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The Georgicks of Virgil, with an English Translation and Notes Virgil, John Martyn Ipsi in defossis specubus secura sub alta Otia agunt terra, congestaque robora, Pierius says it is confecto in the Roman manuscript. And Tacitus also says the Germans used to make caves to defend them from the severity of winter, .

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Upon widowhood, some women occupied a new and potentially very powerful socioeconomic position, allowing for an often-monumental manner of marking memory. From managing the household to doing business outside of that domestic space, financial and administrative duties generally fell under the control of the widow. Of course, for some widows that moment was not at all short-lived, allowing for unique expressions of memory — and power.

The tomb of Arnold Savage Landor , Walter and Julia Savage Landor's son, in the English Cemetery, can be found on the northeastern slope, or to the right of the central path Figure 1. Her effigy defines this monument, though she herself is buried elsewhere, in the Cimitero agli Allori d.

Still, it is precisely her body — both absent and present in the English Cemetery — that interests me most. Thus, she becomes a replacement, a surrogate for her son. Yet such representations, while preventative to some degree, can also be interpreted as problematic. In other words, the portrayal of the woman as widow might protect against memory loss, but her presence also complicates masculine memory insofar as widowhood presumes male absence.

That is to say, the widow occupies a precarious position within the memorial discourse in that she is simultaneously representative of commemoration and of death itself. In light of this dualism, what are the repercussions of her dichotomous memorial role for an already anxious audience?

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If representation can be read as regulatory fiction, the overcompensatory inclusion of the male portrait would seem to guarantee commemoration — at least pictorially. I have selected two examples from the English Cemetery: First, the tomb of Walter Kennedy Laurie, where his portrait is contained within an ourbouros on a tomb within a tomb, beside which his widow and orphan son grieve,. N Bystrom.

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Bystrom, contact Prof. We might start with her body language. Dramatically and traumatically, this body grieves inconsolably Figure 5 ;. Perhaps not coincidentally, she also turns her back to her husband, the poet Walter Savage Landor, who had died just seven years earlier than his son In fact, this cold marble shoulder is nothing new; the Landor family ties had long been severed, cut and divided much like the bisected cemetery itself Figure 7.

Located on the southwestern slope, or to the left of the central path, is the simple, quite un-monumental tomb slab of Walter Savage Landor — without effigy, without widow, without any mournful text at all, visual or verbal Figure 8. Remarkably, the inscription originally contained a reference to his grieving family; it was later removed. Finally, then, those widowed words, along with his widow's suggestive body language, underscore my thesis today: that we must always read between the lines of the memorial text, no matter how blurred they may already be.

John R. Spencer, rev. The Trollopes, mother and eldest son, came to live in Florence in There were three floors, three households living closely together, enjoying a large shady garden. To deal first with Joseph Garrow: he was born in India, the son of an English Army officer and a high-caste Brahmin lady. At 25 he married a Jewish lady, 23 years older than himself, with two children, who gave birth, reputedly at the age of 59, to Theodosia although wagging tongues suggested that Theo was in truth the illegitimate daughter of her half-sister Harriet, which may explain why she and her mother were never very intimate, although she was always very close to Harriet.

However, after initial implacable opposition, Joseph Garrow very gradually became reconciled to Thomas Adolphus marrying his daughter. Yet having accepted this and consenting to share the Villino with the Trollope's, he never seems to have been a very cheerful person. He was the first in that household to die and be buried, with a Latin epitaph by Thomas Adolphus in the English Cemetery. Theodosia had met Thomas Adolphus in Florence in At 22, she was 15 years younger than him and her somewhat ethereal and delicate physique was very different from his hearty bluffness.

Theo translated works by Giusti and G. Nicolini, and she also contributed a history of the Tuscan Revolution to the Athenaeum. By contrast to her husband, however, Theo was an implacable critic of the clergy. Here is the Villino Trollope as it appears today, together with a close-up of the plaque over the side door:. Translated from Italian into English, the plaque reads:. Theodosia had never been robust and, as the plaque records, in died, being buried in the English Cemetery, opposite the spot where her mother-in-law had been buried two years earlier.

