https://www.spreaker.com/podcast/musa-cervia-salt-museum--5477627The people who run the facility are salt workers, therefore they can transmit directly their experience and cultural heritage.

The Camillone salt pan is the open-air section of MUSA and remains the last of the artisan salt pans that amounted to 150 before the transformation.
In the artisan salt pan, you can still breathe the climate of the manual activity with the movement and processing of salt with the wooden tools which are on display today in the museum. The salt is harvested every day in summer alternating the basins.
Guided tours (visite guidate)and unique experiences, like that of becoming a salt worker for a day (salinari per un giorno), are carried out here.]]>enPlaces & TravelCopyright Museo del sale di Cerviahttps://d3wo5wojvuv7l.cloudfront.net/t_rss_itunes_square_1400/images.spreaker.com/original/3da93968b2172b459eb1b461d2a4c08a.jpghttps://www.spreaker.com/podcast/musa-cervia-salt-museum--5477627Sat, 15 Mar 2025 01:21:16 +0000Museo del sale di CerviaMuseo del sale di Cerviafeeds@spreaker.comThe MUSA - Salt Museum of Cervia is born from the passion and the desire not to disperse an important cultural heritage for and of the town. In the mid-1980s, Agostino Finchi, a former salt worker, together with a group of enthusiasts, recover the...The people who run the facility are salt workers, therefore they can transmit directly their experience and cultural heritage.

The Camillone salt pan is the open-air section of MUSA and remains the last of the artisan salt pans that amounted to 150 before the transformation.
In the artisan salt pan, you can still breathe the climate of the manual activity with the movement and processing of salt with the wooden tools which are on display today in the museum. The salt is harvested every day in summer alternating the basins.
Guided tours (visite guidate)and unique experiences, like that of becoming a salt worker for a day (salinari per un giorno), are carried out here.]]>false072bc88f-0649-5baa-bd9d-0a3298ecef1cepisodichttps://www.spreaker.com/episode/barracks-finance-police--51883595https://api.spreaker.com/episode/51883595Tue, 14 Mar 2023 23:52:05 +0000Museo del sale di Cervia45falsefullhttps://www.spreaker.com/episode/caselli--51883596https://api.spreaker.com/episode/51883596Tue, 14 Mar 2023 23:52:00 +0000Museo del sale di Cervia46falsefullhttps://www.spreaker.com/episode/saltworkers-tools--51883597https://api.spreaker.com/episode/51883597Tue, 14 Mar 2023 23:51:52 +0000Museo del sale di Cervia296falsefullhttps://www.spreaker.com/episode/salt-nativity-scene--51883598https://api.spreaker.com/episode/51883598Tue, 14 Mar 2023 23:51:43 +0000Museo del sale di Cervia124falsefullhttps://www.spreaker.com/episode/the-garitta--51883599https://api.spreaker.com/episode/51883599Tue, 14 Mar 2023 23:51:35 +0000Museo del sale di Cervia48falsefullhttps://www.spreaker.com/episode/the-camillone-salt-pan--51883601https://api.spreaker.com/episode/51883601Tue, 14 Mar 2023 23:51:28 +0000Museo del sale di Cervia65falsefullhttps://www.spreaker.com/episode/cervia-salt-pan-park--51883602https://api.spreaker.com/episode/51883602Tue, 14 Mar 2023 23:51:20 +0000Museo del sale di Cervia64falsefullhttps://www.spreaker.com/episode/the-spa-facilities--51883605https://api.spreaker.com/episode/51883605Tue, 14 Mar 2023 23:51:14 +0000Museo del sale di Cervia89falsefullhttps://www.spreaker.com/episode/the-quadrilateral--51883606https://api.spreaker.com/episode/51883606Tue, 14 Mar 2023 23:51:08 +0000Museo del sale di Cervia56falsefullhttps://www.spreaker.com/episode/the-port-canal--51883608https://api.spreaker.com/episode/51883608Tue, 14 Mar 2023 23:51:00 +0000Museo del sale di Cervia66falsefullhttps://www.spreaker.com/episode/the-burchielle-boat-deposit--51883609https://api.spreaker.com/episode/51883609Tue, 14 Mar 2023 23:50:51 +0000Museo del sale di Cervia39falsefullhttps://www.spreaker.com/episode/salt-sweet-salt--51883594https://api.spreaker.com/episode/51883594Tue, 14 Mar 2023 23:48:11 +0000Museo del sale di Cervia28cerviafalsefullhttps://www.spreaker.com/episode/the-tower-of-san-michele--51883607
