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The Story of Saint Costanzo

Il 29 gennaio si festeggia San Costanzo, primo Vescovo e di Perugia e uno dei patroni del capoluogo umbro insieme a San Lorenzo e Sant’Ercolano. La storia della vita di San Costanzo e ciò che ne aleggia intorno è ricco di meraviglia, stupore, fede e misticismo con un pizzico di romanticismo e di dolcezze. Vediamo perché.

On January 29th, Saint Costanzo is celebrated, the first Bishop of Perugia, and one of the patrons of the Umbrian capital, along with Saint Lorenzo and Saint Ercolano. The story of the life of Saint Costanzo and what surrounds it is rich in wonder, amazement, faith, and mysticism, with a touch of romanticism and sweetness. Let’s see why.

 

Saint Costanzo, the Martyr

In “Mille Santi del Giorno” by Piero Bargellini, a collection of stories about the lives of saints, the description of Costanzo can be traced back to around the 2nd century AD. He was a man dedicated to faith, kindness, and generosity towards the poor, with a strong sense of duty to the Christian Church, especially during the persecutions of Emperor Marcus Aurelius.

 

It is narrated that Costanzo, under the rule of Marcus Aurelius, was martyred and brutally persecuted: confined in the calidarium (ancient Roman baths) at extremely high temperatures, he miraculously emerged unharmed. He was arrested several times and forced to walk on burning coals, but nothing could shake the faith of Saint Costanzo. Around the year 178, he was arrested again and beheaded in Foligno. His remains were then returned to Perugia, where he found rest in what would later become the first Cathedral of Perugia, outside the gates of San Pietro, now known as the Church of San Costanzo.

 

The Tradition of the Wink

For lovers of romanticism, here’s a legend that during the celebrations of the Saint, the image of San Costanzo can “wink” at unmarried girls (and virgins according to medieval tradition) who present themselves in the Church where the Saint rests, to inquire if they will marry within the year. Of course, it’s a play of lights and shadows that makes the whole thing magical with a hint of love.

 

For young ladies without the foresight of a happy event predicted by the Saint, the boyfriend will give them the typical Perugian sweet, especially associated with the Feast of San Costanzo, the Torcolo.

 

The Torcolo of San Costanzo

The typical sweet of the tradition to celebrate San Costanzo is indeed the Torcolo, behind which many legends and mysteries related to the Saint are hidden, making this sweet still charming and full of history today.

 

It is handed down, in fact, that the torcolo is shaped like a ring to recall the crown of flowers placed on the Saint’s body after decapitation, or that the hole represents the severed head of the Saint, and finally, that its donut shape refers to the crown removed from the head of the Saint once decapitated. This is why a sweet studded with colored candied fruits, in memory of the precious stones of the crown! The five cuts on the donut can be traced back to the entrances to the five districts of the historic center of Perugia: Porta San Pietro, Porta Sole, Porta Eburnea, Porta Susanna, and Porta Sant’Angelo.

 

The Torcolo of San Costanzo, despite its great importance during the celebration on January 29th, is a sweet that is now enjoyed in Umbria throughout the year!

 

Photo Credits

Regione Umbria

Umbria Tourism

Come di Perugia

CategoriesBlog News By umbriasi

On the Trail of Don Matteo in Spoleto

Spoleto, a hidden gem nestled among the green Umbrian hills, is a place rich in history, culture, and charm. Besides being an ideal destination for art and gastronomy enthusiasts, Spoleto is famous for the Festival dei Due Mondi and as the city where the popular Italian television series “Don Matteo” is filmed. Let’s explore together the enchanted places in Spoleto that provide the backdrop for the adventures of our beloved detective priest!

Cathedral of Santa Maria Assunta and Palazzo Bufalini The majestic Cathedral of Santa Maria Assunta, also known as the Duomo di Spoleto, is the iconic location of the series. This masterpiece of Romanesque architecture houses extraordinary works of art and represents one of the holiest places in the city. In the plot of “Don Matteo,” the cathedral serves as the Rectory, the Carabinieri barracks, and the Parlor. Not far away, you can admire Piazza della Signoria, where many scenes of the fiction were shot. Palazzo Bufalini was used for external shots of the Carabinieri barracks.

