These days I have been following the evolution of the remote search of Alessandro Sicuro, the Italian blogger who always follows very closely these events on the mismanagement of the Italian cultural and artistic heritage. I work with this agency (sure-com) for almost a year, I read this article today and I decided to publish it on my blog, because I would like these things to let everybody know. It ‘a shame that all this happen in a country that has an artistic capital cilturale so awesome and yet can not make it productive. And ‘as bad as the beautiful country Italy to borrow for free, and his goods to other countries more’ rich in her strenuous. But it is not strange that the British accept the fact that it happened is incomprehensible is: who are those directors who give freely of these priceless treasures of all Italians?!
Kathy Kiefernow the article of Alessandro Sicuro: ↴
WHY DOES ITALY FAIL TO EXPLOIT THE ARTISTIC SOURCE OF THE HIGHEST GAIN IN OTHER COUNTRIES?
BECAUSE THE ITALIAN STATE LENT FREE HISTORICAL ARTIFACTS OF POMPEII AND HERCULANEUM TO BRITISH ENGLISH?
IF THE EDITORS AND MANAGERS OF THE BRITISH ARE SO GOOD AT MAKING SO MUCH MONEY, WHY NOT PROPOSE THE ONGOING MANAGEMENT OF THE ENTIRE CITY OF POMPEII AND WHY NOT OF ITALIAN MUSEUMS!?
Following the publication on my blog of an article on Italian art, (http://wp.me/p2kXuA-1fn), and its untapped potential, compared to European museums, including the British Museum and the exhibition on Pompeii and Herculaneum. Reading rather disturbing things in the newspapers a few days ago, I went to the English capital to ensure State-of- the-art in person, and get a better understanding of the situation
The mystery on the critical conditions in which the world of Italian culture and art has become increasingly dense and dramatic, faced with the realization that there are neither the means nor a true political will and entrepreneurial skills to manage those riches, as well as safeguard and then exploit this huge artistic heritage that makes our country unique in the world. My hope then is to make a small contribution to this debate, to send a message that can help reflect on how “sviliamo our potential” and especially about our limits: often we find pleasure in self-referential rhetoric of “Italy, the most beautiful country in the world,” and our presumption leads us to not promote truly this wonderful heritage, which could be a source of employment for many young people and of income for the State and the community.
The question I asked myself when I read that the British Museum could do 11 million pounds from March thru September 2013, with little more than 200 historical artifacts of Pompeii and Herculaneum “provided for free by the Italian State,” is this:
– why for free?
– because they can make these profits and us not?!
In those same months in fact –exactly from March to September, as I said in a previous article– a huge crowd of people has visited and is continuing to visit the exhibition “Life and Death in Pompeii and Herculaneum”, at the British Museum in London. After being at the show, beautiful for that matter, I asked myself some questions that perhaps deserve research and in-depth replies – and it is for this reason that this article is being written.
The price of a ticket to the exhibition is of 15 £. The Museum is selling 500 tickets daily and sells out all the tickets …! along with an unspecified number of tickets booked. Judging by the amount of people, tickets with reservations are at least 500 every hour, which means approximately 4000 tickets per day at least (that is constantly full, there are no doubts, I checked in person), I confirm that is already all sold out (guest from time). Oh yes, because unlike Pompeii, you can purchase tickets on-line, giving way to individuals and tour operators put in ready-made tour packages for their clients this opportunity, which is not possible in Pompeii …
I did a bunch of accounts, (these days there is also needed).
That Italy lacks money and work, especially for young people. So why is it that Italy can submit material that is so valuable to the British to make a lavish profit without obtaining at least half?
We see the figures: look at the size of the gift made to British aristocrats, tickets cost £ 15, daily sales unit 4000, duration of the exhibition 180gg.
Then, £ 15 x4000x180 days = £ 10,800,000, which are obviously the proceeds from the sale of the catalogues and various gadgets connected to view (atleast the same digit).
Now, from the same interview in Corriere, we learn that the beautiful pieces on display in London were “provided for free by the Italian State” because it “would appear as the rag-a-muffin state initiative, would be really bizarre and demeaning to pay exhibits abroad”. Then however, anywhere, the Museum of Riace, complains about the lack of staff and funds, while France, not exactly in rags, has implemented the same operation with Abu Dhabi, by restoring the balance – and the Palace – Louvre, (remember that the Paris Museum collects as all Italian museums put together?!).
Many Italians and plus Myself would like to figure out who decided on this donation? There were perhaps of the palaces in Italy? In this country we have beautiful palaces, in excellent condition, as Florence (Palazzo Strozzi, Palazzo Pitti. Or Roma, scuderie del Quirinale, or in Caserta, in order not to make too many miles, in splendid Palaces, the Castello Sforzesco in Milan). How can anyone be reminded of anything like that?
