Cell Phone Land Line Converter

not only the city: the discreet charm of the Roman countryside, Patrizia Bonelli.

Castel di Guido: un progetto per salvaguardare il fascino discreto della campagna romana.

Sulla via Aurelia, few kilometers after the ring road, turn right and you arrive at Castel di Guido. Just before the village, a small cemetery on the left, a little later the eighteenth century church restored in recent times with a beautiful staircase entrance. Then there are the first farmhouses and olive grove to the village surrounded by walls. Outside the resale of dairy products and beef inside, before the large yard which opens up the countryside, other buildings, including rooms that house a small museum of rural culture.

E 'from the small museum and food festivals organized the few remaining employees that the idea of \u200b\u200ba project that calls the interest on Castel di Guido and his recent history through the memory of some women who worked for twenty to thirty years' .

We enjoyed delicious food from the ancient taste like pasta and beans and legumes that have been lost memory, such as grass pea. And then, cheeses, meats, couscous, grilled sausages farmyard, all washed down with sweet and good wine. We found that there is still a woman making bread every week and says, "Tell me what they want and when you come to take it and I put a little 'more flour.

Then we look around and notice in plain sight of the old tools of agriculture, a harrow, a plow and then hoes, spades, forks; In one corner there are the old white ceramic plates with the words "Holy Spirit". It 's a witness in the recent history of the estate that the' 900, before it belonged to the municipal hospitals gathered in Rome and in particular to the Holy Spirit. Then look into the smallest room of the museum which displays photographs of peasants and cowboys at work. Women stand out in agricultural work are particularly numerous and beautiful, the breasts, and the standing figure as Silvana Mangano in "Bitter Rice" '49 Giuseppe De Santis. But men are mostly dealing with animals, beautiful Friesian cows and calves and the Maremma, the cowboys, our local cowboys, take them with the lasso and held by the horns to mark them.

The campaign so far and rebuilt through literature opens our imagination to the female because the museum, parties and socializing are driven by women, as Antoinette, going on around him affection and sympathy and it reverberates in the memory of the farm. The agricultural world eludes us more and more removed from advancing in the city. And if, as Giorgio Nebbia, agriculture we are made for what we eat to the clothes that we wear, the places of production are increasingly distant and separate from us. We want to close this gap and protect from further cementing what little remains of the Roman.

In the hall of the tools of farming museum