The tourist information office is currently located on the ground floor.]]>https://api.spreaker.com/episode/51883607Tue, 15 Nov 2022 17:24:58 +0000Museo del sale di CerviaThe tower dedicated to Saint Michael the Archangel arose in 1691 together with the warehouse that is found on the same side of the port canal. It was designed as a tower to protect from incursions and assaults from the sea and to control the salt...
The tourist information office is currently located on the ground floor.]]>57cervia,corsairs,italy,pirates,ravenna,salt,satpan,seafalsefullhttps://www.spreaker.com/episode/the-circuit-canal--51883600https://api.spreaker.com/episode/51883600Tue, 15 Nov 2022 17:22:20 +0000Museo del sale di CerviaThe canal, which meanders for more than 14 km on the perimeter of the salt pan, had and still has the function of drainage and water circulation. It is connected to the port canal where it unloads the excess sweet water. Difficult to cross, it was...22camillone,cervia,italy,ravenna,salt,saltpan,visitcerviafalsefullhttps://www.spreaker.com/episode/the-salt-warehouses--51883604Structures in bricks with powerful walls had to protect the precious good awaiting commercial distribution. They are interesting examples of industrial archaeology with an evocative structure similar to that of a cathedral with wide naves.
Up to the 1960s, they were connected by a conveyor belt that brought the salt from the burchielle (boats) to the interior of the warehouses for storage. Today, the tower warehouse is used for exhibitions meetings and cultural events. The interior is the permanent site of MUSA, the salt museum of Cervia.]]>https://api.spreaker.com/episode/51883604Mon, 14 Nov 2022 07:56:06 +0000Museo del sale di CerviaThe ancient salt warehouses stored up to 23,000 tons of salt. Structures in bricks with powerful walls had to protect the precious good awaiting commercial distribution. They are interesting examples of industrial archaeology with an evocative...Structures in bricks with powerful walls had to protect the precious good awaiting commercial distribution. They are interesting examples of industrial archaeology with an evocative structure similar to that of a cathedral with wide naves.
Up to the 1960s, they were connected by a conveyor belt that brought the salt from the burchielle (boats) to the interior of the warehouses for storage. Today, the tower warehouse is used for exhibitions meetings and cultural events. The interior is the permanent site of MUSA, the salt museum of Cervia.]]>64cervia,italy,milanomarittima,museum,ravenna,salt,saltmuseum,warehousesfalsefullhttps://www.spreaker.com/episode/the-places-of-salt--51883603https://api.spreaker.com/episode/51883603Mon, 14 Nov 2022 07:50:41 +0000Museo del sale di CerviaThe salt pan of Cervia has a thousand-year history that goes back to the time when salt production was the main activity of the town’s inhabitants and the salt had great economic value so much so that it was called “white gold”. Here is a tour of the...41cervia,italy,milanomarittima,ravenna,saltmuseum,sweetsalt,whitegoldfalsefullhttps://www.spreaker.com/episode/11-the-family--49339277
Children were brought to the salt pan from an early age. They would sleep in a hut built from reeds and when they cried, their mothers would run to feed them. The older children helped the family collect the salt, learning the trade. The women were also responsible for washing and repairing the jute sacks used to contain the salt.
A 15th century map in the historical archives of the Municipality of Ravenna shows the drawing of a man and a woman, presumably on their way to work, both carrying identical tools on their shoulders.