The heartbroken Thomas devised another Latin epitaph on her gravestone. Here is an old photograph of the Trollope family group, which also gives some idea of the magnificence of the Villino Trollope that was so impressive to the visitors from England. In Florence Mrs Trollope continued to write novels well into her seventies and to travel — to England twice, to Venice, and through the Alps — although she usually spent the heat of the summer once in company with Mr Garrow at the Baths of Lucca.

Only gradually did old age and, to her distress, lassitude and forgetfulness, causing even the abandonment of her beloved tables of whist, come upon her, so that her last years, after an unfortunate period of preoccupation with spiritualism, were quietly withdrawn, until her death at the age of Here is a sadly contrasting portrait of mother and son in their later years:. After the death of his wife and his mother, Thomas Adolphus could no longer bear to live in the Villino Trollope and he moved outside the city. He also married again: the lady his brother Anthony had acquired for him to be governess of Bice.

So ended the brilliant association of the Trollopes with Florence and, sadly, until recent times, they and their works rather fell into oblivion. The most famous Trollope of them all who had set many scenes in the course of his 43 novels in Italy — Anthony Trollope —. With this revived interest, she has been the subject of one or two excellent biographies in recent years.

The Florence circle of Trollope intimates would not be complete without mentioning briefly, as he is the subject of other more detailed papers , Hiram Powers, the distinguished American sculptor, who settled in Florence in He had first met Frances Trollope in her Cincinnati days, when he was 22 years old and working in a museum there. He died in and his tomb and those of his family are in the English cemetery, an appropriate reunion with his old friend Fanny Trollope.

In conclusion, I believe that Frances Trollope and her circle, during their sojourn in Florence, with the life in cultured society that they maintained there, their many writings and their espousal of Italian causes, were not unworthy contributors to the heritage of this great and historic city. Poetry, Elizabeth Barrett Browning 's Sarcophagus. Harp shown with broken slave shackle at left, flowers at right. II Chronicles The answer, as usual, depends upon the questions we ask.

The most recent study of this topic, Linda M. By and large, this approach is in line with a whole tradition of earlier critics, trained in the study of literature rather than in the history of biblical interpretation, who, when looking at the way various literary figures have read the Bible, have tended to take the Bible itself for granted.

Let me explain what I mean. Both would seem to have impeccable biblical and religious credentials, and both were duly much admired by contemporaries for their spiritual profundity. Yet to the modern reader, the influence that comes across most immediately is not that of the Bible at all, but that of Milton.

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The Seraphim does indeed concern the Crucifixion, but that event takes place, as it were, offstage — the dramatic action of the poem itself centres on the theological discussion of two Seraphs, who are, by their own admission, distanced in heaven from the events on earth. Except that it draws more on Paradise Regained , much the same can be said of her later Dream of Exile. Both poems take our knowledge not merely of the Bible, but of Milton, for granted, creating instead extra-human and extra-biblical dramas around scriptural events, staffing them with an extensive cast of angelic and demonic presences, without presuming in any way to re-tell the events themselves.

Despite appearances, in neither poem is the Bible or the biblical narrative actually central to the action. And this, of course, raises our second, even more fundamental question: just how is Barrett Browning reading her Bible? Again, this is a question that arises from a precise historical context. For the first fifteen hundred years of Christianity biblical interpretation had been typological and polyvalent.

The meaning and truth of the scriptures was not a matter of historical veracity, but primarily of multiple figural interpretation. The precise number of meanings was a subject of dispute. Western exegetes such as Cassian, or Augustine commonly favoured a mere four, but the Alexandrine tradition detected as many as twelve. Nor did this expectation end with the Reformation — despite Protestant insistence on the primacy of scripture. In the case of the narrative books, Protestantism imperceptibly narrowed the range of possible interpretation from fluid polyvalency towards a single and it was assumed divinely-inspired historical narrative.

Beginning in late seventeenth-century France, with the work of Richard Simon, it was taken up in England by Robert Lowth, and then spread to Germany where it was most fully developed by such critics as Michaelis, Reimarus, Lessing and Eichhorn. In Britain, isolated by language, water, and the Napoleonic Wars for the first fifteen years of the new century, such revolutionary ideas were late arriving, but when they did, the delayed impact was the more unsettling. Where, then, did Elizabeth stand in all this?

