Piatto tipico di Minori
The city of Amalfi is one of the pearls of the Italian peninsula; it is the oldest of the Maritime Republics and which gives its name to the stretch of coast that extends from Vietri sul Mare to Positano. Since 1997 Amalfi and the entire Amalfi Coast have been included among the sites of the UNESCO World Heritage List.
Amalfi is one of the most important tourist centers of Campania, known and appreciated mainly for its historical, artistic and natural beauties: together with the blue of the clear sea and the mildness of the climate, Amalfi is the destination of thousands of Italian visitors every year. especially foreigners.
The unique architecture is made up of white houses perched on the rock and is unmistakable in its appearance and picturesque due to its location. The inhabited center stands on the hills of the Lattari Mountains, goes into the Valle dei Mulini and is made up of streets, stairways defined as "stairways" and alleys that are wedged between the houses and also lead to the splendid terraces cultivated mainly with Sfusato Amalfitano lemon. .
Every corner, every alley and every small square of Amalfi opens unusual perspectives and silent and colorful views: it is the romantic landscape par excellence that attracts and enchants generations of travelers where the sweetness of the climate and the beauty of the houses leaning against each other are combined with the harsh and apparently inhospitable nature of the hills overlooking the sea.
Its emergence as a Maritime Republic and the intense relations with the Arab and Byzantine world made it a "rich and opulent city" throughout the Mediterranean basin, so much so that it also influenced the urban system.
Famous for its trade and diplomatic relations, its name is linked to the compass of Flavio Gioia and to the "Tables of Amalfi", the first among the codes of maritime law.
The artistic and architectural value of the monuments, the indescribable beauty of the landscape, the folklore of traditions have made it and make it an incomparable place so much so that the poet and writer Renato Fucini said: "Judgment day, for the Amalfitans who will go to Paradise, it will be a day like any other”.
HOW TO GET TO AMALFI
From the A3 Naples / Salerno motorway, exit at Vietri sul Mare and then take the SS 163 for about 22 kilometers following the signs for Amalfi. Strada Statale 163 is one of the most beautiful and scenic roads in Italy but it is quite narrow and with winding curves.
From the same A3 Napoli-Salerno motorway you can also exit at the Castellammare di Stabia tollbooth and take the Strada Statale 145 Sorrentina and pass Positano continuing for another 20 kilometers approximately. Once you have exited at the Castellammare di Stabia toll booth, you can take the Strada Statale 366 Agerolina and then take the direction of Amalfi once you reach the Strada Statale 163.
Amalfi, from April to the end of October, is also served by sea lines with departures from the various nearest ports such as Salerno, Positano and Capri.
Sfusato Amalfitano is grown on the terraces of Amalfi and the entire Amalfi Coast: it is a particular and unique type of lemon with an elongated and tapered shape and a light yellow color. It also has a very fragrant peel of medium thickness rich in essential oils and a juicy pulp rich in vitamin C. These characteristics together with the unique scented juice, the influence of the sea, the mild climate and the heat of the sun make the Sfusato Amalfitano is famous all over the world.
Sfusato from Amalfi is mainly used to make an excellent limoncello with a bright yellow color and a unique flavor thanks to the infusion of the fragrant skins in pure alcohol. Limoncello is usually served very cold at the end of a meal.
In addition to the production of a pleasant limoncello, the Sfusato Amalfitano lemon is squeezed on seafood appetizers, on fried fish, to dress salads and used as a condiment for some typical dishes based on very fresh fish. In addition, in confectionery it is considered the main ingredient for the preparation of many cakes and desserts such as lemon delight, caprese in a variant also with lemon, babà, lemon shortbread and lemon tenderness. The Sfusato Amalfitano is also used for the production of tasty ice creams, lemon slushes and refreshing lemonades to be enjoyed on the terraces of the houses or hotels of the Coast on hot summer days.
