ZOOMING

If you want to have a little fun with your digital camera next time you go out with it, have a go at experimenting with the zoom effect.

In essence the zoom effect is a picture which look like the subject is either moving towards or away from you with motion lines.

There are a number of ways to get this effect, some are done while shooting the image and some afterward through zoom blur post production techniques. I’m not going to talk about post production techniques here but will instead focus upon what to do to achieve the zoom effect while taking the shot in camera.

Ultimately, what you need to do to get this effect is set your shutter speed to be a longer exposure and then while taking the shot (between when the shutter opens and closes) you will need to use your zoom lens to either zoom in or out from your subject.

That is the basics of it but in reality getting a good zoom effect takes a lot of practice and experimentation and/or a bit of luck.

Here are a few tips to help you improve your results:

Keep the Camera Still – as you will be using a slow shutter speed any movement of the camera will significantly impact your shot. Ultimately you want to capture a zooming movement in these shots so any side to size or up and down shake will impact the smoothness of the lines in your image. Of course camera shake can also add interesting effects to the shot but it can also make the shot too blurry. To eliminate camera shake use a tripod or set your camera on a still surface.

Lower Light Situations might help – one of the problems with using longer shutter speeds is that you let more light into your camera. You can help your camera cope with this extra light by using a larger aperture (the larger the number the smaller the hole that lets light in) but in bright situations you still might not be able to use long shutter speeds without over exposing your image. As a result it can be easier to get well exposed zoom effect shots in lower light situations.

Lights are Fun – taking the last point into consideration one of the most popular subjects for the zoom effect is lights whether they be city lights, Christmas lights, neon signs etc. They are often a good place to practice the technique and can produce pretty spectacular effects.

Move the Camera Manually if you don’t have a zoom lens or your camera won’t let you zoom while the shutter is open (as happens on some point and shoot cameras) the other way to get this effect is to manually move your camera towards or away from your subject. Of course this introduces other camera shake (see above) but it is possible to get a nice shot if you’re good (or lucky).

When choosing a shutter speed – there is no one shutter speed that will work for all situations. Factors to consider will include the levels of light, the speed at which you’ll zoom etc. I generally would shoot at up to a second (or even a little longer) which is usually enough to zoom a lens from one end to another. The key is to experiment with different shutter speeds to see what works best.

Work on Smooth Zooming – to get nice smooth motion lines in your photo you’ll need to work at a ‘smooth zoom’. ie you don’t want to zoom at one speed early on and then speed up and then slow down (see next point for the exception). This will make your lines a little jerky. Getting a nice smooth zoom technique takes practice.

Pause mid-zoom – another technique to experiment is to pause your zooming either at the start, end or during the procedure (while the shutter is still open). This will mean that what your camera sees at the point when you pause your zoom will be stronger and hopefully clearer in your shot.

Fire your Flash – another element that you can add to this technique is light. You can do this with virtually any light but the most common one is obviously the flash. Fire it during your long exposure and you’ll freeze part of the image while still getting movement behind and around it. Some cameras will allow you to do this using ‘night mode’.

Reverse the Zoom – zooming in on a subject can give a different result than zooming out, especially if your subject is moving and depending upon whether you pause at the beginning and or end of the zoom. Experiment with both.

Partial Zoom – some zoom lenses have very wide focal lengths. I have a friend with a 28-200 zoom and he finds that using the zoom effect can be too much if he starts at one end and goes right to the other. For starters he can’t maintain a smooth zoom over that focal length but also it’s just too much motion for one image. Instead it can be more effective to only zoom part of your focal length range. If you have a 28 200mm try zooming from 28-100mm or from 80-200mm or even smaller ranges.

Most of all have fun with the zoom effect and experiment.

You’ll only really work out what works with your camera and photographic situation when you give it a go and tweak your approach as you go.

Read more: http://www.digital-photography-school.com/using-the-zoom-effect#ixzz1cvNlqFqt

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DEVIL’S BRIDGE – CIVIDALE DEL FRIULI

The Devil’s Bridge is one of the symbols of Cividale del Friuli. Boldly suspended on the Natisone River is wrapped in legend. The two banks were joined, at least from the 1200′s, by a wooden passage, replaced, after various inconclusive attempts, by a stone bridge planned by lacopo Dugaro from Bissone, who began the construction in 1442. The job, slow and contrasted by adversity of varied nature, continued five years after under the guide of Erardo (or Everardo) from Villaco, the former collaborator of Dugaro, that perhaps died of plague or, according to other versions, he gave up without completely honouring his contractual obligation. When the master builder Erardo died, Bartolomeo delle Cisterne finished the long desired bridge, that according to a notarial

 act, was paved in the 1501 and in the 1558. Its ends were defended by towers, pulled down around the second half of the past century. Works of restoration followed one another in the course of the ages in order to maintain in full efficiency the indispensable passage, that it had to support the impetuous floods of the river. In 1843, during the works of reinforcing the central pillar, they recovered two important stones of Roman age, now in Museum. The fate of the bridge had a tragic epilogue the 27th of October 1917 when, during the defeat of Caporetto, it was blown up attempting to slow down the enemy. A useless destruction, as the Imperial Army crossed the river the same evening.The bridge was however reconstructed in short times, by the Germans with local skilled workers, keeping the ancient structure following the precise reliefs executed years before by the engineer Ernesto de Paciani of Cividale. The street was widened by two meters. Already the 18th of May 1918, the new bridge was solemny inaugurated. But it had short life for the 29th of April 1945 the Germans tried to blow up, but this time it did not suffered many damages. It therefore remained unchanged in its original lines, only the parapets and irony loops have been replaced with the current parapet, perhaps aesthetically less well-chosen, but able to mitigate violent squalls of wind that run over the bridge in winter. The rocky walls the arches of the bridge rest on have been recently reinforced, they are different, one is of m. 22 and the other of m. 18, with a height of m. 22.5. The central pillar rests on a natural rock, protruding nearly in the center of the bed river.The popular fantasy has connected the construction of the bridge to the supernatural, giving origin to the demoniac legend, diffused in innumerable variants, according to which the devil would have facilitated the construction of the bridge in exchange of the soul of the first person passing through. To carry out in the short space of one night the Evil One bothered also his mother, and she carried in her apron the central imposing rock. But the inhabitants of Cividale mocked the devil, sending through the new passage an animal, dog or cat according to the versions. The admirable buliding inspired the arts: writers have dedicated to it pages of intense poetry, while skillful painters have reproduced it in their works, fixing shapes and colors, with the transparency of waters. On the left bank of the river, the wiew of the town deserves to have some photos taken and one can go down to the gravelley river bed from a stairway, that starts from the boundary of the parapet, on the right. From the bottom, the two archs reveal all their majesty and a thought goes to the inventor of the brilliant realization that, after many centuries, is still in a position to excite wonder and admiration. The new belvedere, realized behind the close church of S. Martino, gives the possibility to enjoy a wonderful landscape. From here the colored houses are visible, the animated running after one another of loggias and balconies, the bell towers and on the background the hilly reliefs and the Matajur (m. 1641) and the Black Mount (m. 2245). Westwards the river is furrowed by the large arch of the new bridge, that from 1988 it joins the two sides of the river with its futuristic structure.

www.cividale.com

How venice was born – a brief outline

www.veniceword.com

Mythical Story the Founding of Rome

The Romans trace their ancestory back to a Trojan hero named Aeneas. Aeneas’ father was Anchises, a handsome and daring young man. His mother was the goddess Aphrodite. The story is told that Aphrodite saw Anchises in the fields and was taken by his looks. She came to Anchises, but he refused her fearing that a mortal mixing with a goddess would harm him. So Aphrodite disguised herself as a daughter of a king. After becoming pregnant with his child, Aphrodite revealed her identy to Anchises but told him to keep it secret.

