All about Florence

Trippa o lampredotto? Nuove invenzioni culinarie per opera di Luca Cai

2008-01-07T07:41:00.000-08:00

Ogni tanto la ristorazione fiorentina segnala qualche novità e accanto ai vecchi classici che resistono, si affermano nuovi talenti. Come Luca Cai e il suo il ristorante-tripperia di Piazza della Passer che ha la sua piacevole sede nell'ex magazzino di un mito, il trippaio del Porcellino. Del quale Cai è stato fedele apprendista prima di andare a magnificare il «quinto quarto» persino ai giapponesi. Ed una volta tornato, aprire, col socio Alessandro Caldini, il ristorante nella piazzetta fra via Guicciardini e via Maggio arredato con antica, confortevole semplicità. Difficile immaginare qualcosa di più fiorentino di trippa, lampredotto, guancia e lingua: un pezzo di storia della città. Accuratissima per ingredienti e preparazioni (la potente, gustosissima guancia in agrodolce cuoce sei ore; i ravioli di lampredotto sono fatti a mano in casa), la cucina di Cai sforna, con tempi ben cadenzati, piatti ovviamente forti preservandoli, a volte ritoccandoli con belle intuizioni, e rendendoli, al tempo stesso, appetibili senza tradirli anche per chi non va pazzo per le interiora. Come la gentile eppur vigorosa trippa alla fiorentina; la zuppa di cipolle col lampredotto; le polpettine di lampredotto (parenti di quelle leggendarie di lesso rifatto che quasi nessuno cucina più) offerte come entrée, il lampredotto bollito o con i porri, che esaltano del retto dell'animale le infinite sfumature.Intorno una golosa selezione di altre toscanità ritoccate o nature (bruschette, salumi, coccoli e crudo toscano; fra i primi pappardelle al pistacchio con ragù d'anatra, linguine al pesto di cavolo nero, maltagliati in carbonara di verdure, riso pera e pecorino) coniglio e tagliata di pollo per chi proprio non ce la fa a mandar giù trippa e affini.Mentre fra i contorni brillano le verdure fritte o lesse con raclette e l'insalata su cialda di parmigiano, e fra i dolci (tutti fatti in casa) la superba torta al cioccolato e una pregevole crema catalana.

Potrebbe, invece, crescere la pur robusta carta dei vini, correggendo l'eccesso di soliti noti con piccoli produttori d'eccellenza.
vinoecucina@repubblica.it

LA SCHEDA
Indirizzo: piazza della Passera 2-3r, Firenze. Telefono: 055/215969. Aperto tutto l'anno tranne Natale. Orario cucina: pranzo 12-15; cena 19,30-23. Coperti 30. Carte di credito: tutte. Parcheggio: problematico, garage a pagamento in borgo San Jacopo o via de' Bardi. Cucina: tipicamente fiorentina, tutto ruota intorno a trippa, lampredotto, guancia e lingua, con riuscite variazioni e qualche invenzione. Costo medio di un pasto: 28-30 senza vino. Consigliabile prenotare.

