Travel
Events descriptions
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Short Description
Amalia Sola Nizzoli describes the confusion of downtown Alexandria.
Amalia Sola Nizzoli describes the women's laments for a funeral, the festive procession for a bride in Alexandria, the chant of the Imam, and the barking of dogs.
Amalia Sola Nizzoli describes shouts and whistles in Alexandria.
Amalia Sola Nizzoli describes the voice of a man imposing silence on Arab boys and the noises of donkeys.
Amalia Sola Nizzoli describes the noise that animals make at night.
Amalia Sola Nizzoli describes the noise of disturbing dogs at night.
Amalia Sola Nizzoli describes the music accompanying Ibraim-pasha's return to Cairo after defeating the Vehabites, with all the military pomp of the night. Music of drums, timpani, fifes and oboes could be heard.
Amalia Sola Nizzoli describes the musical instruments of the military pump on the morning following Ibraim-pasha's return.
Amalia Sola Nizzoli describes the dancers in Cairo.
Amalia Sola Nizzoli describes the order of the Ibrahim-pasha parade that paraded through Victory Gate in Schiobra.
Amalia Sola Nizzoli describes the shouting and screaming in front of the procession for Ibrahim-pasha.
Amalia Sola Nizzoli recounts her emotions of when she hears the singing of the Muezzin from the minarets.
Amalia Sola Nizzoli describes the Muezzins in Cairo sounding different to him than those heard in Siut because of the noise of the city.
Amalia Sola Nizzoli describes of a dance party with general invitation of all European consuls.
Amalia Sola Nizzoli says her husband Giuseppe gave a great lunch, and in the evening there was a performance by a music academy that rounded out the day.
Amalia Sola Nizzoli tells that a young Egyptian named Gerue stayed in Milan to become a dancer.
Amalia Sola Nizzoli tells about the sounds and noises of a stormy sea on the way back to Messina.
Amalia Sola Nizzoli compares the bells heard in Livorno with the Muezzin saying that such sound creates melancholy.
Amalia Sola Nizzoli tells that in Livorno, a bell is placed in front of St. Leopold's Lazaretto, welcoming travelers for the 40 days in absentia.
Girolamo Segato tells of the customs the Turks have when a child is born, which he observes in Egypt.
Girolamo Segato describes the evil eye in Egypt.
Girolamo Segato recounts the celebration of Muhammad's festival (Mawlid al-Nabī), which falls on the 12th day of the lunar month of Rabi' al-awwal.
Girolamo Segato notes the use of drums in the procession for the festival of Muhammad.
During the procession for the feast of Muhammad, Girolamo Segato sees 100 or more inverted copper conical drums.
Girolamo Segato wrote this letter to his brother Vincenzo on 26 December 1820 from Cairo, also writing this anecdote about the presence of music at work in the city of Qualabseh.
Marco Augusto Costanzi finishes his second return to Egypt and leaves Alexandria where there is not all the "noise" of the crowd greeting him as the first time.
Marco Augusto Costanzi remembers some things about Egypt while in Corfu and describes a moment in the marriage rite.
Giovanni Battista Brocchi recalls that on the Island of Melena last summer he had heard subterranean noises and rumblings that he wrote about in the Milan Newspaper in August.
In Ragusa Giovanni Battista Brocchi listens to lyrical ditties accompanied by guitar and describes the language in which they are sung and their metrics.
Giovanni Battista Brocchi tells oft the "colende" sung in Ragusa on the feasts of their name, and on the vigils of St. Nicholas, Christmas, New Year's Eve and Epiphany.
Giovanni Battista Brocchi tells about one of the Turkish Dervis plays his horn which he wears on his belt to call the believers to prayer. It is an Antelope's horn, or Gazelle, called "Gheiz" in Turkish.
Giovanni Battista Brocchi describes the minarets where those who three times a day cackle a prayer are placed.
Giovanni Battista Brocchi recounts a musical event he witnessed at Dr. Morpurgo's house. The musical instruments were: a psaltery known as a "Ganun" (qānūn), a seven-stringed double gut guitar (‘ūd), a tiny rattlesong harpsichord (ṭār), and a kind of violin (kamāncheh) with a very bizarre shape.
Giovanni Battista Brocchi notes the hours when he hears prayer times shouting loudly from the minarets.