Was she what we would now consider to be a biblical fundamentalist, believing in the Creation of the world in BC, and the literal truth of Adam and Eve in the Garden of Eden? Or is it possible that her puzzled Seraphs were more than just a poetic device, and a way of distancing herself from closer engagement with texts that were proving increasingly problematic? The direct evidence is mixed. After her marriage to Robert, it was clear that both she and her husband were following closely the main theological debates of the day. There are also references to Lessing and Strauss.

But what of the earlier period, that of The Seraphim and the Dream of Exile , when Elizabeth was still part of the Barrett entourage? The Barretts were, to say the least, a conservative household, and would have been unlikely to favour what were widely seen as revolutionary, foreign, and atheistic ideas. Indirect evidence, however, is much more intriguing. Not merely does she constantly invoke the connection in her writings, it is a comparison constantly made by contemporary observers.

For Alethia Hayter. Moreover, this was a dynamic process. The movement from Miltonic angels to social causes — whether English child labour, American slavery, or Italian liberty — is a movement towards prophecy in the full biblical sense of a moral commentary on contemporary affairs. That this was also a movement towards movements of more doubtful value to twenty-first century eyes: mesmerism, spiritualism, and Swedenborgianism must be seen in their nineteenth-century context — in effect, as only added evidence of her sense of the reality of a spiritual world.

The definition of the 'spiritual body' of Swedenborg well shown in Katerine Gaja's paper is an important point of departure for drawing near to Elizabeth Barrett Browning's poetic elaborated by her in relation to Florence; a 'complex' poetic - as Stephen Prickett, Director of the Armstrong Browning Library, carefully emphasizes - and which is focussed, as I see it, on the idea of synthesis. This essay seeks to place in relief the motif of the fluid circularity present in the works written by Elizabeth Barrett Browning in Florence, an idea already encountered in Anne O'Brien's paper in reference to the 'circle of interaction' created between the funereal monument and the observer and, again, by Laura Melosi with a significant reference to Keats' epitaph with its element of water.

Ho ricollegato quest'idea sia alla struttura architettonica del cimitero 'degli Inglesi', definita dal prof. I related this idea both to Poggi's architectural plan for the 'English' Cemetery, defined by Giampaolo Trotta, by means of a beautiful metaphor, as 'an island' in the heart of the city surrounded by the 'rivers' of the avenues, and characterized from its origins in by its cypresses, and to the psycho-physical wholeness which Elizabeth Barrett Browning, as with so many other foreign travellers in the nineteenth and twentieth centuries, tried to attain in journeying to Italy, concretely up-dating her classical Humanist education.

The accent placed on the stones suggests its corporeality, its physicality which evidently the city conveys to Elizabeth; more than its paintings, in fact, it seems to be the monuments, the churches, the buildings themselves that speak to the poet. The architecture, and the marble in particular, are at the centre of Barrett Browning's attention on Florence, captured above all in the Duomo, capable through its vastness, of making itself a concrete realization of theology, and therefore a point of meeting between the Neoplatonic ideal and the earthly dimension.

It is exactly in the light of this idea of 'passage' between different dimensions that one can read Elizabeth Barrett Browning's artistic Florentine experience, who in the description of the city, besides the stone mentions water, symbol par excellence of eternal metamorphoses, of creative process and metaphor for her feminine self. The Florence of Elizabeth Barrett Browning should be caught in this 'double vision', ineffable and material at the same time, the expression of an antithesis between spirit and flesh that finds its reconciliation in poetic words.

This same principle is found repeated in another form a few verses later always from Aurora's mouth which define the artistic experience as a work of synthesis between 'being' and 'making' because the poet can set 'action on the top of suffering'. The choice of Elizabeth Barrett Browning falls on the novel and not the drama, as the literary genre in which to communicate, creating a dialogue both within, between the characters - the voice itself of the protagonist tends to multiply making itself at the same time narrator and author - and externally, with the reader.

Having no intention of creating a dichotomous binary world, in which on one side is the land of Aurora's mother, Italy, a sort of 'motherland' that protects and consoles, and on the other England, the land of her father, because it is rational and authoritative, Elizabeth tends instead to return to an indistinct originating world represented by primitive elements par excellence : stone and water.

