Romolini Immobiliare Photo credit: Christie’s International Real Estate / Romolini Immobiliare There are 1.4 hectares (ha) of vines on the five-hectare estate (12 acres) which excludes the 20,000 square metres of living space The estate traces its roots back to the 13th century and also includes a chapel built in 1647 the late Dutch artist Karel Appel lived and worked in the ‘atelier’ building at the property between 1989 and 2000; his ‘horse’ is located in the lavender garden The dream of owning a villa or farmhouse among Tuscany’s rolling hills has long captured the imagination of wine and food lovers local estate agents have reported strong interest from potential buyers in 2020 particularly among those able to work remotely Gemma Bruce, MD and cofounder of Casa & Country, told Decanter.com in July this year that prospective buyers were reassessing their lifestyles ‘Off the back of the [Covid-19] pandemic, people are wanting property with agricultural land If they can have vines [as well] then that’s great.’ Peter Candid (Pieter de Witte, Pietro Candido) (Netherlandish, ca. 1548–1628). The Annunciation (during conservation) The original home of Candid's Annunication located near the town of San Casciano Val di Pesa in Italy Candid's Annunciation is painted in oil on a wood panel made of five vertically oriented poplar boards each almost two inches thick Conservator George Bisacca and I examined the back of it and realized that it still retained much of its original material and construction including three horizontal battens dovetailed into the panel at the top showing the five vertically oriented poplar boards used in its construction—four wide boards and a narrower one running along the right edge—as well as three horizontal battens These battens were intended to provide rigidity and help to keep the panel support in plane (A dovetail construction typically allows the wood to expand and contract as environmental conditions change.) A closer examination of the back surface revealed the presence of original tool marks showing that handsaws and adzes (a woodworking tool similar to an ax with an arched blade perpendicular to the handle) were used in its construction physical evidence like these tool marks and the original battens because they provide valuable insight into period woodworking technology (While there are plenty of examples of large-scale intact 16th-century Italian panel paintings in Italy there are very few in America that have not undergone extensive structural treatment.) A close-up of the panel's back surface showing the original 16th-century tool marks left by handsaws and adzes in the construction of the panel it was obvious that the varnish had darkened and was obscuring the subtleties in the modeling of the flesh and drapery There were also areas with extensive pinpoint flake losses—areas about the size of a pinpoint in which paint has flaked off—that had been painted over as part of an earlier conservation treatment In addition to the traditional varnish layer a thick layer of resinous wax over the entire surface that also covered the back of the panel the wax served as a varnish and had originally saturated the paint layers it worked as a barrier to help reduce the moisture exchange between the exposed wood and the surrounding environment This wax had also penetrated deep into all of the open splits and disjoins and would create serious problems for the structural treatment While it is fortunate that all three horizontal battens remained on the back of the panel they were also instrumental in causing the structural damage of the panel support After the panel was moved in the 19th century from its original location into centrally heated environments—where temperature and humidity fluctuate according to the seasons—the wood began to go through cycles of warping Because the battens held the panel too rigidly the constantly changing environment caused the panel to warp permanently and eventually tear itself apart by cracking where the panel was at its weakest The center join had completely failed through its entire length the constant expanding and contracting of the wood also caused each individual plank to warp The overall effect of this warping is a surface that peaks and dips we had two clear objectives for the conservation of this work we would remove the darkened and obscuring surface coating and overpaint we would stabilize the panel support by repairing the splits and disjoins and providing a new system of support Conservator Karen Thomas carefully removed the varnish and the darkened resinous wax coating on the surface as well as the overpaint and old gesso fillings from earlier conservation treatments The painting was then transferred to the panel studio for the structural treatment which we left on during the surface cleaning to provide badly needed support to the fragile panel we found white gesso drips along the edges of the panel revealing that the panel had been