Basilica of Sant’Eufemia and the Caio Melisso Theater Located inside the Episcopal Palace, built on the foundations of the ancient residence of the Lombard dukes, is the setting that hosts the Church of “Don Matteo.” Nearby is the Caio Melisso Theater, which, for the purposes of the fiction, becomes the prison parlor.

A Journey into the Heart of Spoleto Exploring the locations where the “Don Matteo” series is filmed is a fascinating experience that allows visitors to fully immerse themselves in the magic of the show. Spoleto, with its rich history, charming architecture, and mysterious aura, offers an unforgettable journey into the heart of Umbria.

If you are a fan of the series, there is no better way to experience the adventures of Don Matteo and his faithful friend Cecchini, played by Nino Frassica, than to personally visit these enchanted places. Spoleto will welcome you with open arms, offering not only the beauty of its monuments but also the opportunity to relive the exciting moments you loved on the screen.

So, get ready for a journey into the world of Don Matteo, exploring the same winding alleys and bustling squares that served as the backdrop for his most thrilling investigations. Spoleto awaits you with its secrets and stories to tell, ready to enchant you with its timeless charm.

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From Spoleto to Marmore by bike

A three-day proposal in one of the most beautiful areas of Umbria, which combines the beauties of Spoleto and villages such as Sant’Anatolia, Scheggino, Ferentillo and Arrone, with the uncontaminated nature of the Valnerina, before ending in front of the stupendous spectacle of the Marmore waterfall.
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CategoriesBlog News By umbriasi

The Lace Makers of Irish Lace on Isola Maggiore

In the early 20th century, Marchesa Elena Guglielmi introduced the technique of Irish lace-making to Isola Maggiore in Lake Trasimeno. Inspired by traditions originating in Irish monasteries in the late 19th century and following the ancient art of Venetian lace, the Marchesa’s vision was to bring this artistry to the island.

Unlike traditional lace made with needles and bobbins, this lace is crafted with a crochet hook using an extremely fine thread. The foresight of the Marchesa also led her to bring a teacher from Turin who could pass on the art of lace-making to the first island teacher, Elvira Tosetti. Elvira was entrusted with the foundation and direction of the lace school on the island for young women, daughters of fishermen, who, until then, engaged in various activities during the day without receiving any payment. The school provided them with the opportunity to receive professional training, learning various techniques for creating tablecloths, sheets, clothes, handkerchiefs, gloves, etc. This offered them a certain economic independence (earning about 390 lire in the first year and around 2300 lire in the second year) and the ability to contribute to family expenses.

They could be seen sitting at the doorstep of their homes, engrossed in crocheting and lacework. These young women and their creations soon gained esteem from noblewomen, regular customers of the school. The crafted items were soon exhibited at the permanent market show of Italian Decorative Arts in Perugia, and sample books were sent to Industrie Femminili Italiane in Rome, ultimately being sold throughout Italy and abroad. The Irish lace from Isola Maggiore became famous and highly appreciated, positively contributing to the island’s economy, especially during fishing crises.

Later, in the 1930s, with changes in fashion and influences coming from America, Irish lace fell out of style, leading to the closure of the school. However, the island women continued to work on lace for their personal trousseaus and as an inheritance.

In 1963, Isolana Maria Vittoria Semolesti revived the activity by founding a cooperative of lace makers for the sale of Irish lace. Although the cooperative closed in 1975, the lace makers continued to work individually. Via Guglielmi, with its lace makers, became one of the attractions on the island, drawing tourists who admired the lace-making process. Even today, you can find a few lace makers working at their doorsteps.

The last lace makers of Isola Maggiore, all descendants of Maria Vittoria Semolesti’s school, still operate today. In the center of the island, in the palace that once housed the Brotherhood of Santa Maria dei Disciplinati, the Lace Museum was established, showcasing the works created by the women of Isola Maggiore from 1904 to the end of the 20th century.

CategoriesActivity Blog Blog By umbriasi

Discover Campello sul Clitunno

The Campello sul Clitunno district is divided into Campello Alto and Campello Basso: the first fortified around the Castle dating back to the 9th-10th century and wanted by the knight from Burgundy, Rovero di Campeaux and the second near the Fonti del Clitunno.

A natural jewel: the Fonti del Clitunno
Crystalline springs at the foot of Mount Brunette, with bright colors that shine with the sun’s rays, creating plays of light, shadows and reflections of the vegetation that is reflected in these waters, sending an image of absolute purity and spirituality.

