Montepulciano Italy, Tuscany (Italia Toscana) [HD] (videoturysta.eu)
[EN] Montepulciano is a medieval Renaissance town with many small shops and a very peaceful atmosphere. It is located on a hill overlooking the wonderful Tuscan countryside. The town is surrounded by numerous fortifications and walls. The center of Montepulciano, which is located on the highest point of the town, is the Piazza Grande.
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[IT] Montepulciano è una città medievale rinascimentale con molti piccoli negozi e un ambiente molto tranquillo. Si trova su una collina che domina la splendida campagna toscana. La città è circondata da numerose fortificazioni e mura. Il centro di Montepulciano, che si trova sul punto più alto della città, è la Piazza Grande.
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[PL] Montepulciano to średniowieczna renesansowa miejscowość zawierająca wiele małych sklepików i mająca bardzo spokojną atmosferę. Znajduje się ona na wzgórzu z widokiem wspaniałych toskańskich krajobrazów. Miasteczko jest otoczone przez liczne fortyfikacje i mury. Centrum Montepulciano, które znajduje się na najwyższym punkcie miasta, jest plac Piazza Grande.
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#tuscany #toskana #italy #italia #europe #travel #video
PRESEPE NATIVITY SANT'AGOSTINO PRATO
PRESEPE CHIESA DI SANT'AGOSTINO PRATO
SAN'AGOSTINO CHURC NATIVITY IN PRATO
Art Hotel Museo **** Hotel Review 2017 HD, Prato, Italy
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Property Location
With a stay at Art Hotel Museo in Prato, you'll be convenient to San Francesco and Monash University - Prato. This 4-star hotel is within close proximity of Sant'Agostino Church and Le Pavoniere.
Rooms
Make yourself at home in one of the 106 air-conditioned rooms featuring minibars. Complimentary wireless Internet access keeps you connected, and satellite programming is available for your entertainment. Bathrooms have complimentary toiletries and hair dryers. Conveniences i...
Art Hotel Milano **** Hotel Review 2017 HD, Prato, Italy
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Property Location
Located in Prato, Art Hotel Milano is on a river and minutes from Monash University - Prato and San Francesco. This 4-star hotel is within close proximity of Sant'Agostino Church and Le Pavoniere.
Rooms
Make yourself at home in one of the 70 air-conditioned rooms featuring minibars. Complimentary wireless Internet access keeps you connected, and satellite programming is available for your entertainment. Bathrooms have complimentary toiletries and bidets. Conveniences includ...
SAN GIMIGNANO chiesa di S. Agostino - Storie della vita di S. Agostino di BENOZZO GOZZOLI (UNESCO)
QR-code Sant'Agostino: Madonna con Bambino fra Santa Caterina d'Alessandria e San Nicola di Bari
Proviene dalla demolizione della chiesa e del convento dei Santi Giacomo e Filippo delle monache
domenicane.
Può essere datata negli anni attorno al 1380 e pertanto costituisce un fondamentale documento di
passaggio fra le forme pittoriche più decorative adottate dal pittore nei suoi lavori precedenti, delle
quali può costituire un buon esempio la Madonna con Bambino della Cattedrale di Ventimiglia, con
le preziose lumeggiature dorate del manto della Vergine, e quelle delle sue ultime realizzazioni, più
volte alla ricerca di effetti volumetrici, come l'affresco con il Giudizio finale conservato in questa
stessa chiesa di Sant'Agostino.
I donatori sono probabilmente Nicolò Guarco, doge fra il 1378 e il 1383, e sua moglie Lina di
Francesco Onza d'Oro di Coronata.
È firmata Barnabas de Mutina pinxit alla base e purtroppo la data è perduta.
