ITALY: EXPLORING the cave of ST FRANCIS ???? (SAN FRANCESCO D' ASSISI)
SUBSCRIBE: - Let's visit The Eremo delle Carceri which is a hermitage complex located in a steep forest gorge in Umbria, in central Italy, four kilometers above Assisi.
In the 13th century, Saint Francis of Assisi would often come to this place to pray and contemplate, as did other hermits before him. When he first came in 1205, the only building here was a tiny 12th-century oratory. Soon, other men followed him to the mountain, finding their own isolated caves nearby in which to pray. The oratory became known as Santa Maria delle Carceri after the small prisons occupied by friars in the area.
Francis dedicated himself to a life of preaching and missions, but throughout his life he would frequently withdraw to the Carceri to pray.
In the centuries that followed, various buildings were added around St. Francis' cave and the original oratory, forming the sizable complex that exists today. Today some Franciscan monks live there and visitors are welcome.
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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Church of Mary Magdalene, Alba, Cuneo, Piedmont, Italy, Europe
In contrast to the prevailing medieval character of the city stands on Via Vittorio Emanuele, the Baroque church of Santa Maria Maddalena. Built on the site of the former fifteenth-century building, the new church was commissioned by Count Carlo Giacinto Roero architect Bernardo Vittone, who finished the work in 1749, as the date on the scroll above the altar of the Blessed Margherita of Savoy, above wooden compass, in the counter, and the lateral portal. On the impact is the brick façade remained incomplete and characterized by rows of bricks by clamping and sinuous and dynamic including patterns Borromini and Guarini. The facade is decorated with an artistic wooden portal with moldings on which are carved the three crossed arrows, iconographic attributes of the Blessed Margherita of Savoy. It is surmounted by an oval stucco and a bezel. The exterior rude hides inside a small living room of Baroque plant elliptical inscribed in a rectangle. The interior is rhythmically punctuated by eight Corinthian columns alternating with pilasters and covered by the dome ovata, lit by a lantern on top. The illusionistic decoration of the time, by the painter of figure Michele Antonio Milocco between 1747 and 1750, focuses on the exaltation of the Blessed Margherita of Savoy, on the celebration of the Dominican order and sull'omaggio the Savoy dynasty, represented in a vortex of clouds. Dedicated to the Blessed is also the eighteenth century left altar adorned by fine polychrome marble. Above the table and protected by a grate centinata there is the urn of the Blessed, embossed silver, followed in 1840 by the goldsmith Peter Borrani of Turin. On the opposite side, the altar dedicated to St. Rose is characterized by the eighteenth-century marble table and an illusionist painting. The high altar is dedicated to St. Mary Magdalene, depicted in the altarpiece painted by Giovanni Battista Biscarra oval in 1825. The upper, embellished by two spiral columns and the crowning of the Savoy from the gun, is built between 1689 and 1691 by Giuseppe Maria Carlone and Francesco Piazzoli for existing side altar of the Blessed Margherita and transferred altar by Vittone. On the sides are the statues of the Blessed Margherita eighteenth and St. Rose of Lima. Behind the presbytery is the chorus of trapezoidal housing 48 stalls in walnut, with armrests carved scrolls, backs and pews inlaid with cross motifs, clamshell and spearhead. The vault, built by James Rapa in 1734, presents glimpses of baroque architectural perspectives of great dramatic effect. Among the furnishings, finally, have to report the century wooden crucifix and the bust of Christ the sculptor Pietro Canonica.
Chiesa gotica di San Francesco del Prato torna alla luce dopo 2 secoli di abbandono
Il Tg post di Pierluigi Vito porta a Parma per raccontare il restauro di un monumento straordinario tornato alla luce dopo oltre due secoli di abbandono: la chiesa gotica di San Francesco del Prato.
Hotel Royal Superga *** Hotel Review 2017 HD, Cuneo, Italy
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Property Location
With a stay at Hotel Royal Superga, you'll be centrally located in Cuneo, steps from Piazza Seminario Market and Galimberti Square. This hotel is within close proximity of Sant'Ambrogio Church and Church of San Francesco.
Rooms
Make yourself at home in one of the 41 air-conditioned rooms featuring minibars. Complimentary wireless Internet access keeps you connected, and satellite programming is available for your entertainment. Private bathrooms with bathtubs or showers fea...
