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anghiari

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montecalvello

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Walking in Tuscany
             
 
 

Ponte della Pia

 

album Surroundings
       
   

Ponte della Pia

   
   
 

Pia de' Tolomei

 

"Oh, when you will have come back into the world
And you will have rested from the long walk,
follow the third spirit, after the second,
remember me, I am Pia,
born in Siena and died in Maremma.
How I died, he, who first gave me his ring
And then married me, knows."



 
Pia's story is the theme of an opera by Donizetti. Dante Gabriel Rossetti painted Pia in 1868.[1]



Dante Gabriel Rossetti, Pia de' Tolomei


Dante Gabriel Rossetti, Pia de' Tolomei (1868–1880) (model: Jane Morris), Spencer Museum of Art, University of Kansas, Lawrence, KS, USA

 

'In La Pia de’ Tolommei, Rossetti creates a character and scene from Dante’s Divine Comedy through the use of symbols. Here, La Pia sits upon the ramparts of the castle. The surrounding foliage alludes to her frustrating and miserable situation. The climbing fig tree framing her face symbolizes fruitfulness, and the sprigs of ivy on lower right corner represent clinging memory or fidelity in marriage. She plays with her wedding ring ("fair jewel") that symbolizes how a once joyous event now represents her unfortunate predicament. The sundial in the lower left corner is a reminder of the passing of time, or the coming of death, and the wheel of fortune motif on it refers to life changes. The rosary lying on an open prayer book refers to her name La Pia, which translates as "The Pious." Old love letters from her husband also symbolize the passing of time. The bundle of lances on the ground serves as a threatening barrier both compositionally and symbolically to the landscape below and her potential freedom. The red and pink banner of her husband draped across them reminds us of her captivity and that her once-beloved husband is now her jailer. Black crows flying above are thought to symbolize verse five of Rossetti’s poem "Sunset Wings" from 1871, about love that changes, never to be relived. The cloudy sky and gray barren landscape create a grim setting to this sad tale. La Pia’s contemplative expression is one of melancholy and introspection.

Rossetti often designed the frames to enhance the subject matter. On the frame for La Pia, he engraved the passage from the poem in both Italian and English in which La Pia’s spirit speaks to Dante:

"Remember me who am La Pia- me
FromSiena, sprung and by Maremma dead.
This in his inmost heart well knoweth he
With whose fair jewel I was ringed and wed."

The model for this painting is Jane Morris, wife of William Morris, a fellow artist and good friend of Rossetti. This is especially meaningful because Rossetti was in love with Jane Morris. He uses this passage from Purgatory to express his own unhappy romantic experiences with a woman who is married to, and in a sense, prisoner of a man she does not love.'[2]


Dante Gabriel Rossetti, Giotto Painting the Portrait of Dante, 1852

This is the drawing Dante Gabriel Rossetti made in 1852 preliminary to the watercolour of the same year (the latter now untraced). Rosetti intended to do a painting on the subject but never did.
Giotto's original picture 'a fresco celebrating the glory of Florence' included the figure of Dante holding a pomegranate. It was painted sometime between 1290-1300 on the altar wall of the Palace of the Podesta (later the Bargello) in Florence, but was subsequently covered with whitewash. It was rediscovered in 1840. Seymour Kirkup, one of the scholars who made the discovery, made a copy of the portrait of Dante and sent it to Gabriele Rossetti, from whom it passed to Rosetti.

Giotto is painting the portrait of Dante on a chapel wall, while Beatrice moves below in a procession of women. Cimabue is on the right. Six lines of Italian verse from Dante's Purgatorio, followed by the two opening lines of a sonnet from the Vita Nuova, are inscribed below the drawing.

“Credete Cimabue nella pintura
Tener lo campo; ed ora ha Giotto il grido,
Sì che la fama di colui s'oscura.
Così ha tolto l'uno all'altro Guido
La gloria della lingua; e forse è nato
Chi l'uno e l'altro caccierà di nido.”