Giovanni Battista Brocchi describes the barking of dogs in Alexandria.
Giovanni Battista Brocchi describes the chants of the Arabs preventing him from sleeping during the boat trip. When they arrived at the mouth of the Nile they sang another song as they unloaded goods.
Giovanni Battista Brocchi describes the dance of a man who appears to be posing as a female dancer. All to the sound of the fife.
Giovanni Battista Brocchi is located in the city of Old Cairo, in the Costi district, and compares the structure of St. Macario Church and St. Sergio Church. In these churches there is a section dedicated to singing priests.
Giovanni Battista Brocchi visits the Greek church of St. George in Old Cairo and notices a pendulum clock with bells that he says he has not seen in other eastern churches.
Giovanni Battista Brocchi attends a Mass sung by Franciscans in the city of Cairo.
Giovanni Battista Brocchi is at the village of Minsendi and witnesses the theft of a thief. Here he describes the worry and screams of the women in the village.
Giovanni Battista Brocchi describes the women's reaction to the theft that occurred to Brocchi's boat and tells how they have a custom to cry.
Giovanni Battista Brocchi describes the crashes at the collision with another rowboat.
The howling of jackals disturbed Giovanni Battista Brocchi's sleep, who described their howling as at times comparable to the human voice and the barking of dogs.
Giovanni Battista Brocchi describes the composition of the walls surrounding the dwellings, which are also made in this way to fall and procure heart as unwelcome guests pass through.
Giovanni Battista Brocchi writes that Muslim doctors made a big fuss about sugar grown in the village of "Radom".
Giovanni Battista Brocchi sees Turkish soldiers accompanied to the beat of a drum.
Giovanni Battista Brocchi describes a thunderstorm.
Giovanni Battista Brocchi hears the larksong.
Giovanni Battista Brocchi describes an event of dance and music, and the lyre instrument.
Giovanni Battista Brocchi describes the coarse granite.
Giovanni Battista Brocchi describes the departure of the caravan to Qena.
Giovanni Battista Brocchi mentions an earlier description tying it also to the Ababdi Arabs. They have a Pyrrhic dance and an instrument that looks like a real lyre.
Giovanni Battista Brocchi describes the voice of a Turkish man visiting him at his tent.
Giovan Battista Brocchi tells of the procession in honor of the memory of the saint Ibrahim Kenavi made in thecity of Qena.
Giovanni Battista Brocchi talks about continuation of the account of the procession in honor of the memory of St. Ibrahim Kenavi in Kenneh, where there are two camels with two drummers on them.
Giovanni Battista Brocchi is at St. Anthony's Monastery and sees a bell hanging outside the door.
Giovanni Battista Brocchi describes the song of nightingales in the garden of the Monastery of St. Anthony.
Giovanni Battista Brocchi describes the sound of his first cicada heard in Egypt.
Giovanni Battista Brocchi witnessed the procession returning from the ceremony of delivering the carpet to be taken to Mecca at the Emir hagy. It was not a majestic procession but had musical accompaniment.
Giovanni Battista Brocchi tells about music accompanying the carpet procession from Cairo to Mecca.
Giovanni Battista Brocchi describes the verse that the camel produces.
Giovanni Battista Brocchi tells about the love songs of the Arabs.
Giovanni Battista Brocchi claims that Arabic love songs are written for dancers. He also names a famous dancer called Gul-beiad.
Giovanni Battista Brocchi describes of how payment works for a singer who is called to cheer up a wedding in Cairo.
The way of talking about Copts described by Giovanni Battista Brocchi. He also claims that they do not sing wretchedly at night unlike "our rabble".
Giovanni Battista Brocchi says the "Gadri" and "Mauleui" sing their prayers by dancing to the sound of instruments.
Giovanni Battista Brocchi describes the shouts of the boys accompanying the auctioneers in the Cairo quarters.
Giovanni Battista Brocchi describes the preparation of the Nile cutting festival, which is the only truly national festival in Cairo.
Giovanni Battista Brocchi describes of the Nile cutting festival, which is the only truly national festival in Cairo.
Giovanni Battista Brocchi also describes the city of Cairo during the Ramadan holidays.
Giovanni Battista Brocchi reports an old man's account of the city of Cairo saying that he heard voices of women, children and the bleating of sheep.