gessoed while lying down horizontally (the liquid drips flow downward) and that we were certain that the painted composition was complete White gesso drips along the edges of the panel indicate that the panel edges had never been trimmed This tells us that we are looking at the full original work We then used sash clamps to push the three original cross battens out of their tracks This not only helped to release the stress that had accumulated in the panel but allowed us to better understand the extent of the splits and cracks they had caused we saw that the paint and gesso had unfortunately cracked and separated along the entire length of the split While this was unfortunate for the painted composition it did provide us with an ideal opportunity: we could—without causing additional damage to the painted surface—separate the panel into two halves Large structural treatments are often more manageable when undertaken on smaller sections so separating the panel gave us greater access to the various areas that needed repair we could more effectively clean and prepare the gluing surfaces to ensure a strong and reliable repair Cutting through the last remaining wood fibers connecting the two halves of the panel After carefully cutting through the last remaining attached wood fibers we separated the panel into two halves without further damaging the painted surface Alan Miller and Alexandra Hola examining the two separated halves of the panel In my next post I'll discuss the continuation of the structural work on the panel Related LinkSee all blog posts related to the conservation of Peter Candid's The Annunciation. tips and exclusive itineraries in Florence Produced in 70 thousand hectares of land between the cities of Siena and Florence in an area that embraces 8 municipalities: Greve in Chianti Barberino Val d'Elsa,Tavarnelle Val di Pesa and San Casciano in Val di Pesa in the province of Florence; Castellina in Chianti Castelnuovo Berardenga and part of the municipality of Poggibonsi in the province of Siena Chianti Classico has a brilliant ruby red colour tending to garnet and a deeply vinous smell Chianti Classico must be aged for at least 11 months (it can only be consumed from October 1st of the year following the harvest) and have a minimum alcohol content of 12°.The alcohol content rises to 12.5° for the Riserva which requires a minimum aging of 24 months a longer bouquet and a cleaner taste.Here is our top list of Riserva in the vintages 2013 - 2015 and Gran Selezione 2014 - 2016 THE BOTTLES OF CHIANTI CLASSICO PROTAGONISTS OF THIS SELECTION BY AIS TOSCANA Vigneto bellavistaCastello di amaChianti Classico Gran Selezione 2016 Exuberant entry on the nose with pure aromas of marasca cherry Lean tannins which provide a progressive tension of flavors Colonia FèlsinaChianti Classico Gran Selezione 2015 Bright ruby-red colored and garnet-red at the rim Impressive aromas on the nose which opens with sour black cherry bay and dried flowers followed by tamarind and meat Close-knit and powerful tannins on the palate Savoriness lengthens the finish with an orange note coming back Vigna del sorbo FontodiChianti Classico Gran Selezione 2015 Aromas of soft fruit compote along with cinnamon The palate shows this vintage’s sunny character  with alcoholic and tannic power which blend with the lingering aromas of Mediterranean scrub and bitter orange Castell’in villa Chianti Classico Riserva 2013 La fornaceConti Capponi Villa calcinaiaChianti Classico Gran Selezione 2016 The nose offers aromas of ripe blackberry and sour black cherry Youthful on the palate with vigorous and mid-palate tannins Very refined on the nose which opens with a floral note of violet Balsamic touches with hints of pipe tobacco Il poggio Castello di MonsantoChianti Classico Gran Selezione 2014 with a salty kick and silky and powerful tannins Acidity leads to a savory redcurrant and raspberry finish Floral aromas prevail on the nose with lavender and wisteria A lovely acidity on the palate with tannins in the foreground Il puro - Vigneto CasanovaCastello di VolpaiaChianti Classico Gran Selezione 2015 Intense ruby red-colored and garnet-red at the rim Evolving on the nose with notes of undergrowth and leather which accompany aromas of blackberry Very savory on the palate with mid-palate tannins Vigna del capannino BibbianoChianti Classico Gran Selezione 2015 The warmth is counterbalanced by the close-knit and smooth tannins Would you like to make an important toast with the best Tuscan sparkling wines Follow our selection of the 18 top companies villages and castles of Gaiole in Chianti and surroundings Between - Rivoli TO The guide describes it as "good-level dining": a simple venue where the young Michela Quaglio enlivens the great Piedmontese products with touches of international creativity Granoturco Bistrot - Castagnole Piemonte TO serves "one of the most convincing expressions of regional cuisine," without forgetting the lessons learned