From interviews:
“My dad used to take me to the salt pan when I was 10, so I that I could watch and learn by doing small jobs”

“...I was about seven the first time my dad took me to help him...”

“It was exhausting; the women went to work with their husbands until the salt pans changed system. You had to have a light hand, you had to slide along with the tool because, underneath, the bottom was black. They preferred women because they weren't so heavy and worked better.”]]>https://api.spreaker.com/episode/49339277Mon, 14 Nov 2022 07:37:26 +0000Museo del sale di CerviaWomen played a very important role in the salt pans. The salt bed was managed by saltpan workers assisted by every member of their family. Women learned the art of making salt and, if their husbands died, they took over the management of the salt pan...
Children were brought to the salt pan from an early age. They would sleep in a hut built from reeds and when they cried, their mothers would run to feed them. The older children helped the family collect the salt, learning the trade. The women were also responsible for washing and repairing the jute sacks used to contain the salt.
A 15th century map in the historical archives of the Municipality of Ravenna shows the drawing of a man and a woman, presumably on their way to work, both carrying identical tools on their shoulders.

From interviews:
“My dad used to take me to the salt pan when I was 10, so I that I could watch and learn by doing small jobs”

“...I was about seven the first time my dad took me to help him...”

“It was exhausting; the women went to work with their husbands until the salt pans changed system. You had to have a light hand, you had to slide along with the tool because, underneath, the bottom was black. They preferred women because they weren't so heavy and worked better.”]]>128artisan,camillone,cavadori,cervia,children,exhausting,family,father,gathering,management,mother,musa,ravenna,salt,saltmuseum,saltpan,saltpans,saltworkers,women,workfalsefullhttps://www.spreaker.com/episode/10-incursions-of-corsairs--49339276This plague was spread in the early 1500s and lasted until about the middle of the 1800s. Unlike pirates, Corsairs were entitled to actions by an authorization or by the "racing license" or by the "brand letter" that were issued from a sovereign state that gave the power to board and attack enemy warships as well as merchant ships. Often the abduction of people who were taken into slavery was added to the looting actions. Part of the bounty was delivered to the commissioning state, while part was retained by the owner of the corsair ship.

Forlivesi in "Cervia cenni storici" recalls that in March 1573 a great bireme ran aground near the Savio, generating great uproar. For some time, in fact, the Turks had plundered merchants, fishermen and those who were in the area. Young people came from Ravenna who took the pirates, who in the meantime had hidden themselves in the pine forest. Another 6 were captured in Cervia and then taken to Ravenna.

In chronicles and archival documents we discover that in 1873 "pirate woods" attempted a landing on the shores of Ravenna and headed to Cervia where they robbed various farmers.

It seems that Cervia also had its own privateer. It is Angelo Puttini, actually Paolo Candoli, nicknamed Puttino, who in the Napoleonic period (the documents date back to 1811) was a deserter from the royal Italian navy and sought his fortune at sea.

The votive offerings paint this particular plague. Testimonies can be found in the Church of the Madonna del Monte in Cesena and in Rimini in the church of the Madonna delle Grazie.

To defend against privateer raids, the papal authorities erected various defense towers along the Adriatic coast, including our Torre San Michele.]]>https://api.spreaker.com/episode/49339276Fri, 22 Jul 2022 09:11:08 +0000Museo del sale di CerviaWe often say that the San Michele tower of Cervia was built to protect the salt and the inhabitants from pirate raids. Actually, we should be talking about invasions of Corsairs. This plague was spread in the early 1500s and lasted until about the...This plague was spread in the early 1500s and lasted until about the middle of the 1800s. Unlike pirates, Corsairs were entitled to actions by an authorization or by the "racing license" or by the "brand letter" that were issued from a sovereign state that gave the power to board and attack enemy warships as well as merchant ships. Often the abduction of people who were taken into slavery was added to the looting actions. Part of the bounty was delivered to the commissioning state, while part was retained by the owner of the corsair ship.

Forlivesi in "Cervia cenni storici" recalls that in March 1573 a great bireme ran aground near the Savio, generating great uproar. For some time, in fact, the Turks had plundered merchants, fishermen and those who were in the area. Young people came from Ravenna who took the pirates, who in the meantime had hidden themselves in the pine forest. Another 6 were captured in Cervia and then taken to Ravenna.

In chronicles and archival documents we discover that in 1873 "pirate woods" attempted a landing on the shores of Ravenna and headed to Cervia where they robbed various farmers.

It seems that Cervia also had its own privateer. It is Angelo Puttini, actually Paolo Candoli, nicknamed Puttino, who in the Napoleonic period (the documents date back to 1811) was a deserter from the royal Italian navy and sought his fortune at sea.

The votive offerings paint this particular plague. Testimonies can be found in the Church of the Madonna del Monte in Cesena and in Rimini in the church of the Madonna delle Grazie.

To defend against privateer raids, the papal authorities erected various defense towers along the Adriatic coast, including our Torre San Michele.]]>152adriatic,cervia,cesenatico,corsairs,defensetowers,italy,merchantships,musa,pirates,rimini,saltmuseum,sanmichele,slavery,towerfalsefullhttps://www.spreaker.com/episode/9-metals-of-the-protohistoric-and-roman-period--49339274
A bronze fibula in the shape of a leech is such an example. It can be dated to the protohistoric period, specifically to the Iron Age (8th-4th century B.C.), and was found in the area of Cervia. Instead, a bronze handle of an oenochoe (a single-handled jug) in the shape of Silenus comes from the area of Montaletto of Cervia. Silenus was one of the characters of the procession of Dionysus, a Greek God connected to sylvan cults, to the ecstasy of wine and, above all, referable to the origins of the theatre; this object also dates from the Iron Age.

A bronze astragalus was found in Pisignano. This is a gaming piece in the shape of the knucklebones of sheep. According to the way it fell after being thrown, it could mean the victory or defeat of its owner. This particular object dates back to Roman times.]]>https://api.spreaker.com/episode/49339274Tue, 12 Jul 2022 13:45:32 +0000Museo del sale di CerviaA number of metal items are an important testimony of the art of metal processing and the tastes of their owners. A bronze fibula in the shape of a leech is such an example. It can be dated to the protohistoric period, specifically to the Iron Age...
A bronze fibula in the shape of a leech is such an example. It can be dated to the protohistoric period, specifically to the Iron Age (8th-4th century B.C.), and was found in the area of Cervia. Instead, a bronze handle of an oenochoe (a single-handled jug) in the shape of Silenus comes from the area of Montaletto of Cervia. Silenus was one of the characters of the procession of Dionysus, a Greek God connected to sylvan cults, to the ecstasy of wine and, above all, referable to the origins of the theatre; this object also dates from the Iron Age.

