190 ITALY - Ferrara, City of the Renaissance, and its Po Delta (UNESCO)

Ferrara is an outstanding planned Renaissance city which has retained its urban fabric virtually intact. The developments in town planning expressed in Ferrara were to have a profound influence on the development of urban design throughout the succeeding centuries. The brilliant Este court attracted a constellation of artists, poets and philosophers during the two seminal centuries of the Renaissance. The Po Delta is an outstanding planned cultural landscape which retains its original form to a remarkable extent. Among the great Italian cities Ferrara is the only to have an original plan that is not derived from a Roman layout. It did not develop from a central area but rather on a linear axis, along the banks of the Po River, with longitudinal streets and many cross streets around which the medieval city was organized. The most significant characteristic of Ferrara's urban history rests on the fact that it developed from the 14th century onwards and, for the first time in Europe, on the basis of planning regulations that are in use nowadays in all modern towns. This type of development is known asaddizione ; the third phase was implemented in 1492, making Ferrara the only planned Renaissance town to have been completed. The street network and the enclosing walls are closely linked with the palaces, the churches, and the gardens. Throughout the 16th century the city was planned with the aim of making it a future 'capital'. Its evolution came to an end after the 17th century under papal administration, and the city did not undergo any extensions for almost three centuries. The city plan (1492) provided for doubling its area, an expansion limited to the south of the castle. This extension was completed by a new and very up-to-date defensive system made up of elements belonging to the various extensions carried out over several centuries (ramparts, keeps, semicircular towers, bastions, barbicans, etc.). These alterations completely changed the appearance of the city: new streets were created on a grid and buildings in a new style were built.

The most important monument surviving from the medieval period is the San Giorgio Cathedral dating back to the 12th century. The facade is a work of the master builder and sculptor Niccolo who, influenced by Benedetto Antelami, worked in the first half of the 12th century; the construction of the bell tower began in 1451 to a design attributed to Leon Battista Alberti. Standing in front of the cathedral, the 13th-century Palazzo Comunale was the first residence of the Este family and was joined in the late 15th century to the Castello di San Michele or Castello Estense. This massive, four-towered fortress was built in 1385 by the court architect Bartolomeo da Novara after a violent popular revolt. Works were carried out until 1570 with the creation of a noble residence with large halls to receive the court and embellished by frescoes and marble balconies and logge. The Palazzo Schifanoia, built in 1385, was first remodelled in 1465-67 for Borso d'Este by the architect Piero Benvenuti degli Ordini assisted by the young Biagio Rossetti, who was responsible alone for the work in 1493. The palace has a long brick facade with a marble portal bearing the arms of the Commandery, the work of Ercole de' Roberti. It is, however, the decoration of the halls, and in particular of the Hall of the Months, which best illustrate the humanist culture of Ferrara. The intersection of the streets coming from the castle (Corso Ercole I) and the main axis of Ercole 1a addizione (Corso Rossetti, Corso Porta Mare) linking two of the city gates is one of the most important elements in the 1492 city plan. This focal point, which links the modern and Renaissance city with the medieval, is underlined by four palaces: Palazzo Prosperi-Sacrati, Palazzo Bevilacqua, Palazzo Turchi-Di Bagno and Palazzo dei Diamanti. The construction of the Palazzo dei Diamanti began in 1492 for Sigismondo d'Este, but was not completed until 1565. The regular rustication over the entire height of the facades gives it a special appearance.

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Daniele Pennisi (direct swap) sent from Zafferana Etnea (Italy) on 12.05.2014

189 BULGARIA - Rock-Hewn Churches of Ivanovo (UNESCO)

In the valley of the Roussenski Lom River, in north-east Bulgaria, a complex of rock-hewn churches, chapels, monasteries and cells developed in the vicinity of the village of Ivanovo. This is where the first hermits had dug out their cells and churches during the 12th century. The 14th-century murals testify to the exceptional skill of the artists of the Tarnovo school of painting. The period of the history of Bulgaria from the last years of the 12th century, when for the second time the country became independent from Byzantium, until the Ottoman Empire annexation in 1396, is known as the Second Bulgarian Empire. Independence from Byzantium could not be complete until the Bulgarian clergy became dependents of the Patriarch of Costantinopoli. In 1204, the Kaloyan Tsar signed an agreement with the Papacy in order to return as part of the Roman Catholic church. It was not to be a long-lasting agreement. During the reign of Tsar Ivan Ansen II, Bulgaria once again embraced Orthodox Christianity, but with its own Patriarch, not subordinate to Costantinople. The first Patriarch was the monk Gioacchino, who shared with Ivan Ansen the plan to expand the Bulgarian church. Before taking over the Patriarchal throne he had lived as a hermit in a cave in the river Rusenski Lom valley, not far from the village of Ivanovo. The monk achieved so high a level of sanctity that Tzar Ivan Ansen entrusted to him the construction of a monastery, something which contributed to strengthen his image as a merciful monarch. The convent was built between 1218 and 1235 and had from the outset a rocky character; all its buildings were dug into the limestone cliff gorge of the river and its contributories.