Places to see in ( Cuneo - Italy )
Places to see in ( Cuneo - Italy )
Cuneo is a city and comune in Piedmont, Northern Italy, the capital of the province of Cuneo, the third largest of Italy’s provinces by area. It is located at 550 metres in the south-west of Piedmont, at the confluence of the rivers Stura and Gesso. There is a raft of reasons why you should drop by stately Cuneo, not least being the food, the bike friendliness, the hiking possibilities nearby, and, last but certainly not least, the city's signature rum-filled chocolates.
Sitting on a promontory of land between two rivers, Cuneo also provides excellent Alpine views framed by the high pyramid-shaped peak of Monte Viso (3841m) in the Cottian Alps.
Including all bordering municipalities Beinette, Borgo San Dalmazzo, Boves, Busca, Caraglio, Castelletto Stura, Centallo, Cervasca, Morozzo, Peveragno, Tarantasca and Vignolo the population is 123,301 inhabitants. It is near six important mountain passes:
Colle della Maddalena at 1,996 metres (6,549 ft)
Colle di Tenda at 1,871 metres (6,138 ft) - Tunnel of Tenda at 1,300 metres (4,300 ft), 3 kilometres (1.9 mi) long
Colle del Melogno at 1,027 metres (3,369 ft)
Colle San Bernardo at 957 metres (3,140 ft)
Colle di Nava at 934 metres (3,064 ft)
Colle di Cadibona at 459 metres (1,506 ft).
Cuneo was founded in 1198 by the local population, who declared it an independent commune, freeing themselves from the authority of the bishops of Asti and the marquisses of Montferrat and Saluzzo. In 1210 the latter occupied it, and in 1231 the Cuneesi rebelled. In 1238 they were recognized as free commune by Emperor Frederick II.
In 1259 the independence of Cuneo ceased forever, as it gave itself, also to take protection against its more powerful neighbours, to Charles I of Anjou, who was then King of Naples and Count of Provence. Together with Alba, it was the main Angevine possession in Northern Italy; their rule (in fact interrupted by periods under Saluzzo, Savoy, the Visconti of Milan) ended in 1382 when Cuneo was acquired by the Duchy of Savoy.
Alot to see in Cuneo :
Villa Oldofredi Tadini, built in the 14th and 15th centuries as a watchtower. It is now a museum housing collections of the owners, the Mocchia and Oldofredi Tadini families.
Villa Tornaforte, surrounded by an English-style park.
Civic Museum
Railway Museum
Churches of Santa Croce, San Giovanni Decollato and Santissima Annunziata, housing paintings by Giovan Francesco Gaggini.
Panoramic funicolar that connects plateau to Gesso river.
Monument of Stura and Gesso in Torino Square
The median way of the plateau (Rome Avenue, Galimberti Square and Nice Avenue): the commercial heart of Cuneo.
New Bridge (Ponte Nuovo) between the center of the city and Madonna dell' Olmo
Monument at Peano's curve
Palazzo Uffici Finanziari (PUF), highest edifice in the city at about 50 metres (160 ft)
Most important and populated: Centro storico, Cuneo centro, Cuneo nuova, San Paolo, Donatello, Gramsci, San Rocco, Cerialdo, Confreria and Borgo San Giuseppe. Cuneo's specialty is Cuneesi al rhum, chocolates with a unique rum-based filling. The most famous brand is Arione, located in Piazza Galimberti (the city's central square). Arione, founded in 1923, has kept its traditional furniture.
( Cuneo - Italy ) is well know as a tourist destination because of the variety of places you can enjoy while you are visiting Cuneo . Through a series of videos we will try to show you recommended places to visit in Cuneo - Italy
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Hotel Palazzo Lovera **** Hotel Review 2017 HD, Cuneo, Italy
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Property Location
A stay at Hotel Palazzo Lovera places you in the heart of Cuneo, walking distance from Piazza Seminario Market and Sant'Ambrogio Church. This 4-star hotel is within close proximity of Galimberti Square and Church of San Francesco.
Rooms
Make yourself at home in one of the 47 air-conditioned rooms featuring minibars. Complimentary wireless Internet access keeps you connected, and satellite programming is available for your entertainment. Private bathrooms with bathtubs or sh...