A quick overview

2007-12-28T03:51:00.000-08:00

The best-known site and crowning architectural jewel of Florence is the domed cathedral of the city, Santa Maria del Fiore, known as "The Duomo". The magnificent dome was built by Filippo Brunelleschi. The nearby Campanile tower (partly designed by Giotto) and the Baptistery buildings are also highlights. Both the dome itself and the campanile are open to tourists and offer excellent views. At the heart of the city in Piazza della Signoria is Bartolommeo Ammanati's Fountain of Neptune, which is a masterpiece of marble sculpture at the terminus of a still functioning Roman aqueduct. Church of Santa Felicita. Ponte Vecchio. The Duomo in Florence is constantly being cleaned to remove the effects of pollution. The bridges of Florence at sunset from Piazzale Michelangelo.The Arno river, which cuts through the old part of the city, is as much a character in Florentine history as many of the men who lived there. Historically, the locals have had a love-hate relationship with the Arno — which alternated from nourishing the city with commerce, and destroying it by flood. One of the bridges in particular stands out as being unique — The Ponte Vecchio (Old Bridge), whose most striking feature is the multitude of shops built upon its edges, held up by stilts. The bridge also carried Vasari's elevated corridor linking the Uffizi to the Medici palace. First constructed by the Etruscans in ancient times, this bridge is the only one in the city to have survived World War II intact. The San Lorenzo contains the Medici Chapel, a private chapel owned by the Medici family who were one of the most powerful families in Florence during the 15th century. Nearby is the Uffizi Gallery, one of the finest art galleries in the world. The Uffizi ("offices") itself is located on the corner of Piazza della Signoria, a site important for three main reasons: In 1301, it was where Dante was sent into Exile (a plaque on one of the walls of the Uffizi commemorates the event). In 1497, it was the location of the Bonfire of the Vanities (a plaque in the middle of the plaza commemorates that event), followed in 1498 by the execution of its instigator, Girolamo Savonarola.
In 1504, it was the original location of Michelangelo's David (now replaced by a reproduction as the original was moved indoors to the Accademia dell' Arte del Disegno), in front of the Palazzo della Signoria (also known as Palazzo Vecchio). In addition to the Uffizi, Florence has other world-class museums: The Bargello concentrates on sculpture, containing many priceless works of art created by such sculptors as Donatello, Giambologna, and Michelangelo. The Accademia dell' Arte del Disegno (often simply called the Accademia) collection's highlights are Michelangelo's David and his unfinished Slaves. Across the Arno is the huge Pitti Palace lavishly decorated with the Medici family's former private collection. The art gallery contained a large number of Renaissance works, including several by Raphael. Adjoining the Palace are the Boboli Gardens, elaborately landscaped and with many interesting sculptures. The elaborate Santa Croce church contains the monumental tombs of Galileo, Michelangelo, Machiavelli, Dante (actually a cenotaph), and many other notables. Other important basilicas in Florence include Santa Maria Novella, San Lorenzo, Santo Spirito and the Orsanmichele. The city's principal football team is AC Fiorentina. Florence has been the setting for numerous works of fiction and movies, including the novels and associated films Hannibal and A Room with a View.