in his international training Hostaria dai Musi - Alba CN but also seafood and even raw dishes according to market availability in an unpretentious venue that doesn't disappoint Januarius - Napoli NA A venue dedicated to Neapolitan specialties from ragù to octopus "alla luciana," with a shop of typical products L'Acciuga - Ravenna RA Michelin praises the "fragrance and freshness" of the fish the short but curated and inclusive wine list Luca's by Paulo Airaudo - Firenze FI There's a hint of a star in the previews regarding the restaurant led by Paulo Airaudo an "Argentinian chef of great value," with fresh and modern dishes Nello - San Casciano in Val di Pesa FI in charge of savory and sweet cuisine at Nello praised for the modern interpretation of Tuscan cuisine in a "varied and intriguing" menu Rendenèr Alpine Food - Pinzolo TN interprets a strictly seasonal mountain cuisine in this restaurant with extensive use of foraging and in-house cultivated vegetable garden Sustanza - Napoli NA the precious liberty rooms above the café chantant Scotto Jonno of the Galleria Principe di Napoli Marco Ambrosino gives a "whiff of modernity with complex and elaborate dishes," inspired by the entire Mediterranean basin not without the use of grill and fermentations "A surprising experience," one might say worthy of a star Villa Salina - Moretta CN In the nineteenth-century villa named after the historic chef of the House of Savoy the proposal ranges eclectically from business lunch to fish Do you want to discover the latest news and recipes of the most renowned chefs and restaurants in the world La nostra società utilizza inoltre cookie funzionali per registrare informazioni sulle scelte dell’utente e per consentire una personalizzazione del Sito; ad esempio Questi cookie possono essere installati dalla nostra società o da Terze parti In caso di disabilitazione di questi cookie la qualità e l’esperienza di navigazione potrebbe non essere soddisfacente Questi cookie sono installati da social media per consentire la condivisione dei contenuti del presente Sito Essi sono in grado di monitorare la navigazione compiuta anche in altri siti e creano un profilo dell’utente sulla base dei suoi interessi Ciò potrebbe avere un impatto sul contenuto e messaggi visualizzati sugli altri siti visitati non sarà possibile utilizzare o visualizzare questi strumenti di condivisione per l’installazione e l’uso di tali cookie occorre il consenso dell’utente Per maggiori informazioni consulta la pagna cookies policy The translation is automatically generated by the system therefore it may present lexical imperfections in collaboration with partner companies in the area and the University of Pisa promotes the figure of “Technician for olive grove management and oil mill management activities” of the regional repertoire of the training which aims to fill the professional gaps found in the oil-related production chain The course is entirely free for the unemployed and unemployed as it is financed by The Tuscan Regional Authority and included within Giovanisì the Tuscany Region project for the autonomy of young people It is to achieve concrete results growth and innovation in this strategic sector e contribute to employment development in agriculture by proposing an application of digital and sustainable agriculture particularly in young people the component of producer-managers who operate in the oil sector has a rather high average age and has difficulty in transfer passion and knowledge to younger people  is preferably used for  management of the olive grove e oil production. This is why it is aimed at everyone those over 18 years old, in possession of an EQF level 3 professional qualification or accessible to those who have gained 3 years of proven work experience in the sector The qualification course lasting 600 hours divided between theoretical classroom lessons laboratory practices and internships at partner agricultural companies will cover the activities and skills of the olive-oil supply chain Both for the management of the olive grove (soil cultivation fertilization and defense of the plant) both for mill management (from the process of transforming olives into oil Enhance the experience or passion for agriculture and acquire specific and legally certified expertise in the care of the olive tree and the production of oil The main purpose of the training course is therefore the employment of unemployed users especially young people, expressed and supported by the synergy with local businesses which will allow the course to be very technical "We hope - explains the project manager – that the qualified students will have an impact on a strategic sector for the Tuscany Region and representative of the typicality and food quality of our territory but above all that the free course can provide opportunities that would otherwise not be accessible tools and expendable skills that facilitate entry into the world of work of young