PHOTOGALLERY ABOUT THE PRESENTATION OF MY NEW BOOK “NESSUNO RESTI INDIETRO” ON TUSCANY COAST WITH THE PARTICIPATION OF FORMER PRIME MINISTER GIULIANO AMATO

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PHOTOS by PAOLO SANDINI

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The event took place in the amazing Tuscany Coast, in Albinia Orbetello (Grosseto) at Campings Voltoncino and Marina Chiara. It was promoted by Osa Osa Onlus, Campeggio Voltoncino and Parrocchia Maria SS.delle Grazie. A great audience participated to the presentation in the wonderful scenary of Maremma.  Newspapers, magazines, websites and Tv Channel (as TV 9) gave a huge coverage to the event. “Nessuno resti indietro”, by Roberto Alborghetti, is published by Editrice Velar. It is available in Italian language on  the most popular online bookstores (Amazon, Ibs, La Feltrinelli, Hoepli aso).

GREAT NIGHT AT “MARTINBOOK FESTIVAL” FOR THE PRESENTATION OF MY BOOK IN THE AMAZING SETTING OF THE ANCIENT CARLO V TOWER

Lovely and magical night at “MartinBook Festival” in Martinsicuro (Teramo, Italy). I had the honor and the joy to participate to it as author of “Francesco” (Francis), the first major historical illustrated biography of Pope Bergoglio, published by Editrice Velar. The event was held on last Saturday, July 30, sponsored by Martinbook cultural association and the City Council of Martinsicuro in the picturesque setting of the monumental complex of the Tower of Charles V and the annexed ancient customs, which now houses the Antiquarium Museum of Truentinum Castrum, which It preserves and displays archaeological finds from the territory of Martinsicuro.

It is always a great human and professional experience to participate in these events, which offer the opportunity to meet so many people and telling the process of work in writing and preparing “Francesco”, in its third revised edition, structured in 388 pages with 450 photos, published in large format (cm. 23 x 30) also available in a special edition in 3 volumes with slipcase. In the photo gallery: some pictures from the event. I was interviewed by journalist Noris Cretone. I thank for the collaboration: journalist Matteo Bianchini, professor Leopoldo Saraceni, Paolo Sandini (Velar Publishing) and the major Luca Camaioni. A special thanks to the people for the wonderful and great participation.

“DON’T ASK OURSELVES WHAT KIND OF WORLD WE’LL LEAVE TO OUR CHILDREN, BUT WHAT KIND OF CHILDREN WE’LL LEAVE TO THIS WORLD”

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My new second book about Pope Francis is out now.

Its title is: “Quando il giorno era una freccia” (“When the day was an arrow”); the English translation of the book isn’t (now) available. 

Published by AGeSC, it investigates Pope Francis in relation to education, culture and school, which are “the keys to all changes and social development” (Pope Francis). 

Special presentation of the book at Rimini Meeting on next 28 August, 2014, h. 4pm. Other conferences and lectures will take place in the next weeks also in Turin, Acqui Terme, Verona, Vicenza, Treviso, Ravenna, Forlì, Siena, Rome.

Available in the best Italian bookshops and main on-line bookstores:

 Amazon:

AMAZON

 

Google Play Books:

GOOGLE PLAY BOOKS

 

IBooks:

iBOOKS

 

Kobo:

KOBO BOOKS

"Quando il giorno era una freccia", Roberto Alborghetti, AGeSC, 2014, Pag. 170

“Quando il giorno era una freccia”, Roberto Alborghetti, AGeSC, 2014, Pag. 170

FLORENCE: IN THE MEDIEVAL “PHARMACY” OF S.MARIA NOVELLA (XIV CENTURY) A SPECIAL EVENT FOR MY BOOK ON POPE FRANCIS LIFE

 

© Photos: ROBERTO ALBORGHETTI / OFFICINA PROFUMO-FARMACEUTICA S.M.NOVELLA, FLORENCE

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Guest Writer: Press Office Velar-Elledici Editions

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On Friday the 9th of May, 2014 at 9:00 p.m. takes place the book presentation of “Francesco” by Roberto Alborghetti inside the historical rooms of the Officina Profumo-Farmaceutica di Santa Maria Novella in Florence, via della Scala 16. The book talks about the life of Pope Francis. It is the first historical and illustrated biography on the argentine Pope and also the result of unpublished researches and statements useful to know how a “son of emigrants” is became the pastor of the universal Church.