Palazzo Pitti

2007-12-28T03:50:00.000-08:00

The Palazzo Pitti (sometimes called the Pitti Palace) is a vast mainly Renaissance palace in Florence, Italy. It is situated on the south side of the River Arno, a short distance from the Ponte Vecchio. The core of the present palazzo dates from 1458 and was originally the town residence of Luca Pitti, an ambitious Florentine banker. It was bought by the Medici family in 1539 as the official residence of the ruling families of the Grand Duchy of Tuscany. In the 19th century, the palazzo, by then a great treasure house, was used as a power base by Napoleon, and later served for a brief period as the principal royal palace of the newly-united Italy. In the early 20th century, the palazzo together with its contents was given to the Italian people by King Victor Emmanuel III; subsequently its doors were opened to the public as one of Florence's largest art galleries. Today, housing several minor additions in addition to those of the Medici family, it is fully open to the public. The construction of this severe, almost forbidding, building was commissioned in 1458 by the Florentine banker Luca Pitti, a principal supporter and friend of Cosimo de' Medici. The early history of the Palazzo Pitti is a mixture of fact and myth. Pitti wanted to build, it was said, a large palazzo which would outshine the Palazzo Medici. It is claimed that he specifically instructed that the windows should be larger than the entrance of the Palazzo Medici. It has been said by no less a person than Vasari that Brunelleschi was the palazzo's architect, and that his pupil Luca Fancelli was simply his assistant in the task - today it is Fancelli that is generally credited. Besides obvious differences from the elder architect's style, Brunelleschi died 12 years before construction of the palazzo began. The design and fenestration suggest that the unknown architect was more experienced in utilitarian domestic architecture than in the humanist rules defined by Alberti in his book De Re Aedificatoria. The original palazzo, though impressive, would have been no rival to the magnificence of the Florentine Medici residences in terms of either size or content. Whoever the architect of the Palazzo Pitti was, he was moving against the contemporary flow of fashion. The rusticated stonework gives the palazzo a severe and powerful atmosphere, reinforced by the three times repeated series of seven arch-headed apertures, reminiscent of a Roman aqueduct. The Roman-style architecture appealed to the Florentine love of the new style all'antica. This original design has withstood the test of time, and its influence has been maintained and continued during the subsequent additions to the palazzo. Work stopped after Pitti suffered financial reverses following the death of Cosimo de' Medici in 1464. Luca Pitti died in 1472 with the building uncompleted. The building was sold in 1549 by Buonaccorso Pitti, a descendant of Luca Pitti, to Eleonora di Toledo. Raised at the luxurious court of Naples, Eleonora was the wife of Cosimo I de' Medici of Tuscany, now the Grand Duke. On moving into the palace, Cosimo had Vasari enlarge the structure to fit his tastes; the palace was more than doubled by the addition of a new block onto the rear. Vasari also built an above-ground walkway from Cosimo's old palace, the Palazzo Vecchio, through the Uffizi, above the Ponte Vecchio to the Palazzo Pitti. Land on the hill called Boboli at the rear of the palazzo was acquired in order to create a large formal park, the Boboli Gardens. The landscape architect employed for this was the Medici court artist Niccolo Tribolo, who died the following year; he was quickly succeeded by Bartolommeo Ammanati. The original design of the gardens centred on an amphitheatre, behind the corps de logis of the palazzo, in which the classically-inspired plays of Florentine playwrights such as Giovan Battista Cini were performed for the amusement of the cultivated Medici court, with elaborate sets designed by the court architect Baldassarre Lanci. With the garden project well in hand, Ammanati turned his attentions to creating a large courtyard immediately behind the principal facade, to link the palazzo to its new garden. This courtyard has heavy-banded channelled rustication that has been widely copied, notably for the Parisian palais of Maria de' Medici, the Luxembourg. Ammanati also created the finestre inginocchiate("kneeling" windows, in reference to their imagined resemblance to a prie-dieu, a device of Michelangelo's) in the principal facade, replacing the entrance bays at each end. During the years 1558-70, Ammanati created a monumental staircase to lead with more pomp to the piano nobile, and he extended the wings on the garden front that embraced a courtyard excavated into the steeply sloping hillside at the same level as the piazza in front, from which it was visible through the central arch of the basement. On the garden side of the courtyard Amannati constructed a grotto, called the "grotto of Moses" for the porphyry statue that inhabits it. On the terrace above it, level with the piano nobile windows, Ammanati constructed a fountain centered on the axis; it was later replaced by the Fontana del Carciofo ("Fountain of the Artichoke"), designed by Giambologna's former assistant, Francesco Susini, and completed in 1641. In 1616 a competition was opened to design extensions to the principal urban facade by three bays at either end. Giulio Parigi won the commission; work on the north side began in 1618, and on the south side in 1631 by Alfonso Parigi. During the 18th century, two perpendicular wings were constructed by the architect Giuseppe Ruggeri to enhance and stress the widening of via Romana, which creates a piazza centered on the façade, the prototype of the cour d'honneur that was copied in France. Sporadic lesser additions and alterations were made for many years thereafter under other rulers and architects. The palazzo remained the principal Medici residence until the last male Medici heir died in 1737, whereupon it passed to the new Grand Dukes of Tuscany, the Austrian House of Lorraine, in the person of Francis I, Holy Roman Emperor. The Austrian tenancy was briefly interrupted by Napoleon, who used the Pitti during his period of control over Italy. When Tuscany passed from the House of Lorraine to the House of Savoy in 1860, the Palazzo Pitti was included. After the Risorgimento, when Florence was briefly the capital of the Kingdom of Italy, Vittorio Emanuele II resided in the Pitti until 1871. His grandson, Vittorio Emanuele III, presented the Pitti to the nation in 1919. The palazzo and other buildings in the Boboli Gardens then became divided into five separate art galleries and a museum, housing not only many of its original contents, but priceless artifacts from many other collections acquired by the state. The 140 rooms open to the public are part of an interior, which is in large part a later product than the original portion of the structure, mostly created in two phases, one in the 17th century and the other in the early 18th century. Some earlier interiors remain, and there are still later additions such as the Throne Room. In 2005 the surprise discovery of forgotten 18th-century bathrooms in the palazzo revealed remarkable examples of contemporary plumbing very similar in style to the bathrooms of the 21st century. Compared to many of Italy's great palazzi the exterior of the Palazzo Pitti at first glance pales: the palazzo does not have the overpowering and commanding presence of Caserta or the citadel features of the Royal Palace of Turin, nor the elegance of the Naples Palace or Rome's papal, later royal, palace, the Quirinal, both with facades by Domenico Fontana. The Palazzo Pitti's architectural merit is in its great severity and simplicity. One continual architectural theme used throughout four centuries has produced massive but impressive elevations and facades which belie the long evolution and history of the structure. The architecture commands attention by virtue of size, strength and the reflection of the sun on the glass and stone, coupled with the repetitive, almost monotonous theme. Ornament and elegance of design take second place to the vast and solid mass of rusticated stonework relieved solely by the arcade-like frequency of the arched window embrasures. As with many Italian palazzi one has to enter the building in order to truly appreciate its architecture. Control of the palazzo, today transformed from royal palace to museum, is in the hands of the Italian state through the "Polo Museale Fiorentino", an institution which administers twenty museums, including the Uffizi Gallery, and has ultimate responsibility for 250,000 catalogued works of art. In spite of its metamorphosis from royal residence to a state-owned public building, the palazzo, sitting on its elevated site overlooking Florence, still retains the air and atmosphere of a private collection in a grand house. This is to a great extent thanks to the organisation "Amici di Palazzo Pitti" (Friends of the Palazzo Pitti), a group of volunteers and patrons founded in 1996, which raises funds and makes suggestions for the ongoing maintenance of the palazzo and the collections, and for the continuing improvement of their visual display. Now in its sixth century, the Palazzo Pitti is more splendid and better maintained than at any time in its history. Florence receives over five million visitors each year, and for many of these the Palazzo Pitti is an essential stop. Thus the palazzo still impresses visitors with the splendours of Florence, the purpose for which, it was originally built.