Giovanni Battista Brocchi analyzes children to measure the mood of the entire population of El-Arich.
Giovanni Battista Brocchi describes churches and monasteries and also dwells on the bell towers in Kisrawan district.
Giovanni Battista Brocchi describes the account of the use of Lebanese dances and players called "Metarbh".
Giovanni Battista Brocchi tells of two mosques collapsing along with their minarets from which a human voice, that of the Muezzin, can be heard.
Giovanni Battista Brocchi tells of the joy of the people on the day the Damascus fur was handed over to Emir Nasueh.
Giovanni Battista Brocchi describes the bells of Zahlé's churches.
From the city of Beit ed-Dine, Giovanni Battista Brocchi tells of the moving customs of the "Emir Biscir".
Giovanni Battista Brocchi describes the ritual of greeting according to etiquette at Deir al-Qamar.
Giovanni Battista Brocchi describes the verse emitted by a Chameleon found in Sidon.
Giovanni Battista Brocchi in recounting some information about the Mar-Hanna convent (Hammana - Lebanon) specifies that the Mass is done in Greek while the Psalms are sung in Arabic.
Giovanni Battista Brocchi says that at the Mar-Hanna convent the Novices are banned from using speech for two years.
At the Kren Convent of Armenian Monks, Giovanni Battista Brocchi sees a sheet containing very harmonious sacred hymns.
Giovanni Battista Brocchi recounts that in the printing shop of the Maronite Convent in "Coshaia" where Monk Serafino Susceni was engaged in casting bells, but did not succeed greatly in this undertaking.
Giovanni Battista Brocchi describes the howls of the jackal.
Giovanni Battista Brocchi describes Emir's entry into Bet ed-Dine without musical accompaniment.
Giovanni Battista Brocchi tells that a monk stands at the lookout of the Convent of St. Saba and with the ringing of a bell makes a sign if the door is opened.
Giovanni Battista Brocchi writes about the singing of birds whose warbles brighten the atmosphere of the grove.
Giovanni Battista Brocchi describes the function of the Sacred Fire in the Church of the Sepulcher. Account that he says is also given by other travelers such as Fr. Nah and Maundrell.
Giovanni Battista Brocchi stops the travel narrative to recount episodes seen in Egypt and connect them to ancient sources.
GIovanni Battista Brocchi relates that there was an Italian harpsichord master in Cairo from whom some young Turks took lessons.
Giovanni Battista Brocchi describes dancers performing a dance discovered by Mr. Caviglia depicted in the pyramid of Khafre.
Giovanni Battista Brocchi describes how the Cascef have the title of Bey, but without the honors usually given to the Bey such as being preceded by the drums and having the ciaùs with the bell.
Giovanni Battista Brocchi cites Diodorus' description of the ancient Egyptians, in which he argued that they liked neither music nor gymnastic exercises.
Giovannia Battista Brocchi at night hears the chants of school boys, who learning to read in another voice make an unholy "tintimara". They were joined by a bunch of people singing boisterously in the wake of a drummer.
Giovanni Battista Brocchi was received at the palace by Mahu Bey, who ordered one mammalucco to hold a guitar, and another to sing a Turkish song to entertain the guests.
Giovanni Battista Brocchi describes the arrival of a thunderstorm and the bellowing of thunder.
Giovanni Battista Brocchi again describes thunder by placing side by side to describe its sound the word "moo" to mean the roar of water.
Giovanni Battista Brocchi describes a great "tintimara" to figure out where they were on the journey.
Giovanni Battista Brocchi believes that the croaking of the frogs in the village of Zaidab is different from that of our frogs.
Giovanni Battista Brocchi describes the bellowing of hippos.
Giovanni Battista Brocchi describes a thunderstorm.
Giovanni Battista Brocchi describes the screams of a funeral.
Giovanni Battista Brocchi tells of the diversity of Arab songs under Turkish rule compared to those prior to domination.
Giovanni Battista Brocchi tells of dances with indecent movements.
Giovanni Battista Brocchi points out how in the songs of the Orientals and the Egyptians the night is always celebrated.
Giovanni Battista Brocchi describes the song, music and dance of Arabs and Turks in comparison. He describes many musical instruments such as: the tambourine called "Delluca", the timpani called "Nogara", the horn called "Sufàr", the fife called "Zumarra", the lyre called "Rabàba", and tells of the different dances of men and women.