FRANCESCO, copertina ristampaStarting from the information about his original family – retracing the childhood and the adolescence years of the young Jorge Mario – until his religious vocation and cultural education, included the pastoral years in Argentina, the work of Alborghetti accompanied the reader to discover the personality, the responsibility and the mission of the future Pope.

Together with the author during the event participate also the journalist Carmelina Rotundo, the director of Toscana Oggi Mr. Andrea Fagioli, the journalist and writer Riccardo Clementi, the journalist Giuseppe Saponaro, the director of Over the Sky, Mr. Maurizio Martini, and Giuseppe Piani, d.e.i.s.t.a.f.’s researcher of the University of Florence. Moreover the master Giuseppe Tocchetti exposes his opera which is based on the book of Alborghetti.

WHATCH THE CLIP:

http://youtu.be/qrZw-AWYeDM

The enchanting and capturing Officina Profumo-Farmaceutica of Santa Maria Novella is part of Florence history. During the thirteenth century, thanks to a growing economic development, Florence attracted crowds of outcasts in search of work, finding asylum in the city centre; they camped in villages where they were miserable and unhealthy.

They dedicated themselves to support their new mendicant orders. The Franciscans settled east of the city, where they settled in the area of the shops of the dyers and tanners, polluting water and air and where the church of Santa Croce was built, completed during 1800s. The Dominicans settled in the city walls to the north-west: first at the church of San Pancrazio, then in that of Santa Maria delle Vigne, which, in the middle of the fourteenth century, was rebuilt and named the Santa Maria Novella. The Carmelites settled in the south, in a booming area, where workers lived in poor carders and Battilana: Santa Maria del Carmine was consecrated in 1422.

In 2012 Officina Profumo-Farmaceutica di Santa Maria Novella celebrated 400 years of uninterrupted business, in the name of tradition and innovation. Raw materials of the highest quality are still used and the apothecary fathers’ artisanal procedures are still followed, yet the company avails itself of modern technology and state of the art equipment Eugenio Alphandery, general manager and co-owner of Officina comments on this:

Given my passion for both antique and modern cars, I could compare this company to a convertible from the 1930’s with hand hammered bodywork crafted by an artisan and a powerful, modern motor, perfect brakes and suspension, all exhalting the car’s beauty and the pleasure of driving it.”

For the occasion major restoration has been undertaken at the historic shop on Via della Scala to restore the ancient pharmacy to its original appearance. This restoration project represents a milestone in Officina’s long history.

Production is now carried out on Liberty style premises on Via Reginaldo Giuliani, in the north of Florence about 3 km from the head office on Via della Scala. All the products are made here with equipment that has been specially designed and custom-built for each specific purpose. Each product has a peculiar story, for example the Cologne and Pot pourri, two of the company’s distinguishing products.

http://www.smnovella.it/

THE MAKING OF “FRANCESCO”, MY BEST-SELLING BOOK ON POPE FRANCIS…/ A BEHIND-THE-SCENES VIDEOCLIP

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By Velar Press Office

“A great team for a great work”: this video shows some images about the making of “Francesco” (“Francis”) the first illustrated and historical biography – written by journalist and author Roberto Alborghetti for Velar-Elledici Publishing – about the new Pope.  This work is the result of the wonderful participation of many people – about 30 persons! – to whom we want to dedicate this videoclip. Without them, without the precious collaboration of each of them, we could never accomplish and complete this important and best selling book. The work (in Italian language, but publishing company is planning an English version for e-books market) was carried out in two versions: a single volume and a special edition in two volumes + slipcase.   

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Pope Francis and author Roberto Alborghetti during the private encounter in Casa Santa Marta (Vatican City, Rome) for the presentation of the biography.

Pope Francis and author Roberto Alborghetti during the private encounter in Casa Santa Marta (Vatican City, Rome) for the presentation of the biography.

6 MONTHS OF WORK, 340 IMAGES, UNPUBLISHED STORIES, TWO LARGE FORMAT VOLUMES…

Over 550,000 lines of text, 14 chapters, 340 photographs, 6 months of work and researches: these are the numbers that define the “first historical and illustrated biography” about new Pope Jorge Mario Bergoglio, the 266 th Pope of history, the first to assume the name of Francis, the first South American Pope, the first Pope belonging to the Society of Jesus.