Aeneas was raised by Nymphs and received his education from Cheiron, the King of the centaurs. During the Trojan wars, he served under the command of Hector, the Prince of the Trojans. Aeneas was encouraged by Apollo to challenge the Greek warrior Achilles. Poseidon removed Aeneas from the area to preserve him so that he could become the future leader of Troy. However, when Troy was destroyed, Aeneas began an odyssey very similar to that of Odysseus in Homer’s tales. Instead of trying to return home like Odysseus did, Aeneas tried to find a new home.

Aeneas went through a series of adventures trying to find a place to settle with his fellow Trojans. They encountered Harpies and bleeding bogs. At the urging of Juno, Aeneas and his companions were attacked by the god of the winds Aeolus. There were then protected by Neptune. who keep them from being shipwrecked and from other perils. Finally Aeneas arrived in Carthage where Cupid disguised himself as the son of Aeneas and influenced the Queen Dido to fall in love with Aeneas. Aeneas did fall in love with Dido. Mercury, the messenger of the gods, was sent to visit Aeneas twice to remind him of his destiny and to get him to break away from Dido, after which Aeneas resumed his journey to his new land.

After landing in Italy, Aeneas was tried to determine where to settle. Aeneas visited Cumaean Sibyl, a prophetess who had access to the underworld through a cave with a hundred openings. Sibyl agreed to be the guide and directed Aeneas to take an item from a nearby magical bough which was sacred to Proserpine, wife of Pluto. Charon, the ferryman of the river Styx, allowed Aeneas to pass because of the item from the magical bough. In the underworld, Aeneas spoke to his father Achises and was told where to settle. He returned from the underworld and sailed again to the Tiber River in a land called Latium.

Aeneas, after beating a rival tribe who had been pitted against him by Juno, began to rule the area where he settled. For twelve generations the throne was passed peacefully down until the thirteenth king, Numitor. Numitor was removed from the throne by his own brother Amulius. Amulius tried to make sure that none of Numitor’s descendents could challenge him for the throne. Amulius killed both of his nephews and appointed his niece Rhea Silvia a Vestal Virgin. This position forced Rhea to stay a virgin, which would eliminate any prospect of Numitor’s children to challenge Amulius.

Mars, the god of war and farming, became enamored with Rhea, and depending on the account, seduced or raped her. She became pregnant and gave birth to two sons, Romulus and Remus. Amulius had Rhea imprisoned. He put the two boys in a basket and tossed it into the Tiber River. The boys were saved by their father Mars, who sent two animals to feed them. A she wolf fed the boys until they were discovered by a shepherd named Fausulaus. The boys were sheltered by the sheppherd and his wife until they had grown. The boys were united with their grandfather Numitor, and they then planned revenge on Amulius. The three, along with a band of shepherds, stormed the palace and killed Amulius and restored Numitor to the throne.

After restoring Numitor to the throne, Romulus and Remus set out to establish their own city with some of their shepherd followers. They planned to establish the city on the banks of the Tiber where they were discovered. The brothers began to argue over the city’s design and name. They decided to settle their dispute by seeking a sign from the gods. They decided that who ever saw a flight of vultures first would be the winner. Remus was positioned on Aventine Hill, while Romulus was on Palentine Hill. Remus was the first to see six vultures, while shortly after Romulus saw twelve vultures. Remus claimed that he had won since he saw the birds first. Romulus claimed that he had won the contest since he saw a dozen of the birds. A fight broke out between their followers. Remus was killed, and Romulus set himself up as ruler. He named the city Rome.

Another version of the story has Romulus winning the contest with the birds flying over the hill which he was on. When Romulus began to build the walls of the city, Remus jumped over a walls. Romulus was so insulted that he killed his brother and stated that anyone who tries to come over the walls of his city would meet the same fate.

historylink102.com

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Sibiu

(Hermannstadt in German) was the largest and wealthiest of the seven walled citadels* built in the 12th century by German settlers known as Transylvanian Saxons. The riches amassed by its guilds paid for the construction of both impressive buildings and the fortifications required to protect them.

Sibiu’s Old Town retains the grandeur of its earlier days when rich and powerful guilds dominated regional trade. Like Sighisoara and Brasov, it has a distinctly Germanic feeling. Sections of the medieval wall still guard the historic area, where narrow streets pass steep-roofed 17th century buildings with gable overhangs before opening into vast, church-dominated squares such as Great Square and Little Square.

Sibiu is a pedestrian-friendly city with two easily accessible levels: the Upper town, home to most of Sibiu’s historic sights, and theLower town, lined with colorful houses on cobblestone streets and bounded by imposing city walls and defense towers overlooking the river Cibin.

Traditionally, the Upper town was the wealthier part and commercial outlet, while the Lower town served as the manufacturing area. The historical centre includes the Great Square, Huet Square, the beautiful Passage of Steps connecting the upper town to the lower town, the well-known Bridge of Lies, Goldsmiths’ Square and the Small Square.

* The seven walled citadels populated by the Saxons of Transylvania were known in German as the Siebenburgen.

The other Siebenburgen citadels are located in the towns of:
Bistrita (Bistritz), Brasov (Kronstadt), Cluj (Klausenburg), Medias (Mediasch),Sebes(Mühlbach) , Sighisoara (Schässburg)

» City Landmarks

Sibiu’s Towers (Turnurile Sibiului)

For hundreds of years, this walled town in the heart of Transylvania was one of the most powerful and prosperous strongholds in Europe. Surrounded by imposing walls, Sibiu’s original fortifications included 39 defensive towers, five bulwarks, four gates and five artillery batteries.

Although the entire network is remarkably well-preserved, the best-maintained section is the southeastern side which has been reinforced several times throughout the centuries since attacks most often came from that direction.

Three 15th century towers have withstood the test of time: Harquebusiers’ Tower (Turnul Archebuzierilor), Carpenters’ Tower (Turnul Dulgherilor) and Potters’ Tower (Turnul Olarilor). The 16-th century Great Tower(Turnul Gros) was the site of Sibiu’s first theatrical performance, staged in 1778.

The Upper Town (Orasul de Sus)
At the centre of the upper town are three beautiful squares. The Great Square is the site of the Roman-Catholic church and the Brukenthal Palace, where you will find one of Romania’s most important art collections. The square is linked to theLittle Square by a passage beneath the Council Tower, which is worth visiting for the excellent views over the town. The third square, Huet Square, is dominated by the Evangelical Cathedral.

The Great Square (Piata Mare)
First mentioned in 1411 as a grain market, the Great Square – the largest square in the city, has been throughout the centuries a quiet witness to the town’s lively merchant activity, assemblies and even public executions. Located in the heart of the old walled city, the square was designated an architectural monument by UNESCO and features some of the most impressive buildings in Sibiu.

Roman-Catholic Church (Biserica Romano-Catolica)
Address: Piata Mare 
The north side of the Great Square is dominated by the Roman-Catholic Church(Biserica Romano-Catolica). This beautiful baroque structure with classical decorations was built between 1726 and 1738. The tower was attached to the nave in 1738 and one year later, a cross was seated on the top. The completely renovated interior is magnificent with gold-laced walls and colorful ceiling frescoes.

Intricate stone carvings cover much of the nave while the side altars and colonnades glisten with pink marble. The fresco behind the altar was painted in 1777 by Anton Steinwald. Inside the church is the stone grave of Otto Ferdinand de Abensberg, commander of Transylvania between 1744-1747. Organ recitals are usually held once a week.