enthusiasts" 130 hours of in-person classroom + 30 hours of synchronous FAD + 145 hours of laboratory + 22 hours of collective orientation +8 hours of individual orientation + 265 hours of internship in companies in the sector Lessons will take place on the following days and times: Tuesday afternoon 14.00pm-18.00pm, Wednesday morning 9.00-13.00, Thursday afternoon 14.00pm-18.00pm, as well as 1-2 Saturday mornings each month The mandatory attendance percentage is 70% total hours of the training intervention and within this percentage for at least 50% of the hours of internship activities in the company pursuant to DGR 988/2019 section The internships will be held in the Tuscany region Laboratory lessons at the Camelie Società Cooperativa Agricola To stay up to date, sign up for our newsletter here! olivonews@pieralisi.com The restoration of the wooden crucifix of San Casciano 1344) kept in the Misericordia church in San Casciano in Val di Pesa (Florence) in his comprehensive catalog of the Sienese artist’s paintings declared as “unjustly one of the painter’s least known works,” is now finished The work is one of the most interesting painted crosses of the fourteenth century and critics have always debated mainly on two issues: the dating (and the occasion for which the artist supposedly painted the work) and the homogeneity of quality many critics have recognized a quality gap between the figure of the crucifix and that of the mourners believing that they are portions made by different hands it has been proposed (not without doubt and debate) that the cross can be identified as the one that Simone would have painted for the Palazzo Pubblico in Siena between 1321 and 1322 For some it is one of the last works the painter produced before moving to Avignon The first to attribute the work to Simone Martini was Giacomo De Nicola.The restoration was carried out by theOpificio delle Pietre Dure of Florence and supervised by restorer Alessandra Ramat of the Opificio who during the “restitution” of the cross to the Misericordia church explained all the stages of the intervention which was necessary to consolidate the structure of the cross and prevent the deterioration of the painting: first the intervention of cleaning the paint film was carried out conducted with a scalpel controlled through a microscope (the film of Simone Martini’s cross is in fact very delicate) also useful to distinguish any layers superimposed during previous restorations The restoration of the wooden support was then carried out one of the most interesting data to emerge from the restoration concerns precisely the figures of the mourners on the arms of the cross with critics inclined to assign them to Simone’s pupils Ciatti pointed out that the intervention made it possible to show a substantial homogeneity of execution between the crucifix and the mourners: therefore now the cross is waiting to be discussed again by art historians with the new elements acquired with the important restoration after eight years of absence (it was 2011 when it went to the workshop) in its church either observed and verified firsthand by the reporter or reported and verified from knowledgeable sources Translations may contain inaccuracies—please refer to the original content A young woman who climbed to the top of a mountain before texting to say "Mom it's beautiful up here" fell to her death a short while later fell to her death in front of her boyfriend in the Apuan Alps above the Monte Macina valley in Italy Local authorities said there was nothing that could be done to save the passionate hiker and climber after she fell hundreds of feet to her death The location of the body made it very difficult to reach making it hard for a helicopter to operate a village located in the municipality of San Casciano in Val di Pesa After news of her tragic death in front of her boyfriend was made public her mother Elisabetta said she had been in contact with her daughter almost up until she fell to her death She said: "She had recently returned from an excursion with her boyfriend from the Aosta Valley The trip up the Apuan Alps was the last one they had to do She had sent me a photo of the mountains and said "Mom if you could see how beautiful it is from up here." I pray so much that she didn't suffer One of Aretini's favorite sayings was "Great things are done when men and mountains meet," by the English poet William Blake On Tuesday it was reported that a young man shot pictures of his girlfriend moments before he plunged to his death as he tried to retrieve his phone from the edge of a 300-foot ravine reportedly lost his balance and fell 330 feet while trying to retrieve his phone during a hike with his girlfriend on the Altar Knotto trail in the town of Rotzo A photo that was taken just moments before the tragedy and captures one of the last memories shared between the couple has also been revealed after it was uploaded to Bragante's Instagram page an entrepreneur