Places to see in ( Pistoia - Italy ) Sant'Andrea
Places to see in ( Pistoia - Italy ) Sant'Andrea
The Church of Sant' Andrea, Pistoia, is a church in Pistoia, Tuscany, central Italy that serves as a pieve or place that congregations from surrounding village churches use for baptism. It is dedicated to St. Andrew the Apostle, and includes the famous Pulpit of Sant' Andrea by Giovanni Pisano. The church probably dates from as early as the 8th century, though in a smaller size. In the 12th century it was extended in length.
The façade shows the typical bichrome marble decoration of the Pistoiese Romanesque style, executed in the mid-12th century by Gruamonte and his brother Adeodatus, who was also responsible for the sculptures and for the portal's architrave. The latter depicts the Journey of the Magi, a rare theme whose use here derives from the fact that the church was located on the Via Francigena, by which, in the Middle Ages, the pilgrims reached Rome from France. The decorated capitals are by a Master Henry, while the small statue of St. Andrew in the lunette over the portal is reminiscent of Giovanni Pisano's style.
In the late 15th century the upper façade was finished and the central nave was vaulted. The frescoes in the apse date to 1506, executed by Bernardino del Signoraccio. Today only the central part, with the Father supported by Four Angels, survives. The altars in the aisles were added in the 17th century, with paintings by artists such as Cristofano Allori and Girolamo Scag.
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Pulpit of Sant' Andrea, Pistoia (Giovanni Pisano)
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Pulpit of Sant' Andrea, Pistoia (Giovanni Pisano)
The pulpit in the church of Sant' Andrea, Pistoia is a masterpiece of 1301 by the Italian sculptor Giovanni Pisano, in the pieve of Sant'Andrea, Pistoia, Italy.
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***** Pulpito di GIOVANNI PISANO nella chiesa di S. ANDREA a PISTOIA
Il pulpito della chiesa di Sant'Andrea di Pistoia è il capolavoro di Giovanni Pisano.
La struttura riprende quella del pulpito del Battistero pisano: di forma esagonale appoggia su sette colonne (sei ai vertici ed una centrale) di cui due sorrette da leoni stilofori ed una da uno straordinario telamone ricurvo, mentre la colonna centrale poggiante su tre figure: un leone alato, un'aquila e un grifone, Infine le ultime tre poggiano direttamente a terra. L'organizzazione dei rilievi del parapetto, intervallati solo da altre figure collocate agli angoli, riprende invece il pulpito di Siena. Gli archetti trilobati che sorreggono la parte superiore sono più rialzati, a sesto acuto, quindi maggiore è lo slancio verticale dell'opera.
Il programma iconografico del pergamo riprende i modelli paterni, con Allegorie nei pennacchio degli archetti, Profezie (ovvero sei sibille per il mondo pagano e dieci profeti per il mondo giudaico) a figura intera, appoggiate sulle mensole dei capitelli, ed i cinque parapetti del pulpito con Storie della vita di Cristo:
Annunciazione, Natività, Bagno di Gesù e Annuncio ai pastori
Sogno e adorazione dei Magi
Strage degli Innocenti
Crocifissione
Giudizio Universale
Il sesto parapetto non esiste perché su quel lato vi è aperto l'accesso.
Le scene sono molto affollate, come nel pulpito di Siena, ma a paragone con la ritmica organizzazione dell'insieme di Nicola Pisano, qui le figure scolpite da Giovanni sembrano emergere improvvisamente dal background (altorilievo), con bruschi giochi di luce ed ombra che scaturiscono dal diverso livello di rilievo di ciascuna figura e dall'estrema ricerca di dinamismo. Uno delle riquadri più notevoli è quello del Massacro degli innocenti, dove è posto in scena un movimento vorticoso dei personaggi con accentuato espressionismo degli aspetti, deformati dalla pena, dalla paura, dalla costernazione. Inoltre c'è un virtuosismo nel contrapporre figure con dettagli preziosamente rifiniti e altre sbozzate, con effetti di contrasto drammatico. Mai fino ad ora un artista medioevale era riuscito a rendere così vivo un dramma. Giovanni si ispirò a modelli tedeschi o alle scene più toccanti della Colonna Traiana.