Council Tower (Turnul Sfatului)
Address: Piata Mare 
At the corner with Avram Iancu Street stand the old mayor’s residence and the imposingCouncil Tower (Turnul Sfatului). Built in the 13-th century, this tower was used as entrance gate to the second row of fortified walls built around Sibiu. Throughout the centuries, the Council Tower served as a grain storehouse, a fire watchtower, a temporary prison and even as a museum of botany. The roof, originally built in pyramid form, has undergone various changes, culminating in the addition of four corner turrets in 1826. On the top floor, an observation deck allows a bird’s-eye view of the historic town and the Fagaras Mountains beyond.

Brukenthal Palace (Palatul Brukental)
Address: Piata Mare 
Facing west of the square is the stunning Brukenthal Palace (Palatul Brukental), built between 1778-1785 by a Viennese architect in a refined late-baroque style. It is now the home of the Brukenthal Museum (Muzeul Brukenthal), the oldest and one of the finest art museums in the country. The palace was built by Baron Samuel von Brukenthal to serve as his official residence and house his collections of Romanian and Western art, 16th – 18th century religious sculptures and icons, stamps and coins, as well as an impressive library. Over the years, the collections have been enriched through acquisitions and donations. (See museum details)

Completing the picture is the fairy-tale Blue House, an 18-th century baroque house bearing the old coat of arms of Sibiu on its facade.

The Little Square (Piata Mica) 
From the Great Square, walk through one of two tunnels under the arches of the Council Tower to arrive at the Little Square. This second fortified square was home to the town’s most prestigious master craftsmen, who lived in rows of arcaded houses along the north and east sides. Today, small shops, cafes and businesses line the square.

Huet Square (Piata Huet)
Huet Square is home to a mix of gothic buildings dominated by the Evangelical Cathedral (Biserica Evangelica). This impressive structure, featuring five pointed towers, was built in 1520 on the site of an old Roman basilica. The simple, stark interior is in total contrast to that of the Catholic Church. A gigantic fresco, painted by Johannes of Rosenau in 1445, covers much of the chancel’s north wall. The mural shows the Crucifixion and marks a transition in painting from late-gothic style to renaissance style. On the south side, the choir loft boasts a beautiful fan-vaulted ceiling, home to a baroque organ designed by a German master in 1671. Six thousand pipes were installed in 1914, making it the largest organ in Romania.

Here, you can also find the city’s only fully German school, the Samuel von Brukenthal Gymnasium, which exemplifies the city’s proud German heritage.

The Lower Town (Orasul de Jos)
The Lower Town comprises the area between the river and the hill, and it developed around the earliest fortifications. The streets are long and quite wide for medieval city standards, with small city squares at places. The architecture is rather rustic: typically two-storey houses with tall roofs and gates opening passages to inner courts.

The Bridge of Lies (Podul Minciunilor)
Several steep streets and stairways lead from the upper to the lower town. One of them passes beneath the iron Bridge of Lies. Built in 1859 by Fredericus Hutte, this was the first wrought iron bridge in Romania.

The Stairs Passage (Pasajul Scarilor)
The 13th century Passage of Steps, an architectural masterpiece with twin staircases and archways, connects the Upper Town to the Lower Town. Built in the 13th century, it is one of the most picturesque places in Sibiu. At one end of the passage stands the city’s oldest building which now hosts the oldest restaurant in Romania, The Golden Barrel (Butoiul de Aur).

Goldsmiths’ Square (Piata Aurarilor)
The Goldsmiths’ Square, a peaceful and intimate square, is surrounded by charming old houses with medieval windows, doorways and turrets. For many years, it was the main point of passage between the Little Square and the Lower Town, the two connected by a 15th century stairway.

Haller Bastion
Address: Str. Spitalelor
Located at the north end of Onofreiu Square (Piata Onofreiu), the bastion is named after Sibiu’s 16-th century mayor, Petrus Haller, who had the red-brick tower built in 1551.

Historic Churches

Orthodox Metropolitan Cathedral (Catedrala Ortodoxa Mitropolitana Sf. Treime)
Address: Str. Mitropoliei 35
Constructed between 1902–1906 on the site of a former Greek church, it shares a similar style with Saint Sofia Cathedral in Istanbul, Turkey. The interior is dominated by a massive gold chandelier and features neo-Byzantine decorations. This is the second largest Orthodox cathedral in Romania (the biggest one is located in Iasi).

Ursuline Monastery (Manastirea Ursulinelor)
Address: Str. General Gh. Magheru 38
Built in 1474, the site was home to a Dominican Monastery until 1543 when the Lutherans took over. Known under the German name of Klosterkirche, it became a Ursuline Monastery in 1755. The Ursulines changed the gothic interior to baroque style. Outside, the building still features many of its former gothic details, including the portal and the piles. Inside, the church has three altars and beautiful paintings representing various saints and protectors of the church.

Biserica din Groapa
Address: Str. Justitiei 5 
This Orthodox Church, whose name translates Church on the Gorge, was built between 1788 – 1789 and renovated between 1802-1803. The interior of this small church with a tower in three levels was beautifully painted by Nicolae Brana in 1960.

Jewish Sibiu
Although documents attest the existence of Jews in Sibiu since the 12th century, the Jewish community of Sibiu was never among the biggest in Romania. In 1940 the town had some 1,300 Jews, three synagogues, three rabbis, two cemeteries and two ritual baths managed by the Sephardic and Orthodox communities. Today, the handful of Jews who remain in Sibiu hold weekly and holiday services at the Great Synagogue.

The Great Synagogue
Address: Str. Constitutiei 19
Built by architect Szalay Ferenc in 1899, with funds collected by Sibiu’s small Jewish community, this synagogue boasts a neo-gothic façade. Inside, it has a basilica aspect with three naves mounted by lofts.

» Museums

Brukenthal Museum (Muzeul Brukenthal)
Address: Piata Mare 4-5
Tel: (269) 217.691
Email: info@brukenthalmuseum.ro 
http://www.brukenthalmuseum.ro/
Summer Schedule: Tue. – Sun. 10:00am – 6:00pm; Closed Mon. Closed first Tuesday
of every month.
Winter Schedule: Wed. – Sun, 10:00am – 06.00pm; Closed every Monday and Tuesday.
Admission charge 
Sibiu is home to Transylvania’s finest art museum, the Bruckenthal Museum. Founded in 1790 by Samuel Brukenthal, the governor of the province, the museum opened to the public in 1817. It is the oldest museum in Romania and one of the first museums in Europe. The art collection includes paintings by Rubens, Van Dyck and Teniers, as well as works of German, Austrian and Romanian masters. Additionally, it features a 16th century silverware collection, painted glass icons and 350 rare books, many dating to the days of the first printing press.

ASTRA Open Air Museum (Muzeul in aer liber ASTRA -Dumbrava Sibiului)
Address: Calea Rasinarilor 14 (2miles south of Sibiu)
Tel: (269) 242.419
www.MuzeulAstra.ro 
Open: Tue. – Sun. 9:00am – 6:00pm (wintertime 10am – 5pm);
Closed Mon.
Admission charge 
How to get here: From Piata Unirii take bus #1 or the tram (which goes all the way to Rasinari). At peak times (7am – 9am and 1pm – 3pm), the tram runs every 30 mins and every hour the rest of the day.

Located in the middle of a dense forest and surrounded by a beautiful lake, ASTRA features more than 300 buildings as well as watermills and windmills, gigantic presses for wine, fruit and oil, hydraulic forges and structures representing village architectural styles from many parts of Romania. The museum illustrates the technological legacy of the Romanian people. There is a wonderful collection of wooden farmhouses, a cherhana (a traditional collecting and storage point for fish) and sheepfolds, as well as a wooden church and two traditional inns. Guided tours are available. Another option is a visit by horse-drawn carriages (ladies, the driver will kiss your hand in greeting, an old Romanian custom).