Vede perfettamente ogni salute
Chi la mia donna—tra le donne—vede.

According to Dante Gabriel Rossetti, the picture “illustrates a passage in the Purgatorio [XI. 94-99] where Dante speaks of Cimabue, Giotto, the two Guidos (Guinicelli and Cavalcanti. . .) and, by implication, himself. For the introduction of Beatrice, who with the other women. . .are making a procession through the church, I quote a passage from the Vita Nuova [XXVI: Sonnet: For certain he hath seen all perfectness]” (see Rossetti's letter to Thomas Woolner, 1 January 1853, Fredeman, Correspondence, 53. 1). Rossetti made a translation of the passage from Dante.
The picture was to have been the first in a Dantescan triptych. The other two panels of the triptych would have shown Dante as a Florentine magistrate sentencing Cavalcanti to exile, and Dante at the court of Can Grande della Scala.
A complex set of historical circumstances invest this picture. Giotto's original picture—a fresco celebrating the glory of Florence—included the figure of Dante holding a pomegranate. It was painted sometime between 1290-1300 on the altar wall of the Palace of the Podesta (later the Bargello) in Florence, but was subsequently covered with whitewash. It was rediscovered in 1840. Seymour Kirkup, one of the scholars who made the discovery, made a copy of the portrait of Dante and sent it to Gabriele Rossetti.[3]
Giotto Painting the Portrait of Dante | www.rossettiarchive.org

 
   
   
Palazzo tolomei, si, targa pia de' tolomei
Palazzo Tolomei, Siena

[1]
[2] Narrative Devices in Art | www.spencerart.ku
[3] Giotto Painting the Portrait of Dante, Dante Gabriel Rossetti , 1852 | www.rossettiarchive.org
The Rosetti Archive facilitates the scholarly study of Dante Gabriel Rossetti, the painter, designer, writer, and translator who was, according to both John Ruskin and Walter Pater, the most important and original artistic force in the second half of the nineteenth century in Great Britain. In Whistler's famous comment, “He was a king”.
Completed in 2008 to the plan laid out in 1993, the Archive provides students and scholars with access to all of DGR's pictorial and textual works and to a large contextual corpus of materials, most drawn from the period when DGR's work first appeared and established its reputation (approximately 1848-1920), but some stretching back to the 14th-century sources of his Italian translations.
[3] Photo by licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license.


This page uses material from the Wikipedia articles Pia de 'Tolomei, Dante Gabriel Rossetti, and Sistine Chapel, published under the GNU Free Documentation License.
The Eremo di Rosia is situated near the medieval bridge over the River Rosia, called Ponte della Pia. The church, entitled to holy Antonio and Luca, was probably built with only nave's system but today is remained only the presbytery's and external wall's part.
From the main road, the hermitage is located along a cobblestoned Roman road surrounded by woods. During the Middle Ages this road was a spur off the Via Francigena, the route from Canterbury to the holy places in Rome.
The hermitage Eremo di Rosia was situated just a little off the road but close enough to be visited by pilgrims. It is cut into the hillside and consisted of a Gothic church, the hermits' convento or friary, places for working and storage, a cloister (clausura) roofed over on two sides and a channel for bringing fresh water to the residents.
Like the legends of Lecceto and Centumcelle, Rosia lays claim to a visit from St. Augustine during the year of 387 on his way from Milan to Rome.
  Eremo di Santa Lucia (Rosia)
   

Eremo di Santa Lucia (Rosia)

 

Castel di Pietro in Gavorrano

 

Pietra

Castel di Pietro in Gavorrano, where Pia de Tolomei was pushed to her death

 

 

Walking in Tuscany

   
Sovicille’s territory stretches from La Montagnola Senese to the valley of the river Merse.
   

From Villa di Cetinale to the Pieve di Pernina

   
  Leaving from the Renaissance Villa di Cetinale, walking through the green woods we shall climb the Scala Santa up to the Romitorio monk residence. From here we shall see the amazing panorama and then we shall reach the Pieve romanica of Pernina and see the Celsa castle.  