Notevole è la novità anche in una delle sibille, che si volta con uno scatto quasi spaventato verso un angelo che da dietro le suggerisce le rivelazioni profetiche.
L'aquila reggilibro, simbolo dell'evangelista Giovanni, è oggi una copia. L'originale, sottratto durante la seconda guerra mondiale, si trova oggi al Metropolitan Museum di New York, l'altro leggio si trova ai Musei Statali di Berlino-Dahlem.
PRIMO GIORNO CON IL BIGLIETTO NELLA CHIESA DI SANT'ANDREA
A Pistoia ha preso il via la sperimentazione dell'ingresso a pagamento nella chiesa di Sant'Andrea, novità di non poco conto dato che la chiesa ospita, tra l'altro, il pulpito di Giovanni Pisano noto in tutto il mondo.
Giovanni Pisano
In un excursus tra cenni biografici e opere, due alunne ci offrono un breve documentario su Giovanni Pisano, scultore che interpretò in modo originale la lezione del gotico francese, contribuendo alla creazione di quel linguaggio italiano del Treccento. punto di riferimento per gli artisti europei coevi.
Pistoia Cathedral, Pistoia, Tuscany, Italy, Europe
Pistoia Cathedral is the main religious building of Pistoia, Tuscany, central Italy, located in the Piazza del Duomo in the centre of the city. It is the seat of the Bishop of Pistoia and is dedicated to Saint Zeno of Verona. Most probably built in the 10th century, it has a façade in Romanesque style, inspired by other churches in Pistoia (San Bartolomeo and San Jacopo). The interior has a nave and two side-aisles, with a presbytery and crypt. A restoration in 1952-1999 returned the church to its original lines. It has been speculated that a smaller cathedral may have existed in Pistoia as early as the 5th century AD, as it had already a bishop at that time. The location of such a building is however unknown: possible sites are those of the current cathedral, of the Pieve di Sant'Andrea or of San Pier Maggiore. The first mention of a cathedral dates to 923. In 998 a diploma of Emperor Otto III refers to a Palaeo-Christian building located between the cathedral square (Piazza del Duomo) and the city's watch tower. In 1108 the cathedral was damaged by a fire, and was probably rebuilt over the next few decades, as in 1145 an altar was dedicated in it to Saint James the Great by Bishop Saint Atto. In 1202 another fire damaged the cathedral again. In 1274-1275 the aisles were covered with vaults, and in 1287 a new altar was begun. In 1298 there was further damage caused by an earthquake. In 1336 a statue of Saint Zeno was placed in the west front, sculpted by Jacopo di Mazzeo. Between 1379 and 1440 the façade was reconstructed with the addition of three tiers of loggias and a portico. In 1504 Andrea della Robbia was commissioned to undertake the decoration of the archivolt (for which he created a festoon with plant themes and, in the middle, the crest of the Opera di San Jacopo), of the portico as well as of the lunette with bas-reliefs over the central portal, depicting the Madonna with Child and Angels. He finished the works in 1505.