We are waiting for answers, thanks …
LONG ISLAND WINDMILLS
Windmills and water mills are truly the wonders of an earlier era, the wooden technology of yesteryear. To us, they may be graceful and charming relics. To the colonists, however, they were a vital necessity. Colonial craftsmen constructed them to mill grain, saw wood, pump water and do various other jobs. Furthermore, the mill was the gathering place for the villagers. While they waited for their grain to be milled, the villagers exchanged news and gossip and stories. Millers were well respected not only for their mill’s output but also for their own weather forecasts, knowledge of engines and machines, and, of course, up-to-date news.
Long Island is an ideal place for catching the steady wind from the ocean and bays: 125 miles long, narrow – only 20 miles across at its widest, and relatively flat. Thus, many windmills were built here and still exist here, particularly at the island’s east end. As a matter of fact, the south fork of eastern Long Island contains the greatest number of surviving windmills in the United States. Before 1700, Long Island also had many water mills, some of them powered by the tide.
Surviving centuries of time historic wooden windmills, reminiscent of old time England; dot the landscape of Suffolk County’s lush east end scenery. Suffolk County holds 11 such windmills. Few of this style of windmill remain in the United States and it’s quite unusual to find such a large concentration of them in one area. In fact, local historians claim that Long Island holds the largest number of this type of windmill in one place. The windmills found on Long Island were constructed in the “smock mill” style, so-called because their skirted design resembled a baker’s smock. According to historians, they are also called “cap mills” because the top cap of the mill rotates. They have oversized lattice blades and wood-shingle construction.
The historic windmills on Long Island were created by skilled artisans and many have been restored and are open for visitors to explore how these massive machines benefited early Americans and aided in their survival. The mill at Water Mill is one of 11 standing windmills on the eastern end of Long Island, which may represent the largest such concentration in the United States. All 11 were built between 1795 and 1820 and are called smock mills, because they supposedly look like someone wearing a smock. Though windmills played a role in the nation’s agrarian beginnings, they go back at least 700 years in Europe, where they were used to accomplish tasks essential to survival: grinding grain, sawing wood, pumping water and accomplishing any other job in which the wind could be used to do their work.
The first windmill on Long Island went into operation in 1644; four years after colonists from New Haven founded the town of Southold on the North Fork. Throughout the 18th and 19th centuries, mills played an important role in the economy and agricultural development of the east end of Long Island. This situation changed, however, when processed flour was sent east by train in large enough quantities to satisfy demand. Local farmers turned to growing potatoes instead of grain. Now many of the potato farms are giving way to modern ”Hamptons-style” housing or are being used to grow grapes for the island’s burgeoning wine industry. The last operating windmill, the Hayground Mill in East Hampton, closed in 1919. Two others were made into homes. Through the years, their usefulness over, the 11 standing mills were repaired only occasionally, and maintenance was perfunctory or nonexistent. Several mills were purchased by individuals and moved from their original sites. Two have been converted to private residences.
With the passage of time and damage from storms, the windmills faced extinction. But in the 1970’s, renewed interest by local residents and the Society for the Preservation of Long Island Antiquities spurred preservation movements.
The following is but a list of some of the historic Long Island Windmills:
The Antigo Windmill, built in 1804 and is located in East Hampton. The Mill Hill had been built up from a natural rise in 1729 on the common at the south end of East Hampton. The Pantigo Windmill was built by Samuel Schelliner.
Old Hook Mill, A windmill built by Nathaniel Dominy V in 1806. The Hook Mill was restored to working order in 1939. Celebrated its 200th anniversary in 2006. Located in East Hampton
Beebe Windmill This windmill was built in 1820 by Samuel Schellinger for Captain Lester Beebe. The Beebe windmill has been moved numerous times since it has been built. The Beebe Windmill is the only windmill in the United States that is iron-geared. It is located in Bridgehampton and is open periodically in season.
Gardiner Windmill – Built in 1804. Stands in its original place, and was built a few months after Pantio Mill. This mill was built by Nathaniel Dominy V for John Lyon Gardiner and several others. The mill was completed on September 28, 1804. The mill continued to operate until 1900.
Corwith Windmill – Corwith windmill was built in the 1800s in Sag Harbor. It was moved in 1813 to its location now. Corwith windmill was operating until 1887. Water Mill, NY Shinnecock Windmill at Stony Brook Southampton College, Southhampton. This windmill was originally constructed in the early 1700s and moved from Southampton Village to its present location in 1890. It has been a fixture ever since the college opened. Exterior viewing only.
Shelter Island Windmill Built in 1810 in Southold by Nathaniel Dominy. This windmill was moved to Shelter Island in 1839 and moved to its current location. Not open to public.
Old Mill at Wainscott Main Street; built in 1813 and moved several times.
Not open to the public.
Gardiner’s Island Mill – Built for the Gardiner family in 1795 and rebuilt 1815. Painted white. Gardiner’s Island-Private Island On the National Register of Historic Places since 1978, Not open to public. I actually got to see this Windmill when David Lyon Gardiner took the entire 5th grade of Gardiner Manor Elementary School (Bay Shore School District) to the Gardiner Family Island (Gardiner Island). It was a fantastic opportunity for us to see the Island, and view the wildlife, buildings, etc. that many people don’t get the chance to do.
Southampton Mill – Dates back to the early 1900s.
Southampton Not open to the public.