History
Sestri Levante has its origins as an ancient maritime and merchant center. Originally a small island with a promontory, it was later connected to the mainland. In Roman times, it was known as Segesta Tigullorum (or Tigulliorum) or simply Segesta. It was mentioned in the year 909 in a certificate of a man named Berengario, in which part of its territory was ceded to the basilica di San Giovanni di Pavia; after it was invaded by the Barbarians. During the Middle Ages, Sestri Levante began to expand, probably giving the fortress appearance that is due to the terrain.
In 1133, the noble family of Lavagna, the Fieschi, attacked Tigullio, the gulf in which Sestri Levante is located, however, they were fought off by the powerful Republic of Genoa, and therefore, Sestri Levante became a part of the republic, for military protection. In the year 1145, the abbey of San Colombano was acquired by the Genoese, and was transformed later into a castle.
In 1170, Sestri Levante was attacked by a naval flotilla from Pisa, but was able to withstand the attack.
Sestri Levante is mentioned by Dante Alighieri (as "Siestri") in Canto 19 of The Divine Comedy.
Read more about this topic: Sestri Levante
Famous quotes containing the word history:
“When we of the so-called better classes are scared as men were never scared in history at material ugliness and hardship; when we put off marriage until our house can be artistic, and quake at the thought of having a child without a bank-account and doomed to manual labor, it is time for thinking men to protest against so unmanly and irreligious a state of opinion.”
—William James (1842–1910)
“He wrote in prison, not a History of the World, like Raleigh, but an American book which I think will live longer than that. I do not know of such words, uttered under such circumstances, and so copiously withal, in Roman or English or any history.”
—Henry David Thoreau (1817–1862)
“The history of modern art is also the history of the progressive loss of art’s audience. Art has increasingly become the concern of the artist and the bafflement of the public.”
—Henry Geldzahler (1935–1994)