visiting major cities including Rome and Florence We also planned a day trip to Venice.  My Armenian heritage is extremely important to me I investigated traces of Armenian influence we visited an Armenian restaurant called Ararat Restaurant & Wine Bar enjoying Armenian wine and cuisine in one of Italy’s largest cities.  I also discovered that there is an island off the coast of Italy called San Lazzaro degli Armeni it has had many acclaimed visitors such as Lord Byron who visited the island a few times a week for six months only a handful of monks live on the island requesting permission to join one of the monastery’s daily tours Venturing to the island requires one to board Vaporetto No sailing towards a slice of Armenian culture right off the coast of Venice who kindly showed us around the monastery and the accompanying church reveling in the architecture and beautiful scenery One particular highlight was the monastery’s manuscript collection it is one the largest collections of Armenian manuscripts in the world The first complete Armenian language dictionary was created on the island as well.  Many Armenians hold weddings at San Lazzaro degli Armeni celebrating their love on an island that exemplifies the longevity and resilience of the Armenian people The same week I visited San Lazarro degli Armeni an Armenian friend posted wedding pictures from the island to his Instagram story It was heartwarming to see so many Armenians congregate on the island in celebration of a new Armenian union.  Visiting San Lazarro degli Armeni was a touching and special experience I have moved across the country numerous times to pursue my studies in different states I spent my undergraduate years at Columbia University in New York and moved to the Boston area to start my studies at Harvard Law School I have received a warm welcome from members of the Armenian community visiting a new country and finding an entire island dedicated to the Armenian people reinforced the often cited William Saroyan quote: “Where two Armenians meet they make a new Armenia.” Our culture not only spans eons It is a privilege to be part of the Armenian diaspora While my ancestors were displaced by the Genocide I am consistently reminded that the Armenian community will be alongside me wherever I go — whether I’m in Boston or on an island in Italy I so appreciate reading about your visit here A family member who was a vartabed lived there and it therefore felt like ‘home’ and a safe place Author’s Note: Dear Readers: I have good news and bad news After 13 years of reporting on my travels to Armenian communities around the world I feel so privileged to have had the opportunity to write about my experiences The good news is that Asbarez is planning on publishing a book—a culmination of my stories I can still remember the day when it all began I was writing blog posts with the help of a friend It was she who suggested we start a column at Asbarez Soon after meeting with Editor Ara Khatchadourian which I’m thrilled to share—my report on Armenians in Italy I started to plan the trajectory of my journey One of the places that I wanted to visit in Italy was the Armenian Church in Milan I hit the internet to find out about the Armenian church in Milan I found an email address for the president of the Armenian Cultural House the “Casa Armena—Hay Dun.” Her name was Marina Mavian She said that in the months of July and August as there are a few people staying in Milan during that time She suggested another alternative: to visit the Armenian Mekhitarist Monastery of Vienna located on the San Lazzaro Island in Venice Marina graciously offered up her summer home in Venice My stay there coincided with the 81st annual Venice Film Festival or the “Mostra del Cinema,” which is held in Lido Island each year I’m very grateful for Marina’s generous offer in letting me to stay at her home and giving me the opportunity to enjoy Lido Island She also arranged a private visit to the Mekhitarist Monastery in San Lazzaro for me She was born in Venice to Armenian parents whose families had escaped the Armenian Genocide Her paternal and maternal grandparents were from Constantinople and Izmir Marina’s life story harkens back to a bygone era an Italian captain of the Royal Navy of Italy They moved to Venice where they had three children an Armenian whose family had narrowly escaped the Armenian Genocide He studied in Venice at the Armenian Moorat-Raphael College. Girair and Augusta had three girls At a young age Marina demonstrated a special talent for classical dance She was only 14 when she was accepted to the prestigious Teatro alla Scala she worked in Germany at “Deutsche Oper am Rhein,” in Dusseldorf is an accomplished artist who paints Christian motifs in the style of Byzantine Iconoclasm She also crochets and dabbles in other artforms Having maternal and paternal grandparents that were Armenian the Armenian identity was ingrained into the fabric of the Mavians’ lives as the three sisters were heavily influenced by Armenian culture and traditions while growing up in Lido I can boldly say that her Armenian heritage has shaped her.  With my stay on Lido Island coinciding with the 81st Venice International Film Festival the festival screened a documentary titled “I Will Take Revenge on the World Through Love – S The film, co-produced by Armenia and France while offering deep insights into today’s world This brings me to my main theme: Armenians in Italy There’s a good chance that you have heard about San Lazzaro Island and the Armenian Mekhitarist Monastery there it’s less likely that you know how it all started Marina had made arrangements to meet with an Armenian monk at the monastery so that he could provide information about the Island I took the public boat to San Lazzaro Island Let me begin to tell you about Armenian and Venetian relations Armenian merchants had started doing business there It was one of the early trading capitals of Europe It may come as a surprise to know that it is documented that Armenian merchants arrived in Venice around the second half of the 6th century relations between Armenians and Venetians continued to grow The first Armenian communities in Italy were formed in Venice during the 12th century when active trade was encouraged between Cilicia and Genoa treaties allowed Italian merchants to open factories and develop industrial businesses in Cilicia a small and thriving Armenian community existed in Venice a process of Catholicizing Armenians in Italy began That factor contributed to the assimilation of Armenians in that country.  I’d like to name one prominent Armenian in Venice—“Anton the Armenian,” who was a carpenter He is credited with the invention and construction of a special ship-mounted dredging machine designed to salvage sunken vessels and their cargoes from the waters controlled by Venice “Anton the Armenian” and his son fought alongside Italians in a number of naval battles against the Turkish fleet including the famous battle of Lepanto in 1571 Additional archived information says that Marco Polo started his long journey to Asia in 1271 from the ancient Armenian port of Ayas The port was located near the Mediterranean Sea in the Armenian kingdom of Cilicia (in modern day Turkey.) I’d like to add that the ruins of Ayas Castle still exist and often visited by tourists the first-ever book printed in Armenian was done so in Venice in 1512 that book is kept in a temperature-controlled glass cabinet inside the Island’s library The book is composed mainly of Narekatsi’s mystical prayers and remedies for the sick The prosperous Armenian community in Venice started to decline by the early 1600s there was also another important component of Armenian heritage The school was funded by two very wealthy Armenians from Madras India—Samuel Mooratian and Raphael Gharamian which was built in a spectacular Baroque style in 1690.  The palace had 20,000 square meter compounds which had ample space not only for classrooms but also a dormitory The school provided a secular education for Armenian boys who came to study from all around the world the school also followed an Italian curriculum It provided 45 scholarships per year to Armenian students in need of financial assistance which is associated with Lazarus the patron saint of lepers The Island was abandoned for centuries and was later given as a gift to the Armenians by the Venetian Republic I will by telling you about a boy named Mkhitar who was born in Sivas Mkitar was the son of a prosperous merchant His parents made sure he was properly educated so that he could succeed the family business Although his parents disagreed with his decision he joined a monastery in the Ottoman Empire Mkhitar realized that the state of monastic life was extremely low Mkhitar began seeking out different sources to learn the true meaning of leading a spiritual life He traveled to various monasteries and learned from different religious scholars who promised to teach him what he sought he felt that Italy would be the best place to immerse himself in the theological studies he longed for.  he was inspired to create a new religious order to raise the level of spiritual education for the Armenian people Mkhitar of Sivasfounded in Constantinople what would later become to be known as the Mekhitarists order which at the time was the name of the Republic of Venice the Republic of Venice gifted San Lazzaro Island to Fr They moved there and quickly began improving the island This hard-working monastic community has thrived there ever since the monks established a printing press on the Island and began translating manuscripts and books to Armenian.  culture and literature of the Armenian people they were training young men to begin their spiritual journeys the island is inhabited by 22 monks and is considered one of the world’s most important centers for Armenian culture History says that in 1797 Napoleon arrived in Venice with his Austrian Allies and effectively took control of the Venetian Republic thus ending 1,000 years of independence for the people of Venice.  Napoleon abolished several monasteries in Venice because he saw them as a threat to his power because he considered the monastery to be an academic institution There’s another theory that suggests that the Mekhitarist Congregation was left in peace due to intervention by Roustam Reza who was of Armenian descent and Napoleon’s bodyguard which declared that the congregation may continue to exist as an academy.  Since then San Lazzaro has also been known as an academy where young men can be trained to become priests the monks had another significant and important visitor The arrival of Lord Byron to the Mekhitarist Monastery has always been an intriguing theme for me Lord Byron was tired of the social scandals and a failed marriage He discovered the existence of the Armenian monks in Venice through a recommendation by a friend He visited the Island and immersed himself in the study and learning of the Armenian language As a “thank you” and repayment for the monks’ kindness Byron covered the cost of printing an Armenian/English grammar book He spent the winter of 1816 to 1817 studying Armenian and he was able to translate from Armenian into English a group of Armenians arrived at the Island They were inquiring about a tour of the monastery and museum.  Kechichian suggested that I join them and take the tour of the museum A docent directed the group into the museum/library short galleries that ended in a rotunda-style climate-controlled room The docent said that only 30 people are permitted into the museum at a time from the desk of Lord Byron to the paintings of Ayvazovsky The first item was a small children’s book It was about four centimeters thick and had some illustrations The book was in a locked case in the climate-controlled room The docent didn’t provide more information and didn’t accept any questions.  The second item was a pair of fancy women’s sandals made from real silver They were designed to be worn in “Hamam,” or Turkish Baths to prevent the water on the ground from touching the wearer’s feet—I may call them bathroom slippers with hills The third item was a tarnished bronze dagger I did some research online and found a blog post written about it who at the time was the most respected monk as well as a well-known poet and historian a note in Armenian says that the bronze dagger was a gift to Fr It is believed that the sword had been sent to the monk during the last two decades of the 19th century the note says that the weapon was found in the town of Kavak the dagger was recently spotted by a visitor of the museum who was an expert in ancient Near East weaponry. The visitor realized that the dagger looked very similar to weapons found in the 4th millennium B.C. A quick online search reveals that when the sword was analyzed by experts they found that the metal is arsenical bronze which means it has an alloy of copper-arsenic—often found in copper that was used to make bronze before the stronger alloy became the standard “[The dagger has] strong resemblance to the twin swords of Arslantepe have allowed the experts to determine that the sword dates back to around the end of 4th and the beginning of the 3rd century b.C. as well as confirming its affinity to a very rare category,” reads the blog post When our boat initially anchored at San Lazzaro Island Mkhitar Sebastatsi on a pedestal under the shadows of trees about 100 feet away I thought it was a wonderful way to welcome visitors I had been to San Lazzaro Island once prior to my current trip The only thing I could still recall was that round recorded the things that I had heard and seen I’d like to wrap up my report on San Lazzaro Island with the following news: the National Chamber Orchestra of Armenia delivered their first European concert at the Mkhitarist Monastery on San Lazzaro Island This was the first orchestra performance ever held on this iconic island The concert was a premier to a European tour Maestro Olah and the National Chamber Orchestra of Armenia offered a memorable tribute to the spirit and legacy to French-Armenian composer Charles Aznavour and Armenian composers Komitas, Tigran Mansurian and Robert Amirkhanyan.  