Churches of Bologna, Italy
Bologna has many churches of different architectural styles. Among them the most imposing are San petronio and San Francesco. The most curious is Santo Stefano, a set of eight different churches from the 11th to 13th century.
Our Lady of the Snows, Monforte d'Alba, Cuneo, Langhe, Piedmont, Italy, Europe
The Dedication of the Basilica of St Mary Major is a feast day in the General Roman Calendar, optionally celebrated annually on 5 August with the rank of memorial. In earlier editions of the General Roman Calendar, down to that of 1960, it is called the Dedication of the Basilica of St Mary of the Snows (In Dedicatione basilicae S. Mariae ad Nives), a reference to the legendary story about the foundation of the basilica. For the same reason the feast is also known popularly as Our Lady of the Snows. The reference to the legend was removed in the 1969 revision of the General Roman Calendar. Pope Pius V inserted this feast into the General Roman Calendar in 1568, when, in response to the request of the Council of Trent, he reformed the Roman Breviary. Before that, it had been celebrated at first only in the church itself and, beginning in the 14th century, in all the churches of the city of Rome. Accordingly, it appears in the Tridentine Calendar for celebration as a Double. In Pope Clement VIII's Missal of 1604, it was given the newly invented rank of Greater Double. In Pope John XXIII's 1960 calendar, it became a Third-Class Feast. This 1960 calendar, included in the 1962 edition of the Roman Missal, is the calendar whose continued use privately and, under certain conditions, publicly is authorized by the motu proprio Summorum Pontificum. Nine years later, the celebration became an optional memorial. The feast commemorates the dedication by Pope Sixtus III of the rebuilt Basilica di Santa Maria Maggiore just after the First Council of Ephesus. This major basilica, located on the summit of the Esquiline Hill in Rome, is called the Basilica of Santa Maria Maggiore (Latin: Basilica Sanctae Mariae Maioris) because it is the largest church in Rome dedicated to the Blessed Virgin Mary. The original church, which was replaced by that of Pope Sixtus III, was built during the pontificate of Pope Liberius (352–366), and is thus sometimes known as the Basilica Liberii or Basilica Liberiana. Until 1969 the feast was known as Dedicatio Sanctae Mariae ad Nives (Dedication of the Church of Our Lady of the Snows), a name that had become popular for the Basilica in the 14th century in connection with a legend about its origin that the Catholic Encyclopedia summarizes: During the pontificate of Liberius, the Roman patrician John and his wife, who were without heirs, made a vow to donate their possessions to the Virgin Mary. They prayed that she might make known to them how they were to dispose of their property in her honour. On 5 August, at the height of the Roman summer, snow fell during the night on the summit of the Esquiline Hill. In obedience to a vision of the Virgin Mary which they had the same night, the couple built a basilica in honour of Mary on the very spot which was covered with snow. From the fact that no mention whatever is made of this alleged miracle until a few hundred years later, not even by Sixtus III in his eight-line dedicatory inscription ... it would seem that the legend has no historical basis. In fact there is no reference to the legend before the year 1000. The popularity of the legend in the 15th century is shown in the painting of the Miracle of the Snow by Masolino da Panicale of around 1423, now in the Museo di Capodimonte, Naples, in which the miracle is depicted as witnessed by a crowd of men and women, with Jesus and the Virgin Mary observing from above, and by the building in that century and the immediately following centuries of many churches dedicated to Our Lady of the Snows, of which 152 still exist in Italy. A more critical attitude began to prevail in the 18th century, as evidenced by the proposal that a congregation set up by Pope Benedict XIV presented to him in 1741 that the reading of the legend be removed from the Roman Breviary and that the original name, Dedicatio Sanctae Mariae, be restored. This recommendation was implemented only in 1969, 228 years later. On 5 August each year, during the celebration of the liturgical feast of the Dedication of the Basilica of St. Mary Major, a custom that commemorates the story of the miraculous snowfall is still maintained: at the conclusion of the Solemn Mass in the basilica, a shower of white rose petals is dropped from the dome of the Chapel of Our Lady. At sunset on the same day, an artificial snowfall is staged as a tourist attraction in the square outside the basilica. Apart from the above-mentioned many shrines of the Madonna della Neve in Italy, the United States has a National Shrine of Our Lady of the Snows in Belleville, Illinois, and parishes dedicated to Our Lady of the Snows are located in Reno, Nevada; Floral Park, New York and Woodstock, Vermont.
