Medieval cathedral Duomo Santa Maria Assunta in Pisa (Tuscany Italy)
The heart of the Piazza del Duomo is the Duomo, the medieval cathedral of the Archdiocese of Pisa, entitled to Santa Maria Assunta (St. Mary of the Assumption). This is a five-naved cathedral with a three-naved transept. The church is known also as the Primatial, the archbishop of Pisa being a Primate since 1092. Its Construction began in 1064 by the architect Busketo, and set the model for the distinctive Pisan Romanesque style of architecture. The mosaics of the interior, as well as the pointed arches, show a strong Byzantine influence. The façade, of grey marble and white stone set with discs of coloured marble, was built by a master named Rainaldo, as indicated by an inscription above the middle door: Rainaldus prudens operator. The massive bronze main doors were made in the workshops of Giambologna, replacing the original doors destroyed in a fire in 1595. The original central door was in bronze and made around 1180 by Bonanno Pisano, while the other two were probably in wood. However worshippers never used the façade doors to enter, instead entering by way of the Porta di San Ranieri (St. Ranieri's Door), in front of the Leaning Tower, made in around 1180 by Bonanno Pisano. Above the doors there are four rows of open galleries with, on top, statues of Madonna with Child and, on the corners, the Four evangelists. Also in the façade we can find the tomb of Busketo (on the left side) and an inscription about the foundation of the Cathedral and the victorious battle against Saracens. At the east end of the exterior, high on a column rising from the gable is a modern replica of the Pisa Griffin, the largest Islamic metal sculpture known, the original of which was placed there probably in the 11th or 12th century, and is now in the Cathedral Museum. The interior is faced with black and white marble and has a gilded ceiling and a frescoed dome. It was largely redecorated after a fire in 1595, which destroyed most of the Renaissance art works. Fortunately, the impressive mosaic, in the apse, of Christ in Majesty, flanked by the Blessed Virgin and St. John the Evangelist, survived the fire. It evokes the mosaics in the church of Monreale, Sicily. Although it is said that the mosaic was done by Cimabue, only the head of St. John was done by the artist in 1302 and was his last work, since he died in Pisa in the same year. The cupola, at the intersection of the nave and thetransept, was decorated by Riminaldi showing the ascension of the Blessed Virgin. Galileo is believed to have formulated his theory about the movement of a pendulum by watching the swinging of the incense lamp (not the present one) hanging from the ceiling of the nave. That lamp, smaller and simpler than the present one, it is now kept in the Camposanto, in the Aulla chapel. The granite Corinthian columns between the nave and the aisle came originally from the mosque of Palermo, captured by the Pisans in 1063. The coffer ceiling of the nave was replaced after the fire of 1595. The present gold-decorated ceiling carries the coat of arms of the Medici. The elaborately carved pulpit (1302–1310), which also survived the fire, was made by Giovanni Pisano and is one the masterworks of medieval sculpture. It was packed away during the redecoration and was not rediscovered and re-erected until 1926. The pulpit is supported by plain columns (two of which mounted on lions sculptures) on one side and by caryatids and a telamon on the other: the latter represent St. Michael, the Evangelists, the fourcardinal virtues flanking the Church, and a bold, naturalistic depiction of a naked Hercules. A central plinth with the liberal arts supports the four theological virtues.
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VENICE, EXPLORING the 1728 magnificent JESUIT CHURCH ⛪ of SANTA MARIA ASSUNTA
SUBSCRIBE: - Let's visit one of Venice's most spectacular church, the Jesuit (Gesuiti) church of our Lady of the Assumption (Santa Maria Assunta). This glitzy 18th-century Jesuit church is difficult to take in all at once, with a spectacular pulpit , white-and-green marble, beautifully decorated walls while the ceiling is a riot of gold-and-white stuccowork. Titian's uncharacteristically gloomy Martyrdom of St Lawrence, on the left as you enter the church, is the highlight of the visit.
Venice, the capital of northern Italy’s Veneto region, is built on more than 100 small islands in a lagoon in the Adriatic Sea. It has no roads, just canals – including the Grand Canal thoroughfare – lined with Renaissance and Gothic palaces. The central square, Piazza San Marco, contains St. Mark’s Basilica, which is tiled with Byzantine mosaics, and the Campanile bell tower offering views of the city’s red roofs.