In this way the poet aims at the 'incarnation of the spirit', to the reconciliation of opposites, to the meeting of the feminine and the masculine or, in romantic terms, and more precisely of Novalis, to the romanticization of the real. In her description of Florence, beside the two principle motifs of water and of the river, Elizabeth Barrett Browning often refers to the Tuscan cypresses, which even frame her tomb in white marble, designed by Lord Leighton [sculpted by Luigi Giovanozzi] in the 'English' Cemetery, and the same which D.

Lawrence noted in his poem 'Cypresses' much later as 'Etruscan, mysterious and monumental'. In focussing attention on the Florentine landscape, the poet makes Florence become synomous with earth, as if to say that the true and living cultural and artistic heritage of the city appears rooted in the land itself, in its own stones. In this way the 'history' of the city is transformed, in most romantic terms, to the 'history of culture', the story of memory, of men and women, of bodies and souls, so that the confines between the physical sphere and the spiritual become ultra fine and the stone, the river and death end by flowing together into one semantic field: death becomes synomous with passage, the moment of fluid transition, so entrusted to memory and to poetry.

The loom of this weaving directly joins with the Florentine literary tradition because the stone is first of all the famous 'sasso' of Dante, the poet so beloved by the Pre-Raphaelites and the first revolutionary figure in Florentine artistic history. In the stone the spirit itself of the poetic genius seems to flow and it is in fact thanks to this that Elizabeth Barrett Browning comes to proclaim the end of Dante's exile. It is through memory, that is, as with water, that living words can porously penetrate through stone, Elizabeth Barrett Browning brings back to life the great writers of the Italian tradition and connects different times and cultures, the classical period represented by Virgil, Cicero, Catullus and Caesar, the medieval writers, the Renaissance painters and architects up to music represented by the figure of maestro Pergolesi.

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From this comes the use of commemorative plaques for the purpose of creating a new aesthetic dimension that permits a rebirth of the self, thanks to the force of poetic words. Interesting for this aspect is the poem entitled A Child's Grave in Florence written in to commemorate the death of the little Alice just a year old, called 'Lily' in the text, daughter of Countess Sophia Cottrell.

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The stone becomes a symbol of the earth itself, which embraces, like a mother, the dead baby to fuse her with the story of the city, with its same emblem - the lily - that in turn refers to the Ghibelline tradition, whose colour was white, and to Dante. The tomb no longer exists but the Armstrong Browning Library, Baylor University, has placed the epitaph on a plaque of Carrara marble on the Gatehouse wall.

In un passo tratto da Casa Guidi Windows , la poetessa fa nuovamente riferimento ai monumenti fiorentini, il cui valore sembra essere rappresentato dal dialogo che essi mettono in atto:. Her poetry then can be seen as like a place of passage, a moment which permits the mingling of many sensations, a space being always translated: the stone becomes a living filter of memory and word. In one passage from Casa Guidi Windows , the poet refers anew to Florentine monuments, whose value seems to be represented by a dialogue they put in motion:. The dialogic value of sculpture is in its 'flinging' its own soul into the eyes of the observer.

In this way seems to be realized an absolute interpenetration between the statue, which possesses a soul as if a living creature, the poetic words which carry out the transference, and the living being who observes this. Each logical separation of space-time ordering comes thus to be confounded, to mix together thanks to the filter, entirely interior, of poetry. In the Collection of the Corcoran Gallery of Art.

Gift of William Wilson Corcoran. The example in which such a fusion reaches its apex is represented in the poetic text of dedicated to the work in white marble by the American sculptor Hiram Powers: The Greek Slave Poetry becomes a concrete realization of words, marble and ideal because the stone, in as much pars pro toto , is at the same time, poetic text, statue and body of a woman. When Elizabeth Barrett Browning saw the work for the first time in Hiram Powers' studio in Florence she defined it as 'white thunder' and interpreted it as an appeal to liberty against slavery.

Already shortly before, in , during her honeymoon in Pisa, five months' pregnant, Elizabeth had written a 'ferocious' composition against the exploitation of the slaves, attacking with particular vehemence the physical violence used by their masters over the women of colour, forcing them often to infanticide: The Runaway Slave at Pilgrim's Point.