In the years between 1331 and 1371 the monastery, thanks to further new royal donations, acquired the best of its artistic patrimony: the splendid frescoes attributable to the painters of the so-called Tarnovo School. During the conquest of the country by the Ottoman Turks in 1396, the forgotten monastery of Ivanovo fell quickly into ruins and was abandoned. The solid limestone out of which it was carved and on which frescoes were painted enabled it to resist to the inclemency of the weather. Along the two walls of the Rusenski Lom river gorge there is a labyrinth of cells, of rooms, and above all of churches and chapels dug into the cliff face which were originally completely covered by frescoes, but of which only five are still in good condition. Bearing in mind the fact that three of these churches go back to the reign of Ivan or immediately afterwards, they constitute remarkable evidence of the revolution in painting during the two centuries of the Second Bulgarian Empire. In the churches of the first period, the human figures are painted in the same realistic style, with oval faces and fleshy lips, and the colours of the clothing are bright. The 14th-century frescoes by contrast are in the classical style of the Palaeologic period. The five churches and their frescoes are testimony to the Byzantine art influence in Bulgaria. The creation and decoration of these rock-hewn churches is largely attributable to the donations of the Bulgarian Tzars in the 13th and 14th centuries.

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Irina Kalcheva (direct swap) sent from Sofia (Bulgaria) on 14.04.2014

188 HUNGARY - Budapest, including the Banks of the Danube, the Buda Castle Quarter and the Andrássy Avenue (WHS)

Within the unified perspective of an immense urban panorama the Danube is the dividing line between two cities, which were quite separate originally: Buda on the spur on the right bank, and Pest in the plain on the left bank. Human occupation of both sites is extremely ancient as it can be traced back to the Palaeolithic period; Celtic populations also established themselves here, attracted by the abundance of thermal springs. But the historic importance of the city is certainly prior to the medieval period, when the two urban developments received their present names. It dates back to the foundation of Aquincum by the Romans, the capital of Lower Pannonia, one of the border provinces of the Empire in the 2nd century AD. Aquincum played an essential role in the diffusion of Roman architectural forms in Pannonia, then in Dacia. Remains of Aquincum and of the camp Contra Aquincum have been revealed by archaeological excavations on both sides of the river and can be seen today, together with a few arches of the aqueduct which supplied the Roman colony, but the present city did not develop on the ruins of the ancient city. After the Hungarian invasion in the 9th century, Pest became the first medieval urban centre, only to be devastated by the Mongol raids of 1241-42. A few years later the castle of Buda was built on a rocky spur on the right bank by Bela IV and the inhabitants of Pest found shelter within its fortified outer walls. The castle is an architectural ensemble illustrating two significant periods of history separated by an interval corresponding to the Turkish invasion. Buda Castle played an essential role in the diffusion of Gothic art in the Magyar region from the 14th century.