Italy, a European country with a long Mediterranean coastline, has left a powerful mark on Western culture and cuisine. Its capital, Rome, is home to the Vatican as well as landmark art and ancient ruins. Other major cities include Florence, with Renaissance masterpieces such as Michelangelo’s David and Brunelleschi's Duomo; Venice, the city of canals; and Milan, Italy’s fashion capital.
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Vic Stefanu, vstefanu@yahoo.com
Dom von Siena Toskana - Cattedrale di Santa Maria Assunta
Historische Bauwerke - Burgen und Schlösser - Folge 6
Der Dom von Siena, Cattedrale di Santa Maria Assunta, ist die sehenswerte Hauptkirche der Stadt Siena in der Toskana in Italien.
Das aus schwarzem und weißem Marmor errichtete Bauwerk ist eines der bedeutendsten Beispiele der gotischen Architektur in Italien.
Begonnen mit dem Bau wurde 1229. Fertig im Jahre 1263 - der 77 Meter hohe Glockenturm dauerte bis ins Jahr 1313.
The Cathedral of Siena, Cathedral of Santa Maria Assunta, which featured the main church in the city of Siena in Tuscany in Italy.
Built of black and white marble structure is one of the greatest examples of Gothic architecture in Italy.
We started with the construction 1229th Completed in 1263 - the 77 meter high bell tower lasted until 1313
La cathédrale de Sienne, la cathédrale de Santa Maria Assunta, qui présentait l'église principale de la ville de Sienne en Toscane en Italie.
Construit de la structure en marbre noir et blanc est l'un des plus grands exemples de l'architecture gothique en Italie.
Nous avons commencé avec la construction 1229e Achevé en 1263 - la tour de 77 mètres de haut cloche a duré jusqu'en 1313
Il Duomo di Siena, Cattedrale di Santa Maria Assunta, che comprendeva la chiesa principale della città di Siena in Toscana in Italia.
Costruito della struttura in marmo bianco e nero è uno dei maggiori esempi di architettura gotica in Italia.
Abbiamo iniziato con la costruzione 1229i Completato nel 1263 - i 77 metri di altezza campanile durò fino al 1313
La Catedral de Siena, la Catedral de Santa María de la Asunción, que contó con la iglesia principal en la ciudad de Siena en Toscana en Italia.
Piedra de la estructura de mármol blanco y negro es uno de los mayores ejemplos de arquitectura gótica en Italia.
Empezamos con la construcción 1229a Terminado en 1263 - la torre de 77 metros de alto campanario se prolongó hasta 1313
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Italy Tuscany Volterra Battistero San Giovanni and Duomo Santa Maria Assunta Italië Toscane
Duomo and baptisterium Free & open daily
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De Duomo, de mooie middeleeuwse kathedraal van Volterra, gelegen aan een rustig plein.
Het Baptisterium, ligt tegenover de Duomo, is een mooi sober gebouw met een fel oranje dak. Hier werden in de Middeleeuwen de Volterranen gedoopt.
FILIPINA ITALIAN LIFE : THE CATHEDRAL OF SANTA MARIA ASSUNTA / E Tells Vlogs
The Cattedral of Como or also called as The Cattedral of Santa Maria Assunta is the main religious building in the city of Como, mother church of the diocese of the same name.
Located near the lake, it represents one of the most remarkable monuments of northern Italy. Inside, there are 16th and 17th century tapestries made in ferrarra Florence and Brussels and 16th century paintings by Bernardino Luini and Gaudenzio Ferrari.