A bronze astragalus was found in Pisignano. This is a gaming piece in the shape of the knucklebones of sheep. According to the way it fell after being thrown, it could mean the victory or defeat of its owner. This particular object dates back to Roman times.]]>80archaeology,bronze,cervia,fibula,greekgod,heritage,iron,ironage,italy,metals,musa,ravenna,roman,romanperiod,saltmuseum,saltpansfalsefullhttps://www.spreaker.com/episode/8-medusa-and-her-story--49339273
In the upper portion, it depicts a Gorgoneion, namely an image of Medusa’s head. In funerary monuments, it is a symbol of the defence of the tomb from the ill-intentioned. In the lateral portion of the stone fragment, there is a figure of a bird of prey, perhaps an eagle. The fragment could be part of a funerary monument of the Roman period.]]>https://api.spreaker.com/episode/49339273Tue, 28 Jun 2022 14:21:40 +0000Museo del sale di CerviaThe sculptural fragment with Gorgon was recovered in 1960 at a country home being demolished, by the master Rondano Dondini. It was preserved until 2013 at the primary school of Montaletto. Following conservative restoration managed by the restorers...
In the upper portion, it depicts a Gorgoneion, namely an image of Medusa’s head. In funerary monuments, it is a symbol of the defence of the tomb from the ill-intentioned. In the lateral portion of the stone fragment, there is a figure of a bird of prey, perhaps an eagle. The fragment could be part of a funerary monument of the Roman period.]]>55archaeology,archeologylovers,cervia,funerary,gorgon,heritage,history,italy,medusa,monument,musa,ravenna,romanperiod,romans,saltmuseum,sculpture,tombfalsefullhttps://www.spreaker.com/episode/7-precious-manoscripts-on-the-history-of-the-town--49339270
As indicated by Umberto Foschi, of Pignocchi remain a few other historical texts which include: "Il Catalogo dei Vescovi dell’antica Ficocle", published in Ravenna in 1750 and "Il Catalogo delle notizie sinora rilevate da libri storici di vari archivi e da manoscritti sopra le saline e i loro Sali, li Dominanti suoi et i loro appaltatori” a manuscript dated around 1750.

From Carlo Saporetti’s library also comes the second manuscript which is a treaty of the Canon Pietro Senni who lived in the 1700s and died in 1801 at the age of 86. It is entitled “Alcune notizie della città di Cervia vecchia e nuova raccolte ed offerte agli Ill.mi Signori Capitolari l’anno 1778.” It seems to be a copy; this is indicated at the end of the text, drafted in 1871 of an original text that has since been lost. Here, too, a rare and precious example of great historical and archival interest.

Senni is known for the map of the town of Old Cervia, whose original is found preserved in the historical archive of Cervia and for the list of the residents of old Cervia which was entered by Ferdinando Forlivesi into the history of Cervia published in 1889.

The two manuscripts were donated to the museum in 2013 by Massimo Previato, grandson of Carlo Saporetti. They were thoroughly restored in 2014.]]>https://api.spreaker.com/episode/49339270Fri, 20 May 2022 09:38:50 +0000Museo del sale di CerviaLa “Istoria della città di Cervia”, an autograph manuscript by Giuseppe Maria Pignocchi, belonged to the personal library of Carlo Saporetti, a native of Cervia, scholar of local history and untiring researcher of the territory’s origins. A unique...
As indicated by Umberto Foschi, of Pignocchi remain a few other historical texts which include: "Il Catalogo dei Vescovi dell’antica Ficocle", published in Ravenna in 1750 and "Il Catalogo delle notizie sinora rilevate da libri storici di vari archivi e da manoscritti sopra le saline e i loro Sali, li Dominanti suoi et i loro appaltatori” a manuscript dated around 1750.

From Carlo Saporetti’s library also comes the second manuscript which is a treaty of the Canon Pietro Senni who lived in the 1700s and died in 1801 at the age of 86. It is entitled “Alcune notizie della città di Cervia vecchia e nuova raccolte ed offerte agli Ill.mi Signori Capitolari l’anno 1778.” It seems to be a copy; this is indicated at the end of the text, drafted in 1871 of an original text that has since been lost. Here, too, a rare and precious example of great historical and archival interest.

