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...
Madonna del Carmine Processione | Cuneo Italy 2019
July 16 marks a very important Marian feast in the Tradition of the Church: Our Lady of Carmel, one of the oldest and most popular devotions from Christianity, linked to the history and spiritual values of the Order of Friars of the Blessed Virgin Mary of Mount Carmel (Carmelites).
The liturgical feast of the Blessed Virgin Mary of Mount Carmel was established to commemorate the apparition to Simon Stock on July 16, 1251, of the Virgin, who gave him a scapular and privileges associated with its devotion.
Simon Stock was then Prior General of the Carmelite order, founded on Mount Carmel in the 12th century: the beauty of this mountain is celebrated in the Bible in several passages in which the prophet Elijah challenged and defeated the priests of Baal, and it was here that, according to tradition, the Holy Family stopped coming back from Egypt.
Celebrations
Celebrations take place all over Italy and the Catholic world. Among the most deeply-felt, is one at Palmi (province of Reggio Calabria) when in November 1894 the statue of the Virgin was repeatedly seen to move her eyes, while there was a seismic swarm that greatly worried the population.
Therefore it was decided to carry the statue on a procession in the evening of 16th November 1894; while almost all the population was in two large squares a disastrous earthquake destroyed the town, but almost all the inhabitants were spared. The miracle was officially recognized by the Vatican. In the photo below, the day after the earthquake.
#OurLadyOfMountCarmel
#MadonnaDelCarmine
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...
Exploring Bell Tower | Mondovi Cuneo Italy
I Giardini del Belvedere, nati per l’Esposizione Floreale del 1903, offrono uno spettacolare panorama semicircolare che va dalle Alpi Liguri fino al Monviso in fondo alla pianura, e accompagna le colline monregalesi perdersi nella Langa. La vista si fa a 360° in cima alla torre simbolo di Mondovì.
Alta oltre 29 metri, con monofore ogivali, merlature e un grande orologio mono-lancetta su ogni lato, la Torre Civica (detta Dei Bressani) in origine era il campanile della Chiesa di Sant’Andrea, che qui sorgeva,domina la collina e caratterizza il profilo della città dal XIII-XIV secolo.
Nel 1759 Giovanni Battista Beccaria la utilizzò come punto trigonometrico per calcolare l’arco meridiano tra Andrate (Novara) e Mondovì. I Giardini e la Torre ospitano il Parco del Tempo.
L’automa di un moro che batte le ore e una torre con l’orologio tra i simboli di una città disseminata di meridiane: il contesto migliore per tracciare una storia della misurazione del tempo! Raccoglie l’invito il Parco con i suoi tre percorsi:
uno nella torre (risalendo, si va a ritroso dagli orologi elettronici fino al meccanismo a una lancetta della torre realizzato, nel 1895, dalla celebre fabbrica monregalese di orologi da torre Fratelli Jemina; nel loggiato, la “voce del tempo”, ovvero le campane);
uno nei giardini (dove, oltre alle meridiane a lato torre, sono stati installati 3 orologi solari orizzontali in pietra);
e uno attraverso la città (con la mappa di tutte le meridiane presenti nel centro urbano esposta su un lato esterno della Torre Civica e illustrata all’interno della nuova Guida di Mondovì “MondoVìGuida”, disponibile presso l’Ufficio Turistico e le librerie cittadine).
All’interno del percorso di scoperta delle numerosissime meridiane presenti in Città, merita una sosta particolare il complesso gnomonico affrescato sulla parete esterna del Tribunale (Ex Collegio dei Gesuiti). Si tratta di un vero e proprio osservatorio astronomico con dodici meridiane affrescate probabilmente verso il 1716 dal pittore Gian Battista Rocca e contornate da maestose cornici barocche e composizioni pittoriche, fatte di scenografie e di finte prospettive.