The History Museum (Muzeul de Istorie)
Address: Str. Mitropoliei 2
Tel: (269) 218.143
Open: Tue. – Sun. 9:00am – 5:00pm (wintertime 10am – 6pm);
Closed Mon.
Admission charge
This museum is housed in the Old City Hall (Primaria Veche), which dates to 1470 and boasts typical Transylvanian gothic civil architecture. Here, you can learn the history of the city and the region from Neolithic and Roman times to the present. In addition to rich collections from the Middle Ages and the baroque era, there is a fine silverware exhibit.

Natural History Museum (Muzeul de Istorie Naturala)
Address: Str. Cetatii 1
Tel: (269) 213.156
Open: Tue. – Sun. 10:00am – 6:00pm;
Closed Mon.
Admission charge
One of the oldest and richest of its kind in Romania, this museum was founded by the Transylvanian Association of Natural Science (Siebenburgischer Verein für Naturwiessenschaften in German) in 1849. An astronomic observation centre also is located here.

Emil Sigerus Saxon Ethnographic Museum 
(Muzeul de Etnographie si Arta Populara Saseasca Emil Sigerus)
Address: Piata Mica 12
Tel: (269) 218.195
Open: Tue. – Sun. 9:00am – 6:00pm (wintertime 10:00am – 5:00pm);
Closed Mon.
Admission Charge 
Collections of painted furniture, costumes-textiles-embroideries and pottery, initiated by Emil Sigerus, the most important collector of Transylvanian Saxon Folk Art at the end of the 19th century. The museum also includes the original collections of the Carpathians Transylvanian Museum or MSVK opened in 1895 by the Siebenbugishen KarpathenvereinAssociation.

Museum of Hunting Weapons and Trophies(Muzeul de Arme si Trofee de Vanatoare)
Address: Str. Scoala de Inot 4
Tel: (269) 217.873
Open: Tue. – Sun. 9:00am – 5:00pm (wintertime 9am – 4pm);
Closed Mon.
Admission charge 
Founded in 1966, the museum features a collection of weapons, medals and stuffed animals. Some of the exhibits are over 100 years old, such as the hunting trophies brought after a long safari in Africa by Colonel Spiess, who was a Master of Hunting of the Royal House of Romania.

Franz Binder World Ethnographic Museum (Muzeul de Etnografie Universala Franz Binder)
Address: Piata Mica 11
Tel: (269) 218.195
Email: binder@muzeulastra.ro 
www.franzbinder.sibiu.ro 
Open: Tue. – Sun. 10:00am – 6:00pm;
Closed Mon.
The Franz Binder collections, housed in the “Hermes House” (initially called “The House of the Small Handicraftsmen’s Association”) built between 1865 and 1867, were established in the 19th century through donations and acquisitions from travelers and collectors. The permanent exhibition, “From the art and culture of the world – the people of the world,” displays objects from various parts of the world, including northern Africa and the springs of the Nile, China, Japan, Oceania, Asia Minor, Brazil, Lapland and Australia.

Pharmacy Museum (Muzeul de Istorie a Farmaciei)
Address: Piata Mica 26
Tel: (269) 218.191
Open: Tue. – Sun. 10:00am – 6:00pm;
closed Mon.
Admission charge 
Housed in a 16-th century building where the oldest pharmacy in Romania, La Ursul Negru (The Black Bear), operated for over 150 years, this museum showcases some 6,000 pieces of medical equipment from the 16th to the 19th centuries, coming from chemist’s shops, medical institutions and individuals. It should be noted that Sibiu had more chemists than any other town in Transylvania. The collections of the museum cover the whole range of medical instruments, from surgical pouches, microscopes, different bowls made of wood, china, glass, bronze mortars, stands with balances and weights in the Viennese style to the oldest piece of the collection, a 1597 bronze mortar used for preparing medicines.

At the front, a reconstructed shop is decked out with wooden Viennese counters and stacks of glass jars creating the atmosphere of an 18-th century “apoteka” (German for “pharmacy”).

The Steam Engine Museum (Muzeul de Locomotive cu Aburi)
Address: Str. Dorobantilor 22
Tel: (269) 431.685
Admission charge 
Opened in 1994, this museum displays 23 standard gauge steam engines, 10 narrow gauge steam engines, three snowplows and two steam cranes. The steam engines were built between 1885 and 1959 in Romania (the Resita Factory and the Malaxa Factory in Bucharest), Germany (Henschel, Borsig, Schwartzkopff) and USA (Baldwin). The museum is located opposite the main railway station.

SIGHISOARA

Founded by Transylvanian Saxons during the 12th century, Sighisoara (Schassburg in German) still stands as one of the most beautiful and best-preserved medieval towns in Europe. Designated as a World Heritage Site by UNESCO, this perfectly intact 16th century gem with nine towers, cobbled streets, burgher houses and ornate churches rivals the historic streets of Old Prague or Vienna for atmospheric magic. It is also the birthplace of Vlad Dracula, also known as Vlad Tepes (Vlad the Impaler), ruler of the province of Walachia from 1456 to 1462. It was he who inspired Bram Stoker’s fictional creation, Count Dracula.

His house is just one of the many attractions here. Others include the Church on the Hillwith its 500-year-old frescoes, the 13th century Venetian House and the Church of the Dominican Monastery, known for its Transylvanian renaissance carved altarpiece, baroque pulpit, Oriental carpets and 17th century organ.

Sighisoara’s citadel was built in the 12th century, when it was known as Castrum Sex (Fort Six), and was further strengthened and extended in the 15th century. The name must have existed long before, as the Saxons built their walled town on the ruins of a former Roman fortress. In 1298, the town was mentioned as Schespurch, while in 1367 it was called Civitas de Seguswar. The name of Sighisoara was first noted in a written document issued by Vlad Dracul, Vlad the Impaler’s father, in 1431.

In the 14th and 15th centuries, the economic growth recorded by Sighisoara’s industrious craftsmen and tradesmen ensured financial means for the construction of a strong defense system provided with 14 towers and several bastions provided with gunnery directed to all four cardinal points. Each tower was built, maintained and defended by a craft guild. Among the most striking is the 14th century Clock Tower. This tower controlled the main gate of the half-mile-long defensive wall and stored the city’s treasures.

Sighisoara was not the biggest or richest of the seven Saxon walled citadels* in Transylvania, but it has become one of the most popular. A walk through the town’s hilly streets with their original medieval architecture, magical mix of winding cobbled alleys, steep stairways, secluded squares, towers, turrets and enchantingly preserved citadel, is like stepping back in time.

* The seven walled citadels populated by the Saxons of Transylvania were known in German as the Siebenbürgen.

The other Siebenbürgen citadels were: Bistrita (Bistritz), Brasov (Kronstadt), Cluj(Klausenburg), Medias (Mediasch), Sebes (Mühlbach), Sibiu (Hermannstadt).

» City Landmarks

Sighisoara’s Citadel (Cetatea Sighisoarei)

For several centuries, Sighisoara was a military and political stronghold. During the 14th – 16th centuries, the Saxon and Magyar craft guilds erected towers around the citadel walls to protect the town from Turkish raids. Laid out on two to four levels, the towers stored ammunition and food supplies and were provided with firing windows for cannons, shells and arrows. Of the original fourteen towers and five artillery bastions, nine towers and two bastions have survived the test of time.

You can still spot theBlacksmiths’ Tower (Turnul Fierarilor), Butchers’ Tower(Turnul Macelarilor), Cobblers’ Tower (Turnul Cizmarilor), Furriers’ Tower (Turnul Cojocarilor), Ropemakers’ Tower (Turnul Franghierilor), Tailors’ Tower (Turnul Croitorilor), Tanners’ Tower(Turnul Tabacarilor) and Tinsmiths’ Tower (Turnul Cositorilor). The ninth tower still standing is the Clock Tower itself.

