Sardinia, Italy
by Cornelius Myers
Down through history, ancient civilizations have left inscrutable and symbolic artifacts for us to ponder and puzzle over. Stonehenge, the Nazca lines, the Pyramids at Giza, the Sphinx, the Easter Island Moai and Machu Picchu all have remained largely unexplained and mysterious. Similarly, the Nuraghe of Sardinia today are still a complete enigma and the focus of fierce academic and archeological discussions as to their origins and purpose.
Some archeologists maintain that the structures were royal palaces or religious temples; others say they were simply dwellings, military strongholds, the house of the chief of the village, or a meeting place for wise men or kings. What is known is that these ancient megalithic edifices – having the shape of a truncated conical tower resembling a beehive – have come to be the symbols of Sardinia and it’s distinctive cultural history.
Today, there are more than 8,000 nuraghes still standing from what is estimated to have numbered more than 30,000. They were most prevalent in the northwest and south-central areas of the island and are usually located in a panoramic spot – strategically located on hilltops to control important passages.
They have no foundations and stand only by virtue of the weight of the stones – some of which weigh as much as several tons. Some of the structures stand more than 20 meters (60 feet) in height. Everything in the nuraghes is made of stone laid upon stone, with no lime or concrete used. Considering the frequency of invasions and conquests through the millennia, it is tribute to the ancient builders that so many have survived.
The most important complex of nuraghes is Su Naraxi di BaruminI, centered around a three story tower built around 1500 BC. It has been designated as a UNESCO World Heritage Site. The highest and most imposing is the Nuraghe Sant’ Antine, near Torralaba. However, even the smallest of the structures is awe inspiring and unstintingly mysterious.
They all are incredibly accessible and available to explore. When you enter a nuraghe, stand in the middle of the cone and stare up at the opening above you, the presence of it’s former inhabitants is almost palpable. The stone stairs to the various interior levels wind-up the sides of the structure leading to antechambers and strange rooms. There is a strong sense of design and intention.
It is generally agreed that they were constructed in the middle of the Bronze Age – 18th-15th centuries BC; although some have been dated at 3500 BC. Scholars also agree that the Nuragic civilization produced the most advanced and monumental architecture for this time frame in the western Mediterranean, including the Greek colonies of Magna Graecia.
Having stated that, it remains a complete mystery as to who were the Nuragic people. Some clues can be found at The National Archeological Museum in Cagliari. It holds most of the materials discovered in the Nuraghes. They did produce art in the form of beautiful small bronze statues; typically representing Gods, the chief of the village, soldiers, animals and women. There are also stone carvings or statues representing female divinities.
They venerated water and celebrated it’s sources with magically designed springs, sacred wells and sanctuaries. Forty Nuragic wells have been uncovered. The interiors have a monumental staircase leading to an atrium and the spring. The wells are all built of stone and similar to the Nuraghe’s architecture. They are underground and womb shaped to honor the Earth Mother and fertility.
The sacred well of Santa Cristina has a hole in the vault. Every 18 and a half years, when the moon reaches is lowest point in orbit, the moonlight strikes the hole and is reflected on the surface of the water. Sunlight is also reflected during the autumn and spring equinoxes. Through these processes we know they possessed a great knowledge of celestial cycles.
The Tombs of the Giants are scattered throughout the island. So far, 320 have been found. They are monumental structures of huge granite stone stellas, placed upright, side by side, forming a semi-circle. They are all oriented toward the constellation of Taurus. The tombs are from the megalithic period and housed collective graves without distinction to status or family. It is believed that they were gateways to the afterlife.
But that is where the certainties end. Scholars are not even sure of the correct name for the civilization, or even the real meaning of nuraghe. The name itself derives from the meaning of mound and cavity, and the nuraghes are built by laying big stones of similar size on top of each other, leaving a cavity in the middle which is then covered by a stone domed roof. For lack of a more informed identification, scientists accordingly have called them the Nuragic peoples.
Sardinia is the oldest region of Italy. This archaic world has it’s roots shrouded in the mists of time. From the Neolithic period it has been inhabited by populations that have left fascinating, monumental traces of their presence, but none more mysterious and intriguing than the builders of the Nuraghe.