The European concert series was a resounding success uniting Armenian music and its heritage with audiences across Europe After spending three wonderful days on Lido Island with Marina I continued my journey to Rome. Marina called a taxi to take me to the port of Lido where I took a water taxito “Santa Lucia”station I had made a prior reservation to take the train from Santa Lucia to Rome Both the Santa Lucia train station and the station I arrived to in Rome looked pristine as though they had been recently renovated I should say it was a far cry from my last visit in 2009 the taxi services area was quite organized and I was able to quickly find an air-conditioned taxi to take me to my Airbnb I observed a shift in Italian culture this year the atmosphere looked orderly and organized and it felt much less chaotic than my last visit I had the opportunity to wander in the interlocked streets of the “Eternal City.” However all I could do was stay at my Airbnb room—sitting next to a huge fan and writing.  On the street corner of where I was staying there was an outdoor restaurant that was open during the evening I dined there a few times and truly felt the Italian hospitality the restaurant offered a small free shot of Limoncello I also had the opportunity to visit the Vatican where Marina had arranged for me to meet with Robert Attarian Attarian works there as a correspondent for Vatican Radio It’s not often that one has the opportunity to meet with someone who works at the Vatican I was truly delighted when Maria told me that she had arranged for us to meet I left my room and walked to the Vatican to meet with Attarian with the aim of connecting the Vatican with the Catholic world producing updates on culture and entertainment The official broadcasting service of the Vatican has a staff around 355 people massive building within a short walking distance from St Vatican Radio produces more than 42,000 hours of simultaneous broadcasting The programs are produced by over 200 journalists In 1966, Cardinal Gregor Petros Agagianian, put a lot of thought and effort into creating an Armenian section in Vatican Radio Attarian and a small group of Armenians collaborate to prepare news and manage the Armenian office at Vatican Radio visit Vatican Radio and learn a little bit about their operations and Armenians in Italy He was 18 when he came to Rome to study philosophy and theology at the Levonian Seminary The Seminary was built in Rome by the order of Pope Leo XIII in 1883.  The Seminary is located next to the historic San Nicolas da Tolentino Church the church was gifted to the Armenian community by Pope Leo XIII I had the opportunity to attend the Devine Liturgy of that Armenian Catholic Church where they offered coffee and sweets to the parishioners The church’s architecture was majestic and magnificent inside and out It was hard to believe that it belonged to us a memorial plaque was installed on a wall at the courtyard of the church by the municipality of Rome A garland of fresh flowers was hung underneath the plaque dedicated to the victims of the Armenian Genocide has also been installed at the grounds of the seminary there’s also an order of the Armenian Apostolic Church in Rome.  the Vatican has granted the Armenian Apostolic Church permission to hold Devine Liturgy services at the San Biagio cathedral in Rome the parish is served by two young and dedicated priests: Fr I had the opportunity to chat on the phone with Anush Torunyan an active member of the Armenian community in Rome She shared details about the Apostolic Parish and the Armenian Community of Rome’s cultural association The Apostolic Church in Rome aims at preserving the identity of the Armenian community there offering not only spiritual support but also conveying knowledge about the history of the Armenian Church as well as about Armenian culture and traditions.  Armenian folk-dance lessons are held for community members cultural events that involve the local youth are organized during religious holidays the association works to preserve the Armenian identity while simultaneously promoting the history and culture of Armenians in Italy.  This endeavor is achieved through organizing conferences and book presentations in collaboration with cultural institutions in Italy The association also supports and promotes the activities of up-and-coming Armenian artists residing in Italy The Assoarmeni works with Armenian community organizations in Italy to raise awareness among the Italian political world and civil society about the humanitarian issues that Armenians are facing the Council for the Armenian Community of Rome launched the “Memoria 100” campaign The project’s aim was to raise genocide awareness among local governments throughout Italy the Council of the Armenian Community of Rome sent a letter to the major Italian municipalities and attached a sample of a basic resolution urging with representatives to present the resolution at an assembly session and to submit it for evaluation and subsequent voting by those present there is considerable evidence of a long-standing presence of Armenians in Italy today the number of Armenians have decreased These Armenians are spread throughout the cities of Rome While I was doing research on Armenians in Italy I came across recent news about a marble khachkar—typical Armenian medieval art—which was spotted in the Vatican Museums The khachkar was erected by the Armenian community of Rome in 1246 new research has revealed that the khachkar came from the monastery of the Holy Apostles of Mush I conclude not only my report of Italy but also my travels to Armenian communities in the diaspora which I have undertaken since 2011. I hope you’ve enjoyed the stories—blended with insights Thank you for coming along for the ride and joining me in my journey Catherine Yesayan is a regular contributor to Asbarez, with her columns appearing under the “Community Links” heading. She can be reached at cyesayan@gmail.com © 2021 Asbarez | All Rights Reserved | Powered By MSDN Solutions Inc © 2021 Asbarez | All Rights Reserved | Powered By MSDN Solutions Inc. as if flesh could defend the stone and overcome time.” Perhaps this expression left to us by José Saramago in his Journey to Portugal is among the most poignant and evocative passages of a relationship between the individual and the bricks and rock that make up the vestiges of the past I have always thought that these words could have been quietly uttered by a Livorno retiree admittedly little more than a pile of bricks of a watchtower in the lazzeretto of San Leopoldo in Livorno.Mazzoni’s life has somehow been marked by the presence of those corroded stones not only today that he is a frequent visitor to the beach where the tower stands known as the “Scogli dell’Accademia,” named after the Naval Academy that since the late 19th century has insisted on the spaces that were once the maritime health facility several episodes in his family history are linked to those bricks so much so that he decided to allocate part of his savings from his metalworker’s pension for the restoration of the tower But making his wish come true was not easy: Mazzoni in fact found many closed doors until his request was advocated by the Committee “The Forgotten Jewel,” which over the years had been campaigning for the recovery of important monuments such as the Crypt of San Jacopo and the Statue of Peter Leopold by Domenico Andrea Pelliccia The committee’s experience was instrumental in juggling bureaucracy if it could not restore the structure to its original appearance by raising the collapsed top part aimed to consolidate it to prevent future new collapses But what makes this operation important is not so much the intimate and personal story of Alberto Mazzoni but the possibility of having ensured the preservation of a trace of the past The tower of which virtually all memory had been lost is valuable evidence of the fourth and last of the lazzeretti with which the city of Livorno was endowed structures necessary to attempt to stem the plagues that spread through ships was equipped with walls and protective towers named after thaumaturgic saints or saints with ties to the locality and among these appeared the tower of San Lazzaro the only one that was preserved after the bombings of World War II the structure that escaped the damage of the conflict is cloaked with an additional value an iconographic importance that was carved out for it by the thriving cadre of artists of the Labronica school The initiator of this interest was probably the post-macchiaiolo master Mario Puccini The Leghorn painter in his work had always opted for unusual iconography as pointed out by Giorgio Mandalis in the catalog of the exhibition dedicated to the artist held in 2021 at the Museum of the City of Leghorn had always stayed away from the most characteristic views of the city while curious is the attention the painter turned toward the lazzeretto perhaps drawn to its geometries as a professor of technical drawing Puccini evidently had a soft spot for the melancholy lazzeretto where the wall and towers give rise to solid whose warm rock gives unexpected chromatic effects silhouetted against the skies of Livorno and lapped by the sea recalled the works Puccini created for Caffè Bardi a historic artists’ hangout active in the early decades of the 20th century produced “views of Livorno: seascapes with sailboats and barges makes a grand scene of his beloved lazzeretto showing off in large a synchrony of reds and blues that warms all the dark surroundings of the café with sunshine,” and again in another passage Lloyd speaks of this Puccinian infatuation: “He stops behind the Lazzaretto towards sunset corroded and worn by the saltiness of the Medici fortress.” This is a tangible sign of how Puccini’s passion for the lazzeretto certainly should not have been a mystery to his contemporaries Probably the tablet titled The Lazzeretto of Livorno is the oldest one that has come down to us dedicated to the maritime health structure Through a perspective typical of Puccini’s with a bold foreshortening from below upward the painter paints the low cliff jagged with red and brown tones a texture interrupted only by the ’emergence of the bare board and a few pools of saline water; above it rises the imposing bulk of the lazaret wall which goes to integrate by the chromatic solutions chosen From behind the walls barely peeks out the summit part of the keep of San Rocco the round tower placed to protect the entrance to the little harbor of the lazaretto and just above it a small handkerchief of burning sky To the same years is probably also to be traced a work with which it shares the palette and also a certain pictorial texture The wall of the ancient lazaretto of Livorno The foreshortening presented is slightly varied: here the perspective is not barred by the massive wall then placing our very turret in the center of the composition The composition is divided into two partitions the one on the left where the clear blue of the sky meets that of the sea and the red and brown tones of the turret and its respective wall that are integrated with the cliff on the lower right The result is a less stuffy and pressed scheme than in the previous work Mario Puccini dedicated many other pieces to the lazzeretto but perhaps the most famous are the panels created for the Caffè Bardi These are works of uncommon size for Puccini’s production: Il Lazzeretto (Boat with fisherman seated from behind) and Il Lazzeretto (Boat with boy standing) unless works held in private collections in the future refute this thesis that Puccini was the first among Leghorn artists to turn his attention to the lazzeretto and certainly the one who set the most paintings there was elected as the point of reference for an entire generation of artists who saw in him the continuer of the tradition begun by Giovanni Fattori the Labronico Group was formed in his honor which initially should have been called the “Mario Puccini” group Puccini’s death also witnessed a new critical analysis of the artist: an article by the powerful critic Ugo Ojetti aimed at exalting the figure of the artist was published in the “Corriere della Sera”; and then several of his works appeared in various exhibitions This new exhibition fortune that invested Puccini’s production together with the role that Leghorn culture was carving out for him in the local pictorial legacy probably prompted more and more artists to measure themselves against the subject of the lazzeretto But of all the iconographies indicated by Mario Puccini it would seem that one in particular has entered the cultural carrier of more than one generation (moreover the one with which Puccini was confronted with only one piece): it is the turret of San Lazzaro eternalized in the painting Il muraglione dell’antico Lazzeretto in Livorno would have been painted several times by Livorno painters preferring it instead to the more characteristic keep of San Rocco What is the reason for this iconographic success we can only speculate A choice perhaps dictated not only by orientations of taste Of all the views of the harbor health structure only Il muraglione dell’antico Lazzeretto in Livorno would have had any prominence in the years immediately following Puccini’s death the painting was exhibited in 1922 in the V Mostra del Gruppo Labronico and in 1930 in the Centenary Exhibition of the Società Amatori e Cultori di Belle Arti held in Rome precisely in conjunction with the Gruppo Labronico exhibition the work also rose to prominence in the print media thanks to the interest of Campania critic and man of letters Gino Saviotti who wrote about it several times in “Il Telegrafo” and the magazine “Pagine Critiche.” A few years later Mario Tinti also included the work in his publication dedicated to Puccini more and more artists pushed themselves to confront this emblematic work by the great painter There is an endless number of works dedicated to the same subject by even very different artists more faithful interpretations alternating with more original works good paintings and stereotypical reproductions Among the oldest is perhaps that of Gino Romiti Romiti replicates the foreshortened view of the San Lazzaro turret preferring Puccini’s usual perspective The result is a painting that is less