The Citadel Square (Piata Cetatii)

This quaint small square lies at the heart of the citadel. In the old days, street markets, craft fairs, public executions and witch trials were held here. From this square, you can easily access the main attractions of Sighisoara.

The Clock Tower (Turnul cu Ceas)
Adddress: Piata Cetatii
Open: Tue. – Sun. 9:00am – 4:00pm; Closed Mon.
Admission charge
Sighisoara’s main point of attraction is the Clock Tower, also known as the Council Tower, built in the second half of the 14th century and expanded in the 16th century. The four small corner turrets on top of the tower symbolized the judicial autonomy of the Town Council, which could apply, if necessary, the death penalty.

After a fire in 1676 when the town’s gunpowder deposits located in the Tailors’ Tower exploded, Austrian artists rebuilt the roof of the tower in its present baroque style and in 1894, colorful tiles were added.

In the 17th century, a two-plate clock, with figurines carved from linden wood, was set at the top of the tower, with one dial looking over the Lower Town (Orasul de Jos), and the other facing the citadel (cetate in Romanian,burg in German). The figurines, moved by the clock’s mechanism, each represent a different character. On the citadel side we see Peace holding an olive branch, accompanied by a drummer who is beating the hours on his bronze drum; above them are Justice, with a set of scales, and Law, wielding a sword, accompanied by two angels representing Day and Night. At 6 am, the angel symbolizing the day appears, marking the beginning of the working day and at 6 pm, the angel symbolizing the night comes out carrying two burning candles, marking the end of the working day.

The dial overlooking the Lower City features a set of seven figurines, each representing the pagan gods who personified the days of the week: Diane (Monday), Mars (Tuesday), Mercury (Wednesday), Jupiter (Thursday), Venus (Friday), Saturn (Saturday)and the Sun (Sunday).

The spire of the tower ends in a small golden sphere. At the top, there is a meteorological cock, which, turned around by air currents, forecasts the weather.

The Clock Tower served as the gathering place for the City Council until 1556. Since 1899, it has housed the History Museum(see museum details). From the top of the Clock Tower, visitors can look down on the red-tiled roofs of the Old Town and see intact 16th century Saxon houses lining the narrow cobblestone streets. Today, merchants and craftsmen still go about their business, as they did centuries ago.

The Church of the Dominican Monastery (Biserica Manastirii Dominicane)
Address: Piata Cetatii
Not far from the Clock Tower stands the Church of the Dominican Monastery. First attested in a document in 1298 as part of a Dominican monastic settlement, the church became the Saxons’ main Lutheran church in 1556. The monastic complex demolished in 1888 and its place was taken by the present town hall. Only the church has remained from the original structure.

Built in late-gothic style typical of the hall-churches, with two naves and two rows of pillars, the church was restored in the 15th century and then again in the 16th century after the big fire of 1676. The last repairs were done in 1894 and 1929, when the church acquired its present-day look.

Inside the church, you can admire some valuable artistic objects, such as the bronze font dating back to 1440, the stone doorframe carved in 1570 in Transylvanian renaissance style and built into the northern wall of the church, the collection of 16th and 17th century Oriental carpets, a baroque organ and a fine altarpiece from 1680. Classical and baroque concerts are often held here.

The Church on the Hill (Biserica din Deal/Romanian – Bergkirche/German)
Address: Piata Cetatii
Open: Mon. – Sun. 10:00am -6:00pm
Admission charge
To the north of the Clock Tower stands one of the most representative gothic-style structures in Transylvania, the Church on the Hill – so called because of its location on the School Hill (1,373 ft high). First mentioned in a document in 1345 and superposed on a former Roman basilica, its construction lasted almost 200 years.

Initially a Catholic church, it became the main church of the Saxon inhabitants of Sighisoara, who had shifted from Roman Catholicism to Lutheranism after the 1547 Reform.

Inside the beautifully restored interior, you can admire fragments of *murals from 1483-1488, the period prior to Martin Luther’s Reformation, and renaissance-style furniture. The gothic altarpiece dedicated to St Martin dates from 1520 and was painted by Johann Stoss, the son of the renowned sculptor, Veit Stoss from Nürnberg. The three wood-carved coats of arms, found in the anterooms of the side naves, belonged to Mathias Corvin and his wife, Beatrix, the Transylvanian prince Stephen Bathory of Nyir (1479-1493) and the king of Poland and Hungary, Wladislav the 3rd.

The church is reached by a covered wooden staircase known as the Scholars’ Stairs. Opposite the church is the main entrance to a serene Saxon cemetery (open daily 8:00am – 8:00pm).

The Scholars’ Stairs
Address: Piata Cetatii
Located at the end of School Street and connecting the Citadel Square with the Church on the Hill, the Scholars’ Stairs, or Schoolboys’ Stairs, as it was also known, makes for an interesting piece of medieval architecture. Built in 1642, the covered stair-passage was meant to facilitate and protect schoolchildren and churchgoers on their climb to the school and church during wintertime. Originally, the stairs had 300 steps, but after 1849, their number was reduced to 175.

Vlad Dracul’s House
(Casa Dracula)
Address: Str. Cositorarilor 5
The Vlad Dracul House is located in the Citadel Square, close to the Clock Tower. This ocher-colored house is the place where Vlad Tepes, the inspiration for Bram Stoker’s famous Dracula, was born in 1431 and lived with his father, Vlad Dracul, until 1435 when they moved to Targoviste. A wrought-iron dragon hangs above the entrance. The ground floor of the house serves as a restaurant, while the first floor is home to the Museum of Weapons (see museum details).

For his deeds, the Order of the Dragon was bestowed upon him, hence the title Dracul (the Latin word for dragon is draco). While in medieval lure dragons served as symbols of independence, leadership, strength and wisdom, the biblical association of the devil with the serpent that tempted Adam and Eve, gave the snake-like dragon connotations of evil. Thus, the Romanian word Dracul stands in English for both dragon and devil.

Dracula, the title of Vlad Tepes, translates as Son of Dracul.

The Stag House (Casa cu Cerb)
Address: Piata Cetatii 
Built in the 17th century in Transylvanian renaissance style, the house draws its name from the stag skull set on one of the corners of its façade. Recent restorations revealed an external mural depicting the stag’s body. Nowadays, the building houses a hotel, with a ground floor that doubles as a cellar bar.

The Venetian House (Casa Venetiana)
Address: Piata Muzeului
Built in the 16th century, the house was later restored in Venetian gothic style with the upper part of the windows forming a three-lobe arch.

The Citadel Towers (Turnurile cetatii)
The half-mile defense wall was initially provided with 14 towers, of which nine have been preserved to this day. Among the most impressive are:

The Ropemakers’ Tower
(Turnul Franghierilor)
Dating from the 13th century and standing above the pre-Saxon citadel walls, the Ropemakers’ Tower is one of the oldest buildings in Sighisoara. Its role was to defend – together with the Goldsmiths’ Tower – the northwest corner of the hill. Nowadays, the tower is the home of the caretaker of the Saxon cemetery, located next to the Church on the Hill.

The Tailors’ Tower (Turnul Croitorilor)
This imposing tower was raised in the 14th century by the richest guild in town. Initially as tall as the Clock Tower, its upper part was destroyed in the 1676 fire, when the town’s gunpowder deposits, located here, exploded. The Tailors’ Tower, with its two vaulted galleries which used to have huge oaken gates with an iron lattice, also serves as the second access road into the citadel. The tower was restored in 1935.

The Cobblers’ Tower (Turnul Cizmarilor)
The Cobblers’ Tower, located in the northeastern part of the town, was first mentioned in documents dating from the mid-16th century but it was rebuilt from scratch in 1650. The tower bears the influence of baroque architecture, featuring a hexagonal base with sides of different lengths. Its roof, resembling a pointy helmet, houses a small observation tower.