Senni is known for the map of the town of Old Cervia, whose original is found preserved in the historical archive of Cervia and for the list of the residents of old Cervia which was entered by Ferdinando Forlivesi into the history of Cervia published in 1889.

The two manuscripts were donated to the museum in 2013 by Massimo Previato, grandson of Carlo Saporetti. They were thoroughly restored in 2014.]]>1501700s,cervia,cesenatico,ficocle,heritage,history,italy,manoscripts,musa,oldcervia,ravenna,restoration,saltmuseum,saporetti,valuesfalsefullhttps://www.spreaker.com/episode/6-the-mosaic-carpets-of-the-church-of-san-martino--49339269
The building of worship, facing East-West, was a Latin cross shape with polygonal shaped apse on the outside, probably heptagonal, and semi-circular on the inside; a portico flanked both sides of the religious building. The church was about 38 metres long, even if the walls of the façade have not been recovered and the plan of the church can be deduced by the remains of the mosaics left on site and from the spoliation pits of the original walls.

At the centre of the building there was the solea, a long rectangular corridor that began from the central nave and went inside the bema, the place reserved for the clergy during religious functions. The quadrangular shaped bema terminated in the apse and could host the altar, the episcopal chair and seats for the concelebrants. Solea and bema were generally enclosed by plutei and barriers in marble supported by columns.

The church was paved with magnificent mosaic panels of different dimensions that adapted to the articulated spaces of the nave and to the regular surfaces of the arms of the cross. Some mosaics were preserved in large portions: two long and narrow panels correspond to the corridors next to the bema – the right one is on display here – two rectangular shaped panels were next to the solea – the left one is proposed here - a panel was in the central corridor in front of the solea. Another six rectangular panels probably paved the perimeter area of the nave, of which no trace remains, like that of the paving of the apse. The polychrome decoration of the panels shows a geometric composition interspersed with dividing frames, to form an effect of continuity in the mosaic carpet of the entire church.]]>https://api.spreaker.com/episode/49339269Fri, 06 May 2022 09:54:22 +0000Museo del sale di CerviaThe Church of San Martino prope litus maris was built around the mid-6th century a short distance from the ancient coastline, as its name suggests; nevertheless, there is no certainty that it was dedicated to Saint Martin from the beginning. The...
The building of worship, facing East-West, was a Latin cross shape with polygonal shaped apse on the outside, probably heptagonal, and semi-circular on the inside; a portico flanked both sides of the religious building. The church was about 38 metres long, even if the walls of the façade have not been recovered and the plan of the church can be deduced by the remains of the mosaics left on site and from the spoliation pits of the original walls.

At the centre of the building there was the solea, a long rectangular corridor that began from the central nave and went inside the bema, the place reserved for the clergy during religious functions. The quadrangular shaped bema terminated in the apse and could host the altar, the episcopal chair and seats for the concelebrants. Solea and bema were generally enclosed by plutei and barriers in marble supported by columns.

The church was paved with magnificent mosaic panels of different dimensions that adapted to the articulated spaces of the nave and to the regular surfaces of the arms of the cross. Some mosaics were preserved in large portions: two long and narrow panels correspond to the corridors next to the bema – the right one is on display here – two rectangular shaped panels were next to the solea – the left one is proposed here - a panel was in the central corridor in front of the solea. Another six rectangular panels probably paved the perimeter area of the nave, of which no trace remains, like that of the paving of the apse. The polychrome decoration of the panels shows a geometric composition interspersed with dividing frames, to form an effect of continuity in the mosaic carpet of the entire church.]]>298archaeologicalsite,archaeology,carpet,cervia,church,heritage,history,italy,latincross,mosaics,musa,museum,ravenna,restauration,saltmuseum,sanmartinofalsefullhttps://www.spreaker.com/episode/5-the-coat-of-arms-of-pope-innocent-xi--49339266
Innocent XI (1676-1689) is the pope who prompted the construction of the first salt warehouse and the tower of San Michele. His coat of arms was originally located in the cathedral of the old town. When the cathedral was taken down, it was transferred to the new town and walled into the façade of the salt warehouse. However, during the Napoleonic era, the troops removed and destroyed it. Carlo Saporetti, a passionate scholar of local history, recovered the pieces and recomposed the remaining parts. Over time, it changed many hands and the last passage before entering the museum were those of an expert restorer who returned it to its original appearance redefining the missing parts.

Benedetto Odescalchi, born into a trading family of Como, was elected pope in 1676. Strongly dedicated to the mission of spreading the faith, he was a pope of great humanity. He financed numerous missions and lived in modesty. He was declared Blessed in 1956 by Pius XII.