BRA (Piemonte) chiesa di S. Chiara - Italian baroque masterpiece - videomix (1/3)
La chiesa di Santa Chiara progettata da Bernardo Antonio Vittone fu fatta costruire dalle Monache Clarisse. I lavori iniziarono il 27 maggio 1742 e fu aperta al pubblico nel 1748 anche se non completata. Il Vittone crea un capolavoro dell'architettura rococò piemontese: la pianta è quadrilobata e tutta la costruzione è impostata su quattro grandi pilastri che sorreggono il complesso gioco dei coretti, della doppia cupola e del cupolino. Il vero colpo di genio è nella doppia cupola traforata (cupola diafana). Attraverso le quattro aperture mistilinee della cupola inferiore si possono vedere le pitture affrescate nella cupola inferiore, illuminate dalla luce che proviene da diverse aperture. In questo interno bellissimo la luce è la protagonista assoluta della vicenda architettonica: una luce che plasma la materia, la anima come un fluido vitale e modella le forme raffinate delle decorazioni. Gli stucchi sono di Bernardino Barelli mentre la decorazione pittorica è opera del braidese Pierpaolo Operti.
Le Clarisse abbandonarono la Chiesa nel 1883 e nel 1892 iniziarono la costruzione di un monastero in viale Madonna dei Fiori; Santa Chiara ancora oggi è di proprietà dei Frati Cappuccini.
Franciscans-Conventuals: Sacro Convento San Francesco,Assisi (Italy) • Abbeys and Monasteries
Anyone who visits the basilica of the Sacro Convento, with its famous frescos of Giotto and Cimabue, is impressed and astonished by the sight of its richness, which is so in contrast with the teaching of 'il poverello' Francis. The tomb of Francis lies in the lowest part of the basilica. The inhabitants of the monastery do not call themselves Franciscans but Conventuals. They see themselves as keepers of his tomb, as protectors and promotors of his thoughts. The Franciscanbs who live in the sanctuary Eremo delle Carceri. Honour Francis in a different way: they liven in poverty.
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Church of Saint Francis, Pistoia, Tuscany, Italy, Europe
The church of Saint Francis in Pistoia is a church of the XIII century dedicated to St. Francis of Assisi. Construction of the complex began in 1289. The church was built after the Franciscan model, with a single hall covered with trusses and articulated in the transept chapels. The simplicity and decorative style makes barely recognizable Gothic language. The façade was completed only in 1707 with marble covering with white and green stripes. Inside the walls of the nave still bear traces of the decoration with frescoes painted during the fourteenth century. Beyond the great triumphal arch opens the main chapel, decorated with frescoes of St. Francis Stories (1343); the Bracciolini Chapel frescoes with the Stories of Mary carried by the second decade of the fifteenth century; Pazzaglia in the chapel, with frescoes Stories of the Saints Antonio and Ludovico di Giovanni di Bartolomeo Cristiani; in Gatteschi chapel Stories of St. Donnino di Bonaccorso di Cino. Between 1386 and the end of the century they were decorated the chapter house (frescoes by Antonio Vite) and the sacristy. Focusing on the frescoes of the main chapel in San Francesco in Pistoia, discovered during the twenty years of the twentieth century, there is a perception, observing the best preserved fragments of an execution of prime quality. The decorative program of the chapel, which focuses on the stories of St. Francis, recalls the very similar issue cycle of the upper Basilica of Assisi. The stories of the saint stand out for their monumental setting which allows the performer to portray the characters in the natural scale inserted in evocative architectural scenes. The poor condition makes it difficult to read even the most central arch busts presenting figures of the Apostles, Doctors of the Church and not always recognizable Saints except in the jambs including: St. Francis, St. Jerome, St. Augustine and a holy Bishop. On the back wall are figures within newsstands Lazarus, a Santa and a Magdalene, while the times are represented Virtues Franciscan. Vasari pointed as the author of the frescoes in question Puccio Capanna and it is in this direction that moves the first study of this cycle, conducted by Chiappelli, who qualified as Siena chromatic intonations that escaped to a Florentine practice. These frescoes are indeed one of the rare examples where the Tuscan figurative culture open to that from beyond the Apennines. Unanimously criticism has identified for them an author of the Bolognese master and was the Longhi to propose the name of Scannabecchi Dalmasio based on the presence of the painter in Florence and Pistoia to and more than half of the fourteenth century. The personality of this painter was an important point of contact and artistic mediation between the centers of