The Lower Town (Orasul de Jos)
Lack of water and supplies made life in the Citadel quite difficult at times. By comparison, living conditions in the Lower Town, which had started to develop at end of the 15th century, were much better. Today, the Lower Town, less picturesque than the Citadel area, centers around Hermann Oberth Square (Piata Herman Oberth) and Strada 1 Decembrie. Here, you can admire 17th century houses.

Historic Churches

Lepers’ Church (Biserica Leprosilor)
Address: Str. Stefan cel Mare 34
Located in the Lower Town on the Tarva River bank, this small 15th century gothic church served as the lepers’ asylum chapel between 1647 and 1684. Since the lepers were not allowed to enter the church, an outer pulpit was installed from which the Gospel was preached to the sick.

Orthodox Cathedral (Catedrala Ortodoxa)
This cathedral, built in Byzantine style between 1934 and 1937 and beautifully painted in black and white, is located on the northern shore of Tarnava Mare and is accessible by a footbridge.

St. Joseph Roman-Catholic Church (Biserica Romano-Catolica Sf. Iosif)
Address: Str. Zidul Cetatii
Built in an eclectic style in 1894, the church underwent major restorations after a fire in 1983. The present organ, designed by Karl Einschenk in 1908, was brought from a Saxon church near Sighisoara.

Orthodox Church from Cornesti (Biserica Ortodoxa din Cornesti)
Erected in neoclassical style between 1788 and 1797, this is the first Romanian Orthodox church made of stone in the region. The bell, a liturgical veil and a golden goblet from the 18th century have been preserved.

» Museums

The History Museum (Muzeul de Istorie)
Address: Piata Muzeului 1 (inside the Clock Tower)
Tel: (265) 771.108
Open: Tue. – Sun. 10:00am – 3:30pm; Closed Mon.
Admission charge – one ticket allows entry into three museums: the History Museum, Torture Room and Weapons Collection
The museum presents the evolution of crafts in Transylvania and features a collection of Renaissance furniture, medical instruments, ethnographic artifacts, fine arts and a collection of clocks.

The Torture Room (Camera de Tortura)
Address: Piata Muzeului 1 (inside the Clock Tower)
Tel: (265) 771.108
Open: Tue. – Sun. 10:00am – 3:30pm; Closed Mon.
This small but interesting museum is housed at the foot of the Clock Tower in the same room where prisoners were tortured and confessions were extorted during the Middle Ages. Some of the amazing torture instruments and methods are on display.

The Weapons Collection (Colectia de Arme Medievale)
Address: Str. Cositorarilor 5
Tel: (265) 771.108
Open: Tue. – Sun. 10:00am – 3:30pm; Closed Mon.
Housed on the first floor of the Vlad Dracul house, the museum features an array of medieval weapons, showcasing the development of weapons used in and around the town throughout the ages. Also on display is an oil portrait of Michael Freiherr von Melas (1731-1806). Born in Sighisoara, he became a general of the Austrian mounted troops and fought against Napoleon Bonaparte’s army at Marenga (June 14, 1880)

www.romaniatourism.com

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Accesso

• Da Pinerolo si segue la SS23 fino a Depot, frazione di Fenestrelle che si incontra dopo aver superato Villaretto Chisone e Mentoulles. Prima di entrare nell’abitato di Depot sulla destra salendo, si vede un bivio con indicati Prà Catinat, Colle delle Finestre ed il cartello giallo Rifugio Selleries. Imboccata questa strada si prosegue fino al Centro di Soggiorno di Pracatinat, lo si supera proseguendo ancora per 700 mt. circa. Alla vostra destra troverete un bivio con una pista sterrata (altro cartello giallo) che in 5 km. Vi porterà al rifugio.
• In estate (da giugno a ottobre) il rifugio è raggiungibile in auto: il tratto di sterrato si presenta a volte un po’ accidentato, ma con le dovute cautele è percorribile con qualsiasi autovettura.
• In inverno (da ottobre a giugno) si lascia la macchina subito dopo il Centro di Soggiorno di Pracatinat, in un parcheggio nei pressi della sbarra che blocca la strada. Da qui si prosegue a piedi, ed in un’ora e trenta di cammino si raggiunge il rifugio. Camminata comoda con poco dislivello, in ambiente molto panoramico.

Un po’ di storia
Il Rifugio Selleries si trova nel cuore del Parco Regionale Orsiera – Rocciavré. È una struttura molto antica: la prima costruzione risale alla seconda metà del 1800, ed in una cartolina d’inizio novecento è classificato come rifugio CAI. Nel 1922 viene inaugurata una nuova struttura più grande. Verso fine anni ’50 inizio ’60 fu realizzata la costruzione dell’ultima parte, che darà al Selleries l’aspetto attuale. La proprietà del rifugio è sempre stata di una famiglia di valligiani, proprietari, per altro, anche delle bergerie vicine e dei terreni circostanti. Nel 2001 la Regione Piemonte ha acquistato l’intero stabile, ristrutturandolo interamente per renderlo nuovamente agibile, dopo ben 5 anni di chiusura.

www.rifugioselleries.it

www.ghironda.com

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Parco del Valentino

Cenni storico-architettonico-paesaggistici-naturalistici

Il Parco del Valentino è il più famoso e antico parco pubblico della città. È sicuramente il parco cittadino più conosciuto ed è stato assunto a simbolo della città al pari della Mole Antonelliana. In splendida posizione, non distante dal centro (a 1 km dalla stazione ferroviaria di Porta Nuova), è situato lungo la sponda sinistra del Po, tra i ponti monumentali Umberto I (corso Vittorio Emanuele II) e Isabella (Corso Dante), e in affaccio sulla collina.

Il Parco presenta un patrimonio arboreo notevole, una interessante avifauna, molteplici punti di interesse, piste ciclabili, passeggiate e occasioni di sport e di svago.

Le sue origini si possono far risalire ad epoca assai remota: fin dal Medioevo, infatti, era in uso in zona il toponimo “Valentino”, di incerta origine, che dal ’600 venne ad indicare il castello dei Savoia (Castello del Valentino, una delle Residenze Reali dei Savoia, Patrimonio Mondiale UNESCO) e l’area limitrofa.

Il parco del Valentino, seppure non ancora a funzione pubblica, ebbe una prima realizzazione nel 1630, su progetto di Carlo Cognengo di Castellamonte, poi la fu proseguito fino al 1660 dal figlio Amedeo. Ma è nella seconda metà dell’800, con l’abbattimento delle mura voluto da Napoleone, che inizia per Torino una nuova fase urbanistica, caratterizzata da forte aumento della popolazione, attività edilizia, nuovo bisogno di verde per lo svago: è in questo momento che nasce il verde pubblico in senso moderno, e la Città, per realizzare un pubblico passeggio, pensa alla zona attorno al Castello del Valentino. I lavori si avviarono nel 1863-1864, su parziale ridisegno del parco da parte dell’architetto francese Barillet-Deschamps che, ispirandosi ai principi del parco paesaggistico, o “all’inglese”, realizza una migliore sistemazione di viali, boschetti, vallette artificiali, un piccolo galoppatoio e un laghetto, poi prosciugato, che veniva usato d’inverno come “patinoire”.

Ancor prima di essere completato, il parco diventò la cornice di grandi esposizioni nazionali ed internazionali, che si tennero dal 1829 al 1961. In occasione dell’Esposizione Generale Italiana del 1884 venne realizzato il cosiddetto borgo medievale, ovvero la ricostruzione di uno scorcio completo dei principali caratteri stilistici ed architettonici delle opere piemontesi e della Val d’Aosta del Medioevo, con tanto di Rocca visitabile.