Giovanni Battista Brocchi describes the noises emitted by two monkeys.
Giovanni Battista Brocchi tells of dog noises that attract crocodiles.
Giovanni Battista Brocchi tales of the outbreak of a thunderstorm and lightning strikes.
Giovanni Battista Brocchi compares a worm to the fourth string of the violin.
Giovanni Battista Brocchi tells about the way he speaks during the hearings.
Giovanni Battista Brocchi describes the market and the auctioneers.
Giovanni Battista Brocchi describes the thunder in the distance.
Giovanni Battista Brocchi tells of the screams of witches and warlocks turned into animals.
Giovanni Battista Brocchi compiles a dictionary of the language of the Ababdi Arabs. Verbs include the verb to beat, sing and dance.
Giovanni Battista Brocchi reports his dragoman's account of the Spanish explorer Aly Bey, whose name was Badia.
Giovanni Battista Brocchi sees the cries and cries of a child whose mother dies.
Giovanni Battista Brocchi collects in Khartoum some terms of a particular language spoken in Dongola.
Giovanni Battista Brocchi listens to the Dongola language to derive its pronunciation rules.
Giovanni Battista Brocchi writes a dictionary some terms of a particular language spoken in Dongola.
Giovanni Battista Brocchi tells about the howling of the hyena.
Giovanni Battista Brocchi talks about pilgrims heading to Mecca singing to the sound of a drummer.
Giovanni Battista Brocchi tells of the hyena verses also frequent in Sennaar.
Giovanni Battista Brocchi talks about the hardships of the Muslim religion and argues that the presence of more arts in religious ceremonies are something good that makes prayer even more beautiful.
Giovanni Battista Brocchi describes the Nubah who made up the infantry of Sennaar.
Giovanni Battista Brocchi describes the role of music in the battle. The use of the "Nogara", gazelle horns, "dinghil" (tympanum).
Giovanni Battista Brocchi describes the qualities of poetry, poets and singers, even mentioning Gideiah slave who sings a military song.
Giovanni Battista Brocchi describes the song, music and dance of Arabs and Turks in comparison. He also reports a mention of the way women speak.
Giovanni Battista Brocchi describes birds singing.
Giovanni Battista Brocchi tells about the celebration at a wedding with dancing and singing.
Giovanni Battista Brocchi tells of a drummer dying with soldiers in battle who were very clumsy.
Giovanni Battista Brocchi notes the method of closing a surgeon's wound. The latter takes a cat and brings it close to the wound, so at the animal's cry the sick person is frightened and everything in its place and he can suture.
Giovanni Battista Brocchi tells of the stilli of miller crickets.
Giovanni Battista Brocchi says he also relies on sound to recognize the metal composition of thalers.
Giovanni Battista Brocchi tells how the owl's cry is to be linked to bad omens.
Giovanni Battista Brocchi tells that in these countries a woman named Senninar reigned and lived alone in the middle of the forest. Before she became queen she was a slave to whom all passersby brought honey and other produce, even the "Fung" discovered her.
Giovanni Battista Brocchi tells about Ramadan by also reporting what he saw in Cairo. There one sleeps during the day and sings and plays at night.
Giovanni Battista Brocchi recounts the effects of Sirocco among which he mentions loss of voice.
Giovanni Battista Brocchi describes the sound of the hawk's cry from the minarets.
Giovanni Battista Brocchi inserts a small dictionary of the language of the dialect of Mahs (city).
Giovanni Battista Brocchi describes a bird he sees and its behavior with other similar birds, describing the sounds of a place contention. This bird is not convinced to be an Ibis. Although many explorers say it is present in Egypt he has never seen it.
Giovanni Battista Brocchi describes a shrill cicada.
Giovanni Battista Brocchi describes the musical instruments and music of Africans.
Amalia Sola Nizzoli recounts a letter from her uncle who remained in Egypt. He tells him about a play he attended on the day of Epiphany.
Amalia Sola Nizzoli describes the night she spends on a boat in the port of Naples.
Amalia Sola Nizzoli arrives in Cairo and cannot help but remember the noise of this city.