In 1598-1614 the medieval choir was demolished, the side chapels were modified and the original apse was replaced by a Baroque tribune surmounted by a dome designed by Jacopo Lafri, while the main aisle was covered by new cross vaults. The decoration of the tribune ceilng was also undertaken, and paintings in the same area and in the main chapel were added. In 1721 a statue of Saint James the Great, by Andrea Vaccà, was added to the façade. The medieval mullioned windows, replaced by Baroque windows, were restored between 1952 and 1966, and the vaults over the aisle were removed. The presbytery pavement is raised, housing the crypt underneath, while the nave and the aisles, separated by columns, have vaults and wooden truss covers respectively. The right aisle was once occupied by the Chapel of St. James (San Jacopo), built by bishop Atto in the mid-12th century to house the relics of Saint James brought from Santiago de Compostela. The silver altar of the saint can be seen today in the Crucifix Chapel. The Chapel of the Blessed Sacrament (Capello del Santissimo Sacramento), which houses the tabernacle, is also known as the Chapel of San Donato from a painting portraying the Madonna Enthroned between St. John the Baptist and St. Donatus (c. 1475-1486), on the right hand wall. The painting had been commissioned from Andrea del Verrocchio by the heirs of Donato de' Medici and was started by him but, left unfinished, was completed by Lorenzo di Credi. The bishop next to the Madonna has been identified as Saint Zeno. In the middle is the Assumption of the Virgin by Giovan Battista Paggi (1590-1600), while next to the entrance is the tomb of Donato de' Medici (1475), attributed to Antonio Rossellino. This chapel contains the altar of Saint James, in embossed silver sheet, which was moved here in 1953. It was begun in 1287, when Andrea di Jacopo d'Ognabene was commissioned to make representations of the Madonna and Child for the rear of the altar, and, for the front section, of Stories of the New Testament, Christ in Majesty between Mary and St. James and Three Stories of St. James, which he finished in 1316. Giglio Pisano executed the large silver statue depicting St. James Enthroned (1349-1353), commissioned as thanksgiving after the end of the Black Death in 1348. The two side antependia were executed by Leonardo di Ser Giovanni and Francesco Niccolai, with Stories of the Old Testament and Stories of St. James, between 1361 and 1371. Other works include the Apostles, St. Eulalia, Bishop Atto, St. John the Baptist and Salome by Piero d'Arrigo Tedesco (1380-1390), another Christ in Majesty with St. Anthony Abbot, St. Stephen and the cusp by Nofri di Buto and Atto di Piero Braccini (1394-1398). Filippo Brunelleschi decorated the front part with two busts of prophets (1401). The other sides were decorated by Piero d'Antonio da Pisa and Domenico da Imola.
Pistoia, Tuscany, Italy
Pistoia is a city in Tuscany with an attractive old centre. The main sight of the city is the Piazza del duomo, with the cathedral of San Zeno and several old palaces. There are also several interesting churches like the Chiesa di Sant'Andrea, with a pure romanesque interior and the Chiesa di San Giobanni Forcivitas with a stripped gothic facade.
PRIMO APPUNTAMENTO CON LA DIOCESI PER PISTOIA CAPITALE
Una serata dedicata al pulpito di Giovanni Pisano custodito nella chiesa di Sant'Andrea. E' stata la prima iniziativa a venire realizzata dalla Diocesi di Pistoia per il 2017, anno della città capitale italiana della cultura.
Places to see in ( Pistoia - Italy ) Cathedral of Saint Zeno
Places to see in ( Pistoia - Italy ) Cathedral of Saint Zeno
Pistoia Cathedral (Italian: Duomo di Pistoia or Cattedrale di San Zeno) is the main religious building of Pistoia, Tuscany, central Italy, located in the Piazza del Duomo in the centre of the city. It is the seat of the Bishop of Pistoia and is dedicated to Saint Zeno of Verona. Most probably built in the 10th century, it has a façade in Romanesque style, inspired by other churches in Pistoia (San Bartolomeo and San Jacopo). The interior has a nave and two side-aisles, with a presbytery and crypt. A restoration in 1952-1999 returned the church to its original lines.
It has been speculated that a smaller cathedral may have existed in Pistoia as early as the 5th century AD, as it had already a bishop at that time. The location of such a building is however unknown: possible sites are those of the current cathedral, of the Pieve di Sant'Andrea or of San Pier Maggiore. The first mention of a cathedral dates to 923. In 998 a diploma of Emperor Otto III refers to a Palaeo-Christian building located between the cathedral square (Piazza del Duomo) and the city's watch tower. In 1108 the cathedral was damaged by a fire, and was probably rebuilt over the next few decades, as in 1145 an altar was dedicated in it to Saint James the Great by Bishop Saint Atto. In 1202 another fire damaged the cathedral again. In 1274-1275 the aisles were covered with vaults, and in 1287 a new altar was begun. In 1298 there was further damage caused by an earthquake. In 1336 a statue of Saint Zeno was placed in the west front, sculpted by Jacopo di Mazzeo.