San Gimignano, Siena, Tuscany, Italy, Europe
San Gimignano is a small walled medieval hill town in the province of Siena, Tuscany, north-central Italy. Known as the Town of Fine Towers, San Gimignano is famous for its medieval architecture, unique in the preservation of about a dozen of its tower houses, which, with its hilltop setting and encircling walls, form an unforgettable skyline. Within the walls, the well-preserved buildings include notable examples of both Romanesque and Gothic architecture, with outstanding examples of secular buildings as well as churches. The Palazzo Comunale, the Collegiate Church and Church of Sant' Agostino contain frescos, including cycles dating from the 14th and 15th centuries. The Historic Centre of San Gimignano is a UNESCO World Heritage Site. The town also is known for saffron, the Golden Ham, and its white wine, Vernaccia di San Gimignano, produced from the ancient variety of Vernaccia grape which is grown on the sandstone hillsides of the area. The city is on the ridge of a hill with its main axis being north/south. It is encircled by three walls and has at its highest point, to the west, the ruins of a fortress dismantled in the 16th century. There are eight entrances into the city, set into the second wall, which dates from the 12th and 13th centuries. The main gates are Porta San Giovanni on the ridge extending south, Porta San Matteo to the north west and Porta S. Jacopo to the north east. The main streets are Via San Matteo and Via San Giovanni, which cross the city from north to south. At the heart of the town are four squares: the Piazza Duomo, on which stands the Collegiate Church; the Piazza della Cisterna, the Piazza Pecori and the Piazza delle Erbe. To the north of the town is another significant square, Piazza Agostino, on which stands the Church of Sant' Agostino. The locations of the Collegiate Church and Sant' Agostino's and their piazzas effectively divide the town into two regions. The town of San Gimignano has many fine examples of Romanesque and Gothic architecture. As well as churches and medieval fortifications, there are notable examples of Romanesque secular and domestic architecture which may be distinguished from each other by their round and pointed arches, respectively. A particular feature which is typical of the region of Siena is that the arches of openings are depressed, with doorways often having a second low arch set beneath a semi-circular or pointed arch. Both Romanesque and Gothic windows sometimes have a bifurcate form, with two openings divided by a stone mullion under a single arch.
Le chiese di Lanciano: suonate chiesa Sant'Agostino e Santa Maria del Ponte
Riprese feriali del centro storico di Lanciano, e delle sonate di campane della chiesa di Sant'Agostino e della Cattedrale della Madonna del Ponte
Ore 17:15 suonata plenum della Basilica cattedrale e di Sant'Agostino
Ore 17:30 suonata della Cattedrale, le 2 grandi
*Ore 17:45 suonata della campana mediana della Basilica cattedrale
Duomo di Padova, Italia
The Cathedral of the Assumption of Mary of Padua (Italian: Basilica Cattedrale di S. Maria Assunta, also known as Duomo di Padova) is a Roman Catholic church and minor basilica in Padua, northern Italy. The cathedral is the see of the Diocese of Padua, and is dedicated to the Assumption of the Blessed Virgin Mary.
It is the third edifice built on the same site. The first one was erected after the Edict of Milan in 313 and destroyed by an earthquake on the 3 January 1117. It was rebuilt in Romanesque style: the appearance of the medieval church can be seen in the frescoes by Giusto de' Menabuoi in the annexed Baptistery.
The design of the existing cathedral is sometimes attributed to Michelangelo, but in fact it was the work of Andrea della Valle and Agostino Righetto, with much in common with earlier Paduan churches. Although construction work began on the new Renaissance edifice in 1551, it was only completed in 1754, leaving the façade unfinished.
Renaissance Art - 2 Italian Quattrocento: Architecture
Second video about the Renaissance Art serie. Any doubt? Send me a message.
Historia del Arte:
Land of the Art:
Italian Quattrocento is the period of XV century. It began in Florence, impulsed by the Medici family. The artists are more recognized.
Filippo Brunelleschi: he began as sculptor, but later decided to be architect.
Ospedale degli Innocenti: horizontal facade, two heights. The superior is for rooms with classic windows and the inferior is the portico.
Santa Maria del Fiore: he won the competition to do the dome. He did it by doing two domes, one inside the other. I think in the image is clearly descripted. He used brick in the nerves to lighten the weight. Between both domes there is a wooden skeleton. It is a dome with gothic tradition.
San Lorenzo: basilical plant of latin cross, with various kinds of covers, three naves. The light enters using oculus in the lateral naves. The Vecchia Chapel, or Old Sacristy is of centralized plant, with a dome by Donatello depicting a map of the cosmos.