Bologna and Florence, suggesting Pistoia which confluence center and spread of multiple pictorial instances. To understand the grounds of a clear painter bolognese extraction for its natural restlessness (Mellini) in Tuscan environment, it can be useful to bring to light two aspects: the first is related to the figure of Bandino of Ciantori, the client or one of the richest merchants of Pistoia, with traffic in Northern Italy, which took the award in perpetuum of the main chapel of St. Francis, and the second concerns the Giotto's workshop that the loss of the great teacher and was at that time suffered engaged in Milan. A plausible chronological reference may be 1343 date of plaque in the chapel (Previtali, Mellini, Boskovitz) which would establish a post quem term for the Dalmasio activities in Pistoia. In addition, in May 1343 the brothers rely on Lippo Memmi the realization of the polyptych altar (now lost), which according to Vasari was executed by Memmi on Simone Martini design. A plurality of cultural elements emerge from the pictorial language that Dalmasio unfolds on the walls of the chapel, chief among them is that of Emilia usage The expressiveness of the figures in the coat Dono scene, but you hear echoes of the solemn poetic and archaic by Pietro Lorenzetti in 1340 he ended a Madonna and Child with angels (now in the Uffizi) for this church. Spatiality staged by Dalmasio in the stories of the saint can recall that Assisi, especially in the Dream of Innocent III, although with the inclusion of architectural details (discernible in the lintel decoration of the room and the pope read) that deviate a bit 'from the Umbrian model and the integrated vision crucified with interesting details like the obvious inspiration to the dome of the Pantheon for the structure of the apse or inserting a bundle on the window, indicating a descriptive naturalism staff. This spatial planning could be mediated by the lesson of Ambrogio Lorenzetti, as evidenced by the scene of the Sermon to the birds where it is less than the reference to the Assisi model, the more marked is the Sienese master in the walled city views and nell'accesa reddish tone.
Church of St Christopher, Siena, Tuscany, Italy, Europe
Church of St. Christopher is a Roman Catholic church located on Piazza Tolomei in the Northern Terzo di Camollia and contrada of Civetta in the city of Siena, region of Tuscany, Italy. Across the piazza from the church is the Palazzo Tolomei, one of the oldest buildings in the city. The Tolomei for many years were associated with the church. The original Romanesque style church with a Latin Cross layout was initially constructed in the 11th to 12th-century. Traces of Romanesque columns remain in the adjacent small cloister. During the 13th century, the cloister would host the council of the nascent Republic of Siena. It is claimed that at this site in 1260, a meeting took place between the Council of 24 and Florentine ambassadors. The latters demanded that Siena breach its walls, and allow Florentine fortresses in each Terzo. These heavy demands forced the former to decide that war with Florence was inevitable, and they dismissed the ambassadors, and prepared for war. They acknowledged the need to hire German mercenaries from Count Giordano d'Anglano, vicar of King Manfred, but lacked the funds. Upon hearing this, Salimbene Salimbeni, banker and founder of an early branch of the future Monte dei Paschi, merely walked to his nearby home, and returned to this cloister with the wheelbarrow full of 118,000 florins. The mercenaries proved essential to the Sienese victory at the Battle of Montaperti. Also at this church, it is said that in 1376, Saint Catherine of Siena was able to force a reconciliation of a bitter feud between the Maconi and Tolomei/Rimaldini families. With the feudin parties present, she entered into a trance like extasis while in prayer at an altar. The church underwent a number of modifications, most prominently after the earthquake of 1798. In 1800, a brick Neoclassical temple facade was added with four columns and tympanum, designed by Tommaso and Francesco Paccagnini. The niches flanking the entrance hold statues (1802) of Saint Bernardo Tolomei and the Blessed Nera Tolomei, works by Giuseppe Silini. The church has a Madonna and child with St Luke and Romuald (circa 1508) by Girolamo del Pacchia, a fresco of the Pietà and the instruments of the Passion by Martino di Bartolomeo, and a marble sculptural group depicting the Glory of St Christopher (1693) by Giovanni Antonio Mazzuoli. It now houses a Madonna and child by the 15th-century school of Della Robbia, a St George and the Dragon and a St Christopher attributed to either the Master of the Osservanza Triptych felt to be the same person as Sano di Pietro; and a tondo of the Madonna and child by the Master of San Pietro a Ovile.