and fitness enthusiast who hailed from the province of Rovigo lost his balance and fell off a cliff on a hiking trail who dispatched a team of firefighters and alpine rescue officers The couple had been uploading images of their climb up the hiking trail on their Instagram stories that day while Bragante posted the last image of the two together just moments after the incident This story was provided to Newsweek by Zenger News Newsweek is committed to challenging conventional wisdom and finding connections in the search for common ground Newsletters in your inbox See all Articolo disponibile anche in: Inglese Un convegno internazionale e una pubblicazione legati alla figura di Niccolò Machiavelli la richiesta di attribuire allo scrittore un valore nazionale che lo inserisca a pieno titolo tra le istituzioni culturali italiane Sono i primi passi di un percorso culturale e scientifico avviato dal Comune di San Casciano e finanziato per ciò che riguarda il convegno e l’uscita del volume dal Ministero dei Beni Culturali in collaborazione con l’associazione Sgabuzzini Storici L’obiettivo è valorizzare il patrimonio Machiavelli nella terra che ha visto nascere il celebre trattato di dottrina politica nel 1513: “Il Principe” edifici storici e memorie storico-letterarie che testimoniano il forte legame del fondatore del pensiero politico con il territorio sancascianese A Sant’Andrea in Percussina l’intellettuale fiorentino costretto all’esilio dalla Repubblica fiorentina trascorse uno dei periodi più prolifici e rilevanti per la sua produzione letteraria nella villa di campagna Il convegno “Dalle antiche alle nuove ‘corti’ Machiavelli dai ‘castellucci’ di San Casciano all’epoca della comunicazione globale” in programma il 16 e il 17 novembre a Casa Machiavelli ambisce a riunire un gruppo di studiosi eminenti capaci di dare un esempio significativo delle novità emerse nella ricerca finalizzato ad informare dei nuovi aspetti della critica machiavelliana un pubblico più ampio possibile Il Comune di San Casciano getta dunque le fondamenta culturali per la creazione di una sede volta a promuovere la figura del pensatore Machiavelli e l’eredità che i suoi testi hanno lasciato alla società Il progetto è stato realizzato in collaborazione con il gruppo Giv il webmagazine del territorio del Chianti Classico WeChianti è un webmagazine quotidiano edito dalla società editrice chiantigiana ComuniChianti S.r.l., che edita anche i quotidiani on line Il Gazzettino del Chianti e delle colline Fiorentine e SportChianti storie dai comuni del territorio storico del Gallo Nero raccontate da giornalisti che vivono e lavorano nel Chianti (Registro Operatori della Comunicazione) n° 22870 – Registrazione Tribunale di Firenze n° 6058 del 6 luglio 2017 – Copyright 2012 © ComuniChianti s.r.l capitale sociale Euro 4.000 interamente versato – Codice fiscale/P.Iva 06295380486 iscrizione al Registro Imprese di Firenze n° 06295380486 Tutti i diritti sono riservati Articolo disponibile anche in: Inglese E’ un Chianti davvero inusuale quello che si scopre visitando la comunità Hare Krishna di Sant’Andrea in Percussina (San Casciano) ormai integrata da quasi quarant’anni nel tessuto sociale sancascianese e chiantigiano Molti li conoscono o ne hanno sentito parlare Quello che non tutti sanno è che al di là dell’enorme cancello d’entrata su via Scopeti si trova una comunità non chiusa in se stessa e schiva verso il mondo esterno aperta verso ogni tipo di credo e desiderosa di intessere rapporti duraturi con la comunità anche con coloro che non seguono la loro filosofia di vita costruita nel XVI secolo sullo stile delle ville medicee Parabhakti (presidente) della più grande comunità Hare Krishna in Italia attivo soprattutto in convegni sul dialogo interreligioso “Vengo da Torino con mio marito e da tre anni vivo a San Casciano – ci racconta Giorgia – Sono attiva nella comunità con le mie lezioni di yoga gestione degli eventi e dei canali social” “Mio padre è un monaco – ci spiega – quindi ho respirato questa filosofia di vita fin da piccola antichissima se si pensa che gli stessi libri sono scritti in lingua sanscrita e si basa sull’amore verso Dio e verso il prossimo attraverso una serie di rituali; come la recitazione dei Mantra nel nome della meditazione e della devozione” “Una cinquantina di anni fa – sottolinea Giorgia – il nostro maestro Bhaktivedanta Swami Prabhupada dall’India ha diffuso la coscienza di Krishna in Occidente traducendo i testi sacri e fondando ISKCON (l’Associazione Internazionale per la coscienza di Krishna) Presente oggi in moltissimi Paesi del mondo in questa comunità vivono i devoti che hanno scelto di vivere nel nome di Krishna Ma chiunque sia curioso di trascorrere una giornata insieme a loro lo può fare tranquillamente godendo della semplice spiritualità del luogo o seguendo anche i rituali giornalieri in un’area predisposta proprio per gli ospiti utilissimi alla comunità per il loro apporto in ogni attività