expressive and laden with ominous foreboding with no unexpected coloristic suggestions to give it a more earthy reading closer to a simplified Factorian verbiage of which Romiti had been a pupil and of which he had become one of the greatest interpreters Divisionist Benvenuto Benvenuti also confronts Puccini’s legacy in the operas Tramonto and Notte al lazzeretto the one most faithful to the primitive model he sets his work in a gray night interspersed with small blue filamentary brushstrokes of a Divisionist matrix while the stones that make up the turret and the wall are scratched by a tangle of multicolored graphic signs also found in the rocks captured when the now waning sun is perfectly in axis with it The fiery star is the center of the composition The painter Renuccio Renucci repeatedly reiterated paintings with views of the lazzeretto and in particular of the tower of San Lazzaro in compositions that were sometimes larger We know of at least six works with the same subject yet never repetitive: Renucci captures the tower at different times of the day crystal clear days alternating with cloud-laden nights or afternoons where the wind rages the sea the artist adapts the pictorial register with the changing temperament of the painting offers an almost intimate synthesis of the landscape The certainly lesser-known Gino Centoni gives a more rambling and pastel reading of the turret while Carlo Domenici returns to models more in keeping with a late naturalism The artists of later generations were not exempt from the fascination with the subject of the San Lazzaro turret and although perhaps the confrontation with this Puccinian iconography lost those characters of systematicity that the artists of the first Labronian Group had paid tribute to it it had nonetheless been assimilated into the heritage of images and views of the Labronian pictorial tradition In the second half of the twentieth century up to the present day some painters have continued and still continue to deal with the foreshortening bequeathed by Puccini to determine whether the will and awareness to pay homage to the old master’s tradition with this pictorial foreshortening is also present in later artistic generations or whether the choice is not due to the fact that the veduta has now entered the common imagination Among them are painters of even very different qualities but united by a very local penchant for figurative landscape painting Of some interest are those left to us by Giorgio Luxardo unlike the still landscape so far analyzed in the works of the other painters His warm-colored paintings show us the tower of San Lazzaro now stumped the much larger composition no longer places the focus on the architectural bulk of the turret and the walls but they become part of the background of picturesque seascapes It is no coincidence that even the name by which these works are known no longer bears reference to the lazzeretto and its tower but instead to the toponym by which this place is known and frequented by bathers today namely “cliff (or rocks) of the Academy.” These are just some of the passages identified starring the tower of San Lazzaro and published in the writer’s book entitled La Torretta di San Lazzaro The Lazzeretto of San Leopoldo in Leghorn Painting wishing to draw a parallel that seems fitting to us the tower of San Lazzaro stands to Puccini as the splendid tamarisk of Antignano eternalized by Giovanni Fattori in the painting la Libecciata stands to the progenitor of Leghorn painting Both were masters and references for entire generations of artists both linked their legacies (at least in the local sphere) to these respective views until they became acquired images of an indigenous tradition Why then both subjects had luck as pictorial testaments of the two masters, we can only speculate, but in this regard the words used by Federico Giannini, editor of this newspaper, in an article devoted to Libecciata like a self-portrait.” Here I believe that a not dissimilar speech can also be spent on Il Muraglione del Lazzeretto a painting by Mario Puccini and the tower of San Lazzaro that is its main subject At the end of this certainly not brief digression on the turret one will then understand the importance of having safeguarded that pile of bricks which when properly read show themselves in their value as an important testimony of the past and a monument made iconic by the painting that artists have recorded in different epochs and different light and climatic conditions I believe that perhaps the ideal approach to not losing all this is to follow that path already indicated by Tomaso Montanari when about cultural heritage he writes to “look at the stones and see not the stones but the people.” Both in the Under 15 men's field and in the Under 14 women's field the technical level of the participating teams has offered spectators hard-fought and high-quality matches with moments of great enthusiasm on the parquets of Furla and Pertini so far it is theSKM Vilnius (Lithuania) impressed with intensity It should be remembered that Vilnius-BSL was also last year's final who won by 2 on Thursday against the Croatians from Sibenik and the same Croatian team that yesterday beat Virtus Bologna 70 the 62 the Slovakian team stands outMBK Ruzomberok and the Italian formation of the Chili Basket thanks to the project 'Whoever hosts plays' with Bolognese families welcoming young foreign athletes into their homes The grand finale is set for tomorrow at PalaRecord with the competitions that award the title and the prize-giving of all the teams and the best athletes Updated results on the site: https://www.daimiloptu.com/2025/ Picture: ShutterstockBy Donna PageUpdated April 8 movie stars and photographers for centuries Once a collection of humble fishing villages dotting the coastline the region has evolved into a clutch of glamorous cliff-perched resort towns All articles from our website & appThe digital version of Today's PaperBreaking news alerts direct to your inboxInteractive Crosswords Sudoku and TriviaAll articles from the other regional websites in your areaContinueWeaving along the hairpin twists and turns of the narrow serpentine coastline to our farmstay it's easy to see why the Amalfi Coast is one of the world's most photogenic places And when I step out of the airport transfer van in Agerola it's to views of a wide-green plateau nestled in the Lattari Mountains which is known to the locals as Little Switzerland The fresh mountain air hits me straightaway This is a place where phone reception is non-existent which is a radically different way to experience life on the Amalfi Coast During an eight-day Explore Worldwide walking trip we stay at Luna d'Agerola It's a small working farm that doubles as accommodation under the "agriturismo" system introduced in the 1980s as a way of saving Italy's struggling farming sector Agriturismos have become increasingly popular for those on a budget and ours is just a three-minute walk to the sleepy Picture: Donna PageThe farmstay itself is small and intimate with just 11 rooms each with a bathroom but no internet access The farm is run by brothers Ferdinando and Valentino and their sister Giovanna whose passion for baking cakes comes in handy when it comes to taking snacks to enjoy along the trails The family's dog Veha is also great company and unofficially joins us on an afternoon forest walk one day Agerola is crossed with 60 kilometres of trails that make for memorable walks and hikes; the most famous is the aptly named Sentiero degli Dei which is considered one of the best coastal day walks in the world which makes me think that we are onto something one of the best ways to experience the Amalfi Coast my husband and I are among the youngest in the group of 15 Many of the others have hiking poles and boots which prove great for the steep terraces and terrain that can be rough as we discover on a series of walks that range from five to 13 kilometres Our first morning walk takes us through sleepy San Lazzaro across the Agerola Plateau to the neighbouring village of Bomerano Tackling the uphill is enough to raise the heart rate but the pace is steady and the views are even more breathtaking combined with expanses of blue sky and cliffs creating a kaleidoscope of colourful scenery Picture: Donna PageAs we hike across a small waterway and I ask him if the views are still impressive after years of working in the area "Now I just look because that's how you really get to see." Especially in a time of social media oversharing too many people are seeking the perfect photo and miss what's around them I look over at a woman flicking through images on her camera and I slip my phone into my back pocket and thank Peter for the advice The next day we catch a public bus to the bustling tourist port of Amalfi and head uphill to the town of Ravello We walk past the awe-inspiring Sant'Andrea cathedral and up hundreds of stairs high into the hinterland where Ravello's mediaeval cobblestone streets and fragrant gardens make for a leisurely lunchtime stroll compared to the crowds associated with the nearby towns of Positano and Amalfi More than five million tourists visit the Amalfi Coast each year most during the busy season that runs from March until the end of October In the afternoon we stop for a well-deserved swim at Amalfi's main beach where rental lounges stretch to the high-tide line While diving into the water is a welcome relief the pebbles are hard going on the feet and the steep drop-off requires some in our group to use a well-placed rope to pull themselves from the surf to avoid the shore dump Picture: Donna PageThere are seafood restaurants behind the beach and plenty of drinks on offer but a hearty home-cooked Italian meal at the agriturismo is calling our group That night the dining room buzzes with the excited energy of strangers bonding over a shared physical challenge and getting to know each other An early start the next day sees us back in Amalfi for a day trip to the small glamorous isle of Capri which begins by ferry We stop along the way at the picture-perfect port of Positano Approaching from the sea provides a stunning view of the colourful resort town with hotels and cafe terraces clinging to cliffs Popular with daytrippers and jet-setter types who holiday here Capri is packed with bustling crowds of tourists high-end stores and a huge array of restaurants with uninterrupted coastal views we climb through the steep medieval town to the highest point to the ruins of Villa Jovis Picture: Donna PagePeter has been keeping a close eye on the weather and tells us on the way back to the mainland that he is rearranging the days' walks accordingly He's aiming for the clearest day for the highlight of the trip The ancient trail winds its way through the hills between the villages of Bomerano and Nocelle "Oh my God," says fellow Aussie Mandy as we reach the coastline to behold a view of scalloped bays and water that appears to be twinkling beneath a vast blue sky "I think that may be the most beautiful thing I've ever seen." Explore Worldwide's eight-day Amalfi Coast Walking - Agriturismo tour includes activities, a tour leader, accommodation, select meals and some transfers from $2890 per person. exploreworldwide.com.au The writer was a guest of Explore Worldwide ShareTravel's Top PicksHungry TravellerThe West Hollywood power move isn't booze - it's a healthy breakfast by the poolCelebrities are flocking to it in big numbers. ReviewTucked away in Byron Bay, this stylish stay offers more than just good looksYou'll experience a sense of calm from the moment you arrive. A new cruise ship has scored pole position at the famous Monaco Grand PrixThe glamorous vessel will be used as a floating hotel. Ditch airport dramas in the UK by travelling by train - here's a guideTurn up the bliss factor by swapping flights with rail journeys. In southern Spain time slows down - and the tapas keeps comingSlow travel is on the rise; here's where to experience it By Toronto has its fair share of Italian sandwiches but a new player just arrived on the scene Ariete e Toro makes sandwiches using artisanal schiacciata It gets its name from the way it’s made loosely translating to “squashed.” Ariete e Toro roughly translates to Aries and bull perhaps indicating the astrological star signs Aries and Taurus Sandwiches are pretty pricey at $17 to $19 but they’re made with premium ingredients and of course Ariete e Toro’s signature sciacciata A post shared by Ariete E Toro (@ariete.e.toro) There’s the San Lazzaro with 16-month-aged prosciutto di Parma the Al Babbo with smoked turkey and truffle mostarda You can also build your own custom sandwich with options for ingredients like mortadella A post shared by Ariete E Toro (@ariete.e.toro) Ariete e Toro serves equally high end Italian sodas San Pellegrino Niasca Portofino and Stappi in classic varieties like limonata Ariete e Toro is now open at 12 Keewatin Ave This website is using a security service to protect itself from online attacks The action you just performed triggered the security solution There are several actions that could trigger this block including submitting a certain word or phrase You can email the site owner to let them know you were blocked Please include what you were doing when this page came up and the Cloudflare Ray ID found at the bottom of this page 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 Digital access for organisations. Includes exclusive features and content. See why over a million readers pay to read the Financial Times. We stepped into the water taxi at dockside, just a block away from Venice’s lively Piazza di San Marco. Some other passengers climbed aboard, and the noisy vaporettoset off across the tranquil water. Twenty minutes later, we were deposited at San Lazzaro Degli Armeni, a tiny “Armenian” island in the middle of the Venetian lagoon. A few seconds after we disembarked, the boat sped off, and rather suddenly we were enveloped in silence. It was as if we had been transported to another world. My first impression was a feeling of serenity, stillness, and solitude, a world far removed from and far different than the noisy bustling city we had left behind moments before. Mekhitar was born in 1676 in Sepastia, a