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Here the chromatic effect has a symbolic value of great relief; the black dominates, repeated as if a lament at the opening of many stanzas, to become a scream in the final part of the text in contrast to the white skin of the murdered child and in reference to death defined as 'deep black'. The theme of oppression and of exploitation of the slaves and of women is again at the centre of the poetic text dedicated to Powers' work, in which is represented a young Greek woman captured by Turks and ready to be sold in the slave market.

If in the poetry of it was black which dominated, in The Greek Slave it is white, the colour of light and of the ideal transformed however by Elizabeth Barrett Browning in a scream - the thunder -, a living call against human injustice. The aesthetizing white, in nineteenth century figurative art associated with the ideals of purity, of beauty and of divinity, is re-worked by Elizabeth Barrett Browning with a reading that could be defined anthopologically as the colour in its primitive being, original colour, referring to the same white page upon which it is possible to 'rewrite' history.

The revolutionary act of the poet seems to explain itself therefore in overturning the concepts of beauty and of art, no longer meaningful as abstract ideals and therefore alien to reality, but as action for struggle and for change. From this comes the use of such a concrete image as that of 'art's fiery finger' and of the stone which 'strikes and shames the strong'. The ideal draws therefore near to the real and to the 'anguish', art becomes living action and the stone words that are flung against the slavery of the world as to become a true and proper interpenetration on many planes: art and politics, flesh and marble, ideal and anguish, colour and sound, so much that the poetry is materialized not only to the eyes of the observer as statue but also to the ears of the same in such a scream and appeal.

The poetic composition carries a higher meaning that is placed between the statue and the reader-observer, its value being to make the invisible visible, in its being 'in translation', in the space 'in-between' as if it were a third dimension between the marble and the same poetic words. It is exactly in this 'third' dimension that is placed the potentiality of the text that already contains all in itself: word, sound, image.

If in fact in all of the text white seems to be the dominant colour, the ending expressed with vehemence only by the participle 'overthrown', refers to black, to darkness, associated by analogy to the closed and gloomy sound suggested by the vowel 'o', in turn implying the circularity of Giotto's 'O', symbol of perfect synthesis and therefore, of 'universal brotherhood'. In the synaesthetic image one can see besides a more indirect meaning refering to the silence subjected by the young poet under paternal authority, perhaps a metaphor for the silence and pallour to which all women, in the Victorian period, were constrained.

From this comes the legitimate interpretation of the text as feminine voice that rises against the patriarchal world in a Florence which could be considered the 'symbolic place' for such liberation. In contrast to the fragile and ill poet was in fact the politically active woman, the inflamed Italian patriot who fought for the Risorgimento and, in strictly personal terms, against a despotic father and a family that for generations possessed slaves.

That the revolutionary cry came to be raised for the Emancipation of the Slaves and of Women, to give them a voice and importance, is witnessed by a famous letter written in response to a correspondent:. From this the attention of the author came also to another great woman artist, an American sculptress, whom the poet frequented in Rome: Harriet Hosmer. The American artist had impressed Elizabeth Barrett Browning with her revolutionary bearing, with her freedom in an artistic ambience, that of sculpture, at that time, and at least until the beginning of the twentieth century, destined to remain predominately male.

Sculpture in particular was freighted in the eyes of the poet with a value that was more concrete than poetry or painting because it was corporeal art, therefore explicitly a 'call to action'. Florence therefore became for Elizabeth Barrett Browning a symbol of a true and proper 'Renaissance' in as much as woman and artist: the body of a chronically ill woman who could seem to return to a new life during the Florentine stay and that of the artist who could actively work.

For this she chose the figure of Aurora, whose name was already itself an allusion to the Renaissance and even more to the work of Michelangelo the Aurora of in the Chapel of San Lorenzo in Florence, symbol of the artist's rebellion against Medicean tyranny. Her love for the classics, different from that of Robert who wanted to re-enter into the past much more, came to be lived by the poet in Humanist terms, as teaching for the present. The scholar Walter Savage Landor, even he a protagonist in Florentine history during the Brownings' stay, was a dear friend of Elizabeth's and, in , he defined her 'An excellent Greek scholar', and it is certain that the Greece of Byron gave life to Elizabeth's ideals of freedom, re-elaborated and revived during the tumults of the Risorgimento and in explicit reference to the condition of women.