che arrivano da ogni parte del mondo – ci dice Giorgia- e che arrivano qui con il cuore aperto liberi di fare una nuova esperienza perché non qui non c’è indrottinamento” Sicuramente hanno scoperto questo posto magico tanti sancascianesi che durante la settimana seguono le lezioni settimanali di Yoga (dell’amore e della devozione per Dio e per tutti gli esseri viventi nella vita) tenute da Giorgia grazie ai quali ciascuno può trovare la sua via per stare meglio con il corpo “Negli ottanta ettari di proprietà della villa – ci consiglia Giorgia – è anche possibile fare bellissime passeggiate in mezzo a piante secolari Anche perché proprio di qui passa la famosa Via Romea è possibile mangiare cucina vegetariana presso il centro Govinda della villa dove non manca mai il piatto tipico indiano E per finire tanti dolci fatti con il latte delle mucche del luogo All’interno della struttura anche un museo di opere sacre Insomma un luogo interessante dove ognuno può trovare In un mondo dove tutti siamo chiamati a conoscere meglio ed accettare il nostro prossimo può essere davvero una buona idea passare una giornata con gli Hare Krishna COLLABORATRICE - Scrive per WeChianti Il Gazzettino del Chianti e delle Colline Fiorentine SportChianti / AUTHOR - Writes for WeChianti CHIANTI VOLLEYBALL: Mazzinghi, Brogi, Vanni, Bigliazzi, Santagostino, Francini, Ermini, Verano, Bilancino. Coach Marco Lapi. THE CASTELFIORENTINO LILY: Tofanari, Barnini, Scardigli, Sani, Zingoni, Tofanari, Malatesti. Talluri, Del Carlo, Pratelli, Nicosia, Magherini, Picchianti, Anichini. Coach: Pietro Giacomo Buoncristiani. Articolo disponibile anche in: Inglese azienda di proprietà dell’Università degli Studi di Firenze siamo stati accompagnati facendo un tuffo nel passato e nel presente in quello che era un vero e proprio borgo rurale su una superfice di circa 300 ettari Un paesaggio rimasto invariato: sul crinale si può infatti godere ancora oggi del panorama impresso nei primi anni del ‘500 su una tavola del Maestro di Tavarnelle conservata nel museo Giuliano Ghelli di San Casciano La storia di Villa Montepaldi è molto antica Divenne proprietà di nobili famiglie; ceduta nel 1497 a Lorenzo dè Medici la trasformò in una fattoria modello composta da 54 poderi dove si produceva vino Tutto questo è poi proseguito nel corso degli anni divenendo una tra le tenute maggiormente produttive della Toscana Dal 1989 è di proprietà dell’Università degli Studi di Firenze che la impiega sia a supporto delle attività didattiche e di ricerca della propria Scuola di Agraria attraverso lo svolgimento di attività partico-applicative per gli studenti e di attività di ricerca e sperimentazione da parte dei docenti e ricercatori universitari sia per la produzione di prodotti agricoli di elevata qualità Tra cui vini rossi e bianchi del territorio a marchio Doc oltre ad olio extravergine di oliva Igp e Dop e a grani antichi trasformati in pasta artigianale con uno storico pastificio locale In una parte del terreno sono seminati anche appezzamenti di colture solo ed esclusivamente per lepri e fagiani: questo denota che non sono utilizzati prodotti chimici e che gli animali selvatici vivono come in un’oasi Passeggiando intorno alla Villa si notano gli antichi insediamenti delle famiglie dei mezzadri: ancora oggi rimane la struttura di un antico mulino e una vecchia fornace ma che fa capire quanto l’antico borgo fosse del tutto autonomo Addirittura si racconta che una volta la settimana vi si svolgesse un mercato dove Non possiamo non citare anche la presenza di un’antica tomba etrusca esplorata nell’800 che oggi sembra possa essere al centro di nuove ricerche Siamo stati accompagnati in questo viaggio dall’amministratore unico Simone Toccafondi direttore ed enologo interno; da Fabrizio Balò responsabile della parte agronomica; da Emilio Falsini Fino alla cena (preparata da Nicola della Biosteria Sbarbacipolla di Colle Val d’Elsa Federico di Villa Montepaldi) accompagnata da vini come: Tagliafune Chianti Classico annata DOCG che nasce sui terreni coltivati da Lorenzo il Magnifico; Tagliafune Riserva Chianti Classico DOCG Chianti Classico Gran Selezione DOCG prodotta solo nelle migliori annate; Ateneo Toscana Igt un bianco ricco di profumi di pesca e salvia Per poi finire con il Decano Vin Santo del Chianti Classico DOC E il San Pietro Vin Santo del Chianti Classico Occhio di Pernice DOC SportChianti / JOURNALIST - Writes for WeChianti Consumers got the chance to taste dozens of outstanding wines in Chicago, with upcoming … The owner of Stoller and Chehalem wineries was devoted to the future of Willamette Valley … Inside the first U.S. location of the French luxury retailer, guests can enjoy fine wine at … Phase one of the Viticulture and Winery Technology program’s new home, funded by a $10 … The Tuscan wine company has purchased a minority stake in Tenute delle Terre Nere; De … While the White House has paused tariffs on foreign wines at 10 percent for now, the trade …