Dopo l’Esposizione del 1911, il parco si assestò sulle sue dimensioni attuali. In particolare, nel 1961 fu teatro di manifestazioni per il Centenario dell’Unità d’Italia e in tale occasione, fra il Borgo Medioevale (e il complesso di Torino Esposizioni, fu ridisegnata e realizzata una amena valletta fiorita percorsa da ruscelli e con molte aiuole, realizzando il Giardino Roccioso; in questa zona nel 1965 fu realizzato il Roseto, poi ampliato in occasione della mostra floreale Flor ’92.

Elementi di interesse

All’interno del parco: Castello del Valentino, sede della Facoltà di Architettura del Politecnico di Torino, Borgo Medioevale, Giardino Roccioso, Orto Botanico dell’Università degli Studi di Torino, Fontana dei Dodici Mesi, Fontana Luminosa ,Palazzina della Promotrice delle Belle Arti, Villino Caprifoglio (sede Laboratorio di Lettura per bambini), Torino Esposizioni, Quinto padiglione Torino Esposizioni, le società dei canottieri.

Da segnalare: , possibilità di prendere il battello per la navigazione sul Po (visualizza foto) e al sito web www.gtt.to.it per gli orari di navigazione, la Polizia a cavallo, ilRegolamento comunale specifico per le manifestazioni al Parco del Valentino, numerosi esemplari di alberi secolari e di pregio

Altri link: Il Parco del Valentino su TorinoTuristica

Accessibilità in bici, in bus, in auto

Accessi: n° 5 principali:

• Corso Massimo d’Azeglio ang. c.so Raffaello
• Corso Massimo d’Azeglio ang. c.so Marconi
• Corso Massimo d’Azeglio ang. c.so Vittorio Emanuele II
• Corso Vittorio Emanuele II ang. c.so Cairoli, prima del Ponte monumentale Umberto I
• Viale Marinai d’Italia (sottopasso automobilistico sotto il ponte Isabella/corso Dante)

Accessibilità per disabili: Il parco è parzialmente accessibile ai disabili

Parcheggio auto nei pressi: il parco è dotato di numerosi parcheggi interni

Accessibile in bici: Sì , il parco è accessibile e percorribile in bicicletta per tutta la sua estensione.

Parcheggio bici: Sì (rastrelliere)

Percorribile in bici / percorsi ciclabili interni: Sì, (in parte ampi viali asfaltati, in parte sentieri sterrati o lastricati, alcuni brevi tratti sono a scalini)

LA fontana dei 12 mesi – torino

Giovedì 7 gennaio 2010 by Mariano Tomatis

E’ sorprendente scoprire di vivere a pochi passi dal luogo ove cadde una divinità.

Narra la leggenda che il giovane Fetonte, figlio del dio del sole, si impadronì del carro del padre e ne fece imbizzarrire i cavalli. Gea, la terra madre, gridò fino a farsi sentire da Zeus, che fu costretto a lanciare un fulmine contro il carro per fermarlo. Fetonte cadde nel fiume Po, dove molti secoli più tardi sarebbe nata Augusta Taurinorum, l’odierna Torino.

Rubens (1577-1640), La caduta di Fetonte, ~1604

La fontana dei dodici mesi – Torino (Tratta da qui)

A sinistra: l’edificio moresco del 1898 &bull A destra: il padiglione dell’Inghilterra del 1911

CLICCA QUI per accedere alla collezione.

A sinistra: particolare di una foto del 1898 &bull A destra: fotografia del 7 gennaio 2010.

cherasco 

La storia di Cherasco ha inizio nell’autunno del 1243, quando il marchese Manfredi Lancia, vicario imperiale e Sarlo di Drua, podestà di Alba, ordinarono la costruzione della città sul pianalto alla confluenza dei fiumi Tanaro e Stura, non lontano dal preesistente villaggio di Cherascotto, di probabile origine ligure e in epoca romana chiamato “Clarascum”.
La scritta che campeggiava sul frontone della porta di San Martino: Clarasci portae sunt Albae viribus ortae, fu ben presto dimenticata dai cittadini cheraschesi che già nel 1259 si diedero a Carlo d’Angiò acquisendo in tal modo una propria personalità giuridica e l’indipendenza dal Comune di Alba.
Nel 1277, Cherasco entrò a far parte della lega antiangioina, insieme ad Asti, Alba e Chieri, ribadendo ancora la sua condizione di comune ormai libero e indipendente.
Tale indipendenza ebbe termine già nel 1303, quando la città passò ancora una volta sotto il dominio degli Angiò, sconfitti poi nel 1347 da Amedeo VI di Savoia.
I Cheraschesi si consegnarono quindi al vincitore.

Nel 1348, Luchino Visconti, Duca di Milano, impossessatosi di Asti e Bra, assediò Cherasco e l’occupò.
Per migliorare le già ottime strutture difensive della città, egli vi fece costruire il castello che ancora oggi possiamo ammirare.
Nel 1388, la città fu costituita in dote per Valentina, figlia di Gian Galeazzo Visconti, che andava sposa a Luigi d’Orleans, fratello del Re di Francia, Carlo VII.

Con il trattato di Cambrai del 1529, che poneva termine alle lotte tra Francesco I e Carlo V, Cherasco ritornò ai Savoia, ma la pace fu di breve durata.
Contesa tra spagnoli e francesi la città subì negli anni successivi assedi e occupazioni.
Nel 1559, la pace di Cateau – Cambrésis, pose termine all’aspra contesa e Cherasco ritornò definitivamente ai Savoia nella persona di Emanuele Filiberto.
Iniziò quindi, un periodo di pace caratterizzato da una grande attività, soprattutto in campo edilizio; si riadattarono le chiese, si riedificarono le case, si abbellirono i palazzi, le mura della città furono ricostruite secondo il disegno dell’architetto Ascanio Vittozzi, il castello, in parte demolito, fu rimesso a nuovo.
Ma di nuovo divampò la guerra e questa volta ad essa si aggiunse la peste che nel 1630 si diffuse in tutto il Piemonte; Cherasco immune dal contagio ospitò la corte che, con tutto il seguito, si era allontanata da Torino.

L’anno seguente soggiornarono a Cherasco i plenipotenziari di Austria, Francia, Spagna, Mantova e Monferrato, il Cardinale Mazzarino e il Re Vittorio Amedeo I che vi firmarono la pace che poneva termine alla guerra per la successione di Mantova e Monferrato.

Nel 1696, quando nuovamente infuriava la guerra, Cherasco ottenne il titolo di Contessa di Narzole per meriti militari.
Nel 1706 la corte, ritiratasi da Torino assediata dai francesi, soggiornò ancora a Cherasco.
Seguirono anni di pace che videro affermarsi artisti cheraschesi come Sebastiano Taricco e Nicola Vercellone; si costruirono e si abbellirono chiese e palazzi, si riedificò l’ospedale, si istituì l’ospizio di carità.

Il secolo XVIII doveva tuttavia terminare ancora con la guerra: la rivoluzione francese, oltrpassati i propri confini territoriali raggiunse il Piemonte; i francesi assediarono Cherasco al comando del Generale Massena e il 25 aprile 1796, il sindaco consegnò le chiavi della città.
Poche ore dopo, Napoleone entrò in Cherasco e prese alloggio in Palazzo Salmatoris, dove il 27 aprile, alla presenza dei plenipotenziari La Tour e Costa di Beauregard, dettò le condizioni della resa incondizionata.
Fu quella l’ultima delle molte paci firmate a Cherasco a partire dalla sua fondazione, caratteristica questa che valse alla città il titolo di Urbs firmissima pacis che accompagna lo stemma cheraschese.
Nel nome della “liberté, fraternité, egualité”, le insegne nobiliari furono tolte dai palazzi, le corone degli stemmi scalpellate dai banchi delle chiese e il 24 gennaio del 1799 eretto l’albero della libertà, le pergamene attestanti i titoli e le armi gentilizie della quasi totalità delle famiglie nobili cheraschesi, furono date alle fiamme.
Furono abbattute le mura e sostituite dai bellissimi viali che racchiudono il centro storico.
I terreni posti intorno ai viali e sui bastioni e che facevano parte delle fortificazioni costituirono la cascina Recinto che Napoleone donò all’Ospizio di carità.
Le comunità religiose furono soppresse e alcune chiese con annessi monasteri destinate ad altro uso.
Con il secolo XVIII, Cherasco concluse la sua partecipazione come protagonista della storia; gli importanti avvenimenti successivi si svolsero altrove, anche se molti cheraschesi vi presero parte: le lapidi sulle facciate del Palazzo comunale e di alcune case e i monumenti ai caduti innalzati nei giardini prospicenti la chiesa della Madonnina delle Grazie ricordano coloro che non vi fecero più ritorno.