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#italy
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Alba Cathedral, Alba, Piedmont, Italy, Europe
Alba Cathedral is a Romanesque cathedral in Alba, Piedmont, Italy. It is dedicated to Saint Lawrence. It is located in the Piazza del Risorgimento, better known as Piazza Duomo (cathedral plaza), amidst cobbled streets. The earliest structure appears to have been built on the site at the end of the 400s. A subsequent Romanesque structure was built on its ruins. The current structure, built upon the original one, dates to the first half of the 12th century, probably over holy edifices of Roman age, and is of red brick. Between the 12th and 15th centuries the cathedral was reshaped in the form of late Gothic architecture. It was restructured in the 15th century by bishop Andrea Novelli, who arrived in Alba in 1484 to find the cathedral in poor condition. The most important renovation dates to 1652 to repair the damage caused by earthquakes in 1626. After the earthquake, the ceiling of the nave fell. It was restored along with the construction of two side aisles, one dedicated to San Theobald of Provins and the other to SS. Sacramento. The last major restoration was between 1867 and 1878 by the engineer Edoardo Arborio Mella who modified the exterior of the cathedral as well as the interior décor. This reconstruction included roofs, aisle vaults, the rebuilding of the apse, the rehabilitation of the facade, opening side windows and the replacement of the pavement. The current appearance dates to the controversial restoration of the 19th century, of which the three portals and the crypt are from the original edifice. Restoration work in 2007, including the heating infrastructure, was carried out with financial backing from the Fondazione Cassa di Risparmio di Cuneo. An ancient baptismal font was found during archaeological excavation in the aisle in front of the Blessed Sacrament chapel. Approximately 100 graves, primarily of children, dating from the 16th and 18th centuries were also found. The finding was not unusual as it was once customary to reuse the space of an ancient baptistery redesigned as a burial place. The recent renovation gave the Diocese the opportunity to consider the next restoration which will be a 'liturgical adaptation' to the cathedral. In 2008, an Evaluation Committee was formed, consisting of the vicar, the parish priest, the Cultural Property Office of the Diocese, the Director of the National Office of Ecclesiastical Cultural Heritage, as well as expert architects and superintendents. It selected a design that takes into account of two of the cathedral's architectural aspects, the ancient chorus and the special decoration of with bands on the columns that stress the development of building upward. The cost of the work will be supported by the Diocese. The building has a nave and two aisles, on the Latin cross plan. The first chapel on the right is that of the Holy Cross. Its altar was designed in Mella-style with neo-Gothic walls on the left side. The painting of St Joseph is from the 18th century. Paintings of Madonna and Child and St Philip date from the same century, and are attributed to Pietro Paolo Operti. The altar of Our Lady of the Sacred Heart is in Gothic style and holds a statue of the same name. The walls display paintings by Agostino Cottolengo include one of the Abbot San Palemon (1827), and the other of Pope Eugene (1840). The church organ was built by Fratelli Lingiardi of Pavia in 1876. The current belfry, from the 12th century, includes entirely the original bell tower. The old bell tower, not particularly high, contains at least five overlapping buttresses to form a powerful base. It is visible by ascending through a cavity that leads to the belfry and was built as a public works project. It is symbolic of the union between Alba's clergy and Alba's society. Reconstruction of the ancient tower included the interior staircase. The church is well known for its wood-carved chorus stalls built in 1512 by Bernardino Fossati. The stalls consist of thirty-five seats in two semicircle rows. The center one is the Episcopal stall. An overhead canopy is flanked by 34 children's stalls, seventeen on each side. The canopies and stalls are decoratively framed in an architectural style typical of the area. This includes a traditional iconographic motif of Renaissance marquetry. The seats are separated from each other by arm rests with plant motifs. The outer paneling consists of inlaid wood scenes, each enclosed in a frame with geometric motifs. The images alternate in their subject matter. They depict differing views of development of the city of Alba, actually inventing architectural features. The semicircle of sculptural depictions, thirty-five in all, are of the Renaissance tradition. The builder used different wood types for the inlay in order to create color nuances. The sculptured subjects include bound books, cups filled with fruit and inverted cups, landscapes, musical instruments, objects of worship, symbols of the Passion, and villages perched on hilltops.
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.
Milano SAN LORENZO ALLE COLONNE
SAN LORENZO ALLE COLONNE, Milano.
PROBABILMENTE ERA DA QUALCHE ANNO MORTO
IL PATRONO SANT'AMBROGIO QUANDO FU COSTRUITA
LA BASILICA ED E' UNA DELLE PRIMISSIME CHIESE
SUCCESSIVE ALL'EDITTO DI COSTANTINO DEL 313
CHE PONEVA FINE ALLE PERSECUZIONI DEI
CRISTIANI, DANDO LIBERTA' DI CULTO.
LE COLONNE DI MARMO ALTE CIRCA 9 ERANO DI
UN TEMPIO PAGANO ROMANO RISALENTE
AL 2°-3°SECOLO.