Francis” helps us to know a “son of Italian immigrants” who became the leader of the Roman Catholic Church. The volumes – “the most-awaited event for Italian publishing industry” as media stated – dig deep into the historical records and documents starting from the news about the Pope’s family, reconstructing moments and facts concerning the emigration from Italy to Argentina, specifying dates, times and procedures.

The Author writes about the childhood of the future Pope Francis, his progressive steps in education, his lung disease, his religious vocation on the backdrop of social and historical scenarios of Argentina. “Francis” also delves into the distinctive elements of cultural education of the future Pope Francis, his relations with the  world of Latin American thinkers, authors and essayists (Jorge Luis Borges, Methol Ferre, Gera, Scannone) who drew new perspectives for South American continent. The book  contextualizes informations and news related to the evolution of social and historical periods in Argentina, as president Peron’s age. 

Unpublished testimonies help to discover Jorge Mario Bergoglio during his years at the helm of the Jesuits in Argentina, his pastoral insights, his role in saving lives during the military dictatorship (1976-1983), his experiences as rector at the Collegio Massimo in San Miguel, his presence in the “barrios” between the poor and emergencies in Buenos Aires, sharing the difficulties of the population in the years of severe economic crisis that hit Argentina at the beginning of the Twenty-First century. The last chapters are dedicated to the first months of Francis pontificate.

BOOK PAGE AT VELAR SITE – (SHOPPING ONLINE)

BOOK INFORMATIONS AT ELLEDICI SITE

THE TRIUMPH OF RENAISSANCE: THE IMPRESSIVE REGAL ROOM AND DUCAL ROOM / INSIDE THE VATICAN PALACES #3

© Roberto Alborghetti - Sala Regia and Sala Ducale (12)

Sala Regia (Regal Room) and Sala Ducale (Ducal Room) are two beautiful rooms in the Apostolic Palace in Vatican City. They aren’t generally open to visitors: they usually host consistories, conferences, papal hearings or special events. I recently had the opportunity to visit them (I was in Rome to meet Pope Francis for the presentation of “Francis”, the illustrated and historical biography I wrote about him). Here some news (from New Advent website) about Sala Regia and Sala Ducale. They well represent the triumph of Renaissance.  

The Sala Regia (Regal Room)

 Although not intended as such, this broad room is really an antechamber to the Sistine Chapel, reached by the Scala Regia (Royal Staircase). To the left of the entrance formerly stood the papal throne, which is now at the opposite side before the door leading to the Cappella Paolina. The hall was begun under Paul III by Antonio da Sangallo the Younger and was completed in 1573. The elegant barrel-vault is provided with the highly graceful and very impressive plaster decorations of Pierin del Vaga. The stucco ornaments over the doors are by Daniele da Volterra. The longitudinal walls are broken on the one side by two, and on the other by three, large doors, between which Giorgio Vasari and Taddeo Zuccaro have introduced very powerful frescoes, whose effect is more than ornamental. They depict momentous turning-points in the life of the Church, among others the return of Gregory XI from Avignon to Rome, the battle of Lepanto, the raising of the ban from Henry IV, and the reconciliation of Alexander III with Frederick Barbarossa. This hall served originally for the reception of princes and royal ambassadors. Today the consistories are held in it, and an occasional musical recital in the presence of the Pope; during a conclave it is a favourite promenade for the cardinals.

The Sala Ducale (Ducal Room)

The Sala Ducale lies between the Sala Regia and the Loggia of Giovanni da Udine. Formerly there were here two separate halls, which were converted into one by Bernini by the removal of the separating wall (the position of which is still clearly perceptible). The decorative paintings, which are of a purely ornamental nature, are by Raffaellino da Reggio, Sabbatini, and Matthæus Brill. In this impressive hall were formerly held the public consistories for the reception of ruling princes. It now serves occasionally for the reception of pilgrims, the consecration of bishops, when (as rarely happens) this is undertaken by the Pope, or is used for the accommodation of specified divisions of the papal household, when the pope holds a consistory in the Sala Regia, proceeds to the Sistine Chapel, or sets out with great solemnity for St. Peter’s.