Gli Uffizi - Uffizi Gallery

2007-12-28T03:49:00.000-08:00

Building of the palace was begun by Giorgio Vasari in 1560 for Cosimo I de' Medici as the offices for the Florentine magistrates — hence the name "uffizi" ("offices"). Construction ended in 1581. The cortile is so long and narrow, and open to the Arno at its far end through a Doric screen that articulates the space without blocking it, that architectural historians treat it as the first regularized streetscape of Europe. Vasari, a painter as well as architect, emphasized the perspective length by the matching facades' continuous roof cornices, and unbroken cornices between storeys and the three continuous steps on which the palace-fronts stand. Over the years, parts of the palace evolved into a display place for many of the paintings and sculpture collected by the Medici family or commissioned by them. After the house of Medici was extinguished, the art treasures remained in Florence, forming one of the first modern museums. The gallery had been open to visitors by request since the sixteenth century, and in 1765 it was officially opened to the public. Because of its huge collection, some of its works have in the past been transferred to other museums in Florence — for example, some famous statues, to the Bargello. A project is currently underway to expand the museum's exhibition space by 2006 from some 6,000 metres² (64,000 ft²) to almost 13,000 metres² (139,000 ft²), allowing public viewing of many artworks that have usually been in storage. In 1993, a car bomb exploded in Via dei Georgofili and damaged parts of the palace, killing five people. The most severe damage was to the Niobe room, the classical sculptures and neoclassical interior of which have been restored, although its frescoes were beyond repair. The cause has never been cleared up, although some suspect the Mafia. Today the Uffizi is one of the most popular tourist attractions of Florence. In high season (particularly in July), waiting times can be up to five hours. Visitors who reserve a ticket in advance have a substantially shorter wait.