Already during the period of the Maritime Republic of Amalfi, lemons were loaded on board ships and subsequently there was an ever greater demand not only in Campania but throughout Italy and Europe as vitamin C fought Scurvy. A "Amalfi Coast PGI Lemon Protection Consortium" was recently created to ensure consumers the origin and quality of Sfusato Amalfitano since, thanks to its unique characteristics, Sfusato Amalfitano is currently in demand and appreciated all over the world.
In the kitchen, Amalfi is also famous for the "Scialatielli all’amalfitana": it is a type of pasta that resembles irregular rectangular but shorter tagliolini.
The scialatielli were invented by Enrico Cosentino from Amalfi at the end of the 1970s and in 1978 the chef, presenting the scialatielli to a culinary competition, won the Entremetier prize of the year. They are currently recognized as a "Traditional Agri-food Product" of the Campania Region. The name scialatielli presumably derives from two words of the Neapolitan language: "scialare" and "tiella" which in Italian mean respectively "enjoy" and "pan". The pasta is made strictly by hand and is obtained from a mixture of flour, water and / or milk, grated cheese, eggs, oil and salt. Subsequently, the imposition is processed and cut to then obtain the final irregular and rectangular strips. The original recipe for scialatielli all'amalfitana called for the pasta to be seasoned with fresh cherry tomatoes.
Currently, those who go to Amalfi or the Amalfi Coast cannot fail to taste the "scialatielli with seafood": a very tasty dish in which the scialatielli blend well with the sauce composed of extra virgin olive oil, garlic, clams, cuttlefish, shrimp, mussels, corbarino tomatoes, capers, olives and plenty of chopped fresh parsley to sprinkle on the final dish.
Amalfi is also famous in the kitchen for "Cannelloni all'amalfitana": it is an egg pasta with a cylindrical shape and a length of about 15 centimeters stuffed inside with a filling of minced meat, bechamel, ricotta, fior di milk and extra virgin olive oil covered with a tasty Corbarino tomato sauce. Cannelloni all'amalfitana are the typical dish that every Amalfi family prepares for lunch on November 30, the feast day of Saint Andrew the Apostle.
The origins of Amalfi are still not completely clear today, although some archaeological remains have shown that the most probable origin is Roman. In the same way, the etymology of the name "Amalfi" could derive from Melfi, a Lucanian maritime village abandoned by some Roman refugees in the 4th century AD; or it could come from the surname of a Roman gens of the 1st century AD. (gens Amarfia); or again, by the nymph Amalfi, whose legend tells that she was loved by Hercules, buried in this land by the will of the gods.
Due to the numerous Germanic invasions of the 5th century AD, many Roman refugees from the various towns of Campania took refuge in the Lattari Mountains, transforming the small village of Amalfi into a small town. From the 9th century the territory of Amalfi and the entire Amalfi Coast belonged to the Romanesque-Byzantine Duchy of Naples and the town was transformed into a fortress to defend the coastal population from Germanic and Lombard invasions. The city enjoyed a privileged relationship with Byzantium due to the ability of the Amalfitans in maritime trade; this seafaring ability and great diplomatic skills allowed the Amalfitans to sail across the Mediterranean, establishing commercial and peaceful relations with all neighboring peoples, including the Saracens.
On 1 September 839 Amalfi acquired independence from the Duchy of Naples and became the first Maritime Republic, constituting itself in an autonomous state. Amalfi resisted Lombard expansionism for over two centuries and as early as the 8th century the Amalfi inhabitants settled in the main port centers of the Mediterranean, creating "Virtual Colonies" consisting of houses, churches, monasteries and shops that were administered according to the laws in force in the Amalfi area . In the Middle Ages, the role of Amalfi was fundamental because the Amalfi policy was able to mediate well between very heterogeneous civilizations such as the Romanesque (Western) and the Arab and Byzantine (Eastern) ones.