Pazzi Chapel: it is little, of centralized plant. It has the golden ratio. Plant of greek cross.
Pitti Palace: rusticated facade.
Santo Spirito.
Michelozzo Michelozzi: disciple of Brunelleschi.
Sant’ Agostino (Montepulciano): gothic influence.
Biblioteca Nazionale Marciana: it is like a church, with jonic order and pointed arches.
Medici Riccardi Palace: a masterpiece, with a central courtyard. Three heights, being the high ones for living.
Cafaggiolo Castle.
Giuliano da Maiano: disciple of Brunelleschi.
Porta Capuana.
Faenza Cathedral: use of pilasters and columns in the lateral chapels.
Benedetto da Maiano: disciple of Brunelleschi.
Santa-Maria-delle-Grazie.
Giuliano da Sangallo: disciple of Brunelleschi.
Palazzo Strozzi: Giorgio Vasari said this was by Benedetto da Maiano, but Sangallo did the model. Symmetric facade, interior courtyard.
Santa-Maria-delle-Carceri.
Leon Battista Alberti: architect and teoric. With him the column is decorative and the archers are over pilasters. Dome is used in all his buildings.
Tempio Malatestiano: it was gothic but he rebuilt it. It has a dome inspired by the Pantheon.
Palazzo Rucellai: typical florentine palace with various heights and great decoration. Sucession of different orders like in the Colosseum.
Santa Maria Novella: very decorated facade, latin cross plant, three naves and gothic interior. Use of marbles of colors. Use of golden ratio and symmetry.
Sant’ Andrea (Mantua).
San Sebastiano (Mantua).
Bernardo Gambarelli: disciple of Alberti.
Piccolomini Palaces: there are two, one in Pienza and other in Siena.
Agostino di Duccio: disciple of Alberti.
San Bernardino (Perugia).
Francesco Laurana: disciple of Alberti.
Castel Nuovo.
Lombardy: the tuscan characters are mixed with the gothic tradition, maintained by the construction of the Cathedral of Milan.
Filarete: architect and writter. He also wrote the Sforzinda, a tale in a imaginary city.
Ospedale Maggiore: it was planned as a cross inside a square, with a church of centralized plant in the center.
Mantegazza.
Certosa di Pavia: great decoration, full of reliefs and statues. Contrast between surfaces with rich textures, buttresses, horizontal marks and arches. Also done by the next author.
Giovanni Antonio Amadeo.
Colleoni Chapel: use of decorations with rhomb form in polychromed marble, with white, red and black colors.
Venice: the lombard influence is mixed with the gothic tradition in civil architecture. Here work Pedro Lombardo and his sons Antonio and Tullio.
Santa Maria dei Miracoli: one nave with barrel vault, with statues of Tullio and more authors, and a vault decorated with faces of prophets.
Palazzo Vendramin Calergi: here is where died the composer Richard Wagner. It has three floors. Classic columns. With paintings and sculptures in the interior.
Palazzo dei Diamanti: curious by the bossage.
Palazzo Ducale (Urbino): Federico de Montefeltro has influence in this castle, that is propagandistic. The construction began with Luciano Laurana, that has knowledges of greek art. One of the difficulties was the landscape. In the facade there are two cylindrical towers. It also has a courtyard, and there are representations of ideal cities.
Piazza del Campidoglio: it is thought as the center of the world.
Music: Pavana I-VI by Luys Milan
Photos taken in Google images.
No copyright infringement intended.
2018-01-22 FIRENZE - VIA PISTOIESE, PROGETTO PER RENDERLA PIÙ SICURA
2018-01-22 FIRENZE - VIA PISTOIESE, PROGETTO PER RENDERLA PIÙ SICURA
Portale dell'Abbazia di San Leonardo in Lama Volara Manfredonia manortiz
A circa 10 chilometri dal centro abitato di Manfredonia, la suggestiva Abbazia di San Leonardo in Lama Volara, sorge presso il vescovado di Siponto, antico insediamento romano e, in seguito, bizantino.
Il complesso monastico è stato fondato intorno all’anno Mille dai Canonici Regolari di Sant’Agostino come ricovero per i pellegrini che si recavano al Santuario dell’Arcangelo Michele e per i cavalieri crociati che s’imbarcavano per la terra Santa.