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Basilica di Santa Maria Assunta (Aquileia) Church
Stupendi Mosaici,beautiful mosaics,full tour inside the Church
Wedding in Positano at Santa Maria Assunta chu
Cathedral of Pisa, Pisa, Tuscany, Italy, Europe
The Cathedral of St. Mary, the center of the homonymous square, is the medieval cathedral of Pisa and primatial church. Romanesque masterpiece, especially of the Pisan Romanesque, is the tangible evidence of the prestige and wealth achieved by the Maritime Republic of Pisa in the time of its heyday. It was begun in 1063 (1064 according to the Pisan calendar then in force) Buscheto architect, with a tenth of the spoils of the company Pisan in Sicily in the port of Palermo against Muslims (1063). We blend different stylistic elements: classic, Lombard-Emilian Byzantine and particularly Islamic, proof of the international presence of the Pisan merchants in those days. That same year was also started the reconstruction of the basilica of San Marco in Venice, so it may be that at the time there had been a rivalry between the two maritime republics to create the most beautiful place of worship and sumptuous.
The church was built in an area outside the early medieval city walls, to symbolize their power of Pisa, which did not require protection. The area chosen was already used in the Lombard period Necropolis and, already in the early eleventh century, a church was erected never finished that was to be dedicated to Santa Maria. The new large church Buscheto fact is initially called Santa Maria Maggiore until it was finally dedicated to Santa Maria Assunta. In 1092 the church, from simple cathedral, passes to be Primate, having been awarded the title of Primate Archbishop Daiberto by Pope Urban II, an honor today only formal. The cathedral was consecrated in 1118 by Pope Gelasius II, belonging to the branch of the Pisan Gaetani (or Caetani), accounts of Soil and Oriseo, but already in the first half of the twelfth century was expanded under the direction of Rainaldo which has the project of the facade, completed by workers led by the sculptors Guglielmo and Biduino. The current appearance of the building complex is the result of repeated restoration campaigns have occurred at different times. The first radical interventions followed the disastrous fire of 1595, following which the roof was rebuilt and were performed three bronze doors of the facade, the work of sculptors from the workshop of Fra Domenico Portigiani, including Gasparo Molo and Pietro Tacca; in the eighteenth century began the gradual coating of the interior walls with large paintings on canvas, the bricks with stories of saints and blessed Pisa, performed by leading artists of the time thanks to the initiative of some citizens who autofinanziarono creating a special business. Among the various interventions of note should be noted the dismantling of the pulpit by Giovanni Pisano who was reassembled in 1926 to a different location and different parts missing, including the scale, and the dismantling of the monument to Henry VII built by Francesco Lupo which was located in front of the door of San Ranieri and then replaced by a simplified and symbolic. The following interventions were made in the nineteenth century and the interior decoration is interested both the external ones, which in many cases, especially for the sculptures on the facade were replaced by copies (the originals are in the Museo dell'Opera del Duomo). The building was originally a Greek cross with a large dome where the arms, today is a Latin cross with five naves with apse and transept with three naves, inside suggests a spatial effect similar to that of the great Islamic mosques through the use of raised curve arches, alternating bands of black and white marble and the unusual elliptical dome, Moorish-inspired. The presence of the two women's galleries raised in the aisles, with the solid monolithic granite columns, is a clear sign of Byzantine influence. The architect had welcomed Buscheto stimuli from Levante Islamic and Armenia. The rich decoration includes multicolored marbles, mosaics and numerous bronze objects from the spoils of war, including the Grifo used as east of the roof, taken in Palermo in 1061. The arches in acute profile make reference to Muslim influences and the south d ' Italy. The blind arcades with lozenges recall the similar structures of the churches of Armenia. The façade of gray and white marble, decorated with inlays of colored marble, was built by master Rainaldo. The three portals are subject to four orders of loggias divided by frames with marble inlays, behind which there are single-light, mullioned windows.
Volterra Cathedral, Volterra, Pisa, Tuscany, Italy, Europe
The Cathedral of Santa Maria Assunta is the main place of Catholic worship in Volterra, in the province of Pisa, the mother church of the diocese of the same name. In November 1957 Pope Pius XII elevated it to the rank of minor basilica. It is not sure which was the first city cathedral; in any case, starting from the IX century there was a church dedicated to Santa Maria. Rebuilt after the violent earthquake of 1117, it was enlarged in the second half of the thirteenth century. The cathedral shows in the transept a decoration of classical taste, including lunettes adorned with the technique of flattened ornamentation of pre-Romanesque style, and sloping rhombuses that housed ceramic basins in the center. The same rhombuses are also present in the salient façade, divided into three compartments by quadrangular pilasters of the Lombard type. The marble portal consists of re-used material from the Roman theater of Vallebuona.