The marble coat of arms was donated to the museum in May 2013 by Orestino Zattoni. The restoration of the piece was possible thanks to the contribution of the Lions Club Cervia Ad Novas and of the Gruppo Culturale Civiltà Salinara.]]>https://api.spreaker.com/episode/49339266Mon, 02 May 2022 11:49:44 +0000Museo del sale di CerviaThe marble coat of arms of Pope Innocent XI found a home in the open-air section of the museum in 2013. In 1691, he had promoted the construction of the first buildings of the industrial area of Cervia, dedicated to the storage and sale of salt, along...
Innocent XI (1676-1689) is the pope who prompted the construction of the first salt warehouse and the tower of San Michele. His coat of arms was originally located in the cathedral of the old town. When the cathedral was taken down, it was transferred to the new town and walled into the façade of the salt warehouse. However, during the Napoleonic era, the troops removed and destroyed it. Carlo Saporetti, a passionate scholar of local history, recovered the pieces and recomposed the remaining parts. Over time, it changed many hands and the last passage before entering the museum were those of an expert restorer who returned it to its original appearance redefining the missing parts.

Benedetto Odescalchi, born into a trading family of Como, was elected pope in 1676. Strongly dedicated to the mission of spreading the faith, he was a pope of great humanity. He financed numerous missions and lived in modesty. He was declared Blessed in 1956 by Pius XII.

The marble coat of arms was donated to the museum in May 2013 by Orestino Zattoni. The restoration of the piece was possible thanks to the contribution of the Lions Club Cervia Ad Novas and of the Gruppo Culturale Civiltà Salinara.]]>135arms,cathedral,cervia,coat,emiliaromagna,history,innocentxi,musa,pope,ravenna,rome,saltmuseum,sanmichele,tower,warehousesfalsefullhttps://www.spreaker.com/episode/4-the-burchiella--49339261
The name comes from Venetian “burchio” with which it shares the flat bottom, the commercial use and, in some situations, towing from the canal bank. Venice has had a great influence on the area of Cervia, especially from the 1300s to the 1500s. It is probable that at this time, the burchiella made its appearance and took its name, but the boat differentiates itself from the Venetian burchio for several things. It is smaller, has no eyes, sails or cabins. The burchiella has always been much basic and with an identical bow and stern, to be more manageable in the narrow canals of the salt pans in which, at times, it was not possible to make the boat turn 360°.

Created to transport salt, the burchiella was also used to transfer other items, such as building material for construction of the new town and corpses in case of funerals.

The first burchielle were made of wood. From 1927 approximately, they were replaced by burchielle in iron, which are more resistant and less subject to maintenance. Since 1959, year of transformation of the salt pan and of the type of production that became mechanised, the burchielle were no longer used and were sold to obtain the iron value.

Once the salt produced during the salt season was loaded, the burchiella moved towards the warehouses with the strength of the arms of one or two salt workers who dragged it from the canal banks while one on board guided it with a long oar. It could transport up to 10 tons of salt.]]>https://api.spreaker.com/episode/49339261Wed, 27 Apr 2022 09:56:12 +0000Museo del sale di CerviaA flat-bottomed boat suitable for navigating in shallow waters, used in the salt pans of Cervia until the 1960s to transport salt. The name comes from Venetian “burchio” with which it shares the flat bottom, the commercial use and, in some...
The name comes from Venetian “burchio” with which it shares the flat bottom, the commercial use and, in some situations, towing from the canal bank. Venice has had a great influence on the area of Cervia, especially from the 1300s to the 1500s. It is probable that at this time, the burchiella made its appearance and took its name, but the boat differentiates itself from the Venetian burchio for several things. It is smaller, has no eyes, sails or cabins. The burchiella has always been much basic and with an identical bow and stern, to be more manageable in the narrow canals of the salt pans in which, at times, it was not possible to make the boat turn 360°.

Created to transport salt, the burchiella was also used to transfer other items, such as building material for construction of the new town and corpses in case of funerals.

The first burchielle were made of wood. From 1927 approximately, they were replaced by burchielle in iron, which are more resistant and less subject to maintenance. Since 1959, year of transformation of the salt pan and of the type of production that became mechanised, the burchielle were no longer used and were sold to obtain the iron value.

Once the salt produced during the salt season was loaded, the burchiella moved towards the warehouses with the strength of the arms of one or two salt workers who dragged it from the canal banks while one on board guided it with a long oar. It could transport up to 10 tons of salt.]]>204artisan,boat,burchiella,cervia,emiliaromagna,heritage,history,iron,italy,ravenna,salt,saltmuseum,saltpans,saltworkers,tourism,tradition,trasportationfalsefullhttps://www.spreaker.com/episode/3-story-of-a-found-shipwrek--49339259
The seam of the hull planks appears to be the oldest method used in the Mediterranean to build ships in use since from the 2nd to the 1st century B.C. That of Cervia is the first finding that bears witness to the use of this technique in the upper Adriatic area. On the ship there could be a cabin or a hearth covered by tiles. The typical equipment for a boat of this kind was two anchors and a lead sounder.