city in Western Armenia with a large Armenian population. As a young man he desired to devote himself to the service of our Lord and sought higher education for this purpose. He travelled widely seeking enlightenment, finally reaching Constantinople, which at that time was the center of Armenian life in Turkey. The suffocating despotism that prevailed in Ottoman Turkey in those days, however, proved to be a major obstacle. Sensing he would be unable to achieve his aim in the capital city, Mekhitar converted to Roman Catholicism and left Constantinople for the Morea (the Peloponnesian Peninsula), which was then under the control of Venice. He gathered around him a group of nine like-minded young men and in 1701 founded an order of monks following the Benedictine model. Just as he began his teaching mission, the Turks overran the Morea (1715) forcing Mekhitar and his followers to flee to Venice. In Venice, the beleaguered abbot appealed to city authorities for assistance. In 1717, the doge of Venice granted the order, in perpetuity, a tiny uninhabited island in the lagoon. At one time, San Lazzaro had been home to a leper colony, but had long since been abandoned. A church and a few buildings on the island lay in ruins. Dr. Levon Saryan has been writing for the Armenian Weekly for 40 years. He lives in Greenfield, Wisc. Dr. Saryan, we are doing the reverse cruise of yours and will visit San Lazzaro on Sunday, Oct. 2, 2011. Is there a way to contact them? Your articles make us anxious to see their treasures and experience the island. Thank you for that! Your email address will not be published. Required fields are marked * Δdocument.getElementById( "ak_js_1" ).setAttribute( "value", ( new Date() ).getTime() ); The Diaspora has a voice. We are delivering it. The Mekhitarist Congregation is a unique institution in our Armenian reality and has played an enormous and thoroughly positive role The twin monasteries (Venice in Italy and Vienna in Austria) have long been the leading outposts of Armenian culture in Europe Although (as Roman Catholics) they have been dismissed by some Armenians,1 the Mekhitarist contribution to Armenian letters and scholarship and antiquarian studies over the past three centuries has been tremendous2and is worthy of our everlasting respect The reputation of the Mekhitarists for their humility and pious scholarship soon attracted the attention and curiosity of learned Europeans The monks responded to this interest with enthusiasm supplying the literati with information about Armenia and its many-faceted heritage in the Italian when Napoleon was ordering the dissolution of monastic institutions a specific exception was made for San Lazzaro because of its status as a cultural and scientific academy such as the famous British poet Lord Byron and noted American writers Henry Wadsworth Longfellow and William Dean Howells One hundred and ninety years before our arrival the youthful poet had also sought solace on this island Already a celebrity and widely popular in England Byron was compelled to flee to the continent when his numerous amorous affairs became hopelessly entangled which was then one of the cultural centers of Europe There he became acquainted with the Mekhitarists and learned from them the secrets of Armenia’s language and history “By way of divertisement,” wrote the dashing young bard in a letter dated Dec I found that my mind wanted something craggy to break upon; and this—as the most difficult thing I could discover here for an amusement—I have chosen and would amply repay any one the trouble of learning it.”3 Byron immersed himself in Armenian studies rowing each morning to the island in a gondola for his lessons He found the Armenian friars exceptionally friendly; for about four months and he collaborated with them on literary projects Byron may well be the most famous of the island’s countless visitors You might think that the poet is still here putting finishing touches on Canto IV of “Childe Harold’s Pilgrimage,” even though he last set foot on the island almost two centuries ago “Byron’s spirit haunts the island,” wrote James Morris in 1960,4 and this statement remains as true today as when he wrote it The room where Byron studied is maintained untouched; a memorial to the bard is erected on an exterior wall near the entrance; his manuscripts and his pen are preserved; a beautiful painting of the poet in oil hangs in the monastery corridor; and his portrait and quotes from his letters are printed in every published guidebook to the monastery with every other traveller—with the society of the Convent of St which appears to unite all the advantages of the monastic institution and the virtues of the brethren of the order are well fitted to strike the man of the world with the conviction that there is another and a better even in this life.”5 Byron’s view of the fate and future of the Armenian nation formed during his brief stay on the island he expounded on Armenia’s history: “It would be difficult to find the annals of a nation less stained with crimes than those of the Armenians But whatever may have been their destiny—and it has been bitter—whatever it may be in future their country must ever be one of the most interesting on the globe; and perhaps their language only requires to be more studied to become more attractive.”6 Mekhitar planted the seed of a movement that lasted well past his earthly life He was followed by a legion of successors—scholars such as Father Harutiun Avkerian (Paschal Aucher and especially poet and historian Father Ghevont Alishan an erudite compendium of the history and lore of Cilician Armenia remains unequalled for the breadth and depth of its coverage Alishan was one of the most remarkable figures of the 19th-century Armenian renaissance yet he spent almost his entire life here on this tiny island Catholics and Protestants were considered a threat to the Armenian Church and looked down upon by some narrow-minded persons.  Thankfully The Mekhitarist Contributions to Armenian Culture and Scholarship (Cambridge Byron carried on a voluminous correspondence with his publisher and biographer in England.  His collected letters were published shortly after his death.  For excerpts from these and related writings iv-vi.  The same quotation appears on the monastery’s exterior wall Levon Saryan has been writing for the Armenian Weekly for 40 years I have been to San Lazzaro and the Mekhitarist priests deserve all our collective respect and appreciation Indirectly they have even helped my siblings’ and my primary education I am a former seminarian and a permanent son of Mekhitarian’s Besides it’s cultural value Mekhitarians are essential for their Christian faith and its teaching. Among many important and famous Mekhitarian fathers is Father Sahak Chemchemian, the mastermind behind “Bazmavep “and my spiritual guide Mekhitarists are an Armenian national treasure Antoine I am heading to yerevan this friday for 4 days  In the endnotes (1) there seem to be an oversight where the source is not noted According to whom the [Armenian] Catholics and [Armenian] Protestants were looked down upon I know the [Armenian] Protestants don’t like to be referred to as “Protestants” Saryan that they are indeed Protestants as their church was founded by an Armenian Orthodox (Apostolic) priest who left the church “protesting” and establishing his Evangelical church It is a great article.  Indeed the Mekhitarist Brothers in San Lazzaro are Armenian treasures along with the well known Armenian poet and historian Hayr Ghevont Alishan Due to a persistent fog that enveloped the city and lagoon our cruise liner was unable to dock in the morning as scheduled and thus our visit to the island was hurried But the delay brought an unexpected blessing whom I immediately recognized as Mekhitarist fathers Shirley and I introduced ourselves to Father Yeghishe Joulian and Father Krikor Mikaelian who became our travelling companions on the short boat ride to the island The two fathers were returning to San Lazzaro from a funeral that had taken place in the city earlier in the day.1 Both men were originally from Syria (Father Yeghishe from Damascus and Father Krikor from Aleppo) and had grown up in Armenian Apostolic households Father Krikor was visiting Venice for a short break from his teaching duties in Javakh (an Armenian district in the Republic of Georgia) Father Krikor gave us a personal guided tour—the one reserved for Armenian pilgrims he explained; non-Armenian tourists get an abbreviated version leaving us only 10 minutes in the monastery’s bookstore and souvenir shop We viewed the specially constructed climate-controlled library housing the monastery’s priceless manuscript collection (over 3,000 complete volumes and about 2,000 fragments the third largest gathering of Armenian manuscripts in the world) and a vast library of Armenian and European printed books and periodicals There is a an impressive collection of paintings by Armenian and Italian artists as well as “Justice and Peace,” a magnificent painting by the Venetian master Tiepolo richly adorned with mosaics and stained glass art work We stepped into the refectory with its beautiful painting of “The Last Supper” occupying every square inch of an entire wall There are portraits and busts of Mekhitar and Gomidas Vartabed colored ceramic ware inscribed in Armenian silver liturgical vessels and artifacts with Armenian inscriptions The only disappointment was that the important collection of ancient coins We walked around the beautifully kept grounds we saw a large bronze statue of Mekhitar on a pedestal with arms outstretched welcoming visitors to the island an ancient carved Armenian stone khatchkar in dark gray basalt presented to Venice by Catholicos Vazken I and finally the pantheon where the remains of Alishan and other luminaries of our national culture lie in perpetual repose.2 We reluctantly took our leave with instructions to meet Father Levon Zekiyan in Venice proper where he is a professor of Armenian literature and culture at the University Ca’ Foscari I knew Father Levon from our first meeting at the Armenian Linguistic Symposium in Yerevan in 1987 He led us to a little restaurant in the Dorsoduro section of western Venice where we enjoyed a wonderful meal washed down with a liter of excellent red table wine and Pellegrino sparkling water No topic would have escaped our animated conversation if only we had had more time We dissected the current state of Armenian studies in the United States and Armenia (including the work of several individual scholars); we compared the evolving situation in Yerevan in 1987 and 2006; we critically evaluated the successes and failures of our generation; we pondered the significance of the liberation of Artsakh and Vaikunik; and we contemplated the task of building and rebuilding Armenia that will confront the next two generations it must be mentioned that this tranquil refuge in the middle of the lagoon is no longer the active place it once was even a generation or two ago The congregation fell on hard times in the 1980’s when an investment scandal plunged the order into financial crisis Even more troubling were the consequences: The monks were forced to close many schools as well as their printing press which at one time was one of the most advanced in Italy As the material world encroaches on the new Armenian generation fewer novitiates are entering the monastic ranks A bright spot appeared a few years ago when the Venice and Vienna branches patched up their differences (of more than two centuries duration) and reunited But the outlook for the congregation remains uncertain Shall we allow this venerable Armenian institution that has so ably carried the torch of Armenian Christianity and enriched our people so greatly Have Venice and Vienna lost their importance now that we have an independent Armenia A strong argument can be made that the manifold treasures of the Mekhitarists should not be permitted to pass into non-Armenian hands But just as San Lazzaro should be preserved for the sake of its priceless ancient artifacts it is even more important that we find ways and means to enable the Mekhitarists to continue and expand their noble mission of educating and enriching the minds of generations of Armenians yet to come Armenians are still in need of enlightenment and knowledge just as they were three centuries ago when Mekhitar founded the order We were in need two centuries ago when Byron visited the island We were in need a century ago even as Armenians were fleeing to foreign lands for safety in the aftermath of the 1915 genocide even though we have an independent Armenia the need for devotion to authentic Armenian values and traditions is even greater now but for me it was a microcosm of my own story It started out slowly; we were anxious to begin but were delayed by circumstances beyond our control and to us were opened all of the treasures of our ancient heritage took stock of our accomplishments and disappointments Everyone we met at San Lazzaro embodied the Christian ideals of humility and love fused with devotion to Armenia’s rich heritage just as they were taught by their illustrious founder three centuries ago Visitors will be interested to learn that an Armenian alley and an Armenian church (Santa Croce degli Armeni) are located in Venice proper The Armenian community of Venice dates to the 12th century when merchants from Cilician Armenia settled in the city The first Armenian printed book was produced in Venice in 1512 two centuries before the arrival of Mekhitar and his followers The story of San Lazzaro is summarized in two guidebooks available in the souvenir shop: C San Lazzaro Island: The Monastic Headquarters of the Mekhitarian Order (Venice     I have been trying to make contact with the San Lazzaro monastery in regards to studies done on their Egyptian mummy but it appears that the Mekhitar.org website no longer exists and the mekhitar@inco.com.lb email is no longer viable the only contact information I have for the monastery is for the late director Would you be able to steer me in the right direction You find updated information on http://www.mechitar.org/ Simply mail to info@mechitar.org or call +39 041 5260104 to get into contact