Cathedral of Pisa, Pisa, Tuscany, Italy, Europe
The Cathedral of St. Mary, the center of the homonymous square, is the medieval cathedral of Pisa and primatial church. Romanesque masterpiece, especially of the Pisan Romanesque, is the tangible evidence of the prestige and wealth achieved by the Maritime Republic of Pisa in the time of its heyday. It was begun in 1063 (1064 according to the Pisan calendar then in force) Buscheto architect, with a tenth of the spoils of the company Pisan in Sicily in the port of Palermo against Muslims (1063). We blend different stylistic elements: classic, Lombard-Emilian Byzantine and particularly Islamic, proof of the international presence of the Pisan merchants in those days. That same year was also started the reconstruction of the basilica of San Marco in Venice, so it may be that at the time there had been a rivalry between the two maritime republics to create the most beautiful place of worship and sumptuous.
The church was built in an area outside the early medieval city walls, to symbolize their power of Pisa, which did not require protection. The area chosen was already used in the Lombard period Necropolis and, already in the early eleventh century, a church was erected never finished that was to be dedicated to Santa Maria. The new large church Buscheto fact is initially called Santa Maria Maggiore until it was finally dedicated to Santa Maria Assunta. In 1092 the church, from simple cathedral, passes to be Primate, having been awarded the title of Primate Archbishop Daiberto by Pope Urban II, an honor today only formal. The cathedral was consecrated in 1118 by Pope Gelasius II, belonging to the branch of the Pisan Gaetani (or Caetani), accounts of Soil and Oriseo, but already in the first half of the twelfth century was expanded under the direction of Rainaldo which has the project of the facade, completed by workers led by the sculptors Guglielmo and Biduino. The current appearance of the building complex is the result of repeated restoration campaigns have occurred at different times. The first radical interventions followed the disastrous fire of 1595, following which the roof was rebuilt and were performed three bronze doors of the facade, the work of sculptors from the workshop of Fra Domenico Portigiani, including Gasparo Molo and Pietro Tacca; in the eighteenth century began the gradual coating of the interior walls with large paintings on canvas, the bricks with stories of saints and blessed Pisa, performed by leading artists of the time thanks to the initiative of some citizens who autofinanziarono creating a special business. Among the various interventions of note should be noted the dismantling of the pulpit by Giovanni Pisano who was reassembled in 1926 to a different location and different parts missing, including the scale, and the dismantling of the monument to Henry VII built by Francesco Lupo which was located in front of the door of San Ranieri and then replaced by a simplified and symbolic. The following interventions were made in the nineteenth century and the interior decoration is interested both the external ones, which in many cases, especially for the sculptures on the facade were replaced by copies (the originals are in the Museo dell'Opera del Duomo). The building was originally a Greek cross with a large dome where the arms, today is a Latin cross with five naves with apse and transept with three naves, inside suggests a spatial effect similar to that of the great Islamic mosques through the use of raised curve arches, alternating bands of black and white marble and the unusual elliptical dome, Moorish-inspired. The presence of the two women's galleries raised in the aisles, with the solid monolithic granite columns, is a clear sign of Byzantine influence. The architect had welcomed Buscheto stimuli from Levante Islamic and Armenia. The rich decoration includes multicolored marbles, mosaics and numerous bronze objects from the spoils of war, including the Grifo used as east of the roof, taken in Palermo in 1061. The arches in acute profile make reference to Muslim influences and the south d ' Italy. The blind arcades with lozenges recall the similar structures of the churches of Armenia. The façade of gray and white marble, decorated with inlays of colored marble, was built by master Rainaldo. The three portals are subject to four orders of loggias divided by frames with marble inlays, behind which there are single-light, mullioned windows.