È tra i portali più belli del romanico pugliese, quello che si apre sulla facciata laterale, probabilmente costruito in epoca sveva, dalle decorazioni simili a quelle di Santa Maria di Pulsano. All’interno, la chiesa è a tre navate e, nella volta centrale, il piccolo rosone scandisce l’ingresso del sole nel cancro, il solstizio d’estate. Tra le opere più importanti, si trova il pregevole Crocifisso di San Leonardo, forse il più antico tra i numerosi Crocifissi venerati sul Gargano.
Nel 1261, il complesso fu affidato da Papa Alessandro IV ai Cavalieri Teutonici, che ne fecero il centro delle loro attività in Puglia e rimasero sino al tardo Quattrocento. Soppressa da Gioacchino Murat nel 1810, l’abbazia è stata riaperta al culto solo nel 1950 sotto la tutela della diocesi di Manfredonia.
The Abbey and Church of San Leonardo di Lama Volara (or Siponto) is located on State route 89 leading from Foggia to the sacred mountain, Gargano. It is 10 km from Manfredonia, close to the ancient Bishop’s place of Siponto, initially a Roman and later a Byzantine settlement. The Church has three aisles with arches resting on cruciform columns and semi columns. Two dissimilar cupolas sit over the central nave. A portal with a simple contour of architraves surmounted by an undecorated lunette and an archivolt mark the external western façade. On the northern façade there is a splendid portal (among the most beautiful Apulian-Romanesque examples) which was most probably built later, possibly during the Swabian period. The decorations on it are similar to those of Santa Maria di Pulsano, another ancient Gargano monastery.
Inside, a few frescoes and coats of arms bearing Teutonic crosses link us to the mid-13th century, when some monks from the Prussian Order of Teutonic Knights of St. Mary came here. In the centre of the ceiling there is a small rose window (a gnomon hole). For the last 10 centuries, on June 21st every year, the eleven petals allow the summer solstice’s rays to pass through, marking the summer solstice with the sun entering Cancer. At astronomical midday, the sun reaches its highest point in the hemisphere and a band of light throws down a luminous corona in a clockwise direction at the centre of the two pillars.
– Portale Turistico Istituzionale della Regione Puglia
Matera (monumenti, vie e piazze): Piazza San Francesco d'Assisi
Places to see in ( Arezzo - Italy ) Duomo San Donato
Places to see in ( Arezzo - Italy ) Duomo San Donato
Arezzo Cathedral is a Roman Catholic cathedral in the city of Arezzo in Tuscany, Italy. It is located on the site of a pre-existing Palaeo-Christian church and, perhaps, of the ancient city's acropolis.
A first cathedral of Arezzo was built on the nearby Pionta Hill, over the burial place of Donatus of Arezzo, martyred in 363. In 1203 Pope Innocent III had the cathedral moved within the city's walls, in the current site. The Cathedral, however, lost the relics of Donatus, which were transferred in the church of San Donato in Castiglione Messer Raimondo (in what is now the province of Teramo). In spite of this, the church is still entitled to St. Donatus and houses, at the high altar, a 14th-century arch named after him.
The construction of the current structure, started in 1278, went through different phases, and ended in 1511. The façade was built in 1901-1914, replacing the previous, unfinished one, dating to the 15th century. It was the seat of the Bishop of Arezzo from the 3rd century until 1986, and from 1986 onwards of the present Bishop of Arezzo-Cortona-Sansepolcro.
The façade was designed by Dante Viviani and has a sculpture description by Giuseppe Cassioli, Enrico Quattrini and Viviani himself. The right side of the church is from the original medieval building, in sandstone. In the middle is a 14th-century portal in Florentine style, with two porphyry columns taken from an ancient temple. The polygonal apse, with double mullioned windows, dates to the 13th century.
The interior has a nave and two aisles divided by piers with ogival arches, with five spans covered by cross vault, without a transept. The seven stained glass windows in the right aisles were executed in 1516-1524 by Guillaume de Marcillat. Other stained glass windows are in the presbytery, one also by Marcillat and another by early 15th century Florentine masters.