Pieve di Pernina

 

Sovicille a land to discover | Itineraries | Ponte della Pia, Eremo di Santa Lucia, Castello di Spannocchia, Monte Acuto, Torri, Rosia

   
  Starting from Rosia you take the SP 73 (Provincial road 73) in the direction of Roccastrada and after 2 km. on paved road you arrive at Ponte della Pia – Pia’s Bridge, which you can easily see on your left. You cross the bridge keeping to your right along the cart road which is partly stone flagged and is the antique road to the Maremma region to the west. After about 700 mt. you arrive at a crossroads and you turn to your left (following the indications of a small marker: S. Lucia (St. Lucy’s) The road goes up for about 200 mt. until it arrives in front of the antique Eremo di Santa Lucia –St. Lucy’s Hermitage.
tarting from Rosia you take the SP 73 (Provincial road 73) in the direction of Roccastrada and after 2 km. on paved road you arrive at Ponte della Pia – Pia’s Bridge, which you can easily see on your left. You cross the bridge keeping to your right along the cart road which is partly stone flagged and is the antique road to the Maremma region to the west. After about 700 mt. you arrive at a crossroads and you turn to your left (following the indications of a small marker: S. Lucia (St. Lucy’s) The road goes up for about 200 mt. until it arrives in front of the antique Eremo di Santa Lucia –St. Lucy’s Hermitage.
of the Rosia plain) you arrive in the hamlet of Torri. Having crossed the town center in 2 km. you go down the paved road and turning left onto the main road you arrive in the town of Rosia.

 

Anello Sovicille

Via Francigena | Anello Sovicille | Sovicille - San Giusto - Villa Cetinale - Pieve di Pernina - Ancaiano - Canonica Trecciano


 

Trekking in Toscana | Monteriggioni – Ponte della Pia

Sovicille - Pieve a Molli - Montarrenti - Ponte della Pia | 13 km

Anello SovicilleSan Giusto – Villa Cetinale – Pieve di Pernina – Ancaiano Castello di Celsa | 16 km

Anello Sovicille – Villa Cetinale – Pieve di Pernina – Molli | 17 km

 

 

 

 
 

Maps: Multigraphic 509 La Montagnola Senese 1:25.000
 
 
   
Pietra1

Castel di Pietra, Lapide apposta sulle mura del castello nel 1921 in occasione del VI centenario della morte di Dante Alighieri (Foto: Aerospike)

 


Hidden away from mass-tourism, discover a piece of Italy which remains largely unchanged both nature and lifestyle-wise. The peacefulness of the countryside, the various unique villages and the friendly atmosphere will no doubt pleasantly surprise you!
Podere Santa Pia is a 4 bedroom holiday home, perfect for families, located in the heart of the Maremma. The peacefulness of the countryside and the opportunities offered by the city achieve an excellent symbiosis. One can easily reach some of the most beautiful attractions of Tuscany, such as Montalcino, Pienza, Montepulciano and San Quirico d'Orcia, famous for their artistic heritage, wine, olive oil production and gastronomic traditions.
Not far from Cinigiano and clearly visible from Podere Santa Pia, is the famous Castle of Poggio alle Mura, also known as Villa Banfi and home to one of the most popular producers of Brunello di Montalcino D.O.C.G. wine. Set in 7100 hectares of land in the Montalcino area, Castello Banfi il Borgo is one of the most important wine producers in Tuscany.

If you want to spend an unforgettable holiday at Podere Santa Pia and visit these beautiful medieval castles and wineries, visit our special offers page or contact us.

 

 
Podere Santa Pia

Podere Santa Pia, terrace



Ponte della Pia   Ponte della Pia – Molli - Marmoraia - Monte Maggio – Monteriggioni   Sovicille, Panorama | Trekking in the Montagnola Senese

Ponte della Pia - Molli

 

  Ponte della Pia – Monteriggioni  

Trekking in the Montagnola Senese