Δdocument.getElementById( "ak_js_1" ).setAttribute( "value" your new go-to podcast to spice up your weekday mornings with relevant news and behind-the-scenes from Brussels and beyond From the economy to the climate and the EU's role in world affairs this talk show sheds light on European affairs and the issues that impact on our daily lives as Europeans Tune in to understand the ins and outs of European politics Dare to imagine the future with business and tech visionaries Deep dive conversations with business leaders Euronews Tech Talks goes beyond discussions to explore the impact of new technologies on our lives the podcast provides valuable insights into the intersection of technology and society Europe's water is under increasing pressure floods are taking their toll on our drinking water Join us on a journey around Europe to see why protecting ecosystems matters and to discover some of the best water solutions an animated explainer series and live debate - find out why Water Matters We give you the latest climate facts from the world’s leading source analyse the trends and explain how our planet is changing We meet the experts on the front line of climate change who explore new strategies to mitigate and adapt The Armenian presence in Europe stretches from London to Larnaca Lisbon to Lviv; the Armenian Catholic Mkhitarian Congregation is among the most impactful examples of that legacy and this year marks a three-century-long presence in one of Europe’s most iconic towns The vaporetto leaves from San Zaccaria to one of the most unique corners of Venice a testament to the centuries of multi-cultural history of that magnificent city The unique corner is really an island – Isola di San Lazzaro degli Armeni This year marks the 300th anniversary of that island becoming home to the Mkhitarian or Mechitarist Congregation Mkhitar was born in Sebastia (modern-day Sivas He joined the Armenian Church at a time when it was facing the challenges of a modernising world Drawn to Western Christianity and its already-established traditions of education and publishing Mkhitar ran his own printing house in Constantinople (Istanbul) bringing together other like-minded individuals who longed to rejuvenate and invigorate a community at times struggling in the social and political milieu of the 17th century Ottoman Empire who established the congregation named after the founder in 1700 spent some time moving from place to place – first to Greece then up the Adriatic – before finally establishing themselves on what used to be a leper colony off Venice in 1717 the Mkhitarian fathers had a profound effect on research the monastery they founded continues to produce books; Venice is one of two cities in the world that can boast having published at least one Armenian book every year for three hundred years or more with just a few interruptions (the other city being Istanbul) Whether as first-time publications of ancient manuscripts translations of significant European works the Armenian legacy has been showcased to the European and broader world through the efforts of these monks and the doors of Europe have likewise been opened for Armenians thanks to their activities “The Mkhitarian Congregation has always served as a bridge,” says Father Serop Jamourlian “both for tying the Armenian reality to the European world in terms of scholarship and spirituality and also as a bridge of universal human values: it is a representative of the East in the West and the conveyor of Western ideas to the East.” Perhaps the most significant impact the Congregation has had involves the development of language and identity It was the Mkhitarian fathers who first published modern dictionaries of the Armenian language Modern scientific approaches to research and education also owe much to these Armenian priests in Venice who once upon a time ran a network of some thirty schools across Europe and the Middle East The reputation of San Lazzaro was so strong that Napoleon Bonaparte offered that monastery special permission to continue functioning even after he shut down other religious institutions in Venice in 1810 the island’s most famous guest – Lord Byron – spent some months during 1816-1817 studying the Armenian language The Mechitarists have suffered some setbacks over the course of their rich history such as a significant split in the Congregation that led to a second monastery being established in Vienna in 1811 The two had meanwhile carried on Abbot Mkhitar’s mission diligently Both Venice and Vienna are known as centres of learning for the Armenian world Although the Mkhitarian Congregation is not as active as it used to be with a smaller membership and growing challenges within a generally more secular global environment it continues to run four schools in places reflecting the footprint of the Armenian Diaspora: Beirut in the year 2007 – a good indication of the renewal of Diaspora-Homeland ties since the collapse of the Soviet Union Special commemorations are planned for September during this 300th anniversary year – celebrations alongside the people of Italy and Venice Father Serop emphasises that their welcoming and hospitable attitude towards the Armenians is based on the experience of many centuries of deep ties What lies in store for the Mkhitarian Congregation Father Serop says that the mission has always been and remains COSTA RICA'S LEADING ENGLISH LANGUAGE NEWSPAPER Reyneri Huete delicately manipulates the iron while she smoothes the clothes that little Bruno will wear at the feast that congregates hundreds of dogs in a church in Nicaragua whose masters thank or ask for miracles to San Lazaro The 27-year-old woman interrupts Bruno’s jumping who at seven years old is still enthusiastic and perfumes and dresses him with the freshly ironed garment that simulates a tuxedo to leave her house for the church of Santa María Magdalena “We bathe him from very early in the morning this year he goes as a gentleman with his tuxedo and vest to give thanks to Saint Lazarus,” Huete said when commenting on the story of Bruno “He (Bruno) had a problem in this ear and obviously we went to Saint Lazarus for him to intercede for his healing and thank God he had a good cure his operation,” adds Huete colors and sizes exchange sniffs and barks in a centuries-old tradition in the indigenous neighborhood of Monimbó in the city of Mayasa a one-year-old Chihuahua who had been evicted by a veterinarian after a wasp sting complicated her “We came to pay a promise because two weeks ago she almost died because a wasp stung her and she fainted The dogs are brought before an image of the saint on one of the sides of the altar of the temple The feast originates from the Gospel parable about the rich man and Lazarus Priest Bismark Conde explains that in Christian tradition St Lazarus is associated as a canine life saver “Here in the town of Monimbó in the face of plagues that have always attacked not only people the image of Saint Lazarus was a point of reference to also safeguard the life of these creatures,” he tells AFP The dogs wait their turn before the image of the saint adorned with flowers and surrounded by candles “We go around paying the promise to San Lazaro because he has worked miracles for us,” Rosa Rodriguez who months earlier nearly lost an eye from a blow “We always keep the tradition of paying promises to Saint Lazarus for our puppies it won’t be serious,” Huete concludes the centenary of the priestly ordination of St Fragment of the poster of the program for the centenary of St Josemaría's ordination to the priesthood (lower right) Josemaría Escrivá was ordained a priest on March 28 in the church of the Seminary of San Carlos by Bishop Miguel de los Santos Díaz Gómara.  One hundred years have passed, and on the occasion of the centenary of his ordination to the priesthood, a series of events will take place in the Aragonese capital, in which will participate the Cardinal Lazaro You Heung-sik, Prefect of the Dicastery for the Clergy, and the Prelate of Opus Dei, Msgr. Fernando Ocáriz About the program of eventsthe organizers, the Alacet Priests' Library, with the collaboration of CARF Foundation and Omnes the academic act will take place on Thursday 27th a Eucharistic concelebration will take place in the Basilica del Pilar for the priests who wish to attend Afterwards (8:00 p.m.), a prayer vigil for vocations will be held for seminarians, young people and families in the church of the Royal Seminary of San Carlos Borromeo, presided over by the Cardinal Lazzaro You there will be a solemn Eucharistic concelebration in thanksgiving for the fruits of priestly holiness a fraternal meal will be held in the Throne Room of the Archbishop's Palace The academic ceremony on the 27th will begin with welcoming remarks by Archbishop Carlos Escribano, Archbishop of Zaragoza, who currently presides over the Episcopal Commission for the Laity, Family and Life of the Spanish Episcopal Conference.  in addition to being Prefect of the Dicastery for the Clergy is also a member of the Dicasteries for Divine Worship and the Discipline of the Sacraments; for Bishops; for Evangelization; for Culture and Education; and of the Pontifical Committee for International Eucharistic Congresses At the conference he will speak on the holiness and mission of the priest has been prelate of Opus Dei since January 2017 consultor to the Dicastery for the Doctrine of the Faith since 1986 and to the Dicastery for Evangelization since 2022 In 1989 he joined the Pontifical Theological Academy He will speak in Zaragoza on the centrality of the Eucharist in the life of the priest Before, José Luis González GullónThe panel discussion will focus on St there will be a round table discussion on the universal heart of the priest: from East to West The following will participate at the table Esteban AranazJorge de Salas a priest of the Prelature of Opus Dei living in Sweden judicial vicar of the diocese of Stockholm; and Antonio Cobo a priest of the Diocese of Almeria in the Alpujarra St. Josemaría celebrated his Golden Jubilee of priesthood on March 28, 1975, a year before his death in Rome. In mid-January, before crossing the Atlantic on a catechetical trip to America, he addressed a letter to the faithful of Opus Dei in which, as he transcribes Andrés Vázquez de Prada in his biography with a deeper gratitude to the Lord - it is Good Friday this March 28 - who has pushed us to participate in his Holy Cross St. Josemaría He also asked them: "Join me in adoring Our Redeemer in all the Monuments of all the churches of the world Let us live a day of intense and loving adoration" Subscribe to Omnes magazine and enjoy exclusive content for subscribers You don't have permission to access the page you requested. What is this page?The website you are visiting is protected.For security reasons this page cannot be displayed. The tourist card to discover what’s best in the city easily and cost effectively Home / Places / Thematic parks Bologna< 10 Km from Bologna Dinosaurs in Flesh and Bone - an exhibition conceived and launched in Italy - has returned to San Lazzaro di Savena with a spectacular new set-up that has transformed it into an authentic prehistoric theme park. Dinosaurs and other prehistoric animals are still the undeniable protagonists The creatures on display are the result of in-depth studies conducted by palaeontologists and the mastery of palaeoarts.  There are thirty models - all rigorously life-sized some gigantic - that tell the story of the evolution of life on Earth as well as species that once lived in Italy the Tethyshadros “Antonio” and the titanosaur "Tito". The theme park is also a proper botanical garden assembled from trees and bushes that hark back to a very distant past. We conduct extensive educational and recreational activitie: guided tours excursions to the surrounding area and laboratories calibrated for various age Via Bellaria 5 40068 San Lazzaro di Savena Email: sanlazzaro@dinosauricarneossa.it Site/minisite/other: https://www.dinosauricarneossa.it/sanlazzaro.php?lin=inglese For more informations visit the website Check out the opening hours and days on the website Via Bellaria 5 40068 San Lazzaro di Savena sanlazzaro@dinosauricarneossa.it https://www.dinosauricarneossa.it/sanlazzaro.php?lin=inglese Please enable JS and disable any ad blocker CONTEMPORARY ART MAGAZINE SINCE 1980 More... Germany) is known for the coherence with which he has developed over the years the minimalist and conceptual poetics that make him unmistakable centered on the exploration of the innumerable possible interactions between the (real and fictitious) space of the work and the visual perception of the viewer Trained as a sculptor at the Academy of Fine Arts in Stuttgart from the outset he concentrated on the creation of object-frames poised between painting and sculpture made of aluminum and coated with lacquer or industrial enamel geometric and rationally designed to activate the surrounding space through a highly calibrated synergy of light and colour one is tempted to associate the formal reduction that characterizes them with Donald Judd’s radical compositional essentiality the sensual irradiation of color in the environment seems rather to place them in an intermediate position between him and Dan Flavin for whom the neon is a module to be articulated in potentially infinite series that enter into a critical relationship with space Gerold Miller solo show (31/01/2023 – 11/03/2023) Also in Miller we find simple recurring forms that relate to the architectural context in which they are distributed combined with the emphasis on the color-light link understood as a tool for poetic metamorphosis of a given environment it is not a matter of a real luminous emanation from the sculptural elements but of the effect of calculated chromatic combinations and abstract figures which in each single piece create illusions of depth and multiplication of planes even in the absolute planarity of the drafts uniforming the intensity of the saturation also induces us to read the succession of several works as a chromatic scansion of the space in which they live from which the spectator feels at the same time welcomed and rejected due to the evanescence of the reflection they return This effect is the result