The presbytery pavement is raised, housing the crypt underneath, while the nave and the aisles, separated by columns, have vaults and wooden truss covers respectively. The right aisle was once occupied by the Chapel of St. James (San Jacopo), built by bishop Atto in the mid-12th century to house the relics of Saint James brought from Santiago de Compostela. The silver altar of the saint can be seen today in the Crucifix Chapel.
The Chapel of the Blessed Sacrament (Capello del Santissimo Sacramento), which houses the tabernacle, is also known as the Chapel of San Donato from a painting portraying the Madonna Enthroned between St. John the Baptist and St. Donatus (c. 1475-1486), on the right hand wall. The painting had been commissioned from Andrea del Verrocchio by the heirs of Donato de' Medici and was started by him but, left unfinished, was completed by Lorenzo di Credi. The bishop next to the Madonna has been identified as Saint Zeno. In the middle is the Assumption of the Virgin by Giovan Battista Paggi (1590-1600), while next to the entrance is the tomb of Donato de' Medici (1475), attributed to Antonio Rossellino.
It was begun in 1287, when Andrea di Jacopo d'Ognabene was commissioned to make representations of the Madonna and Child for the rear of the altar, and, for the front section, of Stories of the New Testament, Christ in Majesty between Mary and St. James and Three Stories of St. James, which he finished in 1316. In addition, Pace di Valentino, a Sienese goldsmith, created some of the figures surrounding St. James. Giglio Pisano executed the large silver statue depicting St. James Enthroned (1349-1353), commissioned as thanksgiving after the end of the Black Death in 1348.
The vault of the presbytery is decorated by frescoes by Domencio Cresti, depicting the Father in Glory, Fall of the Rebel Angels, Fall of Adam and the Annunciation (1602). The organ is from 1793. In the apse is a painting by Cristofano Allori portraying the Resurrection (1606-1610), beside which are two clay statues of Saint Zeno and Saint James (1609), attributed to the school of Giambologna. To the right of the high altar is a Pentecost by Gregorio Pagani (1602), while on the left is an Ascension by Benedetto Veli (1606).
( Pistoia - Italy ) is well know as a tourist destination because of the variety of places you can enjoy while you are visiting Pistoia . Through a series of videos we will try to show you recommended places to visit in Pistoia - Italy
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Top 15 Things To Do In Pistoia, Italy
Cheapest Hotels To Stay In Pistoia -
Cheap Airline Tickets -
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Here are top 15 things to do in Pistoia, Italy
All photos belong to their rightful owners. Credit next to name.
1. San Giovanni Fuorcivitas - Claudio Giovanni Colombo / shutterstock
2. Pistoia Zoo -
3. Cathedral of St. Zeno - maudanros / shutterstock
4. St. Zeno Baptistery - maudanros / shutterstock
5. Visit the town of Montecatini Alto - Muzhik / shutterstock
6. Museo Capitolare -
7. Palazzo del Comune - D.serra1 / shutterstock
8. Monte Cimone - Claudiovidri / shutterstock
9. Church of Sant’Andrea - Stepniak / shutterstock
10. Visit the spa town of Montecatini Terme - Hibiscus81 / shutterstock
11. Riserva naturale Acquerino -
12. Villa la Magia -
13. Church of San Michele Arcangelo -
14. Take a day trip to Florence - Mikadun / shutterstock
15. Enjoy a fine meal at the Ristorante Rafanelli -
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Best Attractions and Places to See in Pistoia, Italy
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List of Best Things to do in Pistoia
Sant'Andrea
Piazza del Duomo
Campanile del Duomo di Pistoia
Cathedral of Saint Zeno
Piazza della Sala
Ospedale del Ceppo
Baptistery
Giardino Zoologico di Pistoia
Pistoia Sotterranea
San Bartolomeo in Pantano
Sant’Andrea 800 – 4° sessione: L’abbazia di Sant’Andrea di Vercelli e il suo fondatore.