Cagliari: Amazing Bosa and Prehistoric Sardinia
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About the author:
Cornelius Myers is an award-winning journalist, broadcaster, feature writer with publications in many travel magazines and newspapers including the New York Times. He’s based in Monaco and Miami.
All photographs are by Charlotte Otto Bruc.
I wonder what it would be like to live here in Abruzzo all the time, far from the pressures of city life, far from tourist traps, close to nature, and to inner peace. Like Celestine. Back in the thirteenth century, he lived higher up these rugged slopes, in a cave, until he was called to the Papacy. But he hated all the glitz and glamour, and missed his life as a hermit, so he swiftly issued a decree allowing popes to abdicate, and returned to his cave.
Yes, I think, turning back down the mountain, there’s a spiritual energy here. But I would want a little more material comfort than Celestine had: perhaps I could buy that stone ruin over there on the slope, and convert it. Like Ezio and Mariangela did. A few years ago, they decided to flee the pressures of city life, and bought an eighteenth century property here. They restored it using original materials, and made it into a four-bedroom B&B. They named it Casa Giumentina, after this valley. That’s where I’m staying…and I’m getting hungry. The sun is now warm on the back of my legs. As I approach the house, I see that breakfast has been laid out on the table under the oak tree. I can already smell the cappuccino…and Mariangela’s freshly baked apple cake.
As I enter the village, I notice that the roads have been recently paved. There’s a feeling of progress, of development. After the war, this was one of the most depressed areas in Italy. People left in their hundreds, looking for work, often in mines in northern Europe. The population dropped from 2000 to 450. But things are changing: people are trickling back.
‘My husband died in the war,’ she says. ‘I never married again. I couldn’t have my sons calling another man “papà”.’
I stroll down to Il Carro, a restaurant which serves local delicacies. I start with an antipasto of salame and pecorino cheese, then have wild boar, with spelt, which is the staple cereal in this area. I accompany it with a glass of Montepulciano wine, and finish up with a fresh strawberry sorbet and an espresso.
But no, here is where I want to be. The view is too beautiful. I feel warm and relaxed. I’ll sit in a deckchair and read, or write, or perhaps just gaze into space until sunset.
We chop and stir together in the large kitchen. Before settling down to dinner on the terrace I slip on a cardigan. Up here, fifteen hundred feet above the sultry plains below, the evening air is cool.
Entering ancient Porta Marina’s pedestrians-only passage, our guide introduces Pompeii. “Just like now, thousands of visitors traveled here,” Massimillio informs us. “And many different languages were spoken.”
Wealthy nobles lived along via de la Fortuna where elegant homes covered with bright-white ground-marble stucco stood next door to smaller houses. At House of the Faun, an undamaged mosaic displaying the original sign HAVE meaning ‘hail-to-you,’ welcomes us into the entrance hall and open courtyards. Then covering an entire block, its forty stylish rooms included magnificent dining rooms, one for each season. Carved columns had lined two immense gardens filled with marble and bronze statuary and beautiful fountains.
Nearby, the House of the Vetti belonged to bachelor brothers, prosperous wine-merchants. This patrician villa retains original mosaics in green jade, white Carrera marble and indigo-blue onyx; vibrantly colored frescoes decorate well-preserved entertainment rooms. At a smaller house next door, we linger over frescoes in rich earthen tones depicting delicate flowers and winged cherubs, among my favorites for their simple whimsy.
Raised sidewalks wind along the street to one of the 34 bakeries needed to feed Pompeii’s population of over 20,000. “Those squat towers made of volcanic stones milled flour on-site,” reports our guide. Amazed that the well-built ovens so closely resemble today’s brick pizza ovens, we imagine tantalizing aromas floating on the air. During excavations, centuries-old loaves of blackened breads were found inside many ovens.
Inside, surprisingly small cells held stone beds once covered by mattresses. Using a separate entrance, wealthier clients had used the more private second-story rooms bedecked with rich frescoes leaving little to the imagination.