of obsessive attention to the quality of the varnishing and the impeccable workmanship of the materials operations that are commissioned by the artist to specialized industrial workshops Precisely the executive perfection and the complexity of the production process mark the radical difference between Miller’s practice and that of the fathers of historical minimalism of whom he seems to reinterpret the vocation for synthesis in the light of aesthetic solicitations coming from visual habits established by the digital A further perceptual ambiguity is found even if we focus on the morphological aspect with regard to which we can observe how the proportion between the various modules that make up the works (and each installation as a whole) seems to refer to the multiples and submultiples of a scale which although detached from any declared reference This is perhaps the main reason why Gerold Miller does not conceive his works as self-sufficient objects but always imagines them in relation to a real environment which he himself experiences before starting a new series and which constitutes the presupposition of that special intersection between sculpture wall surfaces and painting to which the multiplicity of figurative problems he tackled can ultimately be traced back the wall (like the three-dimensional space in which the sculptural works are placed) instead of being an impersonal display support fully enters among the basic elements of the work as it is demonstrated by the preparatory cardboard models with which from the beginning he designs in every detail the reciprocal correspondences and interconnections between works still to be carried out and which he has preliminarily summoned in the form of mental presences although it is always fascinating to meet one of his enigmatic works in fairs and exhibitions to fully experience the perceptive subtleties of his poetics it is far preferable to access one of his site-specific environmental installations so as to be able to immerse in the mutual reflections and refractions between the works The opportunity not to be missed is now a monograph created in collaboration with the Artesilva gallery of Seregno (MB) an exhibition space founded in San Lazzaro di Savena (BO) by the collector Marco Ghigi inspired by which Gerold Miller created the unpublished series called set presented here in preview together with three new sculptures from the Verstärker series The latter repeat in three different scales the only sculpture module to which the artist has always dedicated himself a tripartite formation of three parallelepipeds oriented to each other at right angles two of which form the base and the third extends upwards The sculptures inhabit the space as stylized presences but the silent dialogue they establish between them the visitors framed from time to time by their grids and the works on the wall imbue the nature of these objects with ambivalence (and also that of those who find themselves between ensnared them) If so far the three-dimensional form in Miller is always identical to itself the evolution of these works lies in the material: instead of being made of stainless steel like the square-modules he intended for the wall they have been produced in black Belgian marble It is extremely unsettling the fact that the surfaces refer to the identical mirroring of the metal ones to the point of making it really difficult to notice the difference despite the emergence of some delicate veining The new set series instead consists of six rectangular works of different sizes arranged in sequence on a single wall on each of which the same geometric composition is repeated formed by a square (central with respect to the pictorial plane in the sense of the width but positioned downwards in that of the height) framed by four other backgrounds of different colors oriented at 45° so as to create a sort of vortex movement of which the square seems to be the fulcrum It appears more than ever evident here how Miller’s abstract figuration never wants to define a static image but rather a changing boundary between internal and external space continually called into question by illusionistic breakthroughs obtained through the virtuosic control of a painting strictly anchored to two-dimensionality which represent a further development of his work for the use of unprecedented colors and geometries suggest both equivocal volumes between the relief and the recess and both the circular opening and closing movement of analog camera lens despite their steadfast minimalist structure that does not admit errors or smudges can be seen as a passionate investigation into human nature and the way in which perception affects the way we see and understand the world Graduated in art history at DAMS in Bologna she specialized in Siena with Enrico Crispolti Curious and attentive to the becoming of the contemporary she believes in the power of art to make life more interesting and she loves to explore its latest trends through dialogue with artists She considers writing a form of reasoning and analysis that reconstructs the connection between the artist’s creative path and the surrounding context ASSOCIAZIONE JULIET – via Battisti 19/a – 34015 Muggia (TS) Juliet art magazine è pubblicata a cura dell’Associazione Juliet - direttore responsabile Alessio Curto autorizzazione del Tribunale di Trieste registro informatico C.F./P.IVA 00699740320 | c/c postale 12103347 | SWIFT UNCRIT M10MC | IBAN IT75C0200802242000005111867 | UNICREDIT Banca Trieste The ancient sword was spotted in the monastery museum on San Lazzaro degli Armeni by doctoral student Vittoria Dall'Armellia Father Serafino Jamourlian researched how it got there Scientific studies of the sword show it is made from copper hardened with small amounts of arsenic – an alloy used before true bronze was invented by mixing copper and tin A keen-eyed archaeology student made the find of a lifetime when she spotted one of the oldest swords on record mistakenly grouped with medieval artifacts in a secluded Italian museum The ancient sword was thought to be medieval in origin and maybe a few hundred years old at most — but studies have shown that it dates back about 5,000 years where swords are thought to have been invented The weapon was spotted in November 2017 by Vittoria Dall'Armellina who was then a doctoral student in archaeology at Ca' Foscari University of Venice She had made a day trip to the monastery on San Lazzaro degli Armeni a tiny island on the edge of the Venetian lagoon.  Related: The 25 most mysterious archaeological finds on Earth The visit had nothing to do with her studies "It was a pleasure trip," Dall'Armellina told Live Science in an email When she spotted the sword among the medieval artifacts on display in the monastery's small museum Dall'Armellina was sure she'd seen its distinctive shape before She'd written her master's thesis on social status in the early Bronze Age and her studies had included high-status grave goods Get the world’s most fascinating discoveries delivered straight to your inbox "I thought that I knew that type of sword and that I was certain it was contemporary with those of Arslantepe and Sivas," she said referring to swords from the east of Anatolia and are thought to be the oldest in the world Related: The 22 weirdest military weapons Dall'Armellina and scientists from Ca' Foscari University set out to find out more about the mysterious sword They contacted the monastery at San Lazzaro degli Armeni which has been a center for the Mekhitarist congregation of Armenian Catholic monks since 1717 Research into the monastery's archives by Father Serafino Jamourlian revealed that the sword had been sent in a donation of gifts from an Armenian art collector named Yervant Khorasandjian Alishan was a famous poet and writer who was a friend of the famed English art critic John Ruskin; Alishan died in 1901 and his belongings passed on to his monastery According to a document that accompanied the donation handwritten in Armenian and dating from the second half of the 19th century a settlement near the  ancient Greek colony of Trebizond on the Black Sea coast now Trabzon in eastern Turkey the sword found its way into the monastery's museum where it was eventually placed in a cabinet of medieval artifacts Related: 12 bizarre medieval trends It's taken more than two years of detailed study to verify that both the construction and composition of the sword are similar to those of the ancient swords found in eastern Turkey Dall'Armellina has now completed her archaeology doctorate One of the surprises is that the weapon is made of arsenical copper, an alloy of copper and arsenic used about 5,000 years ago before true bronze was invented by alloying copper and tin.  "I was pretty sure of the antiquity of the sword," Dall'Armellina said But "when the results of the analysis revealed that the material was arsenical copper and its metallic composition indicate that the artifact dates from an early stage of the Bronze Age Archaeologists think swords were invented in that region and the sword from San Lazzaro degli Armeni is now thought to be an early example — perhaps even the oldest.  Similar ancient swords have been found in eastern Anatolia while a different style of sword from the same period has been found in barrow graves Ca' Foscari University archaeologist Elena Rova told Live Science.  between the northern Caucasus and eastern Anatolia and there were at least two typological variants," Rova said "Local chiefs were buried with a lot of weapons and other precious objects," she said "They probably wanted to emphasize their status as warriors Originally published on Live Science Live Science ContributorTom Metcalfe is a freelance journalist and regular Live Science contributor who is based in London in the United Kingdom Mysterious Tikal altar that wasn't Maya after all includes at least 4 skeletons — and 1 was a child Ancient jawbone dredged off Taiwan seafloor belongs to mysterious Denisovan Digital 'resurrection' of the Titanic sheds light on fateful night the ship tore apart Italy—The jury of the 56th Venice Biennale announced on May 9 the winners of the international art festival Armenia was awarded the Golden Lion for its pavilion presenting works by the Armenian diaspora on the 100th anniversary of the Armenian Genocide According to the official website of the Venice Biennale the Golden Lion for the national pavilion went to Republic of Armenia for forming a pavilion based on a people in diaspora each artist engaging their specific locality as well as their heritage The pavilion took the form of a palimpsest with contemporary positions inserted into a site of historic preservation In a year that witnesses a significant milestone for the Armenian people this pavilion marks the resilience of trans-cultural confluence and exchanges on the occasion of the one hundredth commemoration of the Armenian Genocide the Ministry of Culture of the Republic of Armenia has dedicated its pavilion at the 56th International Art Exhibition of la Biennale di Venezia to the artists of the Armenian diaspora The Pavillion is located at the Mekhitarist Monastery on the island of San Lazzaro degli Armeni Vaporetti will leave for San Lazzaro every early afternoon from the Giardini The curatorial concept of Armenity implies the notion of displacement and territory the selected artists carry within their identity the memory of their origins these grandchildren of survivors of the Armenian Genocide—the first genocide of the 20th Century— rebuilt a “transnational assembly” from the remnants of a shattered identit y justice and reconciliation skillfully transcends notions of territory these global citizens constantly question and reinvent their Armenity Armenity is being held in a setting of special significance for the Armenian diaspora located between San Marco and the Lido and facing the Giardini of the Biennale that in 1717 the Armenian monk Mekhitar established the Mekhitarist Order It was here that in the early 19th century Lord Byron studied the Armenian language Many important works of European literature and religious texts were first translated into Armenian on this scenic island Over its three-hundred years history the Monastery of San Lazzaro with its gardens has helped to preserve Armenia’s unique cultural heritage much of which might otherwise have been lost The curator of the pavilion is Adelina Cüberyan von Fürstenberg who is renowned international curator from Switzerland she is known for broadening contemporary art to include a multicultural approach She was one of the first curators to show active interest in non-European artists and established a signature multicultural approach in art She is the Founder and the first Director of the Centre d’Art Contemporain of Geneva Her work as Director of Le Magasin at the Centre National d’Art Contemporain of Grenoble and of its School of Curators was internationally recognized with an award at the Biennale of Venice (1993) She has organized numerous large-scale exhibitions around the world including Dialogues of Peace to mark the United Nations’s 50th anniversary (1995) She was appointed by UNHCR and the European Commission to produce Stories on Human Rights 22 short fiction films for the 60th anniversary of the Universal Declaration of Human Rights (2008) In 2013 she was Chief Curator of the 4th Thessaloniki Biennale and website in this browser for the next time I comment Δdocument.getElementById("ak_js_1").setAttribute("value",(new Date()).getTime()); This site uses Akismet to reduce spam. Learn how your comment data is processed. In that thin strip of plain on the border between Tuscany and Liguria squeezed between the hills on one side and the sea on the other the traveler driving along the Aurelia moving toward Sarzana will notice at a certain point warehouses and cultivated fields that dot this industrious area an anonymous-looking nineteenth-century church and preceded by three linden trees that almost seem to guard it a hamlet of Sarzana: a handful of cottages and warehouses in the middle of the countryside watched in full view by the Colline del Sole where vineyards and olive trees vie for the gentle slopes that slope down to the Magra plain.Here stood the ancient hospital