Cathedral of Siena Duomo di Siena Tuscany Italy Cathédrale de Sienne 锡耶纳大教堂 シエナの大聖堂
Siena Cathedral (Italian: Duomo di Siena) is a medieval church in Siena,Italy, dedicated from its earliest days as a Roman Catholic Marian church, and now dedicated to Santa Maria Assunta (Holy Mary, Our Lady of the Assumption). The cathedral itself was originally designed and completed between 1215 and 1263 on the site of an earlier structure. It has the form of a Latin cross with a slightly projecting transept, a dome and a bell tower. The dome rises from a hexagonal base with supporting columns. The lantern atop the dome was added by Gian Lorenzo Bernini. The nave is separated from the two aisles by semicircular arches. The exterior and interior are constructed of white and greenish-black marble in alternating stripes, with addition of red marble on the façade. Black and white are the symbolic colors of Siena, etiologically linked to black and white horses of the legendary city's founders, Senius and Aschius. The origins of the first structure are obscure and shrouded in legend. There was a 9th-century church with bishop's palace at the present location. In December 1058 a synod was held in this church resulting in the election of pope Nicholas II and the deposition of the antipopeBenedict X. In 1196 the cathedral masons’ guild, the Opera di Santa Maria, was put in charge of the construction of a new cathedral. Works were started with the north - south transept and it was planned to add the main, larger body of the cathedral later, but this enlargement was never accomplished. By 1215 there were already daily masses said in the new church. There are records from 1226 onwards of the transport of black and white marble, probably for the construction of the façade and the bell tower. The vaults and the transept were constructed in 1259-1260. In 1259 Manuello di Ranieri and his son Parri carved some wooden choir stalls, which were replaced about 100 years later and have now disappeared. In 1264, Rosso Padellaio was paid for the copper sphere on top of the dome. A second massive addition of the main body of the cathedral was planned in 1339. It would have more than doubled the size of the structure by means of an entirely new nave and two aisles ranged perpendicular to the existing nave and centred on thehigh altar. The construction was begun under the direction of Giovanni di Agostino, better known as a sculptor. Construction was halted by the Black Death in 1348. Basic errors in the construction were already evident by then, however, and the work was never resumed. The outer walls, remains of this extension, can now be seen to the south of the Duomo. The floor of the uncompleted nave now serves as a parking lot and museum, and, though unfinished, the remains are testament to Sienese power, ambition, and artistic achievement.
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Florence - Italy - Tuscany - Scenes of Cathedral of Santa Maria Del Fiore
Firenze - Toscana - Piazza Del Duomo - Campanile Di Giotto - Cattedrale Di Santa Maria Del Fiore
Florence Cathedral Santa Maria del Fiore, Tuscany, Italy. Historic, architecture.
DayTrip4U
Cathedral of Pisa, Pisa, Tuscany, Italy, Europe
The Cathedral of St. Mary, the center of the homonymous square, is the medieval cathedral of Pisa and primatial church. Romanesque masterpiece, especially of the Pisan Romanesque, is the tangible evidence of the prestige and wealth achieved by the Maritime Republic of Pisa in the time of its heyday. It was begun in 1063 (1064 according to the Pisan calendar then in force) Buscheto architect, with a tenth of the spoils of the company Pisan in Sicily in the port of Palermo against Muslims (1063). We blend different stylistic elements: classic, Lombard-Emilian Byzantine and particularly Islamic, proof of the international presence of the Pisan merchants in those days. That same year was also started the reconstruction of the basilica of San Marco in Venice, so it may be that at the time there had been a rivalry between the two maritime republics to create the most beautiful place of worship and sumptuous.