Basilica of Saint Francis, Arezzo, Tuscany, Italy, Europe
The Basilica of San Francesco is a late Medieval church in Arezzo, Tuscany, Italy, dedicated to St Francis of Assisi. It is especially renowned for housing in the chancel the fresco cycle Legends of the True Cross by Piero della Francesca. San Francesco is the second church built by the Franciscans in Arezzo, an earlier church being located outside the city walls and destroyed during the Occupation. The building work on San Francesco was begun around 1290. The decoration of its façade was never realised. The interior presents as a large church of simple unadorned design with a wide single nave, flanked on the left side by some chapels and, on the right side, by some niches. The tall groin-vaulted chancel is of square plan. Beneath the church is a smaller Chiesa inferiore or Lower Church as at Assisi, with a nave and two aisles, now used as exhibition hall. At the chancel entrance is suspended a very large painted rood crucifix by one Master of San Francesco, a contemporary of Cimabue. It also contains a Maesta or Madonna in Majesty by Guido da Siena. The walls and particularly the niches on the right have some fresco decoration, which dates in part to the 14th century. The Cappella Maggiore, (Major Chapel or chancel) houses one of the masterworks of Italian Early Renaissance, a fresco cycle by Piero della Francesca depicting the Legend of the True Cross. The painting of the chancel began with a commission by the Aretine family Bicci, who called the painter Bicci di Lorenzo to paint the large cross-vault. In 1452, at Bicci's death, only the four Evangelists had been painted in the vault, as well as the triumphal arch with the Last Judgement and two Doctors of the Church. Piero della Francesca was called in to complete the work. According to a document, he did so in two stages, the works halted during 1458-1459, and completed in 1466. The frescoes occupy three levels on the side walls and the eastern wall, surrounding a large window. The theme of the fresco cycle is the Golden Legend by Jacopo da Varagine. Piero della Francesca did not follow a chronological order, preferring to concentrate himself in the creation of symmetrical correspondences between the various scenes.
Historic Rondìni-Serassi italian pipe organ, St. Mary of the Angels church, Vigevano (Italy)
Gian Mauro Banzòla and Roberto Stirone play on the historic Rondìni-Serassi (1678-1832) italian pipe organ, St. Mary of the Angels church - Vigevano (northern Italy).
Gian Mauro Banzòla e Roberto Stirone propongono alcuni brani eseguiti sull'antico organo Rondìni-Serassi, risalente al 1678 (poi ampliato nel 1832 dalla celebre famiglia artigiana Bergamasca con il numero d'opera 475), conservato nella chiesa di S. Maria degli Angeli a Vigevano (provincia di Pavia). Lo strumento è stato recuperato e riportato agli antichi splendori grazie a un delicato intervento di manutenzione straordinaria, realizzato dall'organaro Alessandro Venchi di Pavia nel 2015. Si ringrazia Roberto Stirone per le riprese e il montaggio video.
Historic Lingiardi italian pipe organ - St. Francis church Vigevano Italy - Improvisation
Gian Mauro Banzòla plays an improvisation on the historic Lingiardi pipe organ (buit in 1869, opus n° 125) in the St. Francis Church, Vigevano (northern Italy). Thanks to Roberto Stirone for the clip video. Gian Mauro Banzòla improvvisa sullo storico organo Lingiardi (costruito nel 1860, opus n° 125) conservato nella chiesa di San Francesco a Vigevano. Si ringrazia Roberto Stirone per il video.
VATICANO - An organ unique to Italy
Breathtaking with its art and marble construction, this chapel for US-priests in Rome holds an unexpected treasure.