Venerdì 31 maggio 2019. Aula Magna del Dipartimento di Studi Umanistici, Vercelli.
Convegno internazionale “Sant’Andrea di Vercelli e il gotico europeo all’inizio del Duecento”.
Sotto l’Alto Patronato del Presidente della Repubblica, sotto l'Alto Patrocinio del Parlamento Europeo e con il patrocinio del Comune di Vercelli
00:05 Julian Gardner (University of Warwick)
Un mecenate fuori casa: il Cardinale Guala a Roma e altrove
31:50 Simonetta Castronovo (Museo Civico d’Arte antica - Palazzo Madama, Torino)
Le raccolte d’arte del cardinale Guala Bicchieri: oreficerie, smalti di Limoges, paramenti sacri e codici miniati
1:11:46 Fabrizio Crivello – Alessia Marzo (Università di Torino)
Aggiornamenti sulla miniatura a Vercelli intorno a Guala Bicchieri
1:39:12 Jean-Pierre Caillet (Université de Paris X - Nanterre; École du Louvre)
Configurazione architettonica ed utilizzazione degli spazi a Sant'Andrea di Vercelli: ritorno sull'ascendente del Romanico
2:14:00 Carlo Tosco (Politecnico di Torino)
L'architettura di Sant'Andrea: il cantiere e i modelli progettuali
2:44:55 Maurizio Gomez Serito (Politecnico di Torino)
Pietra e colore. L'architettura della facciata di Sant'Andrea, un prototipo
3:16:21 Fulvio Cervini (Università di Firenze)
Onde francesi nella scultura di Vercelli
3:58:46 Clario Di Fabio (Università di Genova)
San Lorenzo di Genova e Sant'Andrea di Vercelli, due cantieri contemporanei. Problemi, sintonie, divergenze
4:37:50 Yoshie Kojima (Waseda University, Tokyo)
Riflessioni sul cantiere antelamico a Fidenza, Parma e Vercelli
5:03:29 Guido Tigler (Università di Firenze)
La formazione vercellese del Maestro dei Mesi di Ferrara
5:40:02 Fabio Scirea (Università di Milano)
Pittura ornamentale in Sant’Andrea: tra gotico e neogotico
6:14:30 Saverio Lomartire (Università del Piemonte Orientale)
Ipotesi sul cantiere della basilica di Sant’Andrea e sui contatti con altri cantieri coevi. Appunti di lavoro.
6:52:51 Discussione
Il Gotico di Nicola e Giovanni Pisano
Nicola Pisano è stato uno scultore e architetto italiano, tra i principali maestri della scultura gotica a livello europeo, che contribuì in maniera determinante alla formazione di un linguaggio figurativo italiano.
Il pergamo del battistero di Pisa, firmato e datato 1260 (quindi verosimilmente iniziato verso il 1257) è un'opera di piena maturità, con la quale vengono introdotte contemporaneamente una serie cospicua di novità di assoluto rilievo.
Innanzitutto la struttura a base esagonale non ha precedenti: si pensi al pulpito di Guglielmo già nel Duomo di Pisa (oggi in quello di Cagliari) o a quelli diffusi nel XII secolo in Italia meridionale, tutti o a base quadrata o rettangolare.
Sostenuto da sei colonne laterali (tre delle quali poggianti su leoni stilofori) e una centrale con basamento scolpito con tre telamoni, ha il parapetto ornato da cinque pannelli a bassorilievo con scene della vita di Cristo.
Giovanni Pisano è stato uno scultore e architetto italiano.
Riuscì a sviluppare gli spunti del padre Nicola, confermando il ruolo preminente della scultura tra le arti figurative del XIII secolo, almeno fino al sorgere di Giotto. Diede alle sue statue forme slanciate ed elegantemente inarcate, ai rilievi un forte senso di movimento e di chiaroscuro, manifestando una forte espressività, senza tuttavia dimenticare mai una solida volumetria tipicamente italiana. Fu protagonista di alcuni dei più importanti cantieri della sua epoca, soprattutto a Pisa e a Siena, diventando uno degli artisti più influenti del XIV secolo.