Il Giardino dei Boboli - Boboli Gardens

2007-12-28T03:45:00.000-08:00

The Boboli Gardens (in Italian Giardino di Boboli) are a famous park in Florence, Italy, that is home to a distinguished collection of sculptures. The Gardens, behind the Pitti Palace, the main seat of the Medici grand dukes of Tuscany at Florence, is one of the most familiar formal 16th century Italian gardens. The mid-16th century garden style, as developed here, incorporated longer axial developments, wide gravel avenues, a considerable "built" element of stone, the lavish employment of statuary and fountains, and a proliferation of detail, in semi-private and public spaces that were informed by classical accents: grottos, nympheums, garden temples and the like. The openness of the garden, with an expansive view of the city, was unconventional for its time. The Boboli Gardens were laid out for Eleonora di Toledo, the wife of Cosimo I de' Medici. The first stage was scarcely begun by Niccolo Tribolo before he died in 1550, then was continued by Bartolomeo Ammanati, with contributions in planning from Giorgio Vasari, who laid out grottos, and in sculpture by Bernardo Buontalenti. The elaborate architecture of the Grotto in the courtyard that separates the palace from its garden is by Buontalenti. The primary axis, centered on the rear facade of the palace, rises on Boboli Hill from a deep amphitheater that is reminiscent in its shape of one half of a classical hippodrome or racecourse. At the center of the amphitheater and rather dwarfed by its position is the Egyptian obelisk brought from the Villa Medici at Rome. This primary axis terminates in a fountain of Neptune (known to the irreverent Florentines as the "Fountain of the Fork" for Neptune's trident), with the sculpture of Neptune by Stoldo Lorenzi visible against the skyline. At the top are the panoramic views of Florence, as painted by Camille Corot. A long secondary axis at a right angle to the main one leads down through a series of terraces and water features. The gardens have passed through several stages of enlargement and restructuring work. They were enlarged in the 17th century to their present extent of 45,000 meters² (11 acres). The Boboli Gardens have come to form an outdoor museum of garden sculpture that includes Roman antiquities as well as 16th and 17th century works. In the first phase of building, the amphitheatre was excavated in the hillside behind the palace. Initially formed by clipped edges and greens, it was later formalized by rebuilding in stone decorated with statues based on Roman myths such as the Fountain of the Ocean sculpted by Giambologna, then transferred to another location within the same garden. The small Grotto of Madama, and the Large Grotto, were begun by Vasari and completed by Ammannati and Buontalenti between 1583 and 1593. Despite the fact that it is currently undergoing restoration work, the Large Grotto's statues continue to be remarkable examples of Mannerist architecture and culture. Decorated internally and externally with stalactites and originally equipped with waterworks and luxuriant vegetation, the fountain is divided into three main sections. The first one was frescoed to create the illusion of a natural grotto, that is a natural refuge to allow shepherds to protect themselves from wild animals; it originally housed The Prisoners of Michelangelo (now replaced by copies), statues that were first intended for the tomb of the Pope Julius II. Other rooms in the Grotto contain Giambologna's famous Bathing Venus and an 18th-century group of Paris and Helen by Vincenzo de Rossi.

Origins

2007-12-17T09:00:00.000-08:00

Florence's recorded history began with the establishment in 59 BC of a settlement for Roman former soldeirs, with the name Florentia (May She Flourish).

Julius Caesar had allocated the fertile soil of the valley of the Arno to his veterans.

They built a castrum in a chessboard pattern of an army camp, with the main streets, the cardo and the decumanus, intersecting at the present Piazza della Repubblica. This pattern can still be found in the city center. Florentia was situated at the Via Cassia, tha main route between Rome and the North. Through this advantageous position, the settlement could rapidly expand into an important commercial center. Emperor Diocletian made Florentia the capital of the province of Tuscia in the 3rd century AD. St Minias was Florence's first martyr. He was beheaded at about 250 Ad, during the anti-Christian persecutions of the Emperor Decius. The Basilica of San Miniato al Monte now stands near the spot. The seat of a bishopric from around the beginning of the 4th century AD, the city experienced subsequent turbolent periods of Ostrogothic rule, during which the city was often besieged and ravaged. The population may have fallen to as few as 1,000 persons. Peace returned under the Lombard rule in the 6th century.