Originally the Amalfi people were governed by a republican order governed by comites to which the praefecturii were in charge; when Mastalo II assumed power in 945, he proclaimed himself duke.
At that time, the borders of Amalfi extended from Cetara to Positano, including the island of Capri and the Li Galli archipelago. Inland it reached as far as Gragnano, in the province of Naples. It was the moment of the maximum expansion of the Republic and precisely in this period Amalfi was the first Western State since the fall of the Western Roman Empire to mint its own gold coin: the Amalfi tarì. This new coin derived from the homonymous and equivalent Arab coin and, demonstrating the wealth of the Maritime Republic, was accepted throughout the Mediterranean.
Around the 11th century, the Amalfi Tables were drawn up in Amalfi, whose original Latin title was Capitula et ordinationes Curiae Maritimae nobilis civitatis Amalphe: this is the oldest Italian maritime statute, used throughout the Mediterranean area until the 16th century. . They contained various rules that regulated the trafficking, trade and behavior at sea of crew members, attributing to each of them specific rights and duties; they are currently preserved in a seventeenth-century paper copy at the city's Civic Museum.
Amalfi, during the Middle Ages, had a large and powerful military and merchant fleet. Thanks to their impressive warships, the Amalfi people fought and won numerous battles on the shores of the Mediterranean Sea, especially against the Arabs and in defense of Christianity. From a commercial point of view, however, the Amalfi people sailed from Amalfi with their ships loaded with timber to the Arab centers of the African coasts: here they sold the wood in exchange for gold. Subsequently they were directed along the Syrian-Palestinian coasts and Byzantium where they bought spices, precious fabrics and precious stones which they then resold in Italy. These trades greatly enriched the Amalfi merchants and numerous enemy powers planned to conquer Amalfi in order to take over the rich and flourishing Amalfi trade.
In 1039 the small Duchy of Amalfi found itself in serious difficulty, within a context that saw alternating struggles between the Norman leaders, the emperors of East and West and the Church of Rome, with continuous upheavals in the principalities from Campania; so it was that Amalfi decided to renounce its independence asking for the protection of Roberto il Guiscardo. A League led by the Pope was formed against Guiscardo and from this situation the Pisans took advantage of it, bitter enemies of the Amalfitans who in 1135, landed in force along the coast, sacked the coastal centers and two years later returned and destroyed all the fortifications. The Amalfi Coast, now far from the ducal glories, was reduced to a fief, powerless and disheartened by the invasions of the noble families. The maritime power of Amalfi came at sunset also due to the anti-Byzantine and anti-Muslim policy of the Normans who conquered it in 1131. In fact it is in 1131 that Amalfi definitively lost its independence becoming an integral part of the Norman Kingdom of Sicily.
To worsen the crisis there was then in 1343 a devastating tsunami that gave it the final coup de grace: not so much because a large part of the city was destroyed but because the arsenals (in which the galleys were built thanks to which Amalfi had been mistress of the seas ) were irremediably damaged and rendered useless.
In the 15th century, with the Aragonese domination, the Catalan merchants arrived who competed with what remained of the Amalfi fleet. After the glorious centuries of medieval Amalfi, the history of the city and other coastal settlements was characterized by a decline in population, isolation from the hinterland and pirate raids.
In 1643 a terrible and ruthless plague killed almost a third of the coastal population; the noblest families moved to Naples and in the eighteenth century Amalfi was an almost uninhabited city, struck, moreover, by growing poverty.
In June 1807 Giuseppe Bonaparte, on a visit to the Kingdom, was struck by the beauty of the Amalfi Coast and decided to build a large coastal road that would facilitate access from the capital Naples.
Work on the driveway began in 1816 and continued under the direction of Gioacchino Murat and with the inauguration of 1853, a new era began for the Amalfi Coast which thus provided itself with a strategic infrastructure that allowed it to discover the its true vocation: tourism.
