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Â˘Î¿‰· / Lefkada - Grimaldi Group

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ÙÔ ÔÔ›Ô ÛËÌ·›ÓÂÈ fiÙÈ Ô ‡ÚÁÔ˜ Â›Ó·È ÎÂÎÏÈ̤ÓÔ˜ 2.3 ̤ÙÚ·. √È ·ÚÈıÌÔ›<br />

Â›Ó·È ÂÓÙ˘ˆÛÈ·ÎÔ›, ·ÏÏ¿ ‰Â ÛËÌ·›ÓÔ˘Ó Ù›ÔÙÂ Û˘ÁÎÚÈÓfiÌÂÓÔÈ Ì ÙËÓ<br />

ÂÌÂÈÚ›· Ù˘ ·Ó¿‚·Û˘ ˆ˜ ÙËÓ ÎÔÚ˘Ê‹. √È ÂÚÁ·Û›Â˜ ÁÈ· ÙËÓ ·Ó¤ÁÂÚÛË ÙÔ˘<br />

η̷ӷÚÈÔ‡ ÙÔ˘ ηı‰ÚÈÎÔ‡ Ó·Ô‡ ÍÂΛÓËÛ·Ó ÙÔÓ ∞‡ÁÔ˘ÛÙÔ ÙÔ˘ 1173<br />

Î·È Û˘Ó¯›ÛÙËÎ·Ó ÁÈ· 200 ¯ÚfiÓÈ·. ∞Ú¯Èο ۯ‰ȷṲ̂ÓÔ˜ ÁÈ· Ó· ¯ÙÈÛÙ›<br />

οıÂÙÔ˜, Ô ‡ÚÁÔ˜ ¿Ú¯ÈÛ ӷ Á¤ÚÓÂÈ ÚÈÓ ÔÏÔÎÏËÚˆı› Ë Î·Ù·Û΢‹ ÙÔ˘<br />

fiÙ·Ó ÙÔ ¤‰·ÊÔ˜ ˘Ô¯ÒÚËÛÂ. ª›· ÛÂÈÚ¿ ·fi ·Ú¯ÈÙ¤ÎÙÔÓ˜ Î·È Ì˯·ÓÈÎÔ‡˜<br />

ÚÔÛ¿ıËÛ·Ó Ó· ÙÔ Â·Ó·Ê¤ÚÔ˘Ó ÛÙË Î¿ıÂÙË ı¤ÛË ÙÔ˘. ∏ ÈÔ ÚfiÛÊ·ÙË<br />

ÚÔÛ¿ıÂÈ· ¤ÁÈÓ ÙË ‰ÂηÂÙ›· ÙÔ˘ ’90, fiÙ·Ó Ë ÎÏ›ÛË ÂÚÈÔÚ›ÛÙËΠÛÙÔ<br />

›‰ÈÔ ÛËÌÂ›Ô Ô˘ ‚ÚÈÛÎfiÙ·Ó ÚÈÓ ·fi ÌÂÚÈÎÔ‡˜ ·ÈÒÓ˜. √È ÂȉÈÎÔ›<br />

ÂÈ̤ÓÔ˘Ó fiÙÈ Â›Ó·È ·ÛÊ·Ï‹˜, ÂÓÒ Ô ‡ÚÁÔ˜ Û˘Ó¯›˙ÂÈ Ó· Á¤ÚÓÂÈ Î·È Ó·<br />

ÚÔÛÂÏ·ÂÈ ÂηÙÔÌ̇ÚÈ· ÙÔ˘Ú›ÛÙ˜ οı ¯ÚfiÓÔ.<br />

√ ∫·ı‰ÚÈÎfi˜ Î·È ÔÈ £ËÛ·˘ÚÔ› ÙÔ˘<br />

√ ηı‰ÚÈÎfi˜ Ó·fi˜ Ù˘ «Santa Maria Assunta» Î·È ÔÈ<br />

ıËÛ·˘ÚÔ› Ù˘ ‚Ú›ÛÎÂÙ·È ·Ó¿ÌÂÛ· ÛÙÔ<br />

µ·ÙÈÛÙ‹ÚÈÔ ÙÔ˘ ∞Á›Ô˘ πˆ¿ÓÓË ÙÔ˘<br />

µ·ÙÈÛÙ‹ Î·È ÛÙÔÓ ‡ÚÁÔ Ù˘<br />

›˙·˜. ∆Ô ÎÔÈÌËÙ‹ÚÈÔ<br />

Û˘ÌÏËÚÒÓÂÈ ÙËÓ<br />

ÌÔÓ·‰È΋<br />

structed with the profits from Pisa's Golden Age, when the city was one of<br />

the maritime powers of the Mediterranean. The archetype of the Pisan<br />

Romanesque style, the cathedral was begun in 1063, with a tithe from the<br />

Balearic Island booty, and consecrated in 1118.<br />

The duomo is art and atmosphere, with its multicoloured marble and variegated<br />

styles and blend of Lombard-Emilia, Byzantine and Islamic cultures.<br />

The impact of the sight<br />

of the tower is unique,<br />

while the baptistery will<br />

be appreciated by the<br />

discerning visitor.<br />

The inside of the cathedral,<br />

shown here, is an<br />

interplay of crisp<br />

black and white<br />

marble and the<br />

mighty granite<br />

Corinthian<br />

columns are<br />

from the mosque<br />

in Palermo, plundered after a Pisan victory in 1063.<br />

Among the many highlights is the apse mosaic of Christ in Majesty,<br />

flanked by the Virgin and St John the Evangelist, completed by<br />

Cimabue in 1302. Behind the high altar are 27 paintings by the<br />

greatest 16th and 17th century Tuscan<br />

artists. Then there is the pulpit, pictured<br />

in the foreground, which is a<br />

masterpiece of 14th century<br />

Gothic sculpture by<br />

Giovanni Pisano, with<br />

episodes from the life of<br />

Christ depicted in the relief<br />

panels. Also worth a look,<br />

among the 17th century decoration<br />

is the bronze crucifix on the<br />

high altar, and the angel candelabras<br />

on the altar of the Chapel of the<br />

Holy Sacrament. The church houses<br />

the relics of San Ranieri, the patron<br />

saint of Pisa, and the tomb of the<br />

Holy Roman Emperor Henry VII of<br />

Luxembourg.<br />

Il Palazzo dei Cavalieri<br />

This was the Palazzo degli Anziani del Popolo<br />

della Pisa Repubblicana, i.e. the town hall in the<br />

Middle Ages, and is called the Palazzo della<br />

Carovana dei Cavalieri (pictured), its façade<br />

entirely covered in 16th century graffiti;<br />

today it is the seat of the Scuola Normale<br />

Superiore, a university founded by<br />

Napoleon and based on the model of the<br />

Ecole Normale Supérieure in Paris. Former<br />

students include the poet Giosuè Carducci<br />

and the physicist Enrico Fermi.<br />

Piazza dei Cavalieri may have been the site<br />

of the Roman forum and was the central civic<br />

square of Republican Pisa. It<br />

was converted by Cosimo I de'<br />

Medici - there's a statue of<br />

him dressed as the Grand<br />

Master of the Order of the<br />

Knights in front of the palazzo<br />

- into the headquarters of the<br />

new military order of the<br />

Knights of St Stephen. The<br />

piazza was remodelled by the<br />

MINOAN WAVE >

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