Opera pregevolissima non solo per la grandissima qualità tecnica ma anche per il significato iconologico e per le iscrizioni che corrono sul pergamo, veri e propri sfoghi di un artista incompreso nella sua genialità. Questa opera presenta dei rilievi con un linguaggio un po' più compassato, mentre sono più rilevanti le novità architettoniche: appoggiato su nove colonne di cui una centrale, ha i parapetti arcuati tanto da apparire di forma circolare e non ottagonale, con un inedito continuum.
DI LA TUA - PISTOIA WAVE - THE TRAILER
DI LA TUA - WEB TV DI PARTECIPAZIONE - PISTOIA WAVE
Pistoia in tre ore: itinerario nella Capitale della Cultura Italiana del 2017
Pistoia in tre ore, si può fare! a patto di selezionare cosa si vuole vedere della Capitale della Cultura Italiana del 2017.
Noi abbiamo scelto di mostrarvi piazza del Duomo, considerata una delle più belle piazze d'Italia con la Cattedrale, il Battistero, la Torre Campanaria, il Palazzo di Giustizia e il Palazzo Comunale. A poche decine di metri di distanza si trova La Sala, il cuore medioevale di Pistoia, di giorno pittoresco mercato di frutta e verdura si trasforma la sera in elegante luogo di movida.
Raggiungibile a piedi in una decina di minuti la piazzetta di Sant'Andrea con l'omonima Chiesa di Sant'Andrea, vale la pena entrare solo per ammirare il bellissimo pulpito, opera di Giovanni Pisano.
A non molta distanza l'ultima tappa del nostro itinerario a Pistoia, abbiamo raggiunto, sempre a piedi, il loggiato dell'antico Ospedale del Ceppo, inconfondibile per i colori del suo ornamento, un fregio in terracotta policroma realizzato dal Della Robbia all'inizio del sedicesimo secolo.
Visita l'Italia con noi!!!
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La Pievaccia della Serra Pistoiese, dal Drone - vers. 2017
Località: Pieve di Sant'Andrea di Furfalo - Serra Pistoiese - Comune di Marliana - Provincia di Pistoia - Regione Toscana - Italia
Riprese: Drone DJI Mavic Pro
Montaggio: Cyberlink Power Director 15
Prodotto da Max Taverna, 20170901
Tutti i diritti sulle immagini sono riservati
Places to see in ( Pistoia - Italy ) Ospedale del Ceppo
Places to see in ( Pistoia - Italy ) Ospedale del Ceppo
Ospedale del Ceppo is a medieval hospital in Pistoia, Tuscany, central Italy. According to tradition, the Ospedale was founded in 1277 by the company of Santa Maria or del Ceppo dei poveri (The offering trunk of the poor). In 1345 documents mention ongoing works for a new cloister, oratory and domus (residence for women). It became the main city's hospital after the donations received in the wake of the Black Death of 1348. Initially given to the cathedral chapter, from 1350 the commune of Pistoia tried to absorb direction of the company. After the conquest of Pistoia by the Republic of Florence (1401), the Florentines officially confirmed the lay status of the hospital.
In 1456 the hospital administrators commissioned the Florentine architect Michelozzo di Bartolomeo a restoration of the building. The election of the spedalingo (rector) was often contended between the noble Pistoiese families, sometimes causing popular turmoil such as in 1498. In 1494 the Compagnia del Ceppo was expelled in 1494, the hospital administrated by the communal priori. In 1501 the hospital was submitted to the Hospital of Santa Maria Nuova in Florence; the Florentine spedalingo, Leonardo Buonafede, ordered in this period the realization of the frieze which is now the main feature of the monumental façade.