WHAT TO VISIT
- The Dome;
- The Cloister of Paradise;
- The Arsenal;
- The Paper Museum;
- Excursion to the Valle delle Ferriere
The monument par excellence that characterizes the city is without a doubt the Cathedral of Amalfi. It is composed of two basilicas side by side and once communicating; the oldest, also called "Church of the Crucifix", built in a Romanesque form with three naves, was dedicated to the Virgin of the Assumption while the second, again with three naves, built in 987 at the behest of the Duke of Amalfi Mansone I, was dedicated to Apostle Andrew.
The Basilica of the Crucifix, dating back to the ninth second, currently has three naves and is the oldest cathedral in the city.
Capitals and bare columns are still visible, but also barriers and balustrades probably dating back to a smaller early Christian cathedral, while the entrance portal is part of the early medieval cathedral.
Inside there are the large central nave and the southern side nave, above which the women's galleries protrude; there are no traces instead of the northern nave as it was eliminated on the occasion of the construction of the Paradise Cloister. To replace it, two low medieval chapels are visible, covered by frescoes dating back to the 13th-14th century.
Among the frescoes it is possible to note the depiction of the Blessed Fra Gerardo Sasso di Scala, founder of the Order of the Knights of St. John of Jerusalem, today of Malta.
The long theories of single and double lancet windows, visible along the walls and on the facade, testify to the restorations carried out during the 13th century.
The old Cathedral, renamed with the name of SS. Crocifisso, underwent a Baroque renovation which was subsequently eliminated starting from 1931 to bring the previous Romanesque structure to light. Inside there is a marble sarcophagus reused in 1449 to contain the remains of Archbishop Andrea de Palearea, whose heraldic emblem is evident in the center of the urn.
During the last restoration campaign, the appropriateness of allocating the building for exhibition purposes was assessed, allowing it to be used in public. The establishment of the Museum of Sacred Art of the Cathedral dates back to 1996, which collects silver, sacred vestments, crosses, reliquaries belonging to the treasury of the Cathedral, as well as valuable wooden sculptures and paintings of various chronology and origins.
Along with the works on display, the columns, capitals, bas-reliefs, inscriptions and frescoes that made up the furnishings of the ancient Basilica are an integral part of the museum.
In the apse and presbytery area, a space has been left free for exhibitions, conferences and other cultural events.
From the Basilica of the Crucifix you exit onto the atrium of the new Cathedral, built in the early 13th century by Cardinal Pietro Capuano and Archbishop Matteo di Capua.
On the external facade, the Moorish arches unload on marble columns while the internal walls are characterized by large two-tone tuff blocks.
The large marble and granite columns that mark the interior space are partly original and preserved today in the Cloister. Along the internal wall there are frescoes depicting scenes from the life of Christ and St. Andrew the Apostle, made in 1929 by Paolo Vetri, a pupil of Domenico Morelli.
The three entrances of the new Cathedral overlook the atrium: the central entrance is of particular importance as it has the bronze doors, created in Constantinople and which the Episcopio of Amalfi received as a gift in 1060 from Pantaleone de Comite Maurone. Christ, the Virgin, Saint Andrew and Saint Peter are represented on these doors. Through these bronze doors stands the new Cathedral, founded in 987 by Duke Mansone and enlarged in the 13th century by Cardinal Pietro Capuano.
From its origins, the Cathedral was dedicated to the Apostle Andrew who later became the patron saint of the city. This Basilica, like the old one, is set on three naves; during the Middle Ages the two cathedrals were communicating and constituted a single architectural complex with six naves.
During the 18th century, at the behest of Archbishop Michele Bologna, the Cathedral of S. Andrea was also reformed in the Baroque style. Here you can in fact admire inlaid pillars of polychrome marble, eighteenth-century decorations and ceiling adornments
with drawers in pure gold depicting scenes from the life and martyrdom of St. Andrew, painted by Andrea dell'Asta of the Neapolitan school.