The presbytery houses a large arch dedicated to St. Donatus. Sculpted in marble, it has twelve small piers ending with spires and pinnacles in Gothic style and was executed by Florentine, Aretine and Sienese artists of the 14th century, including (in the lower section) Agnolo di Ventura and Agostino di Giovanni. The wooden choir of the Grand Chapel was designed by Giorgio Vasari in 1554.
In the counter-façade is the hexagonal baptismal font, with reliefs by Donatello's workshop, including a Baptism of Christ by Donatello himself. The Chapel of Madonna del Confort is a Neoclassicist work, built from 1796 and housing several terracottas by Andrea della Robbia. In the same side is the cenotaph of Guido Tarlati, lord of Arezzo until 1327. According to some, it was designed by Giotto, and executed by Agnolo di Ventura and Agostino di Giovanni. Near to the cenotaph is Piero della Francesca's Mary Magdalene (1460s).
In the right aisle is the funerary monument of Pope Gregory X (died 1276), dating to the early 14th century. Another funerary monument in the aisles is that of Ciuto Tarlati (1334), formed by a marble sarcophagus of the 4th century AD and a series of reliefs by Agostino di Giovanni, crowned by a 14th-century fresco.
( Arezzo - Italy ) is well know as a tourist destination because of the variety of places you can enjoy while you are visiting Arezzo . Through a series of videos we will try to show you recommended places to visit in Arezzo - Italy
Join us for more :
Renaissance Art - 3 Italian Quattrocento: Sculpture
Third video about the Renaissance Art serie. Any doubt? Send me a message.
Historia del Arte:
Land of the Art:
In the early XV century begins the culmination of a slow process of recovery of the models of classical antiquity. This return was initiated and soon acquired a high profile in Italy, where there has always been resistance to imported styles from the rest of Europe, where the memory of Roman art could be seen every day. Thus happened the Renaissance, name given by the painter Vasari, which alludes to the rebirth of Greco-Roman culture and civilization.
Renaissance is the artistic movement. Humanism is the cultural movement, where humans are the center of the universe (anthropocentrism, with Plato as influence, that is, neoplatonism). The people here have interest in Greek-Roman culture, science and progress and they use vernaculars languages. Their most important representant is Erasmus of Rotterdam. The expansion happen by the invention of printing, academies and universities.
Deep religious change. New religiosity, with the Counter Reformation by Luther, that propose the salvation of faith, the lecture of the Bible by all the population and reject the selling of indulgences and the power of the pope. Division in european christianism. The north is protestant and the sur is catholic. Religion wars.
Sculpture in Italy began also in Florence, but it came before the architecture.
Lorenzo Ghiberti: he won the competition for the Second Doors of the Baptistery of Florence (in that competition also participated Brunelleschi), with scenes of the life of Jesus. He also did the Third Doors of the same baptistery, called the Doors of Paradise by Michelangelo, with scenes of the Old Testament.
Jacopo della Quercia: he is from Siena. The Porta Magna has various religious images, with the Virgin and San Petronio. The Fonte Gaia has many classical characters, as Gaia, Rea Silvia and Acca Larentia.
Donatello: he is the most important quattrocentist sculptor. Great naturalism, as showed in San Marcos, San George, San John Evangelist and Zuccone. He also does the Cantoria of the Cathedral of Florence, with musician children dancing and running, with similar composition to the Pulpito of Prato. One of his most known artworks is the David Bargello, with contrapposto, and also the portrait of Niccolo da Uzzano, a psycological portrait. He also did reliefs, with the schiacciato, a technique for reliefs to do bas-reliefs with minimal variation, as in the Feast of Herodes in the baptismal font of Siena, and even more in the Annunciation of Santa Croce. Also the bas-reliefs of the Altar of the church of San Antonio in Padua. The Monument of Gattamelata is very impressive, it is an equestrian sculpture. In his last period in Florence there are the Judith and Holofernes and the Pulpitos of San Lorenzo. One is the Pulpito of Resurrection, the first one, with scenes of the life of Christ after his death. The Pulpit of Passion is the second, and has scenes of the Passion of Christ, without the Last Supper.