of which all that remains today is a ruin on the Aurelia a few hundred meters south of the church: mentioned since the 12th century it offered shelter to wayfarers and pilgrims on their way to Rome along the route of the Via Romea (or the “Via Francigena,” to use the terms of contemporary tourist categorizations) that descended from Lunigiana passed the Apuan Riviera and continued in the direction of Versilia there was once nothing: just a hospital surrounded by scrubland which was transformed so that its facilities were put to agricultural use: the story of the ancient wayfarers ended And the convent chapel had an heir: in 1842 the parish of St Lazarus was established and the decision was made to build the new church which was begun the following year and consecrated in 1880 the little chapel began to be emptied: local historian Achille Neri had complained about the deterioration of the lazaretto wishing for a more worthy location for its riches one of the most fascinating paintings of seventeenth-century Liguria: the Saint Lazarus Pleading with the Virgin for the City of Sarzana The great artist from Sarzana had executed the work in 1616 upon his return from a ten-year long formative stay in Rome: evidently Fiasella must have sensed from a very young age that he had exceptional talent since he manifested very early on his intention to travel to the capital of the Papal States to observe at close quarters what neither his hometown nor Genoa where he had moved shortly before to study under Giovanni Battista Paggi could give him: the chance to learn the craft from the greatest Fiasella had the opportunity to observe the paintings of Caravaggio and the Caravaggeschi as well as the most distinguished exponents of the manner we find many of the cues that Domenico Fiasella knew how to draw from observation of the most up-to-date artists of his time It is an easy-to-read work: a characteristic that will be typical of almost all Fiasella’s production who appears to him seated on a throne of clouds but they could not be farther apart: the rough folkish profile of Saint Lazarus is the exact opposite of the candor and purity of this adolescent Virgin who looks at him compassionately as she holds in her hands the Child But there is no contrast: the encounter between naturalism and classicism is balanced And it will become one of the distinctive elements of Domenico Fiasella’s great art accompanied by one of the dogs that lick his sores in the Gospel parable is invoking protection for the city of Sarzana: we see its skyline below amid clouds heralding gloomy thunderstorms with the Porta del Mare no longer standing the bell tower of the Cathedral and that of the church of Sant’Andrea silhouetted against the buildings around it and in the middle the mighty outline of the Sarzanello Fortress which actually dominates the city from the top of a hill but the painter painted it as if it were in the center The painting had been commissioned on March 4 from Domenico Fiasella by the Protectors of the Opera di Santa Maria The young painter did not disappoint expectations: he had delivered “a work of great commitment,” wrote Piero Donati wanted to show his fellow citizens that he had well spent the long years he had spent in Rome.” What we see before our eyes in the church of San Lazzaro is thus a masterpiece of “tempered naturalism or revisited Caravaggism,” to use Donati’s expression again: “one can see here a convinced participation of Fiasella in the experiments on the natural conducted by the followers of Caravaggio and in particular by Baburen and Jusepe de Ribera.” Fiasella had long observed the works of the Dutchman and the Spaniard in the collection of Vincenzo Giustiniani whom the painter had met in 1611: the Genoese nobleman since in the inventories of his collection compiled shortly after his death four works by Domenico Fiasella are mentioned Caravaggio’s naturalism is thus the beacon under which the sarzanese artist models the body of Saint Lazarus a body that is alive and present: the light brings out the muscles of the arm the olive coloring of the beggar’s skin is accentuated by the whiteness of the rags knotted haphazardly around his waist and realistically soiled by the artist’s brush (right down to the passage of the bloody bandage that wraps around Saint Lazarus’ leg) reminiscent of the art of the Carraccis or Giovanni Lanfranco exactly like the Madonna of the Sarzana Altarpiece by Andrea del Sarto a masterpiece that later ended up in Germany and was destroyed in the fire of the Friedrichshain Flakturm The Florentine’s work had been one of the founding texts of Domenico Fiasella’s training: Raffaele Soprani returns the image of a Fiasella who observed carefully studied and drew over and over again the panel of Andrea del Sarto who “so well taught him in the true rule of good drawing and beautiful practice of coloring with sweetness that he succeeded in making himself conspicuous among all those who in our day have with exquisite brushwork colored canvases.” It is nice to think that Fiasella wanted to pay homage to his ideal master: the band that holds the Virgin’s hair in place decidedly démodé at the beginning of the seventeenth century is identical to what could be seen in Andrea del Sarto’s altarpiece And it is interesting to think that the altarpiece was meant to save Sarzana from dangers that might have threatened it Dangers referred to by the allegorical storm that looms over the town menacingly obscuring the buildings and the few human presences glimpsed there since Lazarus was revered as the protector of lepers: disease we relied on the saints: and so that masterpiece by Domenico Fiasella is no longer just an extraordinary work of art a living testimony that reminds us of how we were and makes us think about how we are The Business of FashionAgenda-setting intelligence analysis and advice for the global fashion community stepping up investment in new shops as it taps consumers' growing appetite for accessible luxury goods.Furla campaign 2014 | Source: Courtesy By Reuters17 September 2014The Daily Digest NewsletterThe essential daily round-up of fashion news access one complimentary BoF Professional article of your choice Receive news, offers and invites from BoFOur newsletters may include 3rd-party advertising, by subscribing you agree to the Terms and Conditions & Privacy Policy SAN LAZZARO DI SAVENA, Italy — Italian handbag maker Furla plans to more than double sales in the next five years stepping up investment in new shops as it taps consumers' growing appetite for accessible luxury goods Furla's Chief Executive Eraldo Poletto said the fashion house known for its clean linear designs would consider all options to fund the sales push including debt or a possible stock market listing which rang up three-quarters of last year's 228 million euros ($296 million) of sales outside Italy wants to cash in on a growing taste for more keenly priced luxury in Europe and beyond even amid cooling demand for top-end goods "Affordable luxury is where growth is going to be We need to fill up that space before others do," Poletto told Reuters "To be able to compete we must grow more aggressively than we've done so far My aim is to reach 500 million euros in revenues within five years," he said in an interview at the 18th century villa outside the Italian city of Bologna that serves as the group's headquarters Furla's sales rose 45 percent between 2010 and 2013 The group expects to add nearly 40 new single-brand shops to the current 367 by mid-2015 The two areas accounted respectively for 30 percent and 14 percent of 2013 group sales Poletto said Furla would press ahead with shop renovations in Russia despite tensions in the region It will also strengthen further its presence in Japan which in 2013 accounted for 23 percent of sales where we currently make 9 percent of sales can become a much more important market for us over the next few years," he said Italy's Furlanetto family launched the first collection of Furla-branded bags in the 1970s and the group has since become known for its sober But Poletto said that securing sought-after retail locations sometimes meant competing with top luxury names too Furla also wants to invest in its product mix after creating a business unit dedicated to shoes earlier this year and launching a men's collection targeting Asian clients It is considering licensing the brand for watches and beauty products Furla could turn to banks to fund investments but it is also working to be ready for a possible stock market listing "We need to shift gear but no decision has yet been taken as to how We're a healthy company that generates cash so one option could be to take on debt," Poletto said By Valentina Za; editor: Clara Ferreira Marques For more information read our Terms & Conditions The industry is scrambling to adjust to the shockwave of new import duties announced by President Donald Trump on ‘liberation day.’ Many of fashion’s biggest manufacturing hubs are facing the highest tariffs Access unparalleled business intelligence and a peer network of top global executives President Donald Trump pointed to South Korea as a country with more unfair tariffs against American products than China while slamming the handing out of subsidies for foreign chipmakers like Samsung Electronics Co The essential daily round-up of fashion news With Venice announcing plans to charge admission to the city’s historical centre author Philip Gwynne Jones reveals five islands within the lagoon that are just as intriguing San Giorgio Maggiore is dominated by the Benedictine monastery and Andrea Palladio’s basilica Two fine works by Tintoretto can be found here ‘The Fall of Manna’ and a sepulchral Last Supper Take the lift to the top of the bell tower. The views from here are spectacular, every bit the equal of those from the more famous campanile in Piazza San Marco you will not feel yourself hemmed in by huge groups of visitors The island also hosts occasional outdoor theatre productions at the Teatro Verde, and the exhibitions of glass at Le Stanze del Vetro will give you a better impression of how glasswork can be raised to the level of art than the tourist shops do initially for the Augustinians and then the Carthusians It was turned to military purposes during the Napoleonic/Austrian period then fell into disuse and only started to be reclaimed during the late twentieth century Plans for regeneration were further disrupted by the beating the island took from the 2012 tornado Happily, Certosa has now recovered. Over twenty hectares of parkland make it a little oasis of calm and a refuge from the crowds on the main islands Nobody lives here except for a colony of wild goats and the inhabitants and staff of a small hotel (which can organise kayaking and sailing activities) It’s a perfect place for a stroll or a picnic in one of the very few open green spaces in the city This is one of the more remote islands, and not the easiest place to reach. You’ll need to arrange passage by private boat from Burano (which should cost you around ten euros) and to arrange a tour with one of the Franciscan friars on the island after a visit by St Francis following his return from the Holy Land making this the northernmost Franciscan outpost in Italy and the second to be established after his monastery at Assisi Despite the best efforts of malaria outbreaks and Napoleon Bonaparte the Franciscans have maintained an almost uninterrupted presence here ever since It’s a lovely place, and as peaceful as one could wish. The convent itself underwent restoration in the mid-twentieth century removing previous work that was not felt to be in keeping with the Franciscan ethos There is no great art to be discovered here The central feature of the main chapel is a bare illuminated cross in a space devoid of decoration simplicity and meditative beauty are everything and spiritual retreats are available for those who feel inspired to stay longer This Armenian-Catholic monastery built on the grounds of an abandoned leper colony was gifted to the Mekhitarist order in 1717 One of the world’s great centres of Armenian culture and learning so it isn’t possible to walk around by yourself and the monks who take you around are as engaging and knowledgeable as you might expect do buy a jar of the monks’ rose petal jam as a souvenir Lord Byron was enamoured of both San Lazzaro and Armenian culture compiling an Armenian-English dictionary and grammar Legend holds that he would occasionally swim out to the island via the Grand Canal You may find it easier to take the vaporetto from San Zaccaria Lazzaretto Vecchio has served many purposes in its long history. During the Napoleonic period it functioned, as so many other islands did, as a gunpowder magazine (Bonaparte might have wanted to be “an Attila to the state of Venice“ but even he baulked at the idea of building high explosive storage facilities in the centre of a densely populated city) From 1468, it served as a quarantine station you would be brought here in order to isolate you This island would be the last thing you would ever see and you would but money could still buy you a few privileges in the run-up The remains can be seen of what might be called an executive wing reserved for those with the wherewithal to pass their last days on Earth in slightly greater comfort Graffiti still survives from the earliest residents one can just about make out the figure of an angel There are other examples of a rather more earthly nature at least one of which is spectacularly rude so you’ll have to go there and see it yourself The island has since been used as a gunpowder magazine military base and stray dogs’ home (not all at the same time) during which the skeletons of over 1500 plague victims The island is now being maintained by the Archeoclub di Venezia a basic supply of running water has been restored and there are hopes of making it more easily accessible by linking it to the Lido via a short bridge The ultimate aim is for it to become a museum it is possible to visit the island via the Archaeoclub Main image: Carnival goer wishing he was on San Giorgio Maggiore (Dreamstime) Sign up to our newsletter for free with the Wanderlust Club on the Via Aemilia and twenty minutes by bus from