Already known in Roman times and many poets and writers such as Pliny, Virgil, Propertius, Juvenal, extol their praises in their legacies, speaking of an absolutely suggestive place. The river was revered as a natural element personified by the God Clitunno: its waters so pure as to make those who immersed themselves in it immaculate.

Again the Sources taken up in Corot’s paintings and praised again by Lord Byron in the fourth canto of Child Harold dedicated to Umbria:

“But you, or Clitunno! from your sweetest wave of the brightest crystal that ever sheltered a river nymph, to look inside and bathe her limbs where nothing hid them, you raise your grassy banks along which the milk-white bullock grazes; O thou – purest God of mild waters, and most serene of aspect, and most limpid, indeed thy current was not desecrated by carnage – mirror and pool for Beauty’s youngest daughters”

The very rich vegetation and biodiversity make the Fonti del Clitunno a small paradise among cypress poplars and weeping willows which with their foliage adorn the landscape and frame the waters, are strongly linked to Napoleon: in fact, it is said that they come from the place where the ‘Emperor on Saint Helena. The vegetation on the seabed is also rich such as: wild sedanine, aquatic horsetail and aquatic nasturtium.

Temple of Clitunno
Not far from the Fonti del Clitunno, there is the small but wonderful Tempietto del Clitunno, a UNESCO World Heritage Site since 2011.
Built in the early Christian era (it is assumed between the 5th and 7th centuries) with salvaged elements from the pagan sacellums (from the Latin sacellum, dim. of sacrum “sacred enclosure”) of the god Clitunno, today it is part of the seven jewels of ” The Lombards in Italy. Places of Power”.
On the tympanum it is still possible to see the decorations showing pomegranate and a bunch of grapes: if the first symbolizes fertility, grapes and more particularly wine is the symbol of the Eucharist.

“And on your happy shore a Temple, of minute and delicate structure, still keeps the memory of you on the gentle slope of a hill; beneath it flows your placid current; often leaps forth from it the darting fish with glittering scales, which dwells and plays in your crystalline depth; while perhaps some lost water lily flower floats by where the less deep wave still repeats its bubbling tales”
Lord Byron

In Green painted Green
In addition to the natural wonders, the historical ones and still those linked to Trebbiano Spoletino, the hills of Campello are adorned with green olive trees which are still cultivated today with traditional methods and make Campelli one of the paths of the olive grove.
The olive tree has Etruscan origins and was later spread by the Romans as a luxury item. Pliny the Younger himself had several hectares in Umbria dedicated to the cultivation of olive trees.

What remains of this story is the hope of being able to experience a place absolutely full of beauty accompanied by a glass of Trebbiano Spoletino and a slice of warm bread with local oil and admire, as Lord Byron, Carducci did and Pliny, the marvel of Campello sul Clitunno.

Discover Campello sul Clitunno Couple emotions on the road

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CategoriesActivity Blog Blog By umbriasi

Gualdo Tadino: a “forest” of Museums

The city of Gualdo Tadino, originally known by the Umbrian name of Tarsina, fell under Roman rule and was given the name “Tadinum”, becoming an important trading center and point of reference along the Via Flaminia. During the Roman period it experienced many wars following the conflicts for power between Caesar and Pompey.
Other known devastations are those related to the figure of Hannibal and the resistance against the Goths fighting against the Lombards in the famous battle of Tagina.
The name GUALDO derives from the reconstruction dating back to 996 after the destruction of Otto III of Saxony, Emperor of the Eastern Franks and Roman Emperor since 966; starting from the reconstruction of the 11th century, the city assumed the Longobard name of Gualdo, “forest, wooded place” – from the German “Wald”. The formal recognition of the name “Gualdo Tadino” will only take place in 1833 by Pope Gregory XVI.
In 1237 it was destroyed again by fire and rebuilt by Frederick II and the Benedictine friars, mainly around the large structure of the Rocca Flea, on Colle Sant’Angelo.
In order to be able to experience Gualdo Tadino immersed in time, in the marvelous stories of the Gualdo citizens, in the architectural constructions and in the culture that has distinguished the Umbrian town, the City of Gualdo Tadino Museum Pole has enclosed the entire legacy of the city in a circuit of museums .
Not to be missed are the Rocca Flea Civic Museum, the Ceramics Museum, the Emigration Museum…Discover them all HERE