Luca della Robbia: he liked to represent women and children. Bas-reliefs of the campanile of the Florence cathedral. Also he has Madonnas.
Andrea Il Verrocchio: more realist than Donatello. He also did a David. Others are the Putto col delfino and Christ and St. Thomas. The most interesting one is the statue of Bartolomeo Colleoni, also an equestrian sculpture, with more dynamism than the one of Donatello.
Antonio Pollaiuolo: more realism and better anatomic studies. His masterpiece is Hercules and Antaeus, with great dramatism.
Agostino di Duccio: he worked in the facade of San Bernardino in Perugia and the facade of the Malatestian Temple of Rimini.
Desiderio da Settignano: not too realist, with the bust of Marietta Strozzi.
Rosellino Brothers: they are Bernardo and Antonio. Bernardo did the tomb of Leonardo Bruni in Santa Croce, and Antonio did other sepulchres.
Benedetto da Maiano: portraitist, with great naturalism. Busts of Pietro Mellini and Filippo Strozzi.
Music: Pavana I-VI by Luys Milan
Photos taken in Google images.
No copyright infringement intended.
Arezzo Cathedral, Arezzo, Tuscany, Italy, Europe
Arezzo Cathedral is a Roman Catholic cathedral in the city of Arezzo in Tuscany, Italy. It is located on the site of a pre-existing Palaeo-Christian church and, perhaps, of the ancient city's acropolis. A first cathedral of Arezzo was built on the nearby Pionta Hill, over the burial place of Donatus of Arezzo, martyred in 363. In 1203 Pope Innocent III had the cathedral moved within the city's walls, in the current site. The Cathedral, however, lost the relics of Donatus, which were transferred in the church of San Donato in Castiglione Messer Raimondo (in what is now the province of Teramo). In spite of this, the church is still entitled to St. Donatus and houses, at the high altar, a 14th-century arch named after him. The construction of the current structure, started in 1278, went through different phases, and ended in 1511. The façade was built in 1901-1914, replacing the previous, unfinished one, dating to the 15th century. It was the seat of the Bishop of Arezzo from the 3rd century until 1986, and from 1986 onwards of the present Bishop of Arezzo-Cortona-Sansepolcro. The façade was designed by Dante Viviani and has a sculpture description by Giuseppe Cassioli, Enrico Quattrini and Viviani himself. The right side of the church is from the original medieval building, in sandstone. In the middle is a 14th-century portal in Florentine style, with two porphyry columns taken from an ancient temple. The polygonal apse, with double mullioned windows, dates to the 13th century. The interior has a nave and two aisles divided by piers with ogival arches, with five spans covered by cross vault, without a transept. The seven stained glass windows in the right aisles were executed in 1516-1524 by Guillaume de Marcillat. Other stained glass windows are in the presbytery, one also by Marcillat and another by early 15th century Florentine masters. The presbytery houses a large arch dedicated to St. Donatus. Sculpted in marble, it has twelve small piers ending with spires and pinnacles in Gothic style and was executed by Florentine, Aretine and Sienese artists of the 14th century, including (in the lower section) Agnolo di Ventura and Agostino di Giovanni. The wooden choir of the Grand Chapel was designed by Giorgio Vasari in 1554. In the counter-façade is the hexagonal baptismal font, with reliefs by Donatello's workshop, including a Baptism of Christ by Donatello himself. The Chapel of Madonna del Confort is a Neoclassicist work, built from 1796 and housing several terracottas by Andrea della Robbia. In the same side is the cenotaph of Guido Tarlati, lord of Arezzo until 1327. According to some, it was designed by Giotto, and executed by Agnolo di Ventura and Agostino di Giovanni. Near to the cenotaph is Piero della Francesca's Mary Magdalene (1460s). In the right aisle is the funerary monument of Pope Gregory X (died 1276), dating to the early 14th century. Another funerary monument in the aisles is that of Ciuto Tarlati (1334), formed by a marble sarcophagus of the 4th century AD and a series of reliefs by Agostino di Giovanni, crowned by a 14th-century fresco.