The container in copper, an anchor in iron, a fragment of a second anchor, in iron too, 5 fragments of oak frames and 7 fragments of elm planking, are what remains of the ship of Cervia. The anchors and the wood (frames and planking) currently on display have been restored with the contribution of Gruppo Culturale Civiltà Salinara.]]>https://api.spreaker.com/episode/49339259Thu, 21 Apr 2022 06:59:05 +0000Museo del sale di CerviaIn 1956, during excavation work in a sand quarry at the height of the Adriatic highway, at the crossroads with via Nulla Baldini, a shipwreck was discovered. The local Superintendence and the Town of Cervia, with the support of Umberto Foschi,...
The seam of the hull planks appears to be the oldest method used in the Mediterranean to build ships in use since from the 2nd to the 1st century B.C. That of Cervia is the first finding that bears witness to the use of this technique in the upper Adriatic area. On the ship there could be a cabin or a hearth covered by tiles. The typical equipment for a boat of this kind was two anchors and a lead sounder.

The container in copper, an anchor in iron, a fragment of a second anchor, in iron too, 5 fragments of oak frames and 7 fragments of elm planking, are what remains of the ship of Cervia. The anchors and the wood (frames and planking) currently on display have been restored with the contribution of Gruppo Culturale Civiltà Salinara.]]>123adriatic,archaeologylovers,cervia,copper,culturalheritage,educationalactivities,emiliaromagna,heritage,history,iron,italy,mediterranean,musa,ravenna,saltmuseum,seasideresort,shipwreck,tourismfalsefullhttps://www.spreaker.com/episode/2-a-new-section-comes-to-life--49339256
The origins of the territory, the foundation of the new town, the development of farming, the sea with the salt trade, fishing, and the development of tourism are all explored. The goal is to offer visitors an overview of the local history giving them a more correct interpretation of the territory.

The large panels that form a cross-shaped corridor offer a journey into the history of the town through topographical maps, drawings, watercolours, postcards, nautical charts, pilot books, plants and sections of buildings, designs and prospectii, design proposals. They tell us and show us a developing territory from the old town in between the salt pans to the relocation to the sea, to tourist development.

The itinerary continues following the internal sections of the petals, which appear to create a flower at the centre of the hall. Several important themes of local history are developed here.

In the petal dedicated to archaeology, there are references to the most important findings on the territory, namely in 1989 the remains of the Basilica San Martino Prope litus Maris, and the discovery of the early medieval ship found in a sand quarry in the Savio zone during excavation work in 1956. The panels of the first petal highlight the images of the moment of the finding. The anchor, the container in bronze, remains of planking and frames are found together in a single display cabinet.]]>https://api.spreaker.com/episode/49339256Wed, 06 Apr 2022 13:39:04 +0000Museo del sale di CerviaOpened on the 10th of May 2013, this section of the museum intends to complete the first museum itinerary realised in 2004. This adds another step to the cultural goals of the museum. The origins of the territory, the foundation of the new town,...
The origins of the territory, the foundation of the new town, the development of farming, the sea with the salt trade, fishing, and the development of tourism are all explored. The goal is to offer visitors an overview of the local history giving them a more correct interpretation of the territory.

The large panels that form a cross-shaped corridor offer a journey into the history of the town through topographical maps, drawings, watercolours, postcards, nautical charts, pilot books, plants and sections of buildings, designs and prospectii, design proposals. They tell us and show us a developing territory from the old town in between the salt pans to the relocation to the sea, to tourist development.

The itinerary continues following the internal sections of the petals, which appear to create a flower at the centre of the hall. Several important themes of local history are developed here.

In the petal dedicated to archaeology, there are references to the most important findings on the territory, namely in 1989 the remains of the Basilica San Martino Prope litus Maris, and the discovery of the early medieval ship found in a sand quarry in the Savio zone during excavation work in 1956. The panels of the first petal highlight the images of the moment of the finding. The anchor, the container in bronze, remains of planking and frames are found together in a single display cabinet.]]>235archaeologicalsite,archaeologylovers,cervia,emiliaromagna,history,italy,musa,qualitymuseum,ravenna,saltmuseum,tourism,tradition #saltfalsefullhttps://www.spreaker.com/episode/1-history-of-the-salt-museum-of-cervia--49339249
In 1959, salt production in Cervia changes and from the artisan method with multiple collection it moves to the industrial and mechanised system with a single annual harvest. The salt pan changes appearance: the family-run salt pans disappear and are replaced by large evaporation and collection tanks. The wood equipment used until that time in the salt pan disappears and is replaced by large mechanical equipment. The mechanised harvesting system makes the figure of the salt worker disappear who until then was engaged in the salt basin together with the whole family. The new system does away with the salt worker whose memory is kept alive by that of those who lived this reality and by the material collected over the years by the enthusiasts. The work begun by Agostino Finchi and his friends and collaborators has taken on enormous value. It bears witness to the culture of Cervia, the local identity.