Somewhere in the 1860’s the American bishops who ran this, when this house was the American seminary and not the residence as it was for priests today. At some point in that time they purchased an organ from a man that was the most famous organ builder in the world. Aristide Cavaillé-Coll.
San Pietro
An excerpt of John Huston's World War II Documentary about the battle of San Pietro
Organo Performance - Sacro Cuore di Gesù - Italia Julio 2016
1887: inauguración de órganos
La basílica del Sagrado Corazón fue consagrada 14 de de mayo de, 1887 en la presencia de San Juan Bosco. En esa ocasión también se inauguró el gran órgano construido por el órgano Giuseppe Bernasconi de Varese, colocado en el balcón con vistas al santuario.
La caja de madera, obra del escultor Rafael falleni de Livorno, consiste en un folleto de 34 cañas dividido en tres cúspides. Una declaración similar se coloca en el balcón en el lado opuesto de la primera.
El nuevo organismo, transmisión mecánica, estaba equipado con cerca de 4.000 tubos y 70 registros. La consola tenía tres teclados de 58 teclas y un pedal de 22 pedales.
En el concierto de apertura, que también intervino el Coro Oratorio Salesiano de Turín, estaban los maestros Giuseppe Renzi, organista de la Basílica Vaticana, Augusto Moriconi, maestro de capilla de Santa María Mayor, Filippo Capocci, organista de San Juan de Letrán Antonio Bersano, organista de la catedral de Turín y Vincenzo Petrali de Bérgamo, que redactó el acta de la prueba.
1910 - Desde mecánica para neumática
El constructor de órganos del Pacífico Inzoli dotado crema del instrumento de la unidad neumática de tubo, entonces en uso, la construcción de una nueva consola con dos teclados de 58 teclas y un pedal de 30 pedales.
El órgano, inaugurado por el organista Ulises Matthey, tenía 2.500 tubos y 32 registros.
1934 - Transmisión eléctrica
La firma de Mascioni Cuvio (Varese), construyó una nueva consola eléctrica que tenía tres teclados de 61 teclas, un pedal 32 pedales y 6 combinaciones ajustables. Los barriles estaban ahora 2.800, registra 50.
1993 - El órgano actual
Familia Artisan Chichi Vinci (Florencia) amplía sus 5.000 tubos y 78 registros herramienta de equipaje (70 real y difusión 8).
El Mascioni consola, con numerosas combinaciones múltiples ajustables, es móvil y se encuentra en la nave, cerca del altar dedicado a Santa María. Auxiliadora.
En 2010 la familia Chichi hizo un mantenimiento extraordinario instrumento, inaugurado por el organista Stefano Mhanna.
Ubicación actual de los barriles
células de órganos en el lado derecho: barras correspondientes a Grand'organo (teclado II), a RECITATIVO (teclado III) y, en su mayor parte, al pedal.
células de órganos en el lado izquierdo: cañas que coincida con el positivo del cuerpo (el teclado) y una zona de los pedales.
Places to see in ( Assisi - Italy ) Santuario di Rivotorto
Places to see in ( Assisi - Italy ) Santuario di Rivotorto
The sanctuary of Rivotorto rises in Rivotorto , at the foot of Mount Subasio , not far from Santa Maria degli Angeli . Inside the sanctuary has been rebuilt what is called the Tugurio, place where Francis of Assisi and his first companions settled to pray, meditate, work at the dawn of the Franciscan Fraternity, and in fact this moment is remembered with an engraving in stone at the entrance, HIC PRIMORDIA FRATRUM MINORUM(here the beginnings of the friars minor).
The sanctuary protects the restored remains of two small stone buildings, without any ornament, inside which according to tradition, Francesco and his companions took refuge. This place, around which there are roads and parking lots, was once surrounded by the countryside, a countryside much less disciplined and cultivated than what today represents the Assisian countryside.
It must therefore be thought that Francis and his first companions lived, according to the spirit of humility and poverty of Francis in a place more difficult to reach and isolated than is today the sanctuary of Rivotorto
( Assisi - Italy ) is well know as a tourist destination because of the variety of places you can enjoy while you are visiting Assisi . Through a series of videos we will try to show you recommended places to visit in Assisi - Italy
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The Sansevero Chapel Museum