But let’s look at some of them in detail:

Rocca Flea
On the top of Colle Sant’Angelo, stands Rocca Flea, an exquisite military architecture dating back to the XII century and rebuilt by Frederick II in 1247. Inside, since 1999, there is the Rocca Flea Civic Museum.
“Its name, derived from the nearby river Flebeo, later called Feo, already appears in documents from the 12th century. With the succession of different dominations imposed on the city, the militias of Federico Barbarossa first settled there, then those of the pope and in 1208 those of the Guelph Perugia. Damaged by many conflicts, it was restored by Frederick II around 1242. In the 16th century it became the residence of the papal legates, while in 1888 the Rocca became a prison. Restored to its previous appearance thanks to recent restorations, the fortress has become the seat of the civic museum since 1999 “

Museum of Ceramics
“The Ceramics Museum of Casa Cajani is part of a large project which aims to exhibit and enhance the city’s heritage: the civic collection of ceramics, coming from the public, from acquisitions and donations. A project linked to the artistic, productive and economic history of this area, which documents the prestigious goals achieved over the centuries by the Gualdo ceramic manufacturers.
Some rooms of the Museum are entirely dedicated to Alfredo Santarelli, a tribute to his majestic work with artefacts from important factories born in the 1900s from the imprint of Santarelli, such as Luca della Robbia, the Mastro Giorgio Ceramic Society and the Angelo Pascucci Ceramic Industry. Another section is dedicated to the prestigious manufacture of Paolo Rubboli who reintroduced the technique of gold and ruby ​​lustres of the Mastrogiorge tradition in Gualdo Tadino”.

Emigration Museum
“The Pietro Conti Regional Museum of Emigration was created to underline the historical, cultural and human heritage linked to the great emigration exodus that involved Italy from the end of the 19th century and which involved more than 27 million departures. Made with the video projection technique, it involves the visitor in an exciting backward journey: the arrival, the journey and the departure. Documents, images and stories from all regions of Italy. A choral journey that has the emigrant as its protagonist: the farewells, the meeting and the clash with the foreign country, nostalgia, the daily joys and sorrows, the integration into the new reality, the defeats and the victories, the confrontation and reflection on today’s immigration”.

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On the Path of Ceramics

Discover Gualdo Tadino
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CategoriesBlog Blog Tips By umbriasi

Discover Bevagna with UmbriaSì

In the flourishing valley of Umbria stands the city of Bevagna, originally populated by Umbrians with Etruscan influences. The original name, Mevania, is perhaps due to an Etruscan noble named Mefana, which became Mevania with the arrival of the Romans.
The bond that unites Sagrantino and Bevagna with deep-rooted origins is important and strong:
in fact, we read in the Historia Naturalis of Pliny the Elder, of a black grape variety produced in the municipality of Bevagna.
Enclosed in its walls, Bevagna experienced a flourishing building development with the construction of an amphitheater and Roman baths adorned with beautiful mosaics. The amphitheater itself, in medieval times, was then transformed and became part of a craftsman’s workshop on the ground floor with his residence on the upper floor: hence the famous saying “house and workshop”.
Among the Umbrian historical events and re-enactments, the one linked to the Mercato delle Gaite is singular and very fascinating, which for over 30 years has been proposing what medieval everyday life was like between 1250 and 1350: how people lived, what they did in the alleys of drink.
The event takes its name from the four main districts of Bevagna, the Gaite, and every year, at the end of June, it brings back to life the ancient uses and customs of the drinkers engaged in four competitions, Gastronomic, Trades, Market and Archery. Music, food, instruments, clothes…everything recalls the Bevagna of that century, a historical leap in time that fascinates and amazes.
Another experience is the Circuit of Medieval Crafts: real laboratories to be able to experience the arts and crafts of that time, among ancient machinery, engineering instruments, which have made the history of commerce and artisan production of Bevagna: the Setificio , the painter’s workshop, the Mastro Cecco paper mill and the wax factory.

Stroll along the streets, among taverns, clubs, wine bars and more modern wine bars where you can sip a glass of Montefalco Sagrantino or even in its sparkling version to have vivacity and freshness on spring days when the sun is still shy but warms up just enough to make you enjoy a walk in the open air.