Currently, the multi-level façade, the imposing staircase, the bell tower and the black and white that harmoniously contrasts with the colors of the façade, make the Amalfi Cathedral one of the most characteristic monuments of the Amalfi Coast. The facade has salient features and the tympanum depicting Jesus enthroned with the twelve Apostles is of particular beauty. The bell tower was built in Romanesque style between 1180 and 1276.
Inside the Cathedral, ten chapels open along the side walls of the secondary aisles containing paintings from the eighth century, marble and wooden sculptures from various eras. Above the entrance to the right aisle is the painting by Ottavio Eliani depicting the Miracle of St. Andrew (18th century).
In the first chapel you can see the marble icon dating back to the fifteenth century with the Saints John the Evangelist, Benedict and the Baptist while the median statue was made in the seventeenth century.
After the niche that contains the coffin of Christ carried in procession on the evening of Good Friday, there are four other chapels with as many paintings depicting the Madonna del Rosario, S. Nicola and the Nativity, S. Michele Arcangelo and other works by Silvestro Mirra and his pupils (18th century).
After the second chapel, in a wall niche, there is the reliquary of St. Andrew, made of chiseled silver (16th century).
Between the third and fourth chapels there is the entrance to the Sacristy, built in 1786 with an octagonal plan with a frescoed vaulted roof. Here the Sacred Treasure of the Cathedral was kept: next to the numerous pieces of silverware, there is the ivory reliquary with scenes of the martyrdom of SS. Cosma and Damiano (XIV century).
Here you can admire the miter in gold, silver, gems and pearls: a very refined work of the Neapolitan goldsmith art, made at the time of Charles II for his son Lodovico; you can also see the gilded silver chalice (14th century) with an octagonal foot with faceted gems, a tiny aedicule framing the Crucified Christ and a silver Reliquary of the Holy Cross from the mid-15th century; finally a collar of the order of the Golden Fleece, in gilded silver with a large pendant ruby (17th-18th century).
The transept of the new Cathedral was built during the 13th century enlargements; covered with coffers, it preserves eighteenth-century paintings by Giuseppe Castellano depicting the vocation of St. Andrew and the miraculous fishing. In the right transept there are the sarcophagus and the marble slab of Archbishop de Cunto (1503); There is also a marble altar enriched by a canvas with S. Antonio and other saints. Next to the main altar is the eighteenth-century chapel of the canons' choir, now adapted to a Lipsanoteca, containing niches and reliquary cabinets. The small marble altar is adorned with a frontal with mosaics, coming from an ancient 12th century ambo.
At the center of the presbytery is the altar made up of the sarcophagus of Archbishop Pietro Capuano; in the reliefs the Christ, the Virgin and the Apostles are observed while on the two short sides there are S. Basilio and S. Nicola di Bari.
On the sides, two monolithic columns of red granite are visible, surmounted by capitals, which support the triumphal arch. Next to them there are two candelabra, made up of twisted columns, embellished with thirteenth-century mosaics.
The high altar was built between 1711 and 1712 by Giuseppe and Paolo Mozzetti from the marbles of an ancient altar from the monastery of S. Maria di Positano.
In the left transept, in addition to a marble altar with an eighteenth-century canvas depicting the Auxilium Christianorum, there is a chapel entirely decorated with polychrome marble and covered by a frescoed ribbed vault, built in the eighteenth century.
In the five chapels of the left aisle there are paintings depicting S. Eustachio, the Madonna delle Grazie, S. Gaetano da Thiene, S. Andrea Avellino and the Blessed Virgin, still painted in the eighteenth century by Silvestro Mirra and his school.
In the chapel at the left side entrance there is a basin in Egyptian red porphyry, entirely frescoed, later used as a baptismal font.
Between the chapels there are two walled doors, once communicating with the Basilica of the Crucifix; between the third and fourth chapel there is instead a sacred enclosure with S. Raffaele and S. Michele.