REGGELLO. PIEVE DI S.PIETRO A PITIANA (FIRENZE, ITALY)
Pieve romanica di S.Pietro a Pitiana a Reggello, provincia di Firenze, Valdarno, Toscana, Italia. La sua fondazione è forse anteriore all'anno Mille e la torre campanaria risulta già esistente nel 1028. Nel secolo XVI fu costruito il portico e la struttura con presbiterio sopraelevato e cripta subì una prima trasformazione a croce latina nel 1631. A rendere più imponente l'insediamento concorse anche la costruzione della grande villa che la stringe da un lato e che appartiene alla famiglia Guicciardini. L'interno dopo il restauro del 1888 ha assunto un aspetto decisamente ottocentesco. A ricordare l'importanza che la pieve ebbe in passato restano un'opera attribuita a Ridolfo del Ghirlandaio e un tabernacolo quattrocentesco in pietra scolpito a eleganti fregi. Il 27 dicembre del 1999 una pala attribuita al Ghirlandaio, risalente al XV secolo, è stata recuperata dai Carabinieri dopo tre anni di ricerche. L'opera, che rappresenta una Madonna del rosario con bambino e i santi Giovanni e Agostino, è stata ritrovata nella bottega di un antiquario nel centro di Firenze; nel 1946 era stata venduta illegalmente dal parroco locale.
Crollo nel convento, i soldi non bastano
Arriva dalla sovrintendenza il denaro per restaurare il convento di San Bernardino. Ma i danni dopo il crollo del 26 gennaio sono ingenti e servono altri euro. Frate Danilo: uella struttura è patrimonio di tutti.
Andrea Verrocchio
Andrea del Verrocchio (c. 1435--1488), born Andrea di Michele di Francesco de' Cioni, was an Italian sculptor, goldsmith and painter who worked at the court of Lorenzo de' Medici in Florence. His pupils included Leonardo da Vinci, Pietro Perugino and Lorenzo di Credi, but he also influenced Michelangelo. He worked in the serenely classic style of the Florentine Early Renaissance.
Verrocchio was born in Florence in 1435 to Michele di Francesco Cioni, who worked as a tile and brick maker and, later, as a tax collector. Michele never married, and had to provide financial support for some members of his family. Michele's fame rose upon his joining the Medici court, in which he remained until his workshop moved to Venice.
Many believe that Andrea started to work as a goldsmith in the workshop of Giulio Verrocchi, but this is impossible as Giuliano was born in 1447. It is more likely that he was trained by Giuliano's father Francesco di Luca Verrocchio, who was a rich and successful goldsmith and knew Andrea as a youth. The possibility that he apprenticed with Donatello remains unconfirmed. His first efforts in painting date probably from the 1460s, when he worked in Prato alongside Filippo Lippi.
The only signed painting by Verrocchio is the Madonna with Child and Saints, in the Cathedral of Pistoia.
Around 1465 he worked at the lavabo of the Old Sacristy in San Lorenzo, Florence. Between 1465 and 1467 he executed the funerary monument to Cosimo de' Medici for the crypt under the altar of the same church, and in 1472 he completed the monument to Piero and Giovanni de' Medici in the Old Sacristy.
In 1466 the Guild of Traders of Florence commissioned from Verrocchio a bronze group entitled Christ and St. Thomas for an external niche of the church of Orsanmichele. The work was placed there in 1483. He devised a composition of two figures, with Christ in the centre of the niche, and the Saint stretched out, in order to avoid a rigid frontal view and to aid the spectator in better identifying the two characters.
In 1468 Verrocchio made a famous candelabra, now in Amsterdam, for a corridor of Florence's Town Hall. In the early 1470s he made a voyage to Rome, while in 1474 he executed the Forteguerri monument for the Cathedral of Pistoia, which he left unfinished.
The Baptism of Christ, now housed in the Uffizi, was painted in 1474-75. In this work Verrocchio was assisted by Leonardo da Vinci, then a youth and a member of his workshop, who finished the background and painted the left angel, excelling in quality the rest of the painting. According to Vasari, Andrea resolved never to touch the brush again because Leonardo, his pupil, had far surpassed him. Later critics, however, consider this story apocryphal.
A Comunanza con le Campane di santa Caterina (manortiz)