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Visit Bevagna

Tasty weekend in Umbria among the villages more beautiful in Italy
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CategoriesActivity Blog Blog By umbriasi

The madman’s license in Gubbio

To feel a bit like Alice in Wonderland, a bit like the Hatter, we take you to Gubbio, one of the most beautiful medieval towns in Umbria, also known by the Roman name of Iguvium, rich in history, monuments, architectural works and … also famous for being known as the City of Fools!
Well as such, in the Gubbio city you can also take the Fool’s License complete with Parchment. Everything starts and revolves around the Bargello Fountain, built around the 16th century, located in front of Palazzo Bargello in the heart of the historic center of Gubbio and renowned for being the Fools’ Fountain! 

It all dates back to an ancient practice of 1880 and still in use today for the citizens of Gubbio but also for all the tourists traveling to Gubbio!
Attention! The Madmen’s license also requires requirements and is based on strict regulations:
1. It must be a genuine Eugubino to apply for the Madman’s License on your behalf
2. Pay a contribution to the Maggio Eugubino Association
3. Make 3 laps around the Fontana dei Matti in the presence of a genuine Eugubino Matto!
4. Being “baptized” by the spray of water from the Fontana dei Matti itself.

After passing the test, the same Association will grant you the Parchment of the Fool’s License written in medieval style.
The tradition of the Matti is linked to the laps, the “birate”, which take place around the main flagpole of Piazza Grande during the famous and folkloristic Ceri festival which is held every year on May 15th.

EUGUBINI, ROCKY CRAZY!
According to some geological studies, around the city they would have detected rocky conformations contaminated by a highly toxic chemical substance, iridium, which could in some way explain the “madness” of the Gubbio inhabitants.

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UmbriaSì tells about “Il Perugino”

UmbriaSì racconta il Perugino, Il Meglio Maestro d'Italia


There has been great excitement in recent months in Umbria for the preparations for the great exhibition dedicated to Perugino the Divine Painter.
From 4 March the exhibition for the 500th anniversary of the death of Pietro Vannucci will be held in Perugia at the Galleria Nazionale dell’Umbria until 11 June, with the name “the Best Master of Italy” as defined in 1500 by Agostino Chigi, great art connoisseur and patron of his time.

Let’s retrace Perugino’s life together, his artistic works, to let you experience the art of the Divine Painter that echoes not only throughout Umbria and Italy, but throughout the world.

Pietro di Cristoforo Vannucci
Born in 1448 in Città della Pieve and died in 1523 in Fontignano, from a wealthy and important family in the Umbrian political panorama; in fact Perugino’s father, Cristoforo di Pietro di Giovanni, held the position of Prior of Città della Pieve in 1459.
The name Vannucci, as the family was known, derives from the name of the great-grandfather, Giovanni, known by the diminutive of Vannuccio.

Many names that distinguished his art, production and fame beyond the definition of “Best Master of Italy”, of Divine Painter, as we read in the verses of the Painter Giovanni Santi, Raphael’s father, of whom he was master, and “Il Perugino” outside the regional borders. Perugia, in fact, was much better known and thriving from the point of view of artistic productions, compared to other Umbrian cities.

Pietro Vannucci, in his early twenties, began his artistic training in Città della Pieve, in the workshops of Sienese painters. In 1460 he was already recognized for his talent so much that he was an apprentice accompanist in Arezzo to Piero della Francesca. Ten years later, he frequented the most famous workshop in Florence, that of Andrea Verrocchio where the art of goldsmithing, sculpture and painting was practiced. The Florentine environment gave Pietro Vannucci the opportunity to know and come into contact with other artists such as Botticcelli, Filippo Lippi and Leonardo.
In 1472 Perugino finished his apprenticeship and began his career as a painter after enrolling in the Compagnia di San Luca as a “painter“.

An important work of his lost, but testified by the payment made in his favour, was the commission of the decoration of the Great Hall of the Palazzo dei Priori by the Municipality of Perugia in 1475.

Perugino’s fame continues to grow and from 1478 he will be engaged in Rome, by will of Pope Sisti IV, for the decoration of St. Peter’s Basilica in the Vatican first, and then the Sistine Chapel, with the famous scene of the “Delivery of the Keys” (in which a self-portrait of the Painter is visible). On this occasion he will come into contact with other painters such as Cosimo Rosselli, Bernardino di Betto Betti known as Pinturicchio and Luca Signorelli.