Amalia Sola Nizzoli describes the Lent preceding Ramadan. Announcements from the minarets are also performed to the accompaniment of timpani.
Amalia Sola Nizzoli tells about women in harem.
Amalia Sola Nizzoli tells about the moment of conversation interrupted by prayer.
Amalia Sola Nizzoli describes the voice that calls to prayer.
Amalia Sola Nizzoli reasons that Turkish women are not as unhappy as people think. Pastimes include singing and dancing.
Amalia Sola Nizzoli tells the story of Rossane and her wedding, in which music and dancers are used to make her groom like her.
Amalia Sola Nizzoli tells about Rossane. During her wedding, she and her groom hear singers and dancers entertaining the guests in the room next to theirs.
Amalia Sola Nizzoli tells that Rossane described the prosecution of the wedding party amid singing and dancing.
Amalia Sola Nizzoli tells about the shouts outside her room.
Amalia Sola Nizzoli tells what takes place in the thermal baths, amid singing and dancing.
Rossane's wedding morning party to which Amalia Sola Nizzoli is invited.
Amalia Sola Nizzoli describes the musicians and dancers at Rossane's wedding party.
Amalia Sola Nizzoli recounts the music, songs, and especially the clothes and movements of the dancers. She also describes the payment the men reserve for the dancers and the anger of the women toward the dancers.
Amalia Sola Nizzoli tells of a dance she witnesses in the palace of Rossane, wife of the Pasha Abdin Bey. The dancers sing and accompany themselves with "castagnette".
Amalia Sola Nizzoli reports Nizzoli's account of a revolt in Cairo led by women over the payment of a tax.
Amalia Sola Nizzoli describes Arabic players and instruments round out the merriment of a festive day.
Amalia Sola Nizzoli tells of a musical event that accompanies her journey to Saqqara.
Amalia Sola Nizzoli recounts a musical event in which she points out that Arab marching bands were instructed by European professors.
Amalia Sola Nizzoli draws attention to the presence of a bell around the neck of the sacred camel that will carry the sacred carpet to Mecca.
Amalia Sola Nizzoli narrates the procession of the sacred carpet by highlighting the position of the musicians within the order of the procession.
Amalia Sola Nizzoli continues the description of the procession by focusing on camels with Arabs on them playing and beating very large kettledrums.
Amalia Sola Nizzoli describes the music present during the rise and flood of the Nile.
Amalia Sola Nizzoli describes the galleys that parade down the Nile, there are plenty of musicians aboard the boats.
Amalia Sola Nizzoli describes the sound of city during the Nile flood festival. This is filled with singing and dancing and a joyful atmosphere.
Amalia Sola Nizzoli tells of music and dances performed during a flood rite in the Nile river for healing effects.
Amalia Sola Nizzoli describes when the Governor returns to Cairo accompanied by music at the end of the Nile flood festival.
Amalia Sola Nizzoli describes when, during the Nile cutting ceremony, women are also seen freely walking through the crowd and with dancers enlivening the festivities.
Amalia Sola Nizzoli talks about women go to the dwelling of the deceased where they sing, jump, clap their hands, beat their faces even to the sound of a drummer expressing grief.
Amalia Sola Nizzoli describes the anniversary of the death of the deceased, when musical accompaniment is made by women.
Amalia Sola Nizzoli tells of the reforms brought by Mehemed Ali and the innovations brought to the area. These include a Tyrolean clarinet maker who proposed making cavafangos.
Amalia Sola Nizzoli describes the sticks of the cavass with the silver pommel and the Çavuş with sticks from which small silver bells hang.
Amalia Sola Nizzoli describes the use of the waterspout to communicate during a high wind and rough water at sea.
Amalia Sola Nizzoli describes that the officers of an American vessel held a party with music near Smyrna on an island called Cordelion (Lionheart). Sixty ladies were invited. The band played accompanying the meal.
Giovanni Miani recounts witnessing the ox's reaction to the sound of the master's horn.
Giovanni Miani talks about the ox horn known as Sciofar.
Giovanni Miani describes the sound of Toski's rocks.
Giovanni Miani tells of the sailors' song of joy upon arrival at Wadi Halpha.
Giovanni Miani tells of the musical accompaniment, dances and birdsong in the garden of a certain "Assan-Bei".