The rise of Florence

2007-12-16T14:18:00.000-08:00

Conquered by Charlemagne in 774, Florence became part of the duchy of Tuscany, with Lucca as capital. Population began to grow again and commerce prospered. In 854, Florence and Fiesole were united in one county. Margrave Hugo chose Florence as his residency instead of Lucca at about 1000 AD. This initiated the Golden Age of Florentine art. In 1013, construction began on the Basilica di San Miniato al Monte. The exterior of the baptistry was reworked in Romanesque style between 1059 and 1128. Piazza della Repubblica in Florence.Reviving from the 10th century and governed from 1115 by an autonomous commune, the city was plunged into internal strife by the 13th-century struggle between the Ghibellines, supporters of the German emperor, and the pro-Papal Guelphs, who after their victory split in turn into feuding "White" and "Black" factions led respectively by Vieri de Cerchi and Corso Donati. (See Guelphs and Ghibellines.) These struggles eventually led to the exile of the White Guelphs, one of whom was Dante Alighieri. This factional strife was later recorded by Dino Compagni, a White Guelph, in his Chronicles of Florence. Political conflict did not, however, prevent the city's rise to one of the most powerful and prosperous in Europe, assisted by her own strong gold currency, the florin (introduced in 1252), the eclipse of her formerly powerful rival Pisa (defeated by Genoa in 1284 and subjugated by Florence in 1406), and the exercise of power by the mercantile elite following an anti-aristocratic movement, led by Giano della Bella, that resulted in a set of laws called the Ordinances of Justice (1293). Of a population estimated at 80,000 before the Black Death of 1348, about 25,000 are said to have been supported by the city's wool industry: in 1345 Florence was the scene of an attempted strike by wool combers (ciompi), who in 1378 rose up in a brief revolt against oligarchic rule in the Revolt of the Ciompi. After their suppression, Florence came under the sway (1382-1434) of the Albizzi family, bitter rivals of the Medici. Cosimo de' Medici was the first Medici family member to essentially control the city from behind the scenes. Although the city was technically a democracy of sorts, his power came from a vast patronage network along with his alliance to the new immigrants, the gente nuova. The fact that the Medici were bankers to the pope also contributed to their rise. Cosimo was succeeded by his son Piero, who was shortly thereafter succeeded by Cosimo's grandson, Lorenzo in 1469. Lorenzo was a great patron of the arts, commissioning works by Michelangelo, Leonardo da Vinci and Botticelli.

Florence before Italy

2007-12-15T15:00:00.000-08:00

Following the death of Lorenzo in 1492, he was succeeded by his son Piero II. When the French king Charles VIII invaded northern Italy, Piero II chose to resist his army. But when he realised the size of the French army at the gates of Pisa, he had to accept the humiliating conditions of the French king. These made the Florentines rebel and they expelled Piero II. With his exile in 1494, the first period of Medici rule ended with the restoration of a republican government. During this period the Dominican monk Girolamo Savonarola had become prior of the San Marco monastery in 1490. He was famed for his penitential sermons. He blamed the exile of the Medicis as the work of God, punishing them for their decadence. He seized the opportunity to carry through political reforms leading to a more democratic rule. His monomaniacal persecution of the widespread Florentine pederasty and of other worldly pleasures both influenced and foreshadowed many of the wider religious controversies of the following centuries. But when Savonarola publicly accused Pope Alexander VI of corruption, he was banned from speaking in public. When he broke this ban, he was excommunicated. The Florentines, tired of his extreme teachings, turned against him and arrested him. He was convicted as a heretic and burned at the stake on the Piazza della Signoria on 23 May 1498. A second individual of unusual insight was Niccolò Machiavelli, whose prescriptions for Florence's regeneration under strong leadership have often been seen as a legitimisation of political expediency and even malpractice.
Commissioned by the Medici, Machiavelli also wrote the Florentine Histories, the history of the city. Florentines drove out the Medici for a second time and re-established a republic on May 16, 1527. Restored twice with the support of both Emperor and Pope, the Medici in 1537 became hereditary dukes of Florence, and in 1569 Grand Dukes of Tuscany, ruling for two centuries. In all Tuscany, only the Republic of Lucca (later a Duchy) was independent from Florence. The extinction of the Medici line and the accession in 1737 of Francis Stephen, duke of Lorraine and husband of Maria Theresa of Austria, led to Tuscany's inclusion in the territories of the Austrian crown. Austrian rule was to end in defeat at the hands of France and the kingdom of Sardinia-Piedmont in 1859, and Tuscany became a province of the united kingdom of Italy in 1861.

Florence within Italy

2007-12-14T13:29:00.000-08:00

Florence replaced Turin as Italy's capital in 1865, hosting the country's first parliament, but was superseded by Rome six years later, after the withdrawal of the French troops made its addition to the kingdom possible. After doubling during the 19th century, Florence's population tripled in the 20th with the growth of tourism, trade, financial services and industry. During World War II the city experienced a year-long German occupation (1943-1944). The Allied soldiers who died driving the Germans from Tuscany are buried in cemeteries outside the city (Americans about 9 kilometers (6 miles) south of the city, British and Commonwealth soldiers a few kilometers east of the center on the north bank of the Arno) In November 1966, the Arno flooded parts of the centre, damaging many art treasures. There was no warning from the authorities who knew the flood was coming, except a phone call to the jewellers on the Ponte Vecchio.