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gufo – owl

l gufo comune è più snello dell’allocco (Strix aluco) e ha dei tipici ciuffi sulle orecchie, semplici piume che non hanno nulla a che vedere col vero e proprio apparato uditivo, peraltro finissimo. È un animale esclusivamente notturno; caccia una grande varietà di piccoli animali, topi, toporagni (Sorex araneus), talpe (Talpa europaea), scoiattoli, pipistrelli, ratti, uccelli e insetti. Durante il giorno dorme sugli alberi, perfettamente mimetizzato dal piumaggio bruno macchiettato.
Il gufo non può muovere gli occhi, in compenso però riesce a ruotare la testa di ben 360°.
Nidifica tra marzo e maggio, in base alla zona; quando c’è cibo a sufficienza può fare due covate. La femmina depone 3-10 uova, la media è di 4 o 5 per covata, nel nido di un’altra specie o in quello di uno scoiattolo. Se non trova nidi di questo genere depone le uova sul suolo, sotto un albero o un arbusto. Cova le uova per 26-28 giorni, in questo periodo e fino a dopo la schiusa, la femmina viene nutrita dal maschio. I piccoli lasciano il nido dopo 3-4 settimane.
È l’unico rapace notturno che in inverno si riunisce appollaiato. Da dicembre a febbraio, infatti, i gufi comuni trascorrono le proprie giornate sullo stesso albero dal quale poi s’involano la sera, per andare a caccia. All’inizio della primavera si disperdono, abbandonando il roost, per accoppiarsi e nidificare. Il sistema migliore per censire i gufi comuni consiste proprio nel ritrovare un appollatoio e contare gli animali presenti. I gufi, infatti, si intrattengono sullo stesso ramo per tutto l’inverno, e, spesso, rimangono fedeli negli anni allo stesso “dormitorio”. Il probabile significato di questo comportamento sociale potrebbe essere di protezione reciproca.
Il verso è un grido abbastanza forte simile ad altri uccelli del suo genere tassonomico.
Alcune popolazioni settentrionali migrano durante l’inverno verso sud (Messico, Egitto, India) ritornando nella loro abituale zona di diffusione la primavera successiva.
Curiosità [modifica]

Secondo una leggenda spagnola, il gufo è diventato un uccello notturno dopo aver assistito alla crocifissione di Gesù: da allora, il rapace continua a ricordare quell’evento, ripetendo nel suo tipico verso la parola cruz, ossia croce.
Nella tradizione fiabesca e nel mondo dell’animazione il gufo è quasi sempre rappresentato come un animale saggio ed erudito, che diffonde la sua cultura a tutta la comunità animale con cui entra in contatto, ma è anche molto pignolo e permaloso. Validi esempi sono Anacleto, il gufo che vive con Merlino in La spada nella roccia della Disney, oppure Uffa, il gufo abitante del famoso Bosco dei cento acri che è teatro delle avventure di Winnie the Pooh e il gufo di Bambi

Owls are the order Strigiformes, constituting 200 extant bird of prey species. Most are solitary and nocturnal with some exceptions (e.g. the Northern Hawk Owl). Owls hunt mostly small mammals, insects, and other birds though a few species specialize in hunting fish. They are found in all regions of the Earth except Antarctica, most of Greenland and some remote islands. Though owls are typically solitary, the literary collective noun for a group of owls is a parliament. Living owls are divided into two families: the typical owls, Strigidae; and the barn-owls, Tytonidae. Owls have large forward-facing eyes and ear-holes, a hawk-like beak, a flat face, and usually a conspicuous circle of feathers, a facial disc, around each eye. The feathers making up this disc can be adjusted to sharply focus sounds, coming from varying distances and made by prospective prey, on the ear cavities which are asymmetrically placed. Most birds of prey sport eyes on the sides of their heads, but the stereoscopic nature of the owl’s forward-facing eyes permits a greater sense of depth perception necessary for low-light hunting. Although owls have binocular vision, their large eyes are fixed in their sockets, as with other birds, and they must turn their entire head to change views. Owls can rotate their heads and necks as much as 270 degrees in either direction.[1][2][3] Owls are farsighted and are unable to see anything clearly within a few centimeters of their eyes. Caught prey can be felt by owls with the use of filoplumes, which are small hair-like feathers on the beak and feet that act as “feelers”. Their far vision, particularly in low light, is exceptionally good.

Eagle Owl
The smallest owl is the Elf Owl (Micrathene whitneyi), at as little as 31 g (1.1 oz) and 13.5 cm (5.3 inches). Some of the pygmy owls are scarcely larger. The largest owls are two of the eagle owls; the Eurasian Eagle Owl (Bubo bubo) and Blakiston’s Fish Owl (Bubo blakistoni)—which may reach a size of 60 – 71 cm (28.4 in) long, have a wingspan of almost 2 m (6.6 ft), and an average weight of nearly 4.5 kg (10 lb).
Different species of owls make different sounds; the wide range of calls aids owls in finding mates or announcing their presence to potential competitors, and also aids ornithologists and birders in locating these birds and recognizing species. The facial disc helps to funnel the sound of prey to their ears. In many species, these are placed asymmetrically, for better directional location.[4][verification needed]
The plumage of owls is generally cryptic, but many species have facial and head markings, including face masks, ear tufts and brightly coloured irises. These markings are generally more common in species inhabiting open habitats, and are thought to be used in signaling with other owls in low light conditions.[5]
Owl eggs usually have a white color and almost spherical shape, and range in number from a few to a dozen, depending on species. Eggs are laid at intervals of 1 to 3 days and do not hatch at the same time. This accounts for the wide variation in the size of sibling nestlings. Owls do not construct nests, but rather look for a sheltered nesting site or an abandoned nest in trees, underground burrows, or in buildings, barns and caves.

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7th January 2012

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Picture 1: Dolceacqua. August 2010. Minolta Dynax 7000, Kodak 400 ISO. Ilford Multigrade (filter 5), f 8, t=3 s.

Picture 2: Turin. February 2011. Minolta Dynax 7000, Kodak 400 ISO. Ilford Multigrade (filter 5), f 8, t=4 s.

Picture 3: Imperia. August 2010. Minolta Dynax 7000, Kodak 400 ISO. Ilford Multigrade (filter 5), f 8, t=3.5 s.

Picture 4: Triora. August 2010. Minolta Dynax 7000, Kodak 400 ISO. Ilford Multigrade (filter 5), f 8, t=4 s.

Picture 5: Dolceacqua. August 2010. Minolta Dynax 7000, Kodak 400 ISO. Ilford Multigrade (filter 5), f 8, t=4 s.

Picture 6: Torino. February 2011. Minolta Dynax 7000, Kodak 400 ISO. Ilford Multigrade (filter 3 1/2), f 8, t=8 s.

Picture 7: Udine. November 2010. Minolta Dynax 7000, Kodak 400 ISO. Rollei Vintage Multigrade (filter 3), f 8, t=9 s.

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