justme

Sottosopralerighe in un oceano di carta.

[justme @everjustme]

Sono 48 foto sovvrapposte del Sole. Scattate durante un anno, una a settimana, nello stesso luogo e alla stessa ora. Il punto più in alto è il Solstizio d'estate e il punto più basso è il Solstizio d'inverno.
Il risultato è il simbolo dell’infinito! La natura ci meraviglia sempre

[Heidi @caputmundiHeidi]

Il “Pergolato Capitolino”, recentemente restaurato, è un sentiero tranquillo e ombreggiato che conduce al Campidoglio…

La mia foto è stata scattata durante l'ora d'oro 💛 del tramonto.

#Roma 🤍

[Corriere della Sera @Corriere]

Malattie rare, «Carta di Roma»: proposte per migliorare presa in carico, diagnosi, trattamenti https://t.co/AgtPL7hgwl

[Wanted in Rome @wantedinrome]

Rome screens live performance of La Traviata, with costumes by Valentino, at Spanish Steps.
https://t.co/rOvN3m2Xnq

[The Figen @TheFigen_]

That is precisely why trees are oxygen…

[Historic Vids @historyinmemes]

A glimpse of an era when even the most ordinary things were wrapped in elegance, 1910.

Around 1910, even the smallest household details were designed with beauty in mind. Door hardware wasn’t just functional—it was part of the home’s character. Knobs, lock plates, hinges, and keyholes were often decorated with floral motifs, geometric patterns, brass accents, and intricate metalwork.

This was an era when craftsmanship shaped everyday life. Designers embraced ornament rather than hiding it, turning ordinary objects into works of art. Influenced by Victorian, Edwardian, and Art Nouveau styles, these fixtures were built from durable materials like brass and bronze, meant to age gracefully over decades. Decorative door hardware was commonly sold through catalogs, allowing homeowners to choose designs much like they selected furniture or wallpaper—a reminder that beauty was once found in even the most routine parts of daily life.

[Turismo Roma @Turismoromaweb]

📍 Sul Celio, affacciata su una piazza dal fascino unico e irregolare, incontriamo la basilica dei Santi Giovanni e Paolo, circondata da testimonianze storiche che raccontano oltre duemila anni di storia.

👉https://t.co/4mB6FAGLK9
📸 Turismo Roma
#VisitRome

[Turismo Roma @Turismoromaweb]

💒 The Basilica of Sant'Aurea in Ostia Antica stands on the site where, according to tradition, Saint Aurea, who was martyred in the 3rd century, and Saint Monica, the mother of Saint Augustine, who died in Ostia, were buried.

👉 https://t.co/8wWZBi8tgL

📸 IG io_e_la_nikon

[Unamuno 📜 @UnamunoAgain]

Esta es la casa en la que nació Tintoretto en Venecia

[newyorker01 @newyorker01]

Coppedè come non l’avete mai visto

[MinervaArmata  @MinervaArmata]

Green
#Roma Palazzo Altemps

[justme @everjustme]

@UnaCertaCarmen Wow!

[@salviamoroma @salviamoroma]

#Roma Non tutte le ciambelle escono col buco.
Qui, invece, escono solo le buche.
LAVORI INFINITI FATTI E FATTI MALE DI CHIE E' LA COLPA?

[Sarahh @Sarahhuniverse]

How chaos theory becomes order....

[James Lucas @JamesLucasIT]

I know what you're thinking. It's not AI.

But I get why it looks impossible…

The Apennine Colossus rises 11 metres from the grounds of the Villa Demidoff at Pratolino, north of Florence. It was completed between 1579 and 1580 by the Flemish sculptor Giambologna, commissioned by Francesco I de' Medici, Grand Duke of Tuscany, as the centrepiece of one of the most extravagant Renaissance gardens ever made.

The giant is a personification of the Apennine Mountains. Scholars believe Giambologna drew on Ovid's Metamorphoses, in particular the description of a mountain-like Atlas, when he designed the figure. The Colossus emerges from the landscape as if he had always been there, his body merging with rock and moss, stalactites forming his beard, his hair dissolving into stone. With his left hand he crushes the head of a sea monster, from whose open mouth water pours into the pond below.

To the people who first encountered him, he did not seem like a statue. He seemed alive. The giant was engineered, through a hidden network of water pipes, to sweat and weep. In winter, icicles formed across his body. In summer, water cascaded from his head into the gardens below.

But the most extraordinary thing about the Apennine Colossus is what is inside him...

Across three levels, the giant contains a network of chambers. On the ground floor sits a cave-grotto with an octagonal fountain dedicated to the Greek sea goddess Thetys. On the upper level is a room large enough to hold a small orchestra. And in the head there's a private chamber with slits cut into the eyes and ears, and a fireplace whose smoke escaped through the giant's nostrils.

Francesco I de' Medici used to sit inside the head and fish through one of the eye slits into the pond below. According to the architectural historian Philip Steadman, "at night he would have torches lit, so the eyes glowed."

A century later, around 1690, the sculptor Giovan Battista Foggini added a dragon to the back of the Colossus. The dragon's belly contained a fire chamber. Its neck and head served as the chimney. The smoke rose from the dragon's mouth.

A giant that weeps. That breathes smoke through stone nostrils. That has a concert hall in its chest and a fishing room behind its eyes. The Renaissance produced many things that seem almost impossible today. This may be the one that should not even have been imaginable...

-- -- --

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[justme @everjustme]

@MinervaArmata Che meraviglia Minerva. Nutri l’animo di bello. 😍🙏

[WanderLens @naturebeauty760]

I bet most of the people won't know the city name.

[CityVibesX @earthviewss1]

St. Mark’s Basilica, Venice, Italy 🇮🇹

[Destination Diaries @Earth38102]

Palermo, Italy 🇮🇹

[Art Beyond Subjectivity @JScotteswood]

This is the scale of Milan’s Duomo.
40,000 people could fit inside.

— And the altar still looks far away. 📸:Abs

[𝔽𝔼𝕊𝕋𝕀ℕ𝔸 𝕃𝔼ℕ𝕋𝔼 @durlindana69]

Roma…
Villa Borghese…