Giovanni Miani tells of the dance performance of some women to the sound of clapping and the lyre known as "Kosserki" (probably the correct name is "Kissar").
Giovanni Miani attends dances, describing songs, movements, and the presence of the "tarabuka" (the correct name is probably "darabukka").
Giovanni Miani describes a moment of dance and music
Giovanni Miani plays for Mr. Peney and his team that they love music.
Giovanni Miani tells how communication occurs between tribes. They use a drum called a "nugara" (the correct name is probably "naqqāra" or "nagāṙā").
Giovanni Miani describes the "Adda-bitaa-el-Muraka" (Muraka's maidservant) that sing to pass the time while she works.
Giovanni Miani talks about a rest during a boat trip with moments of music and singing.
Giovanni Miani describes the "Bun" (young girls who make believe they are mute). They have bells tied to their belts.
Giovanni Miani reports on the music and dances of Sudan. He mentions the nugara, singing and dancing.
Giovanni Miani describes the shouts of women and soldiers.
Near Khartoum, Giovanni Miani describes the cries of the hippos.
Near Khartoum, Giovanni Miani transcribes the words of a Dinka song, which he juxtaposes with an Italian one whose disappearance he reports.
Giovanni Miani describes dancing and Shilluk spouses. He mentions a pyrrhic dance with the fruits of dom on their feet; another type of rattle; trumpets; lyres; drums.
Giovanni Miani explains the significance of the varei signals given through the "nugara" from one tribe to another (the correct name of the drum is probably "naqqāra" or "nagāṙā").
Giovanni Miani specifies other meanings of "nugara" strokes (the correct name is probably "naqqāra" or "nagāṙā").
Giovanni Miani describes the sound of the skirts of the young "gianghè" girls, the rings on their legs and the drum accompanying the dance.
Giovanni Miani describes the skirts of "Dor" women.
Giovanni Miani describes the tribù of "Gniam-gniam" (Zande ethnic group). He saw them dancing and blowing large trumpets made from elephant tusks.
Giovanni Miani testifies to the presence of dances in honor of the divinity of the "Nuer" (ethnic group).
Giovanni Miani mentions the song Tan-majòk that accompanies the elephant hunt.
Giovanni Miani talks about the three oxen venerated by the "Kic" (ethnic group) and their priorities.
Giovanni Miani claims that "Kic" and "Nuer" use the same song in elephant hunting.
Giovanni Miani describes ventrilopes.
Giovanni Miani testimonies a moment of "Scir" women dance and sing.
Giovanni Miani mentions the presence of a large drum in the Bor ethnic group.
Giovanni Miani describes the Bari (ethnic group) clothing names the "kaffira" (skirt with iron pipes).
Giovanni Miani describes the music and dance of the Bari ethnic group. He talks about their songs accompanied by the "nugara" (the correct name is probably "naqqāra" or "nagāṙā") and the dances he witnesses.
Giovanni Miani tells of giving the chief of a village a trumpet and other items to pay for anchorage at a port.
Giovanni Miani recounts the killing of a hippopotamus and later reports that the "nugara" (the correct name is probably "naqqāra" or "nagāṙā") did not work as a call for help.
Giovanni Miani tells of some commands given to soldiers with fife and "nugara" (the correct name is probably "naqqāra" or "nagāṙā").
Giovanni Miani tells about a dinner with choreographic and vocal accompaniment.
Giovanni Miani is unwell and calls ringers and singers to his home. He describes the songs as "graceful" and with the "right rhythm".
Giovanni Miani tells about moments of dancing and singing. He also mentions the presence of a draftsman in his travel.
Giovanni Miani tells about the caravan with drums and fifes.
Giovanni Miani tells of the musical instruments that announce the departure of the caravan at night.
Giovanni Miani gets musical instruments and skirts called "kaffire".
Giovanni Miani writes about the noise of goats and lambs.
Music and dances welcome Giovanni Miani to Gondokoro to reward them for their journey.
Giovanni Miani tells about a tree called "Tree of the drum" where navigator used to play a drum before and after a trip.
Giovanni Miani recounts a moment of departure from Sudan's capital accompanied by the sound of drums, shouts of the people, and gunfire.
Giovanni Miani describes several animals in this area between Berber and Suakin and their noises.
Giovanni Miani describes a moment of music among travelers.