In 1493 he marries in Fiesole the woman who will be his great inspiring Muse for him, above all for the faces of the Madonnas he painted (such as the Madonna with Child and Madonna with Child between Saints John the Baptist and Sebastian), Chiara Fancelli, daughter of sculptor and architect Luca Fancelli, a pupil of Brunelleschi. From their marriage 5 children were born, and she decided to settle in Florence, also in consideration of the fact that the Divine Painter had his workshop in Florence, as well as in Perugia.
In 1498, the Divine Painter was called to fresco the Hall of the Collegio del Cambio (seat of the money changer) with the Cycle of the Virtues.
Since 1500, Perugino has dedicated himself to creating works in his native Umbria, evidenced by the presence of the typical features of the region such as rolling hills and landscapes full of greenery in Città della Pieve, his native land, but also Spello Foligno, Panicale, Trevi and Perugia.
The Divine Painter died in 1523 of the bubonic plague in Fontignano, and was buried under a tree. In 1925 his remains were found next to small pots of paint. In 1929 it was placed in the urn with the epigraph PETRVS-PERVSINVS-PICTOR and transferred to the church of Santa Maria dell’Annunziata, also in Fontignano, where Perugino was probably painting “The Madonna with Child” commissioned in 1521 by the confraternity of the Announced.


Credit photo:
Nation Gallery of Art

 

CategoriesActivity Blog Blog By greenconsulting

Big Bench in Umbria

The much discussed and loved “Giant Benches” have also arrived in Umbria with five installations respectively in Colle Umberto, Città di Castello, Bevagna, Preci and Montefalco. 

What exactly are Big Benches?

The Big Benches are installations, works of art that meet man, conceived and designed by the American architect Chris Bangle and his wife Catherine.
Giant benches on which it is possible to climb while admiring the panorama from another perspective, feeling like a child in front of the immensity of the beauty that life offers every day and that perhaps, caught up in the rhythms of everyday life, we forget. The Big Benches, a bit like the Little Prince, remind us that perhaps everything we need seems far away, big, difficult, if only we remember to look with our hearts.

Let’s see specifically how they are born
They were born in 2010 when the aforementioned architect and designer Chris Bangle, who moved to the Langhe, in Piedmont, decided to create the first oversized bench in Clavesana.
From the enthusiasm of many, a project ensued that was born as a non-profit and without public funding, aimed not only at bringing together art, nature and man, but also a concept of eco-sustainable tourism, installing the Big Benches in small or little-known villages, encouraging a flow of curiosity and tourism, supporting excellent craftsmanship and local communities.

Currently the benches built are 273 and 66 under construction, and the Big Bench Community Project has become a non-profit and non-profit foundation with the will, not only to expand the idea of the Big Bench as a project linked to tourism, the territory and to nature, even to donate the proceeds deriving from marketing and promotional actions to the
municipalities in which the Big Benches are located, with particular attention to schools or cultural institutions. The places of preference for these works of modern art accessible to all and shareable by all to arise are panoramic points, completely immersed in greenery, among lavender fields, vineyards and olive groves.

Who can build them?
Naturally the Big Benches are covered by copyright but Designer Chris provides the project and installation methods for free after making a request, presenting the place where the Big Bench is thought to be born, built without public funds but with voluntary donations , provided that nature, local communities are respected and above all they are a source of sustainability and cultural and relational exchange. Even the color is designed according to the place, in order to have an installation that is all one with nature, in complete harmony.

Passport of the bench tourist 
The Big Benches are a constantly expanding phenomenon, from Piedmont they have arrived in almost all of Italy and with some installations also abroad. This explains the collective sentiment that has been released in search of the Benches and above all the breathtaking landscapes: hence the need to create a “Passport” which is stamped every time the “Panchinista” tourist discovers, lives and shares the experience of Big Bench.
All the benches are naturally indicated on the official website or via a special free App.

The Big Benches in Umbria
A moment for yourself, but also to share, to admire the landscape, listen to nature, live an experience sitting on a Giant Bench.
The two Big Benches installed in Umbria, among the countryside and centuries-old olive groves, represent, together with all the others installed around Italy, a real quality tourist engine and a symbol of landscape, craftsmanship, food and wine and cultural excellence.