Heritage and History of Milan #7: Bergognone at San Simpliciano
This video for yesmilano.com is about the basilica of San Simpliciano. An Italian edition of it is available on Andrea Rui’s YouTube channel and on the website yesmilano.com. The English text and narrating voice are those of Carlo Rolle, whose YouTube channel deals with medieval history and ancient literature.
In San Simpliciano we can admire the Coronation of the Virgin, painted around 1508 by Ambrogio da Fossano, also known as the “Bergognone”. He was born in 1453 in Fossano, in Piedmont. Unconcerned by the innovations of masters like Leonardo and Raphael, Bergognone adhered to the old Lombard school: he painted his figures in different dimensions, according to their place in the hierarchy.
In the centre of this fresco the divine images form a triangle. At the summit of it, is the face of God. Jesus and the Virgin emerge from the drapery of their wide cloaks. Jesus is is emaciated and with his hands he places a crown upon Mary. She is, like him, pale as ivory, as if shining with inner light.
The angels are arranged to form a large almond, aligned on concentric bands. Those of the outer bands appear in full and in different postures. The angels of the second order of triads are closer together. Behind the divine figures, heads of Cherubs and Seraphim are also arranged in groups of three, in a whirlwind of ever warmer colours. The figures and their haloes are embellished with gilding. The musician angels on the outer side of the composition create a youthful animation around the majestic stillness of the central group.
In the foreground, just above the lower edge of the cupola, 20 figures of Saints, Prophets, Martyrs and Virgins are lined up. They are represented in vivid portraits. On the left of this line of figures, close to St. John the Baptist, we can see Dante Alighieri holding a long scroll. An old man with a white beard, might represent the painter.
San Simpliciano, or Basilica Virginum, is the best preserved among early Christian buildings in Milan. According to the tradition, it is one of the 4 basilicas founded by Ambrose in the IV century outside the city walls, in the 4 cardinal points, together with that of Sant'Ambrogio (Basilica Martyrum), San Nazaro (Basilica Apostolorum) and San Dionigi (Basilica Sanctorum).
The paleo-Christian building had a single nave. On the outer walls of the building, a double row of arcades set on pilasters had both an aesthetic and a structural function. In the upper arcades there were large windows. On both extremities of the transept, a few windows opened also in the lower order of the arcades. A portico surrounded the front and the sides of the church.
In the VII century, the single nave was divided by creating side aisles, obtained by constructing quadrangular pillars that helped to bear the weight of the wide roof.
In the age of Romanesque architecture, the basilica underwent drastic renovation works. The pillars were reduced in number but enlarged in size. Internal buttresses were created and the windows were walled up, in order to reinforce the structure and to better support the new vaulted ceiling and its ribs.
Also the transept was divided into aisles and its windows were made smaller. The last step of the renovation was the creation of the octagonal lantern surrounded on the outside by a slender loggia. Also the façade was restructured, with a beautiful portal and richly sculpted capitals.
In 1552 the bell tower was lowered in order to prevent anyone from looking into the castle.
The history of the basilica is linked to the Battle of Legnano, in which the Lombard League prevailed upon Barbarossa with the help - according to the legend – of martyrs, whose relics are still venerated in the church. In the XV century side chapels were added and the porticoes were demolished.
An abbot provided that a fresco of the Coronation of the Virgin was painted in the apse. In the XVI century the Benedictine monks took over from the Cluniacs. To this period dates the creation of the two cloisters and of the wooden choir, designed by Giuseppe Meda.
In 1841 the church was severely altered by a restoration. An altar was installed, which partially hides the fresco of Bergognone. In 1870 architect Maciachini restored the façade.
Post-war restorations have returned the basilica to its former glory.
Chiesa sconsacrata..
church deconsecrated It brings you to see a good vision from the church very old Italian vampire XD
Il Duomo di Milano (ITALY): pt 2
L'interno è diviso in cinque navate, e il transetto in tre. Il presbiterio è profondo e cinto da un deambulatorio, a fianco del quale si aprono le due sagrestie. La navata centrale è ampia il doppio di quelle laterali, che sono di altezza leggermente decrescente, in modo da permettere l'apertura di piccole finestre ad arco acuto nel cleristorio, sopra gli archi delle volte, che illuminano l'interno in maniera diffusa e tenue. Manca il triforio.