(3 – To be continued)

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INSIDE THE VATICAN PALACES #2 / EXCLUSIVE: THE FRESCOES BY MICHELANGELO IN CAPPELLA PAOLINA (LIMITED ACCESSIBILITY AREA)

I recently had the honour to meet Pope Francis for the presention of the biography I wrote about him. The private encounter took place in Casa Santa Marta, an unpretencious house where he usually lives. Before the encounter I had a very special gift: the possibility to visit some of the beautiful rooms in the Apostolic Palace in Vatican City. I been also in the enchanting Cappella Paolina (the Pauline Chapel) to admire the incredible fresco paintings by the Italian Renaissance master Michelangelo Buonarroti : The Crucifixion of St. Peter (c. 1546–1550) and The Conversion of Saul (c. 1542–1545).

Being a sacred space, Pauline Chapel is a limited accessibility area. Despite the efforts of contemporary scholars to illustrate the genius behind these two works, they remain relatively obscure. This is due primarily to the fact that tourists are not permitted to enter the Pauline chapel because it’s a worship space. Most of those who do know of these works will never have the opportunity to see them in person. According to Williams no other work by Michelangelo has ever been so grossly misrepresented in reproductions. The only way to view these works as the artist intended them to be seen is to see them in situ.

The Crucifixion of St. Peter is the last fresco executed by Michelangelo. The artist portrayed St. Peter in the moment in which he was raised by the Roman soldiers to the cross. Michelangelo concentrated the attention on the depiction of pain and suffering. Pope Paul commissioned this fresco by Michelangelo in 1541 and unveiled it in his Cappella Paolina. Restoration of the fresco completed in 2009 revealed an image believed to be a self-portrait of Michelangelo himself. Vasari states about the fresco: “There are no landscapes to be seen in these scenes, nor any trees, buildings or other embellishments and variation”.

The positioning of St. Peter himself is often noted as the most interesting innovation Michelangelo implemented in this piece. He defied convention by positioning Peter’s upper body so that it cranes upward and twists his neck around so that his eyes make contact with the viewer.

The Conversion of St. Saul or St. Paul  is often discussed in conjunction with The Crucifixion of St. Peter. As its title suggests, the fresco represents the conversion of a lawyer from Tarsus named Saul (a man who prosecuted Christians) into a follower of Christ. In the book of Acts, Paul states that he saw an impossibly bright light and heard the voice of Christ himself. The blindingly bright light is the Apex of this story. The style is more mannerist than his earlier Sistine Chapel frescoes, and was not as well received by contemporaries.

Giuseppe Frangi (30 Giorni) writes: “On 25 January 1540, the Feastday of the Conversion of St Paul, until then celebrated in the Basilica of St Paul Outside the Walls, Pope Paul III Farnese consecrated to the saint whose name he had taken, the new parva (small) chapel, commissioned from Antonio da Sangallo the Younger and built in just three years in the heart of the Papal Palace. The chapel – parva as opposed to the chapel magna, the functions of which had been taken over by the Sistine – was the chapel intended for the conclave. And above all it was the place where the Blessed Sacrament was kept, for which purpose it had been fitted with both an altar and a tabernacle. When Paul III consecrated it, the chapel had no decorations, but it was clear who would climb the scaffolding: it was again up to Michelangelo, just down from the scaffolding of the Sistine Chapel, where he completed the great toil of the Last Judgment”.

 The reconstruction of the work – Frangi states – done day by day, made possible by modern restoration techniques, shows Michelangelo was capable of getting through a large amount of work in a day. Eventually there were 172 working days (85 for the Conversion of St Paul and 87 for the Crucifixion of St Peter), spread over seven years, with the break in 1544, when he was halted by health problems. These frescoes were largely ignored for centuries and incurred a great deal of damage due to neglect. In the early twentieth century there were some scholars who came to reconsider the frescoes under the new light of expressionism and abstraction.

William Wallace proposed an entirely new perspective on the subject claiming that the disproportionate quality of the figures is not a failing on the part of Michelangelo, but rather another instance of his genius. According to Wallace, the real innovation in this piece comes from the incorporation of time and space in the overall composition of the frescos. In addition to conceiving of these frescoes in terms of perspective, Michelangelo also took into consideration the architectural and environmental context they were to be set in.

After the last restoration Pope Benedict XVI said: “The two faces are opposite each other. One might therefore imagine that Peter’s face is actually turned towards the face of Paul, who, in turn, does not see, but bears within him the light of the Risen Christ. It is as though Peter, in the hour of supreme trial, were seeking that light which gave true faith to Paul”.

(2 – To be continued)

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