Next to the left side entrance there is a large mother-of-pearl cross, kept in a walnut case; this was donated by Monsignor Ercolano Marini to the Church of Amalfi on his return from the pilgrimage to Jerusalem in 1930. Above the entrance, the canvas of the Miraculous Fishing, made in the 1950s by the contemporary Russian artist Vasilij Nečitajlov.
Along the right wall there is a staircase that leads to the underlying Crypt.
The Crypt was built around 1203 at the behest of Archbishop Matteo of Capua. Precisely in the crypt, on 8 May 1208, the Amalfi Cardinal Pietro Capuano introduced the remains of the Apostle Andrew, transported by sea from Constantinople; this event was recalled inside the Cathedral itself by a fresco of 1610 by Aniello Falcone.
Part of the Apostle's head was buried in the center of the Crypt and, in the 16th century, the rich Altar and the large bronze statue of the Saint were built around the tomb. The statue of Sant’Andrea in the crypt was made by Michelangelo Naccherino, a pupil of Buonarroti. Furthermore, always around the tomb, there are the marble sculptures by Pietro Bernini depicting Santo Stefano and San Lorenzo.
A particular phenomenon characterizes the tomb of the Apostle. Since 1304, a "particular sign" has been seen on the tomb: it is covered with an oily, colorless and odorless patina, called "Manna". This "Manna" is said to have the ability to heal local faithful and pilgrims and is said to be the same miraculous substance that, according to the Bible, God sent as food to the Jews when they crossed the desert.
THE PARADISE CLOISTER
Between 1266 and 1268 Archbishop Filippo Augustariccio had the Paradise Cloister built in Moorish style, a cemetery for nobles. The term "Paradise", in fact, indicated in the Middle Ages a burial place connected to an important church and surrounded by a portico.
The architectural complex consists of a four-sided portico covered with cross vaults and along the external walls intertwined Moorish-style arches that unload on pairs of marble columns with crutch capitals. To the right of the entrance there are six frescoed chapels built in the Cloister by the Amalfi aristocratic families between the late thirteenth and early fourteenth century. In one of these chapels it is possible to observe a famous painting attributed to the Neapolitan school of Giotto, specifically to Roberto d’Oderisio: the Crucifixion. The fresco depicts soldiers in Angevin armor; in the two groups in the foreground we can see the Virgin of Sorrows supported by the pious women and the Magdalene with St. John close to the Cross; above, Christ is seen between the two robbers; one of the Angels suspended on the crosses supports a newborn, symbolizing the passing of the thief's soul.
In front of the chapel there is a marble pluteus which on one side presents a party with three intertwined ropes, crosses and wheels forming love knots, made in the sixteenth century, and on the other a marble bas-relief with the Madonna della Neve, made in the second mid-15th century, attributed both to Francesco Laurana and to the school of Domenico Gaggini.
Along the north wall it is possible to admire the sarcophagi depicting the Rape of Proserpina, a well-known episode from Greek mythology; the Union of Mars with Rhea Silvia, dating back to the second half of the second century AD C .; the one representing Romulus and Remus suckled by the she-wolf; the Marriage of Peleus and Teti; the Roman one with “S” grooves with the coat of arms of the Favaro family of Amalfi and the Amalfi cross; the sarcophagus of Archbishop Pietro Capuano, who died in 1359, with the sculpted images of the Madonna, Christ, the Twelve Apostles and the Holy Bishops Biagio and Basilio; and, finally, the Roman sarcophagus of the 4th century AD. which bears the name of the decurion Publio Ottavio Rufo.
At the center of the Cloister of Paradise there is a splendid garden with palm trees, probably built only after the restoration in 1908.
A few steps from the beach of Amalfi it is possible to reach the Arsenal of the city where in the Middle Ages the numerous ships of the Maritime Republic were built.