The church was built in an area outside the early medieval city walls, to symbolize their power of Pisa, which did not require protection. The area chosen was already used in the Lombard period Necropolis and, already in the early eleventh century, a church was erected never finished that was to be dedicated to Santa Maria. The new large church Buscheto fact is initially called Santa Maria Maggiore until it was finally dedicated to Santa Maria Assunta. In 1092 the church, from simple cathedral, passes to be Primate, having been awarded the title of Primate Archbishop Daiberto by Pope Urban II, an honor today only formal. The cathedral was consecrated in 1118 by Pope Gelasius II, belonging to the branch of the Pisan Gaetani (or Caetani), accounts of Soil and Oriseo, but already in the first half of the twelfth century was expanded under the direction of Rainaldo which has the project of the facade, completed by workers led by the sculptors Guglielmo and Biduino. The current appearance of the building complex is the result of repeated restoration campaigns have occurred at different times. The first radical interventions followed the disastrous fire of 1595, following which the roof was rebuilt and were performed three bronze doors of the facade, the work of sculptors from the workshop of Fra Domenico Portigiani, including Gasparo Molo and Pietro Tacca; in the eighteenth century began the gradual coating of the interior walls with large paintings on canvas, the bricks with stories of saints and blessed Pisa, performed by leading artists of the time thanks to the initiative of some citizens who autofinanziarono creating a special business. Among the various interventions of note should be noted the dismantling of the pulpit by Giovanni Pisano who was reassembled in 1926 to a different location and different parts missing, including the scale, and the dismantling of the monument to Henry VII built by Francesco Lupo which was located in front of the door of San Ranieri and then replaced by a simplified and symbolic. The following interventions were made in the nineteenth century and the interior decoration is interested both the external ones, which in many cases, especially for the sculptures on the facade were replaced by copies (the originals are in the Museo dell'Opera del Duomo). The building was originally a Greek cross with a large dome where the arms, today is a Latin cross with five naves with apse and transept with three naves, inside suggests a spatial effect similar to that of the great Islamic mosques through the use of raised curve arches, alternating bands of black and white marble and the unusual elliptical dome, Moorish-inspired. The presence of the two women's galleries raised in the aisles, with the solid monolithic granite columns, is a clear sign of Byzantine influence. The architect had welcomed Buscheto stimuli from Levante Islamic and Armenia. The rich decoration includes multicolored marbles, mosaics and numerous bronze objects from the spoils of war, including the Grifo used as east of the roof, taken in Palermo in 1061. The arches in acute profile make reference to Muslim influences and the south d ' Italy. The blind arcades with lozenges recall the similar structures of the churches of Armenia. The façade of gray and white marble, decorated with inlays of colored marble, was built by master Rainaldo. The three portals are subject to four orders of loggias divided by frames with marble inlays, behind which there are single-light, mullioned windows.
Pisa Cathedral: January 21,2017
Cattedrale Metropolitana Primaziale di Santa Maria Assunta (Pisa Cathedral). This cathedral had so many beautiful things in it, this video could have been much longer. If you come to Italy and like art, churches, or generally impressive feats of making, you should really check it out! Please subscribe, like, and share if you like the videos. - ZS -
Sant Augustino Church, San Gimignano, Tuscany, Italy.
Panoramic of Sant' Augustino Church, San Gimignano, Tuscany, Italy, from the Castle Park.
Toscana - Duomo di Siena, Cattedrale di Santa Maria Assunta
Toscana Holiday ( dorumagda )
personal video - 2014
music excerpt from Sound of an Angel - Black Dawn
Aquileia (UD), Basilica di Santa Maria Assunta
Music: Sonata 17 - Kevin MacLeod (incompetech.com)
Licensed under Creative Commons: By Attribution 3.0 License
SAN GIMIGNANO - Il Duomo - Collegiata di Santa Maria Assunta
La basilica collegiata di Santa Maria Assunta, conosciuta anche come il duomo di San Gimignano, è situata in piazza del Duomo, alla sommità di un'ampia scalinata dalla quale domina il lato occidentale della piazza. Si pensa fu eretta nel 1056.
All' interno della basilica tutte le pareti e le volte sono ricoperte di affreschi realizzati da vari artisti e principalmente da Lippo Memmi e da Bartolo di Fredi.
Siena Italy the Duomo French Gothic meets Romanesque (Part 11)
We travel through the Siena Cathedral and Duomo in Tuscany, Italy.
The enjoyment in Italy as in any travel, is not necessarily the Churches and Museums, but everything in between. On our adventures at the Siena Duomo we see the Rose Window by Buoninegna, the Marble Pulpit by Pisano, and a world of Medieval and Gothic Art and Architecture. We spot the ancient underground foundries... like the quietness of this one more than in Florence. We wonder why the Church is so quiet, and find all of the
tourists.. .of course... in the Gift Shop.