the centre of Bologna there is an industrial building whose elegance makes it stand out from surrounding buildings There is an air of the barn about it because that is the typology which inspired Achille and Pier Giacomo Castiglioni when they designed the building in 1959 They were commissioned by Dino Gavina and Maria Simoncini to construct the headquarters of Simon Gavina an extraordinary business venture that involved artists of the calibre of Sebastian Matta Man Ray and Meret Oppenheim in the design of visionary furniture The chairman of the company was Carlo Scarpa Such a modern idea of design needed an equally special home The Castiglioni brothers imagined a space on several levels as well as a basement for offices and services The spacious and airy exhibition floors were conceived in such a way that the pieces of furniture could be presented suspended and relying on their carefully designed appearance A small entrance raised above the surface of the road provides access to the first floor In addition a staircase leading from the garden comes first to a sculpture by Kazuhide Takahama – an enormous ceramic valve that the Japanese architect had designed for his country’s pavilion at the Milan Triennale of 1956 – and then ends in front of a glass door on which is printed something Walter Gropius wrote in the preface to the Italian edition of one of his books: “Perhaps Italy is destined to make clear what are the factors in modern life on which we should rely in order to recover our lost sense of beauty and promote The headquarters of Simon Gavina in San Lazzaro di Savena (BO) designed by the Castiglioni brothers in 1959 the first large space is made up of two rooms: a very big one raised to a higher level by a step covered with terracotta tiles that bestows tone and importance on it and another lower down space whose outer side is punctuated by large windows that face onto the main road A window running the full height of the lateral façade of the building unites these two rooms A series of terracotta steps then links the space with the mezzanine and the first floor The iron rail of the staircase is painted black and its support has a concave section that would be used again for the Sirio lamp that Takahama designed for Gavina in 1976 The mezzanine presents the appearance of a row of stands where the Castiglioni chose to create a balustrade to protect visitors out of a long piece of industrial piping that is held in place at regular intervals by a chain with large links similar to the ones you used to see in barns or adjoining workshops Natural light is provided by numerous windows of different sizes that for three floors are set on both long sides of the building They have metal frames with a simple handle while the French windows on the mezzanine have a spindly sculptural element on the outside that also serves to prevent people from falling The Castiglioni brothers thus designed a versatile place that could be used for the wide range of functions that Gavina required it After its opening it was the setting for memorable meetings with Marcel Breuer (Gavina persuaded him to bring his Bauhaus furniture back into production) The system of stairs linking the three levels of the exhibition space Today this place so rich in history is coming to life again thanks to the stubborn efforts of a pair of Bolognese collectors who acquired it last autumn and have had it faithfully restored They will make it the home of their art foundation Massimo and Sonia Cirulli are the owners of an archive of paintings furniture and studies by artists and designers ranging from Balla to Fontana and from Sironi to Ponti Since 1986 they have been lending works to some of the biggest museums in Europe and America: in addition to Bologna the archive also has a branch on Madison Avenue in New York and about which they had heard many stories Massimo and Sonia Cirulli immediately sensed that it would be in tune with their collection devoted to the heroic history of Italian art in the 20th century and above all they felt the need to restore it to the international community by opening it to the public Recently restored and reopened to the public Abitare.it e Style.corriere.it rifiutando tutti i cookie di profilazione ad eccezione di quelli tecnici necessari Naviga il sito di Abitare.it con pubblicità profilata e senza abbonarti By subscribing you will reject all but technical cookies on Iodonna.it By clicking "accept" you will allow to process your personal data by us and third parties and be able to browse Abitare.it website without a subscription Nicholas Armenian Catholic church and Levonian College in Rome The Prime Minister and his spouse were welcomed by Archbishop Raphael Minassian Primate of the Armenian Catholics of Armenia Nikol Pashinyan toured the church to get acquainted with its activities and met with students from Levonian College and members of the Order of the Armenian Catholic Sisters of the Immaculate Conception Archbishop Raphael Minassian and Reverend Father Narek Namoyan expressed support for the efforts exerted by the Armenian Prime Minister to strengthen the Armenian statehood and provide wellbeing to the people of Armenia “We have been closely following your meetings in Diaspora communities and are delighted with your visits to Armenian identity preservation centers such as the Mekhitarist Congregation on the island of San Lazzaro in Venice and the Armenian Catholic Church of St which in addition to being centers of education and culture are acting as academies for preservation of the Armenian spiritual identity and clerical education,” they said and the impression is that this visit to Italy aims to find out more about Italian-Armenian relations and future prospects almost all visits have a very important feature that is even more visible now The fact is that by visiting different countries and these official visits are also a good opportunity to know more about our country there is a very important formula for that: we our history and our cultural heritage better and not be afraid of anything in pursuit of our objectives An important step on the way to building the future is the process of recognizing and reconciling with our past My foreign visits have a well-pronounced Armenian context: We began with a visit to the Mekhitarist Congregation which is a valuable asset for the preservation and development of our identity Today we are visiting the Levonian College We also had a meeting at the Armenian Apostolic church in Milan these visits reinforce our understanding of our potential our heritage and our confidence in our future An important port of call in Singapore is the Armenian Church a key objective is to get a better understanding of our identity I want to say that we really appreciate the role played by the Armenian Apostolic Church the Armenian Catholic Church and the Armenian Evangelical Church in preserving and developing our identity I would also like to thank you for being so close to the Armenian identity but also for the development of this identity It turned out that our meeting in Milan was in the context of the parable of Ten Minas by Luke I think this parable is very topical for us today because the question is not what account we will demand of ourselves but to know what account we are going to give to our generations because the inheritance that we have in the Republic of Armenia This legacy should strengthen our identity build confidence in our voices and our responsibility as well as our responsibility to our destiny Do we have this responsibility at all and can we have the responsibility and talk about it We can not get the answer to this question unless we know each other better we realize that a people with such a legacy cannot just be a passer-by in mankind’s history and the most important task in accomplishing this mission is to know oneself because it is impossible to achieve an objective without appreciating one’s own strength without appreciating one’s own heritage The legacy we have is above all spiritual: material assets have no value unless they rest on a solid and unshakable spiritual foundation Our heritage is above all spiritual no matter we are talking about the Armenian Apostolic Church or the Armenian Catholic Church I was pleased to see that the main tabernacles in the Armenian church of San Lazzaro were dedicated to Mesrop Mashtots I want to believe that this new era of our history comes to witness that we should get to know ourselves better freely express our goals and not be afraid of anything in pursuit of our objectives I appreciate everything that brings us together.” Nicholas in Rome was built in 1606 by Latin Augustine Fathers the church and monastery handed over to Cardinal Andon Bedros Hassun as the center of the Armenian Catholic Church and a seminary for training Armenian Catholic priests One of the altars of the church is dedicated to St The Church has been considered to be the center of the Armenian Catholic community ever since 1883 There are nearly 1000 Armenians living in Rome The Levonian seminary was founded in 1883 by decree of Pope Leo XIII for administering spiritual education to Armenian youths This is where the name “Levonian” comes from The seminary continues its activities to this day; 6 young men are currently studying there ← Back to list Lido is known as the sports and recreation area of Venice. Take some time to enjoy the sandy cost of Lido, which stretches over 11km and overlooks the Adriatic Sea. Depending on your budget, you can go to a private or a public beach. One of the best private beaches is Hotel Excelsior Beach whilst Lido’s public beach is located in the north Make sure to arrive early to grab a good spot near the water San Lazzaro degli Armeni is a small island it has been home to the Armenian Catholic Monastery of San Lazzaro The most notable visitor of the monastery was the poet Byron who spent time on the island studying Armenian the monastery hosts a permanent exhibition devoted to the famous writer Of note is also a publishing house on the island which is the oldest continuously operating Armenian publishing house in the world which is organized by the monks once per day The oasis of Alberoni is a protected natural reserve The oasis is composed of a pine forest and a complex dune system immortalised for its beauty in the poetry of Byron and Goethe started to develop in 1800s and are home to a diverse ecosystem including protected bird species Kentish Plover and Little Tern Rent a bike in the center and explore the western shore along Via Malamocco on your way to Alberoni The church of San Nicolò al Lido has an important historical place in Venice the ceremonial marriage of the Doge of Venice to the Adriatic Sea the church hosted a banquet before the merchant ships sailed west it was the last Venetian landmark seen by sailors The Church houses the remains of St Nicholas The main attraction is the walnut choir stalls from 17th century presenting 27 scenes from the life of the saint Along the street are located numerous hotels where you can follow the sea promenade north to the public beach or south to Alberoni Oasis The Murazzi are a protective barrier made of Istrian stone which shield the island from water erosion Sign up to our newsletter to save up to $800 on our unique trips See privacy policy Tempio Votivo The Tempio Votivo Church is a war memorial of Venice It was built between 1925 and 1935 by the architect Giuseppe Torres The war memorial is the last major religious building constructed in the lagoon area and was designed to show gratitude of the Venetians that the city escaped the First World War without major damage especially the bombing on February 27 1918 The large green dome on top of the copper structure of the church is one of the first landmarks seen by visitors due to its location next to the Vaporetto station The Jewish community in Venice got the first opportunity to create their own cemetery in 1386 which shows the long history of Jews in the city The cemetery is located near the San Nicolò church in the north the Ancient Jewish Cemetery can only be viewed with an appointment Many memorials have been restored in the last 30 years and date between the 16th and 18th century which is opened to the public and is located on Via Cipro Malamocco is a picturesque village located on the southern part of Lido connected to Lido by a series of bridges across the canal separating the two The most prominent landmarks include the Church of Santa Maria Assunta Ponte Borgo (the oldest bridge in the village) where the mayors of Malamocco lived until 1339 The Palazzo del Podestà is a Gothic style building All landmarks are situated next to each other on the Piazza Maggiore One of the new attractions includes an open air cinema where you can see a film screening free of charge Pellestrina is a charming island of the south of Lido Pellestrina also has a defense wall of Murazzi Take your bike on the ferry from Lido and enjoy the ride Remember to stop over at the Little Museum of the Southern Lagoon which aims to preserve history and traditions of the lagoon It has two permanent exhibitions: The history of Murazzi and November 4 Dan Novac / Unsplash Italy Trips and Tours If you’re researching your holidays in Venice then you may be interested in our diverse collection of multi-day tours in Italy Whether you’re keen on grand old cities or beautiful coastlines mountain hikes or food and wine tasting extravaganzas there’s bound to be an itinerary that suits you Guides & Tips This Is Europe's Ultimate Road Trip See & Do The Best European Cities to Visit in Summer See & Do The Best European Cities to Visit in October Guides & Tips The Best European Cities to Visit in November Guides & Tips The Best European Cities to Visit in December Guides & Tips A Guide to the 5 Most Dazzling Views in Catania See & Do The Best European Cities to Visit in September See & Do The Best European Cities to Visit in July See & Do The Best Hiking Trails in Italy Guides & Tips Beat the Crowds with these Alternative Summer Destinations Art A Tour of Bernini's Masterpieces in Rome See & Do The Best European Cities to Visit in Autumn US: +1 (678) 967 4965 | UK: +44 (0)1630 35000 tripssupport@theculturetrip.com © Copyright 2025 The Culture Trip Ltd