Onward past a former Temple of popular Egyptian goddess Isis, we pause among columns remaining in a second public Forum. This is where theatergoers had mingled in bars and cafes before open-air performances at their Grande Theater. First built in the 2nd-century BC, this theater seated over 5000 citizens in three price ranges. Its smaller semi-circular neighbor, the Odeon staged more intimate mime, plays and musical events.
The first written records of this Estrucan village are from 929 AD. Named for the former Bishop of Modena in the 10th century San Gimignano is a Unesco World Heritage site and is also known as the city of beautiful towers. During The Middle Ages while at the peak of it’s influence this town boasted fifty-six towers, some standing more then fifty meters tall and visible from anywhere in the Elsa Valley. These towers were not only status symbols to local families as well they served as a medieval early warning system should would be invaders approach. Because of war, the Black Plague in the 14th century, urban renewal and other catastrophes only fourteen of the towers remain and only one, The Grossa tower was open for our viewing.
Being surrounded by so much history can be a little over whelming so we took a time out to clear our heads and check out the terra cotta and glazed pottery. Crafts and pottery that have been produced by local artisans are abundant in the open-air market and shops along Via Giovanni. I couldn’t resist bringing a handcrafted ornament home for my grand daughter.
Fattorio Lischeto boasts a restored rustic farmhouse where we enjoyed the best of Tuscan cuisine and the company of fellow travelers from around the globe. The panoramic views of the surrounding farmland, Cypress groves, rolling hills and valleys could only surpassed the crispy crostini and pancheta, organic pecorino cheese, panchino tomatoes freshly picked from the garden and a drizzle of virgin olive oil. I still smile when I think of the organic Chianti.
While San Gimignano is a busy tourist destination Volterra is what I had envisioned when I thought about an ancient Estrucan town. The City of Alabaster as it is known became important in the 18th century in part because of the quality and transparency of the alabaster in the region. To this day craftsman work in the dust filled workshops where you can watch them work and spend whatever amount you desire large or small for your memories. In celebration of their history of carving Volterra’s Museum of Alabaster boasts over three hundred original pieces, displayed in a 17th century convent.
Early Roman influence is apparent in Volterra with the recent (in Tuscan time) discovery of the ruins of the Theatre of Vallebona from the 1st century and spa buildings from the Augustun age (5th century). Many of the archaeological finds from digs in and around Volterra and the Elsa Valley are displayed in the Guarnacci Museum, one of the first public museums in Europe that was founded in 1761 while the Romanesque style church of St. Agostino is the home to remnants of famous frescoes.
The Italian government has done a great job instructing visitors with strategically placed information about the site. We also liked the fact that they give you the freedom to discover Ostia on your own. Signs warn visitors to have respect for the artifacts. Because of atmospheric exposure and those created by the nearby airport, some of the monuments are wearing down. We wandered off the Decumanus, and. onto narrow paths scattered with pine needles, ducking under archways, and poking around alleys.
Just beyond the warehouses we climbed the few steps on our right. Here were the Baths of Neptune, a gathering place for the locals. An amazingly preserved mosaic, measuring 55 feet by 36 feet, is of the sea god riding a chariot drawn by four pawing horses.
We pictured the locals sitting in baths, then walking down the Maximus to imbibe a few cups of wine at the Insula of the Thermopolium.
The first excavations were started in the late 1700s and work has continued ever since. A roped-off area of white tents showed us that restoration was in progress. An employee with a high power water gun was spraying a mosaic. She told us that 21st century pollution makes it very difficult to keep them clean.
After navigating almost the length of the Maximus, we came to the Forum, the main square of the town. Here were the remains of important government and religious buildings. Many of the pillars and building foundations have been left standing. The huge Capitolium Temple dominates the right-hand side. Most Roman forums were dominated by a temple – to bring the deity to the people. The Capitolium Temple was dedicated to the pagan trinity of Juno, Jupiter and Minerva. Columns flank the massive staircase leading to the entrance. At least two stories are visible. Before heading back, we stopped at the near-by museum to view the busts and statues of the local citizenry. Most amazing is the detail to features, hair styles, and dress. My favorite was a soldier in a pleated kilt, headpiece, shoes, and weapon. There is also a room with more of the marble sarcophagi showing carvings of Dionysus, the Greek God of wine.