In 1784 Grand Duke Pietro Leopoldo of Tuscany aggregated the hospital to a new entity including the other Pistoiese hospital of San Gregorio, the Spedali Riuniti di Pistoia, the spedalingo returning to be a Pistoiese. The current complex is the result of a series of additions and restorations of the original 13th-century edifice, which corresponds to today's corsia di Sant'Atto, a large ward with big windows now existing in a 16th-century renovation. In the 15th century the wing and the current façade were added, with the Renaissance arcaded loggia built in 1502, inspired by the Ospedale degli Innocenti at Florence. The loggia is decorated by a ceramic glaze frieze esecuted from 1525 by Santi Buglioni: it portrays the seven works of mercy, mixed with scenes of the Virtues. A panel was replaced in 1586 by a new one, not in ceramic glaze.
Also from 1525 are the tondoes by Giovanni della Robbia, depicting the Annunciation, the Glory of the Virgin, the Visitation and the Medici coat of arms. The corsia di San Leopoldo (Ward of St. Leopold), now the seat of the Pistoia Medical Academy, was originally intended for the contagious patients.
( Pistoia - Italy ) is well know as a tourist destination because of the variety of places you can enjoy while you are visiting Pistoia . Through a series of videos we will try to show you recommended places to visit in Pistoia - Italy
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DALL'OLANDA A PISTOIA PER UN ORGANO
E' sin dall'Olanda che una delegazione di esperti è arrivata a Pistoia per una visita dedicata a un organo. Si tratta di uno strumento dalle caratteristiche straordinarie che si trova, in stato di abbandono, in una collocazione altrettanto straordinaria e altrettanto abbandonata: la chiesa di San Pier Maggiore. A illustrare la situazione un esperto di livello internazionale nel campo della musica da organo: don Umberto Pineschi.
Giuseppe Pappalardo 205 Rally E1 - 10° Slalom Sant'Andrea di Bonagia-Valderice
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Church of the Holy Spirit, Pistoia, Tuscany, Italy, Europe
The church of St. Ignatius of Loyola is a Pistoia Church of the seventeenth century. It is often known among Pistoia as a church of the Holy Spirit because, though always been dedicated to the holy founder of the Jesuits, lived there the priests of the Holy Spirit parish thus generating confusion. It was built starting in 1647 on the initiative of the Rospigliosi family, to accommodate the Jesuits, the architect Jesuit Thomas Ramignani. For interior decoration a central role was played by Cardinal Giulio Rospigliosi, later Pope Clement IX. In 1668 Gian Lorenzo Bernini designed the high altar. 1670 is the large painting of the high altar with the Apparition of Christ to Saint Ignatius of Pietro da Cortona. After the suppression of the Society of Jesus in 1773 he took over the Congregation of the Holy Spirit, in turn suppressed in 1783. After a long time of consolidation and recovery of the church was reopened for worship in 1988. Inside there are also the valuable paintings, including the Assumption of Mary by Giuseppe Nasini, Gio.Battista of the Saint Lucia Annunziata Gigli and Virgin, commissioned by the noble family of Manni accounts for the nearby church of San Biagio also known as Santa Maria in Borgo Road and from there removed years ago. In the chapel of Bankers, first entering on the left, there is the valuable painting by Ottaviano Dandini (Florence 1680 ca. - there 1740), Christ deposed by Jesuits Saints (after 1726), oil on canvas, cm. 297x175. In the middle of the left wall of the nave, after the chapel of Bankers near the pulpit, it is located above a small marble choir, by a finely carved and gilded wooden case, an antique pipe organ built in 1664 by the organ-Willem Hermans . The instrument, mechanical transmission, has a single keyboard of 45 notes with first octave and a scavezza pedal 9 to it constantly united. Clement IX Rospigliosi commissioned in the second half of the seventeenth century, the construction of a second body in front of it, but this was never realized (they were created only the choir and the facade). The project, with various additions and changes, has been taken into account only to the present day and has been entrusted to Glauco Ghilardi, Lucca organ builder, who completed it in 2008. The instrument, inspired by the German baroque organ has two keyboards of 48 notes each and a pedal 26.