Currently, 2 aisles divided by 10 pillars remain of the ancient arsenal and it is the only example of a medieval arsenal in Southern Italy. Although the building is very old, the structure shows the signs of two important restorations which took place in 1240 and 1272. Along the ancient lanes of the arsenal there is the Museum of the Compass and of the Marine Duchy of Amalfi where it is possible to admire the testimonies on the evolution of nautical orientation instruments including the compass, which revolutionized navigation techniques by opening the way of the ocean to the "new world". According to tradition, the compass was invented by Flavio Gioia from Amalfi as a “dry” magnetic marine orientation instrument and which was subsequently used on all ships from the first half of the 13th century. Just as soon as you arrive in Amalfi you can admire the bronze statue of Flavio Gioia created by the artist Alfonso Balzìco.
THE PAPER MUSEUM
Another point of interest not to be forgotten is the Amalfi Paper Museum, a former paper mill transformed into a museum in 1969 at the behest of the owner, Nicola Milano.
In the museum, located in the Valle dei Mulini, it is possible to appreciate the machinery and equipment that were used to make paper by hand and to witness live the creation of a sheet of Amalfi paper. The paper mill machinery worked thanks to the driving force generated by the water of the Canneto stream that crosses the Valle delle Ferriere.
The process that led to the creation of the handmade Amalfi paper sheet called “Bambagina” can be summarized as follows.
Buttons, patches and other hard parts were removed from the rags of cotton, linen, hemp and jute; the workers then began to cut the rags into smaller pieces. With the “leaching” phase in the paper mill tanks, the rags were cleaned, freeing them from the various encrustations. They then proceeded to "washing" them and then to "fraying": with this last phase every trace of fabric was destroyed without breaking the filaments. With "refining", the filaments were reduced into fibers for the production of paper and the resulting mixture was diluted with water to obtain a paste.
The pasta was taken and poured into some larger tubs lined with majolica. An employee then dipped a frame in the tub to collect a small amount of the dough and, after eliminating the first water, created a first sheet of paper. Subsequently this sheet of paper was placed on a wool felt and then covered with another felt. These sheets were then pressed to extract the remaining water still present and then placed to dry in the appropriate rooms called spanditoi
EXCURSION IN THE VALLE DELLE FERRIERE
For mountain lovers, an excursion to the Valle delle Ferriere is not to be missed.
You can start from Piazza Flavio Gioia which is the bus and ferry terminal, cross the city center with a view of the splendid façade and staircase of the Cathedral dedicated to Saint Andrew the Apostle and walk the entire main street of Amalfi. Once you have reached the Paper Museum, after a few meters you need to take the stairs on the left (Via Grade Lunghe) and thus begin the more demanding route. During the path in the Valle delle Ferriere you can see the famous terraces planted with the Sfusato Amalfitano lemon and the ruins of various paper mills such as Cartiera De Luca, Cartiera Lucibello-Confalone and Cartiera Marino. After reaching the hydroelectric plant and then the ruins of the ironworks from which the iron was extracted, continue to the aqueduct and from here the path branches off to the right to reach the Oriented Nature Reserve. To access the latter, authorization must be requested from the Forestry Corps
The Valle delle Ferriere extends into the green of the Lattari Mountains and which in part also belongs to the Municipality of Amalfi which arose along the course of the Canneto stream. The main element of the Valle delle Ferriere is water: in addition to influencing the climate and vegetation of the valley, in the past water was a great wealth as it fed the machinery of the various paper mills and the ironworks. The metal arrived by sea in Amalfi from the Island of Elba and was then transported to the ironworks where it was worked. The cool and humid climate present in the Valle delle Ferriere, mainly due to the abundance of water and waterfalls, is the ideal condition for the proliferation of a particular fern: the "Woodwardia radicans". In fact, precisely in the upper part where there are many plants of the “Woodwardia radicans” fern and the beautiful waterfall, the area has become a reserve and you must contact the Visitor Center of the State Forestry Corps in Pontone to access it.
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