The history of Buda became closely identified with that of the Hungarian monarchy and followed their changing fortunes. There was a brilliant period, corresponding with the Angevin dynasty, from the reign of Charles-Robert (1308-42) to that of Sigismund of Luxembourg (1382-1432). After the end of Hungarian independence, a second golden age coincided with the reign of Matthias Corvinus (1458-90), the humanist king who not only founded the university, the library and the royal printing office, but also attracted Italian architects, sculptors and painters, making Buda one of the main centres of Renaissance art in Europe. After the city was ransacked by the Turks in 1526 and its final fall in 1541, the two original cities were rebuilt and led a semi-lethargic existence until 1686. Recovery did not really begin again until the 18th century, when the Empress Maria Theresa and the Emperor Joseph II took an interest in the capital of the Kingdom of Hungary: the city was then influenced by late Baroque architecture, soon to be supplanted by the more sober lines of discreet neoclassicism. In the 19th century, the city's role as capital became enhanced by the foundation of the Hungarian Academy (1830), after 1862 housed in a neo-Renaissance palace, and especially by the construction of the imposing neo-Gothic Parliament building (1884-1904). The parliament is an outstanding example of a great official building on a par with those of London, Munich, Vienna and Athens. It exemplifies the eclectic architecture of the 19th century, while symbolizing the political function of the second capital of the Austro-Hungarian monarchy. Since 1849, W. T. Clark's suspension bridge has symbolized the reunification of Buda and Pest (which did not become official until 1873). With the Union of Pest and Buda in 1873, Budapest truly became the nation's capital, developing at a faster rhythm than earlier. The symbol of this development is the radial Andràssy Avenue. There had been no attempts at organized urban development since the Middle Ages, and the Hungarian capital needed to make up for this lack in a single great leap in terms of public services, transportation, and city planning. The route of the avenue cut straight through an unregulated suburban area, thereby radically transforming its urban structure. The Siemens and Halske companies built the first underground railway on the European continent there in 1893-96. This also led to the construction of a memorial on Heroes' Square (1894- 1906), the development and extension of the landscape garden, the development of the Szechenyi Baths as an establishment for spa culture, and the Vajdahunyad Castle that displayed the different periods of Hungarian architecture.

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ditk3 (postcrossing) sent from Budapest (Hungary) on 27.05.2014

187 RUSSIA - Russian Bread

In general, the word "bread" is associated in Russian culture with hospitality, bread being the most respected food, whereas salt is associated with long friendship, as expressed in a Russian saying "to eat a pood of salt (together with someone)". Also historically the Russian Empire had a high salt tax that made salt a very expensive and prized commodity. There also is a traditional Russian greeting "Khleb da sol!" (Хлеб да соль! "Bread and salt!"). The phrase is to be uttered by an arriving guest as an expression of good wish towards the host's household. It was often used by beggars as an implicit hint to be fed, therefore a mocking rhymed response is known: "Khleb da sol!" — "Yem da svoy!" (Хлеб да соль — ем да свой! "Bread and salt!" — "I am eating and it is my own!").

With the advent of the Soviet space program, this tradition has spread into space. It was observed at the Apollo-Soyuz project, when crackers and salt tablets were used in the spaceship. Bread chunks and salt were a welcome at the Mir space station, a tradition that was extended on the International space station. Bread and salt are also a welcome for cosmonauts returning to Earth. In the Russian Orthodox Church, it is customary to greet the bishop at the steps of the church when he arrives for a pastoral visit to a church or monastery with bread and salt.

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Tany (postcrossing) sent from ? (Russia) on 15.06.2014

186 GERMANY - St Mary's Cathedral and St Michael's Church at Hildesheim (UNESCO)

St Michael's Church has exerted great influence on developments in architecture. The complex bears exceptional testimony to a civilization that has disappeared. These two edifices and their artistic treasures give a better overall and more immediate understanding than any other decoration in Romanesque churches in the Christian West. The ancient Benedictine abbey church of St Michael, built between 1010 and 1022 by Bernward, Bishop of Hildesheim, is one of the key monuments of medieval art. Of basilical layout with opposed apses, the church is characterized by its symmetrical design: the east and west choirs are each preceded by a transept which protrudes substantially from the side aisles; elegant circular turrets on the axis of the gable of both transept arms contrast with the silhouettes of the massive lantern towers located at the crossing. In the nave, the presence of square impost pillars alternating in a original rhythm with columns having cubic capitals creates a type of elevation which was prove very successful in Ottonian and Romanesque art.

St Mary's Cathedral, rebuilt after the fire of 1046, still retains its original crypt. The nave arrangement, with the familiar alternation of two consecutive columns for every pillar, was modelled after that of St Michael's, but its proportions are more slender. The church of St Michael and the cathedral contain an exceptional series of elements of interior decoration that together are quite unique for the understanding of layouts used during the Romanesque era. First come the bronze doors dating to 1015, which retrace the events from the book of Genesis and the life of Christ, and the bronze column dating from around 1020, the spiral decor of which, inspired by Trajan's Column, depicts scenes from the New Testament. These two exceptional castings, the first of this size since antiquity, were commissioned by Bishop Bernward for St Michael's; they are now preserved in the cathedral. Also of special significance are the corona of light of Bishop Hezilon and the baptismal fonts of gold-plated bronze of Bishop Conrad.

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Jenni (UNESCO Forum) sent from ? (Germany) on ?