I cinquantadue pilastri polistili dividono le navate e sorreggono le volte a costoloni dipinte con un traforo gotico. Questa decorazione fu iniziata dall'abside (metà del XV secolo), proseguita nel tiburio (1501) e ancora nel XVII, fino alle integrazioni e i rifacimenti di Achille Alberti e Alessandro Sanquirico (dal 1823). Dal 1964 non è stata più reintegrata.
Molto originali sono i capitelli monumentali a nicchie e cuspidi con statue, che decorano i pilastri lungo la navata centrale, il transetto e l'abside. Alcuni capitelli sono a doppio registro, con statue di santi nelle nicchie sormontate da statue di profeti nelle cuspidi. Gli altri pilastri hanno decorazioni a motivi vegetali.
Il pavimento, su disegno originale di Pellegrino Tibaldi, fu iniziato nel 1584 e terminato, con variazioni, solo tra il 1914 e il 1940. Si tratta di un complesso intreccio di marmi chiari e scuri, tra i quali il nero Varenna, il bianco e rosa di Candoglia, il rosso d'Arzo (in origine, oggi quasi completamente sostituito dal rosso di Verona). Tibaldi definì anche gli altari laterali, i mausolei, il coro e il presbiterio (risistemato nel 1986), sulle richieste del cardinale Borromeo. L'interno oggi ha un aspetto che risente soprattutto di quest'epoca, legata al periodo della Controriforma. Nel XVIII secolo alcuni monumenti vennero trasferiti nelle campate verso la facciata, da poco completate.
Limone - Waiting For a Train
The beauty of waiting for a train especially when it's totally foreign. No frills. The town church bell is the only sound. 2007.
INTROIBO AD ALTARE DEI , MARCHE 24 OTT 2009 CARDINALE CASTRILLON HOYOS
Presentazione del libro INTROIBO AD ALTARE DEI di Elvis Cuneo, Daniele Di Sorco e Raimondo Mameli; scritto dopo il Motu Proprio Summorum Pontificum di Papa Benedetto XVI.
Sabato 24 ottobre 2009 alle ore 16,30 nella Sala Conferenze di Palazzo Uccellini Amurri di Belvedere Ostense, alla presenza Sua Eminenza il Cardinale Darìo Castrillòn Hoyos.
Relatori : Riccardo Piccioni, Sindaco di Belvedere Ostrense, Andrea Carradori, Luciana Salvucci e Daniele Di Sorco.
Ha introdotto il padrone di casa, Dottor Leopoldo Uccellini alla cui generosità si deve la costruzione del grande Organo della Chiesa di Santa Maria della Neve di Senigallia e del restauro di altri antichi organi della zona.
Molte le Autorità che hanno partecipato alla manifestazione assieme ad un folto e qualificato pubblico intervenuto anche dallestero.
Daniele Di Sorco ha fatto dono della pubblicazione alla Biblioteca del Senato della Repubblica tramite il Senatore Alessandro Forlani che era presente.
Il Console onorario della Federazione Russa, Professore Armando Ginesi , seduto vicino al Cardinale, ha riservato una pubblicazione del libro Introibo ad altare Dei al Patriarca della Chiesa Ortodossa Russa Kirill sapendo come gli Ortodossi, e gli Anglicani tradizionalisti, abbiano assai apprezzato il ritorno della Chiesa Cattolica allo splendore liturgico dei secoli passati.
Molti i Sacerdoti presenti a testimonianza del crescente interesse, soprattutto dei Sacerdoti più giovani, per lantica liturgia.
Milano - Abbiategrasso - il fiume Ticino - drone
Il Parco del Ticino - una domenica di Aprile -
riprese del fiume e del parco effettuate con drone
Chiesa di S. Giacomo | Arianna Studios
Chiesa di S. Giacomo a Roma
Recco - Luminarie Santuario N. S. del Suffragio 2015
Santuario di N. S. del Suffragio - Recco (GE) - church of Recco - Sagra del Fuoco 2015 - Verdina Luminarie
Campane di Mele (GE) - sonate a tastiera (Ass. Campanari Liguri)
Concerto di 8 campane in Mi bemolle maggiore:
1/5: Pasquale Mazzola di G.B. 1889
Rifusione 1a e 6/8: R. Mazzola anno 1964
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Sonate a tastiera per la festa di S. Antonio Abate - 16 Gennaio 2011,
Si rigrazia di cuore il campanaro Lorenzo Canepa per la gradevolissima ospitalità e amicizia.