In 2004, the permanent exhibition of the salt civilisation is reorganised into a museum that takes the name of MUSA, namely Museo del Sale (Salt Museum). An integral part of the museum is the Camillone salt pan, an ancient salt pan saved from the 1959 transformation.

The salt produced in the Camillone salt pan maintains the characteristics of whole salt typical of the artisan production of Cervia and its peculiar characteristics due to the type of processing, as well as naturally the special climate of the area, allowed it to obtain the Slow Food presidium award in 2004. Today, the museum is permanently located in the salt warehouse, a venue that could not be more suitable. It is an ethnological museum that displays a unique local production. The special feature of MUSA also lies in the vitality of the museum. The people who run the facility are salt workers, therefore they can transmit directly their experience and cultural heritage. The support of these people is a great asset for Cervia. The tools that are on display in the museum are still used in the Camillone salt pan and so whoever visits the museum and the salt pan can see the equipment in use, understand what use is made of it and what the difference is between the tools. Thus, the museum speaks of cultural heritage, which is not only transmitted in a material form but can also be touched by hand and experienced.

Today, the museum is part of the museum network of the Emilia Romagna Region. It equipped itself with a service charter in 2007 and obtained the qualification of Quality Museum. The facility is well-known and appreciated. Each year, scores of thousands of people visit it. This is surely a reason of pride for the town and the museum works continuously to bring all members close to the salt civilisation of Cervia. Educational activities with training courses are offered to primary schools, lower and higher secondary schools and activities dedicated to nursery school children.]]>https://api.spreaker.com/episode/49339249Wed, 06 Apr 2022 13:36:07 +0000Museo del sale di CerviaThe MUSA - Salt Museum of Cervia is born from the passion and the desire not to disperse an important cultural heritage for and of the town. In the mid-1980s, Agostino Finchi, a former salt worker, together with a group of enthusiasts, recover the...
In 1959, salt production in Cervia changes and from the artisan method with multiple collection it moves to the industrial and mechanised system with a single annual harvest. The salt pan changes appearance: the family-run salt pans disappear and are replaced by large evaporation and collection tanks. The wood equipment used until that time in the salt pan disappears and is replaced by large mechanical equipment. The mechanised harvesting system makes the figure of the salt worker disappear who until then was engaged in the salt basin together with the whole family. The new system does away with the salt worker whose memory is kept alive by that of those who lived this reality and by the material collected over the years by the enthusiasts. The work begun by Agostino Finchi and his friends and collaborators has taken on enormous value. It bears witness to the culture of Cervia, the local identity.

In 2004, the permanent exhibition of the salt civilisation is reorganised into a museum that takes the name of MUSA, namely Museo del Sale (Salt Museum). An integral part of the museum is the Camillone salt pan, an ancient salt pan saved from the 1959 transformation.

The salt produced in the Camillone salt pan maintains the characteristics of whole salt typical of the artisan production of Cervia and its peculiar characteristics due to the type of processing, as well as naturally the special climate of the area, allowed it to obtain the Slow Food presidium award in 2004. Today, the museum is permanently located in the salt warehouse, a venue that could not be more suitable. It is an ethnological museum that displays a unique local production. The special feature of MUSA also lies in the vitality of the museum. The people who run the facility are salt workers, therefore they can transmit directly their experience and cultural heritage. The support of these people is a great asset for Cervia. The tools that are on display in the museum are still used in the Camillone salt pan and so whoever visits the museum and the salt pan can see the equipment in use, understand what use is made of it and what the difference is between the tools. Thus, the museum speaks of cultural heritage, which is not only transmitted in a material form but can also be touched by hand and experienced.

Today, the museum is part of the museum network of the Emilia Romagna Region. It equipped itself with a service charter in 2007 and obtained the qualification of Quality Museum. The facility is well-known and appreciated. Each year, scores of thousands of people visit it. This is surely a reason of pride for the town and the museum works continuously to bring all members close to the salt civilisation of Cervia. Educational activities with training courses are offered to primary schools, lower and higher secondary schools and activities dedicated to nursery school children.]]>290artisan,camillonesaltpan,cervia,culturalheritage,emiliaromagna,heritage,history,italy,musa,qualitymuseum,ravenna,saltmuseum,saltpan,saltworker,seasideresort,slowfood,sweetsalt,tourism,tradition #saltfalsefull