Maurizio Bossi, Ida Zatelli. Fanny spent the last phase of her long and remarkable life in the Villino Trollope in Florence, having had many moves of home and country. When she was 29, she had married an English barrister and had many children, although her life was punctuated throughout by their sad deaths, as babies, children or adults, from tuberculosis, so that only her two sons, Thomas Adolphus and Anthony outlived her.

The family had fallen into financial difficulties, through the illness and imprudent financial ventures of the father, and a visit by Fanny to America, to establish a bazaar in Cincinnati, had failed miserably. It was an amusing and pungent description of the American way of life and was an immediate best seller running to several editions. The Americans had not liked Mrs Trollope. When their achievement of Indepencence from Britain was still in living memory, it irked them that this middle.

With the piquant observation of so many of their foibles in her book, they hated this too - but they bought it in great numbers. It helped restore the family fortunes and it catapulted Mrs Trollope into the literary firmament, where she produced in rapid succession over thirty novels and travel books. She visited and wrote about Paris, Belgium, Vienna and other parts of Europe and was an honoured guest at the Hapsburg Palace in Vienna, where she became a close friend of Princess Metternich.

She was accompanied throughout these latter travels by Thomas Adolphus, who in his earlier days was a very handsome young man: aa. That is not to say that he lacked the Trollope family energy: he too was a copious and assiduous author mainly historical novels set in Italy , correspondent and journalist. It was also a regular venue for parties, receptions, even amateur theatricals, attended by the English community in Florence, and in particular the Brownings, whose son Pen was a playmate of Beatrice. Trollope, only subsequently to find her charming, witty and good company.

Poetry, Elizabeth Barrett Browning 's Sarcophagus Harp shown with broken slave shackle at left, flowers at right. In un passo tratto da Casa Guidi Windows , la poetessa fa nuovamente riferimento ai monumenti fiorentini, il cui valore sembra essere rappresentato dal dialogo che essi mettono in atto: Her poetry then can be seen as like a place of passage, a moment which permits the mingling of many sensations, a space being always translated: the stone becomes a living filter of memory and word. In one passage from Casa Guidi Windows , the poet refers anew to Florentine monuments, whose value seems to be represented by a dialogue they put in motion: In the Loggia?

Not a word! By speaking we prove only we can speak; Which he, the man here, never doubted. Basta con le parole, Parlando noi dimostriamo soltanto di saper parlare, Cosa di cui nessun uomo ha mai dubitato.

Such an ideal of harmony, that refers to the concept of circularity of the classic stamp, is found in the motif of the ring, closed like a perfect circle, an allusion to the same architectural structure of the English Cemetery, true island in the heart of the city and implicit reference to the work of Robert Browning, The Ring and the Book , dedicated to his loved wife. The ring becomes therefore a symbol of the connection between art and life, of the union of the body and the spirit, but also refers to the loving and most precious work of Italian masters, in particular to the golden objects created by the Castellani jewelers that the Brownings admired in Rome around and which were the most excellent examples of the so-called Italian 'archeological jewellery'.

Maurizio Bossi che mi ha dimostrato f i ducia, accoglienza e comprensione, alla dott. Peter Vassallo, vol. Alison Chapman, op. Barrett Browning, Aurora Leigh and other Poems , cit. Novalis, Schriften , in: Das Philosophische Werk , vol. II, Stuttgart, , p. II, W. The Letters of Elizabeth Barrett Browning , vol. II, op. Casa Guidi Windows , Part I, Barrett Browning, Casa Guidi Windows , cit. II, p. Jacob Korg, Browning and Italy , op.

Akbar, Germany. Savina, Switzerland. Silvia, Italy. Volker, Germany. Markus, Austria. Manuela, Italy. Lock in a great price for La Valle dei Ri - rated 9. Enter dates to get started. Featuring a garden and barbecue facilities, La Valle dei Ri offers accommodation in Gavardo with free WiFi and garden views. With mountain views, this accommodation features a patio. Boasting a DVD player, the apartment has a kitchen with a microwave, a fridge and an oven, a living room with a seating area and a dining area, 2 bedrooms, and 1 bathroom with a bath and a bidet.

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La Valle dei Ri, Gavardo – Updated Prices

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Availability We Price Match. When would you like to stay at La Valle dei Ri? Sorry, reservations for more than 30 nights are not possible.